A partir dos anos 30, o filósofo húngaro Georg Lukács publica uma série de textos nos quais procura determinar o que é a literatura realista, atentando para seus desdobramentos no curso do desenvolvimento histórico. Afinal, dirá Lukács, a questão que se coloca é, justamente, compreender as importantes mudanças de estilo pelas quais passa o realismo, essa maneira especificamente artística de descobrir a realidade objetiva. Para Lukács, entretanto, tais mudanças não surgem a partir de uma dialética imanente das formas, por mais que se vinculem a formas do passado. A aposta teórica deste trabalho é a de que essa perspectiva sobre o realismo ganha um solo fértil, quando atentamos para o complexo de problemas evocado pela hostilidade do capitalismo às artes. Assumindo-o como nosso fio da meada, apresentamos então a leitura de Lukács sobre dois grandes autores realistas, Balzac e Tolstói, com destaque para as continuidades e diferenças entre eles. Nesse sentido, vem para o primeiro plano as considerações de Lukács sobre o típico, constituído de modo extremo, bem como a discussão em torno da incorporação de elementos dramáticos pelo romance, que já pode ser observada em Os anos de aprendizagem de Wilhelm Meister, de Goethe, e se torna fundamental nas obras de Balzac e Walter Scott. / From the 1930s onward, the Hungarian philosopher Georg Lukács published a series of texts in which he sought a definition for realism in literature, bearing in mind its historical consequences. For the matter, according to him, it was crucial to understand the important changes in style underwent by realism, a mode through which one is able to discover objective reality. For him, however, such changes do not appear out of an immanent dialectic of forms, even though they may be related to past forms. Our theoretical hypothesis in this research is that the perspective overcast on realism becomes productive once one is aware of the complexity of problems that the hostility of capitalism towards the arts engenders. Our train of thinking will be led by Lukácss readings of two major writers of realism, Balzac and Tolstoy, and the continuities and discontinuities among them. We will thus bring forth the philosophers considerations on typical, understood as an extreme form, as well as the debate surrounding the incorporation of dramatic elements into the novel, as can be seen in Goethes Wilhelm Meisters Apprenticeship, and more so in Balzacs and Walter Scotts writings.

Esta pesquisa elege o materialismo histórico e dialético como método de análise das mudanças sofridas pelas relações de trabalho ao longo de determinado período da história do trabalho no Brasil, procurando problematizar e desnaturalizar os conceitos de contrato de trabalho, sujeito de direito, relação e subordinação jurídicas, e realizando uma crítica à doutrina juspositivista. Articula conceitos marxianos, marxistas e jurídicos, em razão da interdisciplinaridade do direito e da história, para compreender o fenômeno jurídico-trabalhista. Recorre aos conceitos de valor de uso e de troca, de formações econômicas pré-capitalistas, de modos de produção e de relações de produção para compreender a forma jurídica na sociedade capitalista brasileira em formação. / This research elects the historical and dialectical materialism as method of analysis of changes in labor relations over a given period of Brazil\'s labor history, trying to question and denaturalize the concepts of employment contract, subject of law, legal relation and subordination, and performing a critique of juspositivistic doctrine. The author articulates Marxian, Marxist and legal concepts, due to the interdisciplinary nature of Law and History, to understand the legal and labor phenomenon. The author also resorts to the concepts of use and exchange values, pre-capitalist economic formations, production modes and production relations, to understand the legal form in the Brazilian capitalist society in formation.

Submitted by Rosangela Silva (rosangela.silva3@unioeste.br) on 2018-05-10T19:00:25Z No. of bitstreams: 2 Marcia Da Silva Magalhães Debiazi.pdf: 941725 bytes, checksum: 0915dc04c4c79b15bb89d5889ce4afaa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-10T19:00:25Z (GMT). No. of bitstreams: 2 Marcia Da Silva Magalhães Debiazi.pdf: 941725 bytes, checksum: 0915dc04c4c79b15bb89d5889ce4afaa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2013-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This present paper analyzes the idea of Marxist aesthetic in its own theoretical field and suggests the importance as an education tool, once it thinks in an omnilateral education with horizon in human emancipation. For this purpose, this thesis discusses the concept of aesthetics in Marx’s thought, mainly in his Economic and Philosophic Manuscripts. It was argued that this idea is better understood if located in the set of its thought. Its political and social philosophy says that the man just recognizes himself as a social being within the process of creation (work), when practices his subjectivities. However, with the capitalist mode of production this objectification becomes fragmented and strange to man. It is in this world of estrangement, of loss of itself, that the humanizing character of aesthetic education is placed, seen as a possibility for man to externalize his thought and so reflect critically about the world. It is understood, though, that there is no aesthetic object without an aesthetic subject. Therefore, there cannot be just one moment of artwork that can be designed independently from men, from human subjectivity, once there is no artistic production without men even if it is possible to objectify itself. Consequently, the appreciation of the aesthetic ideas of Marx cannot be separated from the human and artistic practice that it supports. The Marxist aesthetics seeks another dimension to artistic activity, since human senses are not just an expression of the spirit, as Hegel assumed, to become a mean of affirming the man. Our effort is to understand what is the Marxist aesthetics, what is its connection with work, since Marx does not reduce it only to sensory, but for him, art is inherent to the social being, or rather, the art is the human objectification. Marx understands art as a way of human objectification, the same as work, which is the primary and essential form of human contact with the world, in which daily origins and thoughts are found. Therefore, the artist, is also seen as a social being determined by historical circumstances in constant changing process, so the art is as well a way of human objectification just like work. According to Marx, alienation, objectification and externalization are ontological conditions of man. But the estrangement is a consequence of the existence of private property. For this reason, education assumes the Marxist aesthetics as subversive element of capitalism, a significant role in the creative process and critical thinking. Art is a social phenomenon. So, based on our theoretical reference, the aim of this investigation is, in some traits, to highlight the revolutionary potential of aesthetic education, based on Marxist ideas, to understand that it is an important creative, imaginary, critic, sensitive and perceptive field of the existent reality, and that it is often not seen outside the ideas of the ruling classes. / Este trabalho estuda a noção de estética marxista em seu campo teórico próprio, em seguida sugere a importância como instrumento educacional, uma vez que pensa uma educação omnilateral com horizonte na emancipação humana. Para isto esta dissertação discute o conceito de estética no pensamento de Marx, particularmente nos Manuscritos econômico-filosóficos. Argumentamos que esta noção é mais bem compreendida se for situada no conjunto de seu pensamento. Sua filosofia político-social pensa que o homem só se reconhece enquanto ser social no interior do processo de criação (trabalho), quando objetiva suas subjetivações. Entretanto, com o modo capitalista de produção essa objetivação torna-se fragmentada e estranha ao homem. É neste mundo de estranhamento, de perda de si mesmo, que situamos o caráter humanizador da educação estética, vista como possibilidade para que o homem possa exteriorizar o pensamento, e assim refletir criticamente sobre o mundo. Entendemos, todavia, que não há objeto estético sem sujeito estético. Ou seja, não pode existir um só momento da obra de arte, por mais que seja possível objetivá-la em si, que possa ser concebido independentemente do homem, da subjetividade humana, uma vez que não existe produção artística sem o homem. Desse modo, a apreciação das ideias estéticas de Marx não pode se separar da prática humana e artística que as corrobora. A estética marxista busca outra dimensão para a atividade artística, uma vez que os sentidos humanos deixam de ser apenas uma expressão do espírito, como dizia Hegel, para se tornarem meio de afirmação do homem. O esforço encetado por nós está em compreender o que é a estética marxista, qual a sua ligação com o trabalho, posto que Marx não reduz ao exclusivamente sensitivo, para ele a arte é inerente ao ser social, ou melhor, a arte é objetivação humana. Marx entende a arte como uma forma de objetivação humana, assim como o trabalho é a forma primordial e essencial do contato do homem com o mundo, de que têm origem as formas e pensamentos cotidianos. Assim, o artista, também é visto como ser social, determinado pelas circunstâncias históricas em constante processo de transformação, logo, a arte também é uma forma de objetivação humana, assim como o trabalho. Para Marx a alienação, exteriorização e objetivação, são condições ontológicas do homem. Já o estranhamento é uma consequência da existência da propriedade privada. Por esta razão, a educação estética marxista assume, como elemento subversivo do capitalismo, um papel significativo no processo criativo e critico do pensamento. A arte é um fenômeno social. Portanto, com base em nosso referencial teórico, esta investigação procura, em alguns traços, destacar o potencial revolucionário da educação estética, com base em ideias marxistas, por entender que é um importante campo criativo, imaginativo, crítico, sensitivo e perceptivo da realidade que está posta, e que muitas vezes não é vista, fora das ideias das classes dominantes.

Abstract The mixed messages provided in The Buddha of Suburbia together with its prevalent use of humour are the focal point for this essay. The aim is to defend my thesis statement that humour provides a justifiable forum for the critique and presentation of society, enabling the facilitation of serious, effective and powerful perspectives. As critical standpoints a mixture of Postcolonial and Marxist theories are applied together with Bakhtin’s theory of carnevalesque. By comparing historic facts with the portrayed environment depicted in the novel, a message is delivered that a change of a different worldview is required. This message is displayed with various uses of humour, wit and satire, which provide an allegorical veil for its seriousness. This analysis shows that there are no seeming changes in the lives of the characters, but it highlights that a need for a change of views is important.

Doctorat en sciences politiques / info:eu-repo/semantics/nonPublished

This study attempts to make a contribution to the critique of contemporary capitalism. This has been conceptualised through a Foucauldian critique of neo-liberalism, that is, Foucault’s concepts of power and governmentality have been used to criticise neo-liberalism. The study argues that neo-liberalism is a hegemonic and oppressive politico-economic social system. This has occurred in two ways; firstly, neo-liberalism came to dominate the global economy and, secondly, neo-liberalism has become the dominant politico-economic discourse. An attempt is made to expose the discourses and institutions that buttress the neo-liberal project by undertaking a Foucauldian critique. According to Foucault, knowledge shapes the social space through its ‘mechanisms’, discourses and institutions. In order to critique neo-liberalism, it is necessary to expose its power-knowledge base, which is what gives it legitimacy. By analysing and exposing neo-liberalism’s power-knowledge base, its oppression becomes clear through an observation of the material effects of neo-liberal ideology and policy. This study also evaluates to what extent Marxism is a viable alternative to neo-liberalism, in order to ascertain what Foucault adds to already existing critiques of capitalism, and neo-liberalism, in particular. It concludes by arguing that even though Marxism provides a useful framework in which to understand neo-liberal domination, its labour based social theory is somewhat outdated in our contemporary age of the information society. Therefore, it is Foucault’s concept of power-knowledge that is most pertinent in providing an effective critical theory of neo-liberalism in the age of the information society, as it focuses on the primacy of power-knowledge in matters of domination.

Orientador: Alvaro Gabriel Bianchi Mendez / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T05:14:08Z (GMT). No. of bitstreams: 1 SantaellaGoncalves_Rodrigo_M.pdf: 1412039 bytes, checksum: c557c074c89c0cd969085dc630095304 (MD5) Previous issue date: 2013 / Resumo: O neoliberalismo na Bolívia entrou em crise profunda a partir do ano 2000. A partir deste ano, diversas mobilizações sociais transformaram o país andino em um palco aberto de disputa entre diversos projetos de sociedade diferentes. Neste contexto e em relação direta com os principais movimentos sociais em luta no país, o grupo Comuna produziu suas elaborações teóricas e inseriu-se no debate público. O trabalho tem três eixos teóricos interconectados: um debate gramsciano acerca do papel dos intelectuais na disputa de hegemonias na sociedade; a percepção do potencial das crises sociais para a produção de conhecimento em sociedades abigarradas como a boliviana; e, por fim, as condições para o desenvolvimento do marxismo em um contexto nacional específico, através da nacionalização do marxismo. A partir desse caminho teórico, mostra-se como o surgimento do grupo Comuna está profundamente vinculado ao momento de crise da hegemonia neoliberal boliviana, e como as relações estabelecidas pelo grupo cumpriram um papel importante na aglutinação dos sujeitos em luta e na criação de consenso a partir do campo subalterno da sociedade boliviana. Por fim, o trabalho debate as principais elaborações teóricas produzidas pelo grupo neste contexto, e seu potencial como elemento para o desenvolvimento do marxismo. A crise do neoliberalismo gerou condições para que o grupo pudesse produzir conhecimento crítico a partir da sociedade boliviana. Neste processo, o grupo cumpriu um papel central para a conformação de um novo consenso antineoliberal na sociedade boliviana. O processo de produção teórica que embasou esse consenso pode ser caracterizado, principalmente no que diz respeito aos pensamentos de Álvaro García Linera e de Luis Tapia, como uma nacionalização do marxismo / Abstract: Neoliberalism started to go into a deep crisis in Bolivia in the year 2000. From that time, a lot of social demonstrations turned the Andean country into an open stage to the dispute between different projects of society. In this context, and in direct relations with the major social movements in the country, Comuna Group produced their theoretical elaborations and joined in the public debate. This thesis has three major theoretical axes, connected with each other: a gramscian debate about the role played by the intellectuals in hegemony disputes in society; the perception of the social crisis as a potential moment to the production of knowledge in abigarrada societies like the Bolivian; and the Marxism's development in a specific social context, through what's called nationalization of Marxism. Through this theoretical trajectory, it's shown how Comuna's origins are deeply connected to the neoliberal hegemony's crisis in Bolivia and how their relations played an important role on the agglutination of the struggling collectivities and the generation of common sense from the subaltern groups in Bolivian society. Last, this thesis also debates the Comuna's principal theoretical elaborations in this context, and their potential to develop Marxism in Bolivia. The neoliberal crisis created conditions to the production of critical knowledge within Bolivian society. Comuna played a central role on the construction of an antineoliberal consensus in Bolivia. The process of theoretical production which grounded this consensus can be described as a nationalization of Marxism, especially in Alvaro Garcia Linera and Luis Tapia's thoughts / Mestrado / Ciencia Politica / Mestre em Ciência Política

Mass media play an important role in shaping public perceptions about differentthematics, including crime and justice. The consumption of mediatic contents indifferent forms, such as newspapers, television news and crime dramas, can affectthe way people perceive and interpret concepts as deviance and punishments, theattitude towards the criminal system and the level of concern for becoming a victim.In the last years, Streaming Videos On Demand platforms have made easier theaccess and the consumptions of contents as crime dramas; the changes in themodality of fruition have been followed by changes in the representation ofcharacters, with the introduction and the increasing diffusion of morally ambiguousfigures. This opens new possibilities of research, particularly regarding the modesof representation of criminals as antiheroes. The purpose of the article is then toinvestigate how the figure of the offender is constructed as antihero in four OriginalNetflix Productions (You, Narcos, Ozark, La Casa de Papel). A Critical DiscourseAnalysis of two narrative themes is conducted combining Marxist andPostmodernist interpretative approaches.

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This study focuses on social class in Swedish EFL coursebooks. The aim is to investigate what different social classes are represented and how much space they are given, as well as how they are portrayed in three Swedish EFL coursebooks aimed at English 5 for upper secondary school. The selected coursebooks Viewpoints 1, Blueprint A 3.0, and Pioneer 1 have been analyzed using qualitative content analysis, focusing on texts and images presented in the materials. The analysis emanates from Neo-Marxist theory in order to point to different social class conditions. The results show lower-, middle-, and upper-class representation to various degrees. Mostly the lower class and upper class are visible, while the middle class is underrepresented. The lower class, in most cases, is shown together with the upper class in exploitative circumstances. This is made apparent through the lower class, in most cases, lacking the ability to decide for themselves in relation to their upper-class counterparts. Further, this indicates that the upper class rules the world on behalf of the lower class. Meanwhile, when the middle class is shown, they are mainly depicted through overconsumption, and as victims of upper-class dominance. Despite previous research showing the importance of social class on a global, European and Swedish scale, the coursebooks somewhat disregard its importance in different texts and images.