Dissertations / Theses on the topic 'Capital fictif'

Cette thèse précise l'idée marxiste de monnaie marchandise, montrant ce qui est encore actuel dans une telle idée, malgré la dématérialisation de la monnaie contemporaine. Dans les chapitres I et II la pensée de Marx est analysée à travers le rapport qu'il établit entre monnaie et valeur et à travers la notion de capital fictif. Dans les autres chapitres d'autres pensées monétaires sont analysées d'une façon critique. Il s'agit de critiques internes, aussi bien que de critiques inspirées par Marx. Le chapitre III traite de la pensée de Hilferding. Le chapitre IV examine la conception monétaire de Hayek. Les idées de Ricardo et des néoricardiens sont analysées dans le chapitre V, pendant que le chapitre VI oppose les visions des néoclassiques et des Keynésiens. Le chapitre VII discute les analyses des auteurs contemporains tels que Benetti et Cartellier, critiques du marxisme<br>This thesis studies marx's monetary theory, using as the main theme the relationship established by marx between money and value, and particularly the notion of fictitious capital. In the first part of the thesis (chapters I and II), the relationship between money and value in marx's thought is reviewed, as well as his notion of fictitious capital. In the second and third parts, the monetary conception of marx is confronted with other theories. In the second part the monetary thoughts of hilferding (chapter III) and hayek (chapter iv), are analysed. Despite their analytical differences they have in common the notion of fictitious capital. In the third part the monetary framework belonging to the main economic traditions are studied on their own and from a marxian point of view. Chapter v presents the ricardian and neo ricardian school. Chapter vi examines the neoclassical and keynesian school. Finally, chapter vii studies benetti, cartelier and other contemporaneous authors responsible for a new critique of marx's thought

La crise capitaliste mondiale, qui s'est manifestée dès les années 1970, a cherché de nouvelles stratégies d'accumulation pour augmenter la plus-value et s'opposer à la baisse des taux de profit. Le cycle du capital, sous l'égide du capital fictif, a redéfini ses stratégies d'accumulation sur la base du processus de restructuration productive, de l'application de politiques économiques orthodoxes, de la flexibilité du travail, des privatisations, de l'ouverture économique (commercial, industriel et financière)... S'appuyant sur les formes fonctionnelles du capital industriel, la sphère financière exerce une influence de plus en plus forte sur le capital productif, provoquant des transformations significatives dans le monde du travail, qui se traduisent par l'augmentation de la flexibilité du travail, de l'intensification du travail, par l'extension du chômage, de l'informalité, des baisses salariales, tout accentuant la précarisation et la déstructuration du monde du travail. L'objectif principal ici est alors d'étudier certains de ces effets sur le monde du travail au Brésil, en tenant compte de l'insertion subordonnée de l'économie brésilienne à la valorisation fictive du capital dans l'époque contemporaine. La méthode de l'économie politique, fondée sur la théorie de la valeur chez Marx, figure au centre de l'analyse.

La crise capitaliste mondiale, qui s'est manifestée dès \es années 1970, a cherché de nouvelles stratégies d'accumulation pour augmenter la plus-value et s'opposer à la baisse des taux de profit. Le cycle du capital, sous l'égide du capital fictif, a redéfini ses stratégies d'accumulation sur la base du processus de restructuration productive, de l'application de politiques économiques orthodoxes, de la flexibilité du travail, des privatisations, de l'ouverture économique (commercial, industriel et financière). . . S'appuyant sur les formes fonctionnelles du capital industriel, la sphère financière exerce une influence de plus en plus forte sur le capital productif, provoquant des transformations significatives dans le monde du travail, qui se traduisent par l'augmentation de la flexibilité du travail, de l'intensification du travail, par l'extension du chômage, de l'informalité, des baisses salariales, tout accentuant la précarisation et la déstructuration du monde du travail. L'objectif principal ici est alors d'étudier certains de ces effets sur le monde du travail au Brésil, en tenant compte de l'insertion subordonnée de l'économie brésilienne à la valorisation fictive du capital dans l'époque contemporaine. La méthode de l'économie politique, fondée sur la théorie de la valeur chez Marx, figure au centre de l'analyse.

The present thesis reads Don DeLillo's fiction as expressive of the process of financialization which emerged in response to the 1970s capitalist crisis in the United States and gave rise to a specific social materiality and peculiar “structure of feeling” grounded in finance capital. I will argue that DeLillo's works offer a powerful representation and critique of the workings of finance capital and of American hegemony pursued via the emergence, consolidation and expansion of finance. As DeLillo's novels depict a specifically finance-driven US hegemony, they also register the attempts to resist such hegemony. Simultaneously, I shall focus on DeLillo's analysis of a culture immersed in what Keynes called “the fetish of liquidity”, and on DeLillo's investigation of how the seemingly dematerialising power of speculative capital modifies the construction of a new social materiality and human experience. By articulating a comparison between specific mechanisms within finance capital and the workings of mourning and melancholia, I shall explore the anxiety and dread pervading DeLillo's characters as originating within the erasure of the commodity form from the dominant financial mode. Within such purview, I will first explore those texts, written in the 1970s, which best depict the crisis in US capitalism and the response to such crisis via the emergence of a chiefly financial economic and cultural mode. Subsequently, I will investigate DeLillo's latest production in order to highlight how such works expose the contradictions and limitations of a finance-dominated economy and its attendant “structure of feeling”, and express an ever-growing need to return to less virtual, less evanescent forms of economic production.

Positing subjectivity as a structural formation arising dialectically at the cultural intersection of physical bodies and material conditions, Bodies of Capital: Spatial Subjectivity in Twentieth-Century U.S. Fiction identifies textual dynamics as revelatory of the intrinsic relationship between subjective experience and spatial practice. To advance this formulation, Bodies of Capital critically examines a series of U.S. fictional narrative texts from the late nineteenth-century to the present by placing them in dialogue with comparative articulations of U.S. ‘regimes of accumulation’ (spatial formations enacting particular capital organization and conditions) as they developed during this same historical period. Such an approach allows critical analysis to be devoted to material and empirical developments, such as geographical (e.g., urban and suburban growth), institutional (e.g., corporations and markets), and societal (e.g., types of labor) formations, but at all times places primary focus, through its recognition of subjectivity as a spatial and ideological formation, on the practices and dynamics of signification to which these developments critically contribute. Bodies of Capital’s spatio-textual formulation thereby advances the critical enterprise by illuminating the ways in which fictional narrative texts inherently both speak and are spoken by cultural ideologies spatially active at a given time and place. Bodies of Capital allows one, as well, to draw connections otherwise by-andlarge occluded between fictional works appearing at distinctly different times and places across a broad historical expanse, an expanse reflected in the selection of works the dissertation comparatively examines, including William Dean Howells’s The Rise of Silas Lapham, Jack London’s Martin Eden, Theodore Dreiser’s Sister Carrie, Sam Mendes’s American Beauty, Don DeLillo’s White Noise, and Richard Powers’s Gain.

x, 255 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This dissertation examines transatlantic, and especially American, literary responses to urban and industrial change from the 1840s through the 1930s. It combines cultural materialist theory with environmental history in order to investigate the interrelationship of literature, economy, and biophysical systems. In lieu of a traditional ecocritical focus on wilderness preservation and the accompanying literary mode of nature writing, I bring attention to reforms of the "built environment" and to the related category of social problem fiction, including narratives of documentary realism, urban naturalism, and politically-oriented utopianism. The novels and short stories of Charles Dickens, Herman Melville, Rebecca Harding Davis, Charlotte Perkins Gilman, Upton Sinclair, and Mike Gold offer an alternative history of environmental writing, one that foregrounds the interaction between nature and labor. Through a strategy of "literal reading" I connect the representation of particular environments in the work of these authors to the historical situation of actual spaces, including the western Massachusetts forest of Melville's "Tartarus of Maids," the Virginia factory town of Davis's Iron Mills, the Midwestern hinterland of Sinclair's The Jungle, and the New York City ghetto of Gold's Jews without Money. Even as these texts foreground the class basis of environmental hazard, they simultaneously display an ambivalence toward the physical world, wavering between pastoral celebrations and gothic vilifications of nature, and condemning ecological destruction even as they naturalize the very socio-economic forces responsible for such calamity. Following Raymond Williams, I argue that these contradictory treatments of nature have a basis in the historical relationship between capitalist society and the material world. Fiction struggles to contain or resolve its implication in the very culture that destroys the land base it celebrates. Thus, the formal fissures and the anxious eruptions of nature in fiction relate dialectically to the contradictory position of the ecosystem itself within the regime of industrial capital. However, for all of this ambivalence, transatlantic social reform fiction of the late-nineteenth and early-twentieth century provides a model for an environmentally-oriented critical realist aesthetic, an aesthetic that retains suspicion toward representational transparency, and yet simultaneously asserts the didactic, ethical, and political functions of literature.<br>Committee in charge: William Rossi, Chairperson, English; Henry Wonham, Member, English; Enrique Lima, Member, English; Louise Westling, Member, English; John Foster, Outside Member, Sociology

Thesis (Ph.D.) -- University of Western Sydney, Hawkesbury, 2001.<br>A thesis presented to the University of Western Sydney, in fulfilment of the requirements for the degree of Doctor of Philosophy, March, 2001. Bibliography : leaves [278]-282.

Scopo principale del seguente elaborato è quello di fornire una possibile traduzione di un capitolo dell’opera di Mike Gayle, The To-Do List. Al fine di contestualizzare e rendere più comprensibile, specie per un lettore italiano, la proposta di traduzione in questione, verranno descritti dapprima l’autore ed il genere letterario al quale appartiene il libro, quindi la trama del libro stesso. Seguirà il commento della traduzione, nel quale si evidenzieranno alcuni degli elementi particolarmente difficili da rendere in italiano – talvolta dal punto di vista lessicale, più spesso dal punto di vista culturale. La scelta di affrontare l’opera di Gayle nasce soprattutto dall’interesse verso uno dei corsi svolti all’università, grazie al quale ho avuto l’occasione di scoprire, in lingua inglese, il genere letterario comunemente chiamato Chick Lit; The To-Do List, che appartiene a quella che potremmo definire come “Chick Lit maschile”e che presenta moltissimi riferimenti alla cultura britannica, rappresentava la fonte perfetta per mettermi alla prova ed effettuare una traduzione che fosse, oltre che fedele al testo originale, comprensibile e immediata per un ipotetico lettore italiano.

The aim of this thesis is to study the market for fantastic fiction in Sweden, focusing on the minor publishers and their relationship with the three major publishing groups. The fantastic fiction in Swedish today are generally dominated by bestselling anglo-american authors, especially at the major publishers. The selection of fantastic fiction that is not originally in English and that diverges from the classic, epic high fantasy is often provided by minor publishers. By researching the range of fantastic fiction in Sweden today, and combining that research with qualitative interviews with informants from five minor publishers and Sweden's largest book shop for fantastic fiction, I wish to examine if the minor publishers provide an important alternative for Swedish readers of fantastic fiction. I also intend to investigate whether those publishers actively try to broaden the Swedish market and if they see themselves as a complement and an alternative rather than competing with the major publishers. This is a study in sociology of literature, focusing on a literary genre that is generally regarded as popular or trivial literature. Therefore, this thesis also discusses the curcuit of popular literature and the position and conditions of fantastic fiction in Sweden today, using the french sociologist Pierre Bourdieu's frameworks and terminology regarding economical and cultural capital. Fantastic fiction is a genre normally associated with economical rather than cultural capital, a notion that greatly affects its position and status in the world of literature.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-12-01T18:32:00Z No. of bitstreams: 2 Tese - Rosângela Aparecida Cardoso - 2013.pdf: 1811150 bytes, checksum: c2905bfa644225a9bc72521b164b1961 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-12-04T14:33:28Z (GMT) No. of bitstreams: 2 Tese - Rosângela Aparecida Cardoso - 2013.pdf: 1811150 bytes, checksum: c2905bfa644225a9bc72521b164b1961 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2014-12-04T14:33:28Z (GMT). No. of bitstreams: 2 Tese - Rosângela Aparecida Cardoso - 2013.pdf: 1811150 bytes, checksum: c2905bfa644225a9bc72521b164b1961 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-10-16<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This thesis investigates the reception of Capitu, the character of Machado de Assis, by Capitu – memórias póstumas (1998), the criticism-fiction of Domício Proença Filho, in an attempt to explain, in the field of intertextuality, the notion of author, emphasizing how, a century later, Capitu‟s ressignifications are connected with the aesthetic and ideological context of the end of the 20th century. The attempt of examining, in Dom Casmurro (1899), the affirmation of the character-writer: “everything is found out of a faulty book, friendly reader. So I fill out somebody else's gaps; so you can fill out also mine”, and the attempt to investigate, in Capitu – memórias póstumas, the substitution of the moody-author by the character-writer Capitu, takes us to the problematic of the metafiction. Our scope lies on how the questions of the authorship, of the reader, of the reading and of the parody are interconnected, owing to the fact that Proença‟s novel provokes, in itself, its own aesthetic problematization related to the interference of the point of view in the narrated facts, inviting us to rethink, with him, Machado‟s novel with the voice of Capitu, and as a consequence of that, to rethink Capitu as a character. Such procedure takes us to the critical and theoretical field of investigation, seen as a more recurrent path towards fiction since the end of the 20th century<br>Esta tese perscruta a recepção da personagem Capitu do romance Dom Casmurro (1899), de Machado de Assis, pela crítica-ficção machadiana elaborada em 1998. Trata-se do romance Capitu – memórias póstumas, de Domício Proença Filho. A investigação desenvolvida discute a problemática da noção de autor no âmbito da intertextualidade, enfatizando como, um século depois, as ressignificações da Capitu machadiana se conectam com as tendências estéticas e ideológicas do contexto finissecular novecentista. Nosso foco de interesse incide sobre a afirmação do casmurro-autor: “tudo se acha fora de um livro falho, leitor amigo. Assim preencho as lacunas alheias; assim podes também preencher as minhas” (MACHADO, 1991, p.57) e a substituição de tal personagem-escritor pela personagemescritora Capitu, no romance de Proença. Nossos esforços se concentram no sentido de pesquisar o modo como as questões da autoria, do leitor, da leitura e da paródia se interconectam, configurando a narrativa metaficcional de Machado e de Proença. Partimos do pressuposto de que o texto Capitu – memórias póstumas apresenta em seu corpus a sua própria problematização estética relacionada à interferência do ponto de vista nos fatos narrados, convidando-nos a repensar com ele a obra de ficção machadiana a partir da voz de Capitu e, consequentemente, a repensar Capitu como personagem. Com tal procedimento, sinaliza o âmbito da investigação teórica e crítica, percurso mais recorrente da ficção desde os fins do século XX.

A presente pesquisa deteve-se na análise da produção de sentido da minissérie Capitu (Globo, 2008) tendo como base o uso da cor e do figurino na caracterização das personagens Bento, Capitu e Escobar. Norteia este trabalho, a concepção de que tanto o uso da cor quanto do figurino mostram-se como elementos fundamentais seja para a estruturação da narrativa, seja para a construção do discurso visual. Por meio do estudo desses elementos procurou-se explorar a construção da narrativa televisual considerando a indissociável relação entre forma e conteúdo (BAKHTIN, 2010) com o objetivo de compreender a construção visual das três personagens acima citadas. Também foi objeto de análise as possíveis correlações entre os figurinos da minissérie e a moda do período em que se ambienta o romance de Machado de Assis, ou seja, meados do século XIX. O trabalho de fundamentação teórica e metodológica embasou-se nos estudos de linguagem de Bakhtin (2002, 2008, 2010) e Bakhtin/Volochinov (2009), de linguagem audiovisual de Aumont (1993), Aumont e Marie (2003) e Brown (2012). Pallottini (2012), Mungioli (2013) fornecem elementos para a contextualização e discussão das minisséries brasileiras. Além disso, abordamos o estudo da teoria das cores com Guimarães (2000), Pedrosa (2010), Bastos, Farina e Perez (2011) e o alicerce de vestuário e figurino com Köhler (2009), Chataignier (2010), Lipovetsky (2009) e Leite e Guerra (2002). Devido à essencial correlação entre forma e conteúdo que orientou a pesquisa e análise, a metodologia aplicada foi desenhada por meio do estudo da linguagem verbo-visual, destacando em sua composição a visualidade das roupas e cores na construção de sentidos. As características das imagens envolvidas nessa pesquisa não podiam ser abordadas pensando no limite da mesma, pois seu experimentalismo tanto na linguagem audiovisual como na construção narrativa da obra, não caberia em padrões fechados de observação e análise. Assim, o estudo buscou explorar a minissérie sem restringi-la a uma análise puramente técnica, realizando um constante diálogo com o sentido produzido pelo trabalho de produção da obra audiovisual. A análise realizada permitiu considerar a cor como elemento diegético constituinte de uma poética televisual e da tessitura composicional das personagens analisadas. Ao longo da minissérie, há alterações importantes na composição visual, as nuances da caracterização dos protagonistas surgem não apenas com uma função plástica visual, mas também com uma função narrativa.<br>The present study intends the analysis of the production of meaning in miniseries Capitu (Globo, 2008) based on the use of color and costume in the characterization of the main characters Bento, Capitu and Escobar. Guides this work, the idea that both the use of color and the costume are shown key for structuring the narrative, as to build the visual discourse. By studying these elements sought to explore the construction of televisual narrative considering the inseparable relationship between form and content (BAKHTIN, 2010) in order to understand the visual construction of the three characters mentioned above. It has also been analyzed in the possible correlations between the costumes of the miniseries and the fashion of the period in which settles the romance of Machado de Assis, namely in mid-nineteenth century. The work of theoretical and methodological foundation underwrote us to study language by Bakhtin (2002, 2008, 2010) and Bakhtin / Volochinov (2009), audiovisual language Aumont (1993), Aumont and Marie (2003) and Brown (2012). Pallottini (2012), Mungioli (2013) provide input for context and discussion of brazilian miniseries. In addition, we approach the study of color theory with Guimarães (2000), Pedrosa (2010), Bastos, Farina and Perez (2011) and the foundation of clothing and costumes with Kohler (2009), Chataignier (2010), Lipovetsky (2009) and Leite and Guerra (2002). Because of the essential correlation between form and content that guided the research and analysis, the methodology applied was designed by studying the verb-visual language, highlighting in its composition the visuality of clothes and colors to build senses. The characteristics of the images involved in this research can not be addressed thinking on the edge of it, for his experimentation both in audiovisual language and the narrative construction of the work, it would not fit in closed standards of observation and analysis. Thus, the study sought to explore the miniseries without restricting it to a purely technical analysis, conducting a constant dialogue with the meaning produced by the audiovisual production work. The analysis allowed us to consider color as diegetic constituent element of a televisual poetic and compositional fabric of the analyzed characters. Throughout the miniseries, there are important changes in visual composition, the nuances of characterization of the protagonists emerge not only with a plastic visual function but also with a narrative function.

Uppsatsen behandlar böckerna och filmerna om Arn och undersöker genom berättelserna vilka representationer av makt, positivt kapital och livsmål som gestaltas. Uppsatsen baseras på den teoretiska tanken att populärkultur innehåller representationer med budskap, värderingar, normer och föreställningar gällande vår verklighet och därigenom påverkar vår uppfattning om världen, vår plats i samhället, vår identitet och vår uppfattning om vad som är värdefullt, viktigt och sant.<br>My Särnbrink hette tidigare My Ravin.

<p>In my dissertation I propose that Álvaro Bisama's <italic>Caja negra</italic> is a book that both continues and defies the interventions in the field of culture articulated in Alberto Fuguet's <italic>Por favor, rebobinar</italic> and other texts associated with the McOndo approach to culture in Latin America; an approach that includes urban metropolitan spaces as well as mass-produced cultural products in the range of possible representations of daily life experiences in Latin America. I argue that, in order to do so, Bisama performs an oppositional, counterfactual and cultist appropriation of the history of the Chilean written, audiovisual and musical media productions of the 20th century, considering Chilean both the media productions that were made in Chile and the media productions that were consumed in the Chilean context even if they were made somewhere else. In <italic>Caja negra</italic>, the appropriation of such a wide catalogue of productions is achieved by inoculating the text with a significant amount of apocryphal films, books, authors, filmmakers, musicians, records and other data related to these productions and their producers. I show that the saturation of apocryphal data in <italic>Caja negra</italic> aims to create an alternate history of Chile through the construction of an alternate cultural field. However, the historical fact of Augusto Pinochet's <italic>coup d'état</italic> in 1973 remains unchanged. I argue that Bisama's display of apocrypha in <italic>Caja negra</italic> is a way of responding to the lack of reliability of the accounts of history, especially, the history of media productions in Chile, as a consequence of the actions taken by the military. Therefore, I propose that Bisama's approach to the genre of alternate history is political and consists of proposing the conjectural as a strategy to overcome the gaps and untrustworthiness of the accounts of history in a way that provides an alternative to the search for truth. Finally, I propose that <italic>Caja negra</italic> engages with popular and alternative cultures in a double edged way: On the one hand, it builds on the changes in the field of culture that were either observed, proposed or performed by the productions associated to McOndo, in a time that coincided with the dawn of both the democratic transition and the popularization of new technologies that promised to democratize the access to culture. On the other hand, it shows that active consumption and fanatic appropriation are deliberate and personal acts that, as such, depend more on those who perform them than on the products that are being appropriated. Popular culture is treated as a plurality of cultures, and the text is not a place to display it or fictionalize it, as it happens in <italic>Por favor, rebobinar</italic>. In <italic>Caja negra</italic> the codes of these pop cultures are shown yet remain veiled. Their apocryphal nature and the complex processes of fictionalization serve to protect them from overexposure and loss of their subcultural capital. In my dissertation, I observe that <italic>Por favor, rebobinar</italic> articulates a principle that rules the relationships between characters and between the characters and the reader, and I call it aesthetic empathy. I recognize this principle as fundamental in Fuguet's writing in the nineties. Also; I read in <italic>Por favor, rebobinar</italic> an apology of active and public critical consumption of cultural products. In my comparative reading of <italic>Por favor, rebobinar</italic> and <italic>Caja negra</italic>, I find that in the latter there is a shift in the perception of culture and its representation that functions as a response to the principle of aesthetic empathy and to the apology of critical consumption articulated in <italic>Por favor, rebobinar</italic>. I argue that this contestation to <italic>Por favor, rebobinar</italic> and McOndo is achieved by a process of adoption and experimentation with the limits of the more provocative traits of <italic>Por favor, rebobinar</italic>'s content and composition, such as the presentation of a cultural field, the saturation of data related to popular cultures, the fragmentary structure, the inclusion of metatextual interventions, and the emphasis in the specific nature of each fragment of writing through its structure and mediations. In sum, I present a reading of <italic>Caja negra</italic> as a text engaged in the intervention on the field of culture in Chile, articulated in continuity and contrast to its predecessors in the nineties.</p><br>Dissertation