ANÁLISE DO DISCURSO RELIGIOSO: MARCAS DA PÓS-MODERNIDADE NAS PRÉDICAS DE UMA IGREJA METODISTA NO ABC

Este trabalho, situado na área de Práxis Religiosa e Sociedade, analisa a interação entre o protestantismo brasileiro e a Pós-modernidade, possibilitando uma observação de certas mudanças e/ou transformações que este intercâmbio provoca neste setor religioso aproximando-o ou distanciando de algumas características próprias de suas origens protestantes. Para tanto, restringe-se ao metodismo, especificamente, uma Igreja Metodista no ABC e, por meio de uma pesquisa qualitativa, avalia como algumas marcas pósmodernas circulam nas prédicas proferidas na comunidade escolhida, ou seja, a Igreja Metodista em Santo André. O método analítico utilizado é a Análise do Discurso de linha bakhtiniana, cuja apreciação avalia a prédica como discurso verbal relacionado a uma situação social extraverbal que o engendra. Entretanto, nesta proposta de reflexão crítica, faz-se uso, também, das contribuições profícuas de outras áreas do saber, isto é, da Teologia (homilética) e da Sociologia do Protestantismo que permitem uma compreensão mais ampla dos assuntos tratados.(AU)

(Para)translated ideologies in Simone de Beauvoir's 'Le deuxième sexe': the (para)translator's role

At the beginning of the 80s new approaches to translation were emerging in such a way that, in the global context of postmodernism and poststructuralism, they provoked a reassessment of Translation Studies (TS), acknowledging ideologies as a relevant concept to TS and considering the political and visible role of the translator. This introduction aims to establish a basic theoretical framework in which we can develop an analysis of the ‘alterations’ that, consciously or unconsciously, translators have imposed on Le deuxième sexe (1949, Gallimard) by Simone de Beauvoir for the last fifty years. Furthermore, it is essential to examine the divergences of the censoring attitude adopted by the first male translators (Parshley, Palant and Milliet) who considered this text to be a sex manual, and the one adopted by more recent female translators (Martorell and Simons) who considered it to be a philosophical book on feminism. Nevertheless, despite this tendency to consider that translators are the only professionals responsible for the translation process, it is necessary to bear in mind the work carried out by the paratranslator, who is the real censor and ‘decider’ of the way a work is presented to the translation community. Paratranslators work with paratexts (also known as ‘analysis-spaces’), and this makes it possible to study the ideological adaptation that a cultural object undergoes when it is incorporated into a new culture and society (covers, volumes, tables of contents, titles, iconic or visual elements and so forth). In short, the analysis of the texts and paratexts of Le deuxième sexe, along with its subsequent translations and rewritings into Spanish, Portuguese and English, will help reveal the function of the censoring apparatus and demonstrate the essential role that –without exception– ideologies play in the professional work of translation and paratranslation, since they have a decisive influence on the reception of the cultural (and ideological) object, in both the society in which it is created and that in which it is received.

Kritikai menedzsmentelméletek – irányzatok és törésvonalak (Critical Management Studies: Streams and Debates)

A tanulmány a kritikai menedzsmentelméletek (KME) területére nyújt bevezetést a Hidegh – Gelei – Primecz (2014) által a Vezetéstudomány hasábjain kezdeményezett cikksorozat részeként. A KME fogalmát a korábbi, szervezetelméleti paradigmákat ismertető tanulmányoktól eltérő módon, a mátrixokon át-/ túllépve lépcsőszerűen tárgyalja. Bemutatja, hogyan definiálhatjuk kritikai módon a menedzsmentet és a menedzsmentelméleteket, majd a KME meghatározása és három legfontosabb jellemzője (denaturalizáció, teljesítményelv-ellenesség, reflexivitás) következik. A cikk ismerteti a KME három legmarkánsabb irányzatát: a posztmodernizmust, a kritikai elméletet és a kritikai realizmust, valamint az irányzatok közötti főbb vitapontokba nyújt betekintést. ____ The article provides an introduction into Critical Management Studies (CMS) continuing the series of papers about CMS started by Hidegh – Gelei – Primecz (2014) on the pages of Budapest Management Review. CMS is defined here in a different way as in the previously published Hungarian articles which were based on the Burrell-Morgan matrix (1979). This study exceeds the boundaries of the matrix by introducing management and management studies as a critical field step by step. The definition of CMS is followed by the main features of the field: denaturalization, anti-performativity and reflexivity (Fournier – Grey, 2000). Finally, the paper discusses the three most prevailing streams of CMS: postmodernism, critical theory and critical realism by providing an insight into the main debates among them.

Regional aspects of Miami crime fiction

This thesis argues that forces of literary regionalism and postmodern culture are behind the explosion of crime fiction being written in and about South Florida by a growing number of resident authors. ^ Research included four methods of investigation: (1) A critical reading of many of the novels that make up the sub-genre. (2) A study of the theories of regionalism, postmodernism and the genre of the crime fiction. (3) Interviews with a number of the authors and a prominent Miami book seller. (4) Sociological studies of Miami in terms of historical events and their cultural significance. ^ Today's South Florida crime fiction authors cast their narratives in the old genre of the detective novel where characters are delineated according to traditional definitions of good and evil. What makes South Florida crime fiction different from traditional detective fiction is its interest in the exotic, postmodern culture and setting of South Florida. There is a unique cultural diversity of the city due to the geographical location of Miami in relationship to Latin America and the Caribbean, and the political forces at work in the region. South Florida's sub-tropical climate, fragile ecosystem, and elements of frontier life in a cosmopolitan city work to support Miami crime fiction. ^

Hacia una poetica del Neobarroco: La vision de la historia en Jose Lezama Lima, Reinaldo Arenas y Severo Sarduy

Most of the critical studies of Baroque novels written in Spanish America during the 1960s and 1970s are characterized by a limited examination of their formal and stylistic representations. This dissertation explored the way in which certain writers developed a new Baroque tendency, the so-called Neobarroco, that presented a particular vision of history. José Lezama Lima, Reinaldo Arenas and Severo Sarduy developed innovative fictional and historiographic perceptions as alternative discourses to understand and perceive the cultural intricacies of Cuba and the New World. Their novels posited an elaborated poetic theory of history that can be summarized by the principle of supratemporal analogies, interweaved by a "metaphoric subject" that makes possible the conception of "imaginary eras". Since this poetry arises from a network of metaphoric correspondences, the image is conceived as a cultural creation that acts upon reality. ^ Although this study traced the trajectory of their writings from the point of view of their own essays, our focus was on the act of recovering the past as reshaped forms that are present in the memory. Paradiso, El mundo alucinante and De donde son los cantantes exemplified the attempt to place Americanness within the realm of poetics and history as one single discourse constructed by a combination of self-consciousness and historiographic meditation. ^ Basing my thesis on postmodernist theory (Ihab Hassan, Brian McHale, Linda Hutcheon) and philosophies of history (Michel Foucault, Hayden White, Keith Jenkins, Dominick LaCapra), I argued that the antagonistic paradoxes faced by postmodernism were reconcilable tendencies of the Neobarroco prior to the actual debate on the postmodern condition. The aesthetic trend initiated by these writers and their reading of history confronted the official historiographic discourse, thus empowering a contemporary voice in the current debate on historical skepticism. ^

Propuestas para una reconceptualización surrealista y postmoderna de la sexualidad femenina en los textos de Cristina Escofet e Isabel Allende

Female sexuality has commonly been viewed as the passive counterpart of male sexuality. Building upon Adrienne Rich's theory of compulsive heterosexuality, I would suggest that the fundamental location of this problem lies within the subconscious. Cristina Escofet's stance on this issue is to argue in favor of a deconstruction of Jungian archetypes, revealing their constructed rather than intrinsic character. In this dissertation, I study representative texts by Escofet and Isabel Allende and show not only how they depict patriarchal compulsive heterosexuality, but also try to reconceptualize female sexuality through surrealist and postmodern techniques such as self-reflection, dialogue with our double or Other, and sensorial perception. These techniques are designed to create a new epistemology of jouissance and excess, as defined by contemporary French theory. The significance of my study resides in the interdisciplinary analysis of female sexuality in Hispanic feminist writers. The first chapter proposes that surrealism, postmodernism, and feminism are theoretical frameworks which create new paradigms for social change. In their feminist philosophies, Escofet and Allende emphasize the use of subconscious knowledge as a means of helping them understand the world and create alternative realities. The second chapter shows how Escofet and Allende deconstruct the mysoginist archetype of Eve, which has been largely responsible for identifying women's sexual identity with the disreputable qualities of the femme fatale and whose mirror-image has long plagued women. In accordance with this stereotype, Lillith (Adam's sexually active ex-partner), has typically been portrayed as the negative Other, and for generations the she-devil myth which surrounds her has resurfaced in the media, where she assumes the role of innumerable evil female characters. In the third chapter, I examine how class and race differences have been used to intensify the demonization of different types of sexuality. In the same manner as Lillith and Eve, black and indigenous characters express dissent by retelling their stories in words and performance, and by seeking to form a dialog with their readers. The last chapter deals with the importance of the senses for female characters as they try to create their own sexuality from the fragmented bodies we find in surrealist and postmodern art. In this section we shall see how Luce Irigaray and Hélène Cixous's theories about multiple sexualities are in evidence when Escofet and Allende reconceptualize female sexuality. As no previous scholarship has analyzed the use of the subconscious, the senses, and performance when understanding female sexuality in Latin American literature, this dissertation seeks to provide a tentative exploration of the issues that may help to open up a new field of research in Hispanic feminist cultural studies.

Post-revolutionary post-modernism: Central American detective fiction by the turn of the 21st century

Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region. ^ Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez's El cielo llora por mí, Dante Liano's El hombre de Montserrat, Horacio Castellanos Moya's El arma en el hombre and La diabla en el espejo , and Ramon Fonseca Mora's El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.^

The World in Singing Made: David Markson's "Wittgenstein's Mistress"

In line with Wittgenstein's axiom that "what the solipsist means is quite correct; only it cannot be said, but makes itself manifest," this thesis aims to demonstrate how the gulf between analytic and continental philosophy can best be bridged through the mediation of art. The present thesis brings attention to Markson's work, lauded in the tradition of Faulkner, Joyce, and Lowry, as exemplary of the shift from modernity to postmodernity, wherein the human heart is not only in conflict with itself, but with the language out of which it is necessarily constituted. Markson limns the paradoxical condition of the subject severed from intersubjectivity, and affected not only by the grief of bereavement, which can be defined in Heideggarian terms as anxiety for the ontic negation of a being (i.e., death), but by loss, which I assert is the ontological ground for how Dasein encounters the nothing in anxiety proper.

Regional aspects of Miami crime fiction

This thesis argues that forces of literary regionalism and postmodern culture are behind the explosion of crime fiction being written in and about South Florida by a growing number of resident authors. Research included four methods of investigation: 1. A critical reading of many of the novels that make up the sub-genre. 2. A study of the theories of regionalism, postmodernism and the genre of the crime fiction. 3. Interviews with a number of the authors and a prominent Miami book seller. 4. Sociological studies of Miami in terms of historical events and their cultural significance. Today's South Florida crime fiction authors cast their narratives in the old genre of the detective novel where characters are delineated according to traditional definitions of good and evil. Evil characters threaten established order. What makes South Florida crime fiction different from traditional detective fiction is its interest in the exotic, postmodern culture and setting of South Florida. Like the region, the villains are exotic and the order that they threaten is postmodern. There is less of an interest in attributing a larger social meaning to the heroes. Rather, there is an ontological interest in the playing out of good against evil in an almost mythical setting that magnifies economic, environmental and racial issues. There is a unique cultural diversity of the city due to the geographical location of Miami in relationship to Latin America and the Caribbean, and the political forces at work in the region. South Florida's subtropical climate, fragile ecosystem, and elements of frontier life in a cosmopolitan city work to support Miami crime fiction. The setting personifies the unpredictability and pastiche of a postmodern world and may call for a new definition for literature that relies on non-traditional regional characteristics.

O teatro de Elias Canetti em diálogo com a pós-modernidade

The purpose of this dissertation is to analyse the dramaturgic work of the Bulgarian author Elias Canetti, composed by the plays The Wedding, Comedy of Vanity and Their Days are Numbered, seeking to comprehend how the contemporary critic theories act on his trilogy, making a dialogue with theoretical references which may justify its approaching to the postmodernism. In this perspective, the theories by Jean-François Lyotard, Fredric Jameson and Jürgen Habermas contribute for a better comprehension of the postmodernity phenomenon. Undertaking Canetti’s notes and theatre with the philosophical concepts of Adorno’s negative aesthetics, we realise there is a space to reflect upon the theories which befell, like Foucault’s power relations in Micro-physics of Power and the discourses of resistance and deterritorialisation developed by Deleuze and Guattari in A Thousand Plateau and Anti-Oedipus. Even though Canetti’s plays were written between 1932 and 1956, all of them show a strong critic against modernism, and their characteristics did not help their recognition by the critics, which resulted in a rediscovery of Canetti’s plays after the author won the Nobel Prize in 1981.

Creative Destruction: Towards a Theology of Institutions

A theology of institutions is dependent upon an imagination sparked by the cross and shaped by the hope of the resurrection. Creative destruction is the institutional process of dying so that new life might flourish for the sake of others. Relying upon the institutional imagination of James K.A. Smith, the institutional particularity of David Fitch, and L. Gregory Jones’ traditioned innovation, creative destruction becomes a means of institutional discipleship. When an institution practices creative destruction, it learns to remember, imagine, and be present so that it might cultivate habits of faithful innovation. As institutions learn to take up their cross a clearer telos comes into view and collaboration across various organizations becomes possible for a greater good. Institutions that take up the practice of creative destruction can reimagine, reset, restart or resurrect themselves through a kind of dying so that new life can emerge. Creative destruction is an apologetic for an institutional way of being-in-the-world for the sake of all beings-in-the-world.

Ecuadorian migration and family strategies of social mobility: dialectic relation between emotional and financial capital

This text deals with transnational strategies of social mobility in Ecuadorian migrant households in Spain. We apply the capital accumulation model (Moser, 2009) for this purpose. The main target of this article is, beyond thinking in terms of capital stock and accumulation, the analysis in depth of the dynamics of the different types of capital, that is to say, how they interact with each other in the framework of the social mobility strategies of the migrants and their families. We are bringing into light the way some households adopt investing decisions in capitals that don't translate into any addition or earnings in all cases, on the contrary, concentrating all their efforts on the accumulation of a certain asset they may, in some cases, lead to a loss of another. We will concentrate our analysis primarily on the dynamics between the physical and financial capital and the social and emotional capital, showing the tensions produced between these two types of assets. At the same time, we will highlight how migrants negotiate their family strategies of social mobility in the transnational area. Our study is based in empirical material obtained from qualitative fieldwork (in-depth interviews) with families of migrants in the urban district of Turubamba Bajo -(south of Quito) and in Madrid. A series of households were selected where interviews were carried out in the country of origin as well as in the context of immigration, with different family members, analysing the transnational social and economic strategies of families of migrant members. Family members of migrants established in Spain were interviewed in Quito, as well as key informants in the district (school teachers, nursery members of the staff, etc.). The research was framed within the projects "Impact of migration on the development: gender and transnationalism", Ministry of Science and Innovation (SEJ2007/63179) (Laura Oso, dir. 2007-2010),"Gender, transnationalism and intergenerational strategies of social mobility", Ministry of Economy and Competitiveness (FEM2011/26210) (Laura Oso, dir. 201-1-2015) and “Gender, Crossed Mobilities and Transnational Dynamics”, Ministry of Economy and Competitiveness (FEM2015-67164).

The gendered effects of family migration law: contextual interpretation as a possible judicial remedy

At all normative levels, family migration law can disproportionally and negatively affect immigrant women’s rights in this field, producing gendered effects. In some cases, such effects are related to the normative and judicial imposition of unviable family-related models (e.g., the ʻgood mother ̕ the one-breadwinner family, or a rigid distinction between productive and reproductive work). In other cases, they are due to family migration law’s overlooking of the specific needs and difficulties of immigrant women, within their families and in the broader context of their host countries’ social and normative framework.To effectively expose and correct this gender bias, in this article I propose an alternative view of immigrant women’s right to family life, as a cluster of rights and entitlements rather than as a mono-dimensional right. As a theoretical approach, this construction is better equipped to capture the complex experiences of immigrant women in the European legal space, and to shed light on the gendered effects generated not by individual norms but by the interaction of norms that are traditionally assigned to separated legal domains (e.g., immigration law and criminal law). As a judicial strategy, this understanding is capable of prompting a consideration by domestic and supranational courts of immigrant women not as isolated individuals, but as ‘individuals in context’. I shall define this type of approach as ‘contextual interpretation’, understood as the consideration of immigrant women in the broader contexts of their families, their host societies and the normative frameworks applicable to them. Performed in a gendersensitive manner, a contextual judicial interpretation has the potential to neutralize the gendered effects of certain family migration norms. To illustrate these points, I will discuss selected judicial examples offered by the European Court on Human Rights, as well as from domestic jurisdictions of countries with a particularly high incidence of immigrant women (Italy and Spain).