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1
Coppola, Antoine. "Dystopies et subversion dans les séries coréennes internationales." Sociétés 162, no. 4 (December 28, 2023): 97–108. http://dx.doi.org/10.3917/soc.162.0097.
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Les séries dystopiques coréennes diffusées sur les plateformes de VOD américaines sont devenues un phénomène culturel incontournable. Ce ne sont pas des k-dramas comme les autres. Ces derniers sont plutôt utopiques au service du néo-traditionalisme. Ce ne sont pas non plus des dystopies fatalistes à la manière des séries américaines récentes. Nous voudrions démontrer que ces séries coréennes internationales que nous qualifions de « dystopies de véridiction » recentrent le paradigme dystopique sur la falsification sociale généralisée et la quête de vérité comme antidote. Cela passe par la transfiguration subversive et imagée d’espaces stéréotypés accrédités par les autorités dominantes en espaces hétérotopiques de véridiction. Ce faisant, à travers une esthétique gore qui s’oppose à celle des « corps propres », elles remettent la mort au centre des enjeux d’un capitalisme mondialisé devenu mortifère. Réticentes devant le refuge éthéré du spiritualisme dominant la culture et les k-dramas, elles rappellent la matière même du corps souffrant sur lequel agit un capitalisme parvenu à son stade mortifère, un nécro-capitalisme. Ces corps, ceux des personnages, ne se « dividualisent » pas, au contraire, ils cherchent, loin des faux-semblants du monde, à renouer un lien, une nouvelle innocence, une solidarité indépendante des pouvoirs institués.
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GARCÍA, ALBA MARCÉ. "LES “DUES BARCELONES” I EL SEU CAPITALISME GORE: EL COS DE L’IMMIGRANT COM A ESPAI DE TENSIÓ A BIUTIFUL (IÑÁRRITU, 2010)." Catalan Review 32 (June 2018): 85–100. http://dx.doi.org/10.3828/catr.32.6.
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Marquez Duarte, Romina. "Huellas deshumanizadas." Cuadernos del CILHA, no. 40 (February 22, 2024): 1–27. http://dx.doi.org/10.48162/rev.34.075.
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Mediante los conceptos de Identidad de Stuart Hall, Necropolítica de Achille Mbembe, y violencia de Slajov Zizek, bajo los estudios del “Capitalismo Gore” de Sayak Valencia, este artículo propone una lectura comparativa de “Ciudad Berraca” de Rodrigo Ramos y el documental “Una esperanza sin fronteras” realizada por el Arzobispado de Santiago de Chile, como dispositivos de denuncia de las prácticas del capitalismo devenido en gore, en donde el sujeto migrante es considerado como una identidad desarraigada, cosificada; una vida despojada de su humanidad, convirtiéndolo en un producto desechable en la reproducción capitalista violenta.
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Navarro Morales, Marcelo. "Sayak Valencia. 2010. Capitalismo Gore." Estudios filológicos, no. 56 (November 2015): 181–82. http://dx.doi.org/10.4067/s0071-17132015000200013.
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Sauret, Marie-Jean. "La lección de Pascal en la articulación entre el sujeto y el lazo social contemporáneo." Desde el Jardín de Freud, no. 15 (May 8, 2015): 141–61. http://dx.doi.org/10.15446/dfj.n15.50497.
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<p>Blaise Pascal es un actor del invento del capitalismo y su subjetividad logra vincularse con el imperativo de goce del capitalismo naciente. Su relación con el goce hace sospechar una posición perversa que inventa la perversión generalizada. No obstante, su “escisión” (libertino y moralista), sus heteronomías, el rechazo de las satisfacciones sexuales, la estabilización por la búsqueda científica, en particular matemática, hablan en favor de la psicosis. ¿Pero si fuera Asperger (hipótesis de los Lefort)? Es como si en la articulación de la apuesta, Pascal pudiera desarrollar una enunciación propia sin riesgo. Este Otro, finalmente, se combina, de la mejor manera posible, con la lógica del discurso capitalista que él perfecciona: primacía del cálculo y de la evaluación, forclusión de la castración y rechazo de las cosas del amor.</p>
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Hann, Louisa. "The horrors of capitalism in Reza Abdoh’s The Law of Remains (1991)." Horror Studies 14, no. 1 (April 1, 2023): 101–18. http://dx.doi.org/10.1386/host_00064_1.
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Reza Abdoh’s The Law of Remains (1991) is a play replete with violence, cruelty, murder and gore. While many critics view the playwright’s horror-inflected plays as reflective of an Artaudian philosophy that attempts to uncover the essential human ‘truth’ underlying societal ills, I view The Law of Remains as an exercise in dialectical horror. That is, a play that harnesses the grammar of gore and excess to critique capitalism’s disempowering and rapacious qualities while highlighting how consciousness of such qualities could galvanize positive opposition to oppression. In this article, I examine some of the play’s key moments of horror through a Marxist lens to uncover an anti-capitalist structure of feeling that lay in stark opposition to dominant neo-liberal forces in the early 1990s.
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Prado, Ignacio M. Sánchez. "Neoliberalism in Mexican Cultural Theory." ARTMargins 7, no. 3 (November 2018): 86–87. http://dx.doi.org/10.1162/artm_a_00219.
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This essay reviews two theoretical books on neoliberalism written by Mexican cultural critics: Capitalismo gore (Gore Capitalism), by Sayak Valencia, published originally in Spanish in 2010 and translated into English in 2018, and La tiranía del sentido común ( The Tyranny of Common Sense) by Irmgard Emmelhainz, published in Spanish in 2016 and yet to be translated into English. These works are pioneering in their discussion of the correlation between neoliberalism, subjectivity, and culture in Mexico, and they have become widely influential in broader discussions of art, visual culture, literature, and cultural production. They add to the work of economic and political historians, such as Fernando Escalante Gonzalbo and María Eugenia Romero Sotelo, by connecting landmark moments in neoliberalization (from the financialization of the global economy in the 1970s to the War on Drugs in the 2000s) to changing paradigms in art. Author Ignacio M. Sánchez Prado contextualizes both books within larger discussions of Mexican cultural neoliberalism and describes the theoretical frame works through which both authors read Mexican politics, art, and popular culture. In Valencia's case, Sánchez Prado discusses her idea of “gore capitalism”: a framework for understanding how neoliberalism relies on dynamics of the shadow economy and on the subjectification of gore (what Valencia calls endriago subjectivity) to function at the social and artistic levels. In the case of Emmelhainz, Sánchez Prado engages with the author's idea of semiocapitalism, a term borrowed from theorist Franco “Bifo” Berardi, which Emmelhainz deploys to account for the interrelation between culture and capital in the era of neoliberalism. As such, Sánchez Prado argues, Emmelhainz and Valencia provide ways of reading artistic and visual production, including museum curatorship and narcocultura, in ways that show their organic relationship to neoliberal economic and political reforms. Find the complete article at artmargins.com .
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Pannetier Leboeuf, Gabrielle. "Necropolíticas neoliberales y narcotráfico en el cine mexicano de serie B: un estudio de caso de El juego final (2014), de Oscar López." Arte y Políticas de Identidad 26 (June 30, 2022): 103–20. http://dx.doi.org/10.6018/reapi.530021.
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This article creates a dialogue between the necropolitical practices exercised by the drug dealers in the Mexican narco B-movie El juego final by Oscar López (2014) and the adherence of the characters to the neoliberal dogma through the analytic tools of gore capitalism (Valencia, 2010). It analyses the capitalization of death and violence by the cartels and their transformation in resources that enable the hyperconsumption promoted by narcoculture and by its aesthetics of ostentation. The article also suggests that the participation of the main character to the economy of death for surviving purposes in a precarious labor market is another type of integration of the neoliberal values that is opposed to the exuberant demonstrations of wealth, considering in both cases the use of murder as a cultural paradigm that mediates the relationships between the neoliberal subjects in the informal narco economy. Finally, it puts forward the idea that the videohome narco-cinema industry itself also participates to the gore capitalism that is shown in the plots by converting narcoviolence in a theme for entertainment that attracts the audiences and by displaying said violence with an economy of resources that allows its profitability. Este artículo pone a dialogar las prácticas necropolíticas ejercidas por los narcotraficantes en la narcopelícula mexicana de serie B El juego final, de Oscar López (2014), con la adhesión de los personajes al dogma neoliberal a través de las herramientas de análisis del capitalismo gore (Valencia, 2010). Se analiza la capitalización de la muerte y de la violencia por los cárteles y su transformación en recurso que posibilita el hiperconsumo promovido por la narcocultura y por su estética de la ostentación. También se propone pensar la participación del personaje principal en la economía de la muerte por motivos de supervivencia en un mundo laboral precarizado como otro tipo de integración de los valores neoliberales que se contrapone a las manifestaciones exuberantes de riqueza, considerando en ambos casos el uso del asesinato como paradigma cultural que media las relaciones entre los sujetos neoliberales de la economía informal narco. Se sugiere finalmente que la industria del narcocine videohome en sí también participa del capitalismo gore que se muestra en sus tramas narrativas al convertir la narcoviolencia en tema de entretenimiento que atrae a las audiencias y al poner en escena dicha violencia con una economía de recursos que permite su rentabilidad.
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MezaGuerra, Hilary R. "Afrofuturist Horror on the Western Frontier: Capitalism’s Reckoning and Queer Possibilities in Jordan Peele’s Nope." Studies in the Fantastic 16, no. 1 (January 2024): 124–55. http://dx.doi.org/10.1353/sif.2024.a923185.
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Abstract: As in all his films to date, Jordan Peele deftly weaves metaphor in Nope , his latest film, to critique capitalism and its white supremacist foundations. The film’s monsters include an abstracted alien and a domesticated chimpanzee gone violent and come to signify capitalism’s recalcitrant reckoning. Drawing from Black feminist studies, Afrofuturism, and queer theory’s work on utopia and potential in queer failure, Peele compels viewers to consider Black Americans’ centrality in the formation and destruction of American capitalism. What other worlds become possible in the process of the Black and queer protagonists’ survival against the Lovecraftian monster? This study examines how horror becomes a useful lens—for rethinking the role of Black people in horror, for its contribution towards more critical discussion on capitalism’s legacy and its impending collapse(s). And, most importantly, for centering and imagining decolonial futures led by queer people of color.
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Fair, Hernán. "El Discurso Capitalista Neoliberal desde una perspectiva lacaniana." Desafíos 31, no. 1 (January 1, 2019): 193. http://dx.doi.org/10.12804/revistas.urosario.edu.co/desafios/a.5586.
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Este trabajo analiza el modo de construir subjetividad política del capitalismo neoliberal desde herramientas de la teoría de los discursos de Jacques Lacan. Se concluye que durante los años noventa el neoliberalismo se constituyó como un nuevo Discurso Amo. El nuevo Amo se estructuró mediante una articulación aggiornada del Discurso Capitalista con el Discurso Universitario y una reformulación del Discurso del Amo Antiguo. A partir de las construcciones metafóricas y los mandatos superyoicos de sus representantes y voceros, este discurso fue investido de un goce y un plus de goce lenguajero y corporal. A su vez, el Amo se mostró transfiriendo una parte del goce al Esclavo-Trabajador mediante una fantasía de libertad para elegir de forma plena y autónoma en el mercado, participar horizontalmente con el patrón en el nuevo orden flexible y acceder, vía el sacrificio, a un futuro de derrame de las riquezas de los ricos. Esta ilusión de retorno del goce al Esclavo fortaleció la dominación política del Amo-Empresario. En el caso argentino, junto con lapermanencia de la Convertibilidad como objeto a causa de deseo, de Menem a De la Rúa (1989-2001) se encontró un cambio de registro en los mandatos superyoicos y en las fuentes de goce, dentro de un mismo Discurso Capitalista Neoliberal de disciplinamiento social.
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VALENCIA TRIANA, Sayak. "Capitalismo Gore y necropolítica en México contemporáneo." Relaciones Internacionales, no. 19 (February 29, 2012): 83–102. http://dx.doi.org/10.15366/relacionesinternacionales2012.19.004.
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Proponemos el término capitalismo gore como una herramienta de análisis del paisaje económico, sociopolítico, simbólico y cultural mexicano afectado y re-escrito por la narcotráfico y la necropolítica (entendida como un engranaje económico y simbólico que produce otros códigos, gramáticas, narrativas e interacciones sociales a través de la gestión de la muerte). Dichos términos forman parte de una taxonomía discursiva que busca visibilizar la complejidad del entramado criminal en el contexto mexicano, y sus conexiones con el neoliberalismo exacerbado, la globalización, la construcción binaria del género como performance política y la creación de subjetividades capitalísticas, recolonizadas por la economía y representadas por los criminales y narcotraficantes mexicanos, que dentro de la taxonomía del capitalismo gore reciben el nombre de sujetos endriagos.
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Romeiro Hermeto, João. "Ethics, Alienation, and Ontology: The impossible is the starting point of each possible." Runas. Journal of Education and Culture 3, no. 6 (December 10, 2022): e21078. http://dx.doi.org/10.46652/runas.v3i6.78.
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The first quarter of the 21st century is reaching its end, and worldwide crises appear to become ubiquitous. Capitalist forces of destruction have not gone rogue, they merely represent the actualization of capitalist relations of exploitation. Notions of fettering fall prey to illusions, which overlook both particular historical moments and the essence of capitalist relations. In contrast, social emancipation presupposes an ontological understanding of human action. It is not enough to wish for a more humane society; both the limits of and potential for transformation must be understood. Based on Marx and Lukács, the ontological categories of possible and impossible, labour and teleology, are investigated, consequently, creating an opposing prerogative to capitalist naturalization and eternization. Capitalism is instead taken for what it is: a determined social, historical construction, thus, a superable social organization rather than a natural force. Insofar as the historical debacle of Marxism has provoked a methodological vacuum filled with relativism, contemporary critical analyses disaggregate into bourgeois isolated phenomena, becoming liberal assessments themselves. The concrete impact is not irrelevant: for they fight arguments in the fields chosen by capitalism; any perception of totality is rejected a priori; strategies to overcome capitalist challenges reproduce the conditions which create them, because it is assumed what needs to be explained. It appears urgent to reframe social critique within the frame of methodological orthodoxy. Marxist capitalist critique departs from ontological facts, for instance, labour. This means grasping both the totality and the ontological dimensions of particular forms, enabling effective strategies towards emancipation.
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Evrard, Audrey. "Shifting French Documentary Militancy: From Workers' Rights to an Ethics of Unemployment." Nottingham French Studies 55, no. 1 (March 2016): 96–116. http://dx.doi.org/10.3366/nfs.2016.0141.
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If the critique of neoliberal capitalism has become a staple of leftist documentary filmmaking in France since the late 1990s, few films have gone as far in their rejection of work as those made by Pierre Carles, Stéphane Goxe and Christophe Coello. Attention, Danger, Travail (2003) and Volem rien foutre al païs (2007) unapologetically and uncompromisingly reject the normative legitimacy of waged employment as a warrant of individual and social productivity. Nonetheless, it would be highly reductive to see in these two films and in the filmmakers' project a celebration of idleness. Rather, as they strive to restore the productive value of individuals unable and unwilling to enter the labor market, they reject what the filmmakers see as leftist politics' complacency about capitalism's promotion of work as an ethics of self-realization. Drawing from Jacques Rancière's emphasis on the proletariat's self-identification and incidental political inscription in late nineteenth-century society, this analysis argues that the two films discussed here operate therefore a political and aesthetic shift away from twentieth-century militant cinema by replacing the figure of political consciousness commonly associated with industrial capitalist society, namely the worker, with the unemployed post-industrial subjects of the late-twentieth and early twenty-first centuries.
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Cerritos, Lidya. "PODER Y VIOLENCIA EN LA FICCIÓN CENTROAMERICANA: NECROPOLÍTICA Y CAPITALISMO GORE EN QUE ME MATEN SI… DE RODRIGO REY ROSA." Revista Iberoamericana 90, no. 289 (October 17, 2024): 829–49. http://dx.doi.org/10.3828/revista.2024.90.289.829.
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Este artículo analiza la novela Que me maten si … del escritor Rodrigo Rey Rosa a través de los lentes teóricos de la necropolítica y el capitalismo gore. La necropolítica se refiere al uso del poder social y político para dictar cómo algunas personas pueden vivir o morir, mientras que el capitalismo Gore implica el uso de la violencia extrema para explicar el capitalismo contemporáneo en las ciudades fronterizas. El artículo explora cómo estas narrativas reflejan dinámicas sociales dentro de regímenes biopolíticos y examina cómo la literatura de ficción retrata las relaciones de poder en una sociedad violenta como la guatemalteca.
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Serrato Córdova, José Eduardo. "La estética gore de María Fernanda Ampuero." Pucara 2, no. 33 (December 20, 2022): 22–34. http://dx.doi.org/10.18537/puc.33.02.03.
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Parto de la idea de la filósofa mexicana Sayak Valencia de que la violencia contemporánea es la manera en que se ejerce la necropolítica de manera global. El término capitalismo gore lo propuso la autora como una herramienta de análisis del paisaje económico, sociopolítico, simbólico y cultural latinoamericano afectado y re-escrito por el narcotráfico y la necropolítica (entendida como un engranaje económico y simbólico que produce otros códigos, gramáticas, narrativas e interacciones sociales a través de la gestión de la muerte). Dichos términos forman parte de una taxonomía discursiva que busca visibilizar la complejidad del entramado criminal en el contexto latinoamericano, y sus conexiones con el neoliberalismo exacerbado, la globalización, la construcción binaria del género como performance política y la creación de subjetividades capitalísticas, recolonizadas por la economía y representadas por los criminales y narcotraficantes internacionales, que dentro de la taxonomía del capitalismo gore reciben el nombre de sujetos endriagos. En este trabajo comento las característica de estos personajes endriagos en las narraciones de Ampuero, particularmente del volumen Sacrificios humanos (2021) que considero son una forma de narrar la violencia por parte de los sujetos endriagos, creados por parte del necroestado para la “[apropiarse] de los cuerpos de la población civil como mercancías de intercambio o como cuerpos consumidores de estas mercancías [drogas, armas, la trata de migrantes] ofrecidas por el necromercado” (Sayak Valencia, “Capitalismo Gore y necropolítica en el México contemporáneo”, Revista de Relaciones Internacionales, Universidad Autónoma Metropolitana, núm. 19, febrero de 2012).
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Hawkes, Jessica. "‘The future was over’: Memory, meaning and temporality in Go, Went, Gone." Crossings: Journal of Migration & Culture 13, no. 2 (October 1, 2022): 167–82. http://dx.doi.org/10.1386/cjmc_00063_1.
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Using Thing theory and a Marxist analysis of temporality, I show how identity formation in Erpenbeck’s novel relies on objects and a person’s ability to work, demonstrating how the dehumanizing effects of capitalism not only impact the asylum seekers in the novel, but its German characters as well. Although characters fight against dehumanization, Erpenbeck’s novel demonstrates that the only hope for the future lies in systemic change. Although the majority of scholarship on Go, Went, Gone reads it through the lens of Europe’s refugee crisis, I argue that Erpenbeck contextualizes the crisis, situating it in a dehumanizing capitalist system fraught with internal contradictions to show the true crisis is not an influx of migrants, but the failure of the German political and economic systems to account for them.
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Pavón-Cuéllar, David. "Ontología del capitalismo: violencia estructural y reducción del ser al goce del capital." Castalia - Revista de Psicología de la Academia, no. 39 (January 31, 2023): 9–18. http://dx.doi.org/10.25074/07198051.39.2385.
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Se ofrece un esbozo de aproximación a la ontología del capitalismo. Desde una perspectiva marxista y psicoanalítica, el capital se concibe y examina sucesivamente como estructura violenta, como violencia estructural, como destrucción genocida y ecocida, como autoproducción de algo muerto a expensas de la vida, como neutralización de lo vivo, como satisfacción gozosa de la pulsión de muerte, como goce posesivo-acumulativo y como proceso que desposee al sujeto humano y que lo posee como objeto. Estas manifestaciones ontológicas del capitalismo se analizan, por un lado, en su relación con la epistemología, enfatizando la operación de la ciencia entendida en clave lacaniana como ideología de la supresión del sujeto, y, por otro lado, en su equivalencia con la economía y con una suerte de necrología, describiendo el capital como un proceso que mata lo vivo al transmutarlo en dinero muerto. El ser del capital se contrapone al de la vida, tanto humana como no-humana, y aparece como un tener y tenerse a costa del ser, como una reducción del ser a poseerse y acumularse, como un hacer-hacerse al deshacer lo demás y como el no-ser de la vida y la otredad.
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An outline approach to the ontology of capitalism is offered. From a Marxist and psychoanalytic perspective, capital is successively conceived and examined as a violent structure, as structural violence, as genocidal and ecocide destruction, as the self-production of something dead at expense of life, as the neutralization of living being, as the satisfaction of death drive, as possessive-accumulative jouissance and as a process that dispossesses human person and possesses them as objects. These ontological manifestations of capitalism are analyzed, on the one hand, in their relationship with epistemology, emphasizing the operation of science understood in a Lacanian way as an ideology of the suppression of the subject. On the other hand, in its equivalence with the economy and with a kind of necrology, describing capital as a process that kills the life by transmuting it into dead money. The being of capital is opposed to that of life, both human and non-human, and appears as having at the expense of being, as a reduction of being to possessing and accumulating, as doing and becoming, and as the non-being of life and otherness.
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Korstanje, Maximiliano E. "Surgimiento y expansión de los “Death-Seekers”." Empiria. Revista de metodología de ciencias sociales, no. 47 (May 13, 2020): 21. http://dx.doi.org/10.5944/empiria.47.2020.27423.
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En el presente artículo discutimos críticamente el fin de la sociedad del riesgo como modelo analítico para sentar las bases que nos permitan comprender los cambios recientes en materia de cultura, política y economía. La sociedad del riesgo tal y como fue imaginada por Beck, Giddens y los sociólogos postmodernos ha desaparecido, dando lugar a una nueva y más refinada versión, el capitalismo mortuorio. A diferencia del riesgo (,) que ponía a los ciudadanos en igualdad de condiciones, en el capitalismo mortuorio el valor cultural fundacional es el sufrimiento de otros como condición para maximizar el placer. El terrorismo, en este contexto, provee la materia prima esencial al sistema y crea una situación paradojal (,) ya que las audiencias globales se consternan con las imágenes que invaden sus hogares sobre guerras civiles, ataques terroristas y miseria en todo el mundo, pero adictivamente no pueden resistirse a seguir consumiéndolas.Moved by the goal of paving the ways of a new theory which would be helpful to expand the current borders of modernity, we discuss critically the end of the risk society. As it was formulated by Beck, Giddens and other senior sociologists, the theory of risk theory has gone forever, resulting a more refined version of global capitalism, we have dubbed as Thana Capitalism. Unlike what Beck noted, that risk equaled the levels and status of citizens, in Thana Capitalism the suffering of others (death) is commoditized as the mainstream cultural value. This not only seems to be the key factor towards pleasure maximization, but terrorism in this context provide with the necessary commodity in order for productive system to be buttressed. However, it creates a paradoxical situation simply because while global audiences are terrorized by the media coverage or the rise of radical groups, they cannot stop consuming death-related news.
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Ahuatzín, Angélica. "Elpidia García, cuentista de un capitalismo gore con precedentes." Connotas. Revista de crítica y teoría literarias, no. 19 (January 22, 2020): 33–51. http://dx.doi.org/10.36798/critlit.vi19.288.
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El presente artículo brinda un acercamiento a la obra de la cuentista Elpidia García Delgado, mediante un estudio de su temática más recurrente: conflictos propios del contexto mexicano fronterizo. Para ello se toma como referencia principal el trabajo teórico de Sayak Valencia en su libro Capitalismo gore, con el fi n de vincular los conceptos que propone con las problemáticas sociales que en Elpidia García son motivo de una escritura a favor de la memoria colectiva y aunada a una crítica del pasado y el presente históricos. Asimismo, se profundiza en el análisis del sujeto endriago planteado por Valencia, pues su representación mimética en las ficciones de García Delgado es una cualidad sustancial para comprender el espacio desde el que se narra.
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Valencia, Sayak. "$udacas, €uracas, norteca$ y otras metáforas del capitalismo gore." Debate Feminista 48 (2013): 94–111. http://dx.doi.org/10.1016/s0188-9478(16)30090-1.
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Skelly, Julia. "Hard Touch: Gore Capitalism and Teresa Margolles’s Soft Interventions." H-ART. Revista de historia, teoría y crítica de arte, no. 6 (January 2020): 24–41. http://dx.doi.org/10.25025/hart06.2020.03.
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Gómez Vargas, Christian Guillermo. "De la Banalidad del mal al capitalismo gore. Reflexiones en torno al totalitarismo del mercado." Protrepsis, no. 23 (November 27, 2022): 85–116. http://dx.doi.org/10.32870/prot.i23.399.
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El presente texto indaga algunos de los elementos del análisis fenomenológico del totalitarismo, siguiendo a Hannah Arendt, tales como los conceptos de sociedad secreta a la luz del día, la banalidad del mal y el mal radical; elementos que la autora desarrolló en sus reflexiones en torno a la política totalitaria. Empero, el presente texto vincula dichas nociones del análisis de Arendt, con mecanismos contemporáneos del imperialismo del mercado –neoliberalismo–, los cuales apuran parecidos de familia en torno a la demanda de construcción de una subjetividad que posibilita dispositivos de generación de valor, hasta alcanzar su culmen, mediante la confección de una subjetividad orientada a la producción de la muerte ‒lo que se comprende en términos de capitalismo gore‒, siguiendo la definición de Zayak Valencia. Categoría del capital entendido, no como una anomalía en la generación de riqueza dentro de la lógica de creación de valor capitalista, sino que esta representa su postrero horizonte. La muerte, la producción del cadáver, mediante necroemprendimientos que articulan y configuran un sistema de instauración de valor, sobre todo en espacios fronterizos y zonas precarizadas de naciones en vías de desarrollo, comprendido esto como el último estadio de la dinámica del capital. Entonces, la lógica interna del neoliberalismo mundial, deviene en formas totalitarias, que mantienen la violencia –conducida por grupos criminales y de poder–, como el fundamento del capital y su auténtica silueta.
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Sohn, Hee-jeong. "Strange Passion: Gore Masculinity in the Digital Age." Sookmyung Research Institute of Humanities 12 (October 31, 2022): 57–83. http://dx.doi.org/10.37123/th.2022.12.57.
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In 2022, the cyber hell unfolds in South Korea. In a situation where the web hard cartel and welcome to video cases could not be properly resolved, a network of Nth Room Case-Digital Prison-Illegal Gambling Site was formed. Along with this, Hacklers and cybe-wreckers are indiscriminately making money by making sacrifices for people. This is also in line with the generational change of the gangster culture. This essay analyzes the political and economic background that led to the opening of this ‘cyber hell’ and the problem of subjectivity formed therein. To this end, it borrows Sayak Valencia's concept of gore capitalism and names the system in which violence becomes a mode of accumulating wealth in the digital media field as digital gore capitalism, and the masculinity formed as Gore Masculinity. In this case, gore masculinity refers to the concept of appropriating the subject of Endriago in Valencia's assertion to fit the Korean situation, and it refers to the use of marginalized masculinity as a resource while justifying violence. The key here is that there are consumers who consume violence, and there is an online misogyny culture at the birth of such consumers. Finally, this paper introduces the discussion of Trans Feminism as an alternative ethics to gore masculinity.
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Martínez Abarca, Mateo. "Justicia semiótica. Violencia, contrasemiosis de la imagen y producción social de lo público en la lucha por justicia y memoria de los estudiantes de Ayotzinapa, México." Cuadernos de Filosofía Latinoamericana 40, no. 120 (June 1, 2019): 187–202. http://dx.doi.org/10.15332/25005375.5384.
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El presente ensayo propone una lectura de la lucha por la memoria de los 43 estudiantes desaparecidos de la Escuela Normal Rural “Raúl Isidro Burgos” en Ayotzinapa, estado de Guerrero (México), desde la perspectiva de la disputa sobre la representación de la violencia. En una primera parte se intentará reflexionar sobre la violencia de Estado y las masacres actuales en México como materializaciones de la necropolítica (Mbembe, 2011, p. 35), entendida como instrumento consustancial a un proyecto de acumulación capitalista de tipo neoliberal, que ha sido definido como capitalismo gore (Valencia, 2010, p. 189). En segundo lugar, se reflexionará sobre el problema de la imagen como mercancía en el contexto de la producción espectacular de una cultura del miedo. Finalmente se intentará reflexionar sobre una posible contrasemiosis que libere la imagen, para favorecer la producción social de una experiencia de lo público en el horizonte de lucha por la justicia para las víctimas.
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Belén Blanco, Ana, and María Soledad Sánchez. "El capitalismo tardío como economía política del goce. Aportes de la teoría social lacaniana para su análisis crítico." Revista Colombiana de Ciencias Sociales 9, no. 1 (December 15, 2017): 26. http://dx.doi.org/10.21501/22161201.2607.
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Este artículo explora las principales herramientas heurísticas que la teoría social de herencia lacaniana ofrece para el análisis crítico del capitalismo contemporáneo en términos de una economía política del goce. Para ello, a partir de un ejercicio de modelización paradigmática, comenzaremos delimitando los supuestos subyacentes, así como del conjunto de categorías generales y específicas, que definen los contornos de la denominada teoría social lacaniana frente a otras vertientes analíticas que comparten con esta el heteróclito y prolífico campo del posestructuralismo. De allí que, en primer lugar, sistematizaremos los desarrollos conceptuales que el propio Lacan ha legado en su obra tardía, articulados en torno a la noción de discurso capitalista. Una noción que busca caracterizar el malestar en nuestra época al dar cuenta del establecimiento de una economía simbólica y afectiva singular. Luego, y en diálogo con las lecturas contemporáneas que son herederas de tales desarrollos, se avanza en la problematización de los posibles horizontes y estrategias para la transformación de esta forma de lazo social, teniendo por hipótesis que lucha política emancipatoria está ligada primordialmente a la producción y radicalización de los antagonismos sociales que permitirían la inscripción de fisuras en un discurso capitalista que se pretende sin cortes, global y totalizante. © Universidad Católica Luis Amigó - Revista Colombiana de Ciencias Sociales.
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Ybarra, Patricia. "From Queer Necropolitics to Queer Eschatology: Reza Abdoh’s Unsettling Historiography." Pamiętnik Teatralny 70, no. 4 (December 20, 2021): 141–59. http://dx.doi.org/10.36744/pt.986.
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The theatrical oeuvre of Reza Abdoh has been lauded for its reinvigoration of the avantgarde, its formal and political daring and its astute commentary about the violence of the HIV virus (Fordyce, Carlson, Mufson, Bell). More recently, Abdoh’s work has been taken up as a commentary on neoliberalism—in part because of its politicization of bricolage and pastiche, recalling the more radical possibilities of theorizations of scholars such as Frederic Jameson (Zimmerman). Others have called out the modes by which Abdoh expanded the possibilities of queerness in the early 1990s. Yet no scholar has commented on Abdoh’s engagement of eschatology as a mode of historiography. That is the purpose of this essay. It is under this rubric, rather than an idea of generic postmodern milieu, that I read the multiple and discordant temporalities in Abdoh’s performances. While drawing on theories of the necropolitical (Mbembe) and gore capitalism (Valencia) in relation to conceptions of queer eschatology and capitalist violence, my inquiry emerges from consideration of the structural and theoretical aspects of the art works (“object’s”) themselves. I consider how Father Was a Peculiar Man (1990), performed in the Meatpacking District of Manhattan, exemplifies the historiographical possibilities of performance through its embodiment of an eschatological vision of the world in which the gender binary is performatively undone.
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Areco Morales, Macarena Luz. "Distopías claustrofóbicas: imaginaciones latinoamericanas del capitalismo en los dos mil." Mitologías hoy 27 (December 22, 2022): 104–15. http://dx.doi.org/10.5565/rev/mitologias.751.
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En este artículo se analizan tres novelas latinoamericanas distópicas escritas en la primera década del siglo XXI —Ygdrasil (2005) y Synco (2008) del chileno Jorge Baradit e Iris (2014) del boliviano Edmundo Paz Soldán— para mostrar cómo ellas representan el capitalismo —según las formas bio o necropolíticas, gore o farmacopornográficas que este adquiere en el presente—, como un orden cerrado, sin que se vislumbren en los textos posibilidades de exterioridad respecto al sistema.
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Morgan, Jason. "Review of Sagers, Confucian Capitalism: Shibusawa Eiichi, Business Ethics, and Economic Development in Meiji Japan." Quarterly Journal of Austrian Economics 22, no. 1 (June 17, 2019): 91–99. http://dx.doi.org/10.35297/qjae.010021.
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Shibusawa Eiichi (1840-1931) was often referred to as "the father of Japanese capitalism," and as a Japanese industrialist interested in Confucius' social-mindedness, he is the model for John Sagers' proposed economic reforms. The long, painful death of crony capitalism in Japan means that it is worth thinking about what should be done once Japan, Inc. is gone. But the book suffers from confusion over what "capitalism" means, anbd several other problems.
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Hsueh, Roselyn. "State Capitalism, Chinese-Style: Strategic Value of Sectors, Sectoral Characteristics, and Globalization." Governance 29, no. 1 (March 12, 2015): 85–102. http://dx.doi.org/10.1111/gove.12139.
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Vlahović, Dobrila, and Dušan Medin. "KREATIVNE (I KULTURNE) INDUSTRIJE U JAVNIM POLITIKAMA CRNE GORE." Limes-plus 19 (September 13, 2024): 125–55. http://dx.doi.org/10.69899/limes-plus22192125v.
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In recent years, public discourse in Montenegro has seen a rise in the prevalence of the phrase creative industries (and creative and cultural industries), despite its considerably longer presence in the theory and practice of developed capitalist countries. A significant role in the defining of this term and concept, its institutional recognition, its elevation to a level visible to the public and, finally, the financial support provided to creative and cultural industries – has been played by the ministry in charge of culture. This paper will review the normative, institutional and strategic frameworks pertaining to the current (and desired future) position of creative and cultural industries in Montenegro, so as to better present the occurrence of these phenomena and the course of their development in the last few years.
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Girvan, Pardesi, Bhandar, and Nath. "Poetics of Care: Remedies for Racial Capitalism Gone Viral." Feminist Studies 46, no. 3 (2020): 717. http://dx.doi.org/10.15767/feministstudies.46.3.0717.
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Girvan, Anita, Baljit Pardesi, Davina Bhandar, and Nisha Nath. "Poetics of Care: Remedies for Racial Capitalism Gone Viral." Feminist Studies 46, no. 3 (2020): 717–28. http://dx.doi.org/10.1353/fem.2020.0021.
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Herb, Michael. "A NATION OF BUREAUCRATS: POLITICAL PARTICIPATION AND ECONOMIC DIVERSIFICATION IN KUWAIT AND THE UNITED ARAB EMIRATES." International Journal of Middle East Studies 41, no. 3 (August 2009): 375–95. http://dx.doi.org/10.1017/s0020743809091119.
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Not long ago, two safe generalizations could be made about the Gulf monarchies: ruling families dominated their politics, and oil dominated their economies. In recent years that has begun to change. In Kuwait the parliament challenges the political predominance of the ruling family. Meanwhile, Dubai and, increasingly, the other emirates of the United Arab Emirates (UAE) have made real progress in diversifying their economies away from oil—at least until the recent economic crisis. Yet political liberalization and economic diversification have not gone hand in hand: Kuwait's economy remains dependent on oil, and the United Arab Emirates remains resolutely authoritarian. This is no accident. Kuwait's high level of political participation encourages its dependence on oil while the UAE's economic diversification requires a lack of political participation by citizens. The reasons for this are specific to the peculiar political economy of these labor markets: in these richest of rentier-states, there is little need for the class compromise between capitalists and workers on which capitalist democracy usually rests.
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Yépez Rodríguez, Isis Mariana. "Desaparición, archivo y posverdad: Ayotzinapa en Rafael Lozano-Hemmer." Anuario del Departamento de Historia y Teoría del Arte 33 (December 18, 2021): 61–81. http://dx.doi.org/10.15366/anuario2021.33.003.
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El presente artículo plantea una revisión de un modo de representación de la desaparición forzada de los 43 estudiantes de la Escuela Normal Rural “Raúl Isidro Burgos” de Ayotzinapa desde el arte contemporáneo a través de la pieza Nivel de confianza (2015) de Rafael Lozano-Hemmer. Las nociones de “archivo”, “posverdad” y “capitalismo gore” se vuelven un elemento imprescindible para el análisis de la pieza y la comprensión del acto de desaparición.
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Gálvez Cuen, Marissa. "Necropolíticas en torno a la figura del migrante centroamericano en Amarás a Dios sobre todas las cosas de Alejandro Hernández." Corpo Grafías Estudios críticos de y desde los cuerpos 5, no. 5 (January 3, 2018): 32–41. http://dx.doi.org/10.14483/25909398.14204.
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Este trabajo explora las dinámicas de agresión y violencia corporal cometidas contra los migrantes centroamericanos en su paso por México, representadas en la novela Amarás a Dios sobre todas las cosas
de Alejandro Hernández, desde las propuestas de necropolítica, horrorismo y capitalismo gore por medio del análisis de los distintos procesos de deshumanización como el hacinamiento forzoso y la tortura que encaminan la búsqueda de construcciones de laotredad entre los grupos empoderados y los sujetos en tránsito.
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Rügemer, Werner. "Taming US-Led War and Poverty Capitalism!" World Marxist Review 2, no. 2 (July 5, 2024): 183–86. http://dx.doi.org/10.62834/ng86y396.
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Werner Rügemer’s book The Capitalists of the 21st Century: An Easy-to-Understand Outline on the Rise of the New Financial Players, first published in German, has since gone through English, French, Italian, Russian and Chinese editions. The author wrote the following foreword for the 4th edition in Germany, which in 2024 has become necessary.
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Baker, Sarah Elsie. "Post-work Futures and Full Automation: Towards a Feminist Design Methodology." Open Cultural Studies 2, no. 1 (December 1, 2018): 540–52. http://dx.doi.org/10.1515/culture-2018-0049.
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Abstract Among business leaders, government officials and academics there is a general consensus that new technological developments such as artificial intelligence, robotics and the internet of things have the potential to “take our jobs.” Rather than resisting and bemoaning this radical shift, theorists such as Nick Srnicek and Alex Williams have argued that full automation, universal basic income, and future thinking, should be demanded in order to challenge neo-liberal hegemony. Helen Hester has gone on to consider the limits and potentials of this manifesto in regard to the automation of reproductive labour. In this article, I take this work as a starting point and consider the significant burden that is left at the designer’s door in the post-work/post-capitalist imaginary. I explore the changes that would need to be made to design methods: techniques that are themselves part of the history of industrial capitalism. Focusing on the automation of domestic labour and drawing on feminist theory and emergent design practice, I begin to develop a feminist design methodology; without which I argue that an emancipatory post-work politics cannot be realised.
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Duan, Jiale. "Patriarchy as Ideology: An Examination of Marxist Feminism." Journal of Research in Philosophy and History 5, no. 3 (September 15, 2022): p68. http://dx.doi.org/10.22158/jrph.v5n3p68.
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Marxist feminist scholars have gone through a rather long and tortuous process of understanding the capitalist system and patriarchy. At first, they argued that the capitalist system and patriarchy go hand in hand and together keep women in subservient positions. Later, they examined related concepts and argued that the capitalist system and patriarchy merge and intensify the oppression of women. At the same time, later Marxist feminist scholars returned to Marxist theory and suggested that the capitalist system is the key to the current women’s problems and patriarchy is its ideological tool to defend the ruling class’s interests.
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López Arranz, Zulma. "La anomia y su relación con el estatuto actual del sufrimiento en la sociedad." Affectio Societatis 7, no. 13 (December 21, 2010): 1–14. http://dx.doi.org/10.17533/udea.affs.7635.
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Este trabajo tiene por objetivo relacionar el exceso de goce en las patologías de la post-modernidad con la anomia en la que se sumerge nuestra sociedad, dañando el entramado social. La falta de regulación de lo simbólico es la responsable del penar en demasía. La tecnología, la globalización y el discurso capitalista convierten al sujeto de deseo en un sujeto tomado por el goce. La propuesta del psicoanálisis es despertar al sujeto de su dormidera de goce, la brújula es la ética del deseo.
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Bowie, Norman E. "A Kantian Theory of Capitalism." Business Ethics Quarterly 8, S1 (1998): 37–60. http://dx.doi.org/10.1017/s1052150x00400060.
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Some years ago Ed Freeman and William Evan wrote an article offering a Kantian stakeholder theory of corporate responsibility. Ed was kind enough to allow Tom Beauchamp and me to publish that previously unpublished piece in the second edition of Ethical Theory and Business. That article has appeared in every subsequent edition. But a Kantian theory of stakeholder relationships is not, I believe, a complete Kantian theory of the modem corporation. I believe Ed originally intended to expand that paper into a larger project but Ed’s philosophical interest in pragmatism has distanced him from Kantianism and his writings in stakeholder theory have gone in a different direction. Indeed in this postmodem feminist anti-foundationalist age, Kant is very much out of fashion. Since I am always out of fashion I had no trouble promising Ed I would complete the Kantian piece of the project. This essay is the condensed version and a partial fulfillment of my promise. A Kantian always keeps his promises.
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Vetta, Theodora, and Irene Sabaté Muriel. "People without history in financial capitalism." Focaal 2024, no. 100 (December 1, 2024): 25–39. http://dx.doi.org/10.3167/fcl.2024.1000103.
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Abstract In Wolf's EPWH, the importance of debt for scaffolding the expansion of the capitalist mode of production was shown repeatedly, despite not being treated as a distinct phenomenon. In the forty years that have gone by since the publication of the book, financial debt has gained centrality in global accumulation processes. The advancing frontier of financialization, reminiscent of that of earlier capitalist expansion, as well as its effects on particular groups and localities, has been a recurrent object of analysis in recent anthropological scholarship, often with a focus on the sphere of circulation and consumption. This article contends that the Wolfian conceptual toolkit, and particularly the notion of labor, should be brought back into the equation for addressing debt and credit relations in contemporary times.
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Stavrakakis, Yannis, and Liliana Betancourt. "Autoridad simbólica, goce fantasmático y los espíritus capitalistas: genealogías de un compromiso mutuo." Desde el Jardín de Freud, no. 21 (December 1, 2021): 463–96. http://dx.doi.org/10.15446/djf.n21.101260.
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Texto original: Yannis Stavrakakis, “Symbolic Authority, Fantasmatic Enjoyment and the Spirits of Capitalism: Genealogies of Mutual Engagement”, en Lacan and Organization, eds. Carl Cederström y Casper Hoedemaekers (Londres: MayFlyBooks, 2010), 59-100.
Traducción a cargo de Liliana Betancourt. Candidata a Magister en Psicoanálisis y Cultura, Universidad Nacional de Colombia.
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Suárez, José Mario, and Karina Alexandra Gómez. "Pandemia en un contexto gore. Un análisis necropolítico de Tumaco." REVISTA CONTROVERSIA, no. 216 (July 1, 2021): 259–85. http://dx.doi.org/10.54118/controver.vi216.1228.
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La desigualdad estructural, profundizada por el proyecto neoliberal, a la cual han sido sometidas muchas regiones de América Latina como el Pacífico colombiano, ha contribuido a la configuración de un contexto de vulnerabilidad en el que convergen múltiples violencias, cuyos efectos se recrudecen durante las crisis humanitarias. Este artículo tiene como propósito examinar, desde el análisis documental, algunos de los impactos de la pandemia de COVID-19 en Tumaco, bajo una lectura de necropolítica y capitalismo gore propuestos por Achille Mbembe (2011) y Sayak Valencia (2010). A partir de este análisis, se concluye que la condición geográfica de border, asociada al desarrollo de mercado que cohabita con profundas estructuras de desigualdad socioeconómica y violencias, multiplica los riesgos sobre ciertas vidas en momentos de crisis. Geografías de pobreza, participación de sujetos endriagos y circulación de mercancías ilícitas, recrudecen los ejercicios necropolíticos contra cuerpos afrodescendientes.
Pandemic in a Gore context. A necropolitical analysis of Tumaco
Abstract: The structural inequality, intensified with the neoliberal project, to which many regions of Latin America such as the Colombian Pacific have been subjected, has contributed to the con- figuration of a context of vulnerability in which multiple types of violence converge, whose effects worsen during humanitarian crises. The purpose of this article is to examine, from a documentary analysis, some of the impacts of COVID-19 in Tumaco under a reading of Necropolítica y Capi- talismo Gore proposed by Achille Mbembe (2011) and Sayak Valencia (2010). From this analysis, it is concluded that the geographic border condition, associated with the development of the market that coexists with deep structures of socioeconomic inequality and violence, multiplies the risks to certain lives in moments of crisis. Geographies of poverty, the participation of sujetos endriagos and the circulation of illicit merchandise intensify the necropolitical exercises against Afro-descendant bodies.
Keywords: Tumaco, necropolitics, border, COVID-19, violence.
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Rojas Miranda, Juan Sebastián, and Camille Dumoulié. "Trad. Control de goces y fascismo soft." Poligramas, no. 44 (September 19, 2017): 167. http://dx.doi.org/10.25100/poligramas.v0i44.5340.
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Desde los surrealistas, por lo menos, somos todos hijos de Sade. Nuestro mundo es finalmente aquel del goce obligatorio y de la revolución permanente. Se responde a una ley ella misma tan perversa que en vez de prohibir, obliga a gozar. El capitalismo no tiene el Goce como fin, ni tampoco la Revolución. Y su manera de conjurarlo es a través de los goces fantasmales y consumistas a cualquier precio. Nos hallamos en la revolución de los goces infinitos, en el sentido de un círculo vicioso, y en la crisis permanente en lugar de la revolución permanente. En este artículo, que es una reflexión sobre el fascismo soft, se analiza el término lacaniano “Goce” a partir de la literatura y la filosofía.
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Von Ferscht-Fountain, M. J. "‘The age of chivalry is gone.’." Groundings Undergraduate 3 (April 1, 2010): 71–84. http://dx.doi.org/10.36399/groundingsug.3.258.
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During the latter half of the eighteenth century Britain was in her ‘Golden Age’ of empire. From the defeat of the French in the Seven Years War (1756-1763) until the British loss of the Revolutionary War (1775-1783), she claimed herself as the ‘premiere’ kingdom of the world. But during this period, a growing unease prevailed amongst her people. This was social, with an increasing middle-class born of capitalism, economic through her trade and dominance of the seas, and political through the rise of anti-imperialism against the prevailing absolutist monarchy. In this essay I wish to examine how the sense of crisis in the aristocracy manifested itself in public depictions, namely the military portraits of Sir Joshua Reynolds, and to analyse through the social history of art the pictorial rhetoric that the artist employed for these paintings. I hope to be able to show that the determinations of these aristocratic patrons in asserting ‘heroism’ and ‘civic virtue’ through their portrayals unconsciously exposed their self-conscious condition. Their endeavours in creating a modern, patrician appeal reflected the fractured social and political circumstances of the period into which they desperately attempted to adjust, and maintain power.
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Sievers, Burkard. "Socio-analytic Reflections on Capitalist Greed." Organisational and Social Dynamics 12, no. 1 (June 30, 2012): 44–69. http://dx.doi.org/10.33212/osd.v12n1.2012.44.
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‘Do we not see economists leaving out of account unconscious greed?’ It seems that this question, which Donald W. Winnicott and his colleagues asked some twenty-five years ago, is still relevant today. While economists still broadly emphasise self-interest as a driving force and rarely discuss the impact of greed, socio-analysts are increasingly interested in it. Taking Melanie Klein's earlier work on greed as a starting-point, I offer the notion of ‘capitalist greed’ and attempt to elaborate some of the unconscious dynamics in the realm of economy and finance. I see greed as a psychotic dynamic that inhibits thinking and limits reality to what is bearable and desired. Greed is neither a phenomenon that began with the onset of capitalism nor the decisive cause of the current crisis; it is inherent in the former and became most apparent in the latter. Subsequently, I will elaborate how competition is often fuelled by excessive greed that seeks to damage or even annihilate competitors and is the source of corruption and fraud. The mere pursuit of maximising profit, fostered and legitimised by economics for almost half a century, has had a major impact on the prevalence of greed in our contemporary economy and the financial service industry in particular. In concluding, I will offer some reflections on how thinking may be maintained in a world gone mad with greed.
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Sezneva, Olga, and Sébastien Chauvin. "Has Capitalism Gone Virtual? Content Containment and the Obsolescence of the Commodity." Critical Historical Studies 1, no. 1 (March 2014): 125–50. http://dx.doi.org/10.1086/675381.
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Germinal Pagura, Nicolás. "The Concept of “Labour” in Current Capitalism: a Contrast between the Proposals of Habermas/Gorz and those of the Italian Autonomism." Eidos, no. 25 (July 1, 2016): 43–71. http://dx.doi.org/10.14482/eidos.25.7930.
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Alarcon Zayas, Violeta. "Vuelven (López, 2017). Lloronas contra el orden femi-genocida." Comunicación y Género 6, no. 2 (December 20, 2023): 67–76. http://dx.doi.org/10.5209/cgen.90346.
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El concepto de “grotesco traumático” (Connelly, 2015) servirá de base para el análisis discursivo del funcionamiento de la figura fantasmagórica femenina que entronca con el mito de la Llorona en el filme Vuelven (López, 2017). Para indagar su función como dispositivo crítico, se desentrañarán los elementos con los que se construye la perspectiva crítica de género desde el terror y la abyección y los conceptos de “vidas precarias” (Butler, 2006) y “femi-genocidios” (Segato, 2016) en el contexto del “capitalismo gore” (Valencia, 2010). Se comprueba que la metáfora grotesca muestra lo espectral como aliado ambivalente que aterra y desorienta pero que desvela el entramado sociopolítico corrupto y violento del orden patriarcal feminicida y dignifica a sus víctimas.
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Katelouzou, Dionysia, and Eva Micheler. "Investor Capitalism, Sustainable Investment and the Role of Tax Relief." European Business Organization Law Review 23, no. 1 (January 31, 2022): 217–39. http://dx.doi.org/10.1007/s40804-021-00232-0.
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AbstractThis contribution examines the connection between investor capitalism and sustainable investment. It will be observed in this article that investor capitalism has gone through a structural change. Individual investors have been replaced by funds. Financial service providers have emerged that assist investors in managing and holding investments. This development coincided and was arguably facilitated by the growth in workplace and personal pensions. Pensions are subsidised by the government through tax relief. This financial contribution of the government is justified on social policy grounds. But it has the effect that pension savers, who receive substantial return by saving tax, are deprived of a reason to take an interest in how their money is invested. This not only deprives the service providers assisting pension savers from oversight from their ultimate customers. It also can help to explain why pension savers do not actively select investment products but rely on the default settings suggested by their employers. If the government is serious about encouraging investor capitalism to bring about sustainable business it should start with its own financial contribution, which has coincided with the emergence of the current model of investor capitalism, and connect pension tax relief to sustainable investment practices.