Pretendemos, com este trabalho, mostrar distinções importantes entre as compreensões que Chantal Mouffe e Seyla Benhabib teriam a respeito de questões como democracia, feminismo, poder, legitimidade, lutas democráticas e a constituição de sujeitos políticos. Sugerimos que estas diferenças estão vinculadas à compreensão agonística que Mouffe teria da política e da sociedade e à compreensão deliberativa de Benhabib sobre tais esferas. Com isto, não queremos esgotar o debate, mas, tão somente, levantar distinções importantes para pensarmos a produção de tais autoras. Tendo isso em vista, pretendemos lançar mão de alguns textos escritos por estas autoras de modo que possamos cumprir as seguintes etapas de trabalho: 1) mostrar alguns pressupostos teóricos que norteiam suas formulações; 2) mostrar alguns desenvolvimentos intelectuais destes pressupostos; 3) fazer uma breve comparação entre os argumentos destacados no ponto anterior na tentativa de indicar algumas conclusões.
Resumo: Este trabalho pretende dar continuidade a uma interpretação da obra de Victor Nunes Leal sugerida por Gildo Marçal Brandão em meio ao projeto das linhagens do pensamento político brasileiro, no qual o cientista político uspiano aproxima-o do assim chamado radicalismo de classe média - baseado numa visão democratizante sobre o Brasil e assentado na totalidade social. Para atingir este objetivo, lançaremos mão de algumas obras do autor e fortuna crítica, com o fito de distanciar o pensamento do jurista de interpretações que: a) vinculam-no a certa tradição de ciência política, a qual se estabeleceu no Brasil principalmente sob o paradigma da autonomia da esfera política em relação às demais esferas da vida social; b) ou ao pensamento conservador de Oliveira Viana.
Marcelo Gomes Estou me guardando para quando o carnaval chegar (Waiting for Carnival), Recife, 2019.The documentary film directed by Marcelo Gomes, Waiting for Carnival (2019), addresses contemporary Brazil in the midst of the crisis of Lulism and its contradictions (Singer, 2012;2018). Filmed in Toritama, a small town in the countryside of the state of Pernambuco, the film features the (not so) new work relationships in Brazil and in the world. In fact, on the pretext of recalling the peaceful country town he visited with his father, a middle-ranking government bureaucrat, Gomes ends up exposing the insides of what Roberto Schwarz (2012: 13) has called "a perverse form of progress." In it the distinguishing marks of national backwardness are to be seen not as mere residual archaisms but as "an integral part of the reproduction of modern society."The main change Gomes sees in Toritama is in labor relations, which have reconfigured the entire economy and local dynamics to be functional for the textile industry and its needs. Since the 1980s, the city has become the national capital of the production of jeans. Silence, quiet streets, and conversations on the sidewalk and in the shops have given way to the incessant noise of sewing machines and the improbable transfer of countless pieces on motorcycles, handcarts, and mules. The work process is presented as something so flexible and plastic that, as several of the characters in the documentary argue, "only those who don't want to work don't have work": whole houses have become ultraspecialized production cells with young people crowded into small spaces turned into essential means of socialization and conviviality, while elderly people finishing pieces chat on the sidewalk and children play among the machines and fabrics, virtually emulating the craft that they will later exercise in a kind of natural cycle-adapted, however, to the exercise of a constant cult of Capital, as Benjamin ( 2013) has taught us.The idea of a natural cycle is suggestive for understanding the world of work in Toritama, since workers, skeptical and without any hope of building a better future, collect the pennies they earn on the jeans parts they produce to travel to the beach in the only annual break they have, at Carnival. When it ends, they return to their posts and resume saving, waiting for the next 365 days to see the sea again. Indeed, one of the essential time markers is the March rains, which traditionally served to indicate the propitious moment for farmers to sow their crops but in the new economic configuration point to the resumption of the annual enclosure around the production of jeans.Despite this harsh reality, workers in Toritama value the fact that they have no bosses and control their own time. The documentary does not explain who buys the pieces 975017L APXXX10.
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