A dialética da dança

• Autor(a) principal: Chagas, Regiane de Ávila
• Data de Publicação: 2018
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/001300000d7v8
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/8807
• topic: Trabalho humano; Dança; Alienação; Fetichismo; Reificação; Indústria cultural; Human work; Dancing; Alienation; Fetishism; Reification; Cultural industry; CIENCIAS HUMANAS::EDUCACAO

The present thesis has as study of object the dance. What motivates this research is the following research problem: what are the mediations that are becoming more determinant in the process of dance production in the historical particularity of the capitalist mode of production? For this investigative challenge, the theoretical framework is based on Karl Marx (2010, 2013), Karl Marx and Friedrich Engels (2007), Georg Lukács (1966, 2012, 2013) and Theodor Adorno and Max Horkheimer (1985). In the specific field of dance, the main interlocutions occurred with Roger Garaudy (1980) and Maribel Portinari (1989). The option for the method of analysis to grasp the essence of the reality of dance in the capitalist system was dialectical historical materialism, the philosophical basis of Marxism. Through the lens of dialectical historical materialism, material reality concerns the processes of production and reproduction of human life. However, both the way and means used in the production of life are historically determined by equally particular social and economic conditions. In this research movement, both the ontological aspects of dance as well as their development in the pre-capitalist economic formations were approached. However, the particularity of the capitalist system became the mode of production that this research inserted more effort. The central thesis that this research postulates is summarized in the affirmation that dance is human work and therefore it is a human objectification that develops and manifests itself under certain social conditions, and that, in the historical particularity of the capitalist mode of production, dance has been developing as a commodity, where the phenomena of alienation, fetishism, reification and the culture industry constitute the most determinant mediations in its production.