The contemporary capitalist society reproduces through Cultural Industry, ideological and social processes, promoting a type of formation adapted to the way of life and the objectives of this model of social organization. In this work, the cinema was highlighted, especially the animated film. In the Cultural Industry, the animated film is produced based on successful formulas, both in its forms, effects and repetitions, as well as in the construction of characters and narratives, which results in audience satisfaction and profitability. It contains sociological and technical elements, full of representations of social objects and their ideologies; it presents its contents to viewers through layers of meanings, both apparent and hidden; the senses of the viewers are flooded by audiovisual stimuli in such a way that hold their attention; the aesthetic experience which the film provides collaborates with the production of pseudoformation, a form of formtation. This research effort discusses the role the animated film plays in the cultural formation of the individual, since childhood. The family is a place of intense affective and social relations, fundamental to socialization; it presents social models and ideologies that are reaffirmed in other social relations, providing a consistency and apparent social harmony. Based theoretically on the Critical Theory of the Society this research was an analysis of the animated film "Minions", in addition to the content analysis model used by Adorno, to apprehend the layers of meanings presented in the object. Content and patterns of socially validated behaviors related to narcissism, barbarism and violence, were identified. The use of humor (laughter) in the smoothing of these elements and in the desensitization of the viewers regarding the ferocity of the society of domination and exploitation, was verified through the production of tension-relief dynamics.

This work develops a research of the State of the Knowledge with the objective of investigating how the Teaching of the Theater in the School Education has been discussed in the dissertations and theses of Graduate Programs Masters and Doctorate in Scenic Arts. We selected three older programs from public universities and from different regions that had the works available on the online page. They are Graduate Program in Performing Arts of the Federal University of Bahia (UFBA), Graduate Program in Performing Arts of the University of São Paulo (USP) and Graduate Program in Theater of the State University of Santa Catarina (UDESC). The theoretical basis of this work was the Critical Theory of Society, especially in Adorno, Horkheimer, Benjamin and Marcuse, who even with theoretical differences contributed to problematize the object. We find that theorists Walter Benjamin, Theodor Adorno and Marx Horkheimer of Critical Theory appear tangentially in the discussions. Benjamin is quoted in 9 works to discuss experience, narration, mimesis, modernity and childhood. Adorno in 1 work to highlight the importance of emancipation in education and Adorno and Horkheimer to highlight the critical reason. The teaching of the theater is considered important to develop human existence and the specific dimensions of creativity, the relationship with the community and a work only to learn the content of writing and does not have the show primarily as an end. The research developed was carried out by the Post- Graduation Program in Education of the Faculty of Education / FE of the Federal University of Goiás, in the MINTER agreement in Education UFG / IFMT 2015.

This research is a case study that aims to investigate suicide coping strategies at the Federal University of Goiás. Currently, suicide is the second cause of death in young people and part of this population is in training in the university environment. The university in our society is a privileged space for scientific training and human subjectivity, being the locus of scientific production. As secondary objectives, we seek to understand how suicide is expressed in the population of university students and what policies have been implemented in suicide care. The theoretical framework used was the Critical Theory of Society. Data were obtained through governmental and institutional documents on mental health and through semi-structured interviews with professionals from a mental health service at the university. Legislative documents and ordinances on mental health in Brazil and institutional ordinances incorporated by the Federal University of Goiás are also used. In addition, three semi-structured interviews were carried out, which were fully transcribed. The results indicate a gap in the University's policies for mental health care, in addition to a reduced number of professionals who attend the institution's main mental health service. It is concluded that suicide among young people, in current Western society, is directly related to feelings of imprisonment and impotence generated by the prevailing capitalist system. Suicide is understood as an expression of suffering and the impossibility of envisioning individual and social overcoming. It appears that Brazil has been a pioneer in the implementation of mental health policies in Latin America, but it has powers in its implementation. Therefore, it is considered that there are gaps in policies for suicide care in the university population, including prevention and postvention strategies, and few professionals trained in mental health care.

Cinema is a cultural product that constitutes subjectivity. This work analyzed the rationality of the free animated film "The Ice Age 3" (BlueSkay / Fox, 2009), which according to ANCINE obtained the largest audience from 2009 to 2015 in cinemas in Brazil. The theoretical reference of this work is the Critical Theory of Society, especially Theodor Adorno, Herbert Marcuse and Walter Benjamin, and Karl Marx's Historical Dialectical Materialism. The analysis of the production of the film "The Ice Age 3" revealed the presence of the rationality of the cultural industry when it presents the dominant ideology, stereotypes, clichés, tickets, experience, expropriation of schemes, profit as external purpose, humor that does not reconcile with humanity, impoverishment of content, personification of situations and resolutions that are social, typification of characters, emphasis on detail to give appearance of novelty, heroic median individual, technique primacy, spectacular outputs and an assembly that offers no space for the imagination and can´t see contradictions of the society. In this sense, it presents elements that outline a pseudoformation that promote the adaptation of the subjects to the capitalist logic. This dissertation was developed by means of the MINTER agreement in Education UFG / IFMT 2015, defended in 2018.

Este artigo apresenta os resultados de uma investigação que teve como objetivo caracterizar a presença de uma dupla estrutura hierárquica na escola: a oficial e a não oficial. A hierarquia oficial se caracteriza pelo bom desempenho dos alunos nas disciplinas escolares. Por meio dela, o conhecimento é transmitido aos estudantes e são desenvolvidas habilidades/competências para o convívio social, inserção no mundo do trabalho e para o progresso. O sistema educacional, no entanto, também contribui para o surgimento e manutenção de uma hierarquia não oficial, a qual é representada pelos alunos considerados mais fortes, astutos e populares e por aqueles considerados mais frágeis, menos astutos e impopulares. Essa dupla hierarquia indica formas de competição desenvolvidas durante o período escolar, lastreada na competição própria a uma sociedade capitalista. A pesquisa buscou verificar a existência dessas hierarquias e a manutenção ou não da posição dos alunos nelas ao longo da trajetória escolar da educação básica ao ensino superior. A hierarquia oficial foi aferida por meio do desempenho escolar, e a não oficial pelo desempenho nos esportes coletivos, namoros e popularidade. Foi aplicada uma escala em 135 estudantes de universidades públicas que classificaram seus desempenhos por meio de autoavaliação. A autoavaliação sobre o desempenho nos esportes se mantém nos três níveis de ensino; já o desempenho escolar é referido de modo distinto entre o ensino fundamental e o superior. O mesmo ocorre com o desempenho afetivo e a popularidade, que parecem alterar seus atributos ao longo da escolarização. Fundamentalmente, os resultados corroboram a existência das duas hierarquias escolares, o que traz consequências para a formação individual e para a sociedade, no que tange, sobretudo, a desempenhos a serem valorizados e desvalorizados em ambas as hierarquias.

The work results from an ethnographic research carried out in a daycare center of the public school system of Florianópolis (SC). The data were analyzed considering the "didactic time" - recommended by the legislation -, structured in a routine comprising various moments: arrival, cleaning, feeding, sleep, playground, guided activity, departure. Inspired by issues from the Critical Theory of Society, the present text deals with the playground moments, considered as "privileged situations for education", both in the teachers' discourses and in the actions that distinguish these moments from the others, establishing a kind of opposition between "work time" and "free time". In such relation, apart from being regarded as periods to renew energies for the other activities, these moments offer an excuse to suspend the closer following up of activities by the teachers: the look of the grown up "will need" only to steer children clear of inadequate places or to avoid "exposed" wounds, shaping a group of socio-sanitary practices around the vital needs, and that contribute to eliminate deviances and differences in pursuit of pseudo-gratifications. The absence of a more careful approximation will also leave children to an ambiguous "spontaneity", subjected to the violence that produces scars, mainly on the body, and which promote the kind of education that privileges barbarism instead of opposing it. The results show also the presence of products for the consumption of leisure that inform beforehand the sequence of operations to be reproduced, requiring automated gestures and actions that stimulate the barrenness of imagination.

No início dos anos de 1940, a teoria crítica tomou emprestado o termo racket do submundo do crime urbano e o utilizou para a crítica do capitalismo monopolista, o qual era visto como uma constelação governada de modo semelhante ao das máfias. Décadas mais tarde, após as experiências do Estado de bem-estar social nos países centrais e as modernizações retardatárias na periferia, propôs-se conceitos tais como os de cronyism e mafioso State. O que essas três abordagens têm em comum é o fato de destacarem a natureza mafiosa do capitalismo, fazendo-o para distintos contextos históricos e sociais. Este artigo sugere que, mais recentemente, e de modo crescente, os rackets, cronies ou máfias se tornaram elementos estruturais do capitalismo, como havia sido observado primeiramente pela teoria crítica durante a Segunda Guerra Mundial. A fim de lançar luz sobre esse desenvolvimento, combinamos a crítica teórica e algumas visadas a respeito da fase atual do capitalismo com referências a expressões empíricas desse fenômeno.

Ce texte résulte d’une recherche théorique nommée L’idéologie de la rationalité thécnologique, le narcissisme et la mélancolie: marques de la souffrance, qui a comme but vérifier le rapport entre le narcissisme, la mélancolie et l’idéologie de la rationalité thécnologique au moyen de quelques concepts médiateurs, tels que l’industrie culturelle, les phénomènes de masse, qui tendent à reproduire la contrainte sociale dans des divers domaines de la vie de l’individu dans la société actuelle. Pour élaborer ce sujet, nous avons utilisé les écrits d’auteurs et des studieux de la Théorie Critique de la Société et de la Théorie Freudienne.