SANTOS, M. A. S.; http://lattes.cnpq.br/0512781515801930; SANTOS, Maynara Andrielly Silva.
Résumé:
This dissertation examines the phenomenon of the commodification of the womens cause as
a survival tactic of capital in contemporary times, seeking to build, in the world of appearances,
a self-image as an ally of women and project it to public opinion insofar as, in essence,
exploits, dominates and violates thousands of women who are at the social base of its productive
structure expanding the forms of expropriation of the female workforce under neoliberalism
and the emptying of the female struggle, like the two large companies analyzed in this context,
Avon and Natura. This phenomenon is part of the dynamic development of the capitalist mode
of production itself, which, by virtue of the degree of concentration it has reached since its
imperialist stage, has become more complex in terms of expanding its forms of domination
in a process in which the facts of culture take on particular importance which operate in a
historically original way in postmodernity. In the struggle for hegemony, capital acquires a
broad capacity for reification from the accumulation of experience (material or subjective) in
an attempt to block, contain and channel the various social forces and cultures of opposition
that flourish against its logic of domination, especially with the development of the
phenomenon of political aestheticization capable of suppressing, from the dominance of
bourgeois ideology, the social contradictions caused by capital and promoting their
spectacularization, just as it does in relation to the womens cause. In this sense,
postmodernism is conceived as an important tool of domination for maintaining and deepening
the state of ideological confusion and dismantling the ranks of women's work in a context in
which the forces of capital are globalized (and organized) as never before, whether by
institutional means or through their private apparatuses of hegemony unfolding into urgent
political implications for women in the 21st century.