This thesis examines four plays by Shakespeare to illustrate the theme of men's downfall as caused by the women they love. One play from each type of relationship was chosen: Coriolanus for mothers who exert disastrous influence on their sons; King Lear for daughters responsible for their fathers' downfall; Cymbeline for the injurious effect of a wife on her husband, and is significant because the moral dissolution comes through her great virtue rather than through her character faults; and Troilus and Cressida for lovers who are not bound either by blood or legal ties.

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Destruction Loops uses the guiding phenomenon of self-destruction to begin to develop an ontology that would not be ontosoteriological—that is, it would not cast being itself in a saving role for human being. Beginning with Martin Heidegger’s thought (both early and late), but also relinquishing his ontosoteriology, Destruction Loops seeks to explain how people can self-destruct because of their insight into the character of being, time, reality, and the world. A pre-theoretical understanding that one is self-destructing is often not sufficient for an affective resolve to stop oneself from self-destructing. It is not, because one’s pre-theoretical insight into the character of being can be existentially discouraging and result in an affective demeanor of resignation. In this sense, the correlation with being itself does not save, but rather exacerbates the existential conditions for self-destruction. The human being, understood not as Sorge (care) or as mortal but as desire for a loved one, is fundamentally non-correlated with being itself because it wants more for this other than being can give. An exposure to this insight is painful—and also difficult: for it then leaves the self alone with a task to build for this other against the conditions of being itself. All the while, being can turn the self against itself, by turning the origin of its selfhood (its relationship with a special other) against this endeavor. Instead of building, one can then fall into a destruction loop, where the meaning of the past overcomplicates the need for building the conditions of meaning and love in life. In the following pages, expressionistic phenomenology—a phenomenology that seeks to express the formal inadequacy of being itself—is expressed through the pseudonymous, intellectual memoir called Generation Loss, written by Dylan Errington in the wake of the disappearance of his ex-girlfriend, Christina “Chris” Weston. Dylan’s book iterates, and formally reflects, the need for building and creating works that express desire’s dissatisfaction with being itself. / Graduate / 2023-04-21

With a focus on multiracial perspectives on race, region, and sexuality, Quest for Blackness interrogates the efforts of diverse black subjects to transcend the objectifying limits of the white gaze and the effects of internalized hatred and destructiveness. To clarify the tenuous shift from object to subject, the first two chapters of this dissertation examine the formation of African American subjectivity within the prism of the white gaze, as it takes shape in novels by Eudora Welty, Lewis Nordan, Toni Morrison, and Bebe Moore Campbell. The following chapters probe the pernicious effects on black psyches that develop when African Americans unwittingly internalize any part of the white gaze. Tackling the controversial discourse that comedian Bill Cosby re-ignited with his comments in 2004 on the responsibilities of the black poor in improving their own lives, Quest for Blackness engages fully in the debate that erupted after Cosby's speech. Taking a stand, alongside other African American voices in literature, politics, and social activism, this study not only recognizes the interrelated issue of white racism and economic inequality but also calls for greater black accountability in addressing the pathologies that affect black communities. In airing dirty laundry, African Americans only strengthen their pursuit of equality and lasting, meaningful agency, a point that Z Z Packer, Alice Walker, and others powerfully demonstrate in their fiction. / acase@tulane.edu

Made available in DSpace on 2016-04-28T20:38:10Z (GMT). No. of bitstreams: 1 Alda Maria Soares Abreu Alves.pdf: 2524916 bytes, checksum: 882b5d729ce88de80745b7cec57080a2 (MD5) Previous issue date: 2012-06-01 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research is composed for VI Experiments of writing that put in check, each one its way, a certain kind of politics of subjectivity, the practical ones and the hegemonic speeches of its institutions, that based on the identity principles and anthropocentric logic of the traditional occidental thought, tend to the homogenization of the experience human being. In special, it questions the practice to pathologize the human suffering established in the medical and scientific speech of its same tradition. The question that places the set of Experiments of this research composes is the creation of one speak that it testifies the ethical-aesthetic experimentation of the researcher in the field of the scenic arts throughout the years since 2008 until 2012. The starting point of this research was the psychic and physical collapse that the experience of anorexia s muteness and bulimia s muteness provoked in the existence of the researcher. The reverberation of the echoes of this singular dumb shout unchained the necessity to testify and to nominate the power of the self-destruction and self-poiesis forces that had produced this kind of experience and its way to exist. Throughout these VI Experiments, the researcher will be visited for many other types of silence ritualistic, xamanistic, theatrical, cosmic, existential, not historical and performatives. It is about thresholds or border silence that inhabit the crossroads enter the world of the livings creature and deceased. This research intends to disclose the power of the affirmative life that inhabits in this crossroads: composed field for the shock of self-destruction and self-poiesis forces. Forces these that, clotted in the viscera of the existential and artistic experience of the researcher give birth ways to try the writing that dislocate the meaning usual of the words silence , pain , life and death . In In a writing that be it itself an experimentation, the too much human limits of the body and the word had been being tested, with intention of to consider the creation and the experience as processes of (dis)subjectivation / Esta pesquisa é composta por VI Experimentos de escrita que colocam em xeque, cada um a seu modo, uma certa política de subjetivação, as práticas e os discursos hegemônicos de suas instituições, que baseadas nos princípios identitários e na lógica antropocêntrica da tradição do pensamento ocidental, tendem à homogeneização da experiência humana. Em especial, colocam em xeque as práticas de patologização do sofrimento humano fundadas no discurso médico e científico dessa mesma tradição. A questão que se coloca ao conjunto de Experimentos que compõe esta pesquisa é a criação de um dizer que testemunhe a experimentação ético-estética da pesquisadora no campo das artes cênicas ao longo dos anos de 2008 a 2012. O ponto de partida dessa pesquisa foi o colapso psicofísico que a experiência silenciosa da anorexia e da bulimia desencadeou na existência da pesquisadora. A reverberação dos ecos desse grito singular deflagrou a necessidade de testemunhar e nomear a potência das forças de autodestruição e autopoiese que engendraram essa experiência e seu modo de existir. Ao longo dos VI Experimentos, a pesquisadora será visitada por uma série de outros silêncios ritualísticos, xamânicos, teatrais, cosmogónicos, existenciais, a-históricos e performativos. Trata-se de silêncios limiares que habitam a encruzilhada entre o mundo dos vivos e dos mortos. Esta pesquisa pretende revelar a potência de afirmação da vida que reside nessa encruzilhada: campo composto pelo embate de forças autodestrutivas e autopoiéticas. Forças estas que, coaguladas nas entranhas da experiência existencial e cênica da pesquisadora, dão à luz modos de experimentar a escrita que deslocam o sentido ordinário das palavras silêncio , dor , vida e morte . Em uma escrita que é ela própria um modo de experimentação, os limites demasiado humanos do corpo e da palavra foram sendo testados, com o intuito de abarcar criação e experiência como processos de dessubjetivação

En quoi la création et l'(auto-)destruction peuvent-elles agir dans un même processus ? Comment un cinéaste, auteur de seulement cinq flms, a-t-il réussi à imposer sa vision esthétique et narrative du cinéma ? Mettant en perspective la vie et l'œuvre de Robert Louis Fosse, dit Bob Fosse, ce travail pose la question du lien qui se crée entre la création et l'(auto-)destruction dans le cinéma fossien. Cette création trouve ses origines dans une forme classique de cinéma et dans l'utilisation de thématiques "populaires". L'(auto-)destruction, quant à elle, offre la nouveauté : elle permet de toujours recréer et de ré-construire. Il se dégage alors une dynamique qui conduit au constat que les deux concepts, la création et l'(auto-)destruction, ont toujours co-existé dans le travail de Bob Fosse. S'opposant à l'idée des esthéticiens spécialisés dans l'étude d'œuvres picturales et cinématographiques, ce travail assume son caractère psychobiographique. Ce procédé apparaît comme le seul, juste et efficace, permettant de mener à bien l'étude de cet artiste qui pensait que vie et spectacle ne faisaient qu'un. / How can creation and (self-)destruction act in a same creative process ? How could a flm director, who made only fve flms, manage to impose his aesthetic and narrative vision of cinema ? Putting into perspective the life and work of Robert Louis Fosse, also named Bob Fosse, this work asks the question about the link that is established between creation and (self-)destruction in Fosse's cinema. Creation fnds its roots in a classical form of movie-making and the use of "popular" themes. (self-)destruction offers novelty : it enables to always re-create and re-construct. Emerges then a dynamic process that leads to establish the fact that both concepts, creation and (self-)destruction, have always co-existed in the work of Bob Fosse. In contrast to critics specialized in the study of pictorial and cinematographic works, this study accepts its psychobiographical character. This way of doing appears as the only just and effcient way of dealing with the study of an artist who thought that life and show made only one.

Le présent travail propose une interprétation psychanalytique de l’œuvre de l’écrivain réaliste allemand Theodor Fontane (1819 1898). À la lumière de la théorie freudienne et des thèses de Béla Grunberger sur le narcissisme, nous montrons ce que sont les ressorts et les enjeux inconscients de la création littéraire, chez cet auteur, laquelle, dans son principe, reproduit le schème de la position fantasmatique régressive que ménageait la grande passion ludique de l’enfant, le jeu de cache cache selon un mode spécifique. Partant du constat de la structure obsessionnelle des romans, notre étude met en évidence, dans un premier livre, l’existence, « sous » la fable sociale récurrente de la liaison amoureuse illicite, sanctionnée (adultère et relations équivalentes), d’un singulier scénario s’articulant autour de la dynamique du « pseudo Œdipe », que décrit Grunberger (procédure d’évitement, à des fins de régression), et du mécanisme de la défense masochique. L’analyse de ce « mythe personnel » (Mauron), comme situation dramatique interne, nous amène à dégager les traits particuliers des éléments constitutifs de la personnalité psychique de Fontane (imagos et instances), puis à établir la genèse de sa position « pseudo œdipienne » et à faire ressortir le rapport qui la lie au processus de création (« rétablissement narcissique »). Les résultats acquis sont passés au révélateur de la vie de l’écrivain. Dans un second livre, nous nous penchons, tour à tour, sur les divers aspects essentiels de l’œuvre, réexaminés sous le nouvel éclairage apporté : fonctionnalité de l’ambivalence, conception du réalisme « poétique » (transfigurateur), recherche de la conciliation des principes contraires, écriture comme la pratique d’un jeu de cache cache (questions du dialogisme, de la stratégie narrative, du symbolisme). La dernière partie est consacrée à l’étude de la problématique cardinale de la régression narcissique, à laquelle tout mène, ici : instrumentalisation du complexe de la faute et de la sanction, à visée autodestructrice, dans une tension vers la mort fantasmée comme le retour à l’état de félicité du séjour au sein originel. / This study offers a psychoanalytical interpretation of the works of Theodor Fontane (1819 1898), the German realist writer. In the light of the Freudian theory and of Béla Grunberger’s theses on narcissism, we show the unconscious motivations which gave rise to this author’s literary creation and what is at stake in this process for him. The act of writing is based here on the principle of reproducing the scheme of the fantastical regressive position which was generated by Fontane’s strong passion as a child for the game of hide and seek, which he played in his own specific way. Considering the obsessive structure of his novels, in our first book we demonstrate the existence — “beneath” the ever present social dictum of the forbidden love affair that is always to be punished (adultery and similar relationships) — of a particular scenario revolving around the dynamic of the “pseudo Oedipus”, as described by Grunberger (avoidance procedure aiming at regression) and the mechanism of masochistic defense. The analysis of this “personal myth” (Mauron), as an inner dramatic situation, leads us, first, to unearth the specific features of the elements which make up Fontane’s psychic personality (imagoes and agencies), and then to establish the genesis of his “pseudo oedipal” position and to highlight its link with the creative process (“narcissistic restoration”). Our results are substantiated through the writers’s biography. In the second book we deal with the essential aspects of Fontane’s work, which we re examine thanks to what we have brought to light: the functionality of ambivalence, the conception of transfigurating “poetic” realism, the attempt to reconcile opposite principles and writing as a game of hide and seek (dialogism, narrative strategy, symbolism). The last part of our study is devoted to the cardinal issue of narcissistic regression to which everything leads: mainly the instrumentation of the complex of guilt and retribution with a self destructing aim in a tropism towards death fantasized as a return to the original state of bliss in the womb.

Abstract In recent years in Finland suicide has been discussed in the context of mental health problems. Together with psychiatric disorders, suicide has been seen as a result of adverse social conditions. Occasionally suicide has even been seen as a public health problem. This interpretation has been justified by Finland’s internationally high suicide rates. The inclusion of suicide in medical and psychiatric discussions as well as the production of scientific data on suicide through medical research have resulted in the widely accepted view of suicide as a medical problem. This thesis examines the history of Finnish medical suicide research and the production of psychiatric knowledge on suicide. Finnish suicide research dates back to the middle of the 19th century, when the conception of suicide as a scientific problem arrived in Finland from Continental Europe and the UK. Suicide remained a crime in the Finnish Penal Code until the early 1890s, but the idea of suicide as a medical, rather than moral, legal or theological issue gradually began to gain ground already in the early 19th century. By decriminalizing suicide the Grand Duchy of Finland followed the example set by the Western European countries. The early Finnish suicide research was linked to the French and the English debates on suicide. The emerging European medical conception of suicide was based on social beliefs, psychiatric discussions and early sociological theories rooted in statistical data. As part of the institutional and intellectual development of psychiatry, Finnish suicide research arrived at a new phase after the Second World War. The conception of suicide as an expression of national character or a product of racial characteristics gave way to a new conceptualization based on psychoanalytically oriented psychiatric research. In the 1970s, social psychiatric research began to look for the social determinants behind the suicide rates. This, in turn, prepared the ground for a nationwide suicide prevention project launched in the late 1980s. This thesis aims to shed light on the historical background of this project. The primary source material consists of documents related to Finnish medical suicide research and the discussion about suicide in medical journals in Finland from 1864 to 1985. / Tiivistelmä Itsemurhasta on Suomessa viime vuosina ja vuosikymmeninä puhuttu mielenterveyden ongelmien yhteydessä. Psykiatristen häiriöiden ohella itsemurhat on nähty yhteiskunnallisten olosuhteiden sairastuttavan vaikutuksen tuloksena. Ajoittain itsemurhista on puhuttu jopa kansanterveysongelmana. Tulkintaa on perusteltu viittaamalla kansainvälisesti ja varsinkin länsimaihin verrattuna korkeisiin itsemurhalukuihin. Pelkkiin lukuihin katsominen ei kuitenkaan riitä jonkin ilmiön leimaamiseen terveysongelmaksi. Tulkinnan syntyminen on edellyttänyt lääketieteellisen tutkimuksen kautta syntynyttä tietoa sekä itsemurhailmiön kytkemistä osaksi lääketieteellistä ja psykiatrista keskustelua. Tässä tutkimuksessa tarkastellaan suomalaisen lääketieteellisen itsemurhatutkimuksen historiaa ja itsemurhia koskevan tiedon tuottamista. Suomalaisen itsemurhatutkimuksen juuret ulottuvat 1800-luvun puoleen väliin, jolloin käsitykset itsemurhasta tieteellisenä ongelmana rantautuivat Suomeen Manner-Euroopasta ja Isosta-Britanniasta. Tulkinta itsemurhasta pikemminkin lääketieteellistä kuin moraalista, juridista tai teologista käsittelyä edellyttävänä ilmiönä alkoi voittaa alaa 1800-luvun kuluessa. Dekriminalisoidessaan itsemurhan 1890-luvulla Suomen suuriruhtinaskunta seurasi Länsi-Euroopan maiden esimerkkiä. Varhainen suomalainen itsemurhatutkimus oli kytköksissä 1800-luvun ranskalaiseen ja englantilaiseen psykiatriseen tutkimukseen, yhteiskunnallisiin teorioihin ja väestötilastotietoihin nojaaviin käsityksiin. Osana psykiatrian institutionaalista ja tieteenhistoriallista kehitystä suomalainen itsemurhatutkimus astui toisen maailmansodan jälkeen uuteen vaiheeseen. Käsitykset itsemurhasta kansanluonteen tai rodullisten piirteiden ilmaisuna väistyivät, kun psykoanalyyttisesti orientoitunut tutkimus alkoi etsiä itsemurhan tiedostamattomia psyykkisiä syitä. 1970-luvulla psykiatrinen itsemurhatutkimus suuntautui yksilön mielen ohella yhteiskunnallisiin taustatekijöihin osana sosiaalipsykiatrista tutkimusta. Näin luotiin pohjaa 1980-luvun lopulla käynnistetylle valtakunnalliselle itsemurhien ehkäisyhankkeelle, jonka tieteenhistoriallista taustaa tämä tutkimus valottaa. Tämän tutkimuksen keskeisimmän lähdeaineiston muodostavat suomalaiset lääketieteellisestä näkökulmasta laaditut itsemurhatutkimukset ja itsemurhia käsitelleet tutkimusartikkelit vuosivälillä 1864–1985.

The purpose of this study is to describe the subjective psychological experience of relapse in cocaine/crack and heroin users with the aim of identifying the significant cognitive, emotional and social themes involved in relapse. A better understanding of relapse may aid in providing more effective treatment for substance users. Both the intra- and interpsychic factors involved in relapse that emerge from the study are viewed from within a broad systems theory approach. In this study, not only the whole system is of relevance, but also the subsystems. Various sub systems are also identified to allow for the recognition of patterns, functions and recursive feedback loops that maintain substance-using behaviour. Due to the qualitative nature of the study, the context surrounding substance abuse and the substance users assumes vital importance. The interrelationships between the various intrapsychic structures, the family unit, the social contexts, the drugs themselves and the physiological aspects of substance abuse are identified. A qualitative research design was applied. In-depth semi-structured interviews were used to gather data from the eight participants, who were crack and heroin users who attended the in-patient rehabilitation programme at Phoenix House. Seven of the participants were still in the in-patient rehabilitation programme at the time of the interview, while one participant was in the aftercare programme. All have been through a rehabilitation process before and were at Phoenix House due to a relapse. A thematic analysis was conducted and the process of analysis settled on eight overall themes. Extensive descriptions of these themes are provided. The discussion highlights the role of relapse in the cycle of self-destruction that constitutes substance abuse, in addition to the role relapse plays in the process of recovery. Connection seems to be the key to breaking the cycle of alienation that users experience. Falling into the trap of rejecting users without looking beyond their behaviour allows them to continue functioning in a way that confirms their view of themselves as unlovable, which, in turn, maintains their behaviour. Although systems theory is an independent approach in its own right, the nature of its view allows for the incorporation of other approaches. Where possible and relevant, other theories are incorporated into the discussion of the results, with the aim of gaining an integrated understanding of the findings of the study within the broader field of substance abuse. / Dissertation (MA (Clinical Psychology))--University of Pretoria, 2005. / Psychology / unrestricted

Ce projet de recherche-création s’applique à analyser le motif de la destruction dans le cinéma extrême. M’intéressant plus particulièrement à une frange underground et «infréquentable» du genre et au lien souterrain unissant celle-ci et l’oeuvre du Marquis de Sade, j’étudierai la façon dont la destruction y est représentée (et épuisée) à travers un passage de la destruction de l’autre à la destruction de soi. La partie écrite de ce mémoire s’accompagne d’un moyen-métrage, Une autre journée (voir Annexe 2) ainsi que d’une installation vidéo préliminaire, Your heart out (voir Annexe 1). / This research-creation project aims to analyse the motif of destruction in extreme cinema. With a specific interest toward an underground and « unacceptable » part of the genre and its unspoken connection to the writings of the Marquis de Sade, I will attempt to show how destruction is represented (and exhausted) therein through a passage from the destruction of others to a destruction of one’s self. The written portion of this thesis is accompagnied by a medium-lenght film, Une autre journée [Another day] (see Annexe 2) as well as a preleminary video installation, Your heart out (see Annexe 1).