Doctor en filosofía con mención en estética y teoría del arte / Esta es una investigación en torno al sujeto y la alteridad, y lo que se deriva de esa relación respecto a la noción de experiencia, tal como se la puede comprender en la perspectiva abierta por Freud. Por otro lado, reconocemos que lo anterior son temáticas recurrentes en la reflexión filosófica moderna, encontrando un desarrollo singular en el corpus freudiano. En ese sentido, la noción de experiencia nos entregará valiosos hallazgos sobre diversos dilemas modernos, no sólo respecto a una nueva consideración del sujeto, sino además, sobre las relaciones complejas entre subjetividad y una noción de alteridad “heterónoma”, perspectiva que no ha sido puesta al descubierto en las lecturas más clásicas de Freud, y que este trabajo se propone develar.

The aim of this study was to describe and critically explore the psychoanalytic, psychotherapist's lived experience of the technique of using the couch. Through examination of the literature a question was formulated that would disclose the analyst's experience of the technique of using the couch. Four experienced psychoanalytic practitioners who could be operationally defined as 'analysts' were interviewed. Using a phenomenological method the protocols were comprehensively analyzed to produce descriptions of the general structure of the experience. These were then texturally enhanced using interleaved direct citations from the interviews. The structural and textural 'findings ' so produced were then hermeneutically dialogued with contemporary psychoanalytic notions of critical discourse and intersubjectivity. The phenomenological ' findings ' of the study disclosed the meaning of the couch as context-based, paradoxical and ambiguous. The couch was found to be a symbol of the analyst as analyst and the process as authentic analysis. Furthermore, at its best, the couch was found to mediate a mode of being that is containing and intimate and in which psychological life may be evoked, tracked and interpreted. The most significant contributor to this mode of being was found to be privacy, which, in particular, helps the analyst maintain an analytic attitude. The couch was also found to be significantly implicated in the generation of an intersubjective analytic third and to support reverie. These 'findings' were hermeneutically dialogued with literature on the couch as well as contemporary psychoanalytic theoretical notions. The dialogue fell into three foci. The first focus entailed deconstructing the meaning of the couch as context-based and ambiguous and not essential. The second pursued critiques of the role that the couch plays in domination, of its function as a symbol/evocative object and of the way in which it shapes being-together, bodily attunement, privacy, the intersubjective analytic third and reverie. Finally the 'findings' were critically examined in terms of both Lacan's notion 'analytic discourse ' and its role in revealing/concealing the analysand as subject. The study concludes with an examination of its own limitations and suggestions for further research.

Cette thèse vise à explorer l’apport de la psychanalyse freudienne à la pensée politique. En abordant la réalité sociale et politique selon cette perspective psychologique, on peut concevoir qu’il y a des facteurs inconscients ainsi que conscients à la base du lien social. Il s’agit notamment du renoncement pulsionnel qui perpétue un conflit psychique inconscient et rend possible la cohésion sociale d’une part, et de l’identification ou renforcement du moi conscient afin de surmonter et dédommager ce conflit psychique tout en renforçant cette cohésion d’autre part. Après avoir mis en rapport les perspectives de P. Roazen, H. Marcuse et B. Bergen sur le lien social à partir des notions freudiennes, cette thèse défend une conception du moi comme finalité du lien social, et ce, sans pour autant aller à l’encontre de l’attitude introspective initiée par Freud.

Orientador: Luiz Roberto Monzani / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T16:16:23Z (GMT). No. of bitstreams: 1 Caneppele_Alessandra_D.pdf: 642253 bytes, checksum: d1625a306aa44314015be45b3db30a4a (MD5) Previous issue date: 2003 / Resumo: O presente trabalho investiga as possibilidades de uma articulação final para as concepções de angústia desenvolvidas na obra de S. Freud. Para tanto, sustenta-se sobre a leitura de Abriss der Psychanalyse, texto que, ao abordar em um único momento a mais ampla gama de aspectos da teoria freudiana, permitiria a discussão concomitante sobre três elementos concorrentes na formação de seu saber sobre esse afeto, a saber, corpo, consciência e perigo / Abstract:This text investigates the possibilities of a final articulation of the conceptions of anxiety elaborated in the work of S. Freud. For that, it rests on a reading of Abriss der Psychanalyse, a text that, approaching at a single moment the broader range of aspects of the freudian theory, allows a concomitant discussion over three concurrent elements in the building up of its knowledge of that affect: body, consciousness and danger / Doutorado / Filosofia / Doutor em Filosofia

I den här uppsatsen står den tredje boken om Harry Potter, The Prisoner of Azkaban, i fokus. Analysen fokuserar på vilka exempel på det kusliga som förekommer i boken och vilken funktion dessa element får i boken. Detta undersöks främst utifrån Freuds teori om det kusliga (unheimlich). Exempel på det kusliga återfinns både i miljöerna, animerade objekt, magiska varelser och några av karaktärerna. De kusligaste elementen i boken hämtar främst sin kuslighet från nära kopplingar till döden eller de dödas återkomst, bland annat både Dementorerna och Sirius Black, men även osäkerhet spelar en viktig roll i uppbyggnaden av kusliga element. Däremot blir de magiska objekten aldrig kusliga i samma omfattning i och med att deras oväntade beteende blir en viktig del i förmedlandet av en magisk miljö. / This essay focuses on the uncanny in the third Harry Potter book, The Prisoner of Azkaban, and the effects of such elements. Freud’s theory of the uncanny (unheimlich) is used throughout the essay to establish the uncanny elements in the book and their effect. Examples of the uncanny can be found in the environment, animated objects, magical beings and some of the characters. The elements with a high uncanniness are foremost related to death or the return of the dead, this includes both the Dementors and Sirius Black, but the element of uncertainty also plays an important role in creating an uncanny feeling. The magical objects do not reach the same level of uncanniness, mostly because they play an important part in the creation of the magical world.

In this essay, I document and reflect on a process of creating a twenty-minute performance called That Time I Swam in a Storage Room (2021), with dreams as its source material. The essay is written in the form of a series of log-book-like entries, which offer an insight into how the work developed throughout each week during the nine-week working period. The process described in this essay, is centred around individual explorations, through reading and try-outs, as well as studio-sessions together with a four-person working group consisting of Ane Carlsen, Anton Hedevang, Jane Sievänen and Heta Asikainen. In the essay, I give an account of how the explorations are executed; by using tools and methods derived from Dadaists and Surrealist art movements, such as the cut-up technique and automatic writing. Fragments of methods from other thinkers and psychoanalysts are also applied in order to harvest dream-images and further work with the content of the dreams, such as Sigmund Freud’s dream interpretation and Carl Jung’s active imagination. The essay ends with reflections on the process of creating the performance. / <p>This master work includes both a performing and a written part. </p>

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- ABSTRACT - THE LADIES AND THE WOMEN An Exploration into Faulkner’s Rhetoric of Female Hood Caroline V. Jauch, B.A in French and English languages and literatures, Université de Genève, Switzerland With his novels, Faulkner takes us on a journey to the South. He invites us into his character’s surroundings, homes, landscape, smells and especially into their hearts and minds. His portrayals of the white and black people that populate the South, his acute sense of observation regarding their external and internal dialogue, as well as his unique narrative style, all contribute to making him into a reliable witness of the deep issues that plagued America then and are still hurting the nation today as social, racial and gender based challenges daily defy the collective consciousness, raising issues of equality pertaining specifically to blacks and women. In my opinion, Faulkner was a visionary, sensing already, in the years he writes his novels that much of America’s problem was, is, and would for a long time to come, be racism. Yet, one other important aspect of Faulkner’s writing that is pertinent in his characterization of the oppressed is his portrayal of the different female characters that populate his novels. The reason this is coming up in parallel with the issue of race is because the fight for gender and race equality have similar characteristics and that the struggle women endure every day for equal treatment is in many ways similar to the pains, stereotyping and stigmatization that black people go through for the same goal. This fact was already addressed by Simone de Beauvoir in her famous work The Second Sex where she claims that the obstacles women faced regarding their emancipation were in many ways similar to those black people faced for the same goal. Keeping this in mind, the idea in this research is to observe Faulkner’s heroines from the specific angle where their stories intersect with black people’s narratives of oppression. Not to prove De Beauvoir (or anyone) right, but because it is an angle from which not much criticism has stemmed so far and I believe that, especially in Faulkner’s oeuvre, there are a lot of meeting points regarding the problems that these two oppressed groups face. In his depictions of women, Faulkner avoids categorizing: no two characters are alike or stigmatized in any way. His female characters are sincere, honest and pathetic yet they all escape stereotyping. This does not mean that critics have not tried to organize Faulkner’s women and ladies into specific archetypes. There has been much criticism and analysis of Faulkner over the years, and it is interesting to observe the evolution of such discourse as it plays out against the backdrop of the different political and moral fluctuations of time. A lot has been said about Faulkner: He has been hailed as a misogynist, and even as a white supremacist, by literary critics that mainly identified with his characters’ views and one must be discriminating while engaging with such material. Yet, the feminist literary criticism on his characterization of women is quite homogenous, suggesting that his portrayal of the female sex is consistent and definitely deserving of an analysis, as the amount of criticism on the subject has already proved. In this research, I will engage with feminist theory and criticism as well as with critical race feminism, including the concept of “intersectionality” as coined by Kimberlé Crenshaw and I will separate the “ladies” from the “women” in an effort to give each the same amount of attention. As the scope of this work is limited, I will not be able to go in depth with as many characters as I would like. Therefore, my analysis will focus principally on Drusilla Hawk for the ladies, Dilsey Gibson for the women and Clytie Sutpen regarding the theme of family dynamics. These characters will be looked at in context and along with the other characters that appear in their respective novels and who, through their interactions with them, help define their discourses. I will address more generally other characters such as Caddy Compson, Temple Drake, Eula Varner and Granny Millard and include as many others as I can in my discussion as far as they are relevant to my arguments. This thesis will start with an overview of Faulkner criticism in context, which will lead me into a discussion on feminism and race. I will then develop a chapter on the ladies, a chapter on the women and a chapter on family dynamics in Faulkner’s work. Hoping to offer the rounded argument that, by his intricate portrayals of the different victories and defeats the females evolving in his novels go through, with his southern belles inching their way out of their hoop skirts and his earth-women poetically assimilated to the elements, Faulkner was actually giving women a voice.

Spectral Evidence is a collection of poems that instigates a variety of omens, signs, divinations, and folktales to explore the concept of wish fulfillment. They arise in obedience to the compulsion to repeat past dramas brought on by failed love, the nostalgia of childhood, the damning legacy of language, the restriction of gender roles, death, etc. In order to quell these anxieties, the speaker looks beyond the self to both history and mythology, often invented mythologies as an attempt to control or recast the story-to give shape to the obscurities of life by creating a system of belief in order to forge meaning or confuse oneself into believing. In many ways this collection is all about belief or in wanting to believe. Through language, God is written into existence. God is the name of the blanket we put over the mystery to give it shape. Here, in this collection, God is an ant's egg. a cherry pit, a colony of white moths, a severed hand, the color red, a little bird. This collection explores these vehicles of meaning, the words that provide the shell of meaning, and the power of invention in hopes to gain control over what is deemed uncontrollable. While the speaker may be casting omens as "pre-ordained" entities outside of her power, it is her convictions in these signs that her own psychological and associative link between their meaning and their appearance that she conjures and creates because the existing systems of language, religion, and belief do not serve her. This creation is what is powerful. It is healing. It is birth. It is not involuntary wish fulfillment. It is the deliberative satisfaction of desire-on of the most insurrectionary acts a woman can execute.

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