O tema desenvolvido nesta tese dá seguimento àquele já tratado na dissertação de mestrado. Naquela ocasião, ao discutir o narcisismo em Freud e Lacan, mostrei como a partir de Lacan, mas desde Freud, não se pode falar de imaginário a não ser numa relação ao simbólico. Isto porque não há autonomia ao nível imaginário mas ao nível simbólico. Para tratar e situar o fantasma na direção da análise é preciso fazê-lo à luz da topologiana lacaniana, isto é, do real, do simbólico e do imaginário. Lacan vai retomar a superação da primeira teoria das pulsões (sexuais e de autoconservação) em Freud e sua elaboração da segunda teoria das pulsões (vida e morte) para, através da pulsão de morte, que opera como fundamento da repetição, mostrar a dimensão real do gozo. A partir desta articulação é que será possível tratar a dimensão do sintoma e sua relação ao fantasma na direção da análise. Se de um lado o fantasma é o suporte do desejo, por outro lado ele é ponto de gozo; assim é um articulador de desejo e gozo na direção da análise. É através da posição do sujeito no fantasma que teremos uma leitura da estratégia de desejo e da modalidade de gozo. Se o sintoma é interpretado, o fantasma é construído em análise / The subject developed in this thesis follows the one already treated in master´s degree. In that occasion, discussing narcissism in Freud and Lacan, I showed how from Lacan, but since Freud, it is not possible to talk about imaginary without relation to symbolic. To deal and to place the phantasm in the direction of the psychoanalytic it is necessary to do it through of the psychoanalysis it is necessary to do it through lacanien topology real, symbolic and imaginary. Lacan retakes the overcoming of Freud´s first instinct theory (sexual and self conservation) and his elaboration of second´s instinct theory (life and death) for, through instinct of death, that operates as basis for repetition to show the real dimension for joy (jouissance). From this articulation it will be possible to treat the dimension of symptom and its relation to phantasm in the direction of psychoanalysis. On the one side the phantasm is the support for the desire, on the other it is point of joy (jouissance); so it is an articulation between desire and joy (jouissance) in the direction of psychoanalysis. It is through the position of the subject in the phantasm that we can have one lecture of the desire´s strategy and the joy´s modality. If the symptom is interpreted, the phantasm is builded in psychoanalysis. The traverssing of the phantasm implicates in the building of the fundamental phantasm, point axiomatic in the subject´s structure

Made available in DSpace on 2016-04-28T20:38:55Z (GMT). No. of bitstreams: 1 Rodrigo Otavio Fonseca.pdf: 1560842 bytes, checksum: e0d40ea21bb1df11f87252c0e82b5dd0 (MD5) Previous issue date: 2014-08-15 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Psicose was always, for Freud, a fenomenom which symptoms were certainly proportional to the radicalism of the defense mechanisms which are busy with it. Among the possibilities of searching a metapsycological unterstanding, Freud thinks about a more primitive and radical mechanism than the repression, which could work decisively to cause psychosis. Considering an hallucinatory incident that was lived by Ergei Pankejeff, The Wolves Man, Freud calls this mechanism as rejection (Verwerfung). Without a systematic continuity of the research on psychosis, new heirs to the Master developed new ideas not only about psychosis but also about its psycological operation. That s what happened to the psychiatries Wilfred R. Bion and Jacques Lacan. Even if they are from different schools of thought and have different traditions, both consider the diversity of the psychotic categories (Bion with schizophrenia and Lacan with paranoia) to develop their systems of the psychoanalytic thought abou the theme. The originality and the diversity of their ideas make the authors have particular view points about the psychic mechanisms of psychosis; by the way, even withou a dialogue between them, some of their propositions can be considered very similar. The objective of this study is to consider mainly the concept of the defense mechanism called rejection (Verwerfung) e its connections between Wilfred Bion s and Jacques Lacan s thoughts abou their role on the constitution of the psychic system / A psicose sempre foi, aos olhos de Freud, um fenômeno cuja peculiaridade dos sintomas era certamente proporcional à radicalidade dos mecanimos de defesa nele envolvidos. Dentre as possibilidades de buscar um entendimento metapsicológico, Freud lança mão da idéia de um mecanismo mais primitivo e radical que o recalque, e que funcionaria de maneira decisiva no desencadeamento da psicose. A despeito de um episódio alucinatório vivido por Ergei Pankejeff, o Homem dos Lobos, Freud nomeia esse mecanismo de rejeição (Verwerfung). Sem uma continuidade mais sistemática nas investigações sobre as psicoses, novos herdeiros do Mestre desenvolveram novas idéias não só a respeito da psicose como também do seu funcionamento psíquico. Foi assim com os psiquiatras Wilfred R. Bion e Jacques Lacan. De Escolas e tradições psicanalíticas diferentes, ambos os autores partem da diversidade dos quadros psicóticos (Bion com as esquizofrenias e Lacan com as paranóias) para desenvolverem seus sistemas de pensamento psicanalítico sobre o tema. A originalidade e diversidade de suas idéias faz com que os autores busquem pontos de vista muito particulares acerca dos mecanimos psiquicos da psicose; entretanto, mesmo sem um dialógo entre eles, algumas de suas proposições podem ser consideradas bem semelhantes. O objetivo desse estudo parte principalmente do conceito do mecanismo de defesa chamado rejeição (Verwerfung) e dos seus entrelaçamentos com os pensametos de Wilfred Bion e Jacques Lacan sobre seu papel na constituição do aparelho psíquico

<p>This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.</p>

<p>This essay examines the love affair between the two main characters of Rut Hillarp’s novel Sindhia. It draws attention to the schism between the Surrealist version of love as an extatic-religious fusion of the sexes – that in a way marks the relationship – and the yet remarkable coolness between the two lovers.</p><p>With the theories of French psychoanalyst Jacques Lacan, I will show how the man and the woman project their unrealistic individual fantasies on each other, thus rendering impossible the Surrealist Meeting, with its road to an absolute reality. The Surrealist "l’amour fou", I will argue, is trapped in the ritualized "l’amor interruptus"; a lacanian term for a certain kind of love that wishes to conceal the fact that desire will never find its object. It does so by pretending that the object would be found if only love had been consummated (thus the reason love is never consummated, since, as Lacan puts it, the object, or the Thing, is never to be found).</p><p>I will, in brief, argue that the love affair depicted in the novel in different ways tries to deal with the “lack-of-being” that marks the subject according to Lacan; the absolute distance to the desirable Thing.</p>

This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.

Thomas Pynchon’s novel, The Crying of Lot 49, details Oedipa Maas’ quest to unearth a possibly centuries-old clandestine mail system, the Trystero. Oedipa is immersed in notions of sociality and she must navigate the social landscape, searching for clues as to the existence of the social system. In her quest she assumes the role of a detective who searches for meaning, as she looks for clues and questions others who might potentially be privy to the secrets of the Trystero. She necessarily performs the process of symbolic exchange with those she encounters in an attempt at ascertaining some greater meaning within the world that she thinks might lie behind the Trystero. In this, the nature of the circulation of meaning is revealed as a cultural construct.

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This essay examines the love affair between the two main characters of Rut Hillarp’s novel Sindhia. It draws attention to the schism between the Surrealist version of love as an extatic-religious fusion of the sexes – that in a way marks the relationship – and the yet remarkable coolness between the two lovers. With the theories of French psychoanalyst Jacques Lacan, I will show how the man and the woman project their unrealistic individual fantasies on each other, thus rendering impossible the Surrealist Meeting, with its road to an absolute reality. The Surrealist "l’amour fou", I will argue, is trapped in the ritualized "l’amor interruptus"; a lacanian term for a certain kind of love that wishes to conceal the fact that desire will never find its object. It does so by pretending that the object would be found if only love had been consummated (thus the reason love is never consummated, since, as Lacan puts it, the object, or the Thing, is never to be found). I will, in brief, argue that the love affair depicted in the novel in different ways tries to deal with the “lack-of-being” that marks the subject according to Lacan; the absolute distance to the desirable Thing.

Thomas Pynchon’s novel, The Crying of Lot 49, details Oedipa Maas’ quest to unearth a possibly centuries-old clandestine mail system, the Trystero. Oedipa is immersed in notions of sociality and she must navigate the social landscape, searching for clues as to the existence of the social system. In her quest she assumes the role of a detective who searches for meaning, as she looks for clues and questions others who might potentially be privy to the secrets of the Trystero. She necessarily performs the process of symbolic exchange with those she encounters in an attempt at ascertaining some greater meaning within the world that she thinks might lie behind the Trystero. In this, the nature of the circulation of meaning is revealed as a cultural construct.

[pt] Essa tese demonstra o retorno a Freud efetuado por Jacques Lacan e a importância de Sigmund Freud no ensino de Lacan. Esse retorno toma por referência três versões sucessivas: mítica, discursiva e topológica no ensino de Lacan. Demonstra como Lacan produziu o R.S.I. e com isso ele praticou uma apresentação do freudismo que se desenha matematicamente na manipulação mesma das letras, traçando o que – sob o nome de letra como instância no inconsciente – pode se desdobrar matematicamente nos três registros do simbólico, do imaginário e do real. O retorno a Freud efetuado por Lacan tanto proporcionou a formalização dos três registros Real, Simbólico e Imaginário, já presentes em Freud, quanto a concepção lacaniana da função do real, tão necessária para refletir sobre os impasses frente ao discurso analítico. / [fr] Cette thèse démontre le retour à Freud effectué par Jacques Lacan et l importance de Sigmund Freud dans l enseignement de Lacan. Ce retour est basé sur trois versions successives, la mythique, la discursive et la topologique dans l enseignement de Lacan. Elle démontre comme Lacan a produit le R.S.I., avec quoi il a fait une présentation du freudisme qui se dessine mathématiquement dans la propre manipulation des lettres, et il a tracé – sous le nom de lettre comme instance dans l inconscient – ce qui peut se déplier mathématiquement dans les trois registres du Symbolique, de l Imaginaire e du Réel. Le retour à Freud effectué par Lacan a procuré autant la formalisation des trois registres du Réel, du Symbolique et de l Imaginaire – déjà présents chez Freud – que la conception lacanienne de la fonction du réel, tellement nécessaire pour réfléchir aux impasses devant le discours analytique.