The purpose of this thesis is to evaluate the shift of media picture of violent sexual techniques in years 1990-2011 in Czech Republic during the media and society liberalization of new liberal state. Theoretical part of the document is based on the theory of social construction based reality and the media messages construction (gatekeeping, agenda setting, news values). Analysis is based on the Newton Media Search data resource → electronic database collecting publishing material from major media in Czech. 937 articles published between 1998 and 2011 containing keywords were analysed. Quantitative analysis was based on the development of frequency of publication articles with the keywords from BDSM area. Qualitative analysis based on semiotic a discourse analysis was also made to prove the shift of theme media presentation. Powered by TCPDF (www.tcpdf.org)

(in English): The topic of this work is the characteristics of the short stories by Kono Taeko. At first I am presenting the methodology - psychoanalysis. Then, I'm describing her life for better understanding of the use of some typical features. Especially the war and the tuberculosis had influence on her work. Subsequently I present possible interpretation of her stories in term of Shintoism (effort to purify) and Buddhism (achievement of liberation). In interpersonal relations Kono Taeko deals mainly with man- woman relationships and her attitude can be considered feminist. In the most comprehensive chapter concerning masochism I am trying to prove with Freud's theory "The child is being beaten" that her work is masochistic. In the end I am generalizing my findings. This work contains Czech translations of examples of her work and contains 68 pages.

This Master's degree thesis evaluates the change in medial presentation of violet sexual acts in the period between 1996 and 2011. The change is inspected using newspaper articles gathered from the Newton Media Search database. Theoretical work is based on the Theory of Construction of Social Reality and the Mechanism of News Construction (gatekeeping, agenda setting, news values and framing). The analysis was performed on 937 articles published in the period from 1996 to 2011. The change of discourse was nalaysed using two-phase research method. This discourse was evaluated based on many criteria, among them periodicity of articles that focus on violent sexual pratcics. Qualitative analysis was used for trimming the number of relevant articles with hypothesis futher evaluated using quantitative discourse analysis. Powered by TCPDF (www.tcpdf.org)

Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2016-12-01T11:34:30Z No. of bitstreams: 1 Marcelo Bosch Benetti dos Santos.pdf: 1202492 bytes, checksum: 73b7278ddc3267c8d7f3da8bb24cf913 (MD5) / Made available in DSpace on 2016-12-01T11:34:30Z (GMT). No. of bitstreams: 1 Marcelo Bosch Benetti dos Santos.pdf: 1202492 bytes, checksum: 73b7278ddc3267c8d7f3da8bb24cf913 (MD5) Previous issue date: 2016-11-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation has the purpose of shedding light on some of the difficulties found in the analytical process of a case of hysteria, morespecifically on the resistances observed in this process, especially thenegative therapeutic reaction. Considering that the notion of psychological repression and consequently resistance, compose one of thethree conceptual pillars of psychoanalysis, along with the concepts of the unconscious mind (which include sexuality and the Oedipus complex) and transference, in the same manner in which clinical cases are an originating field and worthy of psychoanalytical investigation, clinical cases were used as the main axis for the development of this study. The study fundamentally took place from Freudian writings, to which were added collaborations from psychoanalysts such as Joan Riviere, Benno Rosenberg, Mario Pablo Fuks, Renato Mezan and Silvia Leonor Alonso. During the course of this study, which clearly demonstrated the hysteric organization of the patient, whom I will call Elisabeth, her moral masochism in close association with the oedipal stalemates that acted within her, plus the analyst’s therapeutic ambition established the conditions for the negative therapeutic reaction and the premature termination of the analysis. In the end, inaddition to the Freudian meta-psychological contributions, two perspectives for the understanding of the patient’s negative therapeutic reaction phenomenon were highlighted: a predominantly economic perspective, based on notions of life-guardian masochismanddeadlymasochism according to Benno Rosenberg, and an object perspective basedon some of Luiz Meyer’s considerations regarding the Dora case and Joan Riviere’s theoretical considerations contained in her work, “Those wrecked by success”, of 1936 / Esta dissertação teve como propósito lançar luz sobre algumas dificuldades encontradas no processo analítico de um caso de histeria, mais especificamente sobre as resistências observadas nesse processo, com destaque para a reação terapêutica negativa. Tendo que a noção de recalque e, com efeito, a de resistência compõe um dos três pilares conceituais da psicanálise - juntamente com as noções de inconsciente (no qual se inserem a sexualidade e o complexo de Édipo) e de transferência -, do mesmo modo como a clínica se configura como campo originário e privilegiado de investigação psicanalítica, tomou-se o caso clínico como eixo central de desenvolvimento deste trabalho. A pesquisa ocorreu fundamentalmente a partir dos escritos freudianos, ao que se acrescentou a colaboração de psicanalistas como Joan Riviere, Benno Rosenberg, Mario Pablo Fuks, Renato Mezan e Silvia Leonor Alonso. No percurso deste trabalho, evidenciou-se que a organização histérica da paciente, a qual nomeio por Elisabete, seu masoquismo moral em estreita associação com os impasses edipianos que nela atuava, acrescidos, ainda, pela ambição terapêutica do analista, estabeleceram as condições para a reação terapêutica negativa e a interrupção precoce da análise. Ao final, além das contribuições metapsicológicas freudianas, foram destacadas duas perspectivas para o entendimento do fenômeno de reação terapêutica negativa da paciente: uma perspectiva predominantemente econômica, embasada nas noções de masoquismo guardião da vida e masoquismo mortífero segundo Benno Rosenberg, e uma perspectiva objetal, pautada em algumas considerações de Luiz Meyer a respeito do Caso Dora e nas considerações teóricas de Joan Riviere contidas em seu trabalho “Os arruinados pelo êxito”, de 1936

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This research aims to make evident the importance of films serving as a relevant arena for political struggles within a society, struggles that concern highly important concepts such as the nation and the state. This goal is accomplished by building upon the theory of cinematic nationhood and using the method of relational constructivism combined with insight from Lacanian psychoanalytic theory. The research regards films as forms of communication as well as forms of fantasy. The case this research focuses on is Romania. The case was selected because for a certain period of time the myths of nation and state had been strongly embedded-or nested-- within the social contexts-or commonplaces--specific to Marxism, namely work, equality, and the bourgeois enemy, followed by a swift and radical social discourse change that triggered changes within the topography of commonplaces. The films analyzed represent these changes in order to understand the specific ways in which the myth of nation and state are reflected within films produced during radical economic, social, and political transformations. This research reveals that, despite the social, economic, and political upheavals from the pre- to post-transition eras, the underlying national structure of fantasy remained remarkably unchanged, while the nation and the state changed their social relevance with changes in their position occupied within the structure of fantasy.

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Dans la Recherche du temps perdu, toute relation filiale est une relation où le fils fait inévitablement souffrir sa mère en commettant, selon Proust, une forme de parricide. La lecture des œuvres pré-Recherche de l’auteur, telles la nouvelle « La confession d’une jeune fille » et l’article « Sentiments filiaux d’un parricide » permettent de comprendre cette relation ambigüe, au cœur de laquelle se trouve l’amour incommensurable que ressent le fils pour le parent, un amour si intense qu’il en est étouffant. Dans ces conditions, le parent en vient à symboliser aux yeux de l’enfant la Loi contre laquelle il doit se rebeller à coup de gestes de cruauté. Le fils, s’il est de ceux qui peuvent soutenir la vue de leurs crimes, entre alors dans un cercle vicieux : par sa cruauté, il tue – symboliquement ou réellement – le parent aimé et il en jouit. Suite à ce sadisme, il ressent une insupportable culpabilité qui le mène à une dévotion masochiste encore plus grande pour son parent. Or, par le personnage du narrateur de la Recherche du temps perdu, Proust démontre que la seule manière de se libérer de cette douloureuse culpabilité, c’est l’Art. Le crime ultime qu’est la création excuse les actes de cruauté antérieurs et les justifie même. C’est la seule manière de transformer la souffrance vécue (issue entre autres de la culpabilité d’avoir pris plaisir à faire souffrir un parent aimé) en idées universelles, en œuvre d’art. / In A la recherche du temps perdu, every filial relationship is one where the son inevitably causes his mother suffering by committing, according to Proust, a form of parricide. The writings of Marcel Proust before la Recherche, such as the short story “A young girl’s confession” and the newspaper article “Filial sentiments of a parricide”, allow us to understand this ambiguous relationship, at the heart of which we can find the unmeasured love that the son feels for his parent, a love so intense that it soon becomes suffocating. Under these conditions, the parent comes to symbolize to the child “the moral Law” against which he must rebel, choosing cruelty as his weapon. The son, if he is one of those who can stand the sight of their own crimes, enters then in a vicious cycle: with his daily acts of cruelty, he kills – symbolically or in genuinely – the beloved parent, and he enjoys it. Following this act of sadism, he feels an unbearable guilt that leads him to an even greater masochistic devotion for his parent. Yet, through the character of the narrator of la Recherche, Proust demonstrates that there is indeed one way to free oneself from this painful guilt, and it is through Art. Creation, the ultimate crime, excuses and even justifies any previous acts of cruelty. It is the only way of transforming suffering (resulting among other things, from the guilt of having enjoyed causing a beloved parent any kind of suffering) into universal ideas, into art.

[pt] O presente trabalho procurou investigar, à luz da teoria psicanalítica, algumas práticas consideradas radicais de marcação do corpo, tais como tatuagens, piercings, implantes subcutâneos, escarificações, pocketing, pulling e suspensão. Para tanto, procedeu-se inicialmente a uma exposição do contexto em que tais práticas são abordadas, a cultura de consumo contemporânea, na qual o corpo assume lugar de destaque. Além disto, realizou-se um roteiro histórico das práticas de marcação do corpo e seus usos. Incidindo na superfície do corpo, tais práticas fornecem a este um novo contorno. A delimitação das bordas corporais nos remete à temática da constituição subjetiva, na qual as experiências pele-à-pele delineiam a fronteira entre interno e externo, eu e outro. Na relação com um outro, o corpo é ainda inserido no registro pulsional, configurando-se como um corpo erógeno, marcado por experiências de prazer e desprazer. Se o prazer pode ser encontrado no desprazer e na dor, estabelece-se, então, o masoquismo erógeno, base de todo tipo de masoquismo. Por fim, utilizando-se o masoquismo como instrumento para pensar as marcações do corpo que têm na dor a condição indispensável para sua realização, efetuou-se uma apresentação a seu respeito. A dor, além de ser, no masoquismo, o meio de obter prazer, fornece ao sujeito a percepção dos contornos de seu corpo. Assim, através de práticas dolorosas, o sujeito se encontra em um esforço por delimitar e manter coesas suas fronteiras corporais. / [en] The present study sought to investigate, trough a psychoanalytical perspective, some radical practices of body marking, such as tattoos, piercings, subcutaneous implants, pocketing, pulling and suspension. To do so, it begins by presenting the context in which such practices are approached, the contemporary consuming culture, in which the body occupies a place of prominence. Further on, is presented a historical background of practices of body markings and its uses. Falling upon the surface of the body, these practices provide it a new outline. The delimitation of corporal borders sends us to the subjective constitution theme, in which skin-to-skin experiences delineate the frontier between internal and external, the ego and the other. When relating with another, the body is still inserted in a pulsional register, becoming hence an erogenous body, marked by experiences of pleasure and displeasure. If pleasure can be found in displeasure and pain, the erogenous masochism, originally present in all forms of masochism, is then established. Finally, using the masochism as an instrument to deal with body markings that find in pain the indispensable condition to its realization, a presentation of the theme was made. Pain, besides being, in masochism, a way of obtaining pleasure, supplies the subject the perception of the outline of his body. That way, trough painful practices the subject finds himself in an effort to delimitate and keep tied his bodily borders.

L'œuvre d’Amelia Rosselli entend se dessiner, au sein de la poésie lyrique italienne, comme expérience de subversion du processus de sublimation et de stylisation du corps féminin. A travers la traduction et l’analyse de poèmes choisis contenus dans les recueil Cantilena (1953), La Libellula (1958) et Variazioni belliche (1964), nous avons conduit une tentative d’exégèse critique des textes. L’analyse des poèmes se poursuit à travers une pratique dialogique avec le texte poétique, à partir d'un positionnement critique à l’intérieur du comparatisme féministe.En partant de l'idée pétrarquiste d'élimination et de suppression du corps des femmes nous avons démontré comment la tentative d’apaiser la portée potentiellement dangereuse de l’affection amoureuse a donné lieu au déni de la sensualité. Le langage de la douleur transfigurée se traduit dans une poétique du « dispositif sursensuel », un processus semblable à celui que Gilles Deleuze avait repéré dans la personnalité littéraire de Sacher-Masoch. Le processus de subversion qu’on vient d’évoquer est accompagné du bouleversement des rôles traditionnels au sein du canon poétique européen. Ces déconstructions conduiraient à un rejet du corps organique et au même temps à la révélation d’une subjectivité excentrique. La révision des modèles littéraires du canon passe également par le réécriture d'un ensemble de figures féminines du répertoire mythique et littéraire au sein de l’antiquité gréco-romaine, lesquelles, prélevées de l’imaginaire patriarcal, sont réinterprétées et à nouveau poétisées au sein d'un Sujet poétique qui cherche à faire parler la voix d’une poète femme. / Amelia Rosselli’s work took shape, within Italian lyric poetry, as an experience of subversion of the process of sublimation and of stylisation of the female body. Through the translation and the analysis of the content of poems chosen from the collections Cantilena (1953), La Libellula (1958) and Variazioni belliche (1964), I conducted a critical exegesis of the texts. I performed an analysis according to suggestions of a dialogical practice with the poetical text and with a female subjectivity often hidden, anchored to my critical investment inside feminist comparatism. From petrarchist idea of deletion and “suppression” of women’s body – deletion, of which Pasolini talked already in relation to the genesis of Italian poetry and its characterisation of the lyrical canon – I analysed how the attempt to ease the impact potentially dangerous of love affection has caused the denial of sensuality. The language of camouflaged sorrow is then established as a deliberated choice included in some poetics where it is not the statement that reveals, but the poetical word, which in its cryptic canonical measure, is able to make resonate beyond declarations. We can observe the deployment of a “sursensual device”, similar process to what Gilles Deleuze perceived in Sacher-Masoch's literary personality. The process of subversion does not seem a reconstitution of identity roles, but rather a deconstruction of the traditional model. The starting point for the analysis of those deconstructions is based on the hypothesis that the non-functionality of the desiring organisms (desiring subject and desired object) will lead to a reject of the organic and at the same time to a revelation of an eccentric subjectivity. The revision of the literary model of the canon lies in the hypothesis that a set of female figures of the mythical and literary repertoire in Greco-Roman antiquity are placed in the imaginary practice of Amelia Rosselli's poetical writing, with a view to incorporate the nature of the characters born and conceived inside and by the patriarchal imaginary and to form the body of a subject that aims at making them speak through the voice of a female poet.