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[pt] Desde que o conceito de luto foi tomado como objeto de estudo pela psicanálise, há uma tendência a pensá-lo somente enquanto capacidade de vivenciar e superar as perdas por que se passa durante a vida. No entanto, ampliações teóricas nos permitem conceber também o seu importante papel no processo de desenvolvimento desde os primeiros momentos da vida de um indivíduo. Partindo do conceito de luto fundamental e de sua vivência na primeira infância, promovemos uma reflexão psicanalítica sobre as perdas e o processo de luto, abordando ainda sua inter-relação com a possibilidade de elaborar os lutos por perdas na vida adulta. A partir de Freud e sua metáfora da sombra em Luto e Melancolia, propomos um entendimento de como o objeto perdido pode tanto sufocar o ego com sua sombra ou enriquecê-lo com sua luz. Para isso, retomamos os conceitos de introjeção e incorporação, diferenciando-os, e mostramos que, enquanto os processos introjetivos estão ligados à elaboração satisfatória do luto, a incorporação estaria mais ligada a processos menos saudáveis. Por fim, discute-se a questão do acting out no caso de pacientes graves que podem fazer uma escolha inconsciente por compartilhar do mesmo destino do objeto perdido diante da impossibilidade de elaboração de uma perda. Tal escolha pode se traduzir no engajamento em comportamentos compulsivos, situações de risco e/ou autodestrutivas, além de formas diretas e indiretas de suicídio. Neste sentido, são apresentados fragmentos de casos clínicos – as histórias de vida e de morte – para ilustrar algumas dessas situações. / [en] Since the concept of mourning has been taken as the object of study by psychoanalysis, there is a tendency to think as only as a capacity to experience and overcome the losses that occur during life. However, theoretical extensions allow us to also conceive of its important role in the development process from the earliest moments of an individual s life. Starting from the concept of fundamental mourning and its experience in early childhood, we promote a psychoanalytic reflection on the losses and the process of mourning, also addressing its interrelationship with the possibility of elaborating the mourning for losses in adult life. From Freud and his metaphor of the shadow in Mourning and Melancholy, we propose an understanding of how the lost object can either suffocate the ego with its shadow or enrich it with its light. In order to do so, we return to the concepts of introjection and incorporation, differentiating them, and we show that while the introjective processes are linked to the satisfactory elaboration of mourning, the incorporation would be more related to less healthy processes. Finally, the issue of acting out is discussed in the case of severe patients who may make an unconscious choice by sharing the same fate of the lost object in the face of the impossibility of drawing a loss. Such choice can be translated into engaging in compulsive behaviors, risky and or self-destructive situations, as well as direct and indirect forms of suicide. In this sense, fragments of clinical cases – the life and death stories – are presented to illustrate some of these situations.

[pt] A dissertação discute políticas de memória e luto em face da violência anti-negro em uma perspectiva transnacional, visando compreender as formas como elas ocorrem na diáspora negra e voltando o olhar ao Estado Brasileiro. Para isso, tenho como centralidade familiares que perderam seus filhos para a violência policial, dando um foco especial para as mães dos movimentos de mães contra a violência, e a partir dos seus relatos discuto a forma como as famílias são afetadas e lidam com o trauma da violência racial. O objetivo geral é compreender como em face ao luto e ao trauma os familiares se tornam ativistas e se engajam numa luta por justiça e memória. A vista disso, realizo um estudo de caso sobre o memorial da Chacina do Jacarezinho, onde são discutidas as (im)possobilidades de luto e memória, bem como as disputas políticas inscritas na sua construção e destruição. / [en] The dissertation discusses memory and mourning policies in the face of anti-black violence from a transnational perspective, addressing the ways in which they occur in the black diaspora and returning the gaze to the Brazilian State. For this, I focus on families who lost their children to police violence, giving a special focus to mothers from mothers movements against violence, and based on their reports, I discuss the way in which families are affected and deal with the trauma of racial violence. The general objective is to understand how, in the face of grief and trauma, family members become activists and engage in a fight for justice and memory. Thus, we carried out a case study on the Jacarezinho Mass memorial, where the (im)possibilities of mourning and memory are discussed, as well as the political disputes involved in its construction and destruction.

No abstract added / African Languages / M.A. (African Languages)

À partir de fragments décousus, de morceaux du passé, du présent et même de rêves d’avenir, la narratrice du récit Les rubans bleus réfléchit sur la signification de femmes qu’elle a côtoyées durant sa vie. Elle tente ainsi de recoudre la lignée dont elle est issue et de tisser une histoire qui restera effilochée. Les diverses femmes rencontrées structurent ce récit rapiécé qui, comme une courtepointe, va rassembler de façon hétéroclite les souvenirs d’un « je ». Dans le récit Ma mère et Gainsbourg de Diane-Monique Daviau, le motif omniprésent de la robe constitue une enveloppe psychique qui permet une continuité imaginaire entre la mère et la fille, la narratrice. Cette robe, nous dit cette dernière, est trouée, et la reprise tout au long du récit de ce motif préfigure l’absence ressentie par la fille devant le deuil à faire de sa mère. Les nombreux trous à la robe, que la narratrice met en évidence, se lisent comme des manques et des silences entre la mère et la fille. Ces accrocs à la robe marquent l’identité de cette dernière et fondent cet « héritage-fardeau » qu’elle porte et dont elle témoigne dans le livre. Par l’écriture, la narratrice nous convie à un patient travail de deuil (Anzieu, Delvaux, Green, Harel). Celui-ci s’offre comme un assemblage de fils servant à recoudre les diffé-rents morceaux de sa vie qui lui permettront de mieux reconstituer la figure de cette mère-absente, et, par là même, sa propre identité. C’est donc à la manière d’un patchwork qu’elle lie entre eux des souvenirs d’enfance, des rêves et des réflexions portant sur la perte et le manque. Ceux-ci donneront forme à son texte, cette robe d’endeuillée. / Using unwoven fragments, pieces of the past, of the present and even dreams for the future, Les rubans bleus’s narrator reflects on the meaning of the different women in her life. Thus, she attemps to sew the lineage from which she came and to weed a story that will stay frayed. The different women encountered structure the reattached narrative, bringing together like a quilt, in a heterogenous manner, the memories of an “I”. In the narrative Ma mère et Gainsbourg by Diane-Monique Daviau, the omnipresent pattern of the dress constitutes an envelop for the psyche that allows an imaginary continuum between a mother and a daughter, the narrator. She describes this dress as having holes in it. The reoccurence of this dress in the text prefigures the absence that is felt by the daughter as she mourns her mother. The narrator puts forth the many holes in the dress through gaps which read like silences and emptiness between the mother and daughter. These snags in the dress imprinted on the narrator’s identity and founded a “burdon-heritage” that the narrator wears, and shares in her book. With her writing, she invites the reader to a slow passage through the mourning process (Anzieu, Delvaux, Green, Harel). The latter presents itself as the thread with which the narrator will sew the pieces of her life together, which in turn will allow for a better fit pertaining to the figure of the absent-mother, and from there, to her own identity. Hence, the narrator ties together childhood memories, dreams and reflections about loss and emptiness, like a patchwork, giving form to her text, that of a mourning dress.

Dans Mortuaires, une pièce de théâtre en fragments, deux soeurs se rencontrent dans une chambre d'hôtel; Jiji, la plus vieille, vient de retrouver les cendres de leur mère, morte dix ans auparavant; elle voudrait enterrer l'urne définitivement, alors que la plus jeune, Ge, tient à la garder près d'elle. Ce sera l'occasion pour les soeurs de faire valoir leur propre désir et de célébrer la morte, de reprendre contact avec ce qui reste d'elle dans leur mémoire. Le texte se présente sous forme de mini-scènes sans continuité, bien qu’étant toutes reliées, comme un dialogue interrompu, une cérémonie rejouant la mise en pièces du corps. La fragmentation de la mémoire constitue le projet esthétique de la pièce, dont le ressort dramatique tourne autour du souvenir endeuillé et du corps mort. La mort-vivance comme motif d'écriture dans « Aurélia » de Gérard de Nerval est un essai portant sur le rapport qu'entretient Nerval avec les morts dans le récit, ceux-ci constituant son moteur d'écriture. Au moyen de théories telles que la psychanalyse (Freud, Jackson), la sociologie (Muray) et la théorie de la lecture (Picard), il sera démontré que Nerval, dans Aurélia, se fait spirite en faisant revenir les morts au moyen du rêve. L'écriture se pose comme un lieu de rencontre entre les vivants et les morts, un espace dans lequel chacun doit se faire mort-vivant pour aller retrouver l'autre. Les frontières se brouillent et il devient difficile pour Nerval, ainsi que pour le lecteur, de distinguer le rêve de la réalité. / In Mortuaires, a drama in fragments, two sisters meet in a hotel room; Jiji, the oldest, has just found their mother's ashes, dead 10 years ago; she would like to bury the urn, but the youngest, Ge, intends to keep it. It will be the occasion for them to emphasize on their own desire and, much more, to celebrate the dead mother, to reconnect with what remains of her in their memory. The text presents small scenes without continuity, although linked, like an interrupted dialogue, a ceremony replaying the body's breaking into pieces. The memory's fragmentation is the esthetic project of the drama, whose basic dramatic's spring turns around remembering, mourning, and the place of the dead body. La mort-vivance comme motif d'écriture dans « Aurélia » de Gérard de Nerval is an essay studying the connexion between Nerval and the dead ones. In the story, these ones are very important in the process of writing. Using theories such as psychoanalysis (Freud, Jackson), sociology (Muray) and reading theory (Picard), it will be shown that Nerval, in Aurélia, is a medium and tries to take the dead ones back through dream. The writing of his dreams creates for Nerval a place where the living and the dead ones can meet, a place where everyone has to become a living dead to be in contact with others. In that way, boundaries are blurring and it becomes increasingly hard for Nerval, as for the reader, to distinguish dream from reality.

This thesis describes the life of a family with a dying child. The objective of the thesis is to describe the experience of its members after the diagnosis has been decided, during treatment and after the child's decease. It discusses the phases of going through the disease and death of one's own child for the parents and other close persons and how such a critical event in a family's life changes its values and attitudes. The theoretical part of this thesis deals with experiencing of all stages of the child's disease by their closest persons and with the psychology of the ill child. In this context, it briefly describes the history and idea of care of the incurably ill and the possibility of family support provided by non- governmental organizations. The practical part of the thesis contains the findings of the qualitative research conducted using the phenomenology approach on how the parents supported the child in the terminal stage of their disease, what they went through during this difficult time of life and how they remember that time after certain time has elapsed. Respondents include the parents or closest persons of children aged over one year that deceased as a result of a malignant disease.

My diploma thesis is called The Palliative Care of Dying People with Intellectual Disabilities in Sheltered Housing. The purpose of the text is to create an overview study of palliative care about dying people with mental disabilities. The reason why I have decided to focus on such a relevant issue is a wide shortage of information in Czech Republic compared to other countries. People with mental disabilities nowadays tend to live longer and the question of palliative care for them is crucial. My thesis is divided into six main sections. In the first section I talk about the ethics dilemma of palliative care. By ethics dilemma I mean problems that are needed to be dealt with in palliative care. One of them is the decision if it is adequate to die in an institution or in a home environment. In this section for instance it is described if it is necessarily to tell the truth the patients about their health conditions. The text is also referring to the medical advances comparing to quality of life of dying people. I also describe what the quality of life means to people and how to reach the highest level of quality of life in palliative care. In the second part of my thesis I describe the social, health and other services which are suitable for dying people and their relatives. Most of the named...

This essay examines Jonathan Safran Foer’s Extremely Loud and Incredibly Close through an application of a theoretical framework of trauma studies, aiming to showcase the elements of personal trauma displayed in the novel. Moreover, it wishes to discern the mental and physical sufferings and working through of the trauma through a thematic analysis aimed at the concepts of loss, vicarious trauma and isolation. The study’s results indicate that trauma is inexplicably linked to the individual, demonstrating that prior trauma has a substantial impact on how one deals with more recent trauma. They also suggest that it is impossible to distinguish between first-hand trauma and second-hand trauma, instead focusing on the term vicarious trauma to describe the elements of personal trauma in a better way. Although Extremely Loud and Incredibly Close is a work of fiction, this essay argues that it is valid in its portraying of trauma as it showcases the complex nature of trauma and its different aspects. In terms of the pedagogical implications of trauma, the essay suggests ways in which one can utilize and address fictional works in the Swedish EFL classroom supported by suggestions articulated by the Swedish National Agency for Education. It is done by raising students’ awareness for the elements of personal trauma, while at the same time improving their all-round communicative skills enabling them to discuss these issues at length.

La littérature des Coréens du Japon ou la littérature des Coréens zainichi (zainichi signifie littéralement « étant au Japon ») obtient une large reconnaissance sur la scène littéraire japonaise à partir de la fin des années 1960, mais l’apparition des premiers écrivains zainichi remonte au lendemain de la Deuxième Guerre mondiale, dans une période marquée par la décolonisation de la Corée et plus tard par la guerre de Corée. Le présent travail consiste à mettre en perspective le processus de construction d’un discours littéraire à caractère identitaire et ce jusqu’à sa mise en question, ainsi qu’à examiner les stratégies esthétiques que mettent en œuvre les écrivains afin de se démarquer de la littérature japonaise. Cette recherche porte principalement sur le travail de trois écrivains majeurs de cette littérature : Kim Tal-su 金達寿(1919-1997), Kim Sŏk-pŏm 金石範(1925-) et Yi Yang-ji李良枝(1955-1992) qui représentent respectivement la période de l’émergence de l’écriture zainichi de 1946 jusqu’au début des années 1950, celle de la reconnaissance d’un statut littéraire spécifique au début des années 1970 et celle du renouvellement tant thématique que narratif des années 1980. Si ces auteurs se distinguent dans leur thématique et dans leur style, ils ont en commun d’inventer une nouvelle écriture dans une situation d’exigence – autrement dit diasporique – où représenter chaque vie et chaque voix singulière peut aussitôt prendre une dimension mémorielle aussi bien que politique. Ainsi, l’évolution de la littérature zainichi est-elle aussi celle de la voix narrative qui se forme et se renouvelle dans cette tension permanente entre le subjectif et le collectif. / Zainichi Korean literature (zainichi literally meaning “to be in Japan”) has met widespread recognition on the Japanese literary scene since the late 1960s. But in fact Korean zainichi writers emerged earlier: in the aftermath of WW2, during the decolonization of Korea and the subsequent Korean War. This dissertation focuses on the construction process of a new literary discourse, intricately linked to the question of identity, but also on the criticism it underwent. Furthermore, this work analyzes the aesthetic strategies used by each author to distance theirs works from Japanese literature. This dissertation focuses on the following three authors: Kim Tal-su (1919-1997), Kim Sŏk-pŏm (1925-) and Yi Yang-ji (1955-1992), who respectively represent a period of development of zainichi literature: the emergence of zainichi writers between 1946 to early 1950, the establishment of a new literary category in the early 1970s, and the thematical and narrative renewal in the 1980s.These authors worked on different themes and wrote in distinct styles, and yet their writings were all born within a complex relationship to their community, as a minority and diaspora. As such, they narrate individual histories, which also carry a memorial and political dimension. Thus, the history of zainichi literature is also a history of individual voices, which emerge from and permanently renew the tension between the subjective and the collective.