A paranoid and shameful reading of Inger Christensens novel Azorno.The contagious feelings of paranoia and shame played a vital part in my first reading of the novel Azorno, written by the Danish poet Inger Christensen. In this essay, I’m letting those emotions direct the ‘understanding’ and analysis of the novel. In earlier research the focus has been to comprehend what the novel ‘really is about’, and even though it has been mentioned that the form probably is a way to make the reader a visible constructer of  the novel’s ‘meaning’ the understanding has never been created by the affects that occurs during the reading. In doing so, I mean, a new and more subversive ‘understanding’  of Azorno is possible. Azornos is a quite peculiar novel which form builds upon an ambivalence, where the reader never can distinguish true from false, fiction from reality. This ambivalence is caused through the change of narrator that takes place in each chapter. The Chapters are first shaped as letters, where four women discuss who is the one that really knows Azorno, and then as notes, that seem to come from a diary and concerns the writing of a novel. The uncertainty increases when the earlier narrator is accused by the next one of being a liar, something that happens in every letter. In the notes the first narrator is told to be the pseudonym of the next one and so it continues. Thus the reader get the feeling of not knowing who the true narrator is – or if there is one. The accusations of lying and the paranoid attitude are contagious to the reader who gets the feeling that the text and its narrators are not to be trusted. Another affect shaping the text is shame, caused by the text’s seductiveness. The reader is held in the violence of the text by constantly searching for the truth but also repeatedly being deprived the delightful taste of it. At the same time, the reader is also starting to shamefully enjoy the feeling of being fooled by the text. In the article, I will use the theory of paranoia offered by Eve Kosofsky Sedgwick. Sedgwick understands paranoia as nothing different from knowledge per se and as a feeling that, when it’s shared, can be a useful in theories aiming to understand and deconstruct power. The positive consequences of acknowledging paranoia while reading is according to Sedgwick understood as something that, if it is taken seriously,  also can be a way to move towards possibilities and reparation. By embracing the strong and negative feeling of paranoia, the reader, I argue, has the opportunity to, together with the text, construct another narrative about the seducer Azorno – which is the name of the main character of the novel– and, the perhaps five, women who might be his mistresses.  When adding the acknowledgment of shame and using the theory of shame as a emotional power of keeping ’things in it’s ”right” place’, but also a feeling that – if it is shared – can work in opposite direction, since shame seen as a important experience also can make normative ideas visible. By admitting and sharing the shame sensed during the reading of Azorno, normative ideas regarding the relationship between the reader and the text, as well as standard ideas about mistresses and seducers, becomes visible and therefore also brought to a possible change. Thus, in the ending of the novel a new affect – more exultant – is achieved in the relationship between the reader and Azorno.

This thesis is divided into two chapters, the first being an examination of conspiracy and paranoia in Libra, while the second focuses on the relationship between art and terror in Mao II, “In the Ruins of the Future,” Falling Man, and Point Omega. The study traces how DeLillo’s works have evolved over the years, focusing on the creation of counternarratives. Readers are given a glimpse of American culture and shown the power of narrative, ultimately shedding light on the future of our collective consciousness.

国立情報学研究所で電子化したコンテンツを使用している。

The concept of “national security” has been an essential part of the political lexicon of the United States since the aftermath of World War II. Although it could be said that security in one way or another has always been a concern for societies, and a central political concern for the western world at least since the seventeenth century, it took its full-fledged official form in the United States with the 1947 National Security Act which established the National Security Council and the Central Intelligence Agency, as well as shaping the direction of the post-World War II foreign policy. National security constitutes the frame through which many political practices attain their meaning and justification today. My dissertation is devoted to understanding precisely this process wherein there is a particular political rationality at work that not only renders certain kinds of political practices preferable, but also insists on their necessity and inevitability. I call this the politics of paranoia. I argue that the concept of paranoia has explanatory power in relation to an array of political decisions, processes, and practices. It is descriptive of a diagram of power that is operative in contemporary practices of securitization. It is not only that these decisions, processes, and practices produce paranoid effects (or affects), but that they themselves entail a paranoiac logic. To this end, I rethink Melanie Klein's account of paranoia through a Foucaultian decolonial feminist lens. I examine this paranoiac logic in four layers: expulsions, anticipatory temporality, masculinist politics, and paranoid affects.

Camille Claudel, une artiste de génie au destin hors du commun a suscité de nombreux travaux. Les esthéticiens de l'art, les historiens, les psychanalystes ont tissé autour de Camille Claudel un réseau extrêmement dense d'interprétations autour de sa vie, de son art. Dans ce projet, il s'agit d'examiner le rapport qu'entretient cette artiste avec ses oeuvres et cela à partir de ses correspondances, de ses écrits. La sculpture semble avoir pour elle, une place particulière. Cette passion viserait elle à promouvoir un certain discours ? Il s'agit d'examiner les fragments de sens épars dans ce matériel écrit pour tenter d'analyser ce dont il est question pour cette femme singulière et de tenter de saisir l'artiste dans sa vérité. Ce travail vise à apprécier le sens de cette passion, de cette inscription dans le réel de cet acte de création au-delà de toute considération esthétique. Cette approche dans le champ de la psychanalyse permet la mise en oeuvre d'une clinique différentielle et de travailler sur un témoignage à partir des écrits de l'artiste. / Camille Claudel, a genius artist with an unusual destiny, sparked off a lot of work. Estheticians, historians, psychoanalysts have woven around this women an extremely dense network of interpretations concerning her life and her art. This artist has a special connection with her pieces of art. This work aims to assess the meaning of this passion, of this inscription in the real of this act of creation, over and above all esthetic consideration.This work is about to examine from her correspondence, her writings, the scattered meanings of the fragments in this written material in order to try to analyze what it is about for this singular women and to attempt to understand the artist in her verity. This approach, in the field of the psychoanalysis, allows to do a reflection centered on the real of the artist and on her initiative to treat it

Trente ans après la mort de Lacan, les conséquences concernant la cure tirées de son enseignement sur les psychoses méritent une révision pour la période 1981-2011. Aujourd’hui, de nombreux analystes lacaniens traitent des patients psychotiques et essayent de rendre compte des effets. Pourquoi la psychanalyse s’avère-t-elle opérante dans l’abord des psychotiques? Bien que les effets de l’abord analytique soient reconnus par les analystes, leur théorisation entraîne des paradoxes comme celui qui soutient qu’il n’y a pas de désir dans les psychoses. Dans la mesure où Lacan a promu une éthique analytique fondée sur la fonction du désir de l’analyste comme ressort du transfert, l’exil du désir psychotique de la théorisation est contradictoire avec l’idée d’une cure possible. Celle-ci risque de se transformer en une thérapeutique. Cette recherche propose de réintroduire le concept de désir dans la théorisation de la cure analytique des psychoses. Tout d’abord, cette thèse s’est révélée nécessaire pour élucider les modifications de la position subjective repérées dans des cas de patients mélancoliques dont la présentation mortifiée initiale a connu une réversion vers la persécution. Le passage d’un désir aboli à un essai d’instituer le désir dans l’Autre exige de considérer que la psychose aussi est une affaire de désir. La question ne serait pas celle de l’absence du désir, sinon celle des modalités de support du désir que chaque patient psychotique pourrait mettre en place. L’abord analytique démontre à ce niveau son efficacité, qui n’est pas toujours garantie car dépendante d’une rencontre entre le psychotique et le désir de l’analyste. / Thirty years after Lacan’s death, the consequences around the cure derived from his teaching on psychosis deserve a review for the period 1981-2011. Today, many Lacanian analysts treat psychotic patients and try to account the effects. Why psychoanalysis appeared to be operative addressing psychotics? Although the effects of the analytical approach are recognized by analysts, their theory leads to paradoxes such as the one which states that there is no desire in the psychoses. Insofar as Lacan has developed an analytical ethic based on the function of the desire of the analyst as the essence of transference, the exclusion of the psychotic desire from the theory is contradicts to the idea of ​​a possible cure. This could turn into a therapeutic treatment. This investigation suggests that the concept of desire should be integrated in the theories concerning the analytic treatment of psychoses. First of all, this hypothesis seems to be necessary to account for changes in the subjective position identified in cases of melancholic patients whose initial mortification had a reversion to persecution. The passage of an abolished desire to a restitution of desire in the Other implies the statement that psychosis is also a matter of desire. The point is not the absence of desire, but the ways that every psychotic subject can implement for support of the desire. The analytical approach demonstrates its effectiveness at this level, but this effectiveness is never guaranteed because it depends always on a meeting of the psychotic with the analyst’sdesire.

No description available.

No description available.

(EN) The present MA thesis focuses on the function of paranoia found in Thomas Pynchon's Gravity's Rainbow. Pynchon's novel is routinely considered one of the finest pieces of American fiction to emerge after World War II and no discussion of this book can avoid the topic of paranoia. Its usage dates back to the time of Hippocrates and, after centuries of addition, the term paranoia is no longer confined to the medical community. After entering popular usage there is no consensus as to how this term is defined. It now possesses a sort of freedom that Pynchon routinely exploits. Paranoia resists isolation in this text. The specific approach to understanding its function is dependent on three parts. First, the reader must identify the countless forms of paranoia spread throughout Gravity's Rainbow. Next, one must understand why a specific example from the novel represents a form of paranoia in Pynchon's fictional world. Finally, the reader must recognize why an isolated form of paranoia is present and what Pynchon hopes to achieve through its presentation. The paranoia found in Gravity's Rainbow has no fixed meaning. This is a conscious decision on the part of Pynchon and its central goal is to destabilize the entire narrative, which is a central part of paranoia's immense power regularly employed....

Esta dissertação tem por objetivo discorrer sobre a paranoia de Daniel Paul Schreber, mais especificamente, no que se refere à assunção de sua missão divina como fruto de um trabalho do delírio através da escrita de seu livro Memórias de um Doente dos Nervos. Freud deixou uma marca indelével no campo das psicoses com o estudo do caso Schreber: um passo importante na medida em que as produções delirantes são legitimadas no plano próprio à experiência psicanalítica freudiana, o do inconsciente. O avanço teórico lacaniano abre as vias para uma inserção mais efetiva do estudo acerca das psicoses enquanto clínica possível. Conforme Lacan, a psicose se distinguiria das outras estruturas clínicas pela foraclusão (a Werverfung) de um significante primordial na ordem simbólico. Essa falta marca toda a fenomenologia da psicose, implicando o estabelecimento de uma relação peculiar do sujeito ao conjunto da linguagem: o psicótico é habitado pela linguagem; contrariamente ao neurótico que habita a linguagem, ou seja, toma-a por todo seu ser e enquanto fala. O sujeito habitado pela linguagem conota essa relação de exterioridade que há com o conjunto da linguagem: uma não integração do sujeito ao registro do significante, ao ponto que a análise de um pré-psicótico vai levá-lo ao desencadeamento da psicose. A entrada na psicose se manifesta com o surgimento de uma linguagem preciosa por ser plena de significância, mas também de uma dimensão do significante em seu aspecto material. É justamente na dimensão da fala do outro enquanto objeto, ao falar de si, que as ideias delirantes schreberianas vêm à superfície e seu quadro paranoico se revela para o ouvinte. O testemunho é essa dimensão da fala na qual o sujeito está engajado. Assim, a escrita do livro de memórias schreberianas é um testemunho aberto sobre essa especificidade do psicótico em sua relação à linguagem, mais nomeadamente, sobre a intrusão do discurso do Outro. A especificidade da função da escrita, no caso Schreber, se sustenta justamente na medida em que, conforme Lacan, neste nível há algo da ordem de uma reflexão: livrar-se do parasita falador ou deixar-se invadir pelas propriedades fonêmicas da fala. Essa definição é magistral para lermos a paranoia schreberiana: é em meio a esses dois polos que vislumbramos a sua escrita: a língua estrangeira plena de sentido (a língua fundamental) e, no outro extremo, as frases vazias dos pássaros falantes que sucumbem com a homofonia. Evidencia-se aqui senão aquilo que a noção do inconsciente a céu aberto na paranoia mostra-se devedora, ainda mais se considerarmos a formulação lacaniana do inconsciente ser algo no real (Seminário Les non-dupes errent - 1974). É por ser algo no real que Lacan sustenta que é do lado da escrita que se concentra aquilo de onde tenta interrogar essa sua formulação acerca do inconsciente. Por isso, não é sem razão que, tal qual Lacan, é do lado da escrita que Schreber tenta interrogar isso que seria expressão de sua paranoia: o retorno no real do significante foracluído no simbólico / This dissertation aims to discuss the paranoia of Daniel Paul Schreber, specifically, with respect to the assumption of his divine mission as the result of a work of delusion through writing his book Memoirs Of My Nervous Illness. The declared extension of the clinical psychoanalytic treatment of psychotic patients was given by Lacanian theories. Thus, there will be a primacy of the Lacanian theoretical framework in this dissertation. However, Freud left an indelible mark in the field of study of psychosis with the study of the Schreber case in a text from 1911: an important step in the psychoanalytic research with respect to psychosis, because the delusional productions are legitimized in the same plan of Freudian psychoanalytic experience, the unconscious. The Lacanian improvement in this field opens the way for a more effective insertion of the study of the psychosis as a possible clinical. A next step in Lacan\'s theory occurs when he formulates that psychosis is distinct from other clinical structures because in that case theres a foreclosure (Werverfung) of a primordial significant in the field of the Other. Thus, that lack defines all the phenomenology of psychosis, implying the establishment of a special relationship of the subject with respect to the set of language: the psychotic subject is inhabited by language, unlike the neurotic who inhabits the language, in other words, he takes it for his whole being and speech. The subject inhabited by language connotes the relationship of exteriority with the whole language: A non-integration of the subject to the field of the significant, what implies that the analysis of a pre-psychotic will lead him to the triggering of his psychosis. The entry in psychosis manifests itself with the emergence of a precious language full of significance, but also of a dimension of the significant in its material aspect. It is precisely in the dimension of talking of the other as an object, to talk about themselves, that Schrebers delusions come to the surface and his paranoia reveals itself to the listener. The testimony is this dimension of speech in which the subject is engaged. Thus, the writing of the book of memories by Schreber is an open testimony about the specificity of psychotic in his relation to language, most notably, about the intrusion of the discourse of the Other. The specificity of the function of writing, for Lacan, is sustained according as at this level there is something of the order of reflexion: get rid of the talkative parasite or let yourself be invaded by the phonemic properties of speech. This definition is masterful to read the Schreber\'s paranoia, because we envision his writing precisely in the middle of these two poles: a foreign language full of meaning (the fundamental language) and, at the other side, the empty phrases of talking birds who succumb to homophony. It is evident here what the notion of the unconscious is at the surface for the paranoid is too related, especially considering the Lacanian formulation of the unconscious being something in the real (Seminar Les non-dupes errent - 1974). It is because its something in the real that Lacan argues that it is at the writing side that he focuses on where he tries to interrogate this formulation about the unconscious. So it is not without relation that, as Lacan, is at the writing side that Schreber tries to interrogate what would be the expression of his paranoia: the return from the real of the significant foreclosed in the symbolic order