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This ethnography explores the interracial encounters between individuals in a biracial old-line Protestant congregation. Using the theoretical framework of aversive racism, this dissertation suggests that an individual's racial paranoia and racial identity attitude helps to explain the way that white members interact with black members and the way they perceive these encounters. This dissertation addresses the questions: How do members of a biracial congregation interact across race? How do they engage in discussions about race? How does racial identity attitude inform their perspectives? It draws upon data collected over two periods: a two-month pilot study and a nine-month dissertation study. Data include field notes from more than 240 hours of observations during 80 visits, and transcripts of interviews with 17 people (nine black, eight white; two pastors, two staff, 13 members; ages 21 to 76) which averaged 2½-hours each. This dissertation describes three findings. (1) White members have learned to comfortably co-exist with black members in worship but have not developed deep enough relationships to learn from them the extent of racism that survives in the post Civil Rights era. (2) Misconceptions among white members about what is "politically correct" stifle constructive interracial dialogue about race issues and lead to aversive behaviors that have a racist effect for African American members. (3) With only modest social interaction across race and little dialogue about race, white members of the congregation hold markedly different perceptions than black members about the interracial life of this church and the problem with racism there. These findings are significant because they help us to understand the obstacles which this nation must address in order to respond to the complexities of race in urban America, of which this congregation offers a microcosm. / Urban Education

Dream Machine is a collection which constructs a body of contemporary mythology, grappling with themes of American paranoia, online identity formation, and bodily alienation. Stories such as "Offerings" and "Pareidolia" explore the digital commodification of the body, following characters who—through Instagram-sourced sugar daddies and nude art modeling, respectively—offer themselves up freely as subjects of voyeurism and surveillance. Other stories, such as "Network Support" and "Dream Machine" involve characters who abandon their physical forms to disappear into the internet, existing as free-floating data and radiant frequencies. "Downstream," "Grass So Green," and "Little White Crosses" engage with the stark landscape of a country starved of its spirituality, where conspiracies, hallucinations, and deathly apparitions seem to possess the same inherent logic as a blue sky. / Master of Fine Arts / Dream Machine is a short story collection.

Le présent thèse cherche à explorer le statut épistémologique de la Psychiatrie. En prenant la question de la méthode (“Methodenfrage”) comme fil directeur, nous discuterons la question de savoir dans quelle mesure la Psychiatrie, entendue comme une discipline clinique, est autorisée à emprunter les principes méthodologiques en usage dans les sciences humaines. Dans ce contexte une importance capitale sera accordée à l’analyse des développements conceptuels de la Psychopathologie de langue allemande dans la période suivant la Deuxième Guerre Mondiale. Le point de départ de ce travail sera l’analyse de la dichotomie introduite par Karl Jaspers entre “Erklären” (expliquer) et “Verstehen” (comprendre) ainsi que celle des limites épistémologiques de ces deux modes d’accès à l’anormalité psychique qu’est la schizophrénie. La deuxième partie de ce travail sera consacrée à l’analyse de l’élargissement sur le plan méthodologique des limites du “Verstehen” dans la psychopathologie de la schizophrénie. Dans ce cadre nous analyserons les conséquences de l’introduction de la “Situation analyse” et du concept d’“ordre” (comme principe organisateur de la vie psychique et sociale) pour la psychopathologie de la schizophrénie. A la lumière des résultats acquis nous analyserons les apports de ce développement conceptuel de la psychopathologie allemande pour les tentatives de conceptualisation des normes dans les théories psychiatriques sur la schizophrénie. / This thesis explores the ways in which psychiatrists and researchers have developed new tools to deal with the unknown in psychiatric classifications. In the following four chaptersI seek to understand why the modes of thinking that dominated late nineteenth century psychiatry have proved to be durable and stable, and why the history of what is now called schizophrenia is the history of psychiatry itself.In this context, I situate my argument within the debates regarding the historiography of psychiatry, and more specifically the historiography of schizophrenia.My approach can be understood as an attempt to move away from common approaches to the history of psychiatric classifications.In my view, the influence of German psychiatry, from Griesinger’s unitary psychosis to Bleuler’s schizophrenia tells us more about psychiatry and its modes of conceptualization, than thus far recognized.Against the narratives that presuppose a direct line of development, I argue that the path starting with primäre Verrücktheit—one of the most commonly diagnosed psychic diseases in 1870s – leading to ”paranoia”—a term used as synonym for insanity by most authors in the1880s and 1890s – and ending in “dementia praecox” and schizophrenia was not a linear one.By tracing the detours followed by psychiatric research in the last three decades of the nineteenth century, I show how, paradoxically, the progress in the special nosology delayedconsiderably the future development in psychiatric theories.

La recherche que nous avons développée dans notre thèse a eu pour objectif l’étude des psychoses dissociées à travers une approche clinique et projective comparées. C’est à travers une révision de la littérature des psychoses, que nous avons, dans un premier temps, mis en évidence les diverses positions au sein de la nosographie psychiatrique dans un contexte historique, puis actuel. Nous avons croisé cette perspective à une approche issue de l’application du modèle métapsychologique, dont les jalons ont été posés par Freud (1911, 1920, 1924, 1940). En outre, nous avons mis en évidence une opposition entre Freud et Bleuler à travers leurs échanges épistolaires parus en 2016, et cela à propos de la question de l’autisme. La recherche que nous avons conduite est composée de plusieurs études. La première étude vise la comparaison statistique des indicateurs au test de Rorschach (Nina Rausch de Traubenberg, 1990) entre la population tout-venant ([n=310], (de) Tychey et al., 2012) et entre la population psychiatrique psychotique (n=81). Tous les diagnostics ont été réalisés en double aveugle au test de Rorschach et selon une double approche nosographique dans la clinique (psychanalytique et psychiatrique). La seconde étude est une analyse qualitative contrastée, constitué de 5 cas cliniques, consacrée à une investigation approfondie des psychés de cas cliniques exemplaires représentatifs des trois sous-groupes de référence de la population de l'étude. La troisième étude est longitudinale sur un cas clinique à 24 mois d’intervalles en test/re-test nous permettant de valider la fiabilité du diagnostic de paranoïa, dont nous assistons pourtant à l’évanouissement nosographique.Pour conclure, nous avons dégagé et validé l’indicateur de la représentation de soi intitulé : le degré de représentation de soi entière unitaire, qui permet notamment de discriminer les structures et les organisations entre elles. La psychose dissociée, reconnue pour représenter la faillite du narcissisme primaire est apparue comme une population adéquate au développement de ces travaux sur l’évaluation du narcissisme / It is thought a depth psychosis literature review, that we have, in a first time, highlighted various positions within the psychiatric nosography, in an historic and then, in a current context. We cross a perspective called objective to an approach more subjective, however very rewarding: the metapsychological model, whose milestones were thrown by Freud (1911, 1920, 1924, 1940). In addition, we highlighted an opposition between Freud and Bleuler thought their epistolary exchanges published in 2016 in French. This about, question of autism that Freud (1911) designated as well as a retreat of the libido on the Ego; contrarily to Bleuler (1911). To us, that epistemological and theoretical cleavages, have influenced the current nosography (DSM-5, A.P.A., 2013). The empirical research developed in this thesis, aimed at the study of dissociated psychosis through a clinical and projective compared approaches. Indeed, this research is composed by many studies: the first was aimed at the statistical comparisons of Rorschach’s indicators (Nina Rausch de Traubenberg, 1990) between non-clinical population ([n= 310], (de) Tychey et al., 2012) and clinical population, psychiatrist, and more specifically: psychosis dissociated ([in]patient [n= 81]). Within the first study, in a second time, we proceeded to the statistical comparisons between the three subgroups of the sample, constitute of: 25 subjects diagnosed with paranoia, 30 subjects diagnosed with schizophrenia and 26 diagnosed with paranoid schizophrenia. All diagnostics were realized in double bind et and according to a double approach (psychoanalytic and psychiatrist). The second study is a qualitative analysis contrasted, devoted to the deeply psychic investigation of exemplary clinical cases, representatively of three subgroups from the population’s study (paranoia; schizophrenia paranoid; pure schizophrenia). The sample is itself constituted of limits’ subgroups suffering from psychotic decompensations and hospitalized on a long court. In the qualitative study of clinical contrasted cases, we presented firstly, a subject from a pure paranoia structure: Catherine, an autopunitive feminine paranoia case.Secondly, we presented the analysis of a clinical picture from schizophrenic structure: Joseph, from which megalomaniac Ego and invasive delirium will surely arrested the lector; and finally, we analysed a pure schizophrenia case: Doug, which psychic desert particularly challenges us in conter-transferential’s dynamic. Then, to illustrated closer that we understand by sliding of an a-structure to a dissociated psychosis (and not to a melancholic proceed, as well as that is permitted by Bergeret [1974]), we analysed the cases of Jordan and Ali. Ali was initially inscribed in an a-structure (Bergeret, 1974), from which he decompensed secondarily in a paranoiac organisation; Jordan on other hands, decompensed secondarily in a pure schizophrenia

This dissertation addresses two questions fundamental to Russian nineteenth-century intellectual history: 1) Why does literature about paranoid psychosis figure so centrally in the nineteenth-century canon? and 2) How did the absence of an epistemological tradition of reflexive self-consciousness influence the development of Russian ideas of subjectivity? I propose that the presence of paranoia in Russian fiction extends beyond the medical or psychoanalytic aspects of character traits or themes. I argue that literary representations of paranoia perform fundamental philosophical gestures and function as "epistemological speech acts." Russian narratives of paranoia (e.g., Pushkin, Gogol, Dostoevsky, Chekhov, Garshin, Sologub) constitute a means of exploring the operations of a self-reflexive consciousness, familiar in the West through the Cartesian Cogito. In other words, the theme of paranoia in nineteenth-century Russian fiction actively responds to the regnant philosophical discourse and functions as a praxis for the exploration of philosophical questions. However, this is done in an alternative discourse to the propositional language generally favored in philosophical texts; as a result, the philosophical function of the fictions of paranoia has gone unrecognized, and the genre has been "exiled" from philosophical discourse. I argue that Russian texts of paranoid psychosis should be reconceived as venues for the play of the transcendental ego outside social or communal axes. Paranoia emerges as the Jakobsonian “dominant” within these texts, in that it is paranoia that engages with other narrative components and transforms them. Further, as prose fiction, these texts had the discursive and social capacity to resonate and divagate in ways impossible to philosophical texts. Ultimately, these narratives of paranoia are meta-epistemologies that interrogate their own discursive function and status. They raise critical questions not only about the ways in which we represent truth but about the ontological status of truth itself. / Slavic Languages and Literatures

This study discusses works by Martin Amis and Don DeLillo in the context of several key scientific and technological transformations that occur in the aftermath of the Second World War. I begin by revisiting one of the most-discussed aspects of DeLillo's work: the currents conspiracy and paranoia that recur in his novels and, he claims, pervade the wider culture. By demonstrating how paranoid narratives strive to accommodate contemporary technologies, I create a context in which the paranoia addressed in works such as Libra and Underworld becomes intelligible as a response to the specific technological character of surveilance and control in the post-War period. The sciences of information and cybernetics also cohere in the years folowing the War, and the second chapter explores the creative tension between metaphors of entropy and information in Amis's fiction as wel as DeLillo's. The third chapter focuses on television as a constitutive element of postmodernity, and traces how DeLillo and Amis adopt narrative strategies that enable them to represent subjects who have grown accustomed to living within an environment mediated, to an unprecedented degree, by visual imagery supplied by or formatted for television. Another product of postmodern technology, commercial air travel reconfigures relationships to place and to time for inhabitants of industrialized countries. Both the liberating and limiting consequences of living in the latter half of the century of flight are addressed in the fourth chapter. The final chapter offers an assessment of the role contemporary media and technology play in establishing the characteristics associated with postmodernity, and concludes with a brief discussion of the role the internet might play within the context of the specific technologies discussed in the body of the thesis.

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Através do estudo da obra de Salvador Dali, pontuamos algumas questões importantes que envolvem a conexão da arte com a psicanálise. Os pontos assinalados da teoria freudiana sobre a temática da angústia e sua relação com a arte praticada por Dali se baseiam no ensaio O estranho (1919) e no Seminário lacaniano, livro 10. Dali escreveu vários artigos e um ensaio teórico sobre o que ele entendeu por método paranóico-crítico de conhecimento da realidade. Por conta disso, revisamos alguns dos textos freudianos que tocam no tema da paranóia e da realidade psíquica. Esse método aplicado à sua própria arte nos ensinou que uma obra de arte pode funcionar como objeto pequeno a para o observador cuja realidade psíquica tenha sido tocada por uma dada tela. Outro tema importante refere-se ao que resolvemos chamar de o Outro Geográfico de Dali. Baseamos essa pesquisa na noção lacaniana do grande Outro como tesouro dos significantes e a relação disso com a região nordeste da Catalunha, na Espanha. Notamos que os lugares onde Dali viveu e onde construiu suas casas-museu foram extremamente importantes para ele, o que fica claro pelo fato dele repetir insistentemente partes da natureza dessa região ao longo de toda sua obra, como significantes que insistem em ser reescritos. Conhecido como o triângulo daliniano por seus biógrafos, os lugares que compõem essa estrutura são: Figueres, sua cidade natal; Cadaqués, no litoral nordeste da Catalunha onde o menino Dali passava as férias de verão e onde construiu sua morada conjugal com sua adorada Gala; e Púbol, no interior da Catalunha, onde restaurou um Castelo para sua mulher morar. Supomos que esses três lugares, tal qual o tempo para o psiquismo, funcionaram, para Dali, dentro da lógica própria do inconsciente. Além disso, falaremos sobre a influência dos pintores favoritos de Dali, em especial daqueles que funcionaram para ele como grandes mestres. / The study of the art of Salvador Dali enables us to highlight some important points involving the connection between art and psychoanalysis. The points related to the Freudian concept of anguish and its relation to the art practiced by Dali are based on the essay The uncanny (1919) and on Lacans Seminar, book 10. Dali also wrote some articles and an essay about what he called paranoiac-critical method of knowing reality. Due to this, we revised some points related to the Freudian concept of paranoia and its relation to the reality of the unconscious. Dalis critical method and its application to his own art has taught us that a work of art can function as an object little a for the observers whose unconscious reality are touched by a given picture. Another important theme dealt with in this paper has to do with what we called Dalis Geographic Other. We based such research on the Lacanian notion of the big Other as the treasure of significants and its relation to the northeastern region of Catalunia, in Spain. We could notice that the places where Dali lived and built his museum-houses were extremely important to him. This is clearly noticed in his works of art, as some parts of the nature belonging to these regions are repeatedly depicted in his paintings, just like significants that insist on being rewritten. Regarded as the Dalinian triangle by his biographers, the places that compose such structure are: Figueres, his birth-place; Cadaqués, on the northeastern coast of Catalunha, where, as a boy, he spent his summer holidays with his family, and where he built his matrimonial home with his beloved Gala; and, finally, Púbol, in the interior of Catalunha, where he rebuilt a castle for his wife to live. We assume that, just like the notion of time, these three places also worked, for Dali, within the same logic of the unconscious. Besides this, we also highlight the influence of some of Dalis favorite painters, mainly the ones who operated to him as big masters.

Através do estudo da obra de Salvador Dali, pontuamos algumas questões importantes que envolvem a conexão da arte com a psicanálise. Os pontos assinalados da teoria freudiana sobre a temática da angústia e sua relação com a arte praticada por Dali se baseiam no ensaio O estranho (1919) e no Seminário lacaniano, livro 10. Dali escreveu vários artigos e um ensaio teórico sobre o que ele entendeu por método paranóico-crítico de conhecimento da realidade. Por conta disso, revisamos alguns dos textos freudianos que tocam no tema da paranóia e da realidade psíquica. Esse método aplicado à sua própria arte nos ensinou que uma obra de arte pode funcionar como objeto pequeno a para o observador cuja realidade psíquica tenha sido tocada por uma dada tela. Outro tema importante refere-se ao que resolvemos chamar de o Outro Geográfico de Dali. Baseamos essa pesquisa na noção lacaniana do grande Outro como tesouro dos significantes e a relação disso com a região nordeste da Catalunha, na Espanha. Notamos que os lugares onde Dali viveu e onde construiu suas casas-museu foram extremamente importantes para ele, o que fica claro pelo fato dele repetir insistentemente partes da natureza dessa região ao longo de toda sua obra, como significantes que insistem em ser reescritos. Conhecido como o triângulo daliniano por seus biógrafos, os lugares que compõem essa estrutura são: Figueres, sua cidade natal; Cadaqués, no litoral nordeste da Catalunha onde o menino Dali passava as férias de verão e onde construiu sua morada conjugal com sua adorada Gala; e Púbol, no interior da Catalunha, onde restaurou um Castelo para sua mulher morar. Supomos que esses três lugares, tal qual o tempo para o psiquismo, funcionaram, para Dali, dentro da lógica própria do inconsciente. Além disso, falaremos sobre a influência dos pintores favoritos de Dali, em especial daqueles que funcionaram para ele como grandes mestres. / The study of the art of Salvador Dali enables us to highlight some important points involving the connection between art and psychoanalysis. The points related to the Freudian concept of anguish and its relation to the art practiced by Dali are based on the essay The uncanny (1919) and on Lacans Seminar, book 10. Dali also wrote some articles and an essay about what he called paranoiac-critical method of knowing reality. Due to this, we revised some points related to the Freudian concept of paranoia and its relation to the reality of the unconscious. Dalis critical method and its application to his own art has taught us that a work of art can function as an object little a for the observers whose unconscious reality are touched by a given picture. Another important theme dealt with in this paper has to do with what we called Dalis Geographic Other. We based such research on the Lacanian notion of the big Other as the treasure of significants and its relation to the northeastern region of Catalunia, in Spain. We could notice that the places where Dali lived and built his museum-houses were extremely important to him. This is clearly noticed in his works of art, as some parts of the nature belonging to these regions are repeatedly depicted in his paintings, just like significants that insist on being rewritten. Regarded as the Dalinian triangle by his biographers, the places that compose such structure are: Figueres, his birth-place; Cadaqués, on the northeastern coast of Catalunha, where, as a boy, he spent his summer holidays with his family, and where he built his matrimonial home with his beloved Gala; and, finally, Púbol, in the interior of Catalunha, where he rebuilt a castle for his wife to live. We assume that, just like the notion of time, these three places also worked, for Dali, within the same logic of the unconscious. Besides this, we also highlight the influence of some of Dalis favorite painters, mainly the ones who operated to him as big masters.