Made available in DSpace on 2014-07-29T16:19:02Z (GMT). No. of bitstreams: 1 Dissertacao Edson Manzan Corsi.pdf: 892608 bytes, checksum: 7241984b3e1a9a6410ecca4287ae543c (MD5) Previous issue date: 2010-12-10 / This thesis has as its object of study three modalities of the uncanny as they appear in the poetry of Irish writer William Butler Yeats. They are: the incidence of the Double, the contact with the Deads, their way of operation in the metaphysical sphere as well as in the world of the Living, and the Animist way of thinking which embraces the omnipotence of thought. We believe that this is possible to be theoretically thought and analyzed through the ideas presented by Sigmund Freud in his essay titled The uncanny ( Das Unheimliche ), edited in 1919. In order to help our discussion of the problem, we used some considerations from French psychoanalyst Jacques Lacan. For example, what he exposes in his seminar dedicated to the anxiety and in his essay on the mirror stage . Many important ideas and concepts from literary critics such as T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, among others, were also used as basis for the development of our discussion on the theme of the strangeness (uncanny) in the frontiers between literature and psychoanalysis. The thought of Friedrich Nietzsche also helped us to understand the concept that Yeats developed and used of tragic joy and the relationship of the poet with the tragic thinking, discussed by the German philosopher and which influenced the work of the Irish writer. This influence made possible, in the poetry Yeats wrote, appear an aspect of absurdity, of ambition for being assimilated in the chorus of the tragedy visible, for instance, in the chapter about the Double and that we can find in his most important poems. / Esta dissertação tem, como objeto de estudo, três modalidades do estranho na poesia do escritor irlandês William Butler Yeats. São elas: a incidência do Duplo, o contato com os Mortos, o modo de operação deles, tanto no âmbito metafísico quanto no mundo dos Vivos, e o modo de pensar Animista que abarca a onipotência de pensamento. Acreditamos que isso é possível de ser teoricamente pensado e estudado a partir das ideias apresentadas por Sigmund Freud, em seu ensaio O estranho ( Das Unheimliche ), publicado em 1919. Para auxiliar nossa discussão do problema, utilizamos algumas considerações do psicanalista francês Jacques Lacan. Por exemplo, o que ele expõe em seu seminário dedicado à angústia e no seu ensaio sobre o estádio do espelho . Muitas ideias e conceitos importantes de críticos literários como T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, entre outros, foram também utilizados como base para o desenvolvimento de nossa discussão sobre o tema do estranho, nas fronteiras entre a literatura e a psicanálise. O pensamento de Friedrich Nietzsche também ajudou-nos a entender o conceito que Yeats desenvolveu e usou de alegria trágica e a relação do poeta com o pensamento trágico, discutido pelo filósofo alemão e que influenciou a obra do escritor irlandês. Isso possibilitou, na poesia que Yeats escreveu, aparecer um aspecto de absurdidade, de ambição por assimilar-se ao coro da tragédia visível, por exemplo, no capítulo sobre o duplo e que podemos encontrar em seus mais importantes poemas.

Cette thèse vise à cerner les raisons historiques, intellectuelles et affectives de l’importance que reçoit le problème de la vulnérabilité individuelle dans la culture politique des sociétés modernes. Il s’agit de tenter de comprendre pourquoi et par le concours de quelles transformations normatives et structurelles nous en sommes venus, comme citoyens, à attendre de l’État qu’il nous protège des affres de l’existence. L’oeuvre philosophique de Thomas Hobbes, fondée sur une anthropologie individualiste où l’homme apparaît mû par deux affects, le désir et la crainte, nous paraît être la première formulation théorique de ce problème de la vulnérabilité, et à ce titre, nous posons qu’elle a été déterminante pour l’institutionnalisation d’une rationalité politique proprement moderne. De manière à saisir quelles ont pu être les conditions de possibilité de la philosophie de Hobbes, de même que son influence sur l’imaginaire politique occidental, il nous faut tenter de comprendre non seulement pourquoi l’affectivité humaine a pu se trouver ainsi posée comme enjeu du gouvernement, mais comment elle est aussi liée, de manière générale, au fonctionnement des institutions sociales, lequel est historiquement contingent. Il en va ainsi d’une interrogation, que nous poursuivrons dans un relevé des principaux concepts à l’aide desquels Sigmund Freud, Norbert Elias, Max Weber et Michel Foucault ont pensé les modalités du façonnement social et historique de la subjectivité, et par le biais de laquelle nous espérons expliquer pourquoi le « type d’homme » sur lequel s’appuie le régime libéral moderne implique le vécu d’une expérience affective marquée par un rapport tendu entre le désir et le sentiment de la vulnérabilité.

(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.

Made available in DSpace on 2016-04-29T13:31:04Z (GMT). No. of bitstreams: 1 Renata Felis Bazzo Repa.pdf: 1194352 bytes, checksum: 39c22a0e7d891b2bc773b9365e54c84f (MD5) Previous issue date: 2013-06-21 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The present study sought to examine the concept of sense of reality in the work of Sigmund Freud. Although widely used in psychoanalytic research, there are few definitions of the concept, leaving many questions about their assignments in the function of apprehending reality. Contributes to that the fact that Freud uses it only once, under that name in the text The malaise in civilization (1930), when he states that there is a development of the sense of reality. This Freudian thesis has become common in many subsequent researches in psychoanalysis which sought to establish the ways in which this development would occur. The present study aimed to investigate whether and how the sense of reality could develop. For this, we define the concept by investigating the notion of reality feeling. Subsequently, the study conducts a survey of the use of this concept in the psychoanalytic tradition, his constant connection with that development and the problems that this junction could bring to psychoanalytic treatment. In the next phase, we established what could be the psychic development for Freud. The last step consists, in its turn, an intersection of the hypotheses about the meaning of reality sense with the development modes found in Freud. This work suggests the following results: it is possible to find different conceptions of development for the sense of reality in Freud, but none of them suggests the existence of a development along the lines of epigenesis or as a totalizing process / O presente estudo procurou examinar o conceito de sentido de realidade na obra de Sigmund Freud. Ainda que bastante utilizado nas pesquisas psicanalíticas, há poucas definições sobre o conceito, restando muitas dúvidas a respeito de suas atribuições na função da apreensão da realidade. Contribui para isso o fato de Freud utilizá-lo apenas uma vez, sob essa denominação, no texto O mal-estar na civilização (1930), quando afirma haver um desenvolvimento do sentido de realidade. Esta tese freudiana tornou-se frequente em muitas pesquisas posteriores em psicanálise que procuraram estabelecer os modos como esse desenvolvimento ocorreria. A presente pesquisa visou investigar se e como o sentido de realidade poderia se desenvolver. Para isso, procuramos definir o conceito, investigando também a noção de sentimento de realidade. Posteriormente, o estudo faz um levantamento da utilização desse conceito na tradição psicanalítica, sua constante ligação com aquele de desenvolvimento e os problemas que essa junção poderia acarretar para o tratamento psicanalítico. Na fase seguinte, estabelecemos o que poderia ser desenvolvimento psíquico para Freud. A última etapa consistiu, por sua vez, no cruzamento das hipóteses a respeito do sentido de realidade com os modos de desenvolvimento encontrados em Freud. Este trabalho sugere os seguintes resultados: que é possível encontrar diferentes concepções de desenvolvimento para o sentido de realidade em Freud, mas que nenhuma delas sugere a existência de um desenvolvimento nos moldes da epigênese ou como um processo totalizante

Nossa proposta consiste em realizar uma investigação teórica em torno do conceito de trauma na obra freudiana, assim como das problemáticas a que responde. Objetivamos pesquisar se a teoria do trauma teria de fato desaparecido no período situado entre o abandono da teoria da sedução e os construtos de 1920, como defendem alguns autores na literatura psicanalítica. Nossa hipótese é que a noção de trauma teria continuado a sustentar a teoria freudiana do sofrimento psíquico, não só por meio de aparições esporádicas do conceito nesse período, mas também, implicitamente, por meio das problemáticas a ele relacionadas como a da etiologia das neuroses e dos grandes casos clínicos de Freud: Dora, Homem dos Ratos e Homem dos Lobos. Assim, primeiramente rastreamos a noção de trauma e suas ramificações ao longo da obra e, em seguida, fizemos um estudo desses três casos clínicos, em busca de possíveis configurações traumáticas na história de seus protagonistas. Chegamos ao entendimento de que Freud não trata sempre do mesmo tipo de trauma ao longo dos seus escritos: o termo se mantém, mas com acepções diferentes. Haveria, assim, subtipos do trauma implícitos no discurso freudiano trauma por efração, trauma como falta de mediação entre fantasia e realidade e, ainda, pistas para se pensar um trauma como falha narcísica. A partir desses subtipos, abordamos as consequências clínicas da releitura desse conceito, do ponto de vista do diagnóstico diferencial. Em seguida, apontamos como o aspecto eminentemente econômico que permeia a categoria de trauma influiu na visão de Freud sobre os dispositivos utilizados pelo analista na clínica. Acompanhar as ramificações, assim como o alcance clínico da noção de trauma, consiste em uma tarefa que pode nos oferecer ferramentas teóricas para compreensão dos tipos de constelações traumáticas subjacentes aos sofrimentos intoleráveis daqueles que procuram a clínica psicanalítica / Our proposal is to perform a theoretical investigation regarding the concept of trauma in Freuds work, as well as the set of problems it responds to. We aimed to research if the theory of trauma would have in fact disappeared in the period between the abandon of the seduction theory and the constructs of 1920, as defended by some authors in the psychoanalytic literature. Our hypothesis is that the notion of trauma would have continued to sustain the Freudian theory of psychic suffering, not only through sporadic appearances of this concept during this period, but also, implicitly, by means of the set of problems related to it as the etiology of neurosis and of the major clinical cases of Freud: Dora, Rat Man and Wolf Man. Thus, primarily we searched for the notion of trauma and its ramifications throughout the wok and, afterwards, we performed a study of these three clinical cases, looking up for possible traumatic configurations in the history of their protagonists. We came to the understanding that Freud does not always treat the same kind of trauma throughout his writings: the term remains, but with different meanings. There would be, therefore, implicit subtypes of trauma in the Freudian discourse trauma by rupture, trauma as lack of mediation between fantasy and reality and, yet, clues to think of a trauma as a narcissistic fault. From these subtypes, we approached the clinical consequences of the reinterpretation of this concept, from the differential diagnosis viewpoint. Next, we pointed out how the eminently economic aspect that permeates the category of trauma influenced in Freuds view about the devices used by the analyst in the clinic. Following the ramifications, as well as the clinical scope of the notion of trauma, consists in a task that may offer us theoretical tools for the understanding of the types of traumatic constellations underlying the intolerable suffering of those who look for the psychoanalytic clinic

Cette thèse vise à cerner les raisons historiques, intellectuelles et affectives de l’importance que reçoit le problème de la vulnérabilité individuelle dans la culture politique des sociétés modernes. Il s’agit de tenter de comprendre pourquoi et par le concours de quelles transformations normatives et structurelles nous en sommes venus, comme citoyens, à attendre de l’État qu’il nous protège des affres de l’existence. L’oeuvre philosophique de Thomas Hobbes, fondée sur une anthropologie individualiste où l’homme apparaît mû par deux affects, le désir et la crainte, nous paraît être la première formulation théorique de ce problème de la vulnérabilité, et à ce titre, nous posons qu’elle a été déterminante pour l’institutionnalisation d’une rationalité politique proprement moderne. De manière à saisir quelles ont pu être les conditions de possibilité de la philosophie de Hobbes, de même que son influence sur l’imaginaire politique occidental, il nous faut tenter de comprendre non seulement pourquoi l’affectivité humaine a pu se trouver ainsi posée comme enjeu du gouvernement, mais comment elle est aussi liée, de manière générale, au fonctionnement des institutions sociales, lequel est historiquement contingent. Il en va ainsi d’une interrogation, que nous poursuivrons dans un relevé des principaux concepts à l’aide desquels Sigmund Freud, Norbert Elias, Max Weber et Michel Foucault ont pensé les modalités du façonnement social et historique de la subjectivité, et par le biais de laquelle nous espérons expliquer pourquoi le « type d’homme » sur lequel s’appuie le régime libéral moderne implique le vécu d’une expérience affective marquée par un rapport tendu entre le désir et le sentiment de la vulnérabilité.

No description available.

This essay examines the role of repetition in the two novels Älskaren (The Lover) by Marguerite Duras and Den amerikanska flickan (The American Girl) by Monika Fagerholm, through a thematic and comparative reading. The study mainly uses Bruce F. Kawin’s analysis of repetition in literature and language as well as it refers to Cathy Jellenik and her analysis of rewriting in the works of Duras. The study also takes into Julia Kristeva’s idea of Duras as a writer lacking of catharsis. Furthermore, the essay analyses both novels by applying Sigmund Freud’s term “repetition compulsion”. The essay shows how Fagerholm and Duras both use permissive writing, which means that the authors boldly write clichéd replications in their texts. Both writers practice what Kristeva calls “an aesthetics of awkwardness”. Aswell, the authors both question whether a story at all is able to be told: they work with what Jellenik calls “an aesthetics of doubt”, but in different ways. Moreover, by using the work of Kawin, the essay shows how the authors have different ways of handling time. The study shows indications of repetition compulsion in the characters and also exemplifies instances of what Kristeva calls “reduplication”. Through this a fragmentary and Nietzschean perspective of the self is displayed in the novels. The study review how Duras can be said to be a writer lacking of catharsis, while Fagerholm on the other hand liberates one of her protagonists from repetition compulsion by allowing the character to undergo a catharsis. Finally, the essay conclusion points out that Duras and Fagerholm are postmodern writers who know how to challenge the concept of truth. Even if they are different writers in many aspects, they both use repetition as a method to express something unspeakable. They can be said to write also by an aesthetics of search for the truth; a search for an origin tale which they both argue as biased and is therefore impossible to capture.

The critical component of this thesis, “Hitler Comedy”, is a dissertation on the intersection between comedy theory in general, and the specific practice of Hitler comedy. Focusing on Bertolt Brecht’s play The Resistible Rise of Arturo Ui (1941; directed by Heiner Müller in 1995), and Dani Levy’s film Mein Führer: the Truly Truest Truth About Adolf Hitler (2007), my argument critiques existing “instrumentalist” theories of comedy as didactic and morally reductive. Moving beyond prevailing conceptualisations of comedy as corrective and/or forgiving, my dissertation emphasises the centrality of pleasure, displeasure and disruption for audience members in the process of their experiencing Hitler comedies. / The creative component of this thesis is a script and a DVD recording of Hitlerhoff, a theatre and multimedia work that combines the characters of Adolf Hitler and David Hasselhoff into a single hybrid figure. Hitlerhoff is a spectacular black comedy that uses comedy to entertain and unsettle, and to disrupt audience members’ expectations. Hitlerhoff is a practical demonstration of the ability of “irresponsible” comedy to act as a potent catalyst for “responsible”, ethically engaged discussions.

The topic of this dissertation is the phemomenon of the dream, dreamy picture and their projection into the creation of surrealist artworks. The disertation tries to connect the basic knowledge of psychoanalysis and the history of art. The thesis attepmts to solve the questions of how the dream imagination is different from the imaginative art of the previous centuries and how the dream topics are involved in the artworks. One of the most important resources for the art work of surrealism was in the psychoanalysis and the knowledge of the work of Sigmund Freud. That is the reason why the first part of this thesis is dedicated to Freud?s The Interpretation of Dreams and the dream symbolism ? its origin, knowledge resources and reflection in the fine arts. The closing chapter uses the previously undiscovered knowledge to present the work of Jindřich Štýrský and tries to indicate how the dream imagination was projected to the artwork of this signifiant surrealist painter.