Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-25T15:30:43Z No. of bitstreams: 1 rafaelgoncalves.pdf: 7132985 bytes, checksum: 2a642f396847242f6c790afb2d4e93e3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-25T15:43:03Z (GMT) No. of bitstreams: 1 rafaelgoncalves.pdf: 7132985 bytes, checksum: 2a642f396847242f6c790afb2d4e93e3 (MD5) / Made available in DSpace on 2017-05-25T15:43:03Z (GMT). No. of bitstreams: 1 rafaelgoncalves.pdf: 7132985 bytes, checksum: 2a642f396847242f6c790afb2d4e93e3 (MD5) Previous issue date: 2017-03-07 / O presente trabalho discute como se dá a narratividade das improvisações em música popular improvisada - analisando exemplos do Jazz e da Música Instrumental Brasileira. No primeiro capítulo, discutimos a busca de cada intérprete pelo desenvolvimento da sua "voz" ou de sua individualidade como improvisador, por elementos como: seu vocabulário melódico de improvisação, a busca pela sua sonoridade, o desenvolvimento de sua técnica. Fazemos um estudo de caso de dois improvisos do guitarrista americano Jonathan Kreisberg (nascido em 1972-, músico bem atuante e com sólida carreira no cenário de Jazz internacional) nos standards My Favorite Things e Caravan. A análise mostra procedimentos e vocabulário melódico recorrentes nos dois improvisos, que possivelmente evidenciam o estilo de improvisação do músico. No segundo capítulo, discutimos a narratividade de improvisação musical através de alguns conceitos. Observamos como a improvisação pode ocorrer com elementos mais ou menos premeditados (solos ou improvisos). Exploramos a metáfora de improvisar como "contar uma história" - sob o ponto de vista da semântica e sintaxe musical, com base em autores como John Sloboda (2008) e Jean-Jaques Nattiez (2002). Estudamos a criação do arco narrativo típico em improvisação - a variação de densidade/intensidade da improvisação, refletindo com Ingrid Monson (1996) e Turi Collura (2008) - e aplicamos estes conceitos aos dois improvisos de Jonathan Kreisberg já estudados. A seguir, revisamos vários processos de manipulação do vocabulário melódico em improvisação (como paráfrase, desenvolvimento de motivos, livre tematismo). Refletimos sobre o papel do tematismo na criação de coerência interna para improvisação - e pensamos como cada processo de manipulação melódica estudado se comporta em relação à dicotomia inventividade (ou criatividade) versus coerência. No terceiro capítulo, consideramos o papel da interação entre os músicos na construção da narrativa musical, em que os impulsos comunicativos musicais e "extramusicais" desempenham um importante papel nas improvisações. Mostramos processos de interação típicos de música popular improvisada. Fazemos um segundo estudo de caso e analisamos três performances do choro Lamentos pelo Trio Corrente, um grupo de Música Instrumental Brasileira que vem ganhando destaque e reconhecimento nos últimos anos - foram premiados com o "melhor álbum instrumental" no Grammy Latino de 2014. O grupo é composto por Fábio Torres (piano), Paulo Pauleli (baixo) e Edu Ribeiro (bateria). Pela análise das performances do Trio (nos anos 2003, 2012 e 2012) e comparações com outros intérpretes, percebe-se que a narrativa musical pelo grupo preza por uma dinâmica de espontaneidade e de interação musical intensa, mas seguindo parâmetros e procedimentos recorrentes. Desta forma, ao longo do trabalho refletimos sobre processos de improvisação e narratividade musical nos trabalhos de grupos musicais e intérpretes como Jonathan Kreisberg, Jacob do Bandolim, Izaías Bueno, John Coltrane, Miles Davis, Paul Motian Trio, Trio Corrente e outros. Propõe-se pensar que a construção das narrativas musicais improvisadas ocorrem por um processo que envolve a expressão de individualidade de cada músico e as interações entre eles - percebendo o exercício de papéis de solista e acompanhador geralmente constatados na dinâmica de interpretação coletiva. / The present work discusses how the narrativization of improvisations in improvised popular music happen - analyzing examples of Jazz and Brazilian Instrumental Music. In the first chapter, we discuss the search of each interpreter for the development of his "voice" or his individuality as improviser, in elements such as: his melodic improvisation vocabulary, the search for his sonority, the development of his technique. We do a case study of two improvisations by American guitarist Jonathan Kreisberg (born in 1972-, a very active musician with a solid career in the international Jazz scene) in the standards My Favorite Things and Caravan. The analysis shows procedures and melodic vocabulary recurrent in the two improvisations, that possibly evidences the musician's improvisation style. In the second chapter, we discuss the narrativity of musical improvisation through some concepts. We observe how improvisation can occur with more or less premeditated elements (solos or improvisations). We explore the metaphor of improvising as "telling a story" - from the standpoint of semantics and musical syntax, based on authors such as John Sloboda (2008) and Jean-Jaques Nattiez (2002). We studied the creation of the typical narrative arc in improvisation - the density / intensity variation of improvisation, reflecting with Ingrid Monson (1996) and Turi Collura (2008) - and apply these concepts in the two Jonathan Kreisberg improvisations already studied. Next, we review several processes of manipulation of the melodic vocabulary in improvisation (such as paraphrase, motif development and Livre Tematismo). We reflect on the role of thematicism in creating internal coherence for improvisation - and we discuss how each process of melodic manipulation studied behaves in relation to the dichotomy of inventiveness (or creativity) versus coherence. In the third chapter, we consider the role of the interaction between the musicians in the construction of the musical narrative, in which the musical and "extramusical" communicative impulses play an important role in the improvisations. We show typical interaction processes of improvised popular music. We make a second case study and analyze three performances of the "choro" Lamentos by Trio Corrente, a group of Brazilian Instrumental Music that has been gaining prominence and recognition in recent years - they were awarded the "best instrumental album" at the Latin Grammy of 2014. The group is composed by Fábio Torres (piano), Paulo Pauleli (bass) and Edu Ribeiro (drums). By analyzing the performances of the Trio (in the years 2003, 2012 and 2012) and comparisons with other performers, one can notice that the musical narrative by the group values a dynamic of spontaneity and intense musical interaction, but following recurrent parameters and procedures. In this way, throughout the work we reflect on processes of improvisation and musical narrativity by studies on the works of musical groups and performers such as Jonathan Kreisberg, Jacob do Bandolim, Izaias Bueno, John Coltrane, Miles Davis, Paul Motian Trio, Trio Corrente and others. It is proposed to think that the construction of improvised musical narratives occurs through a process that involves the expression of individuality of each musician and the interactions between them - perceiving the exercise of soloist and accompanist roles usually found in the dynamics of collective interpretation.

Abstract Children’s narrating has been studied very little from the viewpoint of what narration means to children. Based on research material gathered in domestic circumstances, the current study discusses how narration can function as a tool for children for understanding the world and themselves. This study is situated in the fields of narrative research and childhood research and is part of the TelLis project (134825) funded by the Academy of Finland, in which children’s welfare is studied as narrated by the children themselves. The research question is: What is children’s narrative knowing like? The study is not so much targeted at what the children narrate, but how they narrate and make the world meaningful to themselves through narration. The place in which the study was carried out was the home of the author and her children. Other children visiting their home also contributed to knowledge formation. This setup is a source of both richness and challenge in this work, and necessitates consideration of ethical and methodological issues. The research material was gathered over a period of nearly ten years, but mostly in the years 2002–2005. A total of 21 children of different ages (0 to 15 years) contributed to knowledge construction, some of them at many ages. In most of the material the children are 1 to 8 years old. The material includes stories written of children’s play, their drawings, stories narrated or written by them, dialogic episodes, video material, photographs and a research diary. Stratification and construction between an adult and children is typical of the material. After thematisation, core material was selected for closer examination. It was subjected to the method of dialogic re-reading and re-narration. In their forms of narrative knowing, children sometimes occupy areas that are hard to identify for adults. One of the most familiar forms is imaginary play, which is discussed in this study in parallel with the child’s other doings, activities, speech and thinking. Children’s narration should be examined as a part of human relationships, narrative practices and concrete environment. Issues typical of the child’s narrative knowing include the intertwining of many ingredients with the child’s own experiences, imagination, future orientation, embodiment and aesthetics. Children narrate close to their own experiences and, so to speak, live in their own knowledge. Through narration, children add to their awareness of others, the world and themselves in the world. / Tiivistelmä Lasten kertomista on tutkittu hyvin vähän siitä näkökulmasta, mitä kertominen merkitsee lapsille. Tutkimuksessa tarkastellaan kotona kerätyn aineiston pohjalta, miten kertominen toimii lapsilla maailman ja itsensä ymmärtämisen välineenä. Työ sijoittuu kerronnallisen tutkimuksen ja lapsuudentutkimuksen alueille ja on osa Suomen Akatemian rahoittamaa TelLis-hanketta (134825), jossa tutkitaan lasten hyvinvointia heidän itsensä kertomana. Tutkimuksessa kysytään: Millaista on lasten kerronnallinen tietäminen? Tarkastelun kohteena ei ole niinkään se mitä lapset kertovat, vaan ennemmin miten he kertovat ja kertomalla merkityksellistävät maailmaa itselleen. Tutkimuksen tekemisen paikkana on tutkijan ja tutkimuksessa mukana olevien lasten koti. Tiedon muodostumiseen osallistuu myös kodissa vierailevia lapsia. Asetelma on tutkimuksen rikkaus ja haaste ja pakottaa pohtimaan eettisiä ja metodologisia kysymyksiä. Aineisto on koottu lähes kymmenen vuoden aikana, pääasiassa kuitenkin vuosina 2002–2005. Yhteensä 21 eri-ikäistä (0–15-vuotiasta) lasta osallistuu tiedon rakentumiseen, osa monenikäisenä. Suurimmassa osassa aineistoa lapset ovat 1–8-vuotiaita. Aineistossa on leikeistä kirjoitettuja tarinoita, lasten piirustuksia, lasten kertomia tai kirjoittamia tarinoita, keskusteluepisodeja, videoaineistoa, valokuvia ja tutkimuspäiväkirja. Aineistolle on ominaista kerroksellisuus ja rakentuminen aikuisen ja lasten kesken. Teemoittelun jälkeen laajasta aineistosta valittiin ydinaineisto tarkemmin tarkasteltavaksi. Siihen sovellettiin dialogista uudelleenluennan ja -kerronnan menetelmää. Lapset liikkuvat kerronnallisessa tietämisessään aikuiselle joskus vaikeasti tunnistettavissa muodoissa. Yksi tutuimmista kuitenkin on mielikuvitusleikki, jota tässä tutkimuksessa tarkastellaan lapsen muun tekemisen, toiminnan, puheen ja ajattelun kanssa rinnakkain. Lasten kertomista pitää tarkastella osana ihmissuhteita, kerronnallisia käytänteitä ja konkreettista ympäristöä. Lasten kerronnalliselle tietämiselle on tunnusomaista monien ainesten kietoutuminen omiin kokemuksiin, kuvittelu, tulevaisuuteen suuntautuminen, ruumiillisuus ja esteettisyys. Lapsi kertoo läheltä kokemustaan ja ikään kuin asuu omassa tiedossaan. Kertoessaan lapsi tulee tietoisemmaksi toisista, maailmasta ja itsestään maailmassa.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Prenant le parti de la valeur mutative du psychodrame psychanalytique, cette recherche vise une description métapsychologique de ce qui en fonde l'efficacité, comme de ses spécificités dans la mise en oeuvre des desseins psychothérapiques de la psychanalyse. L'exemple du renforcement pulsionnel propre à l'adolescence questionne les capacités de symbolisation et de montage pulsionnel permis tant par l'appareil psychique que par les dispositifs (de prothèse ou de détour) que sont les dispositifs psychothérapiques. Trois études longitudinales constituées par des récits de cures psychodramatiques d'adolescents donnent un appui à la construction d'une « figurabilité» spécifiquement psychodramatique grâce à trois opérateurs, nommés le « narratif », le « scénique » et le « dramatique ». Le but de cette recherche est la fabrique métapsychologique de ces opérateurs à l'intersection de la pratique en séance et de la littérature psychanalytique. La notion freudienne de « figurabilité » sert de cadre à la construction de ces opérateurs et à ce qu'ils articulent des capacités de symbolisation du psychisme et de celles d'un dispositif de psychothérapie. La continuité d'un éprouvé de subjectivation permis par l'opérateur du « narratif » se complète des spécificités fictionnelles de la narrativité psychodramatique. De salutaires contournements des mécanismes de censure et une plus ample fréquentation de la réalité psychique soutiennent ainsi la mise en forme des quantités pulsionnelles. La circulation de la notion de « scène » dans la métapsychologie décrit la dimension processuelle que soutient l'opérateur du « scénique ». Si la mise en scène est au service du saisissement conscient, elle opère aussi par le recours à l'hallucinatoire. Ce que la scène du psychodrame permet d'une distinction des objets et contraint d'un commerce avec eux est un facteur subjectivant d'« objectalisation » qui fait contrepoids au repli narcissique. L'objet fabriqué par le psychodrame naît des capacités d'accordage de la scène psychodramatique, celles-ci étant décrites à travers leur usage singulier de la transitionnalité. Enfin, l'opérateur du « dramatique » déploie la fécondité des modes de présence de l'acte dans la représentation psychodramatique. L'excitation véhiculée par le jeu en groupe appelle un travail constant de mise en forme qui utilise divers médiums expressifs. L'objet est à la fois celui qui provoque les quantités d'excitation et celui qui en soutiendra la liaison. L'activité figurative s'articule à une activité pare-excitante qui peut relancer l'activité régulatrice du refoulement. Entre impression et expression, l'activité esthétique du jeu de l'acteur consiste en la modulation des valeurs attribuées aux représentations. Le « dramatique » peut alors se définir comme un art des variations en quête de sens. Les objets de sens issus de ces variations d'affectation sont ensuite détaillés comme visée topographique et subjectivante des entrelacs entre réalité matérielle et réalité psychique. Par sa mise en jeu et en scène, une place de représentation est plus aisément donnée ou re-donnée au transfert afin d'en défaire la potentialité agissante. Pour finir, le dernier récit clinique permet de montrer l'utilité et le caractère structurant de ces opérateurs dans la mise en scène adolescente du second acte de la dramaturgie oedipienne. / Granting that psychoanalytic psychodrama can effect change, this project seeks to produce both a metapsychological description of the basis for its effectiveness and an account of the specific ways in which it pursues the therapeutic aims of psychoanalysis. The example of adolescent drive reinforcement raises questions about the capacities for symbolization and for the organization of drives that are made possible as often by the psychic apparatus as by the mechanisms (whether of prostheses or of detours) of psychotherapy. Three longitudinal studies, narratives of psychodramatic treatments of adolescents, anchor the construction of a specifically psychodramatic "figurability" with three modalities, the "narrative", the "scenic", and the "dramatic". This research project aims to produce a metapsychological account of these modalities at the intersection between clinical practice and the psychoanalytic literature. The Freudian notion of "figurability" serves as the framework for constructing these modalities and for representing their capacity to symbolize the psyche and to articulate a psychotherapeutic instrument. The continuity of an experience of subjectivization permitted by the "narrative" modality is completed by the fictional specificities of psychodramatic narrativity. Salutary evasions of the mechanisms of censorship and increased commerce with psychic reality thus support the shaping of drive quantities. The circulation of the notion of "scene" in metapsychology describes the dimension of process that is supported by the "scenic" modality. If the staging is at the service of a conscious awareness, it also operates through recourse to the hallucinatory. What the scene of psychodrama permits regarding a distinction of objects and constraints regarding interactions with them, is a subjectivizing factor of "objectalization" that provides a counterweight to narcissistic retreat. The object created by the psychodrama grows out of the capacities for harmonization of the psychodramatic scene, the capacities being described through their singular use of transitionality. Finally, the "dramatic" modality unfolds the fecundity of the modes of presence of the act in psychodramatic representation. The excitement conveyed by group play-acting calls for a constant work of shaping which uses various expressive media. The object is at once the one that provokes quantities of excitement and the one that will support their linking. The figurative activity is articulated with a protective shield that can relaunch the regulating activity of repression. Between impression and expression, the aesthetic activity of the actors performance consists in the modulation of the values attributed to the representations. The "dramatic" can then be defined as an art of variations in search of meaning. The meaningful objects that emerge from these variations of affectation are then scrutinized as the topographic and subjectivizing aim of the interlacings between material reality and psychic reality. By being set into play and put on stage, a place of representation is more easily given or restored to the transference so as to undo its "agieren" effective potentiality. In conclusion, the last clinical narrative makes it possible to show the utility and the structuring character of these modalities in the adolescent staging of the second act of the Oedipal drama.

Cette thèse présente le fruit de cinq années d’études et de travail au doctorat à l’Université de Montréal. Elle est le support théorique derrière un cycle de onze compositions instrumentales narratives et autonomes, suivant la définition du cycle donnée par la chercheure Anne Besson dans son livre D’Asimov à Tolkien : cycles et séries dans la littérature de genre 1 . L’objectif a été de créer des compositions constituant un univers fictif cohérent et uni, qui se penche sur le concept de la chronologie narrative dans la musique. Les œuvres ont été composées dans un ordre différent de celui dans lequel les événements du récit se déroulent. Cela permet d’explorer la notion d’antépisode (prequel) et de suite (sequel) en musique. Composées tout d’abord pour le concert, ces pièces, écrites pour des formations allant de la musique de chambre jusqu’au grand orchestre, ont été adaptées afin d’être enregistrées et travaillées en studio, ce qui permet d’ajouter une nouvelle couche de procédés compositionnels. Présentant plusieurs concepts théoriques tels que la narrativité (générale et propre à la musique), la notion de cycle dans un ensemble d’œuvres ainsi que la définition d’un univers fictif, cette thèse analysera ces onze œuvres et apportera des pistes de solution afin d’adapter ces procédés fréquemment utilisés en littérature et à l’écran à la musique. / This thesis is the outcome of five years of doctoral studies at the University of Montreal. It presents the theory behind a cycle of eleven autonomous narrative instrumental pieces, following the definition of cycle as defined by researcher Anne Besson in her book “D’Asimov à Tolkien : cycles et séries dans la littérature de genre.” The goal was to create a coherent and unified fictional universe that explores the concept of narrative chronology in music. The pieces were composed in a different order than the one in which the events of the story occur. It allows us to explore the idea of prequel and sequel in music. Originally composed for the concert hall, for ensembles ranging from chamber music to symphonic orchestras, they were afterwards adapted to be recorded and edited in a studio, allowing the composer to explore an array of new compositional techniques. Presenting many theoretical concepts such as narrativity (in general and pertaining specifically to music), the cyclic concept in a body of works and also the definition of a fictional universe, this thesis will analyze these eleven works while suggesting possible solutions for bringing processes that occur frequently in literature and film to the world of music.

Prenant le parti de la valeur mutative du psychodrame psychanalytique, cette recherche vise une description métapsychologique de ce qui en fonde l'efficacité, comme de ses spécificités dans la mise en oeuvre des desseins psychothérapiques de la psychanalyse. L'exemple du renforcement pulsionnel propre à l'adolescence questionne les capacités de symbolisation et de montage pulsionnel permis tant par l'appareil psychique que par les dispositifs (de prothèse ou de détour) que sont les dispositifs psychothérapiques. Trois études longitudinales constituées par des récits de cures psychodramatiques d'adolescents donnent un appui à la construction d'une « figurabilité» spécifiquement psychodramatique grâce à trois opérateurs, nommés le « narratif », le « scénique » et le « dramatique ». Le but de cette recherche est la fabrique métapsychologique de ces opérateurs à l'intersection de la pratique en séance et de la littérature psychanalytique. La notion freudienne de « figurabilité » sert de cadre à la construction de ces opérateurs et à ce qu'ils articulent des capacités de symbolisation du psychisme et de celles d'un dispositif de psychothérapie. La continuité d'un éprouvé de subjectivation permis par l'opérateur du « narratif » se complète des spécificités fictionnelles de la narrativité psychodramatique. De salutaires contournements des mécanismes de censure et une plus ample fréquentation de la réalité psychique soutiennent ainsi la mise en forme des quantités pulsionnelles. La circulation de la notion de « scène » dans la métapsychologie décrit la dimension processuelle que soutient l'opérateur du « scénique ». Si la mise en scène est au service du saisissement conscient, elle opère aussi par le recours à l'hallucinatoire. Ce que la scène du psychodrame permet d'une distinction des objets et contraint d'un commerce avec eux est un facteur subjectivant d'« objectalisation » qui fait contrepoids au repli narcissique. L'objet fabriqué par le psychodrame naît des capacités d'accordage de la scène psychodramatique, celles-ci étant décrites à travers leur usage singulier de la transitionnalité. Enfin, l'opérateur du « dramatique » déploie la fécondité des modes de présence de l'acte dans la représentation psychodramatique. L'excitation véhiculée par le jeu en groupe appelle un travail constant de mise en forme qui utilise divers médiums expressifs. L'objet est à la fois celui qui provoque les quantités d'excitation et celui qui en soutiendra la liaison. L'activité figurative s'articule à une activité pare-excitante qui peut relancer l'activité régulatrice du refoulement. Entre impression et expression, l'activité esthétique du jeu de l'acteur consiste en la modulation des valeurs attribuées aux représentations. Le « dramatique » peut alors se définir comme un art des variations en quête de sens. Les objets de sens issus de ces variations d'affectation sont ensuite détaillés comme visée topographique et subjectivante des entrelacs entre réalité matérielle et réalité psychique. Par sa mise en jeu et en scène, une place de représentation est plus aisément donnée ou re-donnée au transfert afin d'en défaire la potentialité agissante. Pour finir, le dernier récit clinique permet de montrer l'utilité et le caractère structurant de ces opérateurs dans la mise en scène adolescente du second acte de la dramaturgie oedipienne. / Granting that psychoanalytic psychodrama can effect change, this project seeks to produce both a metapsychological description of the basis for its effectiveness and an account of the specific ways in which it pursues the therapeutic aims of psychoanalysis. The example of adolescent drive reinforcement raises questions about the capacities for symbolization and for the organization of drives that are made possible as often by the psychic apparatus as by the mechanisms (whether of prostheses or of detours) of psychotherapy. Three longitudinal studies, narratives of psychodramatic treatments of adolescents, anchor the construction of a specifically psychodramatic "figurability" with three modalities, the "narrative", the "scenic", and the "dramatic". This research project aims to produce a metapsychological account of these modalities at the intersection between clinical practice and the psychoanalytic literature. The Freudian notion of "figurability" serves as the framework for constructing these modalities and for representing their capacity to symbolize the psyche and to articulate a psychotherapeutic instrument. The continuity of an experience of subjectivization permitted by the "narrative" modality is completed by the fictional specificities of psychodramatic narrativity. Salutary evasions of the mechanisms of censorship and increased commerce with psychic reality thus support the shaping of drive quantities. The circulation of the notion of "scene" in metapsychology describes the dimension of process that is supported by the "scenic" modality. If the staging is at the service of a conscious awareness, it also operates through recourse to the hallucinatory. What the scene of psychodrama permits regarding a distinction of objects and constraints regarding interactions with them, is a subjectivizing factor of "objectalization" that provides a counterweight to narcissistic retreat. The object created by the psychodrama grows out of the capacities for harmonization of the psychodramatic scene, the capacities being described through their singular use of transitionality. Finally, the "dramatic" modality unfolds the fecundity of the modes of presence of the act in psychodramatic representation. The excitement conveyed by group play-acting calls for a constant work of shaping which uses various expressive media. The object is at once the one that provokes quantities of excitement and the one that will support their linking. The figurative activity is articulated with a protective shield that can relaunch the regulating activity of repression. Between impression and expression, the aesthetic activity of the actors performance consists in the modulation of the values attributed to the representations. The "dramatic" can then be defined as an art of variations in search of meaning. The meaningful objects that emerge from these variations of affectation are then scrutinized as the topographic and subjectivizing aim of the interlacings between material reality and psychic reality. By being set into play and put on stage, a place of representation is more easily given or restored to the transference so as to undo its "agieren" effective potentiality. In conclusion, the last clinical narrative makes it possible to show the utility and the structuring character of these modalities in the adolescent staging of the second act of the Oedipal drama.

Notre recherche porte sur l'identité narrative chez des enfants âgés de 6 à 12 ans accueillis en ITEP. Psychologue auprès d'«enfants violents» durant cinq ans, notre thèse est le fruit d'une démarche originale, qui s'appuie à la fois sur la psychopathologie, la psychanalyse, la philosophie et différentes sources culturelles. Pour Paul Ricœur, philosophe, l'homme est un être résolument narratif, un être pour qui l'impérieuse nécessité de raconter le monde et de se raconter fonde son essence même. Il s'agit de considérer ce qui demeure de la singularité d'un être au fil du temps, la façon dont il se vit et se raconte. Au travers de ce concept se fait jour une dialectique entre soi et l'autre, entre soi et l'étranger en soi (la mêmeté et l'ipséité). L'identité narrative, c'est la possibilité d'un écart réflexif face à l'évènement, c'est la fondation de l'expérience au regard de la temporalité. C'est donc un aspect de la conscience de soi, une expérience de l'intime, l'expression de la subjectivité telle qu'elle peut être partagée et transformée. Or, dans la clinique des enfants violents, nous observons que tous ont en commun d'échouer à se constituer un récit de vie, à se forger une expérience. Tout se passe comme si le sentiment de continuité dans l'existence (Winnicott) était un canevas troué, sans cesse remis sur le métier. La psychopathologie des enfants dits « violents » est complexe, elle se compose d'une symptomatologie très hétérogène, ancrée bien que possiblement labile, qui s'origine dans les liens précoces. On note la prévalence des difficultés d'apprentissage en lecture et écriture, des agirs violents plutôt qu'une mise en mots, un vécu émaillé de ruptures et d'évènements traumatiques, un difficile ancrage identitaire et filial et des identifications en souffrance. Au début de notre recherche, notre travail s'est orienté par ce que nous avons repéré comme les difficultés éprouvées par l'enfant violent à raconter une histoire et a fortiori à mettre en récit la sienne propre. Mais cette démarche se prolonge en ce qu'il s'agit de se demander en quoi l'identité narrative est un concept clé pour apporter une contribution à la compréhension des processus psychiques en jeu. Nous suivons ainsi la piste des processus de pensée obérés sur un fond temporel non constitué en tant que période de latence. En outre, il s'agit d'interroger la pertinence et les limites d'un tel abord psychothérapeutique, questions que nous posons à partir de 12 vignettes et de 8 cas d'enfants suivis en psychothérapie analytique 1 à 3 fois par semaine durant 1 à 4 années. Notre méthodologie de recherche repose sur des retranscriptions de séances de psychothérapie par le jeu, le dessin, les dialogues imaginaires et la parole. Nous avons pensé notre pratique clinique comme un espace pour mettre en mouvement les processus de subjectivation, choisissant ainsi de faire feu de tout bois à partir du matériau apporté par l'enfant. Nous portons notre attention sur les processus de symbolisation et leurs entraves, perceptibles dans le transfert. Le maniement de celui-ci permet de rejouer des enjeux présents, trop présents mais non psychisés, dans le lien aux objets premiers de ces enfants. Nous nous écartons résolument d'une logique évaluative et comportementale pour affirmer la valeur et l'actualité de la clinique du transfert dans ce champ, que l'on peut dénommer clinique de l'extrême. Nous nous appuyons principalement, à partir de la métapsychologie freudienne, sur les apports de Winnicott, de Ferenczi et de l'École lyonnaise. Nous précisons en quoi la philosophie ricœurienne constitue une figure d'altérité pour la psychanalyse et dégageons les lignes de tension épistémologiques entre l'un et l'autre champ. Enfin, notre recherche est animée par une visée politique : nous souhaitons témoigner de l'urgence humanitaire que constitue la situation de ces enfants en même temps que la nécessité, l'intérêt et la fécondité du travail thérapeutique auprès d'eux. / Our research focuses on the narrative identity of children aged 6 to 12 who are living with ITEP. Psychologist with "violent children" for five years, our thesis is the fruit of an original approach, which is based on both psychopathology, psychoanalysis, philosophy and different cultural sources. For Paul Ricoeur, philosopher, the man is a resolutely narrative being, a being for whom the imperious need to tell the world and to tell stories is the basis of its very essence. It is a question of considering what remains of the singularity of a being over time, the way he lives and tells himself. Through this concept comes a dialectic between oneself and the other, between oneself and the stranger in oneself (sameness and ipseity). The narrative identity is the possibility of a reflexive difference with the event, it is the foundation of the experience with regard to temporality. It is therefore an aspect of self-awareness, an experience of intimacy, the expression of subjectivity as it can be shared and transformed. However, in the clinic of violent children, we observe that all have in common to fail to constitute a story of life, to forge an experience. Everything happens as if the sense of continuity in existence (Winnicott) was a perforated canvas, constantly put back on the job. The psychopathology of so-called "violent" children is complex, it is composed of a very heterogeneous symptomatology, anchored although possibly labile, which originates in the early links. We note the prevalence of learning difficulties in reading and writing, violent acts rather than a putting into words, a lived enamelled ruptures and traumatic events, a difficult identity and filial anchorage and identifications in pain. At the beginning of our research, our work was guided by what we saw as the difficulties experienced by the abusive child in telling a story, let alone in narrating his own story. But this approach is prolonged in that it is a question of wondering why the narrative identity is a key concept to make a contribution to the understanding of the psychic processes at stake. We thus follow the path of the processes of thought obsessed on an unincorporated timebase as a latency period. In addition, it is questioning the relevance and the limits of such a psychotherapeutic approach, questions that we ask from 12 vignettes and 8 cases of children followed in analytical psychotherapy 1 to 3 times per week during 1 at 4 years old. Our research methodology is based on retranscriptions of psychotherapy sessions through play, drawing, imaginary dialogues and speech. We have thought of our clinical practice as a space to set in motion the processes of subjectivation, thus choosing to fire any wood from the material brought by the child. We focus our attention on symbolization processes and their hindrances, perceptible in the transfer. The handling of this one allows to replay present issues, too present but not psychised, in the link to the first objects of these children. We deviate resolutely from an evaluative and behavioral logic to assert the value and timeliness of the transfer clinic in this field, which can be called clinical extreme. We mainly rely, from Freudian metapsychology, on the contributions of Winnicott, Ferenczi and the Lyons school. We specify in what Ricerc philosophy constitutes a figure of otherness for the psychoanalysis and release the epistemological lines of tension between the one and the other field. Finally, our research is driven by a political aim: we wish to testify to the humanitarian urgency that is the situation of these children at the same time as the necessity, the interest and the fertility of the therapeutic work with them. / La nostra ricerca si concentra sull'identità narrativa dei bambini dai 6 ai 12 anni che vivono con ITEP. Psicologa con "bambini violenti" per cinque anni, la nostra tesi è il frutto di un approccio originale, che si basa sia su psicopatologia, psicoanalisi, filosofia e diverse fonti culturali. Per Paul Ricoeur, filosofo, l'uomo è un essere risolutamente narrativo, un essere per il quale l'imperioso bisogno di dire al mondo e di raccontare storie è la base della sua stessa essenza. Si tratta di considerare ciò che rimane della singolarità di un essere nel tempo, il modo in cui vive e si racconta. Attraverso questo concetto nasce una dialettica tra sé e l'altro, tra se stessi e lo straniero in se stessi (identità e ipseità). L'identità narrativa è la possibilità di una differenza riflessiva con l'evento, è il fondamento dell'esperienza in relazione alla temporalità. È quindi un aspetto dell'auto-consapevolezza, un'esperienza di intimità, l'espressione della soggettività come può essere condivisa e trasformata. Tuttavia, nella clinica dei bambini violenti, osserviamo che tutti hanno in comune il non riuscire a costituire una storia di vita, a forgiare un'esperienza. Tutto accade come se il senso di continuità dell'esistenza (Winnicott) fosse una tela perforata, costantemente rimessa sul lavoro. La psicopatologia dei cosiddetti bambini "violenti" è complessa, è composta da una sintomatologia molto eterogenea, ancorata sebbene possibilmente labili, che ha origine nei primi legami. Notiamo la prevalenza di difficoltà di apprendimento nella lettura e nella scrittura, atti violenti piuttosto che una messa in parole, una rottura smaltata vissuta e eventi traumatici, un'identità difficile e ancoraggio filiale e identificazioni nel dolore. All'inizio della nostra ricerca, il nostro lavoro è stato guidato da quelle che abbiamo visto come le difficoltà incontrate dal bambino violento nel raccontare una storia, per non parlare della sua storia. Ma questo approccio si prolunga nel fatto che si tratta di chiedersi perché l'identità narrativa sia un concetto chiave per dare un contributo alla comprensione dei processi psichici in gioco, quindi seguiamo il percorso dei processi di pensiero ossessionati da una base dei tempi non incorporata come periodo di latenza. Inoltre, mette in discussione la rilevanza e i limiti di un tale approccio psicoterapeutico, domande che chiediamo da 12 vignette e 8 casi di bambini seguiti in psicoterapia analitica 1-3 volte a settimana durante 1 a 4 anni. La nostra metodologia di ricerca si basa sulla ritrasmissione di sedute di psicoterapia attraverso il gioco, il disegno, i dialoghi immaginari e il parlato. Abbiamo pensato alla nostra pratica clinica come a uno spazio per mettere in moto i processi di soggettivazione, scegliendo così di licenziare qualsiasi legno dal materiale portato dal bambino. Concentriamo la nostra attenzione sui processi di simbolizzazione e sui loro ostacoli, percepibili nel trasferimento. La gestione di questo permette di riprodurre i problemi presenti, troppo presenti ma non psicizzati, nel collegamento ai primi oggetti di questi bambini. Ci scostiamo risolutamente da una logica valutativa e comportamentale per affermare il valore e la tempestività della clinica di trasferimento in questo campo, che può essere definito clinicamente estremo. Principalmente ci affidiamo, dalla metapsicologia freudiana, ai contributi di Winnicott, di Ferenczi e della scuola di Lione. Specifichiamo in che cosa la filosofia Ricœuriana costituisce una figura di alterità per la psicoanalisi e libera le linee di tensione epistemologica tra l'una e l'altra materia. Infine, la nostra ricerca è guidata da un obiettivo politico: desideriamo testimoniare l'urgenza umanitaria che è la situazione di questi bambini nello stesso momento della necessità, l'interesse e la fertilità del lavoro terapeutico con loro.

cneuromod.ca / Les Corrélations Inter-Sujets (ISC) des signaux corps-cerveaux permettent-elles de repérer les processus affectifs partagés par deux individus ? Le présent mémoire propose une approche complémentaire pour étudier les ISC corps-cerveaux en réponse à des récits audiovisuels en analysant les enregistrements multimodaux de six participants ayant regardé quatre saisons de la série télévisée Friends. Nous avons tenté de déterminer si une activité cardiaque synchronisée, mesurée à l'aide des ISC du rythme cardiaque (HR-ISC), se produit dans les mêmes fenêtres temporelles qu’une synchronisation de l’activité localisée dans les aires cérébrales reliées aux émotions chez chaque paire de sujets séparément. Les analyses ISC de l'activité cérébrale (mesurée avec imagerie par résonance magnétique fonctionnelle; IRMf) et cardiaque (mesurée avec la photopléthysmographie; PPG) ont été effectuées dans le contexte d'une tâche de visionnement libre incluse dans le projet Courtois-Neuromod (Bellec & Boyle, 2019; Boyle et al., 2022) consistant à écouter des épisodes de Friends. Des ISC temporelles univariées ont été utilisées pour estimer le degré de synchronisation propre à chaque paire d'individus. Nos résultats, en accord avec la littérature, ont montré un niveau plus élevé d’ISC cérébrales pour les aires sensorielles que pour les aires non-sensorielles (Kauppi et al., 2010; Nastase et al., 2019). Les paires de sujets ont également montré un niveau significatif de synchronisation cardiaque moyenne. Contrairement à notre hypothèse, la modélisation de la variabilité des ISC cérébrales et cardiaques chez chaque paire de sujets suggère que la synchronisation cardiaque ne coïncide pas linéairement avec une synchronisation temporellement stable ou localisée de l’activité cérébrale. / Can shared affective processes of two individuals be tracked down by brain-body Inter-Subject Correlations (ISC)? We propose a complementary approach to investigating brain-body ISC in response to audiovisual narratives by analyzing multimodal recordings from six subjects who watched four seasons of the Friends TV show. We specifically asked whether consistent cardiac activity assessed using heart rate ISC (HR-ISC) yields localized synchronization in emotional areas of the brain in each pair of subjects. ISC analyses of brain (functional magnetic resonance imaging; fMRI) and cardiac (photoplethysmography; PPG) activity were carried out in the context of a free viewing task included in the Courtois-Neuromod project (Bellec & Boyle, 2019; Boyle et al., 2022). Univariate temporal ISC were used to estimate the degree of synchronization specific to each pair of individuals. Our results are in line with the literature in showing a distinctive level of Brain-ISC for sensory and non-sensory areas (Kauppi et al., 2010; Nastase et al., 2019). Moreover, every subject showed a significant level of cardiac synchronization as nonparametric hypothesis testing reports average HR-ISC is larger than zero. Modeling the variability of Brain-ISC and HR-ISC in specific pairs of subjects suggests that cardiac synchronization does not linearly coincide with temporally stable nor localized synchronization in the brain. On this ground, we suggest that subjects submitted to the same audiovisual narrative might not synchronize as they access a shared cognitive representation (Madsen & Parra, 2022; Nastase et al., 2019) but rather as they perform similar “mental actions” (Sandved-Smith et al., 2021).

Dans ce mémoire, j’analyse les trois pièces composées dans le cadre de ma maîtrise en musique, option composition et création sonore, à l’Université de Montréal. J’y décris mon processus de création et j’y présente les enjeux au cœur de ma démarche, notamment en ce qui concerne le volet narratif de mes œuvres et les impacts polystylistiques de cette narrativité. J’explique notamment comment je réconcilie la pluralité des sources d’inspirations puisées selon les besoins narratifs avec un désire d’uniformité esthétique et de cohérence formelle au sein de mes œuvres. Celles-ci sont donc présentées en ordre chronologique et vont comme suit : 1 : La prison de glace. Cycle de quatre poèmes pour baryton et piano d’une durée d’environ 15 minutes. 2 : L’épinette noire. Pièce narrativement abstraite écrite pour quatuor à corde d’une durée d’environ 5 minutes. 3 : La Dame blanche. Ballet pour orchestre symphonique inspiré de la légende de La Dame blanche de la chute Montmorency d’une durée d’environ 55 minutes. / In this thesis, I analyze the three pieces composed as part of my master's degree in music, option composition and sound creation, at Université de Montréal. I describe my creative process and I present the challenges that I faced throughout, especially regarding the narrative side of my pieces and its polystylistics impacts. I especially explain how I reconcile the plurality of inspirations drawn accordingly to my narrative needs despite a desire for aesthetic uniformity and formal coherence within each piece. They are therefore presented in chronological order and go as follows: 1: La prison de glace. A 15 minutes cycle of four poems for baritone and piano 2: L’épinette noire. Narratively abstract piece written for string quartet of about 5 minutes. 3: La Dame blanche. A 55 minutes ballet for symphonic orchestra inspired by the La Dame blanche de la chute Montmorency legend, lasting about 55 minutes. Keywords: Polyscalar Continuum, narrativity, composition, polystylism, ballet, quartet, poem, music