Ce travail – dont l´origine découle d´une question clinique – cherche, dans le champ de la théorie psychanalytique, établir une comparaison entre les concepts de vérité chez Freud et Lacan, ainsi que rechercher les conceptions de vérité qui peuvent être reconnues dans les deux oeuvres. Nous utilisons la formalisation lacanienne pour concevoir une “topologique” de la vérité, c´est à dire, le fondement du concept, pour ainsi mettre en question ses possibles impacts dans le champ de la technique psychanalytique. Avec le même objectif, à partir de la référence à la topologie des surfaces, on investigue le rapport entre le dispositf de coupure dans la situation clinique et la conception topologique de coupure, essentielle pour aborder l´interprétation (opération central à la technique). C´est ainsi que l´on débat le rapport de la vérité avec propositions comme mi-dire, acte, scansion, citation, énigme et ponctuation, afin d´exposer un possible fondement de la technique interprétative en la psychanalyse. On présente donc l´importance du concept lacanien de vérité pour le champ de la technique, ce que définirait la pratique psychanalytique comme une pratique de vérité. / Este trabalho origina-se de uma questão clínica e busca, no campo da teoria psicanalítica, estabelecer uma comparação entre os conceitos de verdade de Freud e Lacan, assim como pesquisar as concepções de verdade que podem ser reconhecidas em ambas obras. Utiliza-se a formalização lacaniana para conceber uma “topológica” da verdade, isto é, o fundamento do conceito, para assim questionar seus possíveis impactos no campo da técnica psicanalítica. Com a mesma finalidade, através da referência à topologia das superfícies, investiga-se a relação entre o dispositivo de corte na situação clínica e a concepção topológica de corte, essencial para a abordagem da interpretação (operação central à técnica). Dessa maneira coloca-se em debate a relação da verdade com propostas tais quais semi-dizer, ato, escansão, citação, enigma e pontuação, a fim de expor um possível fundamento da técnica interpretativa em psicanálise. Tendo isso em vista, apresenta-se a relevância do conceito de verdade de Lacan para o campo da técnica, o que definiria a prática psicanalítica como uma prática de verdade.

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Thèse de doctorat : Philosophie : Metz : 1997. / 1997METZ005L. 200 ref.

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Georgia statesman Thomas E. Watson is best known as a Vice-Presidential and Presidential candidate for the People’s Party, the progressive third party movement of the 1890s and 1900s. As a Populist candidate, Watson advocated a racially progressive platform in order to appeal to African American voters. But following a series of electoral defeats and the collapse of the Populist Party, Watson retreated from politics and began a career as the publisher of his own weekly and monthly periodicals. As a publisher, Watson utilized his editorial space to express bigoted attitudes towards African Americans, Catholics, and Jews, that greatly contrasted with views he espoused as a Populist. But Watson’s rhetorical shifts occurred during the industrialization, urbanization, and immigration of the South. These radical transformations inspired fear and anxiety for thousands of rural white southerners. Within this context, Watson, as the proprietor of a profit-driven enterprise, offered opinions about the era’s numerous social, political, and economic upheavals that his readership appreciated. Throughout his career, Watson’s rhetoric shifted with the ebb and flow of contextual variation and in this period of intense economic, social, and political change, the context was favorable for the bigoted opinions that he expressed.

In the works of Weber, Freud, and Foucault we find a distinct depiction of the relation between the self and modern civilization. This thesis describes that relation as "entrapment": the self has become mired in the life orders of modernity and is unable to reign over them. The primary hazard of these orders is their imposition of subjectivities that are highly circumscribed, subjectivities more responsive to external functions and imperatives than to the expression of individuality. Underlying this outlook is a new consciousness of time; in lieu of evolutionary and progressive theories of history, a tragic view emerges. History is seen as devoid of any deterministic necessity, yet its collective products have become too weighty and entrenched to allow for radical, over-arching political transformations. The thesis examines how, beginning with these shared presuppositions, Weber, Freud, and Foucault develop very different understandings of entrapment, understandings that pose fundamental challenges to one another.

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This mini-thesis attempts to understand what it means to fear death. It does this by first investigating how Heidegger and then Freud explain fear of death. Heidegger believes that the relationship Dasein has towards its own death allows it the possibility of 'authenticity'. Death presents to Dasein its ownmost potentiality for being. Heidegger explains that this means that in facing death Dasein has the possibility of completeness and absolute individuality. Dasein is called to this possibility of authenticity by the anxiety it experiences in the face of its own death. However, Dasein does not necessarily respond to this call. By reducing anxiety to a fear it is possible for Dasein to disregard its fear of death and correspondingly not respond to the call of authenticity. Thus, for Heidegger, fear of death is symptomatic of inauthentic Dasein's relationship towards its own death. For Freud, on the other hand, death cannot be conceptualised without reference to the social world. Freud believes that the relationship we have towards our own death is learnt through living in this world. Furthermore, Freud argues that it is impossible for the human being to ever understand that death can be an annihilation. When the human being dreads, fears or even desires death, Freud believes it does so symbolically. In this regard Freud explains, by way of the death instinct, that the psyche understands death as a return to before birth. One of Freud's explanations of fear of death is that this fear is actually for the loss of Eros. This fear, however, is in conflict with the phantasy to return to before birth. One of the results of this conflict is the arousal of anxiety. The differences and similarities between Freud's and Heidegger's explanations are detailed in the final chapter. Examining these details leads to a closer investigation of Freud's and Heidegger's explanations of anxiety. On this issue this mini-thesis finds that Freud's and Heidegger's explanations of anxiety are in conflict with each other. After attempting to avoid placing Freud and Heidegger against each other, this mini-thesis demonstrates that Heidegger's explanation of anxiety is lacking in detail. / Thesis (M.Soc.Sci.)-University of Natal, 1999.

Given that the role of Heinrich Heine as a precursor to Charles Baudelaire has long been recognized and examined in the critical literature, this dissertation aims to explore congruities in their respective poetic universes, by conducting a parallel reading of the image of woman in their poetry. Contrary to a feminist critique, which denounces the writers' reductive and hence misogynist use of such images, we will remove the anathema momentarily in order to allow a discourse of love to be expressed, in a complex language which reveals the fears and desires of the loving subject in the 19th century. / The representation of the woman by Heine and Baudelaire points to a rupture characteristic of modern poetry. In accordance with the principle of irony, in which a strategy of evasion and detachment is employed, the various female characters presented by the two poets can never be reduced to the two-dimensionality of a pure object. The relationship to woman is marked by distance, suffering and dissonance. Occupying a liminal position between life and death, between animate and inanimate, the image of woman exercises a power of seduction which constitutes a challenge to the social order, extended from its margins. / The image of the prostitute will be analyzed in terms of its close relationship with the metropolis. Subsequently, Freudian theories will shed light on the stakes of the erotic experience which occurs in contact with the demimondaine. The symbolic exchange established with the commodified body of the prostitute ends in the transmission of illness, and ultimately, in the woman's death. In a vain attempt to control his fear of death, the modern poet displaces this fear onto an object as other: the female cadaver, whose horrible beauty emits a "disturbing uncanniness". The object of desire, put to death in this manner, returns to haunt the fetishist, even to take vengeance in the form of the vampire woman whose body resists death, but breathes it into the one she seduces. Finally, through the images of the statue and the sphinx, the poets reveal a divine and revolutionary dimension in the realm of love.