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Dissertação (mestrado)—Universidade de Brasília, Departamento de Psicologia Clínica, Programa de Pós-graduação em Psicologia Clínica e Cultura Departamento de Psicologia Clínica, 2015. / O presente trabalho foi produzido com o intuito de explorar a dimensão temporal na constituição do sujeito, de acordo com o pensamento de Jacques Lacan e em referência a um retorno a Sigmund Freud. Foi privilegiado o artigo de Lacan ―O tempo lógico e a asserção da certeza antecipada‖, de onde partiram algumas elaborações acerca da incidência do tempo no sujeito do inconsciente. Para explorar a concepção de tempo na psicanálise, foram utilizados também alguns artigos de Freud e outros artigos e seminários de Lacan. Dentre os principais conceitos e categorias que tratamos, articulando-os ao tempo e ao sujeito, estão: trauma; aparelho psíquico; processo primário e processo secundário; recalque; inconsciente; divisão; repetição; linguagem; alienação e separação; ato; pensamento; saber; verdade; e castração. A temporalidade abordada neste trabalho convoca noções de retroação, a posteriori (Nachträglichkeit), só-depois (après-coup), futuro anterior, origem, atraso, antecipação, intervalo, descontinuidade, escansão, suspensão, corte, urgência, pressa, isto é, noções que compõem o tempo lógico. O tempo, marcado por pausas e alternâncias, faz nascer o sujeito, modula o ato e possibilita desejar. / This dissertation aims at exploring the time dimension in the constitution of the subject, according to Jacques Lacan, in reference to Sigmund Freud. The main article to this study is ―Logical time and the assertion of anticipated certainty‖, that brings some elaborations on time and the subject of the unconscious. We also refer to some articles written by Freud and some of Lacan‘s seminars to explore the conception of time in psychoanalysis. Amongst the main concepts and categories that we deal with, articulating them with the ideas of time and subject, are trauma; psychic apparatus; primary process and secondary process; repression; unconscious; division; repetition; language; alienation and separation; act; thinking; knowledge; truth; castration. The temporality we investigate in this study brings to attention the notions of retroacting, a posteriori (Nachträglichkeit), après-coup, future perfect, origin, delay, anticipation, gap, discontinuity, scansion, suspension, cut, urgency, rush --- notions that are part of the logical time. Time, with its pauses and alternations, makes the subject possible, modulates the act and allows the desire.

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-12-02T13:02:53Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_CienciaReligiaoIlusao.pdf: 662250 bytes, checksum: d06dac929672cc29c6712756d771ce3b (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-12-02T16:06:47Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_CienciaReligiaoIlusao.pdf: 662250 bytes, checksum: d06dac929672cc29c6712756d771ce3b (MD5) / Made available in DSpace on 2014-12-02T16:06:47Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_CienciaReligiaoIlusao.pdf: 662250 bytes, checksum: d06dac929672cc29c6712756d771ce3b (MD5) Previous issue date: 2014 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Em sua obra de 1927, O futuro de uma Ilusão, Freud tenta de uma maneira geral fundamentar a função das crenças religiosas no psiquismo humano e desmistificá-las como capazes de apreender a realidade. Para ele, a origem psíquica das ideias religiosas é a ilusão, que está profundamente ligada com a repressão dos desejos humanos e a negação dos mesmos, que se dá na civilização. Freud não pretende examinar o valor de verdade das doutrinas religiosas, mas afirma que elas, em sua natureza psicológica, não passam de ilusões. Trata-se de ajustar-se à realidade com o objetivo da busca de felicidade. Para ele tal tarefa deve ser fruto da ciência, não da religião. Freud ressalva que a religião é apenas uma etapa do processo evolutivo humano. Nota-se que Freud foi amplamente influenciado pelo forte valor que o positivismo possuía em sua época. Assim, defendia que a única maneira de se chegar à verdade era através da racionalidade. Nosso trabalho pretende, portanto, analisar o discurso cientificista freudiano, na sua relação com a religião compreendida como ilusão, a partir de uma leitura filosófica de O Futuro de Uma Ilusão e levando sempre em consideração a influência dos ideais iluministas sobre o pensamento de Freud e sua obra. / In his book of the 1927 "The Future of an Illusion" Freud tries in a broader manner, support the function of religious beliefs in the human psyche and demystify them as capable of apprehending reality. For him, the psychic origin of religious ideas is the illusion, which is deeply connected with the repression of human desires and the negation thereof, which occurs in civilization. Freud does not intend to examine the truth value of religious doctrines, but states that they, in their psychological nature, they are illusions. It is the adjustment of reality to promote the pursuit of happiness. Freud points out that religion is only one stage of the human evolutionary process. It is noted that Freud was largely influenced by the strong value that positivism had in his time, thus, he defended that the only way to get at the truth was through rationality. Our work aims therefore to analyze the Freudian scientist discourse, in its relation to religion understood as illusion, from a philosophical reading of " The Future of an Illusion " and always taking into account the influence of Enlightenment ideals on the thought Freud and his work.

The proof set forward in this thesis is that the method of Marshall McLuhan (1911-1980), which he came in the 1970’s to describe as ‘structuralist’, ‘phenomenological’ and even ‘metaphysical’, owes a heretofore unacknowledged debt to Sigmund Freud (1856-1939). Critics have thus far neglected the influence of nineteenth and twentieth century psychology in McLuhan’s work, although a wealth of biographical material supports the argument that McLuhan’s ‘metaphysical’ method is derived as much from psychoanalysis and analytical psychology (C.G. Jung) as from any of McLuhan’s acknowledged predecessors. Returning to the texts from which McLuhan gained his knowledge of psychology, I trace the influence of Freud, Jung and their disciples upon McLuhan, establishing McLuhan’s use of Freudian concepts and terminology in his first book The Mechanical Bride (1951), and his use of the psychoanalytic concepts of the ‘unconscious’, ‘trauma’ and ‘repression’ in the books that came after it. What McLuhan calls the ‘unconscious’ is more often named by him as Logos, ‘acoustic space’ or the ‘media environment’, and I trace the debts that these concepts owe not only to Freud and Jung but to Aristotle, St. Thomas Aquinas, gestalt theory, art theory, Henri Bergson, Pierre Teilhard de Chardin, Wyndham Lewis, Siegfried Giedion, Harold Innis, the French symbolist poets of the late nineteenth century and the British modernists of the early twentieth. Despite his rejection of the Freudian argument, McLuhan, like Freud, conceptualizes pain or trauma as the ‘cause’ of transformations (i.e. processes) in the unconscious; but while for McLuhan, invoking St. Thomas Aquinas and Aristotle, technologies are ‘formal causes’ simultaneous with (or ‘preceded’ by) their effects, for Freud and his modern interpreter Jacques Lacan, trauma is ‘paradoxical’ in structure, presenting as both its own ‘cause’ and ‘effect’. Situating McLuhan in relation to French structuralism, I contrast McLuhan’s concepts of ‘figure’ (as cause) and ‘ground’ (as effects), elaborated in his last book Laws of Media (1988), to the concepts of the ‘signifier’ and the ‘signified’ in Ferdinand de Saussure’s Course in General Linguistics (1916), and critique McLuhan’s ‘tetrad’, the ideograph with which he illustrates media ‘effects’, in relation to the psychoanalytic concept of the signifier elaborated by Lacan. In reply to McLuhan’s maxim that ‘the medium is the message’, I conclude that technologies, insofar as they function as ‘formal causes’, are doubly ‘hidden’: firstly, because, as McLuhan says, they can only be grasped through their effects; and secondly because, as Lacan says, their effects can only be articulated when they manifest as ‘disturbances’ in the symbolic order, i.e., as fantasies of the Other’s jouissance (enjoyment). There are numerous stories about how McLuhan would frustrate his critics by refusing to take a ‘point-of-view’, and in fact his (psychoanalytic) technique of ‘putting on’ the audience as a mask, and his (deconstructivist) manner of changing perspectives as often as necessary, sit oddly with his championing of Logos. A comparison with Freud and Lacan finds McLuhan at a ‘paradoxical’ moment in the history of Western thought, poised between modernism and postmodernism, between structuralism and deconstructivism, and between metaphysics and psychoanalysis. / Thesis (Ph.D.) - University of Adelaide, School of History and Politics, 2008

Nous dégageons dans ce mémoire les limites de l'utilisation du concept de narcissisme au sein de la sociologie et plus particulièrement dans les livres La culture du narcissisme de Christopher Lasch et L'ère du vide de Gilles Lipovetsky. Pour ce faire, nous avons retracé l'évolution du concept de narcissisme dans la psychanalyse freudienne ainsi que la psychanalyse américaine s'inspirant de la réforme hartmannienne. Nous sommes parties du fait qu'il existe une certaine méprise concernant l'acception de ce concept au sein de thèses sociologiques et avons illustré cela par une analyse des auteurs précités. Que ce soit dans la conceptualisation freudienne du phénomène du narcissisme; l'encadrant d'abord par du sexuel, ensuite dans les avatars que le moi subit ou bien les thèses hartmanniennes, kernbergiennes et kohutiennes mettant l'accent sur le soi, le concept de narcissisme demeure un concept fortement déterminé par la psychanalyse et en conséquence exige que l'on s'y réfère adéquatement. Nous avons ainsi découvert que Lasch opère plusieurs glissements conceptuels entre l'acception freudienne et l'acception postfreudienne, rendant sa thèse confuse. Quant à Lipovetsky, nous avons montré que parce qu'il occulte le dispositif psychanalytique, il ne peut comprendre la portée même de sa thèse sur le narcissisme de l'individu postmoderne. Ce mémoire parcourt ainsi le concept de narcissisme dans le cadre du premier et du deuxième dualisme pulsionnel, de la réforme hartmannienne mettant l'accent sur le narcissisme comme investissement libidinal du soi, du narcissisme tel que Green le conçoit et finalement, ce voyage conceptuel culmine dans une analyse des thèses laschiennes et lipovetskiennes sur le narcissisme de l'individu du 20ième siècle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Narcissisme, Premier dualisme pulsionnel, Deuxième dualisme pulsionnel, Postmodernité, Freud, Hartmann, Kernberg, Kohut, Green Lasch, Lipovetsky.

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Au cœur du mouvement progressiste aux États-Unis et alors que le réformisme consolide sa place en politique nationale grâce à l'élection de Woodrow Wilson en 1912, émerge à côté du nouveau président élu la figure de Charles Richard Crane (1858-1939), auparavant quasi-inconnu sur la scène nationale. Industriel richissime, réformateur, mécène et philanthrope de Chicago, Crane avait fait sa marque dans les cercles progressistes du Midwest en plus d'avoir soigneusement cultivé des relations importantes à l'étranger. En même temps, ses intérêts et ses accointances variés le rendirent utiles aux yeux de Wilson qui l'intégra dans un cercle très sélect de conseillers intimes. Rapidement devenu ami avec le président, Crane fut tour à tour choisi pour de multiples tâches politico-diplomatiques de relative importance : contributeur majeur des élections de Wilson en 1912 et 1916, promoteur et facilitateur des réformes sociales et politiques du programme de la New Freedom, mission diplomatique en Russie révolutionnaire, soutien à la création de la Tchécoslovaquie, commission d'experts au Moyen-Orient dans le cadre de la Paix de Versailles et ambassade américaine en Chine comptent parmi ses principales tâches au sein du wilsonisme. À travers ces années avec Wilson, les plus déterminantes de sa vie à ses propres yeux, s'écrivit une carrière publique remarquable qui illustre des aspects du wilsonisme à la fois caractéristiques et inédits. Son engagement dans un réformisme assez radical, qui se manifesta autant dans la sphère nationale, avec des politiques agraires et anti-monopolistiques, qu'à l'étranger, avec l'appui à des causes révolutionnaires, anti-impérialistes et humanitaires, et la constance de son discours wilsonien et de son appui à Wilson apportent un éclairage différent à la perspective historienne du progressisme wilsonien et de l'époque qui l'a produit et façonné. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Charles Richard Crane, Woodrow Wilson, relations internationales, Première Guerre mondiale, histoire de États-Unis, ère progressiste

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Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T14:33:23Z No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T14:33:30Z (GMT) No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T14:33:36Z (GMT) No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) / Made available in DSpace on 2017-08-21T14:33:42Z (GMT). No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The purpose of this paper is to discuss Freud's dualistic drive, arguing that the transition from one dualism to another is not a rupture in his theory, but rather a movement in his thinking. For this, we start from the analysis of the concept of drive, marking its specificity when compared to the animal instinct and showing how the sexual drives and the drives of self-preservation allowed the appearance of two different ways of processing the psychic energy. Next, we deal with the psychic conflict that begins with the process of repression and has as a background duel between sexuality and self-preservation, a subject that interests us, because we will see how the clinic and its impasses end up bringing problems to the first Theory. For this reason, we will deal with the difficulties brought about by paraphrenias and by the concept of narcissism that end up smoothing the first dualism. Finally, we will see how traumatic neurosis and the compulsion to repetition bring new elements to Freud and culminate in the elaboration of a new definition of the drive, which will now also be thought from the dispute between the life drives and the death drive. / Este trabalho tem como propósito discutir o dualismo pulsional em Freud, defendendo que a passagem de um dualismo a outro não se configura enquanto uma ruptura em sua teoria, mas sim enquanto movimento em seu pensamento. Para isso, partimos da análise do conceito de pulsão, marcando sua especificidade quando comparada ao instinto animal e apresentando de que maneira as pulsões sexuais e as pulsões de autoconservação possibilitaram o aparecimento de dois modos diferentes de processar a energia psíquica. Em seguida, tratamos do conflito psíquico que se inicia com o processo de recalque e tem como pano de fundo o duelo travado entre a sexualidade e a autoconservação, assunto que nos interessa, pois veremos como a clínica e seus impasses acabam por trazer problemas à primeira teoria pulsional. Por este motivo, trataremos das dificuldades trazidas pelas parafrenias e pelo conceito de narcisismo que acabam por esfumaçar o primeiro dualismo. Por fim, veremos como a neurose traumática e a compulsão à repetição trazem elementos novos à Freud e culminam na elaboração de uma nova definição do pulsional, que agora será pensado também a partir da disputa travada entre as pulsões de vida e as pulsões de morte.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2008. / Submitted by Jaqueline Oliveira (jaqueoliveiram@gmail.com) on 2008-12-10T16:42:08Z No. of bitstreams: 1 DISSERTACAO_2008_JoseReginoDeOliveira.pdf: 1256550 bytes, checksum: 36b49d7af92ec50bd18967d47fd45ec8 (MD5) / Approved for entry into archive by Georgia Fernandes(georgia@bce.unb.br) on 2009-03-04T12:53:27Z (GMT) No. of bitstreams: 1 DISSERTACAO_2008_JoseReginoDeOliveira.pdf: 1256550 bytes, checksum: 36b49d7af92ec50bd18967d47fd45ec8 (MD5) / Made available in DSpace on 2009-03-04T12:53:27Z (GMT). No. of bitstreams: 1 DISSERTACAO_2008_JoseReginoDeOliveira.pdf: 1256550 bytes, checksum: 36b49d7af92ec50bd18967d47fd45ec8 (MD5) / O objetivo desse trabalho é refletir sobre o papel do ator na encenação cômica, as necessidades e especificidades que envolvem o trabalho do ator na construção do Riso. Para isso foram confrontados os estudos de Freud sobre o Chiste e sua Relação com o Inconsciente, o Sistema das Ações Físicas elaborado por Stanislavski, relatos de experiências colhidas em entrevistas com artistas que trabalham com a arte cômica ou já tiveram experiências com essa arte, minhas experiências com o grupo de Teatro Celeiro das Antas, como professor no departamento de Artes da Universidade de Brasília e como Palhaço. A análise desse material permitiu listar procedimentos para serem usados pelo ator com o objetivo de provocar o Riso. Muitos desses procedimentos são usados não apenas pelos atores, mas também pelas pessoas que utilizam o Riso como forma de comunicação. A proposta é ampliar o repertório de possibilidades dos artistas que trabalham com a produção do Riso. _______________________________________________________________________________ ABSTRACT / This research aims to understand actor’s role in comical performances, as well as the specific characteristics and necessities which involve the actor’s work in provoking laughter. To achieve this goal, different proposals and experiences were compared: Freud´s studies on Jokes and Their Relations to Unconscious; the Method of Physical Action created by Stanislavski; different experiences told in interviews with artists who work with comical performances; as well as the author’s own experience in the Brazilian group Celeiro das Antas, as a teacher at the performance arts department in the University of Brasilia (Brazil) and as a clown. The analysis of such elements permitted to achieve a list of procedures to be applied by an actor in order to lead to laughing. Many of these procedures are adopted not only by actors but also by other professionals who use humor as a mean of communication. The research intends to enlarge the range of possibilities to the artists who work provoking laughter and creating humor.