Esta tese examina os estudos clínico-terapêuticos, laboratoriais e epistemológicos que Wilhelm Reich endereçou, no transcurso de sua obra, ao tema da sensação. Consultaram-se as seguintes fontes de dados: a) artigos, livros, correspondências, diários e transcrições de uma entrevista e de algumas conferências de Reich; b) trabalhos de comentadores da produção reichiana; c) textos de autores que marcaram significativamente as pesquisas de Reich sobre a apreensão sensorial, em particular, Friedrich A. Lange, Henri Bergson, Sigmund Freud e Richard Semon; d) estudos nos campos da História da Ciência e Filosofia da Ciência que permitiram resgatar linhas de investigação e posicionamentos epistemológicos que inspiraram as reflexões reichianas sobre a sensação. Procurou-se apontar quatro áreas de pesquisa que contribuíram para os estudos sensorialistas de Reich: as ciências biológicas e médicas (tais como a Protozoologia e Neurologia), o conhecimento psicológico (particularmente a Psicanálise), uma disciplina fundada pelo próprio autor (a Orgonomia) e a Teoria do Conhecimento (em especial, certa tradição neokantiana). Examinando-se as incursões de Reich por essas áreas, buscou-se identificar os estudiosos e correntes de pensamento que o estimularam em suas pesquisas sobre a dimensão sensorial e examinar as proposições estritamente reichianas de teor clínico, experimental e epistemológico a respeito da sensação. Observou-se que Reich partilhou da concepção de que uma sensorialidade básica se manifestaria em todos os seres vivos. Resgatou-se a tese reichiana de que níveis perceptivos elementares estariam diretamente associados, em organismos vivos, a uma singular força natural (a energia orgone), que o autor julgava ter descoberto e objetivado. Analisou-se a asserção de Reich de que, na produção humana de conhecimento, certas funções perceptivas rudimentares (filogeneticamente arcaicas) seriam continuamente modeladas pela estrutura de caráter (instância construída na relação dialética indivíduo-sociedade). Constatou-se, por fim, que Reich, transitando por diferentes setores do saber e perseguindo rotas investigativas originais, procurou articular dois aspectos extremos do fenômeno sensorial: a sensação como propriedade básica da matéria viva e como ingrediente central da produção humana de conhecimento / This thesis examines the laboratory, clinical therapeutic and epistemological studies that Wilhelm Reich, in the course of his work, dedicated to the subject of sensation. The following resources were consulted: a) articles, books, correspondences, diaries and transcriptions of an interview and of some of Reichs conferences; b) works of Reichs commentators; c) papers from authors that have significantly influenced Reichs research on sensorial apprehension, particularly Friedrich A. Lange, Henri Bergson, Sigmund Freud, and Richard Semon; d) studies in the fields of History of Science and Philosophy of Science that allowed the recovery of lines of investigation and epistemological positionings that have inspired the reichian reflexions on sensation. We tried to indicate four fields of research that have contributed to Reichs sensorial studies: the biological and medical sciences (such as the Protozoology and Neurology), the psychological knowledge (particularly the Psychoanalysis), a discipline created by the author himself (the Orgonomy), and the Theory of Knowledge (specially certain Neokantian tradition). Examining Reichs investigations on these fields, we tried to identify the scholars and currents of thought that have stimulated him in his research on the sensorial dimension and we tried to examine the strictly reichian propositions of clinical, experimental and epistemological content regarding sensation. It was observed that Reich shared the notion that a basic sensoriality would manifest in all living beings. We recovered the reichian thesis that elementary perceptive levels would be directly associated, in living organisms, to a singular natural force (the orgone energy), which the author believed to have discovered and objectified. We analyzed Reichs assertion that in human knowledge production, certain rudimentary perceptive functions (phylogenetically archaic) would be continuously modeled by the structure of character (a sphere built in the dialectic relationship individual-society). Finally, it was verified that Reich, transiting through different sectors of wisdom and chasing original investigative routes, tried to articulate two extreme aspects of the sensorial phenomenon: the sensation as a basic property of the living matter, and as a central ingredient of the human production of knowledge

A pesquisa investiga o desenvolvimento do conceito de caráter no pensamento de Wilhelm Reich. Está baseada numa leitura sistemática e historicizante de seus livros O caráter impulsivo e Análise do caráter. Inicialmente, explicita o contexto em que o conceito foi desenvolvido. Para tanto, compõe uma visão panorâmica da história da caracterologia e uma descrição de alguns usos dessa noção por psicanalistas anteriores ou contemporâneos de Reich. Em seguida, apresenta e discute os significados que o termo caráter adquire ao longo das obras referidas. Ao fazê-lo, reconhece a conexão entre suas reflexões iniciais sobre caráter e a tradição psicanalítica, destaca as particularidades de seu pensamento e observa, por fim, as mudanças que o conceito sofreu, decorrentes das transições teóricas realizadas, mais tarde, por Reich. / The research examines the development of the concept of character in Wilhelm Reichs thought. It is based upon a historical and systematic reading of the authors The impulsive character and Character analysis. At first, it presents the context in wich this concept was brought out, including a brief view of the history of characterology and a description of some uses of this notion by psychoanalysts who preceded Reich and those contemporary to him. Following that, this research reveals and discusses the different meanings that the term character had throughout the authors work. It recognizes the connection between his early reflections on character and the psychoanalytic tradition, it indicates the particularity of his thought, and finally points out the changes in the concept, according to the theoretical transitions performed by Reich.

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Lowry's controversial and enigmatic book has spawned diverse critical analyses geared toward arriving at a single understanding of the novel; however, what too many of these works fail to take into account is the eclectic nature of Lowry's techniques as well as his themes. Hence, though we usually get a very clear picture of one approach to the book in these individual exercises in explication, when we turn once again to the story itself, we are apt to be a bit confused as to exactly how the design that they offer governs the unity of the book. Therefore, in order to glean the author's intent, one must take a more comprehensive, a rhetorical, view of the piece.For future reference, chapter one -- "A Review of Criticism" -summarizes and evaluates book reviews and critical studies done on Under the Volcano, the critical studies being organized into source, theme and technique analyses, respectively,Chapter two, "Rhetorical Analysis Defined," considers the critical theories of Edward Corbett, Mark Schorer and Wayne Booth to adumbrate the notion that a rhetorical analysis addresses the writer's intent, his work and thee work's impact upon its aud4ence to evaluate the effectiveness of a piece of literature. As an illustration, Lowry's essay "Garden of Etla" is explicated rhetorically here.In chapter three, "A Rhetorical Analysis of Under the Volcano," a chapter-by-chapter, detailed approach to the novel is used in order to illuminate the techniques which promote and define Lowry's themes. The techniques include those that establish stream of consciousness (interior monologues and dialogues), those that determine its direction (syntax, time and space montage, and mechanical devices) and those that add depth and dimension (figures of speech, puns and distorted English).The last chapter, "Malcolm Lowry's 'Design-Governing Postures, ," examines unifying structures which range the entire book and which thereby impose order on it. These designs include Lowry's use of the traditional unities, leitmotifs, parodies, symbolic structures, formal arrangements and "cyclic" themes.Critics of the novel contend that though enjoying isolated moments of direction and lucidness, Under the Volcano fails to convey it purpose effectively because the themes are nebulous and because the techniques segment rather than solidify the story. By explicating the book rhetorically, however, one learns to understand and appreciate the techniques that Lowry employs to amplify the fragmentation endured by the Consul, the people closest to him and, in fact, the entire world around him. Indeed, Lowry offers up a cogent cautionary vision of a twentieth-century world disintegrating because it lacks that force singularly capable of unifying it -- love.

This thesis studies the intellectual development of the painter and writer Wyndham Lewis (1882-1957). His career is seen as an unique expression of the creative and critical intelligence within modern society. The liberal, secular, and individualistic aspects of Lewis's thought are stressed. / The thesis concentrates on four aspects of Lewis's life and work. First, Lewis's relationship with T. E. Hulme, usually described as one of direct influence, is shown to be adversarial and complicated by basic differences of their worldview. Second, the nature of Lewis's fascism is discussed using a new reading of Hitler (1931). Third, Lewis's view of the position and the role of the artist in society is explained by studying three of his models of culture and society, each drawn from a different period of his career. Finally, the relationship of Lewis and Marshall McLuhan is examined to determine the nature and extent of the ideas passed on.

A pesquisa investiga o desenvolvimento do conceito de caráter no pensamento de Wilhelm Reich. Está baseada numa leitura sistemática e historicizante de seus livros O caráter impulsivo e Análise do caráter. Inicialmente, explicita o contexto em que o conceito foi desenvolvido. Para tanto, compõe uma visão panorâmica da história da caracterologia e uma descrição de alguns usos dessa noção por psicanalistas anteriores ou contemporâneos de Reich. Em seguida, apresenta e discute os significados que o termo caráter adquire ao longo das obras referidas. Ao fazê-lo, reconhece a conexão entre suas reflexões iniciais sobre caráter e a tradição psicanalítica, destaca as particularidades de seu pensamento e observa, por fim, as mudanças que o conceito sofreu, decorrentes das transições teóricas realizadas, mais tarde, por Reich. / The research examines the development of the concept of character in Wilhelm Reichs thought. It is based upon a historical and systematic reading of the authors The impulsive character and Character analysis. At first, it presents the context in wich this concept was brought out, including a brief view of the history of characterology and a description of some uses of this notion by psychoanalysts who preceded Reich and those contemporary to him. Following that, this research reveals and discusses the different meanings that the term character had throughout the authors work. It recognizes the connection between his early reflections on character and the psychoanalytic tradition, it indicates the particularity of his thought, and finally points out the changes in the concept, according to the theoretical transitions performed by Reich.

Esta tese examina os estudos clínico-terapêuticos, laboratoriais e epistemológicos que Wilhelm Reich endereçou, no transcurso de sua obra, ao tema da sensação. Consultaram-se as seguintes fontes de dados: a) artigos, livros, correspondências, diários e transcrições de uma entrevista e de algumas conferências de Reich; b) trabalhos de comentadores da produção reichiana; c) textos de autores que marcaram significativamente as pesquisas de Reich sobre a apreensão sensorial, em particular, Friedrich A. Lange, Henri Bergson, Sigmund Freud e Richard Semon; d) estudos nos campos da História da Ciência e Filosofia da Ciência que permitiram resgatar linhas de investigação e posicionamentos epistemológicos que inspiraram as reflexões reichianas sobre a sensação. Procurou-se apontar quatro áreas de pesquisa que contribuíram para os estudos sensorialistas de Reich: as ciências biológicas e médicas (tais como a Protozoologia e Neurologia), o conhecimento psicológico (particularmente a Psicanálise), uma disciplina fundada pelo próprio autor (a Orgonomia) e a Teoria do Conhecimento (em especial, certa tradição neokantiana). Examinando-se as incursões de Reich por essas áreas, buscou-se identificar os estudiosos e correntes de pensamento que o estimularam em suas pesquisas sobre a dimensão sensorial e examinar as proposições estritamente reichianas de teor clínico, experimental e epistemológico a respeito da sensação. Observou-se que Reich partilhou da concepção de que uma sensorialidade básica se manifestaria em todos os seres vivos. Resgatou-se a tese reichiana de que níveis perceptivos elementares estariam diretamente associados, em organismos vivos, a uma singular força natural (a energia orgone), que o autor julgava ter descoberto e objetivado. Analisou-se a asserção de Reich de que, na produção humana de conhecimento, certas funções perceptivas rudimentares (filogeneticamente arcaicas) seriam continuamente modeladas pela estrutura de caráter (instância construída na relação dialética indivíduo-sociedade). Constatou-se, por fim, que Reich, transitando por diferentes setores do saber e perseguindo rotas investigativas originais, procurou articular dois aspectos extremos do fenômeno sensorial: a sensação como propriedade básica da matéria viva e como ingrediente central da produção humana de conhecimento / This thesis examines the laboratory, clinical therapeutic and epistemological studies that Wilhelm Reich, in the course of his work, dedicated to the subject of sensation. The following resources were consulted: a) articles, books, correspondences, diaries and transcriptions of an interview and of some of Reichs conferences; b) works of Reichs commentators; c) papers from authors that have significantly influenced Reichs research on sensorial apprehension, particularly Friedrich A. Lange, Henri Bergson, Sigmund Freud, and Richard Semon; d) studies in the fields of History of Science and Philosophy of Science that allowed the recovery of lines of investigation and epistemological positionings that have inspired the reichian reflexions on sensation. We tried to indicate four fields of research that have contributed to Reichs sensorial studies: the biological and medical sciences (such as the Protozoology and Neurology), the psychological knowledge (particularly the Psychoanalysis), a discipline created by the author himself (the Orgonomy), and the Theory of Knowledge (specially certain Neokantian tradition). Examining Reichs investigations on these fields, we tried to identify the scholars and currents of thought that have stimulated him in his research on the sensorial dimension and we tried to examine the strictly reichian propositions of clinical, experimental and epistemological content regarding sensation. It was observed that Reich shared the notion that a basic sensoriality would manifest in all living beings. We recovered the reichian thesis that elementary perceptive levels would be directly associated, in living organisms, to a singular natural force (the orgone energy), which the author believed to have discovered and objectified. We analyzed Reichs assertion that in human knowledge production, certain rudimentary perceptive functions (phylogenetically archaic) would be continuously modeled by the structure of character (a sphere built in the dialectic relationship individual-society). Finally, it was verified that Reich, transiting through different sectors of wisdom and chasing original investigative routes, tried to articulate two extreme aspects of the sensorial phenomenon: the sensation as a basic property of the living matter, and as a central ingredient of the human production of knowledge

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.