Thesis (Ph. D.)--University of California, Santa Cruz, 1985. / Typescript. Includes bibliographical references (leaves [267]-275).

Revision of the author's Thesis (Ph. D.)--entitled: al-ʻAmal al-muntij muʼashshir lil-intimāʼ. / Includes bibliographical references (v. 1, p. 97-107).

In many works of modern fiction the theme of alienation is presented in terms of a spiritual hunger or starvation. Concurrently images and metaphors of distaste crop up as the inevitable adjuncts to feelings of spiritual deprivation or hunger. The metaphor of distaste is projected onto the image of modern urban society and is consciously or unconsciously blamed for the hero's sense of estrangement. Rilke's presentation of this problem in The Notebooks of Malte Laurids Brigge centres on a young man's self-observation during a period of spiritual as well as national exile. The Rilkean hero's emphasis on childhood memories contributes a great deal towards establishing the premise that the modern hero's feeling of anomie or spiritual hunger is the consequence of a character predisposition towards introversion, daydreaming, and creativity, in short the "Tonio Kroeger" portrait of a specific type of artistic temperament. In Hamsun's Hunger and Sartre's Nausea the two respective heroes are presented in terms of their current psychological reactions to a large, fundamentally anonymous city. In all three novels I have focussed on the themes of hunger and distaste and attempted to explain the mariner in which these psychologically motivated perceptions become confused with one another (in the mind of the protagonist) and in their confusion reflect the process of an estrangement which begins with an estrangement from society and ends with an estrangement from self. While little reference is made to psychological theory, the particular approach of this study reflects indirectly my reading of the psychoanalytical writing of Dr. Edmund Bergler. / Arts, Faculty of / English, Department of / Graduate

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O presente trabalho tem o intuito de apresentar a teoria de Guy Debord para as discussões psicanalíticas relacionadas à teoria social e à política. Para tal propõe-se traçar a constituição conceitual de sua teoria sobre a sociedade do espetáculo, nascida da conjunção entre as discussões provenientes da crítica da economia política no campo marxista e a temática da superação da arte nas vanguardas artísticas, e articulando-a às aproximações teóricas que Debord faz com a psicanálise. Em um primeiro momento é apresentada a teoria do espetáculo como a atualização da alienação, reificação e fetichismo da mercadoria nas sociedades contemporâneas; ligando então esta reflexão à teoria freudiana do sonho através da analogia do espetáculo como sonho mau. Em um segundo momento é apresentada a teoria da superação do espetáculo, através das contradições internas do capitalismo avançado e a busca da revolução; ligando então esta reflexão com a psicanálise através da aproximação do capitalismo como inconsciente econômico que deve ser trazido à consciência pela prática revolucionária. Por fim conclui-se que apesar de Debord ser leitor de Freud, suas aproximações são um uso particular da teoria psicanalítica para a explicitação da teoria da sociedade do espetáculo; mas ainda assim uma aproximação rica para uma discussão psicanaliticamente orientada sobre a sociedade capitalista avançada / This work intends to present the theory of Guy Debord to psychoanalytic discussions related to social and political theory. To this end it is proposed to trace the conceptual constitution of his society of the spectacle theory, born from the conjunction of the discussions from the critique of political economy in the Marxist camp and the theme of the surpassing of art in the artistic avant-garde, linking this conjunction to the theoretical approaches that Debord makes to psychoanalysis. At a first moment the theory of the spectacle is presented as the update of alienation, reification and commodity fetishism in contemporary societies, then this reflection is linked to the Freudian dream theory through the analogy of the spectacle as a bad dream. In a second step the theory of the surpass of the spectacle is presented through the internal contradictions of advanced capitalism and the pursuit of revolution, then linking this discussion with psychoanalysis through the approximation of capitalism as an economic unconscious that must be brought to consciousness by the revolutionary practice. Finally it is concluded that although Debord is a reader of Freud, his approaches are a particular use of the psychoanalytic theory to the explanation of the society of spectacle theory, but it is still a rich approach for a psychoanalytically oriented discussion of the advanced capitalist society

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Thesis (M.A.I.S.)--Oregon State University, 2007. / Printout. Includes bibliographical references (leaves 93-97). Also available on the World Wide Web.

Thesis (Ph. D.)--Oregon State University, 2007. / Printout. Includes bibliographical references (leaves 279-295). Also available on the World Wide Web.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 23-24). Also available on the Internet.

Thesis (M. Phil.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 130-135).