Dans cette thèse sur Hélène Cixous, l’écriture fictionnelle est abordée sous l’angle de son intimité propre. Dans les textes littéraires, l’intimité qui en découle étant en général attribuée à l’écrivain, seul garant du texte, ce travail de recherche met l’accent sur le volet autonome de l’écriture relégué de plus en plus à un rang secondaire au profit d’une renaissance de l’auteur. Or, à regarder de près le processus d’avènement de l’écriture – qui, d’ailleurs, chez Hélène Cixous ne se dissocie pas de l’activité onirique ou de la dynamique pulsionnelle – et à interroger l’acte de lecture, il y a quelque chose qui, tout en se donnant, échappe ou se garde. Ce don et ce retrait invite à traiter de l’intimité de l’écriture eu égard à sa dynamique autonome. L’approche du sujet s’est voulue pluridisciplinaire en allant du champ littéraire à celui psychanalytique. Les premières analyses montrent d’abord un parallèle entre la pulsion et l’écriture avant de finir par identifier une pulsion d’écriture et de s’achever en mettant en crise la notion d’auteur et mettant en évidence un Etre-écriture autonome. L’analyse de la question de l’intimité fait le constat selon lequel, l’intimité est dans les fictions d’Hélène Cixous un espace de communication essentiellement littéraire. Communication qui souligne la structure bipartite de l’intimité de l’écriture. Celle-ci se compose de son intimité propre et prend en compte l’exergue d’intimité de la narratrice écrivaine. L’étude des figures de l’intimité permet de mettre en lumière le jeu de l’écriture et de l’intimité en soulignant que si l’intimité se donne dans les fictions cixousiennes, elle se donne surtout par le biais de l’autre. C’est l’autre, l’écriture qui révèle l’intimité. En fin de compte cette thèse montre que l’écriture d’Hélène Cixous à une intimité propre que le lecteur se doit de séparer de celle de l’écrivaine. Même si son écriture met en exergue des indices autobiographiques, il n’en reste pas moins qu’ils sont pris dans le vertige de la fiction. / In this thesis dedicated to Hélène Cixous, we approach the fictional writing from the perspective of its own intimacy. The resulting intimacy is generally attributed to the writer, the only guarantor of the text. The present research puts the emphasis on the independent component of writing increasingly relegated to a secondary position in favor of the author. Yet, when observing closely the process of writing - which incidentally, is not dissociated from dream or drive in writings of Hélène Cixous - and examining the act of reading, there is something that, even if revealed completely, escapes or holds back. Such "giving" and such "escaping" invite us to address the intimacy of writing with respect to its autonomous dynamic. A multidisciplinary approach to the subject is required. This ranges from literature to psychoanalysis. The early analyses show firstly a parallel between drive and writing before identifying the drive writing and finishing by putting in crisis the notion of authorship by highlighting autonomous "Self-writing". Based on analysis of intimacy we found that, the intimacy in Hélène Cixous´ fiction refers essentially to a literary communication, the communication that emphasizes a bipartite structure of the intimacy of writing. It is composed of its own intimacy of writing taking into account a part of the intimacy of the narrator. The study of figures of intimacy highlights the play of writing and intimacy. Furthermore it emphasizes that the intimacy present in Cixous’ fiction is especially revealed through the writing. Finally, the present thesis shows the intimacy specific to Hélène Cixous’ writings which is to be separated, in reader’s perspective, from that of the author. Although Cixous’ texts affirm autobiographical evidence, it is nevertheless caught up in the dynamic of fiction.

En 1967, dans la revue Diogène, Roger Caillois écrivit un article sur le prestige et les problèmes du rêve. Il écrivit que, par le passé, dans un monde qui lui accordait un crédit démesuré, il y avait une correspondance entre le rêve et le sentiment quotidien que tout, même les choses les plus intimes, peut être éprouvé en commun. Mais l’intuition que plusieurs rêves se vérifient ou se contrôlent mutuellement était une manière de civiliser le rêve. Inversement, aujourd’hui, dans un monde où il n’est plus une source de pouvoir politique, où il ne constitue plus un témoignage authentique, considéré comme un phénomène étanche, rétif à tout partage, dont le rêveur seul peut se souvenir, le rêve porte cette nostalgie communautaire. La même année, Roger Bastide réfléchit à ce que serait une sociologie du rêve, une étude du rêve comme phénomène social. Il pensait que la sociologie ne s’intéressait qu’à l’homme éveillé, comme si l’homme endormi était un homme mort. Il se demandait si la sociologie pouvait ignorer cet homme couché et rêvant. Cette thèse se propose de penser le quotidien à partir de l’intuition de Roger Caillois, qui cherche moins à penser l’homme couché et rêvant que l’homme debout, dans son quotidien, son travail, sa famille, son rapport aux objets de tous les jours, empreinte à ce tiers de sa vie où il dort. Il ne s’agit cependant pas de faire l’interprétation de rêves, ou d’en tirer les contenus latents. Leur contenu n’est pas le terrain de cette thèse. Chaque fois, la visée est de savoir comment le rêve est-il vécu en tant que mythe, c’est-à-dire dans quelle mesure l’attention que le rêveur a prêtée à la structure étrange du rêve, ou à son contenu, a influencé sa relation à la communauté ; comment le phénomène du rêve est-il utilisé comme clef de lecture pour donner du sens à la quotidienneté de l’homme au sein de la société. En un mot : comment le rêve se déverse et contamine le réel. La magie et la métaphore seraient deux expressions de la manière dont le rêve se répand dans la vie quotidienne. La magie, comme lecture sociale des phénomènes dans lesquels la cause est sans relation apparente à la conséquence, cependant que les phénomènes étudiés ont une efficace propre : cette relation sans cause et qui pourtant rassemble deux termes distincts du paysage est l’un des fondements essentiels de la pensée symbolique. La métaphore, enfin, qui est l’expression littéraire et linguistique où deux symboles que rien de connecte cohabitent néanmoins harmonieusement, une stratégie de discours par laquelle le langage se dépouille de sa fonction de description directe pour accéder au niveau mythique. Cela est une proposition : alimenter une sociologie de l’homme éveillé, comme voulait l’appeler Bastide, qui ne rechigne pas à voir que « les états crépusculaires » et « la moitié obscure et sombre de l’homme prolongent le social », une sociologie qui ne peine pas à accepter que nombre des moteurs qui président aux comportement des sociétés humaines trouvent leur source dans les mêmes logiques saltatoires, ou acausales, en toutes les manières dénuées du lignage et des filiations déterministes, que l’on retrouve dans le rêve, dans la magie et dans la métaphore. Une sociologie qui s’autorise à penser que le lien social visible, quotidien, structurant des civilisations, puisse être atteint par une transformation profonde de la manière dont nous envisageons le lien en général. Une sociologie qui se propose de questionner l’inconséquence de l’invisible. / In 1967, in the review Diogène, Roger Caillois wrote an article on the prestige and the problems of dreams. He wrote that, in the past, in a world where dreams had excessive credit, there was a connection between the act of dreaming and the everyday feeling that all things, even intimate ones, could be experienced collectively. Yet, quite ironically, the intuition that dreams could cross-verify, or control one another, acted as a way to civilise them. Conversely, nowadays, in a world where they are no longer source of political power, where they can’t be taken as authentic testimonies, where they are considered impervious phenomena, reticent to be shared, dreams carry a sort of community nostalgia. On the same year, Roger Bastide gave a thought about what a sociology of dreams would be. A study of dreams as social phenomena. He thought that sociology had only interest for the awaken Man, as if the Man asleep were a dead man. He wondered how sociology could ignore this lying, dreaming man. The present thesis offers a framework to think the everyday life through this intuition of Roger Caillois. Consider Men in society not as occasional lying, dreaming bodies. But look at the structures of work, family, and the realm of objects throughout the ways this third of our life we spend sleeping affect them. The interpretation of dreams is not the subject of this thesis, nor is the “latent contents” they might hold. Our purpose is to find out how dreams are experienced and lived as myths. That is to wonder: to which extend the attention given by the dreamer to the weird structure of his dreams, or to its content, have positively influenced his relationship to the community. How does the phenomenon of dreaming can be used as a key to read and make sense out of the everyday life of Men in society. In a word: how dreams overflow and contaminate reality. Magic and the metaphors could be two expressions of this contamination. Magic as a social interpretation of phenomena in which causes remain in seemingly decorrelation with their consequences, whereas the studied phenomena have an effectiveness of their own. This relationship without determinism which yet connect two distinct terms is an essential core of symbolical thinking. The metaphor, finally, the literary and linguistic expression where two symbols that nothing links, nevertheless cohabit harmoniously. A strategy of discourse through which language strips of of its descriptive function, to reach a mythical aspect. This would be the thesis: contribute to a sociology of the awaken Man, as Bastide wanted to call it. A human science which wouldn’t turn its back to the fact that “twilight states of mind” and “an obscure, sombre, half of Man extends the social life”. A sociology that wouldn’t disregard the many drivers of humain societies relying on saltatory logics, indirect causality, and all the human ways escaping determinism, all of which could be found in dreams magic and the metaphor. A sociology which would consider that the invisible, everyday link that structures civilisations, could benefit from an inquiry on the very way we think of the social link in general. A sociology which would question the inconsequence of what is not visible.

Esta tese analisa as narrativas de sonhos proféticos no Portugal Moderno, entre 1600 e 1750. Investigou-se como se constituíram os principais temas oníricos, os corpos de sonhos mais citados e recorrentes, as interpretações e leituras de sonhos bíblicos e/ou de divulgação ampla. Procurou-se perceber quais os entendimentos e percepções de sonho (e profecia) que embasavam e estavam presentes nas narrativas oníricas portuguesas, observando o repertório de referências e textos oníricos e a circulação desses. Partindo da constatação que as narrativas oníricas participaram de modo capital na fundamentação do Sebastianismo e depois do Messianismo Brigantino, observou-se os imbricamentos dos sonhos com esses movimentos e crenças messiânico-proféticas, buscando entender os diversos projetos político-proféticos em e para Portugal durante esse período. / This thesis analises the prophetic dreams narratives in Modern Porugal between 1600 and 1750. Its goal was to investigate how the main onirical themes, the most recurrent dreams, the interpretations and readings of biblical dreams were constituted. It was sought to perceive what were the perceptions of dreams (and prophecies) which sustained and were present in the portuguese narratives, observing the repertory of onirical references and texts and its circulation. Assuming that dream narratives had a capital role in the formulation of Sebastianism and after that, Brigantine Messianism, the links between the dreams and these movements and prophetic messianic beliefs were observed, aiming to understand the diferent political projecs in and for Portugal during this period.

Estudo de estruturas narrativas no cinema e nos games construídas a partir do elemento onírico. As obras analisadas são elaboradas como emulação/simulação de sonhos, memórias ou alucinações dos personagens. A análise servirá para o desenvolvimento do roteiro de um jogo eletrônico baseado no conceito de sonho lúcido, fenômeno em que o sujeito adquire consciência da realidade onírica. / The Master Thesis\'s objective is to study narrative structures in cinema and games that is constructed with oneiric elements. The films and games studied are representation or emulation/ simulation of the character\'s dreams, memories or hallucinations. The research will serve as basis to write a screenplay and a Game Design Document to a electronic game based on the concept of Lucid Dreaming. Lucid Dream is when one adquire conscious thought and lucidity in their dream state

A partir de observações oriundas do exercício da clínica psicanalítica busca-se, neste estudo, investigar o conceito de superego e a relação deste com o conceito de ideal do ego. Recuperar o conceito de superego significa revitalizá-lo como instância organizadora do psiquismo, a qual, como tal, abre uma importante via para a potencialidade criativa do sujeito. O ideal do ego torna-se um elemento essencial nesta proposta de investigação, na medida em que precisa ser diferenciado da instância superegóica, para alçar um estatuto metapsicológico próprio e auxiliar na compreensão do alcance da ação desta instância superegóica. Entende-se, pois, ser na articulação desses dois conceitos que reside a possibilidade de fazer um debate metapsicológico que redimensione a noção de superego, de forma a encontrar respostas para as inquietações geradas na clínica psicanalítica. A relevância dessa investigação é a de possibilitar um avanço na compreensão do enlace destes conceitos na teoria e assim evidenciá-los como recursos à clínica psicanalítica. A metodologia utilizada será uma minuciosa revisão de ambos os conceitos, realizada na obra de Sigmund Freud e de autores pós-freudianos, por meio de um modelo de desconstrução do texto. O argumento será desenvolvido pela análise de fragmentos do caso de um rapaz - vítima de uma neurose obsessiva que teve seu tratamento encerrado há alguns anos. Parte-se, então, do pressuposto de que, se houver um reequilíbrio das forças que estão em jogo nos conflitos do superego e do ideal do ego, será possível, via amor de transferência, construir caminhos para a potencialidade criativa, a qual conferirá autonomia para o sujeito no sentido de reconstrução de si mesmo / Using observations taken from the psychoanalytic clinic experience, this study aims to investigate the relation between the superego and the ideal ego concepts. Recovering the superego concept means to recharge it with an organizing role in the psychic, which as such opens a significant way to one´s creative potentiality. The ideal ego becomes an essential element in this investigation approach, for it must be distinguished from the superego in order to establish its own metapsychological institution and assist to understand the extent of the superego action. Therefore, we believe it´s in the intersection of both concepts where it lays the possibility to develop a metapsychological discussion to recreate a superego definition which could settle down some restless issues in the psychoanalytic clinic. The significance of this study is to create a possibility to move forward to understand where these two concepts meet and indicate them as useful resources to the psychoanalytic clinic. The methodology will be a detailed review of both concepts done in Sigmund Freud´s and some pos Freud authors´ studies, using a text deconstruction model. The argument will be build by analyzing some parts from the case of a young man who suffered from an obsessive neurosis and had his treatment finished some years ago. Therefore, we believe that if there is a balance in the conflict between superego and ego ideal, it is possible, through transference love, to build paths to the creative potentiality enabling the individual to recreate himself

Made available in DSpace on 2016-04-28T20:38:13Z (GMT). No. of bitstreams: 1 Denise Mathias.pdf: 231424 bytes, checksum: 9a19618f4e9afc709c3b977788261b8c (MD5) Previous issue date: 2012-06-22 / The aim of this work is to study the inclusion of dreams in children s counseling adopting the Analytical Psychology approach. Jung did not recommend children s counseling, once he believed children s symptoms were due to the parents psyche. He recommended that parents should be treated instead of their sons and daughters. Jung s idea was that the children s Ego was still in the process of construction, and the Self did not yet have any performance. Fordham remade the concept of Self, observing its performance since the beginning of life, instead of after the maturity period, as Jung supported. Fordham worked with children in psychotherapy using Jung s method, including the dreams. This dissertation expects to show, through children s dream collected in psychotherapy, the possibility of work with children s dreams, utilizing the theory proposed by Jung. The dreams were collected in the last twenty two years, in psychotherapy sessions, without the aim, at the time, of producing a dissertation with these subjects. As the collected material suits the objective of this work, it was described, with the dreamers permission. The selected dreams have themes or shapes characteristically of children in different ages. They were described chronologically. Dreams pertaining to dreamers that were not founded or did not allow their use were not included in this paper / Este trabalho tem como objetivo estudar a possibilidade de incluir os sonhos no atendimento de crianças no referencial teórico da Psicologia Analítica. Jung não aconselhava o atendimento a crianças, pois atribuía os sintomas apresentados por elas à psique dos pais. Aconselhava que estes fossem tratados em lugar de seus filhos. Como na criança o Ego estava ainda em formação e o Self ainda não era atuante, não seria aconselhável o método proposto por Jung. Fordham reformulou o conceito de Self observando a sua atuação desde o início da vida, ao invés de a partir da maturidade, como preconizava Jung. Fordham trabalhou com crianças em psicoterapia utilizando o método de Jung, incluindo o trabalho com sonhos. Esse estudo tem a intenção de mostrar, mediante os sonhos de crianças colhidos em psicoterapia, a possibilidade de trabalhar com sonhos de criança, entendendo as imagens oníricas infantis a partir da teoria proposta por Jung. Os sonhos foram colhidos nos últimos 22 anos em sessões de psicoterapia, sem a intenção, na época, de realizar um estudo a respeito. Como o material colhido revela-se condizente com a intenção deste trabalho, foram relatados com a devida permissão dos sonhadores. Os sonhos selecionados contêm temas ou formato característico de crianças das diversas faixas etárias. Foram relatados seguindo a ordem cronológica. Sonhos em que os sonhadores não foram localizados ou não deram permissão nem fazem parte deste relato

Made available in DSpace on 2016-08-10T11:07:12Z (GMT). No. of bitstreams: 1 LANUZZA GAMA CRUZ.pdf: 752949 bytes, checksum: 4cc58f4600bd92cee83c5056980379dd (MD5) Previous issue date: 2014-09-26 / This Master´s thesis has the objective to analyze the romance, Dona Flor e seus dois maridos, written by Jorge Amado and published in 1966.The analysis focus on character , and dream and hybridization, articulated concepts with carnivalization in literature, fruit of studies from Mikhail Bakhtin, Roberto DaMatta and Luis Alberto Warat between others, which contributes for the comprehension of "world upside down , focused on research of carnivalization elements in the work in question and represented in three characters: Vadinho, Dona Flor e Teodoro. The present universe in this work reveals a world that escapes the usual standards of morality imposed by the epoch system, the dictatorship. / Esta dissertação tem por objetivo analisar o romance, Dona Flor e seus dois maridos, escrito por Jorge Amado e publicado em 1966. A análise tem como suporte conceitual personagem, sonho e hibridização, conceitos articulados com a carnavalização da narrativa literária, fruto dos estudos de Mikhail Bakhtin, Roberto DaMatta, Affonso Romano de Sant Anna, Georges Bataille e Luis Alberto Warat e Luis Alberto Warat entre outros, que contribuem para a compreensão do mundo às avessas , centrado na pesquisa dos elementos carnavalizantes na obra em questão e representado por meio das personagens: Vadinho, Dona Flor, Teodoro e Dona Rozilda. O universo presente nesta obra em estudo revela um mundo que foge aos padrões habituais de moralidade, impostos pelo sistema da época, a ditadura.

Memória da Cultura, textos constantes e textos excluídos pelo esquecimento. A memória do sonho como a primeira obra de ficção jamais criada pelo homem. O sonho enquanto embrião narrativo de fábulas. Cânones, mecanismos culturais de controle. A performance da palavra. A movência das narrativas orais. O projeto poético e a rede intersemiótica de criação. Inconsciente coletivo, matizes arquetípicos e o mar como metáfora da metáfora do manancial das fábulas imemoriais. / The memory of culture, constant texts versus excluded texts, fables doomed to be forgotten. Remembering dreams as the first work of fiction ever created by mankind. Dreaming as telling tales. Standards as cultural controlling devices. Words as performances. Travelling through oral folktales. Poets and their artistic approach to life, plus the intersemiotic net for art creation. Unconscious collective, archetypical blending of nuances and the sea as the universal metaphor of the everlasting source of long forgotten fables.

Submitted by Jailda Nascimento (jmnascimento@pucsp.br) on 2016-10-06T19:26:44Z No. of bitstreams: 1 Carolina Fabian Sato Gavino.pdf: 2128218 bytes, checksum: fea0514765e3b26492d48228bd0afbe4 (MD5) / Made available in DSpace on 2016-10-06T19:26:44Z (GMT). No. of bitstreams: 1 Carolina Fabian Sato Gavino.pdf: 2128218 bytes, checksum: fea0514765e3b26492d48228bd0afbe4 (MD5) Previous issue date: 2016-08-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research assigns the perception of Harper‟s Bazaar magazine in Brazil as a bold and dialectic image of our time. The main objective of the dissertation is to track how fashion is represented on the magazine made itself as merchandise and phantasmagoria fetish since its foundation until today. In order to validate it, we use support in the Walter Benjamin‟s studies inserted in The Arcades Project and Selected Writings. According to the historical context of the time period preceding the North American magazine debut in 1867, birth of industrial capitalism and rise of bourgeoisie class in the heart of society. In that way expanding the beginning of Haute Couture and media in the fashion industry in Europe and United States. Adorno‟s and Horkheimer‟s study about the concept of Iluminism was summoned in this section of our work for elucidation of how the 19th century upper class men thinks. The second chapter of this investigation trusts Benjamin‟s writings in The Arcades Project. Susan Buck-Morrs (2002) and Willi Bolle (2000) analysis that set up a significant part of the state of art about The Arcade Project, were consulted to develop conclusions about fashion and Bazaar‟s magazine as dream imagery. In the third chapter, it is possible to add up the existence of fashion editorial and photography support as a historical object in Brazil. For theoretical guidance, we employ Trivinho (2012) analysis about Glocal and Benjamin‟s rehearsal about aura The Work of Art in the Age of Mechanical Reproduction. This is research importance is due to the fact that the brazilian Harper‟s Bazaar was short-lived, launched only in 2011, even so it is one of the most dated American fashion magazine. Furthermore, we highlight the absence of a review of this type of media in the field of communication and semiotics / A presente pesquisa destinou-se a percepção da revista Harper‟s Bazaar no Brasil como imagem onírica e dialética de nosso tempo. O objetivo central da dissertação foi observar como a moda apresentada na revista se fez como fetiche da mercadoria e fantasmagoria desde a sua fundação até hoje. Para tanto, nos apoiamos sobre os estudos de Walter Benjamin contidos no Trabalho das Passagens e suas Obras Escolhidas. Levantamos para tal o contexto histórico do período que antecedeu o lançamento da revista de origem norte-americana em 1867, o nascimento do capitalismo industrial e a ascensão da classe burguesa no seio da sociedade. Deste modo, destrinchamos o início da moda de Alta Costura e da imprensa de moda na Europa e Estados Unidos. O estudo de Adorno e Horkheimer (1996) sobre o conceito de Iluminismo foi convocado neste trecho de nosso trabalho para a elucidação sobre o modo de pensar do homem burguês do século XIX. O segundo capítulo da pesquisa fez préstimo aos escritos de Benjamin em seu Trabalho das Passagens. As análises de Susan Buck-Morrs (2002) e Willi Bolle (2000), que configuram parte importante do estado da arte sobre o Trabalho das Passagens, foram consultadas para tecer nossas conclusões acerca da moda e da revista Bazaar como imagem onírica. No terceiro capítulo, verificamos a possível presença aurática em torno da publicação editorial de moda no Brasil como objeto histórico e como suporte da fotografia de moda. Tomamos como base teórica as observações de Trivinho (2012) sobre o Glocal e os ensaios de Benjamin sobre a aura A Obra de Arte na Era da Reprodutibilidade Técnica e Pequena História da Fotografia. A relevância dessa pesquisa se deve à brevidade da revista Harper‟s Bazaar brasileira, lançada somente em 2011, e por se tratar de uma das mais antigas revistas de moda da América. Além disso, destacamos a ausência de uma análise do veículo em questão no campo da Comunicação e da Semiótica

A obra escrita de Tarkovski e o filme O Espelho são analisados à luz da teoria psicanalítica da interpretação dos sonhos articulando conceitos vindos de outros campos do conhecimento, quais sejam inconsciente ótico e choque em Walter Benjamin. O filme se passa em lugares do passado de Tarkovski, evocados a partir de lembranças encobridoras, sonhos e devaneios, em que o cineasta é espectador e ator. Há a referência, no título e ao longo das cenas, ao espelho, também usado por Lacan, como modelo de dispositivo ótico, ao teorizar sobre a formação da função do “Eu”. Através desta análise, pretendeu-se aproximar a linguagem do filme à linguagem do sonho, encontrando conteúdos oníricos latentes. São analisadas as filiações e influências, o roteiro, e aquilo que fala nas lembranças de infância, nos sonhos e devaneios associados às tradições culturais russas, ao poeta Puchkin e a Dostoievski. Identificam-se aspectos do pensamento utópico e articulações psicanalíticas na cena do devaneio do personagem Ignat. Também são comentadas articulações à estética do choque em Walter Benjamin, nas cenas de déjà vu de Ignat e no fenômeno análogo que acometeu Maria na cena da tipografia. O conceito de Outra cena, do campo freudiano, é contextualizado na discussão do filme e também cotejado com elementos da teoria platônica apontados por Lacan em seus seminários. Finalmente, a cena de levitação de Maria é comparada com a cena da pintura de Füssli The Nightmare e interpretada como sendo de um sonho de angústia. / Tarkovski's written work and the film The Mirror are analyzed in the light of psychoanalytic theory of interpretation of dreams being articulated with concepts from other fields of knowledge, such as optic unconscious and shock at Walter Benjamin’s writings. The film takes place somewhere in Tarkovski’s past, evoked from screen memories, dreams and daydreams, in which the filmmaker is a spectator and an actor at a time. There is a reference, in the title and throughout the scenes, to the mirror, which is also used by Lacan, as the model of an optical device, in theorizing about the formation of the function of the "self". Through this analysis, it was intended to approximate the language of the film to the language of the dream and find latent dreams contents. The affiliations and influences, the script, and what he talks about in the memories of childhood, the dreams and daydreams associated with Russian cultural traditions, the poet Puchkin and Dostoyevsky are analyzed. We identify aspects of utopian thinking and psychoanalytic articulations in the scene of Ignat's daydream. Similarly, articulations among the aesthetics of the shock in Walter Benjamin, in the déjà vu scenes of Ignat and in the analogous phenomenon that rushed Maria in the typography scene are also commented in this work. The concept of Other scene, from the freudian field, is contextualized in the discussion of the film and also compared with elements of the platonic theory pointed out by Lacan in his seminars. Finally, the levitation scene of Mary is compared to the painting scene of Füssli The Nightmare and interpreted as being of a dream of anguish.