[pt] A histeria foi usada como modelo para expressar uma forma de sofrimento psíquico típica do final do século XIX. Esta tese se propõe a justificar o uso da melancolia como a formação psíquica mais adequada para traduzir a forma de padecimento psíquico atual. Para isso é empreendido um aprofundamento na teoria freudiana a respeito da circunscrição deste quadro. Para demonstração da pertinência desta proposta o afeto da vergonha é destacado e analisado. O problema narcísico articulado ao desenvolvimento deste afeto e sua particularidade na melancolia são mencionados como pontos de aproximação com os ruídos clínicos atuais e com uma forma própria do homem de hoje lidar com a idéia de não se bastar e precisar do outro. / [en] Histery was used as model to express the typical form of psychic suffering of the end of century XIX. This thesis tries to justify the use of the melancholy as a psychic formation more adjusted to approach the form of the contemporary psychic suffering. For this a study on Freudian theory regarding the circumscription of this affection is undertaken. To demonstrate the relevancy of this proposal, the affect of the shame is circumscribed and analyzed. The narcissistic problem related to the development of this affect and its specificity in melancholy are taken as points of approach to the current clinical questions and a proper form of the man today to deal with the idea of not being enough themselves and needing other people.

The interactions between Chinese religions has occupied an enormous amount of scholarly attention in many fields because there have been direct and indirect consequences resulting from the interactions among Buddhism, Daoism, and Confucianism. These religious traditions have obviously influenced each other in many respects such as rituals, doctrines, textual materials, philosophy and so on. Accordingly, I will, in this paper, critically analyze the implications of the interactions between Buddhism and Daoism by examining Twofold Mystery. Since Twofold Mystery is heavily dependent on Madhyamaka Buddhist concepts, this study will, on the one hand, examine the influence of Madhyamaka Buddhism on the development of Twofold Mystery. On the other hand, it will critically survey how Twofold Mystery remained faithful to the Daoist worldview.

L'approche automate pour le model checking de propriétés temporelles à temps linéaire est une technique classique de vérification formelle de systèmes concurrents. Un système, ainsi qu'une propriété qu'on souhaite y vérifier, sont modélisés sous forme d’omega-automates reconnaissant des mots infinis. Des manipulations de ces automates (produit synchronisé et test de vacuité) permettent d'établir si le système vérifie la propriété ou non. Dans cette thèse nous nous focalisons sur un type particulier d'omega-automates qui permettent une représentation concise des propriétés d'équité faible: les automates de Büchi généralisés basés sur les transitions (TGBA ou Transition-based Generalized Büchi Automata). Dans un premier temps, nous brossons un aperçu des algorithmes de vérification existant et nous en proposons de nouveaux traitant efficacement les automates généralisés forts. Dans un second temps, l'analyse des composantes fortement connexes de l'automate de la propriété nous a conduit à élaborer une décomposition de cet automate. Cette décomposition se focalise sur les automates multi-forces et permet une parallélisation naturelle des model-checkers. Enfin, nous avons proposé les premiers tests de vacuité parallèles pour les automates généralisés. De plus, tous ces tests sont lock-free à la différence de ceux de l’état de l’art. Toutes ces techniques ont ensuite été implémentées et évaluées sur un jeu de test conséquent. / The automata-theoretic approach to linear time model-checking is a standard technique for formal verification of concurrent systems. The system and the property to check are modeled with omega-automata that recognizes infinite words. Operations overs these automata (synchronized product and emptiness checks) allows to determine whether the system satisfies the property or not. In this thesis we focus on a particular type of omega-automata that enable a concise representation of weak fairness properties: transitions-based generalized Büchi automata (TGBA). First we outline existing verification algorithms, and we propose new efficient algorithms for strong automata. In a second step, the analysis of the strongly connected components of the property automaton led us to develop a decomposition of this automata. This decomposition focuses on multi-strength property automata and allows a natural parallelization for already existing model-checkers. Finally, we proposed, for the first time, new parallel emptiness checks for generalized Büchi automata. Moreover, all these emptiness checks are lock-free, unlike those of the state-of-the-art. All these techniques have been implemented and then evaluated on a large benchmark.

Si l’ineffable est tenu pour le paradoxe emblématique dans la secte zen de la religion bouddhique, il semble que le rétrécissement du langage se manifeste dans la mesure de l’interprétation de buddhadhātu (la bouddheité ; nature de bouddha). Il est donc évident que le zen admet à la fois une lacune de langage et une sorte de mouvement permanent de phénomène entraînant ainsi, selon le terme sanskrit du bouddhisme, un sentiment de śūnyatā (la vacuité). Cette absence de la substance permanente ou ce désir d’échapper à la réalité physique nous permettrait de l’associer naturellement non seulement à l’ineffable vide chez Henri Michaux (1899-1984), mais également à ses créations issues de l’inconscient pour reconstituer un espace sacré dans son dedans. À partir de ce constat, notre recherche tente, en se focalisant sur cette dialectique entre macrocosme et microcosme, d’aborder un esprit oriental qui pourrait remonter à sa source religieuse, et s’approcher plus tard de tous les domaines esthétiques. En effet, les empreintes de la mystique orientale (hindouisme, taoïsme, bouddhisme, etc.) dans l’univers spirituel de Michaux apportent déjà un autre regard vis-à-vis de ses procédés ésotériques et nous dévoileraient même quelque chose à la fois de l’ordre de l’ineffable et de l’invisible. / When the ineffable is widely considered the symbolic paradox in the Zen school of Buddhism, it seems that the narrowness of language has been thus demonstrated in the realm of interpretation of buddhadhātu (buddha-nature). Therefore, the Zen has been characterized by its emphasis on both the rupture of language and a permanent movement of phenomena, which leads probably to a kind of sense of śūnyatā (emptiness). This impermanence of substance or this strong feeling to escape from the physical reality allows us, in this way, to associate it, not only with l’ineffable vide (the ineffable void) of Henri Michaux (1899-1984), but also with his creation driven by the unconsciousness in order to rebuild a sacred space in his dedans (inside).From this perspective, this study aims, by focusing on the dialectic between macrocosm and microcosm, to approach an Oriental spirit which could be traced back to its religious source and gradually permeate through all kinds of aesthetic fields. The stamps of some Oriental mystic thoughts (Hinduism, Taoism, Buddhism, etc.) in the spiritual world of Michaux have, moreover, brought another point of view towards his esoteric technique and revealed to us something ineffable as well as invisible.

The doctoral thesis deals with the topic of exihibiting of an empty gallery. The problem of the emptiness is presented by using a prism of theory of art, semiotics and phenomenology, more precisely hermeneutics. The matter is in a relation with some remote domains, it tries to give a definition of substance and general rules by exihibiting of the emptiness in a gallery. According to one of the presented propositions the plain emptiness itself comes to be an artwork. By semantics of logic method the text is tryiing to form another proposition about specific emptiness in a gallery that generates artwork naturally. The text tries to reopen the theme of some crucial problems in conceptual art. It presents an explanation of the aplication of conceptual method to general public.

Cette thèse a pour objet l’analyse sémiologique du Vide dans l’espace pictural du minhwa, genre artistique populaire coréen, et plus particulièrement dans les peintures ayant pour thème le paysage ‘montagne-eau’ du 18e au 20e siècle de l’ère du Chosŏn. Nous étudions cette notion, qui s’est développée à partir des philosophies traditionnelles telles que le taoisme, le bouddisme et le confucianisme par exemple, en la considérant comme l’un des fondements de la pratique de la peinture et de la culture coréenne. De nos jours, le minhwa est devenu un genre reconnu pour sa valeur artistique propre : l’espace pictural du minhwa est un véritable lieu d’expérimentation pour ses styles innovants et populaires tout en conservant des éléments traditionnels imposés par la philosophie esthétique : le thème, ou l’utilisation de la notion de Vide, par exemple. C’est pourquoi nous avons centré notre attention sur les fonctions de l’espace non peint afin d’étudier l’emploi de la notion du Vide, spécifique au genre du minhwa. Dans cette analyse, nous faisons l’hypothèse que la notion de Vide, sous la forme de surface non peinte, est significative en ce qu’elle exerce des fonctions particulières dans l’espace constitué par la peinture. L’étude de cet espace non peint ainsi que d’autres expressions picturales nécessite l’élaboration d’une grille d’analyse constituée de septs critères : elle s’appuie sur des notions philosophiques traditionnelles, comme la ‘voie’ du tao, mais aussi sur d’autres propres à la philosophie esthétique contemporaine, comme la ‘cinquième dimension’ (Cheng), l’‘entre-deux’ (Buci-Glucksman), ou à l’analyse théorique de l’espace (‘cible/site’ de Vandeloise), afin de pouvoir cerner les fonctions et le sens du Vide dans la symbolique de notre corpus. / The purpose of this thesis is to provide a semiological analysis of Void in the pictural space of Minhwa, a Korean folk art genre, most particularly in the landscape paintings with the theme of the 'mountain-water' from the 18th to the 20th century in the Chosŏn era. We study this notion, which has proceeded from traditional philosophies such as Taoism, Buddhism or Confucianism for example, examining it as one of the fundamental principles of both Korean painting and Korean culture. Nowadays Minhwa has become a genre acknowledged for its intrinsic artistic value: the pictural space of Minhwa is a true experimentation field for innovating and popular style founded on traditional elements imposed on by esthetic philosophy: the theme, the scope of the notion of Emptiness, for instance. Thus we have focused on the roles of unpainted space in order to study the ways of the notion of Void specific to Minhwa genre. The hypothesis of this analysis is that the notion of Void visible as an unpainted place is meaningful in so far as it plays some significant roles within the space created by painting. The study of this unpainted space as well as other pictorial expressions requires to produce an analytic grid based upon seven criteria: it relies on traditional philosophical notions such as the one found in Taoism, the “Way”, or the notion of contemporary esthetic philosophy, the “Fifth dimension” (Cheng), the “Entre-deux” (Buci-Glucksman) and or the notion coming from the theoretical analysis of space, “Trajector / Landmark” (Vandeloise) so as to be able to encompass their roles and their meanings within our corpus.

Todos os livros de prosa de Hilda Hilst possuem personagens velhos, e o erotismo é uma das principais linhas de força de sua obra. Este trabalho procura relacionar esses dois elementos e, ao mesmo tempo, oferecer um panorama da prosa hilstiana e de algumas de suas problemáticas mais recorrentes. A construção de personagens, as imagens do vazio e a caracterização do estilo da autora são eixos que estruturam cada um dos três capítulos, nos quais se abordam, ainda, questões como a construção do espaço literário e as investigações filosóficas contidas no texto ficcional. Em diálogo com ensaístas como Simone de Beauvoir, Georges Bataille, Edward Said, entre outros, a dissertação parte da compreensão da velhice e do erotismo como elaborações estéticas para buscar as imagens e operações formais usadas por Hilst em sua ficção. / All of Hilda Hilsts prose books feature aged characters, and eroticism is one of the main strengths of her literature. This work seeks to relate these two elements and, at the same time, offer an overview of the Hilstian prose and some of its most recurrent issues. The construction of characters, the images of emptiness and the characterization of the authors style are axes that structure each one of the three chapters, in which questions such as the construction of literary space and the philosophical investigations contained in the fictional text are also addressed. In dialogue with such essayists as Simone de Beauvoir, Georges Bataille, Edward Said, among others, this dissertation departs from the understanding of old age and eroticism as aesthetic elaborations to seek the images and formal operations used by Hilst in her fiction.

Todos os livros de prosa de Hilda Hilst possuem personagens velhos, e o erotismo é uma das principais linhas de força de sua obra. Este trabalho procura relacionar esses dois elementos e, ao mesmo tempo, oferecer um panorama da prosa hilstiana e de algumas de suas problemáticas mais recorrentes. A construção de personagens, as imagens do vazio e a caracterização do estilo da autora são eixos que estruturam cada um dos três capítulos, nos quais se abordam, ainda, questões como a construção do espaço literário e as investigações filosóficas contidas no texto ficcional. Em diálogo com ensaístas como Simone de Beauvoir, Georges Bataille, Edward Said, entre outros, a dissertação parte da compreensão da velhice e do erotismo como elaborações estéticas para buscar as imagens e operações formais usadas por Hilst em sua ficção. / All of Hilda Hilsts prose books feature aged characters, and eroticism is one of the main strengths of her literature. This work seeks to relate these two elements and, at the same time, offer an overview of the Hilstian prose and some of its most recurrent issues. The construction of characters, the images of emptiness and the characterization of the authors style are axes that structure each one of the three chapters, in which questions such as the construction of literary space and the philosophical investigations contained in the fictional text are also addressed. In dialogue with such essayists as Simone de Beauvoir, Georges Bataille, Edward Said, among others, this dissertation departs from the understanding of old age and eroticism as aesthetic elaborations to seek the images and formal operations used by Hilst in her fiction.

Made available in DSpace on 2016-04-28T20:38:40Z (GMT). No. of bitstreams: 1 Neide Aparecida de Oliveira Santos Aoki.pdf: 866218 bytes, checksum: 1953aef49a9114bfc475ae778a1e8b0f (MD5) Previous issue date: 2013-05-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Civilization has experienced a new discomfort. Despite the great technological advances, there still exist feelings of mental inertia, of loneliness and of a non-sense life. Individuals are anonymous, suffer from abandonment with no chance for singularity. The psychoanalytic clinic today expresses this pounding symptom being the main complaints this vague sensation of emptiness, meaninfullness, difficulty in having an identity and love for oneself. Psychoanalysis has emphasized the increasing necessity to highlight what has conventionally been called the pathology of emptiness that is, the clinical approach that is close to psychosis, the relationship with others and the fragile egoic structure that represent neuvragic issues. Analysts are challenged to accept a relationship with nothing , to experience the abysm of no me without being absorbed by it. The opportunity of being with these patients has been a necessary topic for the psychoanalyst reflection. Literature presents the awakening of these questions alerting for its urgency. Therefore, this paper aims at exploring the emptiness experiences exposed by these patients with the theoretical about the theme in order to understand the peculiarities of such psychic behavior, to think of ways of reaching it, to look for literary and cinematographic works that give voice and form to this mental state once words are almost inexistent. So, there can be a deep ludic proximity of such primitive living experience of not being . Theory and art interact to try to reach the indescribable of the analytic involvement with such patients guided by the reasons that could be enhancing this lethargic mental state and the barriers that could prevent the changes. Would it be possible to exist some specification of the analytical work in such cases? Consequently the theoretical conceptual psychoanalytic referential was adopted. The core are the bionianas theories plus the contribution from Tustin and A. Ferro that broaden the Bion´s view concerning thought structures and autisticos functioning and emotions blunt. The illustrative artistic works such as A menina de lá by Guimarães Rosa, Bartley by Melville, A hora da estrela by Lispector, A sonata de outono by Bergamn and The Martin Child by Bass and Tolins display the live theory. This is an attempt to translate in a symbolic and representative way nuances of investigated themes. Patients and analysts dressed as characters were bestowed with the artist delicateness and with knowledge strength supported by theory. During the investigative way it is possible to conclude that feelings of emptiness and no meaning have their roots in early environmental failures. The mother presence attending the child´s necessities interfere with tolerance incapacity toward frustration when there is no available forms to deal with it. This fact leads to an affection and vital impulse blockage that develops inhibitions, emptiness sensation and boredom. These patients were prevented from having the minimal conditions to connect with themselves without threats. This way they refrain emotions as they are felt as a catastrophic threat. The relationship with these patients, therefore demands patience and vitality to approach a mind in which threat to bond is the main characteristic. This could help this abysm unspeakably bad / Atualmente, vivemos um novo mal-estar da civilização. A despeito de tantos avanços e desenvolvimentos, paira um sentimento de inércia mental, de isolamento e falta de sentido. A dor do desamparo parece aumentada, e os indivíduos se desfazem no anonimato, sem que haja espaço para a singularidade. Esse modo de viver e sentir se torna, pois, a sintomatologia latejante da clínica psicanalítica atual, em que as queixas têm sido de uma ausência de significado, de dificuldade para definir e gostar de si próprios, no que se convencionou denominar novas patologias do vazio. Trata-se, pois, de um funcionamento clínico que se aproxima da psicose, no qual a relação com o outro e a fragilidade da estrutura egóica representam pontos nevrálgicos. Descortina-se um convite aos analistas, o de ousar aceitarem a relação com o nada , experimentando o abismo do não-eu, sem que sejam por ele devorados. Diante dessa demanda, esta dissertação tem como objetivo explorar as vivências de vazio apresentadas por esses pacientes por meio do aprofundamento teórico sobre o tema, de modo a compreender as peculiaridades de tal funcionamento psíquico e pensar em modos de alcançá-lo. Para aprofundar o tema, foi adotado o referencial teórico-conceitual psicanalítico, tendo como eixo as teorias bionianas, acrescidas das contribuições de Tustin e A. Ferro, as quais ampliam o olhar de Bion no pensamento das estruturas e funcionamentos autísticos e embotamento das emoções. Haveria então alguma especificidade do trabalho analítico em tais casos? Também foram escolhidas obras literárias e cinematográficas para dar voz e forma a este estado mental em que as palavras pouco habitam, de modo a permitir uma aproximação profunda e lúdica dessa vivência tão primitiva do não ser, tendo como questões norteadoras os fatores que poderiam estar atuando como possíveis desencadeadores desse estado mental letárgico e quais os impeditivos das mudanças. São elas: A menina de lá , de Guimarães Rosa; Bartleby de Herman Melville; A hora da estrela , de Clarice Lispector; A Sonata de Outono de Ingmar Bergman e Martian Child , de Bass e Tolins, traduzem de forma simbólica e representativa nuances dos temas investigados. Pacientes e analista, vestidos de personagens, foram então contemplados com a delicadeza do artista e a firmeza do conhecimento sustentado pela teoria. Ao longo do percurso investigativo, foi possível concluir que os sentimentos de vazio e falta de sentido se enraízam em vivências precoces de falhas nos investimentos do ambiente, especialmente da figura materna, podendo prejudicar a capacidade de tolerância à frustração, bloqueio da afetividade e do impulso vital, gerando inibições, sensações de vazio e tédio. A esses mesmos pacientes faltaram as condições mínimas para que pudessem conectar-se consigo mesmos, de maneira menos ameaçadora, tornando-se defendidos em relação às emoções, sentidas como iminência de catástrofe. A relação com tais pacientes exige, assim, paciência e vitalidade, para que possamos nos aproximar de uma mente em que o ataque ao vínculo é a principal característica, ajudando a alfabetizar seu abismo até então inominável

<p>Tema ove studije je teorijsko uobličavanje definicije disocijativnog prostora, kojim se opisuje specifično moderni odnos subjekta i prostora, odnosno koekstenzivni (ekstimni) karakter prostornosti i subjektivnosti u modernoj epohi. Analiza prostora u polju disocijativnosti sprovedena je u oblasti arhitekture i vizuelnih umetnosti, prevashodno se oslanjajući na istraživanja u oblasti filozofije, psihologije i teorijske psihoanalize.</p> / <p>The topic of this study is theoretical formation of the definition of dissociative<br />space, by which specifically modern relation between subjet and space is<br />explained, i.e. coextensive (extimate) character of spatiality and subjectivity<br />of modern epoch. Analysis of space in the field of dissociativness was made<br />within the field of architecture and visual arts, primarly relying on<br />investigations in the fields of filosophy, psychology and theoretical<br />psychoanalysis.</p>