Le città invisibili de Calvino (1972), recueil de descriptions de villes inscrites dans un récit-cadre, posent à nouveau la question de l’écriture, grâce aux deux personnages Marco Polo et Kublai Kan devisant des villes de l’empire, des hommes et des choses, de leur existence, leur utilité, leur durée, leur sens ; mais aussi, mis en abyme, des problèmes de la ville moderne et du vivre ensemble, ou encore de ceux de l’art d’écrire, histoire de décrire ou plutôt de raconter encore la réalité de façon philosophiquement onirique, à moins que ce ne soit oniriquement philosophique. Notre travail de recherche se propose de lire cette œuvre comme un prisme des recherches calviniennes sur la création littéraire, alors que l’écrivain est sur le point d’être coopté à l’Oulipo. Ce livre se rattache à un ensemble d’idées présentes dans une grande partie de son œuvre, narrative tout autant que théorique et épistolaire, ou médiatique, comme une variation partiellement oulipienne et un écho persistant de son amusement perplexe ou de sa perplexité amusée mais parfois inquiète, devant cet acte curieux, intellectuel et expérimental, qu’est l’écriture. Désirs d’écrire ou de dire le monde extérieur traversent Calvino qui veut aussi en offrir une image construite et maîtrisée, conscient néanmoins de la part inhérente de hasard qui les détermine. Grâce à l’écriture combinatoire et à la réécriture parodique, l’écrivain s’ouvre la possibilité d’un espace fantastique et personnel à travers une poétique réflexive originale puisant à la fois dans le symbolique et l’ironie et une réflexion poétique, où se rencontrent, profondes et détachées, intelligence du monde et intelligence de l’écriture. / Invisible Cities by Calvino (1972), is a collection of cities’s descriptions registred in a frame story. It raises again the question of writing, through two characters Marco Polo and Kublai Kan who have a conversation on some different subjects, such as empire’s cities, human beings and things, their existence, utility, duration, meaning, but also creating a mise en abyme of problems of modern city and living together, or those of the Art of writing, another way of describing or rather recounting reality in a philosophically oneiric way unless it is oneirically philosophic. Our research work intends to read this book like a prism of Calvino’s thought about literary creative writing, while the writer is just about to be coopted into joining the Oulipo, linking it to ideas we find in most of his work, narrative as well as theoritical and epistolary or mediatised, like a partially oulipienne variation and a persistent echo of his perplexed pleasure or amused perplexity but sometimes troubled in front of this strange act, intellectual and also experimental, which is writing. Desires to write or to express the outside world go through Calvino but he wants to give us a constructed image and a also controlled one, still aware that an inherent part of hazard is determinant on these. Thanks to combinatorial writing and rewriting parodies the writer has the opportunity to open a fantastic and personal area, through an original reflective poetic drawing from symbolism and irony, and a poetic reflection where the intelligence of the world and the intelligence of writing meet, both deep and detached.

Made available in DSpace on 2016-04-28T20:38:13Z (GMT). No. of bitstreams: 1 Maria Luiza Scrosoppi Persicano.pdf: 13590026 bytes, checksum: 987e46a955863f199cc4194db928eb40 (MD5) Previous issue date: 2012-06-22 / First this study presents a review of the economic concept of somatic anxiety, developed by the author in her master's work, as seen from the point of view of Klein's theory of the fantasy. The objective of the study is to further develop ideas that are fundamental to this concept of somatic anxiety and to question them in terms of the new frame of reference. The text establishes counter-positions and counterpoints between the two sets of reference in order to determine the place of somatic anxiety in Klein s view of the process of fantasizing. At first sight, anxiety, which, in Kleinian thought, is an aspect of unconscious fantasy, would seem to go beyond Freud's economic metapsychology, and this might exclude the concept of somatic anxiety from Klein s theory of the fantasy. On the basis of clinical cases, the author tests the effectiveness and the definition of the concept of somatic anxiety in Kleinian thought and locates it metapsychologically in this theory of fantasy. The study has the overall purpose of studying unconscious fantasy and the place of somatic anxiety in such fantasy. This led to the investigation of two opposing general hypotheses: 1) somatic anxiety could be anxiety without unconscious fantasy, a position which runs counter to Kleinian thinking; or, 2) somatic anxiety is located in the theory of unconscious fantasy, implying that somatic anxiety could thus be classified as somatic. These general hypotheses led to a more specific question regarding the metapsychological possibility of somatic fantasizing. The hypotheses thus led us to conclude and to metapsychologically sustain that Kleinian primary fantasy is a state of somatic anxiety experienced in early sensory images. It is therefore a primary somatic fantasy. The author of this thesis introduces the expression somatic-sensitive imagos to refer to such early sensory images and relates manifestations of somatic 20 fantasy to them. The author then formulates the notion of somatic fantasy on the basis of somatic-sensitive imagos and attempts to compose them in a metapsychology of unconscious fantasy. Finally, levels of fantasizing are established, as well as the places of somatic fantasies, of somatic-sensitive imagos and of somatic anxiety / Esta pesquisa empreende, primeiramente, a revisão do conceito econômico de angústia somática, desenvolvido pela autora no Mestrado, seguindo um referencial freudiano, agora pela ótica da teoria kleiniana da fantasia, visando compor uma elaboração das ideias fundamentais deste conceito e problematizá-las frente ao novo esquema referencial. Estabelece contraposições e contrapontos entre os dois referenciais de modo a averiguar o lugar da angústia somática no pensamento kleiniano a respeito do fantasiar, já que, à primeira vista, a angústia, por ser, para aquele, um dos aspectos da fantasia inconsciente ficaria para além da metapsicologia econômica freudiana e isto poderia excluir o conceito de angústia somática da teoria kleiniana da fantasia. A partir de casos clínicos, testa a eficácia e a definição do conceito de angústia somática no pensamento kleiniano e o implementa metapsicologicamente dentro de sua teoria da fantasia. A pesquisa objetivou o estudo da fantasia inconsciente e o lugar da angústia somática na mesma. Isto conduziu à investigação de duas hipóteses gerais opostas: se seria possível que a angústia somática fosse uma angústia sem fantasia inconsciente, contrariando o pensamento kleiniano; ou se seria possível a angústia somática dentro da teoria da fantasia inconsciente e se isto viria a significar que a mesma poderia chegar a ter um estatuto de somático. Estas hipóteses gerais conduziram a uma mais específica a respeito da possibilidade metapsicológica de um fantasiar somático, que levaram a concluir e a sustentar metapsicologicamente que a fantasia primária kleiniana é um estado de angústia somática, vivida em imagens sensoriais arcaicas, portanto, é uma fantasia primária somática. A autora introduz a expressão Imagos sômatosensitivas para se referir a estas imagens sensoriais arcaicas, ligando a elas a manifestação de angústia somática. Formula a noção de fantasia somática a partir das Imagos sômato-sensitivas, buscando compô-las dentro de uma metapsicologia 18 da fantasia inconsciente. Finalmente, estabelece os níveis do fantasiar, o lugar das fantasias somáticas, bem como das Imagos sômato-sensitivas e da angústia somática