O que a experiência estética ensina aos psicanalistas? Essa pergunta ampla dá início às investigações deste trabalho sustentado pela hipótese de que há uma dimensão estética na experiência analítica. Configuramos as problemáticas da análise do estético e da sublimação, a partir de Freud, para em seguida recolher as influências da estética e reanalisar certas conceitualizações da psicanálise. Consideramos que experiência estética e experiência analítica são vizinhas e enfrentam problemas homólogos ligados: 1- à contiguidade entre sensibilidade e inteligibilidade; 2- a não hierarquia entre o regime representativo e o regime estético (apresentativo) nos processos de significação; 3- à dimensão de ruptura de sentido no estético. As relações entre experiência estética e os processos de sublimação, a partir da reciprocidade entre atividade e passividade na experiência de apreciação e de criação, sugerem que esses processos sejam estudados de modo adjacente. A partir da análise estética da formatividade (Pareyson) e das relações intrínsecas entre conteúdo e forma, é investigada a metapsicologia das relações, sempre fugidias, entre imagem e palavra, e os processos de figurabilidade/apresentação (Darstellung). Resgata-se a legitimidade de se reconhecer os processos oníricos como um dos modelos de análise do estético e da criatividade em psicanálise. Em outra dimensão do estético, estabelecemos aproximações entre a estética do sublime e o estranhofamiliar de Freud, como experiências de ruptura de sentido. A ruptura, sob certas condições, está na base das experiências de ressignificação, nas bordas do irrepresentado e do irrepresentável da experiência. A figurabilidade/apresentação é compreendida como transformação de inscrições psíquicas mudas em formas eloquentes e tem efeitos na interpretação e no manejo na clínica com destaque para as construções em análise. No que toca a sublimação, articulada à experiência estética, levamos adiante a formulação de Freud de que há uma relação entre os processos criativos e o brincar da criança. A experiência estética e o brincar da criança retiram as análises de Freud sobre a sublimação de uma perspectiva adaptativa e deserotizada. Destacamos, não o suposto conteúdo recalcado dessas atividades, mas a transformação da pulsão, articulada aos elementos formais que participam tanto do brincar quanto do trabalho do artista. Propusemos uma relação de coconstituição entre processos sublimatórios, instâncias psíquicas (id, ego, superego) e a organização da pulsão, através de jogos constituintes de ausência e presença, continuidade e descontinuidade, identidade e alteridade. Brincar e sublimar são jogos constitutivos de prazer e luto que articulam objeto subjetivo e objeto objetivo na área transicional da experiência. Reconhece-se, por outro lado, os limites dos processos sublimatórios e a participação das forças de desligamento pulsional. As implicações no manejo e interpretação também são abordadas na análise com crianças, privilegiando a construção dos processos de figurar e ficcionar. Consideramos que a reanálise das relações entre a experiência estética e sublimação contribui para destacar a dimensão estética e criativa da clinica psicanalítica contemporânea / What does the aesthetic experience teach psychoanalysts? It is this wide question that opens the investigations in this work, which is supported by the hypothesis of an aesthetic dimension in the psychoanalytic experience. After setting up aesthetics and sublimations analysis problems, following Freud, aesthetics influences are gathered and some psychoanalytical concepts reanalyzed. The aesthetic and the analytical experiences are considered to be neighbors, facing homologous problems, related to: (1) contiguity between sensibility and intelligibility; (2) non-hierarchy between the representative regime and the aesthetic regime (presentative) in the signifying processes; (3) the rupture of meanings dimension within aesthetics. The relations between the aesthetic experience and the sublimation processes, according to activity and passivitys reciprocity in the creation and appreciation experience, suggest that these processes be studied in an adjacent manner. Following Pareysons formativitys aesthetic analysis and the intrinsic relations between form and content, the ever escaping relations between image and word, as well as the figurabilty/presentation (Darstellung) processes are investigated. The oniric processes legitimacy in the analysis of aesthetics and creativity in psychoanalysis is then recovered. In another dimension of aesthetics, an approximation between the sublime and Freuds Unheimlich, as an experience of rupture of meaning, is established. This rupture, under certain conditions, is at the bottom of re-signification experiences, on the verge of what is not represented and of what is non representable in experience. Figurablity/presentation is understood as transformations of mute inscriptions into eloquent forms. From these, effects on interpretation and clinical handling are implied, with a stress on constructions in analysis. Concerning sublimation, when articulated to the aesthetic experience, Freuds formulation that there is a relation between creative processes and childrens play is furthered developed. The aesthetic experience and childrens play aid Freuds analysis of sublimation from an adaptive de-erotized perspective. What is emphasized is not the supposed repressed content of such activities, but drives transformation, articulated to formal elements which participate both in childrens play and in artists work. A co-constitution relation among sublimation processes, psychic instances (ego, id, superego) and drives organization is proposed, through elementary games of presence and absence, continuity and discontinuity, identity and otherness. To play and sublimate are constitutive games of pleasure and mourning that articulate both the subjective object and the objective object in the experiences transitional area. On the other hand, limits of the sublimation processes and the participation of unlinking drive forces are recognized. The implications on analysis handling and interpretation in childrens analysis are also approached, with a privilege on the construction process of figures and fiction. It is considered, then, that this re-analysis of the relations between the aesthetic experience and sublimation contributes to highlight the aesthetic and creative dimension of contemporary psychoanalytical clinic

O que a experiência estética ensina aos psicanalistas? Essa pergunta ampla dá início às investigações deste trabalho sustentado pela hipótese de que há uma dimensão estética na experiência analítica. Configuramos as problemáticas da análise do estético e da sublimação, a partir de Freud, para em seguida recolher as influências da estética e reanalisar certas conceitualizações da psicanálise. Consideramos que experiência estética e experiência analítica são vizinhas e enfrentam problemas homólogos ligados: 1- à contiguidade entre sensibilidade e inteligibilidade; 2- a não hierarquia entre o regime representativo e o regime estético (apresentativo) nos processos de significação; 3- à dimensão de ruptura de sentido no estético. As relações entre experiência estética e os processos de sublimação, a partir da reciprocidade entre atividade e passividade na experiência de apreciação e de criação, sugerem que esses processos sejam estudados de modo adjacente. A partir da análise estética da formatividade (Pareyson) e das relações intrínsecas entre conteúdo e forma, é investigada a metapsicologia das relações, sempre fugidias, entre imagem e palavra, e os processos de figurabilidade/apresentação (Darstellung). Resgata-se a legitimidade de se reconhecer os processos oníricos como um dos modelos de análise do estético e da criatividade em psicanálise. Em outra dimensão do estético, estabelecemos aproximações entre a estética do sublime e o estranhofamiliar de Freud, como experiências de ruptura de sentido. A ruptura, sob certas condições, está na base das experiências de ressignificação, nas bordas do irrepresentado e do irrepresentável da experiência. A figurabilidade/apresentação é compreendida como transformação de inscrições psíquicas mudas em formas eloquentes e tem efeitos na interpretação e no manejo na clínica com destaque para as construções em análise. No que toca a sublimação, articulada à experiência estética, levamos adiante a formulação de Freud de que há uma relação entre os processos criativos e o brincar da criança. A experiência estética e o brincar da criança retiram as análises de Freud sobre a sublimação de uma perspectiva adaptativa e deserotizada. Destacamos, não o suposto conteúdo recalcado dessas atividades, mas a transformação da pulsão, articulada aos elementos formais que participam tanto do brincar quanto do trabalho do artista. Propusemos uma relação de coconstituição entre processos sublimatórios, instâncias psíquicas (id, ego, superego) e a organização da pulsão, através de jogos constituintes de ausência e presença, continuidade e descontinuidade, identidade e alteridade. Brincar e sublimar são jogos constitutivos de prazer e luto que articulam objeto subjetivo e objeto objetivo na área transicional da experiência. Reconhece-se, por outro lado, os limites dos processos sublimatórios e a participação das forças de desligamento pulsional. As implicações no manejo e interpretação também são abordadas na análise com crianças, privilegiando a construção dos processos de figurar e ficcionar. Consideramos que a reanálise das relações entre a experiência estética e sublimação contribui para destacar a dimensão estética e criativa da clinica psicanalítica contemporânea / What does the aesthetic experience teach psychoanalysts? It is this wide question that opens the investigations in this work, which is supported by the hypothesis of an aesthetic dimension in the psychoanalytic experience. After setting up aesthetics and sublimations analysis problems, following Freud, aesthetics influences are gathered and some psychoanalytical concepts reanalyzed. The aesthetic and the analytical experiences are considered to be neighbors, facing homologous problems, related to: (1) contiguity between sensibility and intelligibility; (2) non-hierarchy between the representative regime and the aesthetic regime (presentative) in the signifying processes; (3) the rupture of meanings dimension within aesthetics. The relations between the aesthetic experience and the sublimation processes, according to activity and passivitys reciprocity in the creation and appreciation experience, suggest that these processes be studied in an adjacent manner. Following Pareysons formativitys aesthetic analysis and the intrinsic relations between form and content, the ever escaping relations between image and word, as well as the figurabilty/presentation (Darstellung) processes are investigated. The oniric processes legitimacy in the analysis of aesthetics and creativity in psychoanalysis is then recovered. In another dimension of aesthetics, an approximation between the sublime and Freuds Unheimlich, as an experience of rupture of meaning, is established. This rupture, under certain conditions, is at the bottom of re-signification experiences, on the verge of what is not represented and of what is non representable in experience. Figurablity/presentation is understood as transformations of mute inscriptions into eloquent forms. From these, effects on interpretation and clinical handling are implied, with a stress on constructions in analysis. Concerning sublimation, when articulated to the aesthetic experience, Freuds formulation that there is a relation between creative processes and childrens play is furthered developed. The aesthetic experience and childrens play aid Freuds analysis of sublimation from an adaptive de-erotized perspective. What is emphasized is not the supposed repressed content of such activities, but drives transformation, articulated to formal elements which participate both in childrens play and in artists work. A co-constitution relation among sublimation processes, psychic instances (ego, id, superego) and drives organization is proposed, through elementary games of presence and absence, continuity and discontinuity, identity and otherness. To play and sublimate are constitutive games of pleasure and mourning that articulate both the subjective object and the objective object in the experiences transitional area. On the other hand, limits of the sublimation processes and the participation of unlinking drive forces are recognized. The implications on analysis handling and interpretation in childrens analysis are also approached, with a privilege on the construction process of figures and fiction. It is considered, then, that this re-analysis of the relations between the aesthetic experience and sublimation contributes to highlight the aesthetic and creative dimension of contemporary psychoanalytical clinic

La présente thèse propose d’aborder l’oeuvre perecquienne sous le prisme de la mise en abyme, procédé a priori éculé de la littérature du XXe siècle, dont l’efficacité narrative semble toutefois avoir séduit un écrivain préoccupé à la fois à fonder son écriture dans un système et à entretenir le plaisir illusoire de la fiction. En raison de l’aporie d’une apparition pure du procédé, le champ d’étude est élargi aux mouvements plus amples qu’il implique : l’inclusion et la répétition. Ces deux mouvements, qui stimulent une tension entre le tout et ses parties, peuvent également servir à décrire le geste d’écriture de Perec, profondément animé par une recherche d’adhésion au monde. Un horizon narratif spécifique se profile, complété de l’imaginaire du procédé en soi. D’une part, la mise en abyme est considérée dans sa proximité avec la dimension métatextuelle des récits, aux effets souvent métaleptiques. D’autre part, par la figurabilité du procédé, lui permettant d’agir comme sujet et objet d’une réflexion, l’écriture perecquienne est appréhendée dans sa plasticité. Enfin, cet horizon narratif est confronté à l’idée que Perec formule autour d’un possible « narratème », une unité narrative minimale qui contiendrait en germe un univers de fiction. L’effet local de la mise en abyme s’ouvre à la dynamique générale des récits, entre condensation et extension. Des seuils narratifs ou textuels émergent où se négocie l’inscription de l’auteur dans ses récits : raconter et se raconter. Outre le corpus perecquien, la pertinence de cet élargissement de la mise en abyme est vérifiée au sein des oeuvres des écrivains francophones luxembourgeois : Jean Portante et Jean Sorrente. / This PHD thesis approaches Perec’s work through the prism of the mise en abyme, an a priori overused process of 20th century literature, whose narrative efficiency seems nevertheless to have attracted a writer set on basing his writing in a system and maintaining the illusory pleasure of fiction. Due to the aporia of a pure appearance of the process, the area of the study is broadened to the more wide et #8208;ranging movements it implies: inclusion and repetition. These two movements, which initiate a tension between the whole and its parts, can also be used to describe Perec’s gesture of writing, animated by the wish to be part of the world. A specific narrative horizon emerges. On the one hand, the mise en abyme is considered in its closeness to the metatextual dimension of the narratives, whose effects are often metaleptical. On the other hand, because of the process’ figurability, which enables it to act as subject as well as objet of a reflection, Perec’s writing can be apprehended in its plasticity. Finally, this narrative horizon is confronted with the idea that Perec voices about a possible “narratheme”, a minimal narrative unit that would contain the seeds of a fictional world. The local effect of the mise en abyme opens to a more general dynamic of the narratives, between condensation and extension. Narrative or textual thresholds appear, where the inclusion of the author in his writings is negotiated: to narrate and to narrate oneself. Besides the perecquian corpus, the relevance of the enlargement of the mise en abyme is demonstrated in the works of Luxembourgish authors writing in french: Jean Portante and Jean Sorrente.

O problema que o presente estudo procurou delimitar refere-se à relação entre a escritura balzaquiana e a figurabilidade. Diferentemente das questões que se aplicam ao campo pictural, a escritura balzaquiana procura no interior de sua expressão o processo de estruturação e os modelos da produção figurativa. Ao descartar a noção de homologia, a escritura balzaquiana procura, na verdade, competir com as Artes Plásticas no intuito de conceder ao texto ficcional a mesma potencialidade visual do campo pictural. A análise, então, aproxima-se mais do trabalho de figuração presente no tecido narrativo do que da significação do objeto figurativo. Essa visada crítica corresponde ao que é proposto como um estudo da figurabilidade. O eixo de análise proposto possibilitou a abertura deste estudo à Comédie Humaine sem a obrigatoriedade de um recorte temático que implicaria a escolha de determinados romances, uma vez que no trabalho figurativo detectamos um desejo estético fundamental à poética balzaquiana. Um desejo que produz um movimento intenso, não necessariamente coeso e pronto às explorações mais radicais, como as desfigurações. Nesse espaço do texto, o traço figural, o qual se opõe ao figurativo, foi aprofundando. Tal distinção vale ressaltar que se trata de uma distinção entre figural e figurativo em relação à escritura balzaquiana compõe igualmente a discussão pretendida por este estudo. / The problem this work has tried to circumscribe refers to the relationship between Balzacs writing and the figurability. Distinctly of the topics that concern the pictorial ground, Balzacs writing pursuits within its own expression the structural process and the models of the figurative production. When Balzacs writing avoids the notion of homology, what it truly desires is to compete with the visual arts in order to endow the fictional text with the same potentiality of the pictorial ground. Thus, the approach of this analysis is closer to the work of figuration woven in the narrative tissue than to the signification of the figurative object. This critical perspective corresponds to a study of figurability as suggested. The proposed axis of this analysis enabled this study an opening to the Comédie Humaine without the obligation of a thematic choice, which would entail an election of defined novels, considering that in the work of the figuration we observe an aesthetic desire essential to Balzac\'s poetics. A desire that imposes an intense movement, that is not necessarily cohesive, and it is set to accomplish radical experiences, such as the disfiguration. In this space of the text the figural trait, which is opposed to the figurative, was developed. The present study also aims the discussion of this distinction it is worthwhile to emphasize that we refer to a distinction between figural and figurative concerning Balzacs writing.

O problema que o presente estudo procurou delimitar refere-se à relação entre a escritura balzaquiana e a figurabilidade. Diferentemente das questões que se aplicam ao campo pictural, a escritura balzaquiana procura no interior de sua expressão o processo de estruturação e os modelos da produção figurativa. Ao descartar a noção de homologia, a escritura balzaquiana procura, na verdade, competir com as Artes Plásticas no intuito de conceder ao texto ficcional a mesma potencialidade visual do campo pictural. A análise, então, aproxima-se mais do trabalho de figuração presente no tecido narrativo do que da significação do objeto figurativo. Essa visada crítica corresponde ao que é proposto como um estudo da figurabilidade. O eixo de análise proposto possibilitou a abertura deste estudo à Comédie Humaine sem a obrigatoriedade de um recorte temático que implicaria a escolha de determinados romances, uma vez que no trabalho figurativo detectamos um desejo estético fundamental à poética balzaquiana. Um desejo que produz um movimento intenso, não necessariamente coeso e pronto às explorações mais radicais, como as desfigurações. Nesse espaço do texto, o traço figural, o qual se opõe ao figurativo, foi aprofundando. Tal distinção vale ressaltar que se trata de uma distinção entre figural e figurativo em relação à escritura balzaquiana compõe igualmente a discussão pretendida por este estudo. / The problem this work has tried to circumscribe refers to the relationship between Balzacs writing and the figurability. Distinctly of the topics that concern the pictorial ground, Balzacs writing pursuits within its own expression the structural process and the models of the figurative production. When Balzacs writing avoids the notion of homology, what it truly desires is to compete with the visual arts in order to endow the fictional text with the same potentiality of the pictorial ground. Thus, the approach of this analysis is closer to the work of figuration woven in the narrative tissue than to the signification of the figurative object. This critical perspective corresponds to a study of figurability as suggested. The proposed axis of this analysis enabled this study an opening to the Comédie Humaine without the obligation of a thematic choice, which would entail an election of defined novels, considering that in the work of the figuration we observe an aesthetic desire essential to Balzac\'s poetics. A desire that imposes an intense movement, that is not necessarily cohesive, and it is set to accomplish radical experiences, such as the disfiguration. In this space of the text the figural trait, which is opposed to the figurative, was developed. The present study also aims the discussion of this distinction it is worthwhile to emphasize that we refer to a distinction between figural and figurative concerning Balzacs writing.

Made available in DSpace on 2016-04-28T20:37:33Z (GMT). No. of bitstreams: 1 Marina de Oliveira Costa.pdf: 5537956 bytes, checksum: 5b27db5295d2bcd75c28f2b2d89e32f5 (MD5) Previous issue date: 2010-12-10 / This paper aims to describe and discuss the tortuous paths of the psychoanalytic method when dealing with institutionalized psychotic patients. Starting from a liaison between literature, poetry and painting, the author seeks to understand the difficulties of establishing a regressive process engaged in the work of rescuing the split parts of the self after a psychotic explosion. The purpose of this paper is to illustrate how the need for a modification of the technique can be put at the service of the time of holding, if we able to recognize the fundamental role of image in the experience, as archaic language in early problems, and as a possibility of communication and transformation in psychosis. This includes the possibility of exploring this time of holding, without becoming pure handling and, indeed, without losing the name of psychoanalysis, as Winnicott2 said in relation to what, when and how to do, based on clinical experience. Through fragments of a clinical case treated by the author for almost eight years in a mental institution, she tries to understand the listening of images revealed by painting as a way of thinking directly connected not only to the unconscious mechanisms and fantasies of the person being analyzed, but also with points of fracture in his functioning. Along the way, the association of emerging images, supported by the analyst, promotes the approach of some of the contents deeply cleaved by the patient, who becomes able to fill the absence of that which could not become psychic. On this journey the author found herself accompanied by several authors interested in the field of modified analysis with difficult patients, such as Winnicott and Ferenczi, and in the question of figurability, such as Antonino Ferro, Gaetano Benedetti, the couple Botella and René Roussillon, as well as national authors, researchers in those fields of interest such as Alfredo Naffah Neto, Luis Cláudio Figueiredo, Daniel Kuperman and others / RESUMO Esta dissertação se propõe a descrever e problematizar os caminhos tortuosos do método psicanalítico, quando tratamos de pacientes psicóticos em instituição. Procuro compreender, a partir de uma articulação com a literatura, com a poesia e com a pintura, quais as dificuldades de se estabelecer um processo regressivo empenhado no trabalho de resgate de partes cindidas do sujeito, após uma explosão psicótica. O objetivo desse trabalho é ilustrar como a necessidade de uma modificação da técnica, pode se colocar a serviço desse tempo de sustentação, se pudermos reconhecer o papel fundante da imagem na experiência, como linguagem arcaica na problemática precoce, como possibilidade de comunicação e transformação na psicose. Isso inclui a possibilidade de explorarmos esse tempo de holding, sem tornar-se puro manejo e, na verdade, sem perder o nome de psicanálise, como nos disse Winnicott1 em relação ao que, quando e como fazer, a partir da experiência clínica. Através de fragmentos de um caso clínico acompanhado por quase oito anos em instituição psiquiátrica, procura-se compreender a escuta das imagens reveladas pela pintura como um modo de pensar diretamente conectado, não só com os mecanismos e fantasmas inconscientes do analisando, mas com os pontos de fratura em seu funcionamento. Durante o percurso, a associação de imagens emergentes, sustentada pela analista, promove a aproximação de alguns conteúdos profundamente clivados pelo paciente e vai se tornando capaz de preencher a ausência do que não pôde se tornar psíquico. Neste caminho encontro-me acompanhada de diversos autores interessados no campo da análise modificada com pacientes difíceis, como Winnicott e Ferenczi, e na problemática da figurabilidade, tais como Antonino Ferro, Gaetano Benedetti, o casal Botella e René Roussillon, além de autores nacionais pesquisadores desses campos, como Alfredo Naffah Neto, Luis Cláudio Figueiredo, Daniel Kupermann e outros estudiosos do assunto

Le sujet de cette recherche est la figurabilité de l’affect dans les groupes thérapeutiques avec la méthode Photolangage© et avec la méthode de psychodrame psychanalytique de groupe. L’objectif de cette recherche est de travailler sur l’articulation sujet-groupe afin de trouver les voies d’élaboration des expériences traumatiques des patients qui ont des difficultés à exprimer leurs émotions et à donner du sens aux événements de leur vie. Le groupe grâce à la diffraction du transfert et l’intersubjectivité propose des facettes identificatoires différentes au sujet pour accéder à une subjectivité propre. Les hypothèses que nous proposons sont liées à la fois à la subjectivation et aux caractéristiques techniques de chaque méthode qui essaie de travailler sur la figurabilité des affects et la mobilisation de l’imaginaire qui contribuerait à la liaison entre la représentation de choses et la représentations des mots. Les résultats de cette recherche montrent que le sujet commence à avoir accès à son monde interne à partir du moment où il restaure sa capacité de rêverie. Avec la figuration des groupes internes qui se diffractent sur le groupe, le sujet commence à reconstruire sa groupalité psychique tandis que la figurabilité de l’affect permet au sujet d’aborder ses expériences précoces et la méthode Photolangage© avec la photo comme support aux représentations, renforcerait les capacités méta-phorisantes des patients. Le psychodrame de l’autre côté avec le jeu dramatique propose un retour à l’infantile qui trouve une voie d’élaboration. Chaque méthode avec les caractéristiques qui lui sont propre, à la fois un objet concret, la photo et à la fois le jeu dramatique, utilisant comme fil rouge la diffraction de l’affect, l’associativité et l’intersubjectivité permettent au sujet d’élaborer davantage des vécus que jusqu’à ce moment restent irreprésentables. / This study presents the process of the figurability of the affect as it is expressed in group therapy by means of the Photolanguage© and the psychoanalytical psychodrama methods. The object of this study is the articulation subject-group in order to find the elaboration issues of traumatic experiences of patients having difficulties to express their emotions and give sense on happenings of their lives. Through the diffraction of the transfer and the intersubjectivity, the group proposes different and multiple identificative facets to the subject, which allows the access in a personal subjectivity. The technical characteristics of each method facilitate the figurability of the affect and the mobilisation of the imaginary, which contribute to the binding between thing-representation and word-representation. The findings of this research show that the subject begins to have access to its interior world when he restores his reverie capacity. With the figuration of internal groups that are diffracted into the group, the subject begins to reconstruct, rebuild its psychic groupality whereas the figurability of the affect allows him to approach its archaic experiences. The Photolanguage© method reinforces the meta-phoric capacities of the patient, using images as a support to representations. On the other hand, through the psychoanalytic psychodrama and the dramatic play, the experiences from the early childhood are emerging and they can be elaborated. The diffraction of the affect, the associativity and the intersubjectivity are the directive lines of both methods. Each of them, using either the image either the play, gives the opportunity to the subject to elaborate moments of its life which have been non representable till now.

Ce mémoire vise à élargir l’interprétation du monument funéraire d’Henri II et Catherine de Médicis (1565-70) maintenant aménagé à la Basilique Saint-Denis à Paris, une œuvre que l’historiographie attribue conjointement au Primatice et à Germain Pilon. Fortement marquée par une perspective panosfkienne, la fortune critique de ce tombeau a privilégié des approches, qu’elles soient historicistes ou iconographiques, qui ont eu pour effet d’oblitérer la médialité du dispositif dans lequel le tombeau devait originellement paraître, soit la chapelle des Valois, mieux connue sous le nom de « rotonde des Valois ». Le présent travail se penche sur ce dispositif particulier en reformulant une approche propice à développer des outils méthodologiques adaptés au médium de la sculpture. De plus, il propose une hypothèse d’interprétation en liaison avec la commanditaire du tombeau, Catherine de Médicis. Nous verrons en effet que la construction d’une chapelle funéraire renforçait l’identification à la reine antique Artémise, ainsi que cela était suggéré dans un ouvrage composé par l’apothicaire de la reine, Nicolas Houel. Dans un contexte hostile aux prises de pouvoir féminin, Catherine se serait ainsi servie d’une fable amoureuse pour faciliter la construction de sa persona politique. Le mémoire s’attache plus précisément à examiner comment l’image traduit cette opération de refiguration du soi. Aussi, il s’inspire de l’importante réflexion menée ces dernières années en histoire de l’art et en anthropologie autour de la pensée d’Aby Warburg et s’applique à inscrire l’interprétation de l’image dans le champ de sa figurabilité. / The present research aims at broadening the interpretations of the tomb of Henri II and Catherine de’Medici, a piece attributed to both Francesco Primaticcio and Germain Pilon which is located in the Basilica of St Denis in Paris. This monument’s critical fortune has been strongly influenced by a panofskian viewpoint and has favored intellectual approaches, be they historicist or iconographic, which tend to cancel out the “médialité” inherent to what was supposed to be the monument’s original location, the Valois chapel, best known as the « rotonde des Valois ». This study therefore addresses this peculiar problematic by reformulating an approach conducive to developing methodological tools adequate to the sculptural medium. Furthermore, it proposes an interpretation linking the monument to its patron and instigator, Catherine de’Medici. The construction of a funeral chapel was a way to foster her identification to the antique queen Artemisa, as suggested in a book written by the queen’s apothecary, Nicolas Houel. Considering the hostility toward woman in power in France, the fable of Artemisia thus facilitated the regent’s persona construction. This thesis focuses more closely on how the image can translate such an operation. It also draws from recent critical reflections conducted around Aby Warburg, in art history and anthropology, and sets out the interpretation of the image within the scope of its figurability.

Made available in DSpace on 2016-04-28T19:58:56Z (GMT). No. of bitstreams: 1 Daniel Vladimir Tapia Lira de Siqueira.pdf: 1277487 bytes, checksum: a3a83befa0dc7bf8a90c7071ed682092 (MD5) Previous issue date: 2015-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study elects the short story by Clarice Lispector, Devaneio e embriaguez duma rapariga as the corpus of the research, to explore possible correspondence between stream of consciousness and daydreaming, concepts belonging respectively to literature and psychoanalysis. The aim is to investigate similarities in conceptualizing the two areas of knowledge, highlighting contributions to an enriching reading of the text. The author is known for his mastery in the use of stream of consciousness, which is used as narrative resource for the construction of the short story, as well as the daydreaming, as its title indicates. The initial motivation is the question: the stream of consciousness in the Clarice Lispector s short story would be a constructor procedure which in psychoanalysis is called daydreaming? In order to answer the question, we seek to grasp the structuring fantasies of daydreaming and formulated the hypothesis that this is a form of expression of the stream of consciousness. Therefore, it resorts to the analytical and comparative methods, adopting as procedure to research and to analysis the critical fortune and theoretical works that contextualize the issue of daydreaming and the stream of consciousness. Also, it investigates the way in which is the construction of daydreaming in Clarice s short story and the effect that this feature gives the narrative. The conclusion is that the literary concept of stream of consciousness includes the psychoanalytic concept of daydream. According to the analysis, it seems that the character uses to daydream as escape from a frustrating reality. Thus, using the psychoanalytical concept of figurability also it was also concluded that the writer has a special appreciation for the visual arts and this is present markedly in her writing / A pesquisa elege o conto de Clarice Lispector, Devaneio e embriaguez duma rapariga, como corpus de investigação, buscando averiguar possíveis correspondências entre fluxo de consciência e devaneio, conceitos pertencentes, respectivamente à literatura e à psicanálise. O objetivo é investigar aspectos comuns na conceituação das duas áreas de conhecimento, destacando contribuições para uma leitura enriquecedora do texto. A autora é reconhecida por sua maestria no uso do fluxo de consciência, que é utilizado como recurso narrativo para a construção do conto, assim como o devaneio, como já assinala o próprio título. Nossa motivação inicial foi o questionamento: o fluxo de consciência, no conto de Clarice Lispector, seria um procedimento construtor do que, em psicanálise, se denomina devaneio? Com o objetivo de responder a indagação, busca-se apreender as fantasias estruturadoras do devaneio e formula-se a hipótese de que esta seja uma das formas de expressão do fluxo de consciência. Assim, recorre-se aos métodos analítico e comparativo, adotando como procedimento a investigação e análise da fortuna crítica e das obras teóricas que contextualizam a questão do devaneio e do fluxo de consciência. Além disso, investiga-se a maneira como se dá a construção do devaneio no conto clariciano e o efeito que tal recurso confere à narrativa. Conclui-se que o conceito literário de fluxo de consciência engloba o psicanalítico de devaneio. A partir da análise, constata-se que a personagem recorre ao sonhar acordada como fuga de uma realidade frustrante. Desse modo, utilizando-nos também da concepção psicanalítica de figurabilidade constatamos que a escritora tem um apreço especial pelas artes visuais e isto se faz presente de forma marcante em sua escrita

Prenant le parti de la valeur mutative du psychodrame psychanalytique, cette recherche vise une description métapsychologique de ce qui en fonde l'efficacité, comme de ses spécificités dans la mise en oeuvre des desseins psychothérapiques de la psychanalyse. L'exemple du renforcement pulsionnel propre à l'adolescence questionne les capacités de symbolisation et de montage pulsionnel permis tant par l'appareil psychique que par les dispositifs (de prothèse ou de détour) que sont les dispositifs psychothérapiques. Trois études longitudinales constituées par des récits de cures psychodramatiques d'adolescents donnent un appui à la construction d'une « figurabilité» spécifiquement psychodramatique grâce à trois opérateurs, nommés le « narratif », le « scénique » et le « dramatique ». Le but de cette recherche est la fabrique métapsychologique de ces opérateurs à l'intersection de la pratique en séance et de la littérature psychanalytique. La notion freudienne de « figurabilité » sert de cadre à la construction de ces opérateurs et à ce qu'ils articulent des capacités de symbolisation du psychisme et de celles d'un dispositif de psychothérapie. La continuité d'un éprouvé de subjectivation permis par l'opérateur du « narratif » se complète des spécificités fictionnelles de la narrativité psychodramatique. De salutaires contournements des mécanismes de censure et une plus ample fréquentation de la réalité psychique soutiennent ainsi la mise en forme des quantités pulsionnelles. La circulation de la notion de « scène » dans la métapsychologie décrit la dimension processuelle que soutient l'opérateur du « scénique ». Si la mise en scène est au service du saisissement conscient, elle opère aussi par le recours à l'hallucinatoire. Ce que la scène du psychodrame permet d'une distinction des objets et contraint d'un commerce avec eux est un facteur subjectivant d'« objectalisation » qui fait contrepoids au repli narcissique. L'objet fabriqué par le psychodrame naît des capacités d'accordage de la scène psychodramatique, celles-ci étant décrites à travers leur usage singulier de la transitionnalité. Enfin, l'opérateur du « dramatique » déploie la fécondité des modes de présence de l'acte dans la représentation psychodramatique. L'excitation véhiculée par le jeu en groupe appelle un travail constant de mise en forme qui utilise divers médiums expressifs. L'objet est à la fois celui qui provoque les quantités d'excitation et celui qui en soutiendra la liaison. L'activité figurative s'articule à une activité pare-excitante qui peut relancer l'activité régulatrice du refoulement. Entre impression et expression, l'activité esthétique du jeu de l'acteur consiste en la modulation des valeurs attribuées aux représentations. Le « dramatique » peut alors se définir comme un art des variations en quête de sens. Les objets de sens issus de ces variations d'affectation sont ensuite détaillés comme visée topographique et subjectivante des entrelacs entre réalité matérielle et réalité psychique. Par sa mise en jeu et en scène, une place de représentation est plus aisément donnée ou re-donnée au transfert afin d'en défaire la potentialité agissante. Pour finir, le dernier récit clinique permet de montrer l'utilité et le caractère structurant de ces opérateurs dans la mise en scène adolescente du second acte de la dramaturgie oedipienne. / Granting that psychoanalytic psychodrama can effect change, this project seeks to produce both a metapsychological description of the basis for its effectiveness and an account of the specific ways in which it pursues the therapeutic aims of psychoanalysis. The example of adolescent drive reinforcement raises questions about the capacities for symbolization and for the organization of drives that are made possible as often by the psychic apparatus as by the mechanisms (whether of prostheses or of detours) of psychotherapy. Three longitudinal studies, narratives of psychodramatic treatments of adolescents, anchor the construction of a specifically psychodramatic "figurability" with three modalities, the "narrative", the "scenic", and the "dramatic". This research project aims to produce a metapsychological account of these modalities at the intersection between clinical practice and the psychoanalytic literature. The Freudian notion of "figurability" serves as the framework for constructing these modalities and for representing their capacity to symbolize the psyche and to articulate a psychotherapeutic instrument. The continuity of an experience of subjectivization permitted by the "narrative" modality is completed by the fictional specificities of psychodramatic narrativity. Salutary evasions of the mechanisms of censorship and increased commerce with psychic reality thus support the shaping of drive quantities. The circulation of the notion of "scene" in metapsychology describes the dimension of process that is supported by the "scenic" modality. If the staging is at the service of a conscious awareness, it also operates through recourse to the hallucinatory. What the scene of psychodrama permits regarding a distinction of objects and constraints regarding interactions with them, is a subjectivizing factor of "objectalization" that provides a counterweight to narcissistic retreat. The object created by the psychodrama grows out of the capacities for harmonization of the psychodramatic scene, the capacities being described through their singular use of transitionality. Finally, the "dramatic" modality unfolds the fecundity of the modes of presence of the act in psychodramatic representation. The excitement conveyed by group play-acting calls for a constant work of shaping which uses various expressive media. The object is at once the one that provokes quantities of excitement and the one that will support their linking. The figurative activity is articulated with a protective shield that can relaunch the regulating activity of repression. Between impression and expression, the aesthetic activity of the actors performance consists in the modulation of the values attributed to the representations. The "dramatic" can then be defined as an art of variations in search of meaning. The meaningful objects that emerge from these variations of affectation are then scrutinized as the topographic and subjectivizing aim of the interlacings between material reality and psychic reality. By being set into play and put on stage, a place of representation is more easily given or restored to the transference so as to undo its "agieren" effective potentiality. In conclusion, the last clinical narrative makes it possible to show the utility and the structuring character of these modalities in the adolescent staging of the second act of the Oedipal drama.