Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-02-16T12:33:03Z No. of bitstreams: 1 Silvia Regina Conti.pdf: 763287 bytes, checksum: 2efd05f6f379e59eca4a2c20202b1139 (MD5) / Made available in DSpace on 2017-02-16T12:33:03Z (GMT). No. of bitstreams: 1 Silvia Regina Conti.pdf: 763287 bytes, checksum: 2efd05f6f379e59eca4a2c20202b1139 (MD5) Previous issue date: 2017-02-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The active imagination was the technique that Jung used the most, in the access of his unconscious contents and the guided imagination appeared at the same time, based on the jungians constructs. However, due to the shortage in recent publications about it this research became necessary, aiming at the research about authors and works that describe techniques, methods and ways of working with active imagination or guided imagination in the jungian psychotherapy. The systematic review method was chosen, and two studies were realized for the active imagination and guided imagination: one of them aiming at the classic literature that helped building the method and techniques used nowadays; the other one aims at the recent literature, present in publications that are more recent. The classic literature study started with Jung’s complete works, up to the moment when the publications became rare. The recent literature study was based on the main academic database, considering the last ten years. For the active imagination, we found 15 classic authors and 23 publications, 10 recent authors and 11 publications. The classic literature focuses on descriptions, methodology and case studies that use the techniques. The recent literature presents some recurring topics: theory, analysis of artistic work, countertransference, mourning and supervision. For the guided imagination, 7 classic authors were found and 8 works. The classic literature begins in the clinical environment, considering just two works. We concluded that there is shortage in publications about the techniques involving imagination in psychotherapy; maybe indicating that they are not being used in clinical practice or that there is the need for more actual research that guides its application / A imaginação ativa foi a técnica mais usada por Jung no acesso aos seus conteúdos inconscientes e a imaginação dirigida surgiu na mesma época, desenvolvida com base nos constructos junguianos. Porém, dada a escassez de publicações recentes a respeito, fez-se necessária esta pesquisa, que teve como objetivo a busca por autores e produções que descrevessem técnicas, métodos ou maneiras de trabalho com imaginação ativa ou imaginação dirigida em psicoterapia junguiana. Foi escolhido o método da revisão sistemática e dois levantamentos foram realizados, para imaginação ativa e imaginação dirigida: um voltado para a literatura clássica, que ajudou a construir metodologia e técnica existentes hoje; e outro voltado para a literatura recente, representativa das publicações mais atuais. O levantamento da literatura clássica iniciou-se com as obras completas de Jung, seguindo ao longo do tempo até que as publicações se tornassem mais escassas. O levantamento da literatura recente foi realizado nas principais bases de busca acadêmica considerando os últimos dez anos. Para a imaginação ativa foram encontrados 15 autores clássicos e 23 publicações; 10 autores recentes e 11 publicações. A literatura clássica é concentrada nas descrições, metodologias e estudos de caso da técnica. A literatura recente apresenta alguns temas recorrentes: teoria, análise de obras artísticas, contratransferência, luto e supervisão. Para imaginação dirigida foram encontrados 7 autores clássicos e 8 obras. A literatura clássica inicia-se no ambiente clínico, mas logo se expande para o hospitalar e a psicossomática, que comprovaram cientificamente sua eficácia. A literatura recente foge ao contexto clínico, sendo considerados apenas dois estudos. Conclui-se que há escassas publicações a respeito das técnicas de imaginação em psicoterapia, podendo ser indicativo de que elas não estão sendo utilizadas em prática clínica ou que precisem de pesquisas atuais que orientem sua aplicação

Dans cette thèse nous abordons la relation entre l’image et l’imagination chez Johann Georg Hamann (1730-1788) et Johann Gottfried Herder (1744-1803). La particularité de leur approche est la mise en cause de l’étroite liaison de l’image et sensibilité et la notion de l’image comme langage. Dans les ouvrages qui constituent le corpus de notre travail, il est possible de discerner trois sphères de réflexion où l’image a une importance si déterminante : la religieuse, la philosophique et la rhétorique. Dans Aesthetica in nuce (1762) et Vom Erkennen und Empfinden der menschlichen Seele (1774, 1775, 1778) se trouvent les prémisses du tournant épistémique que vise la perspective réductionniste et rationaliste de la connaissance. Dans ce tournant l’image acoustique et l’imagination gagnent une place essentielle. / The tone of the soul. The image and the imagination in Johann Georg Hamann and Johann Gottfried Herder, addresses the relationship between image and imagination in the thought of J.G. Hamann and J.G. Herder. The singularity of the approach of both german philosophers is the close connection of the image and sensibility and the definition of the image as language. The work of Hamann Aesthetica in nuce (1762) and the work of Herder, Vom Erkennen und Empfinden der menschlichen Seele (1774, 1775, 1778) represent a new epistemological model that is based on the holistic view of human being. In this model, the image acoustic and the imagination becomen the tow arguments for the assumption that the images and the activity of imagination create all knowledge of the world.

Thesis (Ph. D.)--University of Wisconsin-Madison, 1999. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 210-213).

Cette thèse porte sur la critique feuerbachienne de la religion. Nous proposons d'envisager cette critique à partir des concepts d'interprétation et de croyance. L'analyse rend compte des divers rapports réels ou imaginaires (mais parfois nécessaires) que la conscience entretient avec soi, avec les autres et avec le monde environnant. Il s'agit par-là de mettre en avant la méthode génético-critique, développée par Feuerbach, qui se veut une herméneutique du sens, comme direction et signification, qui se donne pour but de dévoiler, c'est-à-dire de mettre au jour et à jour la vraie signification de la religion, qui est une signification anthropologique (et non théologique). Expression naturelle et intrinsèque de l'essence humaine, fonction éternelle de l'esprit humain, la structure de la conscience religieuse se doit d'être réinterprétée selon Feuerbach - afin de sonner le glas de la fausse religion - qui se caractérise par un rapport faussé au réel - et de revenir à la vraie religion, la religion de et pour l'homme, dans laquelle ce dernier peut s'accomplir en tant qu'être libre et communautaire. Il s'agit donc pour Feuerbach non pas de supprimer ou d'oublier la religion, mais de la restaurer et peut-être de la réinventer. Pour réaliser cet objectif, Feuerbach s'est proposé de lire anthropologiquement la religion - plutôt que religieusement ou théologiquement. Il a ainsi fallu déplacer la critique vers un terrain séculier ; le but n'étant pas de contester la valeur, ni même la valeur historique du donné religieux, mais de rétablir le sens qui concorde avec la réalité humaine. C'est d'ailleurs sur cette base que Feuerbach propose sa philosophie de l'avenir en rapport avec cette nouvelle religion de l'homme qui exige un retour au sensible. On voit apparaître - à partir de cette nécessité de faire valoir le sens à travers les diverses expériences de conscience du sujet - un humanisme qui se présente à la fois comme athée et religieux. Mais ce qui semble relever du paradoxe mérite d'être analysé comme une possibilité de redéfinition des concepts d'athée et de religieux, de telle sorte qu'il n'apparaît pas nécessairement oxymorique - d'un point de vue général, mais surtout feuerbachien - de parler d'un athéisme religieux. Cela rejoint d'ailleurs le développement de thèmes plus actuels qui ne cessent d'accorder de la valeur et de faire place à cette possibilité de vivre le religieux ou la spiritualité autrement qu'en rapport avec des dogmes ou des pratiques codifiées. Notre thèse se propose ainsi de saisir l'intention, la valeur, l'envergure de la pensée de Feuerbach et surtout l'influence qu'elle a eu sur d'aitres pensées philosophiques. / Our work deals with Feuerbachian criticism of religion. We consider that criticism from an articulation between interpretation and belief. This analysis reports on various, real or imaginary (but sometime necessary) relationship that consciousness has with itself, with others and the surrounding world. That is to highlight the genetics and critical method which claims to be a hermeneutics of meaning - as direction and meaning - which aims to unveil or uncover and update the true meaning of religion, which is an anthropological (and not theological) meaning. As natural and intrinsic expression of human essence, eternal function of human mind, the structure of religious consciousness must be reinterpreted, according to Feuerbach, in order to spell the end of/sound the death knell for false religion - which is characterized by a distorted relationship to the real - and return to the true religion, the religion of Man in which the latter can be fulfilled as a free and communal being. For Feuerbach, therefore, it is not a question of suppressing or forgetting religion, but of restoring it and perhaps reinventing it. To achieve this goal, Feuerbach proposed to anthropologvically read religion - rather than religiously or theologically. For that it was necessary to move thet criticism to a secular ground/field. Disputing the value, nor the historical value of religions data, is not the objective. Feuerbach wants to restore the meaning which aligns with human reality. It is on this basis that Feuerbach proposes his philosophy of the future in relation to this new religion of man which requires a feedback to the sensible. Then we can see - from the need and the urgency to let the meaning appears through the various experiences of subject consciousness - a humanism which is both atheistic and religious. But what seems to be the paradox deserves to be analyzed as a possibility for redefinition of the concepts of atheist and religious, in such a way that it is not necessarily oxymoronic - from a general point of view, but especially Feuerbachian one - to talk about a religious atheism. It also joins the development of more current topics/contemporary thems which, more and more, value and make room for this possibility of living religion or spirituality otherwise than in connection with dogmas or codified practices. Our thesis thus intends to grasp the intention, the value, the scale of Feuerbach's thought and especially the influence he had on other philosophical thoughts.

Tzvetan Todorov définit le fantastique comme étant le propre de la nouvelle et non pas de la poésie et c’est un genre qui se situerait entre l’étrange et le merveilleux. Pourtant la poésie baudelairienne semble déroger à cette règle, tant au niveau formel que thématique. Les Petits Poèmes en prose constituent un genre hybride entre le recueil de nouvelles et le recueil de poèmes. Dans Les Fleurs du mal, l’ordre des pièces obéit à la logique d’un récit. Quant aux traductions des œuvres d’Edgar Poe, Baudelaire y injecte de la poésie. Sur le plan thématique, les motifs fantastiques sont présents dans l’œuvre de Baudelaire de manière quasi-systématique. Certains d’entre eux prennent des formes singulières et insolites chez l’écrivain. Et par le fait qu’il exalte la bipolarité formelle et thématique, le romantisme baudelairien n’est pas sans nous rappeler la démarche hoffmannienne de l’écriture. Tout en gardant à l’esprit la théorie de Todorov, nous essayons, pas à pas, de démontrer l’existence d’un fantastique baudelairien dont semble même s’inspirer certaines œuvres cinématographiques. / Tzvetan Todorov defines the fantastic as being a genre at the interface between the strange and the wonderful, a genre characteristic of the novel but not of poetry. Baudelaire's poetry, however, seems to depart from this rule, both formally and thematically. The Little Poems in Prose is a hybrid between the collection of short stories and that of poetry. In The Flowers of Evil, the order of the plays obeys the logic of a narrative. As for the translations of the works of Edgar Allan Poe, Baudelaire indulged into poetry. Thematically, the fantastic patterns are present in Baudelaire's work almost systematically. Some of them are unique and unusual forms to the writer. Given that he exalts the formal and thematic bipolarity, Baudelaire’s romance is not reminiscent of Hoffman's approach to writing. Bearing in mind the theory of Todorov, we attempt, step by step to demonstrate the existence of a Baudelairean fantasy which seems to have inspired even some films.

Psychology of Education / M. Ed. (Sielkundige Opvoedkunde)

Eudora Welty and Wallace Stevens share important aesthetic beliefs, especially regarding uses of the creative imagination by artists in acts of creation and characters in acts of living. A close reading of seventeen of Welty's stories, accompanied by references to related ideas in many of Stevens' poems, reveals how the imagination functions as epistemology and eucharist, while governing the shape of individual human views of the quotidian. The more abstract patterns of thought in their later works seem to move Welty closer to belief in a world beyond the quotidian than they do Stevens.

Imagination and creative self-efficacy are important components of the creative process and outcomes but are rarely investigated together. To explore the relationship between personality factors, imaginative thinking, and creative self-efficacy, survey responses were gathered from university students in a southwestern region in the United States (n = 1,731). Personality was measured using the International Personality Item Pool (IPIP), imagination was measured using the Imaginative Capability Scale (ICS), and creative self-efficacy was measured using items based on reliability in previous studies. Participants were asked to complete the three surveys along with demographic information through an online format. Confirmatory factor analysis (CFA) was conducted first to confirm measurements used. After fit indices confirmed measurement models used, subsequent analyses were conducted using structural equation modeling (SEM). The model of best fit supported creative self-efficacy as a strong predictor of all three factors of imagination. Additionally, the model indicated a strong relationship between conscientiousness and conceiving imagination as well as other notable relationships with personality factors.

L’étude des romans et des recueils de récits publiés par Stefano Benni entre 1976 et 2009 a pour but d’illustrer la poétique de cet écrivain à travers l’analyse des éléments thématiques, stylistiques et philosophiques qui la composent. Dans la première partie les thèmes déclinent la valeur de la narration orale et des lieux de socialisation, l’exploration de mondes imaginaires et de leur richesses, la solitude de l’individu, l’enfance avec sa capacité d’imagination et la vieillesse avec sa capacité de mémoire. Le repérage thématique effectué dans la première partie a montré que la production de Benni n’est conçue qu’à l’intérieur du contexte social contemporain, qui est à l’origine d’un travail autour de la parole et de sa signification. Cette partie de la recherche a été indispensable pour identifier les étapes motivationnelles qui déclenchent chez Benni la naissance du texte. L’identification du pouvoir cognitif que Benni reconnaît à la littérature a conduit à étudier, dans la troisième partie, l’arrière-plan philosophique dont s’inspirent la poétique et la vision du monde de Benni. Le processus de la création littéraire chez Benni part de l’observation du réel pour ensuite migrer vers une transfiguration humoristique en laquelle l’écrivain transpose aussi la tension qui s’engendre entre le sentiment individuel conditionné par les faits et la description représentative des faits mêmes. L’écrivain humoriste active ainsi des mécanismes de prise de conscience, de fraternité dans l’angoisse, de confiance dans le changement. / This study of the narrative works by Stefano Benni published between 1976 and 2009 aims to illustrate his poetic style through the analysis of its thematic, stylistic and philosophic elements. Themes have been identified to reflect Benni’s values: the importance of oral communication and socialization, the power of imagination to explore new worlds and new solutions, the importance of human diversity in the contemporary society, childhood with its visionary capacity and old age with its memory. Benni’s body of work exists within a contemporary social context. To the reader this is evident on every page due to his careful choice of words and rhythm. All forms of his humor are examined in order to recognize it as the most representative language for the contemporary complexity. This part of the research was essential to identify the motivation behind Benni’s writings. The cognitive power associated with his literature led us to study Benni’s philosophic background and his vision of the world in the third section. The literary process enables the writer to juxtapose the tensions that exist between individual feelings and emotions with the events surrounding a given situation. In this way humor and imagination stimulate empathy, awareness and a faith in change.

Dans cette étude, les psychologies et les philosophies de William James et de Théodore Flournoy sont comparées et analysées à travers leur conception respective de la politique et de la religion. En effet, la question de la politique et de la religion est tôt apparue en comparant leurs psychologies et leurs philosophies, car, s'il nous a été permis de comparer leurs pensées, c'est que ces deux professeurs d'université, qui étaient d'abord des amis, ont noué à travers leur rencontre, en 1889, une volonté commune de concilier la science et la religion. Dès lors, il fallait pour nous partir de leur conception respective de la religion à laquelle ils appliquèrent l'approche psychologique pour identifier à travers les résultats qu'ils délivrèrent en 1901-1902 des différences théoriques permettant de comprendre leurs points de vue philosophiques opposés. C'est en effet à partir de leurs théories psychologiques sur la religion que l'on aperçoit deux orientations qui laissent supposer des prises de position politique contradictoires. La question de la politique est d'autant plus pertinente que William James ne souhaitait pas que la philosophie demeure sur un plan théorique, puisque la vocation de la philosophie était selon lui de se vérifier, alors que Flournoy conçut la philosophie sur un plan idéal, qu'il assimila à une surface plane sans obstacles, et qui, tout en ayant la liberté de l'imagination, fait se jouer des séries hétérogènes d'éléments hétérogènes (télépathie et télékinésie). C'est là que sa conception de l'imagination créatrice signale toute l'originalité qu'il nous fallait explorer pour saisir la dimension éminemment subversive de sa pensée. / Ln this dissertation, the psychologies and philosophies of William James and Théodore Flournoy have been compared and analyzed through their respective conception of poli tics and religion. Indeed, by comparing their ideas, the question of politics and religion proved to be important as these two academies, who were first of all friends, had developed their thoughts ever since their first meeting in 1889 from a common ambition to reconcile science and religion. Accordingly, this investigation had to begin with their different conceptions of religion. To this domain they applied a psychological perspective to identify, from the basis of results achieved in 1901-1902, sorne theoretical differences that enlighten two opposed philosophical viewpoints. ln fact, it's from their psychological theories on religion that one can perceive two orientations, which exposes contradictory political stances. The question of politics is particularly relevant since William James didn't want philosophy to remain on a theoretical level, given that the vocation of philosophy according to him was verification, whereas Flournoy had â rather idealistic view on philosophy, which he considered as an area without obstacles where the freedom of imagination provided for the interplay of heterogeneous and experimental elements (telepathy and telekinesis). ln this regard, Flournoy's conception of creative imagination points out the originality needed to understand the subversive dimension of his thought.