Thesis (M.A.)--University of Delaware, 2005. / Principal faculty advisor: Scott E. Caplan, Dept. of Communication. Includes bibliographical references.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2004. / Vita. Includes bibliographical references (leaves 104-108).

Thesis (Ph.D.)--McMaster University, 2005. / Advisor: Zdravko Planinc. Includes bibliographical references (leaves 202-208). Also available via World Wide Web.

Thesis (M. Div.)--Talbot School of Theology, Biola University, 1987. / Includes bibliographical references (leaves 124-128).

La Soubrette Confidente is an eighteenth-century French engraving by Gérard Vidal after a gouache drawing by Nicolas Lavreince. The image depicts an interior where notions of lady-like behavior are emphasized–the acquisition of knowledge through the writing and reading of letters and the discussion of personal matters with trusted confidants. What is most intriguing about this print are not the actions of the women, their fashion, or the furniture, but how all of these elements are affected by a simple change in decoration: the addition of a painting of a reclining nude on the wall. The difference between the original and reproduction incites a series of questions that I will explore: how has the print and the two artists been considered historically; why were the changes were made from the gouache to the print; how did these changes affect the viewer's interpretation of the image, and finally how are the changes made by Vidal are related to the social and historical context within which they were made.

This essay aims to deliver and answer the question on what a valid christian approach for how self-love may look like. The purpose is to let the essay support as a critically constructive answer to the pastoral care in the Swedish church today which seems to lack a wider reflection of this subject. The material are the work of three caregivers which influence the way of talking about self and self-love in the Swedish Church today. The method used in this essay for answering the question is contextual idea analysis of Carl Henrik Grenholm and analysis-questions such as ”Where is the self?” ”What is the nature of the self?” ”What is a valid self love?” and ”How can the human being reach this self-love?” has been answered through the material. In a discussion with the material I suggest what I consider is a valid christian approach for how self-love looks like, which is that the human being should love herself through making authentic choices, and thereby being able to come close to the good and holy nature of herself which I argument for.

Questionner l’argent au-delà de sa mission d’échange économique nous invitait à penser l’argent dans un cadre mythique, historique, et psychanalytique entre Sigmund Freud et Jacques Lacan. L’argent, comme objet de circulation du pouvoir, sera pensé au sein du mythe freudien du père de la horde, afin de nous éclairer sur sa place et son utilisation, au sein de l’économie psychique du sujet, dans les relations entre hommes, et dans le lien social post moderne. Plusieurs figures d’Autorité, tels que Dieu, le Roi, l’Etat, le Capital prendront tout à tour cette du père tout puissant et seront à l’origine de la constitution d’une métaphore paternelle. Dans ce cadre de pensée, la mort du chef nous semblera être à l’origine de la circulation de l’objet. L’objet, obtenant un nom, un nom du père, pourra se déployer dans les trois dimensions borroméennes décrites par Lacan et nous donner un sens nouveau dans ses effets dans la pratique clinique pour un psychologue clinicien. / To question money beyond its purpose of economic exchange invites us to think of money in a mythical, historic and psychoanalytical way between Sigmund Freud and Jacques Lacan. Money, as a useful object of power, will be considered at the heart of the Freudian myth of the father of the pack, in order to explain its place and its use, at the heart of the pysychic economy of the subject, in relations between men and in a post-modern situation.Several figures of authority, such as God, the king, the state, the capital, will in their turn take the place of the all-powerful father and will be at the origin of the constitution of a paternal metaphor. In this way of thinking, the death of the chief will appear to us to be the origin of the object's spreading. The object, obtaining a name, a name of the father, will be able to enter into the three 'borromenian' dimensions described by Lacan and offer a new sense in the effects in the clinical practicality for a clinical psychologist.

É sobre o amor. Não uma história nem um tratado. Tampouco uma filosofia. Ao mesmo tempo um pouco disso tudo. E mais as ressonâncias e as reverberações. Colhidas aqui e ali. Na música popular, na poesia, na ficção. E na voz anônima das ruas. Nas conversas jogadas fora das mesas de bar. Na vida. Sem muita sistematização. Nem método. Pastiche. Imitação amorosa. Com enxertos e mestiçagens. Drummond com um pouco de Deleuze. Spinoza com Baudrillard. Chico Buarque com Kiarostami. Michel Foucault com Fernando Pessoa. Arnaldo Antunes com Félix Guattari. Mário Quintana com Renato Russo. E tantos mais. Que o amor tem muitos autores. E muitos cantores. E muitos cantares. É uma educação. Sentimental, afetiva, da sensação, da sensibilidade. Da alma. Do coração, do rosto, do corpo, das forças de que é composto. Do amor. Que é cego nos encontros e cego nas despedidas. Da paixão que é uma potência. Da sedução que é um jogo. Da imaginação que alimenta a vida dos apaixonados. Transitam: a perda do rosto e a rostidade. A velocidade e a lentidão. A solidão, o acolhimento e o esquecimento. A delicadeza e o cuidado. O disfarce e a ilusão. O encantamento e a decepção. Os gestos e as sensações. A desaprendizagem e o desamor. Do amor: o que se quer, o que se investe, e o que se inventa. Um pouco à deriva, o próprio tema cria sua teoria. Não se discorre nem se discursa: se escreve. / It is about love. Not a history of it. Neither a treatise on it. Not a philosophy of it. At the same time, it has something of all this. And the resonances and reverberations. Which were picked up here and there. In pop music, in poetry, in fiction. In the anonymous voice of the streets. In free conversations with friends around coffee-house tables. In life. Without much method or order. A pastiche. An imitation: full of love. With some grafting and mixing. Drummond with a dash of Deleuze. Spinoza with Baudrillard. Chico Buarque with Kiarostami. Michel Foucault with Fernando Pessoa. Arnaldo Antunes with Félix Guattari. Mário Quintana with Renato Russo. And many others. Because love has a lot of composers. And a lot of singers. And a lot of singing. It is an education. A sentimental one, an affective one. An education of sensation, of sensibility. Of mind. Of the heart, of the face, of the body, of all the forces which give form to love. It is an education in love. Which is blind in first encounters. And in parting too. It is an education in potency. In seduction: which is a game. In the imagination that nourishes the life of lovers. These are things which run through it: the loss of face, and faciality. Speed and slowness. Loneliness, comfort, and forgetfulness. Sensitiveness and care. Disguise and illusion. Fascination and disillusionment. The gestures and the sensations. Unlearning and unloving. What we want from love, what we invest in love, and what we invent when we are in love: these are all here. A little at lost, the subject creates it own theory. There is no argument here, no discourse. Only writing.

El enamoramiento implica procesos bioquímicos en los que sustancias como neurotransmisores, neuromoduladores y hormonas  interaccionan con células nerviosas u otros órganos. Al estar enamorados, los niveles de dopamina aumentan generando atención, deseo y motivación en todo lo relacionado al ser amado. La serotonina, por el contrario, se presenta en concentraciones bajas en este estado. La oxitocina, por su parte, entra en juego cuando la demanda de dopamina no se logra suplir y es crucial al entablar relaciones de largo plazo. El entendimiento del mecanismo de la oxitocina en el ser humano es crucial no solo para el conocimiento académico sino también porque brinda luces para el tratamiento de algunos desórdenes psicológicos. / Romantic love involves biochemical processes in which substances such as neurotransmitters, neuromodulators and hormones interact with other nerve cells or organs. When being in love, dopamine levels increases, generating attention, desire and motivation in everything related to the beloved person. Serotonin, however, is present in low levels in this state. When the body does not supply the necessary amount of dopamine, oxytocin is released. Oxytocin is vital in long term relationships. Understanding the mechanism of oxytocin in humans is crucial not only for academic knowledge of the chemistry of love but also because it provides new lights for the treatment of some psychological disorders.

Les romanciers des XIIe et XIIIe siècles dépeignent des protagonistes atteints par la maladie d’amour, une énigmatique pathologie qui figure également dans les traités de médecine. Par l’étude du motif narratif de la maladie d’amour nous nous interrogeons sur l’influence des textes médicaux sur la littérature romanesque médiévale. Dans les œuvres de notre corpus, deux types bien distincts de la maladie d’amour sont représentés : l’amour héroïque, potentiellement mortel, et la folie amoureuse, caractérisée par un comportement non civilisé. Curieuse ou spectaculaire, la pathologie implique une rupture avec les activités chevaleresques ou encore avec la courtoisie. La description analytique des causes, signes et cures de la maladie d’amour met en évidence les constituants invariants et les éléments facultatifs qui composent ce motif narratif. Présent dans les littératures antiques et étrangères, le motif soulève la question de la transmission des connaissances, tandis que l’intervention du personnage du médecin ou l’éducation des protagonistes conduisent à une réflexion sur la reconnaissance de la pathologie. Notre étude montre que les ouvrages médicaux ont exercé une influence limitée sur la représentation romanesque de la maladie d’amour, laquelle contribue à l’originalité de la littérature du Moyen Âge. / Novelists from the 12th and 13th centuries depict characters affected by lovesickness, an enigmatic illness that also appears in medical treatises. Our study of the narrative motif of lovesickness will lead us to wonder about the impact of medical texts on medieval fiction. Two different types of lovesickness are represented in the novels collected in our corpus : heroic love, which is potentially deadly, and love madness, charaterized by uncivilized behaviour. Whether strange or spectacular, the pathology implies breaking with chivalrous activities or even with courtliness. The analytic description of the causes, signs and treatments of lovesickness shows the recurring components and the optional elements that build this narrative motif. Used in ancient and foreign literatures, the motif raises the question of the handing down of knowledge, while the appearance of the character of the doctor and the protagonists’ education lead us to ponder on the recognition of this pathology. Our study shows that medical books have had a limited influence on the representation of lovesickness in fiction, which contributes to the originality of medieval literature.