Projektiv identifikation är enligt den psykoanalytiska teorin grundläggande vid mellanmänskliga relationer. Samtidigt som begreppets betydelse och användningsområde är omdiskuterade finns förvånansvärt få empiriska forskningsresultat. Denna teoretiska, explorativa och kvalitativa studie utgår ifrån Ingmar Bergmans manus Scener ur ett äktenskap för att utforska begreppets användbarhet på en parrelation. Texten analyseras med tematisk analys och diskuteras utifrån hur projektiv identifikation kan förstås genom karaktärerna Johans och Mariannes relation. I texten illustreras en process som mynnar ut i ett återtagande av projektioner via tre olika tillstånd av inre relaterande: rigitt, rollbytande och rörligt. Dessa faser liknar ett kluvet, pre-ambivalent och ambivalent relaterande. Parenheten bildar ett projektivt system som kan utgöra ett grundläggande fokus i en parterapi. Mer empirisk forskning kring ämnet vore önskvärt för att denna teoretiska förståelse skulle kunna tillämpas i större utsträckning.

<p>This dissertation uses Nietzsche's writings on truth and metaphor as a lens through which to reconsider the contribution that modernist art sought to make to both the understanding and, ultimately, the reconstruction of everyday life. It begins with a consideration of the sentiment, first articulated on a wide scale by the artists and philosophers of the romantic era, that something essential to the cohesion of individual and social experience has been lost during the turbulent transition to modernity. By situating Nietzsche's thought vis-à-vis the decline of nineteenth-century idealism in both its Continental and Victorian forms, I demonstrate how his principal texts brought to an advanced stage of philosophical expression a set of distinctly post-romantic concerns about the role of mind and language in the construction of reality that would soon come to define the practice of modernism in philosophy and the arts. Nietzsche's contribution to moral philosophy is typically regarded as a skeptical, and even wholly negative, one. Yet a central element of his thought is obscured, I argue, when we fail to account for its positive conviction that "higher moralities are, or ought to be, possible." Because his philosophy attempts to diagnose "genealogically" the concrete social, historical, and psychological conditions under which truth-relations are generated and maintained within a given cultural framework, it is in fact every bit as constructive as it is deconstructive, involving a sustained and ethically significant reflection on the character of normativity itself.</p><p>This initial confrontation with Nietzsche's philosophy sets the stage for the studies of individual artists--the American poets Ezra Pound and Wallace Stevens, as well as the Swedish filmmaker Ingmar Bergman--for whom these traditionally epistemological concerns about the nature of representation also shade naturally into the domain of ethics. In these chapters, I demonstrate how aesthetic modernism produces a range of sophisticated responses to the predicament of relativism that Nietzsche articulated while reaching sometimes radically different conclusions than Nietzsche about the nature and extent of human agency in the modern world. This enables us to see how modernism makes an essential contribution to what the philosopher Charles Taylor has characterized as the broader cultural effort to "overcome epistemology" by exploring the structures of intentionality and fostering in us a basic "awareness about the limits and conditions of our knowing"--a project to which modernist art and philosophy both make essential contributions.</p> / Dissertation

This research analyzes the construction process of the Swedish habitus that Ingmar Bergman seized and showed in his film work, particularly in the movie "Saraband" (2003). To perform this analysis, that is anchored in a ethnographic methodology, which i raise and analyze certain patterns of behavior, languages and beliefs of the Swedish people, to map the socio-cultural setting in which Bergman was immersed. Thus, my theoretical and methodological support, to the dialogue between the Swedish society and the filmmaker, through the film "Saraband", are the concepts of Norbert Elias (1993.1994, 1995, 1997, 2001, 2006, 2011): Configuration, individuation and habitus. The first two chapters are bibliographical and historical review of Bergman and about Sweden, then enter the third chapter, on the analysis of the film in the light of the information presented and procedural theory of Elias. In this analysis I could see how the interdependence between individual and society is reflected in the film. / Esta pesquisa analisou o processo de construção do habitus sueco que Ingmar Bergman apreendeu e evidenciou em sua obra cinematográfica, particularmente no filme “Saraband” (2003). Para a realização dessa análise, ancoro-me em uma metodologia de natureza etnográfica, na qual busco levantar e analisar determinados padrões de comportamento, linguagens e crenças do povo sueco, para mapear o cenário sociocultural no qual Bergman estava imerso. Destarte, meu aporte teórico-metodológico para fazer a interlocução entre a sociedade sueca e o cineasta, através da película “Saraband”, são os conceitos de Norbert Elias (1993,1994, 1995, 1997, 2001, 2006, 2011): configuração, individuação e habitus. Fiz nos primeiros dois capítulos uma revisão bibliográfica e histórica sobre Bergman e sobre a Suécia, para depois adentrar no terceiro capítulo sobre a análise do filme à luz das informações apresentadas e da teoria processual de Elias. Nesta análise, pude constatar como a relação de interdependência entre indivíduo e sociedade é refletida no filme.

In this essay, I study how the artist is portrayed in the works of August Strindberg and Ingmar Bergman. I compare Strindberg’s novels The Romantic Organist (1888) and By the Open Sea (1890) with Bergman’s The Hour of the Wolf (1968) and Fanny and Alexander (1982). It should be noted that I’m focusing on the film manuscripts (“Filmberättelser”) of Bergman rather than the films.  My aim is to study how the works of Strindberg and Bergman correspond in regards to the artist motif. Strindberg’s influence on the works of Ingmar Bergman has been wildly recognized among scholars and critics for decades, but no extensive study has before been made on the subject of the artist.

Min studie syftar till att, utifrån Werner G. Jeanronds teologiska förståelse av kärlek undersöka den kärlek som kommer till uttryck i Ingmar Bergmans serien Scener ur ett äktenskap. Uppsatsens huvudsakliga frågeställning lyder; Hur framträder kärleksbegreppet i Ingmar Bergmans serie Scener ur ett äktenskap belyst genom Werner G. Jeanronds teologi om kärlek i boken Kärlekens teologi? Utifrån denna analys undersöker uppsatsen slutligen även följande frågeställning; Hur framträder Jeanronds teologi om kärlek i boken Kärlekens teologi belyst genom Bergmans serie Scener ur ett äktenskap?

Made available in DSpace on 2016-04-27T18:47:08Z (GMT). No. of bitstreams: 1 Luciana Helena Mussi.pdf: 1010975 bytes, checksum: 546ca334d6a1dc4253e75eadc8b1c49f (MD5) Previous issue date: 2012-03-19 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This paper aims to reflect on Ingmar Bergman existential anguish towards aging before the imminent threat of death and the desire to live. The main question was: how to live under such a devastating anguish being, at the same time, aware of our finitude and of our desire to live? To probe these existence questions, The Bergman Island documentary, focusing on the films The Seventh Seal and Wild Strawbwerries, the Greek Goddess Demeter s path and her transformation forms and the philosopher Cicero s reflections on aging were used. Bergman and his films, dealt with in an enigmatic atmosphere, led this research to the existential anguish scenery built, woven and understood by means of feelings resulting from the documentary images, words and dialogs. Crossing the researcher s experience and feelings with the filmmaker s report on the Island of Farö, the composition of such anguish was created: the Imminent Threat of Death and the Desire to Live as events to make us search understanding of the enigma of life and death. However, on the way we came across a God whose word silences, as God s true Silence. The One who repudiates Finitude as Awareness of Death. The Seventh Seal faithfully portraits the silence of such God in the face of the evil as an unquestionable and frightening event. If, at old age, the probability of imminent death is higher and the awareness of finitude is even higher, in Wild Strawberries we come to face the perspective of the end itself. Recollecting the character and Bergman, we come across the Travel into Solitary Old Age, in a time that seems to be over, through the trails of Old Bergman Existential Memories. The Existential Trialogue within the Gap of Time described a fictional meeting among Bergman, the filmmaker, Cicero, the thinker and the researcher. Aiming at getting past time effects, defeating sovereignty of the years that separate the three ones involved through gathering of the arts cinema, philosophy and science considering all as understanding and reflection on what death/life means at aging. Cinema, art that brings closer to one s life, that portraits reality and life movement, referring to our own experiences, life vivid recalls, deep memory excavations, through a permanent trip between youth and old age. Biographies crossing one another in the line of time, oscillating between death pains and life setbacks / Este trabalho tem como objetivo refletir sobre a angústia existencial do cinema de Ingmar Bergman no envelhecer diante da ameaça iminente da morte e do desejo de vida. A pergunta central foi: como viver com esta arrasadora angústia quando nos sabemos finitos e, ao mesmo tempo, sedentos de vida? Para pensar estas questões da existência, foram utilizados o documentário A Ilha de Bergman, focando os filmes O Sétimo Selo e Morangos Silvestres, a trajetória da Deusa Grega Deméter e seu caminho de transformação e as reflexões do filósofo Cícero sobre o envelhecer. Bergman e seus filmes envoltos numa atmosfera enigmática, conduziram esta pesquisa ao cenário da angústia existencial construída, tecida e entendida por sensações provocadas por imagens, palavras e diálogos do documentário. Cruzando impressões e experiências da pesquisadora com o relato do cineasta na Ilha de Farö, nasceu a composição desta angústia: a Ameaça Imimente de Morte e do Desejo de Vida como acontecimentos que nos levam à busca por conhecimento do enigma de vida e morte. Mas nesta caminhada, encontramos um Deus que se cala, num verdadeiro Silêncio de Deus. Aquele que denuncia a Finitude como Consciência da Morte. O Sétimo Selo retrata fielmente esse Deus que se omite e cede espaço à maldita como fato indiscutível e apavorante. Se na velhice a probabilidade de morte iminente é maior e a consciência de finitude ainda mais, chegamos no enfrentamento da perspectiva do próprio fim em Morangos Silvestres. No rememorar do personagem e de Bergman, nos deparamos com a Viagem pela Velhice Solitária, num tempo que parece se esgotar, na trilha das Lembranças Existencias do Velho Bergman. O Triálogo Existencial na Brecha do Tempo descreveu um encontro ficcional entre Bergman, o cineasta, Cícero, o pensador e a pesquisadora. Teve por propósito driblar o efeito do tempo, anular a soberania dos anos que separam os três envolvidos através do encontro das artes cinema, filosofia e ciência tudo pela compreensão e reflexão do que significam morte/vida no envelhecer. Cinema, arte que aproxima ao viver de cada um, que retrata a realidade e o movimento da vida, nos remetendo às nossas próprias experiências, lembranças das fases vividas, escavações profundas na memória, numa viagem constante entre juventude e velhice. Biografias que se cruzam na linha do tempo oscilando entre as dores da morte e os reveses da vida

<p>Den här uppsatsen är en kvalitativ studie med hjälp av jungiansk psykologi som fokuserar på Ingmar Bergmans film Fanny & Alexander. Syftet är att studera biskopens skugga. Filmen handlar om familjen Ekdahl som domineras av en rik och begåvad änka, Helena, samt hennes tre söner. Sonen Oscar dör och hans fru Emelie gifter sig med biskopen. Hennes barn Fanny och Alexander följer med henne in i äktenskapet med biskopen. Tillsammans flyttar de till biskopens spartanska och stränga hem. Alexander väcker biskopens vrede och skugga genom att vägra följa hans regler och ritualer. Biskopen dör eller kanske man kan säga transformeras när han genomgår den smärtsamma processen med att möta sin skugga.</p>

Den här uppsatsen är en kvalitativ studie med hjälp av jungiansk psykologi som fokuserar på Ingmar Bergmans film Fanny &amp; Alexander. Syftet är att studera biskopens skugga. Filmen handlar om familjen Ekdahl som domineras av en rik och begåvad änka, Helena, samt hennes tre söner. Sonen Oscar dör och hans fru Emelie gifter sig med biskopen. Hennes barn Fanny och Alexander följer med henne in i äktenskapet med biskopen. Tillsammans flyttar de till biskopens spartanska och stränga hem. Alexander väcker biskopens vrede och skugga genom att vägra följa hans regler och ritualer. Biskopen dör eller kanske man kan säga transformeras när han genomgår den smärtsamma processen med att möta sin skugga.

Submitted by Livia Mello (liviacmello@yahoo.com.br) on 2016-10-05T13:08:07Z No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:24:55Z (GMT) No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:25:03Z (GMT) No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Made available in DSpace on 2016-10-20T19:25:07Z (GMT). No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) Previous issue date: 2016-05-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The purpose of this research is to make an analysis of the themes and aesthetics of the film Persona, from Ingmar Bergman, 1966. The first chapter is my analysis of the work, following the model of the writers Anne Goliot-Lété and Francis Vanoye, and the second chapter discusses the critical texts, analysis and interviews connected to the film. I also discussed the difficulties related to the interpretation of movies, and I tried in my own analysis to be very close to the movie itself, despite the tentations to invent more. / A pesquisa tem como objetivo fazer uma análise estilístico-temática do filme Persona, de Ingmar Bergman, 1966. O primeiro capítulo é a minha análise da obra, seguindo o modelo dos escritores Anne Goliot-Lété e Francis Vanoye, e o segundo trata da discussão de textos críticos, de análises e entrevistas ligados à obra. Busquei nesse trabalho discutir as dificuldades ligadas à interpretação de uma obra cinematográfica, atendo-me à questão de não deixar de lado a leitura do filme em si, a despeito das tentações que certos temas e rastros estilísticos podem despertar.

Within the field of cinema studies, the question of visual representation is a fundamental pillar. An immense volume of theoretical work has been written on the subject, with various academic approaches such as feministic, postcolonial and gay/lesbian. Yet there is a large social group that seems to have been overlooked within the representational discourse: the elderly. This group of people appears to be a blind spot on the multicultural retina, too often neglected within the area of cultural studies. But as the baby boomer generation, who has always redefined the different stages of life (youth, adulthood, middle age), is entering old age, things are slowly changing. Utilizing a post-structural framework, this essay investigates the visual representation of elderly within the cinematic landscape of the western world. Since the subject is somewhat uncharted territory, a broad interdisciplinary approach is necessary where modern social gerontology meets the field of cinema studies. In a cultural context, social grouping based on age implies a distinct position versus the normative, compare to other types of minorities. Changes of sex, skin colour or sexual preference are uncommon, whereas changing age is the fate of every human being. The elderly as the “the Other” is thus every man’s future destiny. This rather unique position carries an immanent paradox since the only way to avoid the periphery in question is death. As a philosophical counterpoint to this rather dystopian outlook, Gilles Deleuze’s theory of becoming is brought into the discussion. The theoretical part of the essay ends with the ontology of age, a historical review of the field of gerontology and the concept of ageism. After a descriptive section, where contemporary examples of film and other media with old age as a main theme are identified, the analytical part of the essay ensues. With the French sociologist Pierre Bourdieu as a theoretical frame of reference, a close reading of the films Avalon (Axel Petersén, 2011), About Schmidt (Alexander Payne, 2002) and RED (Robert Schwentke, 2010) are performed, emphasising aging identity and imposed age-normative behaviour. The semiotics of the aged body is discussed through Jacques Lacans mirror stage and Julia Kristevas abject theory, exemplified by the works of Donigan Cumming. The final part of the essay concerns the great eternal questions within film philosophy: life, death, time and memory, which for the elderly are not merely philosophical concerns but rather notable existential realities. Using Deleuze as a philosophical toolbox, these grand topics are illuminated with examples from The Curious Case of Benjamin Button (David Fincher, 2008), Amour (Michael Haneke, 2012) and Ingmar Bergmans classical works, such as Smultronstället (1957), Saraband (2003) and Gycklarnas afton (1953).