Berlin, Freie Universiẗat, Diss., 2004. / Dateiformat: zip, Dateien im PDF-Format.

Contemporary approaches to psychotherapeutic intervention increasingly utilize a medical-based diagnostic system focused on identifying and eradicating discrete symptoms. Mental "disorders" are determined by identifying "pathological" behaviors and superficial symptoms which are then lumped together arbitrarily and labeled as specific "mental illnesses." Despite a gross lack of supporting evidence, these "mental illnesses" are then attributed to various brain abnormalities and biological malfunctions, most often with reference to "chemical imbalances" believed to be the origin of mental distress. Evidence for such biological reductionism is presented conclusively, with little regard for the implicit ontological assumptions made by such a positivist perspective. When psychopathology is viewed in this way, the role of human experience is devalued, resulting in an egregious medicalization of human distress that has devastating consequences for those who suffer. <br> The work of Jacques Lacan offers a radically different approach to diagnostic formulation and treatment that has, until recently, largely been ignored in Western psychology. This dissertation seeks to participate in correcting this imbalance by offering a Lacanian clinical approach to working with obsession. I offer two case studies of former patients--both of whom presented with classic symptoms of the medical syndrome known as obsessive-compulsive disorder--to illustrate Lacan's structural approach in contradistinction to a descriptive, symptom-based approach. I endeavor to make Lacan's obsessive structure and his diagnostic schema accessible to mental health professionals interested in employing Lacan's work. To do so, I utilize a qualitative case study methodology, with particular emphasis on the psychoanalytic interview. I draw specific attention to the difference between obsessive-compulsive disorder and Lacan's obsessional structure. Finally, I highlight the ethical implications for clinicians of the ideological construction of mental distress as solely biological and suggest that Lacan offers a diametrically opposed discourse that is sorely lacking and needed at this time. / McAnulty College and Graduate School of Liberal Arts; / Clinical Psychology / PhD; / Dissertation;

Taking as a starting point Pinter's statement that The more acute the experience, the less articulate its expression', this thesis offers a theorisation of that essential point beyond representation, through Lacan's objet petit a, the focal point of the subject's desire. It is this small object, unarticulated in language, unrepresented in the visual field, that is most acute for the subject, and more real than external reality. It is a structure applicable to poetry, psychoanalysis and film, and it is through Pinter's screenplays that this approach is made. Using previously unpublished material from the Pinter Archive, the progress of each screenplay is charted to find Pinter working towards just such a structure of desire for the central character within the narrative, and for the spectator. Chapter one outlines the basic premise of Lacanian theory and its relevance to the most recent writing on film. A direct link is established between Pinter and the Surrealists through Pinter's unpublished poem 'August Becomes', placing vision at the centre of being, and connecting Pinter, through the Surrealists, to Lacan. The construction of an object of desire is outlined in general terms within the screenplays, and the chapter concludes by identifying three different aspects of the object. The first two aspects are those of lack, which evokes desire: the object which is eternally lost, and can only be retrieved in fantasy or dream, and the object which, aligned to a real object in the external world, will change once that real object is achieved. The third aspect emerges when instead of a lack we encounter a fullness, which destroys the relationship with desire, and causes anxiety. Chapter two is a resume of all the screenplays to date in the light of this reading, while chapters, three four and five, offer a close reading of three screenplays: The Remains of the Day, The Handmaid's Tale and Victory, each of which offers a different aspect of the object as outlined above. In chapter six this approach is offered as a reading of Pinter's stage plays. Finally, a postscript outlines Pinter's latest screenplay, The Dreaming Child, which reinforces the subject of this thesis, that it is the object of desire which is more real, more acute than external reality. Throughout the screenplays Pinter can be seen to shape narrative and structure to create just such an acute, invisible object for his spectator, placing her in a vacillating relationship with desire.

Th. 3e cycle--Psychol. clin.--Paris 13, 1986.

Thesis (M.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed June 8, 2010) Calvin Thomas, committee chair; Faye Stewart, Paul Schmidt, committee members. Includes bibliographical references (p. 68-69).

No description available.

Texte remanié de: Th. doct.--Philos.--Paris 4, 1993. / Bibliogr. p. 393-405.

Texte remanié de: Diss.--Universität Salzburg, 2003. / Bibliogr. p. 218-227.

Dissertation--Uppsala, 1997. / Bibliogr. p. 371-406. Résumé en anglais sous le titre : "Tree : an attempt at a Lacanian reading of Walter Ljungquist's narratives, with special regard to the Jerk Dandelin series"

This essay engages in a Lacanian reading of identity in John Banville’s Eclipse and argues that the protagonist Alex Cleave illustrates certain of Jacques Lacan’s ideas concerning subjectivity and the subject. Alex Cleave has a fragmented sense of identity and experiences alienation as well as loss and lack of authenticity. He is an actor and tries to create identity within his roles. Alex’s confusion about himself is played out in his relationships. Alex Cleave is a self-absorbed character who does not care for other people but only for himself. He uses other people, his family, ghosts and his stalking victims, as sources for an ideal ego and as a contrast to himself. The essay argues further that the novel suggests that identity is unstable and constructed within language. Alex Cleave tries to actively create identity by incorporating characteristics he has studied in his roles as well as other people, and he writes down his story, giving himself an identity in a book, Eclipse. To support its claims, the essay draws upon theories of Jacques Lacan and Jacques Derrida. Derrida’s concept of différance is used to explain the instability of identity. Lacan’s ideas about the development of identity in the course of the mirror stage and the Oedipal crisis are drawn upon. Furthermore, Lacan’s ideas about the unconscious, the Other and the imaginary and the symbolic order are employed.