Dans cette thèse, nous traitons du transfert, concept fondamental de la psychanalyse, en explicitant ses lignes de forces qui commencent chez Freud et trouvent ses formes les plus achevées chez Lacan. Pour Freud, le transfert est essentiellement une résistance à la cure analytique. Dans ses différentes analyses, Freud pourra constater l'apparition de phénomènes qui façonnent les cures, depuis le « cas Dora» jusqu'au cas connu comme « l'homme aux rats ». Freud fera rapidement équivaloir le transfert à l'Oedipe et, par la même, à la répétition : le patient répète en analyse ce qui a été vécu/raté pendant son enfance en rapport avec ses parents. Nous sommes là dans l'aire freudienne. Depuis lors, en psychanalyse, le transfert est lié à la répétition et la cure réduite à la résolution du conflit oedipien, moyennant quoi, il faudra naturellement « interpréter le transfert ». Lacan aborde le transfert relativement tard dans son enseignement. C'est dans le séminaire sur le transfert qu'il avance que l'antécédent historique du psychanalyste est Socrate. Mais c'est en 1964, dans le séminaire intitulé Les quatre concepts fondamentaux de /a psychanalyse, que Lacan va sépare transfert de répétition. Par la suite, il mettra en rapport le transfert et le sujet supposé savoir (1967). Notre thèse dégage donc l'essentiel de cet axe qui va de l'un à l'autre maîtres de la psychanalyse, mais aussi, elle apporte surtout des exemples cliniques depuis la psychanalyse pure à la « psychanalyse appliquée », en prenant comme matériel clinique notre travail aussi bien dans les institutions que dans notre pratique privée.

Thèse de doctorat : Psychologie clinique : Rennes 2 : 2007. / Bibliogr. f. 296-299.

Thesis (M.A.), Memorial University of Newfoundland, 2000. / Bibliography: leaves 98-102.

Thesis (M.A. (Drama)) - Rhodes University, 2009. / A half-thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Drama.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 358-363). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 358-363). Also available on the Internet.

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This thesis explores the very different ways that both the novel and autobiography mediate individual and group identities by comparing Anzia Yezierska's novel Salome of the Tenements to her autobiography Red Ribbon on a White Horse. Yezierska's texts establish the inherent difference between the novel and autobiography in that her novels contribute to the dominant ideology by colluding with the capitalist narrative of individualism while her autobiography resists that very narrative. In calling forth the multiple voices of her community, her autobiography reveals, in a series of metatextual comments, the fictional nature of the self and autobiography. Comparing these two narrative modes, and using the concept of the self as defined by Lacan, I will illustrate the trappings of the novel's construction, its emphasis on verb and the form of rising action, conflict, climax and resolution (what I call "the tyranny of the plot") to the sublimation of character. In foregoing character for plot, Yezierska's novels caricature Jewish identity in a way which ultimately engenders and reinforces Jewish stereotypes and also Jewish self-hatred. However, I will also argue that Yezierska's autobiography resists capitalism's master narrative of the American Dream in ways that her fiction simply does not and cannot. Not only is Red Ribbon on a White Horse under-studied, but the lack of any real comparative study between any immigrant fiction and immigrant autobiography is surprising. While many have theorized immigrant autobiography, there are few studies which have tried to understand the very real differences in these two modes.

Intersubjectivity is the acknowledgment that the subject of the self, the I, is in direct relations with the subject of the other. There is an immediate correspondence; in fact, one implies the existence of the other as a necessary state of intersubjective experience. This direct relationship negates a need for any external mediation between the two subjects, including the idea of a separate object between the subject of one individual and that of another. The essay proposes that our confrontation with the other occurs not in physical geometric space, but in liminal space, the space outside of the mean of being, at the threshold of relativity. The essay endorses the idea that liminality is not a space between things, but instead is an introjection, an internalization of the reflected world, and a reciprocal notion of the externalized anomaly of the other within each of us. We meet the surface of the world at the edge of our body but the mind is unencumbered by such limitations and as such subsumes the other as itself. Through symbolic language and myth, the surfaces and edges of things, both animate and inanimate, define the geography of the intersubjective mind. Inside the self the other becomes an object and persists as an abstraction of the original subject. We begin to perceive ourselves as the imagined projections of the other; we begin to perceive ourselves as we believe society perceives us. The process applies to the design of architectural space as a rudimentary vocabulary that is consistent with the language of the landscape. / text

This dissertation provides an exploration of the nature and scope of the category of the Unconscious as a necessary feature of rhetorical theory and criticism. In order to demonstrate the fundamental importance of the Unconscious to rhetorical theory and criticism, this dissertation focuses on Kenneth Burke's rhetorical theory of Dramatism. Burke is one of the most frequently cited theorists by rhetorical scholars, and offers a familiar site for rhetorical scholars to understand the Unconscious as a rhetorical factor. Burke formulated a theory of the Unconscious by drawing from Freudian psychoanalysis. Since Freud, Jacques Lacan has advanced and altered the Freudian understanding of the Unconscious. Therefore, by navigating the terrain of both Burkeian and Lacanian scholarship, this dissertation moves toward a BurkeLacanian theory and method to offer a more critical lexicon for the rhetorical study of the dialectical relationship between the conscious and Unconscious parts of the psyche. In doing so, this dissertation develops and answers the following questions: How can we theorize the Unconscious as a rhetorical factor? How is Burke's theory of the Unconscious rhetorically useful? How might we understand Burke's theory of rhetoric differently and better if we read his Freudian influences through Lacanian scholarship on the Unconscious? How is a theory of the BurkeLacanian subject rhetorically useful? How does a BurkeLacanian theory of the Unconscious inform productive criticism? This dissertation applies a BurkeLacanian theory of the Unconscious by introducing a rhetorical method called "Ideographic Cluster Quilting." This method moves toward the rhetorical study of texts as cultural psyches that are constructed from fragments of discourse that form around figures of abjection. In order to demonstrate the usefulness for studying Ideographic Cluster Quilts, this dissertation analyzes the cultural psyche that forms around the figure of the "illegal immigrant" as abject. In doing so, we gain an insight into the Unconscious hatred of humanity as the perverse core of American identity that qualifies which bodies do and do not matter. We will also gain an insight into the way nationalistic identities function within globalization by confining labor forces within national boundaries, while multinational corporations move freely around the world. / text