This study delineates the basic concepts and analytical techniques of contemporary French structuralists, namely Levi-Strauss, Lacan, Barthes, Althusser, and Foucault, and critically examines the contribution of their formulations to sociological theory and the implication of such formulations on the methodological orientation in sociology.

This thesis investigates the occurrence of a shift in the EU’s narration about the Self and Ukraine after the Russian invasion in 2022. Previous research points toward the EU as having a diminishing outlook on Eastern Europe and constantly keeping Ukraine at arm’s length. Furthermore, the EU has imagined Eastern Europe gazing longingly and admiringly toward the EU. However, this thesis contends there has been a shift in this view regarding Ukraine compared to 2014, after the Russian annexation of Crimea. Theoretically, Europe is conceptualized as a community of values, a signifier, and a lacking subject without a complete identity. This theorizing leaves the demarcation of the EU’s identity borders contingent. The analysis discerns that the EU in 2022 narrates the Self as a project and a dream, with Ukraine displaying European values and vitality to this dream. This narration leaves space for the signifier Europe to expand its scope to Ukraine. The gaze that reflects at the EU is not of naive admiration but of strength and endurance, compelling the EU to narrate Ukraine as part of the Self. Moreover, this changed Ukrainian gaze strengthens the European identity based on values because Ukraine shows that European values are worth dying for.

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This thesis is a critical examination of the question of the fourfold, or quaternities, in the thought of C.G. Jung, as well as an in-depth comparison with the four-fold structures of Jacques Lacan and Sergius Bulgakov. I define quaternities as visual or structural formations conceived in four parts, and I center this study on Jung because I see him as the first thinker to seriously examine the place of quaternity in psychology and modern thought. Part of the work of this thesis will be to give a clear view of Jung's quaternal theories, distinguishing the novelty and authenticity of his work from what has been made of it by subsequent New Age and Jungian thinkers. Jacques Lacan, who uses the term "quadrilateral" to describe his formations, will be contrasted with Jung on several counts. First of all, whereas the Jungian quaternity aims to perfectly integrate its various elements, especially when viewed from the perspective of the fourth element of the quaternity, the Lacanian fourth works in the opposite direction, putting into question any reading of the structure which demands resolution and integration. Lacan's quadrilaterals also avoid the complementarity which is always an important aspect of Jungian quaternity, instead opting for a supplementary logic. Sergius Bulgakov avoids, at least in his later work, referring to quaternities, but, in his reading of Sophia (Wisdom), she clearly functions as something of a fourth within the Christian Trinity. Bulgakov's primary contribution is to provide an answer to Jung's complaint that the Christian Trinity has suppressed its fourth and become unbalanced. The fourth that Bulgakov articulates in the form of Sophia is very different from what Jung had argued for. That is, instead of changing the Trinity into a Quaternity Bulgakov maintains that Sophia underlines the "tri-unity" of the Trinity, and functions not a fourth amidst its members, but as a necessary element in order to both bring out the distinctiveness of each person of the Trinity as well as communicate their common identity. / Religion

The resurgence of interest in James Joyce's politics over the past decades reveals Joyce as a politically astute, if not active, writer. But Joyce's politics were never easily codifiable or traceable to a set of ideologically fixed positions. Instead, this dissertation argues, Joyce uses the novel as a space where political debate can be dramatized, and the novel becomes a form of deliberative rhetoric regarding future possibilities. For Joyce, the practices of rhetoric and aesthetics are complexly intertwined and interdependent, though they remain, in many ways, oppositional and contrary. Joyce and other modernist writers often viewed rhetoric as a discursive form that limited rather than expanded possibilities. But at other moments, Joyce presses rhetoric into the service of aesthetic (and vice-versa) since deliberative rhetoric and poetics (as defined by Aristotle) both attend to the possibilities of future action. This dissertation traces Joyce's evolution from a young socialist writer engaged in rhetorical experiments with the essay to his later dramatization of Irish political oratory in Ulysses. Joyce began his career as a self-described "socialist artist" in 1904, but would consciously eschew socialism within the next few years. This dissertation locates Joyce's early political rhetoric in his essay "A Portrait of the Artist" and the abandoned novel Stephen Hero as unconscious remainders reemerging in A Portrait of the Artist as a Young Man. In the later text, aesthetics attempt to replace rhetoric as a means of creating radical materialist consciousness, but the later text also re-incorporates and reimagines its earlier incarnations. The earlier texts remain as "symptoms" around which the later is written. Drawing on the definitions of "symptom" in psychoanalytic and Marxist theoretical practice, this dissertation argues that A Portrait of the Artist functions as a text because it includes, even though it attempts to rewrite, the political and rhetorical work of its antecedents. In crafting the "Aeolus" chapter of Ulysses, Joyce returns to the art of rhetoric to dramatize the arguments surrounding Irish labor, politics, and language in 1904 Dublin. Unlike his work in A Portrait of the Artist, Joyce presents oratory as a staging ground for reasoned debate and discussion regarding the future course of Irish history. Whereas rhetoric was an unconscious remainder of socialist politics in A Portrait of the Artist as a Young Man, rhetoric is consciously applied in the work of the characters in the episode who are preoccupied with the consequences of the Irish language movement and middle-class industrialization. This dissertation ultimately argues against positions that view rhetoric as a weak surrogate for aesthetics or as a discursive limitation that must be overcome for aesthetics to produce valuable contemplative effects. Aesthetics in Joyce's fiction has productive rhetorical purposes: to lead readers to contemplate false oppositions, consider the means by which history is produced, to attend to the process of political decision-making, and to deliberate about the consequences of actions. / English

Shakespeare references humoral medical theory and social definitions of gender throughout much of his work. His references to medical practices like purging, the siphoning of excessive emotional fluids to bring the body into balance, are more than allusions to medical theories. Shakespeare's works unveil and challenge early modern approaches to emotional experience, most particularly when it comes to traumatic experiences that overwhelm comprehension. In Titus Andronicus (1592), The Rape of Lucrece (1593), Hamlet (1603), King Lear (1608), and Macbeth (1606), Shakespeare invokes humoral theory to articulate the early modern traumatic experience and to criticize the efficacy of purging in representations of trauma. For Shakespeare, the siphoning of destabilized emotions, through metaphorical and rhetorical practices, has dangerous consequences for bodies coded as feminine.

No / The recent turn to Lacan’s work in critically-oriented Organization and Management Theory signals a welcome focus on one of the 20th century’s most influential thinkers. This article introduces Lacan’s thesis on gender, making a case for its importance for understanding organizations. We discuss two contrasting receptions to Lacan’s Seminar XX, from pro- and anti-Lacanian feminists, offer our own interpretation which can be summed up as a Lacanian inspired parody of the phallic signifier, and argue that Lacanian theorists should turn Lacan’s ideas back upon them/ourselves to question critically our own positions. Further we review Lacan’s seminar XVII and its analysis of four dominant discourses—the university, the master, the hysteric and the analyst. The advantages of the discourse of the hysteric for a Lacanian politics of gender, enabling us to undo our arguments from outside of our own gender and identity, are then identified. We thus advocate conceptual and empathetic (hysterical) bisexuality for critical scholarship within organization studies that already, perhaps unawares, is hysterical. This allows us to avoid, as much as possible, slipping into the frozen and sterile discourse of the master.

El objetivo de esta investigación es describir las construcciones teóricas de Jacques Lacan y André Green sobre la transferencia en la cura psicoanalítica. Ambos autores tienen un origen teórico común en tanto sus constructos están basados en la obra de S. Freud. Sobre este punto de partida encuentro dos usos muy distintos de la transferencia en la búsqueda de una cura que mantiene características comunes. La principal diferencia está en que A. Green usa la contra transferencia como parte de su interpretación en transferencia. Mientras Lacan, en el sentido indicado por Freud, descarta el uso de la contra transferencia atribuyéndosela al propio analista. En estos dos usos de la contra transferencia encuentro que para Green el analista reconoce la tremenda influencia que tiene sobre el analizado y la utiliza para buscar su cura, mientras que Lacan propone un psicoanálisis que se sustenta en no usar este poder y orienta su final, su cura, a un analizante que se libera de la influencia del psicoanalista. / The objective of this research is to describe the theoretical constructs of Jacques Lacan and André Green on transfer in psychoanalytic cure. Both authors find a common origin in both their theoretical constructs are based on the work of S. Freud. On this point I find two very different uses of the transfer in the search for a cure that maintains common characteristics. The main difference is that A. Green uses to transfer as part of his performance in transfer. While Lacan, in the direction indicated by Freud, discarded the use of transfer against attributing the analyst himself. In these two uses of the transfer contract I find that for Green analyst recognizes the tremendous influence it has on the analyzed and La transferencia en la cura de Lacan y Green used to find a cure. While Lacan proposes a psychoanalysis that is based on not use this power and orients its end, its cure, an analizante released from the influence of the analyst