A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Doctor of Philosophy / The aim of this thesis is to consider a concept of trauma which may offer support for the contemporary interest in and practice of painting. Jacques Lacan’s (1959-1960) structural and abstract articulations of trauma as das Ding is the central framework for the trajectory and form of the research and writing in this thesis. Lacan’s seminar on das Ding develops the notion that philosophical and social functions of art are aimed at structuring the traumatic and tragic sphere of experience. Das Ding is a hypothetical construct that resonates with Kant’s epistemological, moral and aesthetic philosophy. Primarily, I see the historical framework of das Ding as foregrounding a certain ‘ethics’ in my approach to painting and its interpretation. Kant’s own emphasis on the communicability art may offer is key to this thesis. His focus is not on interpretation as an act eliciting direct meaning from representations in art, but frames the potential for humane interaction: for how a consideration of the perception of beauty and the form of the cognitions that arise in private and public spheres may lay the groundwork for thinking about communicability in general. Through the lens of das Ding, I suggest that an emphasis on aspects of non objective, non-communicable elements of making and experiencing painting is a viable way of contemplating both its pleasures and, often, its more painful effects. I contend that the displacement of meaning enabled by conceptualising the structural implications of trauma, in theory and in the practice of painting, may sustain a quiet yet significant social position in the wider sphere of intellectual activity and pursuits. / GR2018

Aiming to make an intervention in critical theory, film-philosophy and British Cinema scholarship, this thesis investigates what a marriage of Lacanian and Badiouian theories of the subject can bring to the study of the radical British feature film of 1968: films which in differing ways represent the political and intellectual debates current in the culture. The question of what can be learnt through an analysis situated within theories of the subject has not been addressed within British Cinema studies. Psychoanalytic film theory in its previous incarnations utilised a section of Lacan's thought in order to focus on the ways in which the spectator was placed into a subject position by the unseen workings of the apparatus. Furthermore, the limited amount of Badiouian film scholarship is concerned with whether films can be thought philosophically. A fuller use of Lacan with Badiou as a hermeneutic model to address films from a specific period and context creates a new interpretive model on the porous boundary between critical theory and film-philosophy. This thesis utilises Lacan's categories of the Imaginary, Symbolic and, predominantly, the Real alongside the Badiouian Event to interrogate the ways in which Morgan: A Suitable Case for Treatment (Karel Reisz, 1966), Privilege (Peter Watkins, 1967), Herostratus (Don Levy, 1967), Performance (Donald Cammell & Nicolas Roeg, 1970) and if ... (Lindsay Anderson, 1968) represent the radical subject of 1968, in order to argue for the efficacy of ideological critique, to think politically about cinema, and advocate the continuing resonance of the period in contemporary praxis.

Made available in DSpace on 2016-04-29T13:30:46Z (GMT). No. of bitstreams: 1 Mariana Galletti Ferretti.pdf: 462508 bytes, checksum: 116f7d7b713a3d736bc921ba9432efe7 (MD5) Previous issue date: 2010-12-08 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work intends, starting from Shakespeare s intuition about the human condition expressed in the vicissitudes of Hamlet s character, to deepen a reflection on the concept of subject in Lacan s theory articulated to the formularization of the author concerning the structure and the logic times of the subject s constitution. Is extremely important to emphasize that Hamlet won t be understood as a representation of one subject in constitution. The approach to this character must be comprehended merely as propitious context to ponder on fundamental aspects of the subject s structure. This research is organized in four main stages: the first aims to introduce the reader to the question of the existing connection between psychoanalysis, art and literature; the second concerns the singularity intrinsic to the work on this famous Shakespearian production Hamlet; in the third stage, the Lacanian concepts of subject and the Other were developed; in the fourth, the connection between the concepts of Oedipus complex and the paternal metaphor was discussed trying to make clear and bring to context the articulations of both within the Shakespearian play. These concepts, that represent capital points of the Freudian and Lacanian theories, respectively, have common aspects, but aren t synonymous. Since the Lacanian theory, in which this research is based on, has many unfoldings, it was necessary to establish a delimitation of the study, that aimed to embrace the Lacanian theorizations endeavoured up to the The Seminar 10. It was possible to regard Hamlet as a portrait of the contingencies of neurosis. That being a psychic structure resulting from a determinate function of the Other, we may say that the conflict in Hamlet has clear connection with the social bonds that are established between him and the Other. Still, the question of the structure is, for Lacan, anterior and subjacent, always in the logic sense, to the establishment of the social bonds. The structural lack generates determinate effects that influence the relation between the subject and the Other. Hamlet suffers from the contingencies of his structure in the bond with the Other / O presente trabalho pretende, partindo das intuições shakespearianas sobre a condição humana expressas nas vicissitudes da personagem Hamlet, aprofundar uma reflexão sobre o sujeito em Lacan articulada às formulações do autor sobre a estrutura e os tempos lógicos da constituição do sujeito. É de extrema importância frisar que Hamlet não será entendido como a representação de um sujeito em constituição. A abordagem desta personagem deve ser compreendida tão somente como contexto oportuno para refletir a respeito de aspectos fundamentais da estrutura do sujeito. Esta pesquisa está organizada em quatro principais etapas: a primeira visa a introduzir o leitor à questão da relação existente entre a psicanálise, a arte e a literatura; a segunda se caracteriza por tratar das particularidades intrínsecas ao trabalho com a famosa obra shakespeariana Hamlet; na terceira etapa, foram desenvolvidos os conceitos de sujeito e de Outro em Lacan; já na quarta, foi discutida a relação entre os conceitos de complexo de Édipo e de metáfora paterna procurando evidenciar e contextualizar a articulação da obra Hamlet com ambos. Estes conceitos, que representam pontos capitais das teorias, respectivamente, de Freud e Lacan, possuem aspectos em comum, porém não são sinônimos. Visto que a teoria lacaniana, na qual esta pesquisa se baseou, possui muitos desdobramentos, foi necessário estabelecer uma delimitação do estudo, que visou a abranger as teorizações lacanianas empreendidas até a época do Seminário 10. Foi possível considerar Hamlet como o retrato das contingências da neurose. Sendo esta uma estrutura psíquica decorrente de uma determinada função do Outro, podemos dizer que o conflito de Hamlet tem claras ligações com as relações sociais que se estabelecem entre ele e o Outro. Entretanto, a questão da estrutura é, para Lacan, anterior e subjacente, sempre no sentido lógico, ao estabelecimento dos vínculos sociais. A falta estrutural gera determinados efeitos que repercutem no modo de relação que se dá entre o sujeito e o Outro. Hamlet sofre pelas contingências de sua estrutura no vínculo com o Outro

Made available in DSpace on 2016-04-29T13:30:49Z (GMT). No. of bitstreams: 1 Ana Paula da Silva Baima.pdf: 572187 bytes, checksum: 1bfd6dff8a7d3d9ec06eef34d14eca72 (MD5) Previous issue date: 2011-06-07 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The general purpose of this research is to contribute to the comprehension of how the subject is involved in the contemporary society. In order to achieve this objective, we limit ourselves to discussing how the operation of the superego can be of great help in understanding the capitalism characterized by the incessant consumption of merchandise. First, we adopt the ideas that superego is structural in the subject and that, no matter what social configurations, it points out the lack and orders the seek for total jouissance. In order to show these both notions are accurate and understand the theories related to the concept in details, we conduct a careful study based on the main formulations of Freud and Lacan. Despite the fact that this study doesn t take into account what Lacan says after 1964, it s possible to prove that superego is related to the entrance into the culture and that it maintains its structure of jouissance imperative in every society. From this point on, we discuss the superego course of action in contemporary society articulating it with the Other ideal. While superego presents an injunction without a specific content and related to the Real, the Other, although invariable in its symbolic structure, is influenced by historical aspects. The Other ideal, influenced by capitalism that promotes consumption, offers the subject of the desire, characterized by the lack, the fantasy that the total jouissance is possible through buying what is sold by the market. From our point of view, present capitalism takes advantage of the structure of the superego, which always points out the lack of the subject and orders the search for jouissance. Superego is important to the adherence to consumption because without its injunctions the Other ideal wouldn t have any imperative strength. The presence of the superego, as a look that observes and a voice that criticizes, is essential to the consumption as the Other ideal. Without it, it would not act as an imperative. This research shows that the theory of superego has to be considered when we intend to understand how the subject is implicated in contemporary capitalism / O intuito do presente trabalho é contribuir para a compreensão de como o sujeito está implicado na sociedade contemporânea. Para tal feito, buscamos pensar como a instância psíquica supereu pode auxiliar no entendimento do capitalismo caracterizado pelo consumo incessante de mercadorias. Partimos do posicionamento de que o supereu é estrutural do sujeito e que, independentemente das configurações sociais, denuncia a falta e ordena a busca pelo gozo pleno. Para defender nossa posição teórica e melhor entender as teorizações existentes sobre o conceito, realizamos um levantamento das principais formulações freudianas e lacanianas sobre o assunto. Apesar de nossa retomada da teoria psicanalítica não ultrapassar o ano de 1964, foi possível considerar que o supereu está relacionado com a entrada na cultura e mantém sua estrutura de imperativo de gozo em qualquer configuração social. Refletimos sobre a atuação do supereu na sociedade contemporânea articulando a instância psíquica em questão e o ideal do Outro. Enquanto o supereu traz uma injunção sem atributo específico e relacionada ao registro real, o Outro, apesar de invariável em sua estrutura simbólica, é influenciado pelas características do contingente histórico. O ideal do Outro, influenciado pelo capitalismo que incentiva o consumo, oferece ao sujeito do desejo, caracterizado pela falta, a fantasia de que o gozo pleno é possível pelo consumo. A nosso ver, o capitalismo atual parece tirar proveito da estrutura do supereu, que sempre denuncia a falta do sujeito e opera mandatos de gozo pleno. O supereu é importante para a aderência ao consumo, visto que, sem a sua injunção de busca pelo gozo, ideal do Outro não teria sua força imperativa. Faz-se necessária a presença do supereu, como olhar que vigia e voz que critica, para que o consumo como ideal do Outro atue como um imperativo. A presente pesquisa demarca que a teoria sobre o supereu deve ser considerada quando se pretende entender como o sujeito está implicado no capitalismo contemporâneo

Made available in DSpace on 2016-04-29T13:31:02Z (GMT). No. of bitstreams: 1 Maria Claudia Formigoni.pdf: 892761 bytes, checksum: e91f8b1488712c1f352bdca7ba4442e1 (MD5) Previous issue date: 2013-05-20 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The present work aims to research what a child for psychoanalysis is. So forth it is installed a differentiation between childhood, subject and childish. From a historic perspective, it is shown that the childhood, as it is conceived today, is a Modernity institution that gave a particular place to children and made feasible the uprising of so many speeches about child and childhood. It is outstand in the present work that Freud broke with the candor s ideal imputed to the children at that time, once he has revealed the infantile sexuality. Freud s works related to this matter, as the present essay shows, allow establishing an important distinction between childhood, as a life stage, and childish, conceived as an intrinsic sign in human psychism. In this way, it is concluded that child is not a psychoanalyst concept neither a notion with which psychoanalysis operates. Being said that, the present work sets forth the subject s concept approach as postulated by Lacan until 1958, which allows affirming that, for psychoanalysis, it is not about a child or an adult, but about unconscious subject. Starting from that, it is retaken the lacanian Oedipus Complex, from which becomes evident that, from the psychoanalysis perspective, there is in the structure a place that the child, as it is denominated by culture, occupies (the phallus) and, in fantasy, the mark of what is left from this place (the childish). What matter to psychoanalysis, therefore, and it is presented in a psychoanalysis process, is specific the childish postulated by Freud, i.e., what remains form the phallus place that every subject has once occupied / Neste trabalho objetiva-se pesquisar o que é uma criança para a psicanálise. Para tanto, estabelece-se uma diferenciação entre infância, sujeito e infantil. A partir de uma perspectiva histórica, mostra-se que a infância, como concebida hoje, é um advento da Modernidade que deu às crianças um lugar particular e viabilizou o surgimento de diversos discursos sobre a criança e a infância. Destaca-se nesta pesquisa que Freud rompeu com o ideal de candura atribuído às crianças à época, pois revelou a sexualidade infantil. As elaborações freudianas a esse respeito, como o presente trabalho mostra, permitem estabelecer importante distinção entre infância, enquanto etapa da vida, e infantil, concebido como marca intrínseca ao psiquismo humano. Dessa forma, conclui-se que criança não é um conceito psicanalítico ou uma noção com a qual opera a psicanálise. Posto isso, parte-se para abordagem da concepção de sujeito conforme postulada por Lacan até o ano de 1958, a qual permite afirmar que para a psicanálise não se trata de uma criança ou de um adulto, trata-se, sim, do sujeito do inconsciente. Com base nisso, faz-se uma retomada do complexo de Édipo lacaniano, a partir da qual evidencia-se que, do ponto de vista psicanalítico, há, na estrutura, um lugar que a criança, ser assim denominado pela cultura, tem que ocupar, o lugar de falo, e, na fantasia, a marca do que resta desse lugar, o infantil. O que importa à psicanálise, portanto, e se apresenta em uma análise, é justamente o infantil postulado por Freud, isto é, o que resta do lugar de falo que todo sujeito ocupou um dia

A criança autora de ato infracional - as medidas de proteção e o Conselho Tutelar - um debate para o campo psicanalítico. Dissertação de Mestrado, Instituto de Psicologia, Universidade de São Paulo, São Paulo. Este trabalho tem como objetivo abordar a temática da criança autora de ato infracional e a aplicação das medidas de proteção pelos Conselhos Tutelares de São Paulo-SP e, com isso, trazer contribuições para a aplicação destas medidas. Para que se possa apreender o contexto atual de sua aplicação, do surgimento dos Conselhos Tutelares e da situação da criança autora de ato infracional, faz-se um levantamento histórico sobre o assunto. Em seguida, apresenta um levantamento teórico, dentro do panorama jurídico, sobre os conceitos de ato infracional e as medidas socioeducativas e de proteção aplicadas pela justiça e pelo Conselho Tutelar, respectivamente, nestes casos. A pesquisa qualitativa de campo é o cerne deste trabalho. A escuta dos conselheiros tutelares, tendo como objetivo conhecer suas experiências no atendimento e encaminhamento destes casos, articula-se a uma série de problemáticas como a atribuição ou não de ato infracional praticado por criança, o entendimento das medidas de proteção como garantistas ou restritivas de direitos e a questão da competência nestas situações. Para concluir a primeira parte do trabalho, estas questões são desenvolvidas, onde se extrai a hipótese da pesquisa: qual o lugar da criança autora de ato infracional sob medidas de proteção?. Por meio deste questionamento, conjectura tratar-se da criança que está entre a garantia e a restrição de direitos, em que se forja a noção do fora-do-lugar. Encaminha-se uma articulação conceitual acerca dos lugares de discurso em psicanálise, elucida os lugares da criança enquanto sujeito nos quatro discursos propostos por Jacques Lacan e a concepção de infantil. Por fim, aborda a criança autora de ato infracional sob medidas de proteção por meio dos argumentos teóricos do discurso do capitalista e da noção de lei simbólica em psicanálise / This paper aims at discussing the matter of child offender and the application of protective measures by child protection authorities in São Paulo-SP and, with that, aims to bring contributions for the implementation of these measures. To apprehend the current context of these measures, the emergence of child protection authorities and child offenders situation, makes a historical survey on the subject. Further, it presents a theoretical research within legal landscape on the concepts of act of infraction, socioeducational measures and protection applied by justice and child protection authorities, respectively, in these cases. Qualitative research field is the core of this work. Listening child protective authorities, aiming to understand their experiences in care and management on these cases, articulates a number of questions such as attribution or not of act of infraction committed by children, the understanding of protection measures as guarantees or restriction of the rights and the matter of competence in these situations. To conclude the first part of the work, these questions are developed, in which it extracts the research hypothesis: what is the place of child offender under protective measures?. Through this questioning, conjecture that it is the child who is between the guarantee and the restriction of rights, which forges the notion of \"out-of-place\". Forward to a conceptual articulation about places of discourse in psychoanalysis, clarifies childs places as a subject in the four discourses proposed by Jacques Lacan and the child conception. Finally, discusses child offender under protective measures through the theoretical arguments of the capitalist discourse and the notion of symbolic law in psychoanalysis

This essay looks at subjectivity in Virginia Woolf’s The Waves employing a psychoanalytic approach and using the theories of Gilles Deleuze and Félix Guattari. Woolf’s relation to the theories of her contemporary Sigmund Freud was unclear. Psychoanalytic scholarship on Woolf’s writings, nevertheless, established itself in 1980’s as a dominant scholarly topic and has been growing since. However, the rigidity and medicalizing discourse of psychoanalysis make it poorly compatible with Woolf’s feminist, anti-individualist writing. This essay is a reading of The Waves, in which psychoanalytic theory is infused with a Deleuzo-Guattarian approach. The theories of psychoanalyst Jacques Lacan, and especially his concept of the Other, together with Rosi Braidotti’s concept of nomadic subjectivity, are used as relevant tools for thinking about subjectivity in the context of The Waves. The resultant reading is a criticism of psychoanalysis. In this reading, two characters are looked at in detail: Percival and Bernard. Percival emerges as the Lacanian Other, who, situated at the central nexus of power, symbolises the tyrannies of individuality and masculinity. Simultaneously, Percival is detached from the metaphysical world of the novel. His death marks a shift from oppressive individuality towards nomadic subjectivity. For Bernard, nomadic subjectivity is a flight from the dead and stagnating centre towards periphery, where new ethics can be negotiated. The essay concludes with the implications of such reading: the affirmation of nomadic subjectivity makes the Deleuzo-Guattarian approach more relevant in the context of Woolf, whereas psychoanalytic striving towards structure, dualism, and focus on pathology are rejected as incompatible with her texts.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Psicologia Clínica, Programa de Pós-graduação em Psicologia Clínica e Cultura Departamento de Psicologia Clínica, 2015. / O presente trabalho foi produzido com o intuito de explorar a dimensão temporal na constituição do sujeito, de acordo com o pensamento de Jacques Lacan e em referência a um retorno a Sigmund Freud. Foi privilegiado o artigo de Lacan ―O tempo lógico e a asserção da certeza antecipada‖, de onde partiram algumas elaborações acerca da incidência do tempo no sujeito do inconsciente. Para explorar a concepção de tempo na psicanálise, foram utilizados também alguns artigos de Freud e outros artigos e seminários de Lacan. Dentre os principais conceitos e categorias que tratamos, articulando-os ao tempo e ao sujeito, estão: trauma; aparelho psíquico; processo primário e processo secundário; recalque; inconsciente; divisão; repetição; linguagem; alienação e separação; ato; pensamento; saber; verdade; e castração. A temporalidade abordada neste trabalho convoca noções de retroação, a posteriori (Nachträglichkeit), só-depois (après-coup), futuro anterior, origem, atraso, antecipação, intervalo, descontinuidade, escansão, suspensão, corte, urgência, pressa, isto é, noções que compõem o tempo lógico. O tempo, marcado por pausas e alternâncias, faz nascer o sujeito, modula o ato e possibilita desejar. / This dissertation aims at exploring the time dimension in the constitution of the subject, according to Jacques Lacan, in reference to Sigmund Freud. The main article to this study is ―Logical time and the assertion of anticipated certainty‖, that brings some elaborations on time and the subject of the unconscious. We also refer to some articles written by Freud and some of Lacan‘s seminars to explore the conception of time in psychoanalysis. Amongst the main concepts and categories that we deal with, articulating them with the ideas of time and subject, are trauma; psychic apparatus; primary process and secondary process; repression; unconscious; division; repetition; language; alienation and separation; act; thinking; knowledge; truth; castration. The temporality we investigate in this study brings to attention the notions of retroacting, a posteriori (Nachträglichkeit), après-coup, future perfect, origin, delay, anticipation, gap, discontinuity, scansion, suspension, cut, urgency, rush --- notions that are part of the logical time. Time, with its pauses and alternations, makes the subject possible, modulates the act and allows the desire.

In my thesis, Philip K. Dick's Do Androids Dream of Electric Sheep? is examined using French psychoanalyst Jacques Lacan's mirror stage theory. In the novel, humans have built androids that are almost indistinguishable from humans except that they lack a sense of empathy, or so the humans believe. The Voigt-Kampff Machine is a polygraph-like device used to determine if a subject shows signs of empathy in order to confirm if one is an android or a human. Yet, should empathy be the defining quality of determining humanity? In his article "The mirror stage as formative of the function of the ‘I’ as revealed in psychoanalytic experience," Lacan refers to a particular critical milestone in an infant's psychological development. When the baby looks in a mirror, they come to the realization that the image they are seeing is not just any ordinary image; it is actually themselves in the mirror. This "a-ha" moment of self-realization is what Lacan's Mirror Stage Theory is based on. According to Lacan's theory, the image that the child sees in a mirror becomes an "Other" through which they will always scrutinize and pass judgment on, for it is not how they have pictured themselves to be in their mind’s eye. I hypothesize that the androids are humans' artificial and technological Other. It is my thought that Dick uses the conflict of determining the biological from the artificial, the effort to differentiate humans from androids and biological animals from artificial ones, to illustrate Lacan's psychoanalysis of the mirror stage and its importance in our continual search for determining what humanity is and who we really are.

The proof set forward in this thesis is that the method of Marshall McLuhan (1911-1980), which he came in the 1970’s to describe as ‘structuralist’, ‘phenomenological’ and even ‘metaphysical’, owes a heretofore unacknowledged debt to Sigmund Freud (1856-1939). Critics have thus far neglected the influence of nineteenth and twentieth century psychology in McLuhan’s work, although a wealth of biographical material supports the argument that McLuhan’s ‘metaphysical’ method is derived as much from psychoanalysis and analytical psychology (C.G. Jung) as from any of McLuhan’s acknowledged predecessors. Returning to the texts from which McLuhan gained his knowledge of psychology, I trace the influence of Freud, Jung and their disciples upon McLuhan, establishing McLuhan’s use of Freudian concepts and terminology in his first book The Mechanical Bride (1951), and his use of the psychoanalytic concepts of the ‘unconscious’, ‘trauma’ and ‘repression’ in the books that came after it. What McLuhan calls the ‘unconscious’ is more often named by him as Logos, ‘acoustic space’ or the ‘media environment’, and I trace the debts that these concepts owe not only to Freud and Jung but to Aristotle, St. Thomas Aquinas, gestalt theory, art theory, Henri Bergson, Pierre Teilhard de Chardin, Wyndham Lewis, Siegfried Giedion, Harold Innis, the French symbolist poets of the late nineteenth century and the British modernists of the early twentieth. Despite his rejection of the Freudian argument, McLuhan, like Freud, conceptualizes pain or trauma as the ‘cause’ of transformations (i.e. processes) in the unconscious; but while for McLuhan, invoking St. Thomas Aquinas and Aristotle, technologies are ‘formal causes’ simultaneous with (or ‘preceded’ by) their effects, for Freud and his modern interpreter Jacques Lacan, trauma is ‘paradoxical’ in structure, presenting as both its own ‘cause’ and ‘effect’. Situating McLuhan in relation to French structuralism, I contrast McLuhan’s concepts of ‘figure’ (as cause) and ‘ground’ (as effects), elaborated in his last book Laws of Media (1988), to the concepts of the ‘signifier’ and the ‘signified’ in Ferdinand de Saussure’s Course in General Linguistics (1916), and critique McLuhan’s ‘tetrad’, the ideograph with which he illustrates media ‘effects’, in relation to the psychoanalytic concept of the signifier elaborated by Lacan. In reply to McLuhan’s maxim that ‘the medium is the message’, I conclude that technologies, insofar as they function as ‘formal causes’, are doubly ‘hidden’: firstly, because, as McLuhan says, they can only be grasped through their effects; and secondly because, as Lacan says, their effects can only be articulated when they manifest as ‘disturbances’ in the symbolic order, i.e., as fantasies of the Other’s jouissance (enjoyment). There are numerous stories about how McLuhan would frustrate his critics by refusing to take a ‘point-of-view’, and in fact his (psychoanalytic) technique of ‘putting on’ the audience as a mask, and his (deconstructivist) manner of changing perspectives as often as necessary, sit oddly with his championing of Logos. A comparison with Freud and Lacan finds McLuhan at a ‘paradoxical’ moment in the history of Western thought, poised between modernism and postmodernism, between structuralism and deconstructivism, and between metaphysics and psychoanalysis. / Thesis (Ph.D.) - University of Adelaide, School of History and Politics, 2008