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

Orientador: Nina Virgínia de Araújo Leite / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T22:47:56Z (GMT). No. of bitstreams: 1 Leme_PatriciadeOliveira_M.pdf: 1354597 bytes, checksum: 5dae4738b3554f602db88d197ab3ebad (MD5) Previous issue date: 2013 / Resumo: O presente trabalho consiste em uma leitura do estilo de Jorge Luis Borges a partir de um inquietante efeito narrativo, passível de ser abordado na área psicanalítica através do enigmático conceito de estranho. Para a elaboração dessa hipótese, inicialmente chamou-se à baila três contos de Borges: "La escritura del dios", "La muerte y la brújula" e "Tlön, Uqbar, Orbis Tertius". Mesmo estendendo-se a outras incursões na vasta obra borgeana, as três narrativas constituem a moldura necessária para a compreensão de certos mecanismos do estilo borgeano, que nesse trabalho acabam por figurar como elemento causa de estranhamento. No primeiro capítulo tomaram-se os textos como cenas de leitura, em um procedimento que buscou explicitar esse inquietante efeito da escrita de Borges, bem como salientar suas reverberações no campo da crítica literária. O impacto do estilo borgeano na sua crítica pôde elucidar alguns pontos cruciais ao enodamento com a teoria psicanalítica nos capítulos posteriores, recuperando também algumas chaves de leitura importantes no delineamento do efeito em questão. No segundo capítulo promoveu-se uma leitura d' "O estranho", de Sigmund Freud, a partir desse funcionamento da obra borgeana: seus pontos de contato puderam revelar que o conceito erigido por Freud supera os limites de sua própria elaboração, fazendo-se presente mais como um lugar de enunciação do estranho do que como um conceito fechado em suas próprias bases. Esse movimento convocou, no terceiro capítulo, a retomada do conceito de estranho por Jacques Lacan em seu O seminário, livro 10: a angústia. Nele, Lacan promove uma elaboração do estatuto do objeto a, noção paradigmática no campo psicanalítico, a partir do estranho como um efeito de seu aparecimento na estrutura subjetiva. Para tecer o enodamento com o literário, as teorizações lacanianas em seu décimo oitavo seminário foram fundamentais, por trazerem à tona a noção de discurso e de escrita, sobretudo em sua "Lição sobre Lituraterra". O estabelecimento da letra como litoral entre saber e gozo, bem como o seu funcionamento a partir da rasura, permitiram a sustentação da hipótese de leitura que se soergueu inicialmente a partir de um efeito: há em Borges algo que causa estranhamento, e ele se anuncia para além do registro do relato, constituindo uma operação formal que produz esse efeito de escrita / Abstract: This work consists in a reading of Jorge Luis Borges' style beginning from a disquieting narrative effect, which is liable to be approached by the psychoanalytic area through the enigmatic concept of the uncanny. For the elaboration of this hypothesis three Borges' short stories were primarily chosen: "La escritura del dios", "La muerte y la brújula" and "Tlön, Uqbar, Orbis Tertius". Even having made other incursions into the vast borgesian oeuvre, these three narratives constitute the needed frame for the understanding of certain mechanisms of the borgesian style, which in this work figure in the end as elements cause of uncanniness. In the first chapter these texts were boarded as reading scenes in a procedure that aimed to make explicit this disquieting Borges' writing effect, as well as to underline its repercussion in the field of literary criticism. The impact that the borgesian style had on his critics could elucidate some crucial points to the entanglement with the psychoanalytic theory in the posterior chapters, as well as recovering important keys for the reading in the proposed outlining. In the second chapter was promoted a reading of Freud's "The uncanny" through this aspect of the functioning of the borgesian oeuvre: their points of contact could reveal that the concept created by Freud overcomes the boundaries of its own elaboration, making itself present as a place of enunciation of the uncanny rather than a concept closed in its own bases. This movement summoned, in the third chapter, the resumption of the uncanny concept in the seminar, book 10. The anguish, by Jacques Lacan. In this work Lacan promotes an elaboration of a paradigmatic notion for the psychoanalytic field, the object a, starting from the uncanny as an effect of its appearance on the subjective structure. The lacanian theories in his eighteenth seminar were essential in order to compose the entanglement with the literary form, as they shed light on the notions of discourse and writing, especially in his "Lesson on Lituraterre". The establishment of the letter as littoral between knowledge and jouissance, as well as its way of function through the erasure, allowed to sustain this reading hypothesis, which was raised from an effect: there is something that causes uncanniness in Borges' writing and it shows itself beyond the register of the narrated story, constituting a formal operation that produces this writing effect / Mestrado / Linguistica / Mestra em Linguística

La question du sujet s'est développée dans la pensée occidentale en suivant deux axes. Un premier axe montre un sujet de la volonté qu'on a retrouvé avec une lecture de Kant, dont la caractéristique retenue est l'autonomie de son action. Un second montre un sujet plus personnel, marqué d'une trace qui le détermine et que la psychanalyse à la suite de Freud et de Lacan a développé comme le sujet de l'inconscient. Sont ici exposées ces deux thèses à la suite desquelles une discussion est engagée sur les conséquences éthiques de chacune. Une synthèse est proposée autour de la notion de sujet historique suggérée par le sociologue Alain Touraine et permet de discuter les enjeux rencontrés par le sujet éthique dans certaines situations contemporaines de la vie quotidienne.

The biological energy concepts used by Freud to account for unconscious mental processes in psychoanalysis are discredited by modem biological findings. As a result, different psychoanalytic schools developed new foundational theories in order to verify unconscious mentation. The present study argues that these theories are unsuccessful for two main reasons. Firstly, replacing Freud's drive energy theory with other equally hypothetical foundational constructs does not solve the problem of finding proof for the existence of unconscious mentation. Secondly, the clinical psychoanalytic definition of unconscious mentation as imaginary, internally generated processes, autonomous from the external world is misguided. External sensory data may play a formative role in producing unconscious mentation. In particular, neurobiological findings on sensory data encoding and storage in human infants may throw light on the nature of unconscious processes. The present study therefore compares ideas derived from Lacanian psychoanalysis with neuropsychological memory and infant research findings to ascertain whether unconscious mentation is linked to the memory encoding of sensory data in infants. This analysis is in tum contrasted with a more contemporary psychoanalytic synthesis of findings on infant memory and unconscious mentation (Lichtenberg, 1989, Lichtenberg, Lachmann, and Fosshage, 1992). The latter theory identifies connections between unconscious mentation and the encoding of sensory memories in infancy, but does not connect the episodic and procedural memory constructs used in this account to specific neurolo·gical mechanisms in the brain. The present study's original contributions therefore involve firstly connecting the development of aversive episodic and procedural memories to neurological mechanisms in the brain during the period between birth and 28 months of age. Secondly, this memory model suggests that the storage of aversive memories in infancy has lasting unconscious motivational significance for subjects. Presymbolic memories may unconsciously manipulate conscious attention and memory retrieval in verbal subjects, inviting comparison with the psychoanalytic concept of dynamic unconscious mentation. Thirdly, the presymbolic memory model contributes towards a novel understanding of false memories of childhood sex abuse, and the dissociation of real traumatic memories that occur in many cases of Post Traumatic Stress Disorder. / Psychology / D.Litt. et Phil. (Psychology)

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

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.

Thesis (MA)--University of Stellenbosch, 2008. / Library's copy not signed by author. Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

This thesis is an exploration of some of the defining characteristics of performance art, and an investigation of how such characteristics relate to ritual. It highlights some key notions, such as that of the “Real” and the live, which are introduced in the first chapter. This chapter explores the theories of Peggy Phelan, Julia Kristeva and Jacques Lacan in its attempts to conceptualize the Real. It assesses how performance art as ritual attempts to revise traditional apparatuses of representation. It argues that, through a transgression of representation, performance art has the potential to challenge and revise established discourses on identity, culture and violence. The second chapter of this study is an attempt to provide a history and subsequent conceptualization of performance art, based on its exposition of the live. I have taken into consideration certain strategies that performance artists employ to evoke the live, referring specifically to the manipulation of the body. It is through abject encounters with the unsymbolizable “Real” that the performance artist reaches the borders of his/her subjective constitution, and performs a transformation of his/her identity that transcends the mechanisms of representation. The third chapter of this study attempts to find the connections that exist between performance art and sacrificial ritual. I will refer specifically to the theories of Rene Girard. Girard‟s notion of the “violent sacred” and its significance within sacrifice as an antidote to community crises will be explored in relation to collective transformation within the performance event. I choose to focus specifically on the role of the performer as surrogate victim/pharmakon, and the spectators/witnesses as part of the community. The fourth chapter explores how two South African performance artists, Steven Cohen (1961) and Peter van Heerden (1973), perform the abject body as the monster. Kristeva‟s notion of the abject will be examined in terms of the transformation of the individual performer as subject within performance art, and how, through the assumption of an “othered,” monstrous identity, the performer becomes the surrogate victim. The fifth chapter will entail an examination of Peter van Heerden‟s 6 Minutes. I will attempt to draw parallels between performance art and ritual through using this performance piece as a case study. I will focus on the strategies that Van Heerden implements to resist theatrical representation. 6 Minutes will be observed in terms of its link to sacrificial ritual, and it presentation of the live, and the Real. In light of these discoveries, I aim to locate performance art within politically-driven modes of art-making, and how such an endeavour relates to South African modes of theatre and performance.

O objetivo do presente trabalho é construir recursos operatórios de leitura que permitam articular, desde um ponto de vista epistemológico, lingüística e psicanálise. Esta temática surge de uma problemática de pesquisa atual, relativa à crescente demanda, endereçada a lingüística, por diferentes práticas clínicas nas quais a linguagem está implicada. Neste sentido, procura-se relacionar um paradigma de linguagem com uma teoria da subjetividade apropriada tanto à reflexão clínica quanto à reflexão epistemológica. Desta forma, esta dissertação opta por um estudo teórico, visando a construção de operadores conceituais que possibilitem a articulação entre a psicanálise lacaniana e as teorias da linguagem de Saussure, Jakobson e Benveniste, utilizando como corpus de análise essas próprias teorias lingüísticas e psicanalíticas. Portanto, seu procedimento analítico pode ser qualificado como metateórico. Quatro critérios são utilizados para a seleção dos autores: 1°) as três teorias são, cada uma a seu modo, estruturalistas – isso significa que a estrutura é o conceito operador que permite pensar as proposições que estão na base de cada teoria (seus axiomas); 2°) as três teorias estabelecem proposições sobre o objeto língua – isso requer perguntar quais axiomas sobre a língua cada teoria teve que construir para dar conta da estrutura. Desses dois critérios deriva-se um terceiro; 3°) as três teorias conformam três “sistemas de linguagem” que não dissolvem o “objeto língua” para se constituírem em sua especificidade (diluindo-a em objetos de outros domínios teóricos, exteriores ao campo da linguagem – ou da lingüística – propriamente dito, tais como, por exemplo, a biologia, a psicologia, a sociologia). Cada sistema é representado por um nome próprio : I – Sistema de Linguagem elaborado por Saussure; II – Sistema de Linguagem tratado por Jakobson; III – Sistema de Linguagem concebido por Benveniste. Como critério de fechamento, temos que : 4°) as três teorias interessam de perto ao Sistema de Linguagem da psicanálise lacaniana. A relação entre tais teorias deverá servir de suporte de leitura à interlocução estabelecida no campo interdisciplinar sobre a presença da linguagem nas diferentes clínicas, assim como revitalizar os campos conceituais tanto da lingüística quanto da psicanálise.