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During the long 19th century and the great development of mental health care, several new hospitals were built, and new methods emerged. The society wanted healthy citizens who could work, to contribute to the economy and that made the mental hospitals very important during that time. The economic status of social classes was also reflected in the mental hospitals where patients were divided into different class units. In the first class, one could find patients with good economic backgrounds, meanwhile the poor patients were living in the crowded third class. This research follows the lives of five patients, three men and two women, who were diagnosed with melancholia during the early 20th century at Kristinehamn’s hospital. Letters, patient records, examinations etc. will be examined to get an insight into their lives, but also the doctors’ thoughts and methods. Their most common symptoms, how they were taken care of and how themselves experienced their illness will be discussed and analyzed in this paper.

This thesis problematizes the recent transdisciplinary turn to melancholia by grounding the concept within the literature of three contemporary Algerian authors: Assia Djebar, Yasmina Khadra, and Boualem Sansal. If Freud figured melancholia as a pathological response to loss, much recent scholarship has reconceptualized it as an ethico-political model of remembrance that safeguards the memory of the lost or marginalized other. Yet the recent and ubiquitous depathologization of melancholia is only possible insofar as theorists overlook its more insidious elements. By analyzing how melancholia emerges within the postcolonial novels of Djebar, Khadra, and Sansal, this thesis reveals how melancholia in fact undermines an ethico-politics of remembrance, further displacing those lost others that theorists of melancholia would recuperate. Divided into two sections, the first part of the thesis thus challenges the ethico-political viability of melancholia as a mnemonic model. Through close readings of the texts, the first four chapters reveal postcolonial melancholia in Algeria to be imbricated in amnesia, immobility, repetition, victimhood, apolitical retrospection, and the unethical appropriation of the lost object. Part II investigates how the authors imagine different models of remembrance that move beyond the limits of the mourning and melancholia dyad. If melancholia has been depathologized, it nonetheless remains ensnared within a binary system in which the subject either forgets (mourns) or engages in a putative act of hyper-remembrance (melancholia). Building upon the recent theory of Dominick LaCapra, Mireille Rosello, and Judith Butler, the final two chapters explore the critical potential of ‘working upon’ the past. As an on-going and conscious model of remembrance, ‘working upon’ actively resists the closure inherent to mourning but it also circumvents the melancholic (re)appropriation of the past and its lost others. Ultimately, then, this thesis signals the need for emergent models of memorialization that move beyond the restrictions of the Freudian binary of mourning and melancholia.

La présente thèse vise à analyser le thème de la mélancolie postcoloniale et son utilisation stratégique dans huit romans de Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et d’Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). Sous l’éclairage de la psychanalyse et de la critique postcoloniale, nous définissons cette notion fondamentale comme suit : un psychisme ambivalent entraîné par la perte ou le manque de certains objets d’attachement ––– objets qui sont en l’occurrence la mémoire collective et/ou le lieu d’appartenance identitaire. Comment et pourquoi ce thème se manifeste-t-il dans notre corpus ? Notre hypothèse est que l’utilisation dudit thème serait plus le résultat de leur choix stratégique que l’effet de leur état psychique. C’est afin d’examiner leurs propres problématiques des construction et perception identitaires dans le contexte postcolonial que ces écrivains mettent en récit une telle situation de manque mnémonique et spatial à travers l’écriture romanesque. Afin de mieux élucider la manifestation textuelle de ce thème, nous divisons celui-ci en deux motifs : la « non-histoire » et le « non-lieu ». En nous appuyant principalement sur les réflexions d’Édouard Glissant, de Takayuki Nakamura et de Marc Augé, nous définissons ces concepts comme deux aspects de la mélancolie postcoloniale : situation de manque de la mémoire collective et celle du lieu d’appartenance identitaire. Nos analyses de ces deux motifs sur un plan stylistique, narratologique, structurel et théorique permettent d’examiner de plus près les points de convergence et de divergence entre l’écriture romanesque de Chamoiseau et celle d’Ollivier. En nous fondant sur les quatre études dans la deuxième partie concernant la mise en récit de la non-histoire, nous analysons les utilisations stratégiques de ce motif afin de voir la mise en récit de la « vision prophétique du passé » (É. Glissant). Nous élucidons ensuite en quoi consiste cette vision temporelle paradoxale : choix de genres littéraires tels que le récit policier (Mère-Solitude et Solibo Magnifique) et le récit du retour au pays natal (Les urnes scellées et Bibliques des derniers gestes). Ce choix narratif se réfère toujours à ce que nous nommons la méthode inductive de la narration. La troisième partie, composée encore de quatre études, éclaire les stratégies de la description du lieu. Nous en déduisons une modalité sui generis de la description spatiale que nous appelons, d’après Marc Augé, l’« évocation prophétique d’espaces ». Cette stratégie descriptive se représente notamment par la spatialisation métaphorique de l’identité créole (Texaco et Un dimanche au cachot) ou migrante (Passages et La Brûlerie). En conclusion, nous résumons ces analyses pour en extraire les points communs et divergents entre les utilisations stratégiques de la mélancolie postcoloniale chez Chamoiseau et Ollivier. Entre autres aspects, nous constatons que la mise en récit de la vulnérabilité due à la mélancolie postcoloniale constitue leur positionnement esthétique et éthique afin qu’ils puissent réfléchir aux constructions et perception identitaires au sein du monde actuel devenu plus que jamais flou et fluide. / The purpose of this doctoral thesis is to analyse the theme of postcolonial melancholia and that strategic utilization in eight novels of Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). From the perspective of psychoanalysis and postcolonial criticism, we define this fundamental notion in the following manner : an ambivalent psychology produced by the loss or lack of some objects of attachement ― objects which in this instance are the collective memory and/or the place of belonging. How and why does this theme manifeste itself in our corpus ? Our hypotheses is that the utilization of this theme would be their strategic choice rather than their psychological condition. It is in order to dissect their own problematics of identity construction and perception in the postcolonial contexte that these authors put into narrative form such situations of mnemonic and spatial lack through the writing of these novels. For the purpose of better clarifying the textual appearance of this theme, we divide it into two motifs : the « non-history (non-histoire) » and the « non-place (non-lieu) ». According to the reflections of Édouard Glissant, Takayuki Nakamura and Marc Augé, we define these concepts as being respectively one of the aspects of the postcolonial melancholia : a situation of lack of the collective memory and of the place of belonging. Our analyses of these two motifs from the stylistic, narratological, structural and theorical perspectives make it possible to examine with meticulous care the points of convergence and divergence of the novel writing between Chamoiseau and Ollivier. Based on four studies in the second part which concerns putting in narrative form of the non-history, we deduce that their strategic utilizations of this motif are actualized by « prophetic vision of past » in the glissantian meaning. We clarify subsequently what this paradoxal vision of time consists in : a choice of the literary genres such as the detective novel (Mère-Solitude et Solibo Magnifique) and the return to the native land (Les urnes scellées et Biblique des derniers gestes). This narrative choice is always supported by what we call the inductive method of narrating. The third part, composed again of four individual studies, throws light on strategies of spatial description. We abstract from these studies a way sui generis of the spatial description which we call, in Augé’s words, the « prophetic evocation of spaces ». This descriptive strategy is represented notably by the metaphorical spatialization of creole identity (Texaco et Un dimanche au cachot) or migrant identity (Passages et La Brûlerie). In conclusion, we summarize these eight studies to extract the points of convergence and divergence between the stratégic utilizations of the postcolonial melancholia in Chamoiseau and Ollivier. Prominently, we notice that the work of putting into narrative form the vulnerability due to the postcolonial melancholia constitutes their aesthétical and ethical standpoints so that they can reflect the identity construction and perception within the today’s world which is more blurred and fluid than ever before.

Made available in DSpace on 2016-04-28T20:39:42Z (GMT). No. of bitstreams: 1 Ana Cecilia Magtaz.pdf: 559521 bytes, checksum: 8005b86f852e35fc6b0e083d38afd2d8 (MD5) Previous issue date: 2008-03-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This doctoral thesis goes into theoretical-clinical issues treated earlier in the master's dissertation entitled Psychoanalytic approach to anorexia and bulimia as disorders of orality. The dissertation was defended in 1998 in the context of the laboratory of Fundamental Psychopathology of the Center for Psychoanalysis in the Graduate Study Program in Clinical Psychology at the Catholic University of São Paulo. This thesis does not have the objective of defending any classificatory structural position related to the need for a differential diagnosis of anorexia and bulimia as clinical entities. It will defend the perspective that disorders of orality are symptomatic manifestations of melancholia, a narcissistic neurosis. This perspective does not rule out the possibility of there also being disorders of orality in other defensive structures, such as in hysteria or perversion. In other words, anorexia, bulimia, obesity and addictions in general are symptomatic expressions that can occur in melancholic dimensions of the transference neuroses and of perversion. The superego being a structural dimension of the psychic apparatus, the shadow of the object can fall on the ego, regardless of the subject's psychopathological structure. This means that narcissistic neurosis has dynamics that are relatively independent of the transference neurosis where, contrary to narcissistic neurosis, the conflict takes place between id and ego / Esta tese não terá como objetivo defender uma posição estruturalclassificatória que responde à necessidade de um diagnóstico diferencial da anorexia e da bulimia como entidades clínicas. Defenderá o ponto de vista de que os distúrbios da oralidade são manifestações sintomáticas da melancolia, uma neurose narcísica. Este ponto de vista não exclui a possibilidade de haver distúrbios da oralidade em outras estruturas defensivas, como por exemplo, na histeria ou na perversão. Em outras palavras, a anorexia, a bulimia, a obesidade e as adicções em geral são manifestações sintomáticas que podem ocorrer em dimensões melancólicas das neuroses de transferência e da perversão. Como o superego é uma dimensão estrutural do aparelho psíquico, a sombra do objeto pode se abater sobre o ego, independentemente da estrutura psicopatológica do sujeito. Isso quer dizer que a neurose narcísica possui uma dinâmica relativamente independente da neurose de transferência, na qual, ao contrário da primeira, o conflito se dá entre id e ego

[pt] Desde o final do século XX, o tempo - enquanto conceito, objeto, tema, ou categoria do entendimento e da experiência - tem sido crescentemente mobilizado como instrumento crítico nas ciências sociais e nas humanidades. De diferentes formas, viemos a ser interpelados a levar o tempo a sério, na busca por lançar luz sobre pressupostos não reconhecidos, esclarecer debates conceituais, aprimorar investigações empíricas, e buscar melhores análises, ações e disposições sociais e políticas. Em particular, os debates sobre política internacional responderam a tal interpelação refletindo sobre os limites e as possibilidades advindas de seus pressupostos temporais, muitas vezes mantidos implícitos. Nesta tese, proponho que, embora não haja como negar estas afirmações nem o importante trabalho delas decorrente, há também boas razões para considerá-las sob uma outra perspectiva. Nesse sentido, abordo essa literatura não tanto em termos da legitimidade das posições articuladas por meio dela, mas em termos das suas condições de existência e dos efeitos decorrentes destas. Mais especificamente, proponho lermos tal proliferação do tempo em termos de uma formação discursiva, isto é, de um conjunto de regularidades que organizam e distribuem o tempo em campos de conhecimento, poder e afetos por meio dos quais podemos a governar a nós mesmos e aos outros. Para tanto, parto de uma leitura de discurso que reúne a ênfase inicial de Foucault em campos de dispersão com uma interpretação de formações discursivas como circuitos de afetos pelos quais elas não apenas são investidas de libido, mas também efetivamente libidinais. Eu então desenvolvo dois argumentos. Em primeiro lugar, trabalhando com debates sobre tempo e política internacional, descrevo os campos de conceitos, objetos, sujeitos e estratégias a partir dos quais tais debates ocorrem. Ao fazê-lo, argumento que eles tendem a reproduzir dualismos como fixidez e fluidez, temporâneo e disjunção, unidade e multiplicidade, necessidade e contingência, assim como metáforas de escalas e inversões que muitas vezes recuperam as próprias concepções de política moderna e subjetividade que buscam contrariar ao levar o tempo a sério. Entretanto, ao invés de interpretar tal ambivalência como um problema, proponho entendê-la em termos da efetividade produtiva do discurso do tempo. Em segundo lugar, caminhando para uma compreensão da melancolia como um modo de articulação de relações discursivas por meio de perda, identificação, reflexividade e prazer, proponho que podemos nomear o discurso do tempo como melancólico. Ao fazê-lo, argumento que tal discurso é não apenas embebido de poderosos efeitos de atração, mas também dá forma particular à melancolia nos nossos dias. Diante dos melancólicos circuitos de poder e conhecimento que são o discurso do tempo, concluo propondo que a proliferação do tempo desde o final do século XX pode nos dizer algo sobre os modos de governo mobilizados na política mundial pelo menos, se não além dela. / [en] In the late 20th and early 21st century, time - as a concept, an object, a theme, or a category of understanding and of experience - has been increasingly lmobilized as a critical category in the social sciences and the humanities. In different ways, we have come to be interpellated by the injunction to take time seriously in an endeavor to shed light on unacknowledged assumptions, clarify conceptual debates, improve empirical investigations, and work towards better social and political analysis, action, and disposition. In particular, debates in International Relations have responded to this interpellation by considering the limits and possibilities coming from its often-unacknowledged conceptions of time. In this dissertation, I surmise that, even though there is no contending with these assertions and the important work stemming from them, there are also good reasons for us to consider them under a different light. In this sense, I engage this literature not so much in terms of the legitimacy of positions articulated in it, but in terms of their conditions of existence and their particular effects. More specifically, I propose we read this topicality of time as a discursive formation, that is, a set of regularities that organize and distribute time in fields of knowledge, affects, and power through which we come to govern ourselves and others. To do so, I start from a reading of discourse that brings together Foucault s early emphasis on fields of dispersion with an interpretation of discursive formations as circuits of affects through which they not only become libidinally invested, but also effectively libidinal. I then develop two arguments. First, by working through debates over time and world politics, I make emerge the fields of concepts, objects, subjects, and strategies under which they take place. In doing so, I argue they tend to reproduce dualisms such as fixity/fluidity, timeliness/disjunction, unity/multiplicity, necessity/contingency, and metaphors of scales and turns that often recuperate the very conceptions of modern politics and subjectivity they proclaim to run counter by taking time seriously. Instead of reading such ambivalence as a problem, however, I venture we should understand it in terms of the productive effects of the discourse of time. Second, moving towards an understanding of melancholia as an articulation of discursive relations through loss, identification, reflexivity, and enjoyment, I propose we can name the discourse of time melancholic. In doing so, I argue that the above discourse is not only embedded with powerful luring effects, but also that it gives particular form to present melancholia. Given these melancholic fields of knowledge-power that are the discourse of time, I conclude by proposing that the topicality of time since the late 20th century can tell us something about the modes of government being mobilized in world politics at least, if not also beyond.

This thesis explores the way in which it is possible to undermine dominant colonial power structures through the figure of the organic intellectual. In the context of this work, the figure of the organic intellectual is the Filipino American playwright, who creates characters and worlds that expose the fragmented identities of the postcolonial condition following both Spanish and American occupation. This thesis focuses on Han Ong and Ralph Peña, two Filipino American playwrights who are well suited to the role of instigating change because they embrace the cracks and fissures brought on from years of trying to reconcile disparate identities within an often insecure self and transform those disjointed regions into something beautiful, and above all, worth examining further. By creating works that allow literal embodiment of postcolonial discourse, Filipino American playwrights are able to articulate issues and foster awareness for all involved in the production of the play, whether it be through a performative or spectatorial perspective.

La présente thèse vise à analyser le thème de la mélancolie postcoloniale et son utilisation stratégique dans huit romans de Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et d’Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). Sous l’éclairage de la psychanalyse et de la critique postcoloniale, nous définissons cette notion fondamentale comme suit : un psychisme ambivalent entraîné par la perte ou le manque de certains objets d’attachement ––– objets qui sont en l’occurrence la mémoire collective et/ou le lieu d’appartenance identitaire. Comment et pourquoi ce thème se manifeste-t-il dans notre corpus ? Notre hypothèse est que l’utilisation dudit thème serait plus le résultat de leur choix stratégique que l’effet de leur état psychique. C’est afin d’examiner leurs propres problématiques des construction et perception identitaires dans le contexte postcolonial que ces écrivains mettent en récit une telle situation de manque mnémonique et spatial à travers l’écriture romanesque. Afin de mieux élucider la manifestation textuelle de ce thème, nous divisons celui-ci en deux motifs : la « non-histoire » et le « non-lieu ». En nous appuyant principalement sur les réflexions d’Édouard Glissant, de Takayuki Nakamura et de Marc Augé, nous définissons ces concepts comme deux aspects de la mélancolie postcoloniale : situation de manque de la mémoire collective et celle du lieu d’appartenance identitaire. Nos analyses de ces deux motifs sur un plan stylistique, narratologique, structurel et théorique permettent d’examiner de plus près les points de convergence et de divergence entre l’écriture romanesque de Chamoiseau et celle d’Ollivier. En nous fondant sur les quatre études dans la deuxième partie concernant la mise en récit de la non-histoire, nous analysons les utilisations stratégiques de ce motif afin de voir la mise en récit de la « vision prophétique du passé » (É. Glissant). Nous élucidons ensuite en quoi consiste cette vision temporelle paradoxale : choix de genres littéraires tels que le récit policier (Mère-Solitude et Solibo Magnifique) et le récit du retour au pays natal (Les urnes scellées et Bibliques des derniers gestes). Ce choix narratif se réfère toujours à ce que nous nommons la méthode inductive de la narration. La troisième partie, composée encore de quatre études, éclaire les stratégies de la description du lieu. Nous en déduisons une modalité sui generis de la description spatiale que nous appelons, d’après Marc Augé, l’« évocation prophétique d’espaces ». Cette stratégie descriptive se représente notamment par la spatialisation métaphorique de l’identité créole (Texaco et Un dimanche au cachot) ou migrante (Passages et La Brûlerie). En conclusion, nous résumons ces analyses pour en extraire les points communs et divergents entre les utilisations stratégiques de la mélancolie postcoloniale chez Chamoiseau et Ollivier. Entre autres aspects, nous constatons que la mise en récit de la vulnérabilité due à la mélancolie postcoloniale constitue leur positionnement esthétique et éthique afin qu’ils puissent réfléchir aux constructions et perception identitaires au sein du monde actuel devenu plus que jamais flou et fluide. / The purpose of this doctoral thesis is to analyse the theme of postcolonial melancholia and that strategic utilization in eight novels of Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). From the perspective of psychoanalysis and postcolonial criticism, we define this fundamental notion in the following manner : an ambivalent psychology produced by the loss or lack of some objects of attachement ― objects which in this instance are the collective memory and/or the place of belonging. How and why does this theme manifeste itself in our corpus ? Our hypotheses is that the utilization of this theme would be their strategic choice rather than their psychological condition. It is in order to dissect their own problematics of identity construction and perception in the postcolonial contexte that these authors put into narrative form such situations of mnemonic and spatial lack through the writing of these novels. For the purpose of better clarifying the textual appearance of this theme, we divide it into two motifs : the « non-history (non-histoire) » and the « non-place (non-lieu) ». According to the reflections of Édouard Glissant, Takayuki Nakamura and Marc Augé, we define these concepts as being respectively one of the aspects of the postcolonial melancholia : a situation of lack of the collective memory and of the place of belonging. Our analyses of these two motifs from the stylistic, narratological, structural and theorical perspectives make it possible to examine with meticulous care the points of convergence and divergence of the novel writing between Chamoiseau and Ollivier. Based on four studies in the second part which concerns putting in narrative form of the non-history, we deduce that their strategic utilizations of this motif are actualized by « prophetic vision of past » in the glissantian meaning. We clarify subsequently what this paradoxal vision of time consists in : a choice of the literary genres such as the detective novel (Mère-Solitude et Solibo Magnifique) and the return to the native land (Les urnes scellées et Biblique des derniers gestes). This narrative choice is always supported by what we call the inductive method of narrating. The third part, composed again of four individual studies, throws light on strategies of spatial description. We abstract from these studies a way sui generis of the spatial description which we call, in Augé’s words, the « prophetic evocation of spaces ». This descriptive strategy is represented notably by the metaphorical spatialization of creole identity (Texaco et Un dimanche au cachot) or migrant identity (Passages et La Brûlerie). In conclusion, we summarize these eight studies to extract the points of convergence and divergence between the stratégic utilizations of the postcolonial melancholia in Chamoiseau and Ollivier. Prominently, we notice that the work of putting into narrative form the vulnerability due to the postcolonial melancholia constitutes their aesthétical and ethical standpoints so that they can reflect the identity construction and perception within the today’s world which is more blurred and fluid than ever before.

This paper examines nostalgia in photo-poetry book Nostos, and nostalgia’s existence as a theoretical global condition arising from displacement, looking at nostalgia specifically not as a yearning for home, but a yearning for a lost sense of feeling at home. It traces the lineage of image-text hybrid art practices and examines the significance of conveying meaning through both synergistically. It studies the psychoanalytic process of transforming loss into object, or absence into presence, ultimately using the object as a lens to view oneself and the way in which nostalgia manifests itself.

Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David Nebreda. / This research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda.