Com base em uma pesquisa documental de trabalhos publicados por psicanalistas e acadêmicos vinculados ao pensamento kleiniano, o presente estudo tem por finalidade descrever os modos como as teorias de Melanie Klein e autores pós-kleinianos têm sido aplicadas na análise de obras cinematográficas, evidenciando as principais características e contingências metodológicas que resultam dessa abordagem. O trabalho tem início com uma contextualização das intersecções entre os campos da psicanálise e do cinema, enfatizando-se as proposições de Christian Metz sobre o estudo psicanalítico de filmes. O argumento central da pesquisa é desenvolvido a partir de um trabalho inacabado em que Melanie Klein analisa o filme Cidadão Kane, de Orson Welles, seguido dos comentários de Laura Mulvey a respeito desse ensaio de Klein. A noção de fantasia inconsciente elemento central do pensamento kleiniano é discutida à luz das elaborações teóricas de Hanna Segal sobre a experiência estética propiciada pelas artes, e aprofundada com as contribuições de Graham Clarke e Michael OPray sobre a experiência do psicanalista como espectador no cinema. Foi realizada uma revisão crítica de trabalhos publicados por psicanalistas e acadêmicos que analisam sete filmes por uma perspectiva notadamente kleiniana. A partir dessa revisão, foi possível discernir elementos da abordagem kleiniana utilizados por esses autores na análise do complexo temático de filmes, particularmente a noção de mundo interno, a potência das fantasias inconscientes e a experiência estética do psicanalista como espectador, que oferece sua subjetividade para dar voz aos efeitos emocionais mobilizados pela obra cinematográfica / Based on a documentary research of papers published by psychoanalysts and academics associated with the Kleinian thought, this study aims at describing the ways in which theories of Melanie Klein and post-Kleinian authors have been used in the analysis of films, revealing the main characteristics and methodological contingencies that result from such an approach. The work begins with a contextualization of the intersections between the fields of psychoanalysis and cinema, emphasizing the propositions of Christian Metz on the psychoanalytic study of film. The central argument of this research is developed from Melanie Kleins unfinished analysis of Orson Welles Citizen Kane, followed by Laura Mulveys comments on Kleins essay. The notion of unconscious phantasy a central element of Kleinian thought is discussed in light of the theories of Hanna Segal on the aesthetic experience afforded by the arts, followed by the accounts of Graham Clarke and Michael OPray on the experience of the analyst as a spectator in the movie theatre. A critical review of the works published by psychoanalysts and scholars who analyse seven films under a particularly Kleinian perspective was performed. Based on the results of the review, it was possible to discern elements of Kleinian approach deployed by these authors in their analysis of the filmic thematic complex, especially the notion of inner world, the potency of unconscious fantasies and the aesthetic experience of the analyst as a spectator, who offers her/his subjectivity to voice the emotional effects elicited by the film

Com base em uma pesquisa documental de trabalhos publicados por psicanalistas e acadêmicos vinculados ao pensamento kleiniano, o presente estudo tem por finalidade descrever os modos como as teorias de Melanie Klein e autores pós-kleinianos têm sido aplicadas na análise de obras cinematográficas, evidenciando as principais características e contingências metodológicas que resultam dessa abordagem. O trabalho tem início com uma contextualização das intersecções entre os campos da psicanálise e do cinema, enfatizando-se as proposições de Christian Metz sobre o estudo psicanalítico de filmes. O argumento central da pesquisa é desenvolvido a partir de um trabalho inacabado em que Melanie Klein analisa o filme Cidadão Kane, de Orson Welles, seguido dos comentários de Laura Mulvey a respeito desse ensaio de Klein. A noção de fantasia inconsciente elemento central do pensamento kleiniano é discutida à luz das elaborações teóricas de Hanna Segal sobre a experiência estética propiciada pelas artes, e aprofundada com as contribuições de Graham Clarke e Michael OPray sobre a experiência do psicanalista como espectador no cinema. Foi realizada uma revisão crítica de trabalhos publicados por psicanalistas e acadêmicos que analisam sete filmes por uma perspectiva notadamente kleiniana. A partir dessa revisão, foi possível discernir elementos da abordagem kleiniana utilizados por esses autores na análise do complexo temático de filmes, particularmente a noção de mundo interno, a potência das fantasias inconscientes e a experiência estética do psicanalista como espectador, que oferece sua subjetividade para dar voz aos efeitos emocionais mobilizados pela obra cinematográfica / Based on a documentary research of papers published by psychoanalysts and academics associated with the Kleinian thought, this study aims at describing the ways in which theories of Melanie Klein and post-Kleinian authors have been used in the analysis of films, revealing the main characteristics and methodological contingencies that result from such an approach. The work begins with a contextualization of the intersections between the fields of psychoanalysis and cinema, emphasizing the propositions of Christian Metz on the psychoanalytic study of film. The central argument of this research is developed from Melanie Kleins unfinished analysis of Orson Welles Citizen Kane, followed by Laura Mulveys comments on Kleins essay. The notion of unconscious phantasy a central element of Kleinian thought is discussed in light of the theories of Hanna Segal on the aesthetic experience afforded by the arts, followed by the accounts of Graham Clarke and Michael OPray on the experience of the analyst as a spectator in the movie theatre. A critical review of the works published by psychoanalysts and scholars who analyse seven films under a particularly Kleinian perspective was performed. Based on the results of the review, it was possible to discern elements of Kleinian approach deployed by these authors in their analysis of the filmic thematic complex, especially the notion of inner world, the potency of unconscious fantasies and the aesthetic experience of the analyst as a spectator, who offers her/his subjectivity to voice the emotional effects elicited by the film

Magíster en Psicología Clínica de Adultos / Este trabajo se trata de una revisión bibliográfica que aborda la noción de reparación y su relación con el cambio psíquico. Se toma como referente la obra de Melanie Klein y su teoría de relaciones objetales. Se revisa el origen de la noción de reparación, realizándose un seguimiento histórico de ésta noción dentro de la obra Kleiniana. Asimismo se analizan las implicancias que tiene este mecanismo para la teoría y la práctica clínica y también se revisa la relación entre el mecanismo de reparación y el cambio psíquico. Además, se repasan las visiones de cambio psíquico de autores como Freud, Klein y autores postkleinianos como Bion, Meltzer y Joseph

<p>This dissertation argues for a version of democratic theory, and institutions of democratic practice, that would call for and help to nurture a form of civic identity--individual and collective--committed to a "work of mourning" over the historical and enduring traumas surrounding racial discrimination and violence in the United States. By a reading of psychoanalytic theory in conversation with political and social theory, I show that mourning should be considered less as a limited response to particular loss--one that will resolve itself after a certain lapse of time--than as a process of identity formation through recognition of, and reflection on, formative traumas in the democratic polity. Using the work of Melanie Klein in particular, I argue that the work of mourning not only implies the working through of mundane losses and traumas, but the development of a certain identity (in what Klein calls the "depressive position") that is sensitive to the larger scenes of persecution and violence that shape the social and political landscape. For Klein, mourning is ultimately the process of establishing internal objects that enrich the self's capacity to mitigate its hatred, fear, envy, and greed with reparative guilt and love. Klein's descriptions of inter-subjective mourning have relevance outside the comparatively narrow confines of the analytic situation. I argue that Klein's theories of mourning and identity can enhance collective efforts to address the traumas surrounding racial violence and discrimination in the United States. I illustrate this connection by examining the experience of the Greensboro Truth and Reconciliation Commission (GTRC), which operated in Greensboro, North Carolina from 2004 to 2006.</p> / Dissertation

Responding to the works of artist Rachel Whiteread (b. 1963), this research aims to interrogate the social and spatial experiences of childhood, starting from the personal, childhood memory. Whiteread offers a curious collection of objects, furniture, toys, utensils, photographs and junk. Casting and collecting are Whiteread’s primary methods of artistic creation, of creative play, and these processes are at the centre of this thesis. Casting and collecting transforms objects – their uses and forms, and thus subsequent meanings and associations. Melanie Klein (1882-1960) was an early pioneer of child analysis, developing her distinctive method of the play technique. A key founder of British objects relations theory, Klein’s method incorporated creative play with objects and toys. Klein and Whiteread hold objects in common; play sits alongside casting and collecting. I use Klein’s theories to open up the childhood house of Whiteread and her methods of casting and collecting. The three chapters of this thesis, Closeted Childhoods: Closet (1988); Siblings and Seriality: Untitled [One Hundred Spaces] (1995); A Photographic Portrait of House (1993-94), draw on different aspects of Kleinian and psychoanalytical theory in response to Whiteread’s own childhood memory-work. Kleinian themes addressed include destruction and reparation, guilt and envy, loss and mourning, with the conclusion returning to that first object, the mother, and the presence of the maternal in Whiteread’s works. Primarily, I argue that Whiteread’s sculptural casts and installations are those materialised secrets of hidden and concealed childhoods denied by a mythology of familial unity. Significantly, I consider how the autobiographical childhood remembrance holds relevance for wider concerns of social and spatial experience – public and private.

<p>Projektiv identifikation är enligt den psykoanalytiska teorin grundläggande vid mellanmänskliga relationer. Samtidigt som begreppets betydelse och användningsområde är omdiskuterade finns förvånansvärt få empiriska forskningsresultat. Denna teoretiska, explorativa och kvalitativa studie utgår ifrån Ingmar Bergmans manus Scener ur ett äktenskap för att utforska begreppets användbarhet på en parrelation. Texten analyseras med tematisk analys och diskuteras utifrån hur projektiv identifikation kan förstås genom karaktärerna Johans och Mariannes relation. I texten illustreras en process som mynnar ut i ett återtagande av projektioner via tre olika tillstånd av inre relaterande: rigitt, rollbytande och rörligt. Dessa faser liknar ett kluvet, pre-ambivalent och ambivalent relaterande. Parenheten bildar ett projektivt system som kan utgöra ett grundläggande fokus i en parterapi. Mer empirisk forskning kring ämnet vore önskvärt för att denna teoretiska förståelse skulle kunna tillämpas i större utsträckning.</p>

Projektiv identifikation är enligt den psykoanalytiska teorin grundläggande vid mellanmänskliga relationer. Samtidigt som begreppets betydelse och användningsområde är omdiskuterade finns förvånansvärt få empiriska forskningsresultat. Denna teoretiska, explorativa och kvalitativa studie utgår ifrån Ingmar Bergmans manus Scener ur ett äktenskap för att utforska begreppets användbarhet på en parrelation. Texten analyseras med tematisk analys och diskuteras utifrån hur projektiv identifikation kan förstås genom karaktärerna Johans och Mariannes relation. I texten illustreras en process som mynnar ut i ett återtagande av projektioner via tre olika tillstånd av inre relaterande: rigitt, rollbytande och rörligt. Dessa faser liknar ett kluvet, pre-ambivalent och ambivalent relaterande. Parenheten bildar ett projektivt system som kan utgöra ett grundläggande fokus i en parterapi. Mer empirisk forskning kring ämnet vore önskvärt för att denna teoretiska förståelse skulle kunna tillämpas i större utsträckning.

The work of mid-twentieth century psychoanalyst Melanie Klein stresses the importance of the phantasy world and its role within the human psyche. For Klein innate human destructive phantasies coexist with feelings of love, guilt, and reparation. Love and hate exist in tension with one another and one must cope with balancing these feelings. I will use the psychoanalytic concept of reparation as understood by Klein to explore the performance of apology and reparation. Reparation, for Klein, refers to the psychological need to make things good, that is to say, to mend and repair relationships with others. Using this concept this work will examine the United Church of Canada's 1986 and 1998 apologies to First Nations peoples for its involvement in the residential school system, as well as the Canadian government's “Statement of Reconciliation” and 2008 apology for residential schools. This work asks the question: are these apologies effective in their attempts to make amends for past injustices or are they examples of what Klein calls “manic reparation”, which works to conceal, hide, or preserve phantasies of aggression? Klein's theories will provide a new and evaluative theoretical lens to discuss apology. The academic study of apology currently seeks to find “categorical elements”, which are then used to decide if the apology is a “success.” But this approach is missing the important component of the implied reparative concept within an apology. An apology is not only a written text but also an act that can work to conceal or reveal the perpetrators’ view of their transgressions. Exploring the manifest and latent content of apologies will provide a richer insight into the apology process.

The work of mid-twentieth century psychoanalyst Melanie Klein stresses the importance of the phantasy world and its role within the human psyche. For Klein innate human destructive phantasies coexist with feelings of love, guilt, and reparation. Love and hate exist in tension with one another and one must cope with balancing these feelings. I will use the psychoanalytic concept of reparation as understood by Klein to explore the performance of apology and reparation. Reparation, for Klein, refers to the psychological need to make things good, that is to say, to mend and repair relationships with others. Using this concept this work will examine the United Church of Canada's 1986 and 1998 apologies to First Nations peoples for its involvement in the residential school system, as well as the Canadian government's “Statement of Reconciliation” and 2008 apology for residential schools. This work asks the question: are these apologies effective in their attempts to make amends for past injustices or are they examples of what Klein calls “manic reparation”, which works to conceal, hide, or preserve phantasies of aggression? Klein's theories will provide a new and evaluative theoretical lens to discuss apology. The academic study of apology currently seeks to find “categorical elements”, which are then used to decide if the apology is a “success.” But this approach is missing the important component of the implied reparative concept within an apology. An apology is not only a written text but also an act that can work to conceal or reveal the perpetrators’ view of their transgressions. Exploring the manifest and latent content of apologies will provide a richer insight into the apology process.

Made available in DSpace on 2016-04-28T20:38:58Z (GMT). No. of bitstreams: 1 Marcus Rodrigues Jacobina Vieira.pdf: 1160437 bytes, checksum: 442a325aeb410a9a2ce12e8ce617c63a (MD5) Previous issue date: 2014-12-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This is a research on mourning and melancholy, the challenges of going through a mourning process and the refusal to accept aging and the passage of time.The research was inspired in psychoanalytic theory and on the reading of the novel The portrait of Dorian Gray, by Oscar Wilde, whose main character, Dorian Gray refused to grow old. Some aspects of Oscar Wilde´s life history were extracted from his biograpy by Daniel Salvatore Schiffer and from Tzvetan Todorov´s book Les Aventuriers de la Absolu to illuminate the the same problematic of the difficulty to enter in the work of mourning, leading to melancholy and to the empoverishment of creativity. The mourning ellaboration process and the kleinian theory of the depressive position were closely related to symbolization and to creativity, through the kleinian theory of positions and through the work of Hanna Segal and Ronald Britton / Esta é uma pesquisa a respeito dos processos de luto e melancolia, dos desafios que surgem à elaboração de lutos e perdas, e da resistência ao envelhecimento e a passagem do tempo. Foi inspirada na teoria psicanalítica e na leitura do romance O Retrato de Dorian Gray de Oscar Wilde, e de seu personagem principal, Dorian Gray, que não aceitava envelhecer. Alguns aspectos da vida de Oscar Wilde foram extraídos de sua biografia, escrita por Daniel Salvatore Schiffer e do livro de Tzvetan Todorov, A beleza salvará o mundo: Wilde, Rilke e Tsvetaeva: os aventureiros do absoluto, para iluminar a mesma problemática de inibição do luto, conduzindo à melancolia e ao empobrecimento da criatividade. Os processos de luto e a teoria desenvolvida por Melanie Klein da posição depressiva foram intimamente relacionados à simbolização e à criatividade, através da teoria kleiniana das posições, e do trabalho de Hanna Segal e Ronald Britton