Made available in DSpace on 2016-04-28T20:40:05Z (GMT). No. of bitstreams: 1 Evelyse Stefoni de Freitas Clausse.pdf: 672436 bytes, checksum: 8b82dd460b956b36da81f9d8e49809a6 (MD5) Previous issue date: 2009-05-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this work is to define a way of intervention in the psychoanalytic treatment of psychosis. Rooted in Fundamental Psychopathology, it is a case study, based on clinical method, conveyed by the search of a patient for its origins. To tackle the question of origins, we start with the myth of Oedipus, the gate to the introduction of the patient into culture, out of the construction of the myth of the origin of civilization, as well as out of the subjective experience, whose course through the Oedipus complex, from the symbolization of the primordial law, will produce different modes of subjectification. Our route begins with the investigation of the first issue that brought us to the clinic: the not knowing . From a patient who comes to the consulting room overwhelmed by learning diffculties at school and, above all, by his not knowing about his own origin, we are invited to investigate the hardship of knowledge and cognition and its implications in the psychical constitution. From these notions, we will address the different aspects of intellectual inhibition in childhood clinic where do appear, separated by stringent limits: the symptomatic position in which inhibition would serve as a defense against the confrontation of the neurotic conflict or the intellectual insufficiency as a visible phenomenon in childhood, a mask for psychosis. Along the case, we introduce the psychical constitution through psychosis, whose understanding is based in the rupture of the primordial symbolization. Back to the question of origins, we discuss the notions of fantasy, delirium and family romance. Finally, we address the task of the psychoanalyst in the treatment of psychosis / Este trabalho tem como objetivo delinear uma via de intervenção na clínica psicanalítica da psicose. Ancorado na Psicopatologia Fundamental, a partir do método clínico, é um estudo de caso que tem na busca do paciente por suas origens o seu fio condutor. Para abordar as questões das origens, tomamos o mito de Édipo, fiador da entrada do sujeito na cultura, a partir da construção do mito de origem da civilização, assim como na vivência subjetiva, cuja travessia pelo complexo de Édipo, a partir da simbolização da lei primordial, produzirá diferentes modos de subjetivação. Nosso percurso começa na investigação do primeiro elemento que nos trouxe a clínica: o não-saber. A partir de um paciente que chega ao consultório assomado por queixas na escola e, principalmente, por seu não-saber sobre a própria origem somos levados a investigar as vicissitudes do saber e do conhecimento e suas implicações na constituição psíquica. A partir dessas noções, abordamos as facetas da inibição intelectual na clínica da infância, onde aparecem separadas por tênue limite: posição sintomática na qual a inibição serviria como defesa para o enfrentamento do conflito neurótico ou ainda insuficiência intelectual como fenômeno aparente na infância, máscara da psicose. No acompanhamento do caso, apresentamos a constituição psíquica pela via da psicose, cuja compreensão é ancorada na ruptura da simbolização primordial. De volta à questão das origens, discutimos as noções de fantasia, delírio e romance familiar. Por fim, abordamos a respeito da tarefa do psicanalista na clínica da psicose

Enigmatique, poétique, fragmentaire, foisonnante, réitérative, l’œuvre de Pascal Quignard attire par son univers complexe composé de fiction, de vécu personnel, de récits fabuleux, d’érudition, de pensées philosophiques, dans lequel on rencontre des lieux qui constituent des ports d’attache et qui détiennent les secrets du temps. Ces lieux semblent structurer l’œuvre. L’auteur s’intéresse à l’esprit des lieux comme pour mieux souligner les liens invisibles et imaginaires qui se tissent entre l’homme, son territoire et son passé. Etudier l’esprit des lieux et le mythe de l’origine chez Quignard, c’est essayer de comprendre l’évocation récurrente de ce territoire devenu obsédant et sa puissance de représentation dans la création de l’écrivain. Avec le choix du double corpus, romanesque et philosophique, avec le choix d’une méthode de recherche pluridisciplinaire (critique littéraire, anthropologie, imaginaire), notre thèse se construit en trois parties, qui abordent successivement la question de l’attirance des lieux, celle du glissement de l’enchantement à la mélancolie, ainsi que les caractéristiques de l’écriture poétique et mythique de Quignard. Nous trouvons des lieux enchantés qui reflètent la Weltanschauung de l’auteur. Véritables sources de vie, de l’imagination et de la création, ils suscitent la réconciliation entre l’homme et son passé, son territoire et son identité, même si la mélancolie y demeure fondamentale. Les personnages de Quignard sont extrêmement sensibles à tout ce qui est perdu et oublié, à des maisons et lieux abandonnés, à des hommes qui sont présentés comme des enfants d’Eve exilés. Le désir de ré-enraciner, de se ré-ancrer dans le lieu d’autrefois révèle l’attachement mais aussi la défaillance, car l’homme se trouve vite confronté à ce qui est perdu, au vide. L’enchantement reste éphémère, la mélancolie nous ouvre la porte des lieux sombres. Pour mettre en lumière l’esprit des lieux, Pascal Quignard a recours à une écriture riche en réminiscences, en images, en mythes. Son œuvre est le fruit de l’imaginaire, de l’intuition. Les relations complexes entre Fragments, Réminiscences, Mémoire dans son écriture révèlent la profondeur poétique de l’œuvre, tandis que le narrateur suit l’instant, la trace des êtres, les appels lointains, toujours avec son intuition, et ses impressions de poète mélancolique. L’écrivain sert également d’anciens mythes, les transforme et les enrichit comme un moyen efficace pour créer son propre mythe des lieux : mythe du perdu, mythe du retour et mythe de l’origine. / Enigmatic, poetic, fragmentary, abundant, the attraction of Pascal Quignard's work comes from the complex universe of fiction, personal experiences, fabulous stories, extensive documentation and philosophical thoughts, in which some places are homeports, holding the secrets of time. Such places seem to structure the work. The author favors the spirit of places, as if to underline the invisible imaginary links between man, his territory and his past. To study the spirit of places and the origin of myth in the work of Quignard one has to try to understand the recurring evocation, which has become obsessive, of this territory, and his power of creation as writer. With the choice of a double corpus, fiction and philosophy, and a method of interdisciplinary research (literary criticism, anthropology, imagination), our thesis divides into three parts, which will examine in succession the attractiveness of places, then proceed from enchantment to melancholy, and eventually determine the characteristics of the poetic and (the) mythical writing of Quignard. We will find enchanted places that reflect the worldview of the author. They are the true sources of life, imagination and creativity, bringing about reconciliation between man and his past, his territory and his identity, even if melancholy remains fundamental in them. The characters of Quignard are extremely sensitive to all that is lost and forgotten, abandoned homes and places, and to men who are Eve's children in exile. The desire to re-root oneself into the place of the past reveals attachment but also failure, because man is quickly confronted with loss and emptiness. The enchantment remains elusive; melancholy appears constant and opens somber places in his work. To enhance the spirit of place, Quignard makes use of a rich choice of reminiscences, images and myths. His work is at the same time search for, analysis and a quest on man and his place on earth, but it is also a product of imagination and intuition. The complex relations between Fragments, Reminiscences, and Memory in his writing reveal the poetic depth of the work. The narrator also follows moment and instinct, always with the intuition and feelings of a melancholy poet. The writer also uses ancient myths and transforms and enriches them as an effective way to create his own myth of place: myth of (the) loss, myth of (the) return and the myth of (the) origin.