A crítica à psicanálise empreendida por Gilles Deleuze & Félix Guattari é bastante conhecida. Sua relação íntima com a psicanálise, a ponto desta ser responsável pela origem de alguns conceitos centrais na obra esquizoanalítica, nem tanto. As críticas fortemente elaboradas pelos autores em O Anti-Édipo: Capitalismo e Esquizofrenia acerca do idealismo que seria característico da psicanálise, se condensam i) na representação em jogo no pensamento psicanalítico, ii) na compreensão do inconsciente como um teatro, e iii) na mediação familiar à qual a psicanálise submeteria todo o desejo. Neste trabalho, tenta-se recompor o trajeto pelo qual esse questionamento foi formulado, além de examinar a pertinência e as repercussões de tais críticas na obra lacaniana. São analisados alguns trabalhos anteriores de Deleuze e de Guattari, assim como algumas de suas bases filosóficas, a fim de compor um mapa de seu pensamento. É também analisado o trajeto teórico de Jacques Lacan, que, conforme demonstrado, estava às voltas com questões similares às dos esquizoanalistas em diversos momentos de seu pensamento, assim como a recepção de tal arsenal crítico em seu trabalho. Nesta linha, são apresentadas algumas hipóteses relativas à incorporação de parte da ideia deleuzoguattariana, assim como algumas considerações acerca do materialismo em jogo na psicanálise. Finalmente, são apresentadas algumas ponderações acerca de tal debate empreendidas por pensadores contemporâneos, situando tais comentários em relação ao contexto deste trabalho. Conclui-se que, apesar de toda a relação entre as duas correntes ser marcada por diversos pontos de ruptura, um plano de coengendramento não só é possível, como é constitutivo de ambos os campos / The critique on psychoanalysis enforced by Gilles Deleuze & Félix Guattari is well known. Its intimate relationship with psychoanalysis, to the point where it is responsible for the creation of many core concepts in the schizoanalytical ouvre, though, isnt as well known. The critique formulated by the authors in The Anti-Oedipus: Capitalism and Schizophrenia related to the idealism concerning psychoanalysis, is condensed around i) the representation at stake in the psychoanalytical thought, ii) the understanding of the unconscious as a theatre, and iii) the familiarist mediation to which psychoanalysis would submit desire, In this text, the path following such questions is analysed and recovered, and the critique is examined trying to define its pertinence and the repercussion of such critique in the lacanian psychoanalytical ouvre. Some previous Works of Deleuze and Guattari are analysed, just as some of their philosophical foundations, in a way to compose a map of their thought. Jacques Lacans theoretical path i salso analysed, and, according to our demonstration, he was involved in similar questions to the ones that were being investigated by the schizoanalysts in many moments of their work. Some hypothesis are presented regarding the incorporation of part of the deleuzoguattarian ideas, and some considerations are made regarding the state of the materialism at stake in psychoanalysis. Finally, some ponderations by contemporary thinkers regarding this debate are presented, placing such comments in relation to the framework of this text. Its conclucded that, even though the relationship between both currents of thought is deeply marked by many rupture points, a plane of dialogue is not only possible, but constitutive of both fields

This investigation combines contemporary Marxian political economy with Lacanian psychoanalysis to understand the discourse of finance capitalism, and to understand the dialectical seeds of the industry’s eventual destruction that were inherent within the hegemonic commodities of the era. These commodities, which include derivatives, futures, collateralized debt obligations, credit default swaps and subprime mortgage loans, were ideological and communicative as well as profitable, and thus do a double duty under finance capitalism’s dominance. Lacan’s concepts of metaphor, fantasy, the quilting point, and the master signifier are extended in order to understand how subjects come to know themselves and their world through the terms given to them by capital. In addition, the rhetorical interventions of two chief ideologists for finance capitalism in the 1990s, Thomas Friedman and Alan Greenspan, are interrogated as exemplifications of the fantastical nature of late capitalism. / text

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The simplicity of the war neuroses has been the subject of observation by many writers. It is a remarkable fact, however, that the observed simplicity has not led to any unanimity of opinion on the actual constitution of the neuroses. The striking character of the symptoms, the ease with which they could be influenced by the most diverse methods of treatment, and the significance of the more obvious mechanisms were facts of common recognition. But there remains still considerable difference of opinion on the subject of the essential nature of the condition. There are writers who consider them the expression of neurological disorders ; others look upon them as primarily functional or psychogenic : others again endeavour to combine those differing views in the conception of a "functional" derangement of the cortical cells subserving the disordered organ.

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Considered to be the original creator of psychoanalysis as well as the father of psychology, it is likely that the name “Sigmund Freud” has come up at some point in time in many people’s lives. He is undoubtedly the most popular man in the field of psychology, but he also is the most controversial. It is plain to see that there are many limitations in his work, but as a result, he is considered to be outdated by some and no longer relevant in the field at all. This paper will explore the kind of man that Sigmund Freud really was in order to see what specifically influenced his theories and ideas. Further, his works will be compared alongside some of the contributions from fellow psychoanalysts Karen Horney and Melanie Klein in order to show how the field of psychoanalysis has evolved over time, and that many of Freud’s faults were merely a result of his upbringing and the time period that he came from.

Who are we? Why do we do the things we do? These questions are constantly under scrutiny, forever unable to provide us with adequate answers, it seems. Yet, with the continuing rise in popularity of digital media, we are able to situate these questions in a different sphere and see aspects of the self that we were unable to perceive before. Digital media forms have provided us with the capacity to explore whole new worlds, as well as allowing for new and innovative methods of communication. These changes make a huge impact on the daily lives of individuals. This thesis presents a theoretical contribution to both psychoanalytic thinking and to the rapidly expanding field of games studies, with especial reference to avatar-based games. It considers the status of the bond formed between the individual at play (known here as the ‘user’) and the game itself. Furthermore, it presents this as a model which identifies the user’s relation to the game dynamic through an understanding of the key components of a video game, including aspects such as the control mechanism. Elements which cross the boundary between the user/game realities are also considered with relation to hyperreality, thus forming a more complete imagining of this framework. This also allows for an application of this dynamic to what we define as violent (and associated) acts within games. In turn, this allows for a more complete understanding of the game situation, and can be applied to our understanding of the user as well. This thesis provides a standalone framework which can also be utilised in other types of investigation in future.

The present dissertation is a study of the process of national identity renegotiation in modern Russia. More specifically, I analyze the use of the word fascism in contemporary Russian discourse. Developing a blend of Kenneth Burke’s theory of human motives and Jacques Lacan’s psychoanalytic theory of the subject, I compare the psycho-rhetorical narratives of the four distinct parties - Vladimir Putin, state-sponsored “anti-fascists” (Nashi), independent anti-fascists (Antifa), and neo-fascists - which fight over the usage of the word fascism in their attempts to renegotiate the meaning of Russianness. While explicating the mechanism of national identity construction, Lacan’s theory, as I argue, does not help distinguish among various visions of the nation. Therefore, I build upon Burke’s classification of symbolic frames (comedy, tragedy, epic, elegy, satire, the burlesque, and the grotesque) to differentiate among alternative fantasy-frames (Lacanian fantasy and Burkean frame) as more or less politically dangerous and ethically sophisticated. As the reading of the four psycho-rhetorical narratives shows, the vision of Russia proposed by Russian neo-fascists dangerously approximates the Russian idea promoted by the state and pro-Putin “anti-fascists.”

ABSTRACT The premise of my thesis is to approach poetics anew, using psychoanalysis and other related theoretical disciplines to help answer the often overlooked but fundamental question: 'What is poetry?' This thesis is based on the notion that Freud's insight into the unconscious is itself the key to unlocking the essential function of poetry as it has come to be understood in the 20th century, throughout the modernist period; and that Lacan, as a rewriting of Freud, specifically developed a theory of language that provides the beginnings of a psychoanalytic poetics. Another component of this thesis involves the claim that, of all the modernists, Wallace Stevens particularly embodies a poetic style that most closely embodies the theoretical position of psychoanalysis. In the first chapter of this study my aim is to draw out thoroughly the relationship to Freudian psychoanalysis and poetry'and to make the specific argument that Freud's technique for dream interpretation is essentially the one that we use to interpret or to read modern poetry. The second chapter deals with repetition, a favorite of psychoanalysis and poetry, in order to make the claim that the ultimate form of metaphor is repetition, which, more than just a rhetorical technique, has much to do with the human psyche and the formation of subjectivity proper.