O presente trabalho consiste em um estudo acerca do impacto psíquico provocado pela experiência da alteridade. Com efeito, enfatizando a dimensão inconsciente que permeia tanto a prática clínica quanto a pesquisa com grupos das mais diversas naturezas, visa estabelecer pontos de contato entre a antropologia e a psicanálise no terreno interpretativo e político da negociação de sentido. Para tanto, realizou um percurso histórico por algumas das principais escolas da antropologia para, em tal movimento, localizar um contraponto nas matrizes dessa disciplina que pode ser qualificado como \"explicação\" versus \"compreensão\". Ou seja, trata-se da maior ou menor afirmação da capacidade de traduzir ou representar objetivamente as diferenças expostas por culturas alheias. Visando propor saídas para tal dilema ao mesmo tempo ético e epistemológico, este estudo ampliou tal discussão para nela incluir um outro ramo do saber: a psicanálise. Então, pela via de leituras pormenorizadas dos conceitos de \"inquietante\" e de \"construção\", alcançou a idéia de que a diferença imposta pelo outro no contexto da clínica é inseparável da diferença do Inconsciente, dono de uma narrativa e de uma temporalidade particulares que se recusam a obedecer aos ditames do pensamento representacional. Em decorrência disso, o estranho e o negativo do encontro analítico passam a aparecer como lugares do possível, ampliando o conceito de alteridade e as capacidades da interpretação - agora um meio termo entre a produção de sentido e a experiência do vazio. Eis a lição da não-lição proposta por este inquietante outro do Inconsciente à etnografia e mesmo às chamadas Ciências Humanas como um todo: admitir a possibilidade do sentido, mas não necessariamente o seu encerramento, fornecendo assim uma expressão menos comprometida a um estrangeiro agora irredutível a códigos pré-estabelecidos. Isso significa a admissão de que o movimento do conhecimento não pode prescindir da criação de espaços para o novo e mesmo para o desconcertante, incluindo-se aí tudo aquilo que escapa à procura racional, como os afetos, as surpresas e, com eles, uma por vezes dolorosa - mas, ao mesmo tempo, potencialmente criativa - sensação de incompletude. / This work studies the psyquic impact provoked by the experience of otherness. Furthermore, emphasizing the unconscious dimension that is present in clinical practice and in researches concerning groups of different natures, it intends to establish points of contact between anthropology and psychoanalysis in the political and interpretative field of negotiation of meaning. To pursue this aim, it performed an historical review of the contributions of some of the most important anthropological schools, locating in the matrix of this discipline a counterpoint that can be qualified as \"explication\" versus \"comprehension\". In other words, the problem here is to affirm the major or minor capacity to traduce or represent objectively the differences exposed by alien cultures. In a way to propose some possibilities for this ethical and epistemological dilemma, the present study extended this discussion to include on it the knowledge brought by psychoanalysis. Therefore, by detailed readings of the concepts of \"uncanny\" and \"construction\" it reached the idea that the difference imposed by the other in the clinics is not separated from the difference of the Unconscious, owner of particulars narrative and temporality that refuse to obey the principles of representational thought. Because of that, the strangeness and the negative of the analytic encounter become places of possibility, amplifying the concept of otherness and the capacities of interpretation - now placed in a mid-point between the production of sense and the experience of emptiness. That\'s the lesson of non-lesson proposed by this uncanny other of the Unconscious to ethnography and even to Human Sciences as a whole: to admit the possibility of sense, but not necessarily its ending, offering a less compromised expression to a stranger that now cannot be reduced to previously set codes. This means to admit that the movement of knowledge cannot give up the creation of spaces to the new and even to what is disconcerting, including all that escapes a rational search, like feelings, surprises and, together with them, a sometimes painful - but also potentially creative - sensation of incompleteness

Orientador: Ivanir Cozeniosque Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T09:49:43Z (GMT). No. of bitstreams: 1 Morelatto_RicardoBruscagin_D.pdf: 7800431 bytes, checksum: 6882460e3447f70abcc9252b4ae8db78 (MD5) Previous issue date: 2012 / Resumo: Partindo de alguns conceitos desenvolvidos por Sigmund Freud, tais como o recalque, o ato falho, as pulsões de vida e morte, a recorrência, o consciente e o inconsciente, a pesquisa utilizou o desenho e as linguagens dele decorrentes para uma tradução verbo/visual construída em uma sucessão de processos criativos distintos. Primeiramente, foi criado um "vocabulário imagético" desenhado, para a seguir transformá-lo em caixas iluminadas e tridimensionais. Em seguida foram criadas imagens em grandes dimensões, valorizando a ausência e o vazio e, finalmente, miniaturas condensadas das imagens, fechadas em pequenas caixas acrílicas. Fundamentando a hipótese de se alcançar "imagens de Freud", a Fenomenologia da Percepção de Merleau-Ponty, ao tratar a sensação primeira causada pela obra, aproximou-se do conceito de "Primeiridade" de Charles Sanders Peirce quando ele a descreve como uma qualidade de sensação. Estas relações conceituais construíram a aposta na criação de uma poética particular que combina a experiência do artista com a percepção e possibilidades de sensações causadas por ela ao público final. O resultado é um conjunto visual que de certa forma está em correspondência com os conceitos freudianos destacados e é capaz de enriquecer a percepção de sua obra, agora em desenhos e imagens tridimensionais / Abstract: Starting with some Sigmund Freud?s concepts, such as: repression, the slip, the instincts of life and death, recurrence and the conscious and unconscious, the research used the design and language from it to a verbal and visual translation, built in a succession of different creative processes. We first created a "vocabulary imagery" designed to, then turn it into light and three-dimensional boxes. As a result images were created in large valuing the absence and emptiness, and finally condensed thumbnails of images, locked in small acrylic boxes. Supporting the hypothesis of achieving "Freud?s pictures", Merleau-Ponty's Phenomenology Perception Theory comes when the first sensation caused by the art works approaches Charles Sanders Peirce's concept of "Firstness" as he describes it as a sensation quality. These conceptual relationships built the option of creating a particular creative process that combines the poetic experience with the artist's perception and possibilities of sensations caused by it to the public. The result is a look that is, somehow, in correspondence with the Freudian concept deployed and is able to enhance the perception of his work, now in drawings and three-dimensional images / Doutorado / Artes Visuais / Doutor em Artes

The thesis aims to show that, while an interpretive psychology is not compatible with theory as it occurs in the predictive- causal explanation of the natural sciences, it is both possible and necessary to develop a concept of theory valid within an interpretive methodology. These claims are advanced in the course of an examination of Ricoeur 's interpretation of Freudian psychoanalysis. After examining some traditional ways in which phenomenological psychology has responded to the psychoanalytic challenge, the thesis presents an interpretation of Freudian psychoanalysis as a hermeneutic approach which utilized theoretical constructions in a productive way, although distorted by Freud's natural-scientific self- understanding. Freud's causal-explanatory language and natural- scientific meta theory are shown to be significant inasmuch as they provide a vehicle for theory construction in psychoanalysis. However, since the theory is modeled on that of the natural sciences, it proves incompatible with the interpretive aspects of Freud's approach. We then establish a concept of theory and of causal analysis which is different to that of the natural sciences, and is compatible with, and indeed founded in, an interpretive approach to psychology. These concepts are then illustrated in the context of psychoanalysis. In the final chapter the advantages of the use of theory in interpretive psychology are discussed.

Notre recherche porte sur l'influence de l'esthétique gothique dans la production psychanalytique anglaise .Ayant comme point de départ de textes classiques du romantisme anglais autour d’une notion de l’enfant teintée d’une qualité gothique particulière, nous examinons dans quelle mesure cette dernière a modelé de façon durable la réception de la méthode psychanalytique dans ce pays, et quelles thématiques et conceptualisations témoignent de cette influence ,notamment en ce qui concerne l’interprétation particulière du Surmoi dans la psychanalyse anglaise / Our research concerns the influence of the gothic esthetic on the psychoanalytic production in England. Our starting point being classic English romantic texts concerning a notion of the child tinged with a certain gothic quality, we examine the extent to which this notion shaped the local reception of the psychoanalytical method, as well as which themes and conceptualizations bear witness to this influence, particularly concerning the distinctive interpretation of the superego in English psychoanalysis

From Aristotle’s theory of tragic katharsis to Brecht’s formulation of the Verfremdungseffekt, theorists of the theatre have long engaged with the question of what spectatorship entails. Such question has, directly or indirectly, extended to the investigation of acting. In the wake of Brecht’s critique of conventional theatre, emphasis has been put on the study of spectatorship from the point of view of its cultural determinants and its conscious cognitive aspects, while unconscious processes have been mostly ignored. In this thesis I take a psychoanalytic perspective to analyse theories of the theatre that have investigated the process of identification of the spectator or the actor with the character. According to psychoanalysis, mechanisms of unconscious identification, such as projection and introjection, are fundamental to psychic development and to the construction of the self. By analysing Aristotle’s theory of tragic katharsis through Freud’s theory of transference, I propose a new understanding of spectatorship as transference dynamic. I then conduct an in-depth enquiry into eighteenth-century theories of acting which lead up to Diderot’s Paradoxe sur le comédien. I investigate the paradox of the actor, in its fruitful tension between sensibility and understanding, from the perspective of Melanie Klein’s concept of unconscious phantasy and Bion’s theory of alpha-function. I hence interpret the art of the actor as the performing of alpha-function on the spectator’s unconscious emotions. The new insights afforded by a psychoanalytic perspective of spectating and acting illuminate the moral function of theatre and resolve some of the controversial points brought forward by various theorists, including Brecht and Rousseau. The moral function of theatre can be construed as a transpersonal process in which unconscious identifications between spectator and actor promote the development of a reflective view of the self.

D.Litt. et Phil. / Although Freudian theory traditionally constitutes one of the most important approaches to psychotherapy, it has also generated much criticism from different scientific perspectives. An attempt is made in this study to answer the criticisms of the hermeneuticians and the positivists by using the a systemic approach to indicate a possible solution to methodological and theoretical problems which beset Freudian theory and praxis. The This the research procedure was reported as fully as possible. implies that the therapist's theoretical perspectives, case history of the patient, and the complete transcription qualitatively of the sessions are reported. and quantitatively analysed The results were in an integrated approach. The quantitative analysis was done with the use of a computer program called WORDS, which employs a clustering technique to indicate the development of thematic centroids. The qualitative analysis of the sessions indicates the sequential development of the interaction, and also includes the analysis of the free-associations in each session. The conclusions which are reached in this study are constituted, and reflected in the report of the research process itself. The observations, the thoughts, the processes and the patterns together create the picture which is the conclusion.

Voluntary childlessness (VC) is a growing phenomenon in the 21st Century in western societies with the Office of National Statistics (ONS) in 2013 showing that one-fifth of women are childless at the age of 45. Sociological literature highlights how VC is a complex, multifaceted phenomenon and is often difficult to define. However, since its inception, psychoanalysis has made an inextricable link between femininity and motherhood thus psychoanalytic theory views motherhood as normative and it is often seen as a developmental stage. This thesis explores how psychoanalytic practitioners understand, conceptualise and respond to VC in the clinical setting. Four psychoanalytical practitioners were interviewed and three main themes arose as a result of the Interpretative Phenomenological Analysis (IPA) of the data collected. The first finding highlighted the biopsychosocial pressures that the participants felt their patients experienced. Some participants spoke of the professional pressure they experienced from within the psychoanalytic field as a result of the theory that links motherhood and femininity. The second finding highlighted the ethical dilemmas faced by some patients with regards to whether to become a mother, such as a VC choice might be the result of difficult childhoods, immaturity, or because their mental health issues precluded them from motherhood or they feared motherhood might induce mental illness. The final finding highlighted that working with childless patients was both complex and conflictual. The practitioners discussed both their personal professional responses to childlessness in general. This research is important for highlighting how psychoanalytical practitioners are influenced by the competing discourses in society surrounding motherhood. Finally, the thesis critically evaluates the research, makes suggestions for future enquiries and reflects on the clinical implications of the findings.

The objective of psychobiography is a better understanding of individuals, and psychobiographical case studies add meaning and value to research (Runyan, 1988a). Melanie Klein was chosen for this study through a purposive sampling method due to her contributions to the discipline of psychology, which placed her in a distinguished position regarding twentieth century psychoanalysis. Furthermore, no other psychobiography has been written on Klein. The primary aim of this study was to present the reader with a basic description of her life, and a secondary aim was to accomplish an in-depth description of Klein within her social and historical context. Due to these aims and the nature of psychobiography, it may be said that this is a qualitative study based on a single case method, described as explorative and descriptive. Data was analysed according to Huberman and Miles’ (1994) approach which consists of data reduction, display and verification. This study was guided by Levinson’s (1996) theory of Adult Development in Women. The theory allowed for an in-depth description of Klein’s experiences and social and historical contexts by merely illuminating her life. Finally, it may be said that this study contributed to the limited amount of psychobiographical research in South Africa.

My research involves the reassertion of mythic experience in a manner considered contemporaneously relevant. The relevancy resides in the Jungian assumption that myth structures psychic experience to the benefit of the individual and ultimately, society. To this end, I have taken the hero myth of Heracles, and, by filtering it through Jung’s system promoting psychological maturation, that is what he called the individuation process, I have reconfigured it in fine art form

Le but poursuivi dans cette étude est triple. En premier lieu, nous tentons ici d'apporter une contribution aux applications de la méthode psychanalytique. Nous visons ensuite, grȃce à cette méthode, à apporter un peu plus de lumière sur Jean de Sponde, poète baroque de la fin du XVIème siècle jusqu'ici assez peu connu. Enfin, dans un dernier point, dépassant le personnage de Jean de Sponde, nous tȃctions de définir, après tant d'autres, mais en tenant compte des enseignements de la psychanalyse, ce que nous appelons 1'instant spondien, qui n'est qu'une autre forme de l'instant baroque. Nous nous justifions ainsi, par avarice, aux yeux de ceux qui reprochent à la psychanalyse de ne mener le plus souvent qu'à l'auteur. Jean de Sponde nous intéresse en soi, mais nous n'arrivons à lui qu'à travers ses poèmes (ici, les Sonnets d'Amour, moins étudiés que le reste de son oeuvre), en étudiant successivement les motifs (Chapitre I), les images (Chapitre II) et la structure (Chapitre III) au coeur de ces sonnets. Ces trois aspects--ou niveaux--des Sonnets d'Amour révèlent une personnalité bifrons qui repose toute entière sur un système de tensions opposées, lesquelles sont comme les pôles d'une dialectique constance-inconstance, stabilité-mouvement, désordre-harmonie. Ceci nous permet de poser que Jean de Sponde est un poète du paradoxe intensément vécu, ce qui lui confère une certaine modernité. Le poème--le poème baroque en particulier--est considéré pour finir comme le moment et le lieu euphoriques où se résout, du moins en apparence, l'expérience douloureuse et tragique de la contradiction. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate