La présente recherche vise à analyser l’essence de la fantaisie considérée comme un vécu intentionnel à partir de la phénoménologie de Husserl. En quel sens pouvons-nous affirmer que la fantaisie, généralement associée à la liberté et à la création, est en effet productrice ? Il nous faut remarquer que la question de la fantaisie s’inscrit parmi les problématiques qui ont contribué à la consolidation du répertoire thématique de la phénoménologie naissante. Cependant, la définition de la fantaisie à laquelle Husserl aboutit à partir de 1904/1905 ne tient pas compte de son aspect libre et productif, mais la considère comme fantaisie re-productrice. Pour arriver à une définition plus large et précise de l’essence morphologique de la fantaisie, sans abandonner la phénoménologie de Husserl, cette recherche propose les objectifs suivants. En premier lieu, montrer les explications que Husserl met à l'épreuve et pourquoi il les rejette. Parmi celles-ci, en plus des explications propres, il faut souligner celles de Brentano et de Twardowski. Deuxièmement, expliciter comment les analyses de la conscience interne du temps et du souvenir ont conduit à la définition canonique de la fantaisie en tant que modification de neutralité appliquée au souvenir. Ensuite, une critique de cette définition est effectuée. Enfin, il est proposé de surmonter les difficultés soulignées à partir d’éléments de la phénoménologie de Husserl, tels que les fonctions que la fantaisie remplit, entre autres dans l’intuition des essences, l’expérience d’autrui et l’expérience esthétique, où la fantaisie opère par la production d’analogues qui ont un effet « harmonisant » sur l’expérience. / The present research is framed in the Phenomenology of Edmund Husserl, and aims to analyse the essence of phantasy considered as an intentional experience. In what sense can it be sustained that phantasy, generally associated with freedom and creation, is indeed productive? It should be noted that the question of phantasy appears among the issues that contributed to the consolidation of the thematic agenda of nascent phenomenology. However, Husserl’s definition of phantasy, which is attained in1904/05, does not take into account its free and productive aspect, but rather regards it in a re-productive way. To arrive at a broader, yet precise, definition of the morphological essence of phantasy, without leaving Husserl’s phenomenology, the following objectives are pursued. Firs, I present the possible explanations of phantasy that Husserl puts to the test (among which those of Brentano and Twardowski must be highlighted) as well as the reasons why he rejects them. Second, I explain how the analyses of the internal time consciousness and memory led to the canonical definition of phantasy as a neutrality modification applied to memory. A critique of this definition is subsequently established. Finally, I propose that those difficulties may be overcome by considering other elements of Husserl’s phenomenology, such as the functions that phantasy fulfills, for instance in the intuition of essences, in the experience of others and in the aesthetic experience i.a., where phantasy operates by the producing of analogues which have a “harmonizing” effect on experience.

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

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Made available in DSpace on 2016-04-26T18:12:08Z (GMT). No. of bitstreams: 1 Erico Fernando de Oliveira.pdf: 5223723 bytes, checksum: 1749e79bae5a6d85c540c5a643463e3b (MD5) Previous issue date: 2012-10-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The reason of this research is studying the contemporary and social construction of the celebrities as well as the role that it exerts at the mediatic civilization. Therefore we focused on the American TV show South Park, an animation that is dedicated at caricature them. We worked with the hypothesis that the idol is a simulacrum that doesn t resist to humor desecrate. In order to do that we adopted as the main investigative theorist reference the concepts of dispositive and profanation from Giorgio Agamben s philosophy, to whom the caricature present on the cartoons reveals the human and ordinary character of the idols, taking off the phantasy veil which sacralizes it. But we also mobilize as other conceptual operators the lacanian real , once that by definition he doesn´t let himself lose from the imaginary as well as the symbolic and cynical subject notion, as developed by Slavoj i ek, which takes us to elaborate another hypothesis, the one that the engaging at the modalization defiler of the show might not occur because of the cynical reception of its audience. The corpus selected to analysis constitutes of 71 episodes of 22 minutes duration selected among more than 200 of the previously mentioned TV show, aired between 1997 and 2011, as well as the feature film South Park: bigger, better and uncut (1999). The selection was made mostly based on the purpose of what we intend to show / O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem como o papel que ela exerce na civilização midiática. Para tanto, debruçamo-nos sobre o programa televisivo norte-americano South Park, uma animação que se dedica a caricaturálas. Trabalhamos com a hipótese de que o ídolo é um simulacro que não resiste à profanação do humor. Nesse sentido, tomamos como principal referencial teórico-investigativo os conceitos de dispositivo e profanação de Giorgio Agamben, para quem a caricatura presente nos cartoons desvela o caráter humano e ordinário do ídolo, removendo o véu da fantasia que o sacraliza. Mas mobilizamos também, como outros operadores conceituais, o real lacaniano, uma vez que, por definição, ele não se deixa desprender nem do imaginário nem do simbólico e também a noção de sujeito cínico, conforme desenvolvido por Slavoj i ek, o que nos leva a elaborar uma outra hipótese, a de que o engajamento na modalização profanatória do programa pode não ocorrer em razão justamente dessa recepção cínica por parte de sua audiência. O corpus selecionado para análise constitui-se de 71 episódios de 22 minutos de duração, selecionados dentre mais de 200 do referido programa, exibidos entre 1997 e 2011 e também o longa-metragem, South Park: maior, melhor e sem cortes (1999). A seleção recorta principalmente os episódios que se prestam particularmente ao que se pretende demonstrar

Modern political and market structures have normalized colonial violence into economic and social realities, while imperial powers still dictate modes of labor and resources extraction that benefit them in the present, but send the physical world hurtling into a future of crisis. Justifying this activity are Western mindsets based in rational exclusivity, which fail to recognize the constructed elements of their reality, instead subjugating and historicizing those with different ontological perspectives. In particular, Western logics have persecuted indigenous populations and their cultural connection to ancestral homelands in order to appease colonial paranoia and reassert exclusive claim to stolen land. This is not materially, ethically, or spiritually sustainable. This thesis examines the ways in which colonial and indigenous ontologies interact in the past, present, and future through identifying the reality-shaping narrative phantasies which shape encounters surrounding land. Phantasies of land and the ecosystems humans are a part of are especially central to how individuals and societies relate to the self, as well as human and non-human others. Through an analysis of the 1843 Thomas Gregory-Pamunkey petitions over claims to the Pamunkey reservation land, this thesis studies how colonial and indigenous phantasies of land interact. It demonstrates that the colonial inability to recognize personal and cultural phantasies often leads to conflict, but an ability to recognize the power of narrative and communicate through alternative ontologies than one's own can lead to successful communication and meaningful relationships, ones which can help those with settler backgrounds to live more ethically and support indigenous resurgence. This thesis offers a theoretical, historical, and practical guide to begin the process of unsettling the self by way of recognizing the constructed narrative phantasies settlers have been accustomed to interpreting the world through, and reflects on ways for settlers to move forward by engaging with land-based ontologies. / Master of Arts / Modern political and market structures have normalized colonial violence into economic and social realities, while imperial powers still dictate modes of labor and resources extraction that benefit them in the present but send the physical world hurtling into a future of crisis. Justifying this activity are Western mindsets based in rational exclusivity, which fail to recognize the constructed elements of their reality, instead subjugating and historicizing those with different perspectives. In particular, Western logics have persecuted indigenous populations and their cultural connection to ancestral homelands in order to appease colonial paranoia and reassert exclusive claim to stolen land. This is not materially, ethically, or spiritually sustainable. This thesis examines the ways in which colonial and indigenous ontologies interact in the past, present, and future through identifying the reality-shaping narratives which shape encounters surrounding land. Stories of land and the ecosystems humans are a part of are especially central to how individuals and societies relate to the self, as well as human and non-human others. Through an analysis of the 1843 Thomas Gregory-Pamunkey petitions over claims to the Pamunkey reservation land, this thesis studies how colonial and indigenous narratives of land interact. It demonstrates that the colonial inability to recognize personal and cultural narratives often leads to conflict, but an ability to recognize the power of stories and communicate through alternative worldviews than one's own can lead to successful communication and meaningful relationships, ones which can help those with settler backgrounds to live more ethically and support indigenous resurgence. This thesis offers a theoretical, historical, and practical guide to begin the process of unsettling the self by way of recognizing the constructed narratives settlers have been accustomed to interpreting the world through, and reflects on ways for settlers to move forward by engaging with land-based worlviews.

[pt] Esta dissertação trata da importância do significante em interpretações e construções na clínica psicanalítica, partindo do estudo de fragmentos de casos clínicos de psicanalistas como Freud, Lacan e Jean Allouch. Suas bases concentram-se na maneira como a linguagem é tomada na formulação do inconsciente por Freud e depois por Lacan. No que chama de retorno a Freud, Lacan procura recolocar a psicanálise em seu caminho: o da linguagem, relendo os textos que considera canônicos sobre os sonhos, os atos falhos e os chistes. Para realizar o estudo, segui o caminho de Lacan pela linguística com Saussure, Jakobson, Benveniste, Damourette, Pichon e outros linguistas e gramáticos que foram importantes referências em suas formulações. Procurando apreender o Freud lido por Lacan, que determinou suas reformulações na psicanálise, mais especificamente na direção do tratamento psicanalítico, atravessei também textos de Lacan nos quais ele começa discutindo a fala, no campo da linguagem, voltado para a transmissão da psicanálise e para a oposição entre duas concepções de tratamento e a formação do psicanalista. Em seus últimos seminários, acaba por decidir deixar a linguística para os linguistas e cunhar o termo linguisteria para falar de que linguagem se trata na psicanálise. A partir de fragmentos de casos clínicos, refleti acerca da relevância de determinados significantes, que aparecem durante os tempos do tratamento psicanalítico nos quais a intervenção do analista faz com que o analisante possa abandonar a fixidez de sentido e empreender o caminho de construção de seu fantasma até a sua travessia. Destaquei alguns conceitos utilizados por Freud (Wortfuge- Worfugen-Wortfügung, Wortklang, Entstellung, Konstruktion, Phantasieren, dentre outros), com os quais se quis entender a técnica psicanalítica, a partir das interpretações freudianas de sonhos, chistes e atos falhos, e avançar nas elaborações lacanianas na direção do tratamento, interpretação, ato analítico. / [en] This thesis studies the role of the signifier in interpretations and constructions in psychoanalytical treatments, taking into consideration the analysis of fragments of clinical cases from psychoanalysts like Freud, Lacan and Jean Allouch, among others. This work is based on the way language was taken by Freud and later by Lacan in the formulation of the concept of the unconscious. In Lacan s Retour à Freud he tries to put psychoanalysis back on track, the language path, by rereading the texts he considers canonical about the interpretation of dreams, parapraxis and wits. To accomplish this study, I followed Lacan s steps through linguistics with Saussure, Jakobson, Benveniste, Damourette, Pichon and other linguists and grammarians that were important to his psychoanalytical formulations. In order to understand Freud read by Lacan, which determined his reformulations on psychoanalysis, specifically in regards to treatment, I took into account texts in which Lacan begins to discuss speech, in the field of language, focused on the transmission of psychoanalysis and on the opposition between two existing conceptions of the treatment and the formation of the psychoanalyst. In his last seminars, Lacan ends up deciding to leave linguistics to the linguists and to coin the term linguistery to state which language psychoanalysis deals with. Based on fragments of clinical cases, I reflected on the relevance of certain signifiers that appear on the course of different treatments in which the analysts intervention enabled the analysand to abandon a previously fixed meaning and undertake a new way to the construction of his phantasy up to its crossing. Some of the signifiers used by Freud (Wortfuge-Worfugen- Wortfügung, Wortklang, Entstellung, Konstruktion, Phantasieren, among others) helped me understand the psychoanalytical technics through Freud s interpretations of dreams, wits, parapraxis and move on to lacanian elaborations on psychoanalytical treatment, interpretation, analytical act.

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