Notre objectif est ici d’apporter des éléments de réflexion, à partir du corpus psychanalytique concernant les effets de l’exposition précoce aux écrans sur la croissance psychique. Ce travail se centre sur le développement du bébé et du jeune enfant en proposant une analyse des effets de cette invasion numérique dans la construction psychique et l’instauration des premiers liens. Nous avons souhaité construire cette problématique en abordant en premier lieu les fondements de la vie psychique ; ceci afin de poser un cadre théorique de réflexion et de mieux questionner, dans un second temps, l’impact des écrans sur les interactions précoces et la construction subjective de l’enfant. La situation du bébé, à l’aube de son existence, s’inscrit d’emblée du côté des échanges avec son entourage, au sein d’un environnement singulier. C’est à partir de cette rencontre, de la qualité des interactions précoces et de la capacité de l’entourage d’adapter l’environnement à ses besoins, que va dépendre la réussite de son individuation future. À travers nos lectures, l’importance de l’ancrage corporel et relationnel nous est apparu déterminant dans le déploiement de la vie psychique. Le jeu nous a semblé être le socle de cet ancrage corporel et relationnel. Nous avons dès lors pensé nécessaire qu’il y ait du jeu pour que le je advienne ; ou, en d’autres termes, que le partage ludique, au sein des interactions précoces, constitue un élément déterminant dans la construction subjective. Le Jeu des trois figures, outil de prévention à l’adresse des enfants, a été le support de notre recherche clinique. Il offre un lieu de verbalisation autour des nombreuses images matérielles qui inondent le quotidien des enfants. Il permet de partir de leurs éprouvés corporels, issus de l’exposition aux écrans, afin de soutenir un travail de symbolisation ; symbolisation multiple : imagée, en favorisant leurs capacités représentatives, verbale, en permettant la construction narrative d’une histoire, et sensori-motrice, en mobilisant le corps à travers le repérage des mimiques et le « jeu de faire semblant ». C’est au croisement de ces trois dimensions - la construction narrative, l’engagement corporel et la capacité de faire semblant - qu’un travail de symbolisation peut s’engager pour l’enfant. Les résultats de cette recherche démontrent que le J3F, adapté au cadre thérapeutique, est un outil pertinent pour relancer les processus de symbolisation. / Our objective is to provide elements for reflection, based on the psychoanalytic corpus concerning the effects of early exposure to screens on psychic growth. This work focuses on the development of the baby and the young child by offering an analysis of the effects of this digital invasion in the psychological construction and the establishment of attachment. We wanted to approach this issue by firstly addressing the foundations of a child's psyche ; this in order to establish a theoretical framework for reflection and subsequently to better question the impact of screens on early interactions and the subjective construction of the child. From the very beginning a baby is influenced by interactions with its entourage,with in a singular environment. It is on the basic of the seen counters, the quality of its early interactions and the ability of the entourage to adapt the environment to the baby's needs, that the success of the baby's future individualisation will depend. Through our readings, the importance of physical and relational anchoring, appeared to us to be central to the deployment of the psyche. Play seemed to us to be the foundation of this physical and relational anchoring.
We therefore thought it necessary for there to be play for the "I" to happen; or, in other words, that playful sharing as part of early interactions, constitutes a determining element in subjective construction. The “three faces” game, a prevention tool for children, has been the support of our clinical research. It offers a place for verbalisation around the many material images that flood the daily lives of children. It makes it possible to start from their physical experience caused by exposure to the screens and move towards a work of symbolisation. Multiple symbolisation such as: pictorial symbolisation ie by encouraging their representative capacity; verbal symbolisation ie by allowing the narrative construction of a story, and sensory motor symbolisation, ie by mobilising the body through the identification of mimics and the "game of pretending". It is at the intersection of these three dimensions-narrative construction, physical engagement and the ability to pretend - that a symbolic work can be engaged for the child. The results of this research show that J3F, adapted to the therapeutic framework, is a relevant tool for relaunching symbolisation processes

Made available in DSpace on 2016-04-28T20:39:10Z (GMT). No. of bitstreams: 1 Juliana Devito.pdf: 6205754 bytes, checksum: 6b5287d192c4c14f8a8e470a96fed326 (MD5) Previous issue date: 2015-10-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Aroused by the interest of studying the role of the arts in everyday life and in the therapeutic space and to deepen the study of creativity in these two fields, the objective of this research is to present the ideas and insights of the British psychoanalyst and artist Marion Milner about psychic phenomena, the therapeutic process and how they greatly expanded the scope of creativity in psychoanalysis. The study demonstrates how her work emphasizes the role of creativity and aesthetic experience in favoring the psychic growth, both the patient and the analyst, and as the psychoanalytic encounter is seen in terms of aesthetic value. The research consists of a historiographical hermeneutical study of the works of Marion Milner, through a reading that seeks to contextualize her thought on the history of psychoanalysis and a certain "school" to which she belonged in attempt to reveal the development of the of the author s thinking, since the previous moments to her psychoanalytic training until it full development. At specific times, a deconstructive reading, problematizing and interpreting is made for understanding internal strains contained in the author s thinking. The dissertation starts with a brief biography of Marion Milner and her four autobiographies, illustrating the intense research on her own subjective experience and it s influence in all the route of her career. It also presents the theory of creativity proposed by the author starting from William Blake s illustrations to the book of Job followed by the great clinical case that highlighted her as a psychoanalyst, in which is possible to follow the conditions for the emergence of creativity, also bringing a deep reflection on the fundamental problems of the constitution of the human psyche. Finally it presents the issues of ethics and psychoanalytic technique, namely the author's position regarding the analytical setting, its installation and sustain; the analytic function and possibles adjustments / Despertado pelo interesse de estudar o papel das artes na vida cotidiana e no espaço terapêutico e aprofundar o estudo sobre a criatividade nesses dois campos, o objetivo deste estudo é apresentar as ideias e os insights da psicanalista e artista inglesa Marion Milner acerca dos fenômenos psíquicos, do processo terapêutico e como eles ampliaram consideravelmente o âmbito da criatividade na Psicanálise. Veremos como sua obra dá ênfase ao papel da criatividade e da experiência estética no favorecimento do crescimento psíquico, tanto do paciente quanto do analista e como o encontro psicanalítico é visto em termos de valor estético. A pesquisa consistiu em um estudo hermenêutico historiográfico das obras de Marion Milner, através de uma leitura que procura contextualizar seu pensamento na história da Psicanálise e em uma determinada escola à qual pertenceu, na tentativa de revelar o desenvolvimento do pensamento da autora, desde os momentos anteriores à sua formação psicanalítica até seu pleno desenvolvimento. Em momentos específicos, é feita uma leitura desconstrutiva, problematizante e interpretativa para a compreensão de tensões internas contidas no pensamento da autora. A dissertação parte de uma breve biografia de Marion Milner e das quatro autobiografias da autora, ilustrando a intensa pesquisa sobre sua própria experiência subjetiva e a influência disso em todo o seu percurso. Em seguida apresenta a teoria da criatividade proposta pela autora a partir das ilustrações de William Blake para o livro de Jó seguido do grande caso clínico que a destacou como psicanalista, no qual é possível acompanhar as condições que permitem a emergência da criatividade, trazendo também uma profunda reflexão sobre os problemas fundamentais da constituição do psiquismo humano. Finalmente são apresentadas as questões da ética e técnica psicanalíticas, isto é, a posição da autora em relação ao enquadre analítico, sua instalação e sustentação, a função analítica e suas eventuais modificações