O presente trabalho pretende investigar como é feita a utilização da teoria psicanalítica no cenário da reflexão estética e da crítica de arte contemporâneas. Para tanto, o recorte se concentra em dois pensadores que se tornaram significativos na atualidade, embora não sejam os únicos: o crítico Hal Foster e o historiador da arte Georges Didi-Huberman. O objetivo da investigação é mostrar em que medida os conceitos gerados na práxis psicanalítica possibilitaram interpretações de ruptura no campo da estética tradicional. Essa modalidade de análise só se torna possível uma vez que se abandona o paradigma da psicanálise aplicada, ainda corrente no cenário extraclínico. Por fim, a proposta visa sustentar que a operação do amorfo, gerada no interior da pesquisa, pode lançar luz a certas experiências estéticas que vão da modernidade à pós-modernidade das artes / This work intends to investigate the use of psychoanalytic theory within the aesthetic and critical contemporary art field. To this purpose, this study focuses on two philosophers who have become significant in our time: the critic Hal Foster and the art historian Georges Didi-Huberman. This study aims to show how far the concepts generated in psychoanalytic praxis allowed interpretations that disrupt the field of the traditional aesthetics. This type of analysis is possible once we abandon the paradigm of applied psychoanalysis, which is still current in non-clinical setting. Finally, the proposal wants to argue that the category of the amorphous, generated in this research, may clarify certain aesthetic experiences that range from the modernity of art through the post-modernity

The objective of this thesis is to attempt a semiotic- psychoanalytic reading of the cinema of Bunuel. For this proposal we have selected three films of the director, An Andalusian dog, Land without bread and The obscure object of desire. The criteria that has led to this particular selection of films takes into account a wide range of variables to be contrasted to the psychoanalytical determinants that, we propose, play a decisive role in the form and content of the productions. The different variables present in these films are: genre (Surrealist, documentary and traditional narratives), thematics (surrealistic, erotic and socio-etnographic study), time of creativity (early adulthood, senility) and socio-cultural conditions of production (Spain, France). Our intended psychoanalytic study focuses on the creator's unconscious motivations that regulate, in a rather compulsive way, the poetics of love or life indistinctively present in all these cinematic creations. In order to reach to this interpretative stance, we will follow the different methodological steps of a semiotic reading of the texts that will discern their cinematographically denotative and connotative devises and contents. This way of illuminating art through psychoanalysis is reflected on the Freudian idea that creativity constitutes one of the mysterious human manifestations in which the instincts channel their conflicts in a socially disguised way, in order to pursue the desired gratification.

This thesis begins with a consideration of the contributions of modem and contemporary ideas to the field of aesthetics. Out of these contributions, selected theorists from the Independent School of British Psychoanalysis are applied as a contemporary understanding of the practice and intent of Modernist art as seen in the work of the New York School of painters and specifically to the paintings 'On the Theme of Woman' by Willem de Kooning exhibited in 1953. More recent psychoanalytic formulations of aggression, self and subjectivity are put forward as a reinterpretation of the issues surrounding these selected works. The main focus here is on the role of aggression which is reformulated as a search for subjectivity and separateness. In offering these reinterpretations, this thesis draws on the theories of Donald Winnicott and Christopher Bollas. Bollas' notion of the 'transformational object', the work of the unconscious, which he terms 'cracking up' and the idiom of the self in process, is used as a basis for a newer understanding of Modernist art's methodology and interest in the unconscious and self. The final chapter applies Winnicott's concepts of maternal functions and 'object usage' to de Kooning's 1953 Woman paintings. This reinterpretation is offered as an alternative to the more negative interpretations that prevailed at the time of this exhibition which emphasised a negative approach to the female as subject. Instead, it is argued that these works offered the artist a creative arena in which to explore psychological struggles involving self and other in a safe and adaptive way. / Thesis (M. Fine Art)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

A experiência de \"captura\" estética é apresentada nesse ensaio a partir do impacto que a autora viveu no seu encontro com a escultura Perseu e Medusa de Camille Claudel e as múltiplas questões suscitadas a partir dessa vivência. Busca outros autores que relatam um encontro similar, como por exemplo, Freud e seu impacto com a obra Moisés de Michelangelo, tentando com isso identificar os elementos mais gerais que constroem essa experiência denominada aqui de \"captura\", sem com isso deixar de considerar seu caráter singular e subjetivo. Em seguida, ao refletir sobre a obra em questão, percorre as questões biográficas, sua contextualização, passando pelo mito e pela especificidade da atividade escultórica ao longo da História, pelas leituras estéticas e pelas concepções psicanalíticas sobre arte e criação apresentando assim, uma leitura de obra de arte entendida como um produto da relação entre espectador e obra, ou seja, numa perspectiva epistemológica que não separa sujeito e objeto e que tampouco se apóia em significações externas à essa relação. O caráter dessa leitura se mostra, portanto, como uma construção que se dá no momento de sua própria feitura, e não como produto de uma ação decifradora. Ao longo do percurso, vários diálogos vão sendo estabelecidos entre a Psicanálise e a Arte, o que remete a uma reflexão sobre as possibilidades de uma \"fertilização recíproca\" entre elas. / The aesthetic capture experience is presented as of the impact undergone by the author in her encounter with Perseu and Medusa sculptured by Camille Claudel and all the issues consequent to that episode. She searches other author\'s similar encounters, such as that of Freud with Michelangelo\'s Moses aiming at identifying those more general elements composing that experience called in this paper as \"capture\". At the same time the author does not disconsider the subjective and singular aspects of encounters such as these. Reflecting over the sculpture she engages in biographic issues and their contextualization. Starting with the myth and the specificity of sculpturing through History, aesthetic readings and psychoanalytic conceptions about art and creation, the author presents an understanding of art as a product of the relation between spectator and art. In other words, this is an epistemological perspective where subject and object are not apart and the significance of the event is part of the experience. The essence of these understandings happens therefore as the experience occurs and not as the product of a deciphering act. A series of dialogs are presented in this paper between Psychoanalisis and Art, leading the reader to reflect on the possibilities of cross linking between these two expressions.

The objective of this thesis is to attempt a semiotic- psychoanalytic reading of the cinema of Bunuel. For this proposal we have selected three films of the director, An Andalusian dog, Land without bread and The obscure object of desire. The criteria that has led to this particular selection of films takes into account a wide range of variables to be contrasted to the psychoanalytical determinants that, we propose, play a decisive role in the form and content of the productions. The different variables present in these films are: genre (Surrealist, documentary and traditional narratives), thematics (surrealistic, erotic and socio-etnographic study), time of creativity (early adulthood, senility) and socio-cultural conditions of production (Spain, France). Our intended psychoanalytic study focuses on the creator's unconscious motivations that regulate, in a rather compulsive way, the poetics of love or life indistinctively present in all these cinematic creations. In order to reach to this interpretative stance, we will follow the different methodological steps of a semiotic reading of the texts that will discern their cinematographically denotative and connotative devises and contents. This way of illuminating art through psychoanalysis is reflected on the Freudian idea that creativity constitutes one of the mysterious human manifestations in which the instincts channel their conflicts in a socially disguised way, in order to pursue the desired gratification. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The examination of literature and art has been one of psychotherapy's most powerful ways of explicating its theories and disseminating its concepts. In this study, I have explored various concepts of family psychotherapy by applying them to three works of imaginative literature, and one work of sculpture: Luigi Pirandello's play, Six Characters in Search of an Author, Franz Kafka's novella, The Metamorphosis, Robinson Jeffers' poem, "The Purse-Seine," and the ancient Roman sculpture, the Laocoon. / Ph. D.

This thesis problematizes the notion of memory as a non-gendered mechanism by examining the construction of memory and subjectivity in Chris Marker's La jetâee and Sans soleil. Using the theoretical frameworks of Jacques Lacan, Bracha Ettinger, and Andrâe Bazin, the paper argues that La jetâee presents a model of phallic memory corresponding to a Lacan's understanding of desire and subjectivity, while Sans soleil offers a model of matrixial memory based on Ettinger's theorization of the gaze. Bazin's work is used to address aesthetic issues, as well as providing a method for exploring how the phallic and matrixial frameworks impact the formal construction of the films. Ultimately, La jetâees model of phallic memory is shown to sever past from present in a manner corresponding to Lacanian notions of desire, castration, and loss, whereas Sans soleil demonstrates the potential of matrixial memory to establish a liminal relationship between past and present. / by Jeremy Barr. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-07T12:24:34Z No. of bitstreams: 1 Marcos Paim Caldas Fonteles.pdf: 21498411 bytes, checksum: 60104f4342cfbb6b9e94a70c79cdc4da (MD5) / Made available in DSpace on 2018-11-07T12:24:34Z (GMT). No. of bitstreams: 1 Marcos Paim Caldas Fonteles.pdf: 21498411 bytes, checksum: 60104f4342cfbb6b9e94a70c79cdc4da (MD5) Previous issue date: 2018-09-14 / This work is a psychoanalytical theoretical study, which defends the hypothesis of the necessity of exposing the contemporary subject to artistic contemplation as one of the possible and necessary instruments to escape from the continuous fantasy sponsored by the consumer society. The study is supported by a diagnosis of the present moment, a journey through art and its uses over time, the specific kind of work of art that this work defends, and finally the comparison between artistic contemplation and psychoanalytic experience, somehow close and capable of stimulating the subject to cross his or her fantasy in order to experience a unique and implied existence / O presente trabalho é um estudo teórico psicanalítico, que defende a hipótese da necessidade da exposição do sujeito contemporâneo à contemplação artística, como um dos instrumentos possíveis e necessários ao escape da fantasia contínua patrocinada pela sociedade de consumo. O estudo é suportado por um diagnóstico do momento atual, um percurso pela arte e seus usos ao longo do tempo, a especificidade do tipo de obra de arte que este trabalho defende e finalmente a comparação entre a contemplação artística e a experiência psicanalítica, práticas de alguma forma próximas e capazes de estimular o sujeito a atravessar sua fantasia, a fim de experimentar uma existência singular e implicada

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-04Bitstream added on 2014-06-13T19:48:48Z : No. of bitstreams: 1 goncalves_ah_me_ia.pdf: 2790115 bytes, checksum: 0be06ec243541cba1a84b36daa789405 (MD5) / Universidade Estadual Paulista (UNESP) / A pesquisa parte da observação de certos vazios percebidos na arte contemporânea e em minha própria produção, para uma investigação sobre alguns aspectos conceituais e estéticos do vazio relacionado às noções de existência e falta. O objetivo é entender porque alguns artistas contemporâneos parecem ter predileção pelo vazio e suas manifestações. Desta forma, o estudo apresenta uma reflexão sobre as mudanças ocorridas no período moderno relacionadas à queda da soberania religiosa, a ruptura da arte com as tradições e questões contemporâneas como narcisismo, indiferença e liberdade. Depois realiza-se um estudo sobre a falta comum a todos e as noções de recalque, sublimação e subjetividade na arte, aproximando o estudo da relação entre arte e psicanálise / The beginning‟s point of this research was the perception of the often emptiness' representation in contemporary art and in my own production. From this, the next point was to investigate some conceptual and aesthetic aspects related with the notions of void, existence, freedom, indifference and lack. The research's purpose is to understand the reason for this kind of predilection in contemporary art. The study began through a short analysis of some artists and their works, where the empty takes place as privileged part of their poetic. After that, the second step was a reflection about the impacts and modifications in the modern time caused by: the religious' decrease, secession between art and traditions, contemporaries' questions such as individualism, indifference and freedom. Finally, the research traces a parallel between the common understanding of absence and psychoanalitical notions like repression, sublimation and subjectivity in art

Thesis (Ph. D. in Religion)--Vanderbilt University, May 2009. / Title from title screen. Includes bibliographical references.