The following psychological interpretation of Shakespeare's The Tempest is unique to articles on the same subject which have appeared in literary journals because it applies a purely Jungian reading to the characters in the play. Here each character is shown to represent one of the archetypes which Jung described in his book Archetypes ~ the Collective Unconscious. In giving the play a psychological interpretation, the action must be seen to occur inside Prospera's own unconscious mind. He is experiencing a psychic transformation or what Jung called the individuation process, where a person becomes "a separate, indivisible unity or whole" and where the conscious and unconscious are united.

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The central tenet of the study is that language and madness are bound together, language both including madness and perpetuating the exclusion of madness as 'other'. The first chapter considers the representation of madness in Atwood's novels The Edible Woman, Surfacing and Alias Grace from the perspective ofFoucauldian and Kristevan theories oflanguage and madness. Alias Grace becomes the focus in the second chapter. Here the syntax of madness is traced during Grace's stay in the mental asylum. Language, madness and sexuality are revealed as a palimpsest written on Grace's body. The final chapter looks at Grace's incarceration in the penitentiary and her dealings with the psychologist Dr. Simon Jordan where Grace's narrative tightly threads language and madness together. Underlying each chapter is a concern with how language and madness are in permanent interaction and opposition writing themselves onto society and onto Grace. / English Studies / M.A. (English)

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-23T12:49:52Z No. of bitstreams: 1 Fernanda Zacharewicz.pdf: 1320305 bytes, checksum: c3568addbf05108dbb5171a4f48ecb8d (MD5) / Made available in DSpace on 2018-07-23T12:49:52Z (GMT). No. of bitstreams: 1 Fernanda Zacharewicz.pdf: 1320305 bytes, checksum: c3568addbf05108dbb5171a4f48ecb8d (MD5) Previous issue date: 2018-05-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this thesis was to research the contributions of Faust by Goethe to the Psychoanalysis. For that we left from the hypotesis of which the repetition is a psychoanalytic concept marking the end of analysis. To comprove that, after a brief incursion by Goethe’s biography and the location of the book in the german’s literature history, it was necessary to get deep into our comprehension on the entry of the subject in the language, on the lack from there and differentiate of the lack relative to the castration. Next we lean over on the wish perspective from Aristotle in De Anima and Nicomachean Ethics from there to understand the construction of this concept in the Psychoanalysis. Beginnig with the text Project for a scientific psychology by Freud we follow up to arriving in Lacan and his comprehension of das Ding. That said, it was possible to base the structure of the subject of langage while lacking and to understand the paradox exposed in the pact between Faust and Mephistopheles. The phantasy was the next point to be study. Therefore, we came back to the firsts Freud’s clinical reports and we follow the construction of this notion. We returned to the concept of unheimlich to understand the anguish that wraps the bascule inherent to the fantasmatic veil. We follow with Lacan in his seminar about anguish untill his seminar about the logic of phantasy. Than, we analysed two moments of Goethe’s text – the relationship of Faust with Gretchen and, in a second moment, his relationship with Helen. We realized how in the litterary text the bias through wich the phantasy can be seen leaves space to the real appears. From the advent of the real in the relationship with Helena comes up to Faust the possibility of a new know-how different from what had been done so far. This contingency opens the possibility to think the repetition as the advento f the new, as Lacan works since 1964. With that in our horizon, we follow the constrution of this concept from Freud in two moments: in 1914 and in 1920. Next, we turno to the lacanian text and divide then in two parts: before and after 1964. We realized then that the written texts or seminars given up to 1964 were directed to the freudian notion of compulsion to repetition. Even so, it is possible to observe in this period some seeds of his future position. The considerations explained here led us to consider the end of faust as the relaization of repetition as a contingency, a bon heur to wich teh subject under analysis can choose by the of his course / O objetivo dessa tese foi pesquisar as contribuições de Fausto de Goethe à Psicanálise. Para isso, partimos da hipótese de que a repetição é o conceito psicanalítico que marca o fim análise. Para comprová-la, após uma breve incursão sobre a biografia de Goethe e a localização da obra na história da literatura alemã, foi necessário aprofundar nosso entendimento sobre a entrada do sujeito na linguagem, sobre a falta daí advinda e diferenciá-la da falta relativa à castração. A seguir nos debruçamos sobre a perspectiva de desejo desde Aristóteles em De Anima e Ética a Nicômaco para desse aí compreender a construção desse conceito na Psicanálise. Iniciando com o texto Projeto para uma psicologia científica, de Freud e seguimos até Lacan e sua exposição sobre das Ding. Dito isso, foi possível alicerçar a estrutura do sujeito de linguagem enquanto faltante e compreender o paradoxo exposto no pacto entre Fausto e Mefistófeles. A fantasia foi o ponto seguinte a ser estudado. Assim, retornamos aos primeiros relatos clínicos freudianos e acompanhamos a construção dessa noção. Revisitamos o conceito de unheimlich para compreender a angústia que envolve a báscula inerente ao véu fantasmático. Seguimos com Lacan em seu seminário sobre a angústia e o acompanhamos até seu seminário sobre a lógica da fantasia. Com isso, analisamos dois momentos do texto goethiano – a relação de Fausto com Margarida e, em um segundo tempo, sua relação com Helena. Percebemos como no texto literário o viés pelo qual a fantasia pode ser vista abre espaço para que o real apareça. Do advento do real na relação com Helena surge a Fausto a possibilidade de um fazer novo distinto do que havia feito até então. Essa contingência possibilita pensar a repetição como o advento do novo, conforme Lacan trabalha a partir de 1964. Com isso em vista, retomamos a construção desse conceito desde Freud em dois momentos: em 1914 e em 1920. Em seguida, nos dirigimos aos textos lacanianos e os dividimos em duas partes: antes e após 1964. Percebemos então que os textos escritos ou seminários proferidos até 1964 estavam voltados à noção freudiana de compulsão à repetição. Mesmo assim, é possível observar nesse período algumas sementes de sua futura posição. As considerações aqui explicitadas nos levaram a considerar o final de Fausto como a realização da repetição enquanto contingência, bon-heur ao qual o sujeito em análise pode optar ao final de seu percurso

Esta investigação consiste de uma leitura psicanalítica da peça Peer Gynt, de Henrik Ibsen. Inicialmente, o autor apresenta a obra mencionada de forma sintética e explicita a sua trajetória de conhecimento e interesse pela obra. Em seguida, situa sua leitura numa tradição que remonta não apenas à longa história das interpretações psicanalíticas de obras de arte, mas também àquela das análises realizadas sobre essa obra em particular. Dentre as últimas, apresenta e critica as análises feitas sobre a peça por W. Reich, G. Groddeck, M. Little e R. May. Também resgata os comentários de Freud sobre Ibsen e suas obras. A partir daí, apoiando-se em uma perspectiva metodológica dialógica, inspirada por M. Bahktin, bem como no método psicanalítico de investigação, o autor investe na criação de uma construção interpretativa do drama. Ao longo dessa construção, certas passagens da obra ganham visibilidade e sentidos renovados a partir do diálogo com referenciais teórico-clinicos de alguns autores da psicanálise contemporânea (D. Winnicott, C. Bollas, T. Ogden, entre outros). É desta forma que certos temas como a impossibilidade de sonhar, a mentira, o trauma, a convenção, o falso, a amorfia, o self, entre outros, vão surgir e ser desdobrados. Tal investigação se torna, por fim, uma possibilidade de ampliar e atualizar a compreensão da peça, inserindo-a no debate sobre a condição humana desde o viés do pensamento psicanalítico contemporâneo / This research consists of a psychoanalytic reading of Henrik Ibsens play \"Peer Gynt\". Initially, the author presents the aforementioned play in a concise way and makes explicit the history of his knowledge and interest for this work. Then he places his reading amongst a tradition that goes back not only to the long history of psychoanalytic interpretations of works of art, but also to that of the interpretations about this particular work. Among the latter he presents and criticizes the interpretations made by W. Reich, G. Groddeck, M. Little and R. May. He also recollects Freud\'s comments on Ibsen and his works. Thereafter, relying on a dialogical methodological perspective, inspired by M. Bahktin, as well as on the psychoanalytic method of investigation, the author engages in drawing up an interpretative construction on the drama. Throughout this construction, certain parts of the play gain visibility and renewed meanings rise from the dialogue with theoretical and clinical references from some contemporary psychoanalytic authors (D. Winnicott, C. Bollas, T. Ogden, and others). This is how certain themes such as the impossibility of dreaming, the lie, the trauma, the convention, the false, the formlessness, the self, and others will appear and be unfolded. This research becomes, finally, an opportunity to broaden and update the understanding of the play, casting it into the debate around the human condition from the bias of contemporary psychoanalytic thought

Cette thèse explore la manière dont la mémoire constitue une ressource dynamique dans la construction de sens dans l’espace littéraire – poétique et critique en particulier –, et comment elle négocie avec la trace pour opposer la littérature à l’histoire. Fonctionnant à rebours, selon la marche même du ressouvenir, notre réflexion part du présent pour remonter aux deux premiers textes de Drieu, Interrogation (1917) et Fond de cantine (1920).L’introduction permet une première mise au point méthodologique et conceptuelle sur la question des liens entre psychanalyse et littérature, puisque nous revendiquons une démarche redevable de la psychanalyse. En considérant la théorie psychanalytique comme théorisation de sa pratique, il apparaît qu’une approche psychanalytique du texte ne serait s’en tenir à une stricte application de concepts, réduisant souvent la lecture à une mise à l’épreuve de ceux-ci. Pour une herméneutique du texte pertinente, cette pratique doit être translatée, adaptée. Il s’agit alors d’emprunter à la situation analytique quelques éléments favorisant l’élaboration de sens : le transfert, l’écoute flottante, la libre association, le statut de la vérité et le procédé d’attestation de celle-ci.Le premier chapitre constitue un état des lieux de la critique rochellienne marquée par des décennies de lectures biographiques, dont les productions ont fini par recouvrir les œuvres mêmes de Drieu. En recourant à certaines réflexions issues du champ historiographique, nous montrons que Drieu est devenu un monument inscrit au patrimoine littéraire. Désormais lieu de mémoire, il continue d’être l’objet de textes qui sont autant d’entreprises pour construire des identités narratives de Drieu, selon des ressorts et des dynamiques communes que la psychanalyse permet de mettre au jour.Le second chapitre est une lecture exhaustive d’Interrogation selon trois substrats culturels qui composent la mémoire à l’œuvre : la religion, l’histoire et la littérature sont mobilisées pour refuser le caractère proprement inédit et inouï de la Première Guerre mondiale. Celle-ci s’inscrit dans un continuum de l’histoire : elle n’est qu’une occurrence d’un même principe, et permet ainsi d’inscrire le sujet dans une temporalité qui confond passé et présent.Ces trois substrats ne subsistent pas dans Fond de cantine : le troisième chapitre s’emploie à rendre compte de leur effondrement et de l’éclatement du sujet sous le poids de l’histoire qui fournit cependant au sujet un modèle discursif à voir comme une autre stratégie de sémantisation du conflit. Mais cette tentative d’historicisation de la guerre confond références littéraires et faits historiques, et dessine une nouvelle expérience du temps où le présent domine : le passé n’est plus qu’un temps mythique, et l’évolution de l’humanité jusqu’à ce présent condamné à se perpétuer dans l’avenir est identifié à une décadence de l’homme, son aliénation et son incarcération. / This thesis investigates how memory provides a dynamic resource in the construction of meaning within the literary sphere, focusing particularly on poetry and criticism. The thesis examines how literature and history are opposed through the negotiation of traces (documents, events, references, etc.). Mimicking the trajectory of remembering, the study begins in the present, examining the current state of research on Pierre Drieu La Rochelle, and returns to the original traces, analysing Drieu’s first two texts, Interrogation (1917) and Fond de cantine (1920).The introduction provides a clarification of the thesis’ conceptual framework, which is drawn from psychoanalytic praxis and theory. The introduction begins the process of translating and adapting elements of the therapeutic cure particularly pertinent in the construction of meaning, such as transference, floating attention, free association, and the status of truth and its verification. By adapting these practices, a psychoanalytic approach to literature can offer more than a reading that reduces a text to the simple confirmation of psychoanalytical concepts.The first chapter comprises a review of the critical literature on Drieu La Rochelle, which has been marked by decades of biographical readings. A first reading uses historiographical debates and reflections to examine how Drieu has become part of the French literary canon, and is now a “lieu de mémoire”. Using psychoanalysis and Paul Ricœur’s theory of narrative, the chapter then highlights recurring themes and strategies employed by critics in their narrativisation of Drieu’s life. The second chapter is an exhaustive reading of Interrogation organised around three cultural substrates that constitute the text’s memory. Religion, history and literature are mobilised to deny the unprecedented nature of the First World War. Instead, the war is figured as the newest manifestation of a timeless drive for violence, through which the subject experiences a temporality that confuses past and present.Through a reading of Fond de cantine, the third chapter charts the collapse of the three cultural substrates seen in Interrogation and the fragmentation of the subject under the weight of the historical event. The intrusion of history nonetheless offers the subject a strategy for the semanticisation of the war. The attempt to historicise the war that follows, however, confuses literary references and historical facts. As a consequence, a new experience of time emerges: the past is purely mythic, and the alienated present endures without hope for the future.

Title from first page of PDF document. Includes bibliographical references (p. 49-51).

The central tenet of the study is that language and madness are bound together, language both including madness and perpetuating the exclusion of madness as 'other'. The first chapter considers the representation of madness in Atwood's novels The Edible Woman, Surfacing and Alias Grace from the perspective ofFoucauldian and Kristevan theories oflanguage and madness. Alias Grace becomes the focus in the second chapter. Here the syntax of madness is traced during Grace's stay in the mental asylum. Language, madness and sexuality are revealed as a palimpsest written on Grace's body. The final chapter looks at Grace's incarceration in the penitentiary and her dealings with the psychologist Dr. Simon Jordan where Grace's narrative tightly threads language and madness together. Underlying each chapter is a concern with how language and madness are in permanent interaction and opposition writing themselves onto society and onto Grace. / English Studies / M.A. (English)

Esta investigação consiste de uma leitura psicanalítica da peça Peer Gynt, de Henrik Ibsen. Inicialmente, o autor apresenta a obra mencionada de forma sintética e explicita a sua trajetória de conhecimento e interesse pela obra. Em seguida, situa sua leitura numa tradição que remonta não apenas à longa história das interpretações psicanalíticas de obras de arte, mas também àquela das análises realizadas sobre essa obra em particular. Dentre as últimas, apresenta e critica as análises feitas sobre a peça por W. Reich, G. Groddeck, M. Little e R. May. Também resgata os comentários de Freud sobre Ibsen e suas obras. A partir daí, apoiando-se em uma perspectiva metodológica dialógica, inspirada por M. Bahktin, bem como no método psicanalítico de investigação, o autor investe na criação de uma construção interpretativa do drama. Ao longo dessa construção, certas passagens da obra ganham visibilidade e sentidos renovados a partir do diálogo com referenciais teórico-clinicos de alguns autores da psicanálise contemporânea (D. Winnicott, C. Bollas, T. Ogden, entre outros). É desta forma que certos temas como a impossibilidade de sonhar, a mentira, o trauma, a convenção, o falso, a amorfia, o self, entre outros, vão surgir e ser desdobrados. Tal investigação se torna, por fim, uma possibilidade de ampliar e atualizar a compreensão da peça, inserindo-a no debate sobre a condição humana desde o viés do pensamento psicanalítico contemporâneo / This research consists of a psychoanalytic reading of Henrik Ibsens play \"Peer Gynt\". Initially, the author presents the aforementioned play in a concise way and makes explicit the history of his knowledge and interest for this work. Then he places his reading amongst a tradition that goes back not only to the long history of psychoanalytic interpretations of works of art, but also to that of the interpretations about this particular work. Among the latter he presents and criticizes the interpretations made by W. Reich, G. Groddeck, M. Little and R. May. He also recollects Freud\'s comments on Ibsen and his works. Thereafter, relying on a dialogical methodological perspective, inspired by M. Bahktin, as well as on the psychoanalytic method of investigation, the author engages in drawing up an interpretative construction on the drama. Throughout this construction, certain parts of the play gain visibility and renewed meanings rise from the dialogue with theoretical and clinical references from some contemporary psychoanalytic authors (D. Winnicott, C. Bollas, T. Ogden, and others). This is how certain themes such as the impossibility of dreaming, the lie, the trauma, the convention, the false, the formlessness, the self, and others will appear and be unfolded. This research becomes, finally, an opportunity to broaden and update the understanding of the play, casting it into the debate around the human condition from the bias of contemporary psychoanalytic thought

Submitted by Biblioteca Central (biblioteca@unicap.br) on 2018-01-23T14:10:30Z No. of bitstreams: 1 anna_barreto_campelo_carvalheira_chaves.pdf: 3393838 bytes, checksum: a8f9f04d47b0885738b08fcd6c07a0d4 (MD5) / Made available in DSpace on 2018-01-23T14:10:30Z (GMT). No. of bitstreams: 1 anna_barreto_campelo_carvalheira_chaves.pdf: 3393838 bytes, checksum: a8f9f04d47b0885738b08fcd6c07a0d4 (MD5) Previous issue date: 2017-07-27 / The interest in this work From the turning point of the literary narratives to the psychoanalytic intervention arose from the psychoanalytic service performed on Bianca, Jean and Beatriz. Bianca is an illustrative case of psychosis, while the Jean and Beatriz cases are illustrative of autism. The methodology used was the study of the features of the case. In the cases cited, the mark is a solid double bond. The double, according to Lacan, originates from an idealized image, without holes, constituted by the Other and makes reference to the Freudian Unheimlich. Bianca presents a destructive specular image, while in the Jean and Beatriz cases the specular image is still under construction. In all three clinical cases, something surprising has occurred. Even with the presence of the destructive mark of the double, there were unexpected body metamorphoses. Such modifications in their lives brought the idea of a "turning point" as it occurs in literary narratives. The aim of the thesis is, therefore, to analyse how the literature resource, the "turning point", can contribute to interventions in the psychoanalytic clinic in cases whose mark is the massive collage with the double. The turning point refers to the presence of an element that maintains a coherence with the story and, at the same time, brings about changes in the direction and in the very sense of the narrative. This surprising element seems at first glance an accessory, but it becomes fundamental. The twist performs a subversion to what is expected in the story, transforming the relationship between the figure and the background of the narrative and the images constituted by it. The work of this thesis points to the idea of a psychoanalyst, who uses the transference to weave patchwork from the clinical case narrative. The patchwork is an accessory, initially impossible to see or hear. The psychoanalyst, while weaving the patchwork, creates holes in the narrative, thus generating a subversion to a destructive image. The environment generates the literary narrative image after the turning point. In the same way, in the constitution of the subject, it is what is around the subject that determines its specular image. In this way, if the background changes, the figure will also become different. By means of interventions that promote an inversion between figure and background in the constituent narrative of the subject, the destructive image constituted, or even still under construction, may have the route modified and will provide body metamorphoses. / O interesse a respeito deste trabalho Do ponto de virada das narrativas literárias à intervenção psicanalítica surgiu do atendimento psicanalítico realizado a três pacientes: Bianca, Jean e Beatriz (nomes fictícios). Bianca é um caso ilustrativo de psicose, já os casos de Jean e de Beatriz são ilustrativos de autismo. A metodologia utilizada foi a do estudo do traço do caso. Nos casos citados, o que se faz marca é uma colagem maciça ao duplo. O duplo, conforme Lacan, é originado de uma imagem idealizada, sem furos, constituída pelo Outro e faz referência ao Unheimlich freudiano. Bianca apresenta uma imagem especular destrutiva, enquanto em Jean e Beatriz a imagem especular ainda está em construção. Nos três casos clínicos, ocorreu algo de surpreendente. Mesmo com a presença da marca destrutiva do duplo, houve metamorfoses corporais inesperadas. Tais modificações na vida de cada um trouxeram a ideia de um “ponto de virada” tal qual ocorre em narrativas literárias. O objetivo da tese é, portanto, analisar como um recurso da literatura, o “ponto de virada”, pode contribuir para intervenções na clínica psicanalítica em casos cuja marca é a colagem maciça com o duplo. O ponto de virada ou peripécia diz respeito à presença de um elemento que mantém uma coerência com a história e, ao mesmo tempo, traz modificações na direção e no próprio sentido da narrativa. Esse elemento surpreendente parece, à primeira vista, acessório, mas se torna fundamental. A peripécia realiza uma subversão ao que é esperado na história, transformando a relação entre a figura e o fundo da narrativa e das imagens constituídas por esta. O trabalho de tese aponta para a ideia de um psicanalista, que se utiliza da transferência para tecer retalhos da narrativa do caso clínico. Os retalhos são elementos acessórios, inicialmente impossíveis de serem vistos ou escutados. O psicanalista, ao mesmo tempo em que tece os retalhos, ocasiona furos na narrativa, gerando, dessa forma, uma subversão a uma imagem destrutiva. É o entorno que gera a própria imagem nas narrativas literárias após o ponto de virada, como também na constituição do sujeito é o que está em volta do sujeito que determina sua imagem especular. Desse modo, se o fundo se modifica, a figura também se tornará diferente. Por meio de intervenções que propiciam uma inversão entre figura e fundo na narrativa constituinte do sujeito, a imagem destrutiva constituída, ou mesmo ainda em construção, poderá ter o rumo modificado e propiciará metamorfoses corporais.