Thèse de doctorat : Psychologie : Lyon 2 : 1991. / Titre provenant de l'écran-titre.

La danse, art tabou et paradoxal, est à l'adolescence naturellement thérapeutique, comme le jeu l'est pour l'enfant. En réaction à l'effraction pubertaire, l'expression de la pulsion dansante favorise la réassurance narcissique par l'autoérotisme du mouvement dansé qui convoque l'identification archaïque au corps maternel, la passivité propre au féminin, la découverte de l' « autre sexe ». Ce travail de recherche vise d'une part à penser l'engouement moderne de la culture pour la danse, qu'elle soit de loisir ou artistique, comme une des nouvelles formes d'expression du lien social et de ce qu’on peut appeler avec S. Freud la « morale sexuelle civilisée », renouant avec un érotisme collectif féminin tout en s'organisant en expression symbolique afin de créer de nouveaux territoires du politique. Il vise également à affirmer l'appartenance d'une certaine forme de danse-thérapie, que je nommerai médiation danse, au champ psychanalytique, afin de soutenir la place de la psychanalyse dans le traitement des pathologies de la clinique contemporaine, et d'envisager l'adaptation de ses techniques aux modalités actuelles d'expression de la subjectivité dont l'adolescence, comme état-limite, est le paradigme. Le matériel clinique est composé de documents écrits et filmiques, de l'analyse de ma pratique thérapeutique groupale et d'entretiens psychothérapiques.D'un point de vue anthropologique, la danse classique apparaît comme une tentative pour maîtriser l'éros débordant de la danse dionysiaque ; émergeant en Occident au même moment que la psychanalyse, la danse libre vise au contraire à dévoiler, à travers la recherche du geste naturel, la vérité du désir. En même temps qu'elle procure une jouissance « autre », la danse improvisée, qu'elle soit urbaine ou contemporaine, est en effet une expérience transitionnelle qui permet au sujet, dans le mouvement même de la danse qui figure la naissance, d'éprouver la séparation et de s'engager dans la rencontre intersubjective, garante de la construction intrasubjective. Le groupe de danseurs, foule organisée par l'idéal esthétique du rythme, peut ainsi apparaître comme une forme essentielle du groupe et un lieu de subjectivation privilégié pour l'adolescent contemporain, qui y satisfait son besoin d'identification collective et de rituels initiatiques inscrivant sur son corps l'empreinte de la culture. De ce fait, la danse peut être pensée avec la psychanalyse comme une médiation thérapeutique particulièrement indiquée pour des adolescents souffrant de pathologies narcissiques graves. L'étude d'un groupe à médiation associant la danse et l'écriture, dans un hôpital de jour, montre comment la danse improvisée, telle un « squiggle dansé », vient révéler aux patients leur image inconsciente du corps qui se transforme au contact des thérapeutes et du groupe, dans le transfert. L'écriture vient soutenir, pour ces adolescents en souffrance de symbolisation, les propriétés subjectivantes de la danse qui se déploient dans l'espace de la rencontre / Dance is a taboo, paradoxical art, and is naturally therapeutic in adolescence – as is play for the child. In reaction to the turmoil of puberty, expressing the dancing impulse favours narcissistic reassurance through the auto-eroticism of danced movement, which summons the archaic identification with the mother’s body, the passivity which is proper to the feminine, and the discovery of the “other sex”. This research work aims on one hand at thinking through culture’s modern enthusiasm for dance, whether artistic or as a leisure pursuit, as one of the new forms of expression of the social bond and what (with Freud) we could call “civilized sexual morality”, taking up a collective feminine eroticism whilst organizing it as a symbolic expression in order to create new territories of the political. It also aims at affirming that a certain form of dance therapy, which I shall call mediation dance, belongs to the psychoanalytic field, so as to support the place of psychoanalysis in the treatment of pathologies in contempo-rary clinical practice, and to envisage adapting its techniques to current modalities of the ex-pression of subjectivity (of which adolescence, as the ultimate case, is the paradigm). The clinical material comprises written and filmed documents, analysis of my group therapy prac-tice, and psychotherapeutic interviews.From an anthropological point of view, classical dance appears to be an attempt to mas-ter the overflowing Eros of Dionysian dance; in contrast, free dance, which emerged in the west at the same time as psychoanalysis, aims to unveil the truth of desire through seeking the natural gesture. While it achieves an “other” jouissance, improvised dance (whether urban or contem-porary) is in fact a transitional experience which, in the very dance movement representing birth, allows the subject to experience separation and to move to the inter-subjective encounter which guarantees intra-subjective construction. A group of dancers is a crowd organized by the aesthetic ideal of rhythm, and can thus appear as an essential form of the group and a priv-ileged place of subjectivation for the contemporary adolescent, who finds a place to satisfy his/her need for collective identification and initiation rituals which leave the imprint of culture on the body. In this way dance can be thought of, with psychoanalysis, as a therapeutic medi-ation which is particularly indicated for adolescents suffering from serious narcissistic pathol-ogies. The study of a mediation group associating dance and writing in an outpatient unit shows how improvised dance, like a “danced squiggle” reveals to patients their unconscious body image, which is transformed in transference through contact with therapists and the group. For these adolescents with symbolisation problems, writing supports the subjectivising properties of dance which are deployed in the meeting space.

Cette thèse a pour objectif de montrer l’importance du rythme comme socle thérapeutique dans la prise en charge de la psychose infantile. Le rythme sera abordé selon deux points de vue :D’une part, comme élément communicationnel originaire entre l’enfant et la mère, il permet les premières associations de sens et par là, des mises en forme initiales (représentation de chose) du contact avec l’altérité. Les continuités et discontinuités dans le contact avec l’extérieur peuvent devenir, grâce à la régularité et la répétition qui constituent le rythme, des présences et des absences.D’autre part, l’articulation interne du rythme nous révèle une structure ternaire codifiée par les chiffres (1-0-1). Le chiffre Un est entendu comme une présence et le chiffre Zéro comme une presentia in absentia. Cette structure permettrait la négativation de la présentation pulsionnelle et l’introduction de l’enfant dans les préambules de la figuration moïque et la triangulation oedipienne. / The aim of this study is to demonstrate the importance of rhythm in the treatment of infantile psychosis. This rhythm is studied from two perspectives.First, as the first means of communication between mother and child, rhythm enables children to experience their first sensory associations and thus to structure their first representations of contact with otherness. Continuity and discontinuity with otherness could become presences and absences, thanks to the regularity and repetition inherent in the rhythm.Secondly, the inner speech of this rhythm reveals a ternary structure codified by the digital sequence (1-0-1). 1 is understood as a presence, 0 as a presentia in absentia.This structure would allow the negativation of the inner drive representation and would introduce the child to the preambles of Ego and Oedipus triangulation.

Cette thèse a pour objet les dispositifs corporels sur la scène contemporaine traitant de l’irreprésentable. En effet, parmi les artistes contemporains, nombreux sont ceux qui reconnaissent que la représentation théâtrale ne peut saisir le réel de son objet, parce que ce réel est comme un traumatisme qui ne peut être réduit à la langue, ni traduit par elle. Cette notion esthétique de l’irreprésentable, qui recouvre un large champ d’expériences et de pratiques artistiques, sera donc étudiée ici à partir d’événements traumatiques. L’hypothèse essentielle est que l’irreprésentable en tant que traumatisme se rapporte intimement au corps. Renonçant à l’ambition de représenter l’irreprésentable, certains artistes créent et disposent divers dispositifs représentatifs qui s’avèrent corporels. Ils souhaitent que ceux-ci puissent toucher le corps des spectateurs et enclenchent une irruption du réel, pour que chaque spectateur puisse rencontrer son propre réel irreprésentable. La thèse vise d’abord à éclaircir les concepts cruciaux – l’irreprésentable, le dispositif (contrôle foucaldien et pulsion lyotardienne), le théâtre contemporain, le dispositif représentatif et artistique – puis à analyser le travail de trois metteurs en scène – Kim Hyuntak, Romeo Castellucci, Angélica Liddell – en interrogeant, pour chacun, le thème de l’irreprésentable, les dispositifs corporels qu’il conçoit, et sa manière d’interpeller des spectateurs / This dissertation examines the bodily “dispositifs” in the contemporary theatre performances that explore the concept of the “unrepresentable”. Many contemporary artists acknowledge that theatrical representation cannot grasp the Real of its object, because the Real is, as Lacan has argued, equivalent to the trauma that cannot be reduced to, or translated into, language. Therefore, this study considers the aesthetic notion of the unrepresentable, which encompasses a wide range of artistic experiences and practices, from the position of trauma. The central assumption is that the unrepresentable as trauma is intimately related to the body. Renouncing the ambition to represent the unrepresentable, some artists create and place various representative dispositifs that are corporeal in nature. Through the use of such dispositifs, they attempt to touch the bodies of the spectators and trigger an irruption of the Real, so that each spectator can meet one's own Real. This thesis begins by clarifying the crucial concepts—the unrepresentable, the dispositif (Foucault’s control and Lyotard’s drive), the contemporary theater, the representative and artistic dispositif—and proceeds to analyze the works of three directors—Kim Hyuntak, Romeo Castellucci, Angelica Liddell—by investigating the theme of the unrepresentable, the bodily dispositifs that they have conceived, and their ways of affecting spectators.

A presente dissertação é resultante da experiência em distintos espaços clínicos com pacientes psicóticos e, em especial, em oficinas terapêuticas de música. A escrita busca investigar os possíveis efeitos do trabalho com a música na clínica da psicose. Para tanto, a primeira parte do trabalho trata de entrar em compasso com o leitor, situando-o com relação àquilo que entendemos por estruturação psicótica desde a perspectiva psicanalítica. É desde essa mesma perspectiva que situamos o campo de experiência e o método da pesquisa. Nesse sentido partimos de duas questões principais: uma delas diz respeito à narração, enquanto possibilidade de transmissão da experiência do inconsciente; a outra, ao caráter ficcional do que se produz a partir da experiência clínica. Apoiados em Freud, principalmente através do texto Construções em Análise, de 1937, é que sustentamos a forma de apresentação do que intitulamos “Memórias da Clínica”. Três fragmentos da experiência clínica colocam em relação as questões centrais do trabalho: a clínica da psicose e a música. A primeira memória acontece em uma oficina de música, inserida em um CAPS da cidade de Porto Alegre. No dilúvio de palavras de Julia escutamos o aprisionamento à palavra do Outro e a possibilidade de que, através da música, o sujeito possa tomar a palavra, colocando-se mais em consonância com o tempo do Outro e dos outros A segunda, surgida em um acompanhamento terapêutico, nos coloca a seguinte pergunta: como calar o Outro? Aqui também foi através da música que essa possibilidade surgiu. E, finalmente, a terceira memória cujo contexto é a escuta individual de uma paciente em uma clínica-escola. Nessa cena a voz, enquanto puro objeto, assegura uma função de presença. As memórias nos levaram aos caminhos da constituição do sujeito. Tendo a psicose e a música como guias, nos aventuramos por um percurso de pesquisa que reuniu operadores conceituais essenciais na aposta de que um sujeito pode advir, tais como: pulsão invocante, o fort-da, o espelho, alíngua. Trabalhar com a espera e com a abertura de intervalos é um desafio constante na escuta de psicóticos. Em nossa experiência, a música mostrou-se uma via potente nesse trabalho de criar intervalos. Através das variações do objeto da pulsão invocante que a música coloca em jogo, a palavra pode voltar a circular. Dar a palavra ao sujeito: não é disso que se trata na psicanálise? E que efeitos pode ter a música nessa operação? Dessa análise decanta a questão do silêncio, enquanto um elemento essencial na direção do tratamento nas psicoses. / The present dissertation is the result of trials in different clinical spaces with psychotic patients and, especially, in therapeutical music workshops. The writing seeks to investigate the possible effects of the work with music in the psychosis clinic. For such, the first part of the work tries to explain the reader, what we understood as a psychotic structuring under the psychoanalytic perspective. It is from that same perspective that we explain the field of experience and the research method. In that sense, we start from two main subjects: one of them concerns the narration, as a possibility of transmission of the unconscious experience; the other, the ficcional character that is produced starting from the clinical experience. Based on Freud, mainly through the Constructions in Analysis text, from 1937, we sustain the presentation form entitled “Memoirs of the Clinic.” Three fragments from the clinical experience which relate the central subjects of the work: the psychosis clinic and music. The first memory happens at a music workshop, inserted in a CAPS (Psycho-social Service Center) of the city of Porto Alegre. In the flood of Julia´s words we heard the imprisonment to the word of the Other and the possibility that, through music, the subject may take the word, becoming more in consonance with the time of the Other and the other ones. The second, appeared in a therapeutic assistance, places the following question: how to silence the Other? Here it was also through music that this possibility appeared. And, finally, the third memory whose context is the individual listening of a patient in a school clinic. In that scene, the voice, as a pure object, takes a presence function. The memoirs took us to the paths of the constitution of the subject. Taking the psychosis and the music as guides, we ventured in that primordial operation, through subjects as the invoking pulsion, fortda, the mirror, the language: essential concepts and operations in the hope that a subject may come. To work with the waiting and with the opening of intervals is a constant challenge in the listening of psychotics. In our experience, the music has appeared as a potent path in that work of creating intervals. Through the variations of the object of the invoking pulsion that the music turns on, the word circulates again. To give the word to the subject: isn’t that dealt with in psychoanalysis? And what effects may the music have in that operation? From that analysis upsurges the subject of silence, as an essential element in the direction of the psychoses treatment.

Ao tomar referÃncia à abordagem psicanalÃtica, esta pesquisa se propÃe a uma revisÃo bibliogrÃfica sobre Os Sentidos do Adoecer: refazendo o percurso freudiano, escolhendo como objetivos investigar os sentidos, os mecanismos e as manifestaÃÃes envolvidas no Ãmbito do adoecer psÃquico. A metodologia baseia-se numa pesquisa qualitativa feita atravÃs de uma anÃlise de conteÃdo de um total de 75 resumos selecionados. Buscam-se, em cada resumo, os significados de conteÃdo; escolhem-se dez Ãreas temÃticas articuladas: Adoecer, PulsÃo, Vida/Morte, Dor/Sofrimento, Perdas/Luto, Sintoma, Trauma, Narcisismo, CompulsÃo à repetiÃÃo, Corpo, priorizando-se quatro dessas Ãreas que apresentam uma ligaÃÃo maior com o estudo, quais sejam: Adoecer, PulsÃo, Sintoma e Corpo. A pesquisa aponta a relaÃÃo do adoecer psÃquico com o ârepresamento da libidoâ, refletindo a existÃncia do mecanismo de adoecimento e da formaÃÃo do sintoma. O processo de adoecimento envolve uma dessexualizaÃÃo das funÃÃes egÃicas (as de autopreservaÃÃo e as pulsÃes libidinais), alÃm de ocorrer tambÃm uma vivÃncia desfusional das pulsÃes de vida e de morte, tendo as pulsÃes parciais como conseqÃÃncias dessa fragmentaÃÃo. Os destinos das pulsÃes sugerem uma ligaÃÃo com o adoecimento psÃquico, provocando manifestaÃÃes patolÃgicas como as neuroses traumÃticas, os fenÃmenos da compulsÃo à repetiÃÃo, a forÃa das resistÃncias, a presenÃa dos conteÃdos neurÃticos e seus estados mÃrbidos de sofrimento. / By referring to a psychoanalytic approach,this reaserch proposes a bibliographic rewiew about the signs of sickness: remaking the Freud investigation,choosing as goals to investigate the meanings of psychological diseases, their mecanisms and psychological manifestations involved in the scope of neurotic diseases.The methodology is based on a qualitative reseach done by the analysis of content of a total of 75 selected summaries. In each of these summaries, the meanings of the content are reseached. Ten articulated the areas were chosen:sickness, pulsion, life/death, pain/suffering, loss/mourning, symptom, trauma, narcisism, compulsion to repetition, body, being emphasized the following areas: sickness, pulsion, symptom and body.The reseach points out the relation between the psychological sickness and the opression of the lust,reflecting the existance of the mecanism of sickness and the formation of the symptom.The process of sickness involves a lack of sexual desire, and also a misfunction in the living of the pulsions of life and death, and this fragmentation leads to partial pulsions. The destinies of the pulsions suggest a connection with the psychological sickness,causing pathological manifestations like traumatic neurosis,compulsion to repetition,force of resistences,neurotic contents and their state of morbid suffering.

Se tuer, se punir, se laisser tomber, ce sont autant de manières de traduire en actes ce que le sujet ne peut pas dire. Sous l’emprise de son héritage et des énoncés qui l’ont fait exister et l’ont laissé tomber dans ce monde, ce sujet est en quête de son histoire, voire de son destin, cette puissance parentale si encombrante qui donne le sens tragique et d’anticipation à l’existence. Bien que la mort ait ce caractère négatif, vide de contenu, elle n’en implique pas moins la disparition du sujet : l’énonciation de la mort dénonce. Le suicide constitue un paradoxe existentiel caractérisé par cette économie unique entre jouissance et auto-punition. Notre relation au destin est un travail d'écriture qui engage le sujet, l’acte de commencement et la hâte de sa fin. Voici l’un des constats cliniques : l’individu meurt de ses conflits internes. Cette thèse propose une réflexion théorique à travers différentes études cliniques qui ont surgi d’une pratique aux urgences psychiatriques avec une approche trans-nosographique. Le sadisme originaire montre cette tendance cruelle et agressive envers nous-mêmes. Les fantasmes masochistes expriment le sentiment de culpabilité, comme si le sujet avait commis un crime qui devait être expié par la douleur ; par la culpabilité inconsciente nous identifions ce besoin de punition. Cependant, il n’y a pas d’impulsion suicidaire sans impulsion meurtrière. L’injonction de mort travaille comme un mot d’ordre qui oblige le sujet à sortir de la scène sans oublier la complexité de ce qui d’un point de vue économique implique la satisfaction libidinale d’un suicide. Cette part d’énigme demeure un réel défi pour la psychanalyse, toutefois le sujet peut compter sur elle pour une autre écriture de son histoire. Comme une valse à mille temps, qui s'offre encore le temps, de s'offrir des détours du côté de l'amour, nous avons la conviction que le destin est muable et la subversion du sujet toujours possible. / Suicide, self-punishment, and giving up on oneself, are all acts that translate the ineffable. Controlled by one’s heritage and the discourse that bring the subject into existence or abandonment, a search is launched for one’s history or even destiny, the burdening parental authority which leads to a tragic anticipation of existence. If death has a texture of dull emptiness, it nonetheless strikingly denounces the end of a life. Suicide signals an extraordinary paradox, a unique blend of satisfaction and self-punishment. Destiny forces the subject to act out his beginning and expedite his end. Here is one of our clinical perceptions: the individual dies from his internal conflicts. This dissertation is a transnosographic analysis of case studies drawn from an emergency psychiatric unit. Primary sadism reveals cruel and aggressive treatment of oneself. Masochistic fantasies express guilt, as if the subject could only atone for his “crimes” through pain: unconscious guilt gives us this need for punishment. However, suicide always implies a wish to murder others. Death wish implies libidinal satisfaction. This enigmatic aspect remains a real challenge for psychoanalysis. Still, we believe that there is always time for the treatment to re-write one’s destiny and reverse suicidal tendencies.

Diss.--Hamburg Universität, 2005. / Bibliogr. p. 331-344.

Thèse (D. en études littéraires)--Université du Québec à Montréal, 2005. / En tête du titre: Université du Québec à Montréal. Bibliogr.: f. [276]-294. Publié aussi en version électronique.

L’accès violent dans la psychose est hors réalité, vive, brute, brutale et imprévisible. C’est, en effet, une violence qui a la particularité d’entraîner le sujet, l’entourage, les soignants, voire la société dans les confins de l’archaïque. La rencontre clinique avec les patients en décompensation psychotique pris dans un déferlement de violence permet de prendre la mesure du paradoxe de cette violence que notre étude envisage dans sa valence destructrice et créatrice. Cette étude transversale, envisagée dans un continuum décompensation/rémission, s’appuie sur l’analyse comparée des protocoles projectifs (Rorschach et TAT) de 9 cas de patients rencontrés au Cameroun. En référence aux champs théoriques de la psychanalyse et de le psychodynamique, nous avons ainsi tenté de montrer que l’accès violent dans la psychose au-delà de sa dimension destructrice viendrait opérer une remise en jeu de la dialectique du rapport entre la pulsion et la découverte de la réalité avec pour enjeux la psychisation de la pulsion, la constitution du Moi et de l’objet. / Violent access in psychosis is off reality, sharp, gross, brutal and unpredictable. It is, indeed, a violence which has the peculiarity of involving the patient, his circle of acquaintances, caregivers, even the society in the borders of the archaic. The clinical encounter with patients in psychotic decompensation exuding violence permits us to measure the paradox of this violence which our study envisages in its destructive and creative valence. This transverse study, envisaged in a continuum decompensation / forgiveness, leans on the comparative analysis of the projective protocols (Rorschach and TAT) of 9 cases of patients met in Cameroon. With reference to the theoretical fields of the psychoanalysis and psychodynamics, we have however tried to show that violent access in the psychosis beyond a destructive dimension would come to operate a throw-in of the dialectic of the relationship between the drive and the discovery of the reality with for stakes, the psychisation of the drive, the constitution of the Me and the object.