Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2010. / Directed by Heidi Gazelle; submitted to the Dept. of Psychology. Title from PDF t.p. (viewed Jul. 19, 2010). Includes bibliographical references (p. 45-51).

Cette thèse porte sur l’ennui dans cinq romans de Julien Green (Mont-Cinère, Adrienne Mesurat, Minuit, Le Malfaiteur, Le Mauvais Lieu). L’enjeu est d’étudier la représentation de l’ennui dans des romans qui y consacrent tous une place différente. Dans une première partie, l’analyse du décor de l’ennui greenien, que ce soit l’espace extérieur ou l’espace intérieur, a permis de mettre en évidence l’aliénation intérieure des personnages greeniens qui reflète leur incapacité à vivre. L’étude du milieu dans lequel baignent les personnages permet en effet de se faire une idée de l’ampleur de l’ennui. La ville devient alors la toile sur laquelle se projettent leur ennui et leurs maux tandis que la liberté dont ils croient avoir pleine possession n’est qu’une illusion. Symbole de cet emprisonnement, la maison est la métaphore d’une impossibilité d’évasion hors de soi. La maison est un huis clos où se cumulent puis se déchaînent les passions. Les êtres greeniens sont face à une immutabilité qui ne peut que les mettre devant leur impuissance à sortir de cet ennui. Le constat est amer : il n’existe aucune possibilité de distraction, les hommes sont condamnés à s’ennuyer. Dans la deuxième partie, les conséquences de l’ennui sur les personnages ont été mises en évidence. Alors que tous les protagonistes sont prématurément vieillis par cette vie d’ennui, ils tentent désespérément de s’ancrer dans un réel fuyant par des habitudes ridicules et des occupations sans intérêt, à part celui de combler coûte que coûte le néant qui les engloutit. La haine d’autrui apparait et déteint sur leur famille : impossible d’aimer et d’être aimé, il s’agit désormais de se sentir exister en opprimant et réduisant à néant autrui. La troisième partie de la thèse est l’occasion de s’arrêter sur les conséquences avérées de l’ennui. Un déchaînement de violence est la conséquence logique d’un mal qui puise son origine dans la haine. Si les personnages se réfugient un instant dans le monde de la rêverie pour fuir un réel étouffant, cette rêverie les éloigne progressivement du réel et leur fait perdre toute attache à la réalité. C’est en créant leur monde qu’ils se soulagent de leurs maux, de leur inadaptation sociale et de la violence qui couve en eux. Ces folie et violence débouchent directement dans le meurtre comme solution pour se débarrasser d’autrui, cause de l’ennui. Mais le meurtre n’est jamais délibérément voulu et la mort apparaît comme l’unique solution : le personnage se tue parce que – comme Baudelaire écrivait dans sa Correspondance générale – « la fatigue de [s]’endormir et la fatigue de [se] réveiller [lui] sont insupportables » / This thesis aims at studying how boredom is depicked in five novels – Mont-Cinère, Adrienne Mesurat, Minuit, Le Malfaiteur, Le Mauvais Lieu – and how differently Julien Green painted it. In a first part, our analysis of the Greenian boredom from within and without has highlighted his characters’ internal alienation mirroring their inability to live. Indeed, studying the characters’ environment gives some insight into the scope of boredom. The town then becomes the canvass on which their boredom and suffering are displayed whereas the freedom they believe is theirs, is only an illusion. The house – a symbol of this confinement – is the metaphor of some escape beyond the self. The house is a prison cell where passions build up and run high. Greenian beings are involved with some immutability failing to confront them with their inability to ride out this boredom. A sobering conclusion as they cannot enjoy themselves : men are condemned to get bored. In the second part, the consequences of boredom on the characters have been highlighted. While this boring life prematurely makes the characters older, they desperately attempt to ground into an elusive reality through ridiculous habits and pointless activities, except filling the empty nothingness drowning them. Their hating others appears and influences their family : they cannot love or be loved ; from now on they will have to feel they are alive by oppressing and destroying others. The third part points out the proven consequences of boredom. This outburst of violence stems logically from some uneasiness originating in hatred. If the characters retreat for a while into the world of musing to escape from a stifling reality, this musing gradually keeps the real at bay and deprives them of all connections to reality. While creating their world, they relieve their suffering, their social maladjustment and the violence simmering in them. Mania and violence directly lead to murder as the solution to get rid of others, a source of boredom. But murder is never deliberately wanted and death appears as the unique solution : the character kills himself because – as Baudelaire wrote in his Correspondance générale he cannot bear the weariness of sleeping and the weariness of waking up.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Desde a criação do cinema, em 1895, a cidade vem sendo retratada de forma surpreendente para quem a vivencia em seu cotidiano. A arte do cinema amplia o sentido de realidade e provoca um impacto sobre o universo psicológico e social do homem. O cinema brasileiro acompanha, através de sua vasta produção, o percurso da cidade no tocante ao desenvolvimento estético, social, cultural, político e econômico, apresentando a forma através da qual o homem se relaciona com essas variáveis. O historiador Michel de Certeau desenvolve em sua obra o tema da inventividade do cotidiano, no que se refere à prática do espaço. Os conceitos de espaço (um lugar praticado), e de lugar (um espaço geométrico), permitem aprofundar o estudo do papel do homem no cotidiano da cidade. É este o eixo teórico da presente pesquisa, que pretende estudar o imaginário da cidade no cinema brasileiro a partir de três questões principais: a formação do imaginário urbano, a criação da forma da cidade no cinema (locações, cenários e fisionomias) e o estado de solidão e isolamento vivido pelo homem nas grandes cidades. Para tal, foram escolhidas para análise as seguintes produções brasileiras: Dias de Nietzsche em Turim (2001) de Julio Bressane, O Príncipe (2002) de Ugo Giorgetti e O Outro Lado da Rua (2004) de Marcos Bernstein. A cidade representada nesses filmes nos dá a oportunidade de exercitar o olhar e refletir sobre o cotidiano da vida urbana e seus reflexos no universo psicológico do homem contemporâneo / Since the creation of the cinema, in 1895, cities have been portrayed in a way that surprises those who experience it in their daily lives. The art of cinema magnifies the sense of reality, thus triggering an impact on man's psychological and social universe. Through its large production, the Brazilian cinema follows the city's journey in connection with the aesthetic, social, cultural, political, and economical development, depicting the way man relates to these variants. In his work, the historian Michel de Certeau develops the subject of everyday inventiveness regarding the practice of space. The concepts of "space" (a practiced place) and "place" (a geometrical space) pave the way to deepening the investigation of man's role in the city's everyday life. This is the theoretical chore of the present research. It proposes to investigate the city's imaginary contents as seen in the Brazilian cinema, based on three main topics: the formation of the urban imaginary contents, the creation of the city's form on film (locations, settings, and looks), and the state of solitude and isolation man must face in the big cities. In order to supply the adequate material, the following Brazilian productions have been selected for the studies in question: Dias de Nietzsche em Turim (Nietzsche's Torino Days) (2001), by Julio Bressane, O Príncipe (The Prince) (2002), by Ugo Giorgetti, and O Outro Lado da Rua (The Other Side of the Street) (2004), by Marcos Bernstein. As portrayed in these films, the city supplies us with the opportunity to exercise the act of looking, and to reflect about the urban daily life with its effects on the contemporary man's psychology

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Desde a criação do cinema, em 1895, a cidade vem sendo retratada de forma surpreendente para quem a vivencia em seu cotidiano. A arte do cinema amplia o sentido de realidade e provoca um impacto sobre o universo psicológico e social do homem. O cinema brasileiro acompanha, através de sua vasta produção, o percurso da cidade no tocante ao desenvolvimento estético, social, cultural, político e econômico, apresentando a forma através da qual o homem se relaciona com essas variáveis. O historiador Michel de Certeau desenvolve em sua obra o tema da inventividade do cotidiano, no que se refere à prática do espaço. Os conceitos de espaço (um lugar praticado), e de lugar (um espaço geométrico), permitem aprofundar o estudo do papel do homem no cotidiano da cidade. É este o eixo teórico da presente pesquisa, que pretende estudar o imaginário da cidade no cinema brasileiro a partir de três questões principais: a formação do imaginário urbano, a criação da forma da cidade no cinema (locações, cenários e fisionomias) e o estado de solidão e isolamento vivido pelo homem nas grandes cidades. Para tal, foram escolhidas para análise as seguintes produções brasileiras: Dias de Nietzsche em Turim (2001) de Julio Bressane, O Príncipe (2002) de Ugo Giorgetti e O Outro Lado da Rua (2004) de Marcos Bernstein. A cidade representada nesses filmes nos dá a oportunidade de exercitar o olhar e refletir sobre o cotidiano da vida urbana e seus reflexos no universo psicológico do homem contemporâneo / Since the creation of the cinema, in 1895, cities have been portrayed in a way that surprises those who experience it in their daily lives. The art of cinema magnifies the sense of reality, thus triggering an impact on man's psychological and social universe. Through its large production, the Brazilian cinema follows the city's journey in connection with the aesthetic, social, cultural, political, and economical development, depicting the way man relates to these variants. In his work, the historian Michel de Certeau develops the subject of everyday inventiveness regarding the practice of space. The concepts of "space" (a practiced place) and "place" (a geometrical space) pave the way to deepening the investigation of man's role in the city's everyday life. This is the theoretical chore of the present research. It proposes to investigate the city's imaginary contents as seen in the Brazilian cinema, based on three main topics: the formation of the urban imaginary contents, the creation of the city's form on film (locations, settings, and looks), and the state of solitude and isolation man must face in the big cities. In order to supply the adequate material, the following Brazilian productions have been selected for the studies in question: Dias de Nietzsche em Turim (Nietzsche's Torino Days) (2001), by Julio Bressane, O Príncipe (The Prince) (2002), by Ugo Giorgetti, and O Outro Lado da Rua (The Other Side of the Street) (2004), by Marcos Bernstein. As portrayed in these films, the city supplies us with the opportunity to exercise the act of looking, and to reflect about the urban daily life with its effects on the contemporary man's psychology

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Este trabalho tem como principal objetivo observar as figuraÃÃes da infÃncia â no caso, das meninas â e da solidÃo na prosa de natureza memorialÃstica de CecÃlia Meireles. Buscamos nos aproximar de uma parcela da obra em prosa ceciliana que, face aos demais livros, sÃo menos contemplados pela crÃtica literÃria: Olhinhos de gato (romance autobiogrÃfico) e GiroflÃ, giroflà (contos). A partir da leitura aprofundada das obras selecionadas, seguindo o mÃtodo comparativo, buscaremos compreender (e apreciar) as referidas figuraÃÃes, com foco nas personagens infantis femininas: sÃo crianÃas que apresentam uma inclinaÃÃo voltada ao poÃtico, ao devaneio (apontado como caracterÃstica da imaginaÃÃo infantil), imerso na solidÃo, com grande proximidade da morte, alÃm da vivÃncia Ãntima da transcendÃncia. Observando o desenvolvimento estilÃstico do texto ceciliano (imagÃstica, escolha vocabular, sonoridade, temÃtica, etc.) acreditamos ser possÃvel, ainda, efetuar uma aproximaÃÃo desse corpus à obra poÃtica e Ãs demais em prosa da escritora, ainda que numa perspectiva temÃtica. A partir da âpoÃtica dos sentidosâ proposta por Gaston Bachelard em A poÃtica do devaneio perceberemos como se dà a experiÃncia do mundo realizada pelas meninas das obras do corpus, observaremos os espaÃos onÃricos onde elas se encontram e nos posicionaremos, a partir da exploraÃÃo do espaÃo, frente a devaneios, sejam os de miniaturizaÃÃo, sejam os de transcendÃncia que tÃm como princÃpio o infinito. / This work aims to observe the figurations of childhood - in that case, girls - and loneliness in prose of memoir nature of CecÃlia Meireles. We seek to bring us closer to a portion of the work in Ceciliana prose that, compared to other books, are less covered by literary criticism: Olhinhos de gato (autobiographical novel) and GiroflÃ, giroflà (short stories) . From the in-depth reading of selected works, following the comparative method, we understand (and appreciate) figurations of childhood, focusing on female children's characters: they are children who have a slope facing the poetic, the reverie (identified as characteristic of imagination child), immersed in solitude, with great proximity to death, beyond the intimate experience of transcendence. Watching the stylistic development of the text of the author (imagery, vocabulary choice, sound, theme, etc.) we believe we can still make an approximation that the corpus poetry and other prose of the author, perform a thematic perspective. From the "poetics of the senses" proposed by Gaston Bachelard in The poetic of reverie weâll realize how is the experience of the world performed by the girls of the corpus of works, observing the oniric spaces where they are and will position us from the exploitation of space, compared to daydreaming, miniaturization, and the transcendence whose principle infinite.

O presente trabalho tem por intuito demonstrar a solidão, a incomunicabilidade e a precariedade dos relacionamentos no mundo moderno. Para tanto fizemos um estudo detalhado das personagens e da linguagem simbólica presentes em A gata e a fábula, de Fernanda Botelho e Exílio, de Lya Luft. Coincidentemente, o contexto histórico das duas obras consiste na ditadura, que ocorreu em Portugal e no Brasil, porém não aparece explicitamente nos romances, mesmo porque o enfoque de ambos é o de mostrar a situação da mulher numa sociedade conservadora e patriarcal. Ambos os romances mostram a mulher à procura de sua identidade numa sociedade na qual ela sempre ocupou uma posição inferior. / The aim of the present research is to demonstrate the solitude, the lack of comunication and the uncertainty of the relationships in our contemporary world. In order to show this, we did a detailed study of the characters and of the symbolic speech presented in A gata e a fábula written by Fernanda Botelho and Exílio, written by Lya Luft. The historical context of the novels is, coincidently, the dictatorship which happened in Portugal and in Brazil, but this fact does not appear clearly in these novels, because their main focus is to show the woman\'s situation facing a strict and patriarchal society. Both novels show the woman in search of ber identity in a society in which she always had a lower position.

Orientador: Maria Suely Kofes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T17:52:57Z (GMT). No. of bitstreams: 1 Pacheco_AnaClaudiaLemos_D.pdf: 1428683 bytes, checksum: 23c1227d6220471c8b7ca94c419dd090 (MD5) Previous issue date: 2008 / Resumo: Esta tese pretende discutir os aspectos relacionados com as escolhas afetivas e significados de solidão entre mulheres negras em Salvador, Bahia, tendo em vista, particularmente, os critérios de raça e gênero. Para tanto, selecionei como recorte empírico, dois conjuntos de mulheres negras sem parceiros fixos: o primeiro, constitui-se de ativistas políticas, integrantes do movimento de mulheres negras e / ou do movimento negro; e o segundo, de mulheres nãoativistas. Foram selecionadas 25 mulheres de vários segmentos sociais, tais como: trabalhadoras domésticas, professoras, intelectuais, trabalhadoras autônomas. A escolha desse objeto de estudo está baseada em alguns estudos demográficos dos anos 80 e em entrevistas realizadas que apontaram a cor/raça como um elemento precedente na preferência afetivo-sexual de parceiros. Como resultado dessas escolhas, haveria um ¿excedente¿ de mulheres negras ¿solitárias¿, isto é: i) sem parceiros afetivos fixos; ii) sem relações afetivo-sexuais estáveis, em relação às mulheres pertencentes a outros grupos raciais. A fim de analisar como esta premissa se processa em contextos sociais específicos, optei por fazer uma pesquisa qualitativa baseada em observação, entrevistas em profundidade, análise de trajetórias e narrativas. Outras fontes complementares foram utilizadas: revistas, relatórios, recursos fílmicos, dados demográficos, históricos e literários e referências bibliográficas. As questões colocadas são as seguintes: como raça, gênero e outros marcadores sociais operam nas escolhas afetivas das mulheres negras investigadas? Como percebem as experiências da solidão? / Abstract: This thesis intends to argue the related aspects with the affective choices and meanings of solitude among black women in Salvador, Bahia, in view of, particularly, the criteria of race and gender. For in such a way, I selected as empirical clipping, two sets of black women without fixed partners: the first one, consists of politic activists, integrants of the black women movement and or of the black movement, and the second, of women not-activists. Twenty five women of some social segments had been selected, such as: domestic workers, teachers, intellectuals, selfemployer workers. The choice of this object of study is based on some demographic studies of years 80 and on interviews that had pointed color/race as a preceding element in the affectivesexual preference of partners. As result of these choices, it would have an "excess" of "solitaries" black women, that is: i) without fixed affective partners; ii) without steady affective-sexual relations, in relation to women pertaining to other racial groups. In order to analyze how this premise processes in specific social contexts, I opted to making a qualitative research based in comment, interviews in depth, analysis of trajectories and narratives. Other complementary sources had been used: magazines, reports, filmic resources, bibliographical references, and demographic, historical and literary data. The placed questions are the following ones: how race, gender and other social markers operate in the affective choices of the investigated black women? How they perceive the experiences of the solitude? / Doutorado / Ciencias Sociais / Doutor em Ciências Sociais

A solidão é considerada pela psicologia atual como um índice de inadaptação dos indivíduos solitários. A principal tese aqui defendida é a de que a associação simples entre solidão e sofrimento é ideológica, só podendo ser sustentada por uma ciência enrijecida que não leva em conta a história e não está aberta para o conhecimento produzido pela arte. Tendo como base a teoria crítica da sociedade, em especial o pensamento de T. W. Adorno e sua concepção de arte e racionalidade, analisei alguns autores da literatura e da filosofia dos séculos XVIII, XIX e XX, sobretudo aqueles considerados como precursores do romantismo, representantes deste ou grandemente influenciados por ele. Nesse percurso, procurei mostrar como um tipo de solidão, presente na vida desses autores ou em suas obras, como tema ou forma, possui elementos críticos em relação à sociedade em que viviam e, em grande parte, ainda vivemos, assim como elementos utópicos importantes para aqueles interessados na superação desta sociedade baseada na exploração e no privilégio. Tal solidão é a solidão da formação (Bildung, em alemão), um desenvolvimento do individualismo burguês no qual confluem a independência subjetiva e uma sociabilidade mediada: independência subjetiva possível por meio da independência financeira do indivíduo ideal no capitalismo liberal e sociabilidade mediada presente na produção e recepção artísticas / Solitude is considered by current Psychology as an index of inadaptability of lonely individuals. The main thesis defended here is that the simple association between solitude and suffering is ideological, and can only be supported by a rigid science that doesnt take history into account and is not open to the knowledge produced by art. Based on the critic theory of society, especially the thoughts of T. W. Adorno and his conception of art and rationality, I have analyzed some literature and philosophy authors from the 18th, 19th and 20th centuries, notably those considered precursors of Romanticism, its representatives or greatly influenced by it. In this journey, I have tried to show how a type of solitude, present in the life of these authors or in their works, as a topic or in the form, has critic elements in relation to the society they lived and we, somehow, still live, and utopic elements important to those interested in the overcome of this society based on exploitation and privilege. This solitude is the solitude of formation (Bildung, in German), a development of the burgeois individualism in which converge subjective independence and mediated sociability: subjective independence made possible through financial independence of liberal capitalisms ideal individual, and mediated sociability present in the artistic production and reception

D.Litt. et Phil. / A sense of isolation pervades all of Montherlant's writings -- the notebooks, the essays, the novels, and the plays. Although cognisance has been taken of his oeuvre as a whole, we have limited our study to that of Montherlant's theatre, for it is in his theatre that many of the thematic interests dispersed throughout the novels and the essays are crystallised in a striking and concrete form. We have, however, had recourse from time to time to his other writings. The object of this study is to examine in both intellectual and theatrical terms, the way in which Montherlant presents the voluntary distancing of the self in his plays. Almost all of his protagonists appear isolated within their family groups and social frameworks, but they seem voluntarily to have embraced that condition, and, furthermore they actively seek this isolation. Montherlant's first play, L'Exil, establishes a leitmotif that recurs time after time in all his subsequent plays.

Dans cette thèse, j’examine l’influence d’états aversifs (e.g., émotions désagréables, issues indésirables) sur les motivations et les comportements des consommateurs. Dans le premier essai, j’explore comment des sentiments de dégoût physique ou moral peuvent mettre en péril l’estime de soi des consommateurs et les motiver à se livrer à de la consommation compensatrice. Dans le deuxième essai, j’examine pourquoi et à quels moments les consommateurs font preuve de sentiments négatifs à l’égard des entreprises qui cessent de distribuer gratuitement des échantillons ou petits cadeaux aux consommateurs. Dans le troisième essai, j’explore comment la solitude affecte les préférences des consommateurs pour des produits et services qui peuvent ou non nécessiter des interactions interpersonnelles (ex : se faire masser vs. faire des achats en ligne). Considérés ensemble, ces trois essais contribuent à la littérature sur l’émotion, les menaces identitaires, et la consommation compensatrice, à la littérature sur les promotions commerciales et à la littérature sur la solitude. De plus, les résultats ont des implications pour les praticiens en marketing en ce qui concerne la publicité, le design des promotions commerciales, et l’haptique des consommateurs. Finalement, ces travaux de recherche offrent de nouvelles perspectives concernant le bien-être des consommateurs en soulignant les conséquences inattendues des actions des marketers qui cherchent à bénéficier aux consommateurs mais génèrent en réalité des comportements compensateurs pour faire face à leur aversion. / In this dissertation, I examine the influence of aversive states (e.g., unpleasant emotions, undesired outcomes) on consumers’ motivations and behaviors. In essay 1, I explore how feelings of physical and moral disgust can be threatening to consumers’ sense of self and motivate them to engage in compensatory consumption. In essay 2, I investigate why and when consumers exhibit negative behavioral intentions against firms that terminate unconditional business-to-consumer gift-giving initiatives. In essay 3, I explore how loneliness affects consumers’ preferences for products and services that do or do not require interpersonal touch and interaction (e.g., getting a massage vs. shopping online). Together, the three essays contribute to the literature on emotion, identity threats, and compensatory consumption, to the literature on sales promotion, and to the literature on loneliness. Moreover, the research findings inform marketing practice in the fields of advertising, sales promotions design, and consumer haptics. Finally, this research provides insights into consumer welfare by bringing attention to the unforeseen consequences of marketers’ actions that seek to benefit the consumers but instead generate compensatory behaviors to cope with their aversiveness.