Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Esta dissertaÃÃo trata da experimentaÃÃo com as performances sadomasoquistas em um processo de pensamento e criaÃÃo antropolÃgico e artÃstico, construindo uma poÃtica da crueldade. Nas aprendizagens desse trajeto, o autor vai propondo a realizaÃÃo de uma instalaÃÃo-performativa que transmita os signos sensÃveis (figurativos e figurais) do sadomasoquismo. Os atravessamentos teÃricos vÃo da antropologia simÃtrica de Bruno Latour, o teatro da crueldade de Antonin Artaud, a literatura de Clarice Lispector, a filosofia do sensÃvel de Jacques RanciÃre, a filosofia nÃmade de Deleuze e Guattari aos Performance Studies e os saberes dissidentes da Queer Theory, em especial com o saber da contrassexualidade de Paul Beatriz Preciado. Nas tomadas de sensaÃÃo e representaÃÃo das aprendizagens, buscar-se-à seguir as linhas de forÃa que permitam ao conhecimento antropolÃgico-artÃstico se movimentar pelas simultaneidades das agÃncias culturais e das agÃncias naturais que, na guinada pÃs-estruturalista, disparam rumo Ãs novas perspectivas do que sejam as artes, os gÃneros, os sexos, as sexualidades e as atuais mÃquinas de produÃÃo-injunÃÃo-reapropriaÃÃo dos prazeres e das tecnologias dos corpos. Em suma, a dissertaÃÃo tem o afecto como eixo daquilo que as ciÃncias chamam de metodologia e o percepto como epistemologia do vivido. / This dissertation deals with the experimentation with sadomasochistic performances in an anthropologic and artistic process of thinking by constructing a poetics of cruelty. On that learning journey, the author will propose the actualization of a performative-installation that transmits sensitive signs (figurative and figural ones) of sadomasochism. The theoretical traverse lines come from Bruno Latourâs symmetrical anthropology, Antonin Artaudâs theatre of cruelty, Clarice Lispectorâs literature, the philosophy of the sensible by Jacques RanciÃre with the nomadic philosophy of Deleuze and Guattari, the Performance Studies, and the dissident knowledges from Queer Theory, specially the contrasexual thinking by Paul Beatriz Preciado. Taking sensation and representation during this learning, the lines of force will be sought by allowing the anthropologic and artistic knowledge to move through the simultaneity of cultural and natural agencies which, in the poststructuralist turn, soar towards new perspectives on what arts, genders, sexualities, the current machines of production-injunction-reappropriation of pleasures and the technologies of bodies could be. To sum up, this dissertation has affect as an axe whose sciences named methodology and the percept as an epistemology of the lived experience.

BDSM (bondage, discipline/dominance, submission/sadism and masochism) has recently gained greater visibility in dominant discourses around sexuality. However, these depictions are often constructed in rigid ways to typically exclude experiences of sexual intimacy. Despite this apparent exclusion, constructions of subspace (an altered mental state induced through BDSM encounters) on online blogs intrigued me to consider it as an alternative to widely accepted notions of sexual intimacy. Using a poststructuralist theoretical framework, I conducted an online ethnographic study in which I explored the varied ways in which self-identified South African BDSM individuals construct meaning around sexual intimacy. Through a Foucauldian discourse analysis, I consider how constructions of intimacy in the BDSM community might have been silenced through exclusionary definitions in dominant discourses. I identified four discourses in the text: A discourse of romantic vulnerability, a discourse of knowledge, a discourse of difference/sameness and a discourse of role differentiation. The findings suggest that BDSM practitioners, in constructing meaning around intimacy, at times comply with dominant discourses and at other times subvert normative ideas around sexuality, gender and sexual intimacy. I conclude with implications for gender and sexuality studies as well as the discipline of psychology in its engagement with BDSM identities and practices. / Dissertation (MA)--University of Pretoria, 2014. / Psychology / Unrestricted

Esta dissertação é uma etnografia realizada em três festas fetichistas/sadomasoquistas (autodenominadas BDSM), abertas ao público em geral, que acontecem na cidade do Rio de Janeiro. Meu objetivo foi investigar este tipo de sociabilidade, tendo como foco dois importantes temas das Ciências Sociais: festas e sexualidade. A revisão teórica e a análise do material de campo buscam o diálogo com estes temas através de uma reflexão sobre identidade e gênero. / This study consists on an ethnography in three public fetishist/sadomasochistic parties (self-called BDSM parties) that take place in Rio de Janeiro. My aim was to investigate this kind of sociability, focusing on two important themes in Social Sciences: parties and sexuality. Bibliographic review and fieldwork analysis search for a dialog with these two themes by means of considering identity and gender issues.

Fault Lines positions a theory of gay male subjectivity as it relates to the Queer skinhead and its dissemination in gay male pornography. In narrating the transformation of the original skinhead as a subcultural youth type to its present re-signification as a fetish and sexual identity within gay male subculture, Fault Lines reveals a tripartite problem of fetishism, sadomasochism and fascism. Through an analysis of Bruce LaBruce's film Skin Gang / Skin Flick (1999) these problems are contextualised within a discourse of gay male pornography, broadening the investigation to consider how problems of masculinity, violence and race manifest within a distinctly gay male sexual imaginary. Examining the representational function of the Queer skinhead, Fault Lines seeks to speculate on how notions of a gay male subject and subjectivity can be established at the intersection of an aesthetic, political and social experience.

Esta dissertação é uma etnografia realizada em três festas fetichistas/sadomasoquistas (autodenominadas BDSM), abertas ao público em geral, que acontecem na cidade do Rio de Janeiro. Meu objetivo foi investigar este tipo de sociabilidade, tendo como foco dois importantes temas das Ciências Sociais: festas e sexualidade. A revisão teórica e a análise do material de campo buscam o diálogo com estes temas através de uma reflexão sobre identidade e gênero. / This study consists on an ethnography in three public fetishist/sadomasochistic parties (self-called BDSM parties) that take place in Rio de Janeiro. My aim was to investigate this kind of sociability, focusing on two important themes in Social Sciences: parties and sexuality. Bibliographic review and fieldwork analysis search for a dialog with these two themes by means of considering identity and gender issues.

Cette thèse aura pour but d’interroger deux notions majeures de l’oeuvre robbe-grillétienne : le ‘‘ Fantasme’’ et la ‘‘ Représentation’’. Il s’agira, principalement, de mettre en perspective les différents rapports qui se tissent entre elles et la manière dont elles édifient l’oeuvre du Nouveau Romancier. La façon dont Robbe-Grillet représente le fantasme sera au centre de cette recherche, mais nous aborderons également la notion de représentation à travers le motif du théâtre. En effet, les personnages des films et romans de Robbe-Grillet ne cessent de jouer des rôles stéréotypés (l’espion, la prostituée, le docteur sadique etc.) et il arrive fréquemment que les lieus présentés au début de la diégèse se muent en scènes de spectacle. Chez l’auteur de La Jalousie Le fantasme est fortement théâtralisé comme l’atteste également l’omniprésence de la thématique sadomasochiste. Espace de tous les possibles, l’oeuvre de Robbe-Grillet fantasme aussi sa propre gestation. Le Nouveau Romancier, à l’ image du texte qu’il a engendré, est devenu, lui-aussi, un objet de représentation. Ouverte sur de multiples métamorphoses, cette oeuvre aussi ludique que complexe ne cherche pourtant pas à dévoiler l’ensemble de ses mécanismes. Elle laisse la possibilité au récepteur de créer les siens en acceptant ou non le pacte de lecture proposé par l’auteur. Le lecteur-spectateur, à la fois au centre et à l’extérieur de tout ce qu’il peut lire et voir, se retrouve au coeur d’une représentation qui est autant la sienne que celle de l’auteur. / The aim of this Thesis is to examine and interpret the two main notions of Robbe-Grillet’s overall work which are “Fantasy” and “Representation”. This will mainly be demonstrated by the different relationships that are developing between the two concepts and the way they edify the work of the Nouveau Romancier. The fashion in which Robbe-Grillet characterizes fantasy will be the central argument of this Thesis Dissertation, but we will also discuss the idea of representation through the motive of theatre. In fact, the characters of Robbe-Grillet’s movies and books keep on playing stereotypical roles (a spy, a prostitute, a sadist doctor etc…) and the places represented at the beginning of the story frequently transform the scene as a spectacle. For the author of Jalousie, fantasy is strongly dramatized as shown by the omnipresence of the sadomasochism thematic. Since the work of Robbe-Grillet offers a place where everything is possible, it fantasizes its own gestation. Pictured by the text he engendered, the Nouveau Romancier became an object of self-representation within his own work. Open to multiple metamorphoses, his work, as playful as complex, does not try to display the ensemble of its inside mechanisms and leaves the reader the possibility to create his own interpretation by accepting or not the lecture’s path offered by the author. The readerspectator is both at the center and exterior to everything he can read and see, he finds himself at the heart of a representation that is as much his own as the author’s.

Introduction. The aim of this thesis is to examine information practices among erotic minorities in Sweden in 1975–1995. These minorities include among others sadomasochists, fetishists and transvestites. The survey moves within the subculture that existed around deviating sexual practices. The center of the survey is the association Club Sunrise who organized erotic minorities, where the majority of the members had a mainly heterosexual orientation.  Method. Sixteen semi-structured interviews have been carried out with people active in the Swedish subculture during the studied period. The empirical data also consists of the Club Sunrise member magazine SMART. The author also had access to material from other media, in which the members participated. Analysis. The material has been analyzed based on J. Tuomas Harvianien’s concept of embodied information literacy and Elfreda A. Chatman’s four critical concepts that serve as the basis for defining an impoverished life-world: risk-taking, secrecy, deception and situational relevance.  Results. People belonging to various erotic minorities have used all four of Chatman’s critical concepts, with an emphasis on secrecy and deception. They also obtained information through embodied literacy. In addition to these results, the investigation also resulted in a mapping of various associations and venues that existed in Sweden before 1995. Conclusion. Erotic minorities in Sweden 1975–1995 were in a state of information poverty. However, they have not suffered from any information poverty in their lives as a whole, but it has been expressed in their belonging to an erotic minority. To get in touch with like-minded, without revealing their secrets to outsiders, they used different concepts of secrecy and deception. They also found and identified each other through secret signs and symbols, special clothing or ways of behaving. This is a two years master’s thesis in Library and Information Science.

鋼情教師的背景是設在音樂被所有人視為是最崇高、重要的維也納， 艾瑞卡從小也被母親期待要成為世界聞名的鋼琴家；母親的目標使得她必須活在永無止盡的練習、競爭比賽的壓力下。本論文主要在探討書中的女性為了要在父權的菁英文化中取得一席之地、為了求更高的社經地位及物質生活而抹滅情感上的需求所產生之病態。性一向被艾瑞卡的母親視為是罪大惡極的禁忌，但壓抑身體慾望的結果使得艾瑞卡有自殘刀割下體的習慣、背著母親去看色情表演、偷窺男女在野地做愛並在性慾被撩起時有拉尿的強迫症。第一章在說明本書的研究價值、摘要小說、回顧評論、和闡述為何以資本主義社會、現代人的精神官能症、自虐症為以下兩章的主題。第二章會從佛洛依德的性壓抑而造成心理疾病的心理學角度去說明艾瑞卡所受精神官能症的病徵及原因。第三章則是研究艾瑞卡的自虐、偷窺、性虐待幻想等的變態行為的起因及心理需求。最後於第四章我用佛洛依德在文明及其不滿中的觀點，來說明個人在被過度要求、否認自我慾望的過程中，精神不但無法超脫還會導致行為、心理的脫序。女性在男性資本主義社會中容易受到經濟、性別弱勢的雙重迫害，而導致極度的不快樂。艾瑞卡就是一位盲目服膺其價值觀而受害的中產階級女性之一。 / Jelinek was often commended for her frequent critiques of consumerism and the subjugation of women in the patriarchal society. In her avowedly autobiographical novel The Piano Teacher, she again uses the life of a pathological piano teacher to reflect the cruelties and the subjugating powers inherent in the capitalistic and patriarchal society. By adopting a psychological approach, this thesis will show that Jelinek’s fiction is an account of a larger analysis of female masochism than it initially seems to be. The protagonist’s regular practice of self-mutilation is more than an individual pathology, but an allegory of the result of the violence and deprivation inflicted on the individual by the capitalist society. The thesis consists of four chapters. Chapter I is an introduction, including the overview of the novel and its critical backgrounds. In Chapter II, textual analyses as well as psychoanalysis will be made to explore the psychological depths of the protagonist’s compulsive behaviors and voyeurism. Erika’s relationships with men, especially with one of her musical students, Walter Klemmer, failed tragically and resulted in her final self-destruction. This chapter will study Erika’s neurotic personality and will investigate the factors which contribute to the protagonist’s neuroses and her consequent sufferings. In Chapter III, I will focus on studying Erika’s sadomasochistic fantasies and voyeurism; not only is she made to hurt herself in her tormenting relationship with her mother, she also repeats the sadomasochistic pattern in her relationship with Kelmmer. By researching into the causes and psychodynamics of sadomasochism, Iwill discuss why her non-erotic impulses would be transformed into perverse erotic desires and behaviors. My topics for discussion include: What caused her to develop her “perverse mechanism”? What forces propel her to live out her perversions? The answers lie in the childhood traumas inflicted by her mother and the cultural conditions which lend weight and color to the individual experiences and determine their particular forms. In order to excel and become an elite of Austrian’s high culture, Erika was made to deny her drive needs until later she can only experience a libidinal deadness. Forceful repression of her natural desires lead to her pathologies. The chapter also shows the danger of conforming too completely to the capitalistic ideology and exposes the ideology’s oppressing and alienating effects. Finally, the last chapter concludes that by presenting a cruelty revolting in its extremity, Jelinek is denouncing the Austria’s idolization of high music culture, and mourning the sacrifice of a pianist’s id under its system. Erika can be seen as the victim of society’s fetishization of petty-bourgeois values and her upbringing according to its norms. By exposing the superstructure that immobilizes her characters, Jelinek’s biting irony is directed at the capitalist superstructure and its restraining and deadening effect on the individual.

(in English): The topic of this work is the characteristics of the short stories by Kono Taeko. At first I am presenting the methodology - psychoanalysis. Then, I'm describing her life for better understanding of the use of some typical features. Especially the war and the tuberculosis had influence on her work. Subsequently I present possible interpretation of her stories in term of Shintoism (effort to purify) and Buddhism (achievement of liberation). In interpersonal relations Kono Taeko deals mainly with man- woman relationships and her attitude can be considered feminist. In the most comprehensive chapter concerning masochism I am trying to prove with Freud's theory "The child is being beaten" that her work is masochistic. In the end I am generalizing my findings. This work contains Czech translations of examples of her work and contains 68 pages.

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