Este trabalho surgiu a partir da experiência como psicóloga do Instituto de Ortopedia e Traumatologia do Hospital das Clínicas da faculdade de Medicina da Universidade de São Paulo. Mais especificamente ao longo dos anos trabalhando no Grupo de Prótese e Órteses, com pessoas que sofreram amputação de um ou mais membros. A perda de uma parte do corpo implica alterações significativas na vida de um indivíduo, sendo que as amputações decorrentes de acidentes em geral têm a característica de serem súbitas e imprevisíveis, ocasionando mudanças bruscas para as quais não existe preparo possível. A principal questão que norteou este trabalho diz respeito às conseqüências psíquicas que uma perda física pode ocasionar. Procurou-se compreender de que forma, diante de uma ruptura no corpo, há uma interferência na organização psíquica e na maneira pela qual o indivíduo percebe o mundo e se percebe nele; isso, durante o período de reabilitação. Buscou-se refletir sobre um momento de perda da integridade corporal e seus reflexos na unidade psicossomática, a partir de casos clínicos, tendo como referência a psicanálise winnicottiana. Dessa forma, levou-se em conta o percurso do desenvolvimento emocional segundo a teoria do amadurecimento pessoal de D.W.Winnicott para se refletir acerca da possível relação existente entre o estágio alcançado nas tarefas próprias do desenvolvimento normal pelo indivíduo e as conseqüências em termos da continuidade ou não do processo de amadurecimento após a amputação. Para esta investigação utilizou-se o método clínico e o referencial psicanalítico, sendo que para a análise da questão proposta neste trabalho foram apresentados quatro casos clínicos. A perda de uma parte do corpo ocasionou mudanças em todos os indivíduos que fizeram parte deste estudo. Mudou o corpo, a forma de se locomover, o trabalho, o sustento pessoal e familiar, o contato social. Porém a maneira por meio da qual cada um percebeu, significou e vivenciou essa perda e essas mudanças não foi equivalente nem determinada pela qualidade da perda. Assim, concluímos que as conseqüências psíquicas de uma perda física serão aquelas relativas às condições que cada indivíduo tem de elaborar imaginativamente essa perda e transformá-la em vivência, experiência, história pessoal e interpessoal. A articulação da teoria com a análise e discussão do material clínico permitiu perceber que não é possível caracterizar uma clínica dos amputados. Isso porque o que temos são tantas clínicas quanto nos for possível conhecer os indivíduos amputados em seu processo de amadurecimento pessoal anteriormente à amputação. Ou seja, uma amputação não direciona incondicionalmente o modo de um indivíduo estar no mundo, mas implica alterações significativas em sua existência, o que remete à necessidade de reformulações em sua identidade para incluir essa nova dimensão de experiência. A dificuldade em realizar a elaboração imaginativa dessa perda, pode tornar a amputação um acontecimento não integrado na vida de uma pessoa, com conseqüências prejudiciais à sua saúde e ao seu desenvolvimento. / This work arose from the experience as a psychologist in the Institute of Orthopedist and Traumatology of the Hospital das Clinicas of the faculty of Medicine of the University of São Paulo. More specifically along the years working on the Group of Prothesis and Orthesis, with people that suffered amputation of one or more members. The loss of a part of the body involves significant changes in the life of a person. The amputations originated from accidents in general have a characteristic of being sudden and unpredictable causing abrupt alterations in which no preparation is made possible. The main subject which directed this work concerns the psychic consequences that a physical loss causes. We intend to understand in what way, from a rupture of the body, there is the interference of the psychic organization and in what way the person notices the world and perceives himself in it; this, during the period of rehabilitation. We wanted to reflect about the moment of the loss of the integrity of the body and its reflexes on the psychosomatic unit, from clinical cases, with the theoretical reference of maturing of D. W. Winnicott. In this way, we took into account the course of the emotional development according to the theory of personal maturing to reflect about the possible relation existing between the stages reached on the proper tasks of the normal development of the person and the consequences in terms of continuity or not of the process of maturing after the amputation. For this investigation we used the clinical method and the psychoanalysis reference. For the analysis of the subject proposed in this work we presented four clinical cases. The loss of a part of the body caused changes in all of the persons which were part of this study. Changed the body, the way to move, the job, the personal and family maintenance, the social contact. In the other hand the way through which each one perceives, signifies and lives this loss and these changes was not equivalent nor determined by the quality of the loss. This way, we conclude that the psychic consequences of a physical loss are those related to the conditions that each person has to elaborate imaginatively the loss and transform it in a way of life, experience, personal and interpersonal story. The articulation of the theory with the analysis and discussion of the clinical material permitted to notice that it is not possible to characterize a clinic of the amputated. This because what we have are as many clinics as we are able to know the amputated persons in their process of personal maturing previous to the amputation. Or else, an amputation does not direct unconditionally the way that a person exists in the world, but implies in significant alteration of his existence, what refers to a need of reformulations in his identity to include this new dimension of experience. The difficulty in accomplishing the imaginative elaboration of this loss, can transform the amputation in a non integrated occurence in the life of a person, with bad consequences to his health and to his development.

Muitas vezes o leitor das narrativas de Guimarães Rosa depara-se com um narrador ou personagem que podem ser lidos como uma figuração do escritor graças à associação entre aspectos textuais (temas, personagens, narradores) e informações acerca do autor. A identificação ocorre também pelo ajuste do texto ao repertório de imagens e posturas autorais que dialogam com as escolhas da obra lida repertório também acessado pelo escritor para a construção de sua figura autoral. Esta tese discute como o escritor criou figurações autorais, procurando entender a dinâmica de vinculação entre presença autoral e campo literário, além da construção da autorrepresentação em enunciações públicas (entrevistas e depoimentos) e privadas (diários e outros manuscritos), nas quais se observa o escritor produzindo figurações de si e afirmando posturas que sugerem um modo de interpretação de seus textos. Quanto às narrativas rosianas, a análise concentra-se em textos divulgados em periódicos e posteriormente reunidos em Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970). / During the reading of many of Guimarães Rosas narratives, the reader can sometimes encounter a character or a narrator that can be seen as the self-representation of the writer himself due to the association between textual aspects (themes, characters, narrators) and the readers information about the author. This identification can also be the result of the adjusting of the text to the repertoire of images and authorial postures which then interact with aspects of the work in question the writer himself can tap into this repertoire in order to construct his image as an author. This thesis discusses how Guimarães Rosa created these authorial images, aiming to understand the dynamics that sustain the relationship between the authorial figuration and the literary field; we also analyze the process of self-representation through public (interviews and testimonies) and private (journals and other manuscripts) interactions during which we can observe the writer producing images of himself and affirming authorial postures that suggest modes of interpretation of his works. In relation to Rosas texts, we analyze articles first published in magazines and then organized in Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970).

En Afrique subsaharienne, le nationalisme « imagine » une identité nationale homogène enracinée dans la mythologie de la spécificité africaine qui représente la femme comme un symbole des racines culturelles (le trope de la « Mère Afrique »). Ce travail analyse comment la romancière subsaharienne (la femme objet culturel muet, extra-historique et apolitique) s’approprie le discours nationaliste africain (réimaginer la nation) pour définir une autre identité pour la femme. L’étude sonde l’hypothèse d’un sujet marginal qui se révèle dans des « lieux frontaliers » selon sa ressemblance et son altérité par rapport aux sujets dominants. Elle analyse la nationalité politique (citoyenneté), la nationalité culturelle (africanité), ainsi que leur enchevêtrement dans la nationalité féminine. And They Didn’t Die et Nehanda évoquent les mouvements de libération en l’Afrique du Sud et au Zimbabwe pour recontextualiser l’appartenance culturelle de la femme « pot de culture » entre la tradition de la modernité. Matins de couvre-feu et L’Ex-père de la nation révèlent la désillusion après les indépendances du Sénégal et la Côte d’Ivoire pour déstabiliser la dichotomie des espaces public et privé – un État centré sur l’homme (le « Père-de-la-nation ») et une sphère domestique féminine. Destination Biafra traite le nationalisme ethnique au Nigéria pour aborder la problématique de la nationalité au carrefour des nationalités politique et culturelle : Un Etat (espace géopolitique) définie par des frontières modernes et une Nation (« communauté imaginée ») supranationale définie par une culture précoloniale. / Nationalism in sub-Saharan Africa « imagines » a homogenous national identity embedded in the mythology of African uniqueness, which represents the woman symbol of cultural roots (the “Mother Africa “trope). This study analyses how the sub-Saharan female novelist (the woman as a mute, extra-historical and apolitical object of culture) appropriates African nationalism (re-imagines the nation) to define a new identity for African womanhood. The study tests the hypothesis that a marginal subject reveals itself in “border location” according to its similarity or difference to dominant subjects. It analyses political nationality (citizenship), cultural nationality (Africanness), and their interaction within the representation of female national identity. And They Didn’t Die and Nehanda evoke liberation movements in South Africa and Zimbabwe to recontextualise women’s cultural affiliation (the woman “pot of culture)” between tradition and modernity. Matins de couvre-feu and L’Ex-père de la nation depict the post-independence disillusionment of Senegal and the Ivory Coast to subvert the dichotomy of public and private spheres which construct a male centred State (the “Father of the Nation”) and the woman-centred “domestic” sphere. Finally, Destination Biafra highlights ethnic nationalism in Nigeria to illustrate the problematic of the intertwining of cultural and political nationalities resulting from the paradoxical construction of the African nation-state: A State (a geo-political space) defined by modern borders and a supranational nation (“imagined community”) delimited by the symbolic borders of a pre-colonial culture.

The phenomenon focused on in this study is that while many young adults experience pressure regarding their Instagram use, the use is widespread. Furthermore, there are different purposes to the use, which are rarely analyzed from a strategic communication perspective. Therefore, the essay provides more insights from that point of view, regarding the expression of identity and social media’s role in that process. The purpose of this essay is to examine how individuals work with self representation on Instagram, if they have a clear image of what they want to convey and whether they implement it in their posts. Moreover, the study aims to explore the purposes of self representation and if it can be understood as strategic communication. Seven individual interviews and image analyzes were carried out. Based on the ideas regarding identity, lifestyle, self representation and media use, by theorists such as Giddens, Goffman and Sheldon and Bryant, the results were analyzed. The study shows that six out of seven interviewees had a clear picture of what they want to convey and found that their posts in some sense reflect who they are. Six recurring purposes were noted: using the platform to store memories, get attention, express identity, receive affirmation, develop knowledge and network. Furthermore, the conclusion was drawn that all interviewees but one use Instagram in a way that can be classified as strategic communication. The results provide an increased understanding of the purposes of Instagram use and how it can affect the identity and self confidence of young adults in today’s digitalized society.

Based upon earlier studies in the fields of psychology and game design by Frank and Gilovich (1988) and Yee (2007), this paper examines the influence of color on players of backgammon. The paper examines the probability of a player hitting an opponent’s piece when possible in backgammon depending on the color of the checkers. The data sample was compared using a t-test but showed no significant correlation. Based upon the results it was concluded that the Proteus Effect is not as effectively achieved through units in board games compared to avatars in virtual worlds.

Cette thèse trace et interroge le passage qui s’est opéré au cours des quarante dernières années dans la dramaturgie québécoise, soit le passage d’une écriture de l’identitaire à celle de l’individu. La lecture privilégiée sera de l’ordre de la sociocritique du texte dramatique et elle permettra d’identifier les stratégies discursives et poétiques autoréflexives d’une pratique théâtrale qui puise ses tropes aux littératures de l’intime. Ainsi, les pièces à caractère biographiques et les relectures historiques sont étudiées au même titre que celles qui se revendiquent de l’autobiographie, de l’autofiction et de l’autoreprésentation. Ces dernières caractérisent la production théâtrale québécoise récente. Après avoir été résolument politique et axée sur la langue, la dramaturgie québécoise, longtemps considérée écriture-miroir d’un peuple dont la nation est en perpétuel devenir, aujourd’hui s’intéresse d’abord à elle-même, à sa littérarisation, voire à ses praticiens préoccupés par la place qu’ils occupent dans un milieu plus exiguë, plus marginalisé dans l’ensemble de la société québécoise. Le devenir sociétal a-t-il été substitué par la préoccupation du devenir individuel, non pas comme exemplum, mais comme manifestation d’un sentiment d’unicité? La thèse examine l’émergence d’une dramaturgie tributaire des pratiques autographiques de ses praticiens. Le discours théâtral est à nouveau en accord avec le discours social, sauf que cette fois, le reflet que renvoie le miroir est celui d’une société d’individus préoccupés par leur propre devenir. / This thesis traces and investigates the transition in Quebec drama over the last forty years from writing driven by collective identity to writing driven by the individual. The reading of the dramatic texts draws on a socio-critical approach, identifying discursive strategies and the poetics of self-representation in a theatrical tradition seen to be borrowing its devices from intimate literature. Consequently, biographically inflected plays and epic plays reinterpreting history are studied alongside the more explicitly autobiographical, autofictional, and self-reflective works that have come to typify recent Quebec theatre production. After having been resolutely political and language-based, Quebec drama—long considered reflective of the national aspirations of a people in a state of ongoing redefinition—is now interested primarily in itself as a literary trope. Theatre practitioners have become preoccupied with the narrowing space they occupy in Quebec society. Has the social process of becoming [“le devenir” in the Deleuzian sense] been replaced by an overwhelming preoccupation with the individual sense of becoming, not as a stated exemplum, but rather as the manifestation of a sense of uniqueness? The thesis examines the emergence of a self-reflective dramaturgy celebrating the autobiographical practices its artists are engaged in. Thus theatrical discourse is again in step with social discourse in Quebec, except that the dramatic mirror is reflecting a society of individuals preoccupied with their own personal sense of accomplishment.

Résumé Ce mémoire de master II se concentre sur le régionalisme breton de la fin du XIXe siècle jusqu'à la Première Guerre mondiale représenté par deux organisations régionalistes, l'Union régionaliste bretonne (URB) fondée en 1898 et la Fédération régionaliste de Bretagne (FRB) créée suite à la scission de l'URB en 1911. Au-delà de leurs activités régionalistes visant à acquérir des droits d'autonomie de la Bretagne à l'égard de l'Etat français, leurs membres menaient des activités communes avec les élites galloises sur la base du passé commun « celtique » supposé et de l'existence des langues « celtiques » similaires parlées dans les deux pays. Cela nous a amené à nous interroger sur le rapport de ces activités « celtiques » avec le mouvement régionaliste breton, et ainsi sur la manière dont les régionalistes voulaient que les Bretons et la Bretagne soient perçus et pourquoi. Bref, notre recherche consiste en une étude de l'ensemble des caractéristiques de ce qu'on appelle ici l'auto-représentation des Bretons dans le discours régionaliste afin de découvrir les formes des stratégies discursives que les régionalistes utilisaient pour atteindre leur but d'autonomie. Cette recherche s'appuie sur l'analyse du discours dans les bulletins officiels de l'URB et de la FRB. Pour les besoins du contexte et en étant...

Dejtingmarknaden för ungdomar idag kan ske likaväl genom ett fysiskt möte ute på krogen som genom en spontan “gillning” via en app. Vi människor utvecklar metoder för att presentera oss på det mest attraktiva sättet för potentiella partners oavsett om det handlar om att redigera en bild eller stå framför spegeln i timmar. Med tiden har utvecklingen inom dejtingmarknaden gjort det lättare för interaktion med andra, från tidningsannonser till online-dejtingwebbsidor till en av dagens populäraste mobila app Tinder. Syftet med denna studie är att studera svenska ungdomars uppfattning om dejtingappen Tinder ur två perspektiv, dels deras uppfattningar om Tinders möjligheter och begränsningar generellt vad gäller att hitta en partner, och dels deras uppfattningar om sin egen samt andras självrepresentation. För att besvara syftet har en kvalitativ metod använts med semistrukturerade intervjuer som insamlingsmetod för det empiriska materialet. Sex intervjupersoner utgör urvalet i studien, tre män och tre kvinnor, där samtliga är i åldern 20- 25 med erfarenhet av dejting via Tinder. Analysen av materialet sker ur ett genusperspektiv huvudsakligen där utgångsteorierna är socialkonstruktionism samt poststrukturalistisk feminism. Resultatet av studien visar att Tinder som dejtingresurs upplevs som en app med enorm enkelhet där den negativa aspekten är rädslan över att individerna bakom profilerna inte ska vara den de utger sig för att vara. Resultatet visar även att de manliga intervjupersonerna kopplar självrepresentation hos kvinnliga användare till en identitet utifrån hur Tinder konstruerar kön inom “samhället” Tinder där mötet är en omstart då den inledande kontakten främst handlar om den fysiska attraktionen än den psykiska. De kvinnliga användarna ser däremot självrepresentation som ett sätt att inledningsvis framstå som mer självsäker och den fysiska relationen skapar en förutsättning för den psykiska. Detta resultat utvecklades även till en identifiering av en maktrelation mellan de manliga och kvinnliga intervjupersonerna där det finns ett samspel på Tinder mellan att ha makt över och att ha makt att vilket visar hur maktrelationer på Tinder skapas och omvandlas. / The dating market for young people today can be through a physical meeting out at the pub just as well as through a spontaneous "liking" via an app. We humans develop methods to present ourselves in the most attractive way to potential partners, whether it is about editing an image or standing in front of the mirror for hours. Over time, developments within the dating market have made it easier for interaction with others, from newspaper ads to online dating sites to one of today's most popular mobile dating app Tinder. The purpose of this paper is to study Swedish youths´ perception of the dating app Tinder from two perspectives. On the one hand, their perceptions of Tinder's possibilities and limitations in general in finding a partner and on the other hand, their perceptions of their own and others' selfrepresentations. To answer the purpose, a qualitative method has been used with semistructured interviews as the collection method for the empirical material. Six interviewees make up the sample in the study, three men and three women, all of whom are aged 20-25 with experience of dating via Tinder. The analysis of the material was conducted from a gender perspective mainly where the used theories were social constructionism and poststructural feminism. The results of the study show that Tinder as a dating resource is experienced as an app with enormous simplicity where the negative aspect is the fear that the individuals behind the profiles should not be who they claim to be. The results also showed that the male interviewees link self-representation of female users to an identity based on how Tinder constructs the gender within the “community” Tinder where the meeting is a restart as the initial contact is mainly about the physical attraction rather than the psychological. The female users, on the other hand, saw self-representation as a way of initially appearing more self-confident and the physical relationship creates a prerequisite for the psychical one. This result also developed into an identification of a power relationship between the male and female interviewees where there is an interaction on Tinder between having power over and having power to which shows how power relations on Tinder are both created and transformed.

This thesis addresses the rational properties of women’s gender identification and self-representation from political theorist Lois McNay’s generative logics, employing the Praedia of Julia Felix, Pompeii, as a case study. Previous debates rooted in semantics and representationalism have focused on non-elite stereotypes or negative gendered dichotomies fostered by comprehensive views on Roman women’s exclusion from public life. In contrast, this thesis adopts a new materialist approach, specifically drawing on feminist theorist Karen Barad’s agential realist method building on intra-activity in order to shed new light on the well-studied subject of how a non-elite woman was able to carve out an existence for herself in patriarchal ancient Roman society. Whereas past research has labelled non-elite Roman women as both passive and unproductive individuals, the present thesis proposes that agencies functioned as lived experiences which determined individuals’ abilities to actively connect with things and surroundings in different ways. Therefore, in order to analyze the interceding effects of agencies on gender identification and self-representation in connection to the Praedia of Julia Felix I argue that a broader view of performativity, embodying processes and materiality is needed. This view calls for a reconceptualization of relational entanglements in which material and social worlds are seen as mutually interconnected rather than separate entities isolated from the bodies responsible for creating these settings. Presenting the results based on a combined analysis of generative and new materialist models, I suggest that the Praedia of Julia Felix demonstrates a non-elite woman’s active participation in creating personal sustainability. This dynamic interplay between Julia Felix and her social surroundings in worth understanding in detail.

Instagram, as one of today’s largest social media platforms, plays a significant part in the maintaining and reproducing of existing stereotypes and role expectations for women. The purpose of the thesis is to study how Instagram interprets violations against its guidelines, and whether decisions to remove certain pictures from the platform are in line with terms of use, or part of human subjectivity. The noticeable pattern among the removed pictures is that they are often norm-breaking. The thesis discusses communication within Instagram to reveal how and why some pictures are removed while others are not, which limits women’s possibilities to express themselves in non-conventional settings. The study applies semiotics to analyse 12 pictures that were banned from the platform without directly violating its guidelines. Role theory and norms are used to supplement semiotics and shed light on the underlying societal structures of female disadvantage. Two major conclusions are presented: 1) Instagram has unclearly communicated its guidelines to women’s disadvantage, and 2) Instagram has therefore been subjective in the decisions to have the pictures removed from the platform, also to women’s disadvantage. Further, the discussion focuses on how Instagram handles issues related to (1) female sexuality, (2) women stereotyping, and (3) female self-representation.