Although George Kelly's psychology of personal constructs was not originally designed to address and account for experiences of self-betrayal, as described by Warner (1986, 2001), Olson (2004, 2007), Olson and Israelson (2007), Williams (2005), and others (Arbinger, 2000), his theory (with minor modifications) may help illuminate the psychology behind the sudden gestaltic shifts and moral transformations experienced by individuals in Warner's (1986, 2001) stories, without undoing any of Warner's existing analysis of self betrayal.The end vision of the thesis is a structured theory of personality, so to speak, that borrows Kelly's insights and extends them to the phenomenon of self-betrayal. This approach allows us to (1) help others make their self-betraying constructs explicit, (2) measure and document them when we do, (3) communicate those constructs to others, (4) and do all of these things while conceptualizing human beings as moral agents responding to their moral sense, in addition to scientists seeking to predict and control their environment.

This study analyzed moral psychology's “moral judgment-moral action gap” research and found that morality was being described as a secondary phenomenon produced by underlying substrates (such as identity and self constructs, “brain modules,” and “evolved emotional systems”) which are themselves non-moral. Deriving morality from “the non-moral” presents a kind of ontological gap in the moral psychology research. Researchers implicitly close this gap assuming it is possible to get moral judgments and actions out of non-moral substrates. But the difficulty remains how the moral as “moral” becomes infused into any moral psychology models. Morality is not a secondary phenomenon arising out of something else. This study argues that there is a need to shift our understanding of what it means to be human, to a view in which the moral is fundamental. An alternative foundation for assessing the moral is found in the work of Emmanuel Levinas who sees ethics as a metaphysical concern. This means that he sees the essential moral character of human life and the reality of human agency as ontologically fundamental, or constitutive of human nature itself. In other words, the ethical is the “first cause” in regards to understanding the nature and action of the self. Thus morality is not merely epiphenomenal to some more fundamental reality. Levinas holds that as humans, we are called to the Other. This call of obligation to the Other comes before all other human endeavors. After presenting Levinas's alternative foundation of obligation to the Other which herein is labeled Felt Moral Obligation (FMO), C. Terry Warner's conceptualizations of FMO in relation to the moral judgment-action gap are presented. In light of these conceptualizations, this study argues that there is actually no moral judgment-moral action gap, but only holistic events of moral self-betrayal. Warner illustrates that rejecting FMO is a single moral event, a holistic act performed by a moral agent that involves moral responses of self-justification, offense-taking, and rationalization. The person finds him or herself in a state of self-betrayal. Levinas and Warner implicitly assert that such self-betraying responses are not fundamentally biological or rational, but rather, fundamentally moral.

Bentinho não é um personagem completamente inocente em suas memórias autobiográficas. Apesar de se colocar na posição de vítima, algumas atitudes suas dentro do romance Dom Casmurro, de Machado de Assis, são capazes de acusar o narrador de primeira pessoa de outras coisas além da imagem que pretende fazer de marido traído. Desta forma, este trabalho vai investigar como o personagem, através de sua versão casmurra, sai da posição de acusador para a de réu. Veremos como o personagem, que tem o poder da narrativa nas mãos, ironicamente trai a si mesmo, deixando-se mostrar, mesmo que sem claramente perceber, suas características acusatórias. Assim, encontraremos nele não só um personagem ciumento com toques de loucura, mas também uma pessoa tão dissimulada e manipuladora quanto Capitu, sua namorada e depois esposa a quem julga e condena ao longo do romance. Ser como ela leva Bento ao mesmo destino da moça: a solidão e o exílio que, no caso dele, acontece, em sua própria terra natal. Há ainda um segundo corpus sobre o qual esta análise se debruça: a microssérie Capitu (2008), exibida pela TV Globo em comemoração ao centenário de morte de Machado de Assis. Mostraremos como o trabalho audiovisual dirigido por Luiz Fernando Carvalho levou para a televisão as orientações de Machado de Assis, mantendo o mistério do Bruxo do Cosme Velho. Além disso, a microssérie também traduz em imagens a ideia de que Bentinho é um reflexo, um desdobramento de Capitu. / Bentinho is not a completely innocent character in his autobiographical memories. Despite posicioning himself as victim, some attitudes of him inside the novel Dom Casmurro, written by Machado de Assis, are able to accuse the first-person narrator of other things besides the image of betrayed husband that he wants to show. Thus, this study will investigate how the character, through his cranky old version leaves the accuser position for the defendant. We will see how the character, who has the power of the narrative in his hands, ironically betrays himself, showing, even without clearly see, his accusatory characteristics. Thus, we will find in him, not only a jealous character with some madness, but also a person who is as disingenuous and manipulative as Capitu, his girlfriend, an then, the wife who is judged and sentenced throughout the novel. Being like her, gives Bento the same destination of the girl: loneiness and exile that, in his case, happens in his own homeland. There is a second corpus on which this analysis focuses: the miniseries Capitu (2008), displayed by TV Globo in celebration of the centenary of the death of Machado de Assis. We will show how this audiovisual work directed by Luiz Fernando Carvalho presented on television the Machado de Assis guidelines, keeping the mystery of the Bruxo do Cosme Velho. In addition, the miniseries also translates into images the idea that Bentinho is a reflection, a breakdown of Capitu.

Bentinho não é um personagem completamente inocente em suas memórias autobiográficas. Apesar de se colocar na posição de vítima, algumas atitudes suas dentro do romance Dom Casmurro, de Machado de Assis, são capazes de acusar o narrador de primeira pessoa de outras coisas além da imagem que pretende fazer de marido traído. Desta forma, este trabalho vai investigar como o personagem, através de sua versão casmurra, sai da posição de acusador para a de réu. Veremos como o personagem, que tem o poder da narrativa nas mãos, ironicamente trai a si mesmo, deixando-se mostrar, mesmo que sem claramente perceber, suas características acusatórias. Assim, encontraremos nele não só um personagem ciumento com toques de loucura, mas também uma pessoa tão dissimulada e manipuladora quanto Capitu, sua namorada e depois esposa a quem julga e condena ao longo do romance. Ser como ela leva Bento ao mesmo destino da moça: a solidão e o exílio que, no caso dele, acontece, em sua própria terra natal. Há ainda um segundo corpus sobre o qual esta análise se debruça: a microssérie Capitu (2008), exibida pela TV Globo em comemoração ao centenário de morte de Machado de Assis. Mostraremos como o trabalho audiovisual dirigido por Luiz Fernando Carvalho levou para a televisão as orientações de Machado de Assis, mantendo o mistério do Bruxo do Cosme Velho. Além disso, a microssérie também traduz em imagens a ideia de que Bentinho é um reflexo, um desdobramento de Capitu. / Bentinho is not a completely innocent character in his autobiographical memories. Despite posicioning himself as victim, some attitudes of him inside the novel Dom Casmurro, written by Machado de Assis, are able to accuse the first-person narrator of other things besides the image of betrayed husband that he wants to show. Thus, this study will investigate how the character, through his cranky old version leaves the accuser position for the defendant. We will see how the character, who has the power of the narrative in his hands, ironically betrays himself, showing, even without clearly see, his accusatory characteristics. Thus, we will find in him, not only a jealous character with some madness, but also a person who is as disingenuous and manipulative as Capitu, his girlfriend, an then, the wife who is judged and sentenced throughout the novel. Being like her, gives Bento the same destination of the girl: loneiness and exile that, in his case, happens in his own homeland. There is a second corpus on which this analysis focuses: the miniseries Capitu (2008), displayed by TV Globo in celebration of the centenary of the death of Machado de Assis. We will show how this audiovisual work directed by Luiz Fernando Carvalho presented on television the Machado de Assis guidelines, keeping the mystery of the Bruxo do Cosme Velho. In addition, the miniseries also translates into images the idea that Bentinho is a reflection, a breakdown of Capitu.