Foram investigadas neste trabalho algumas das conexões entre a produção artística e intelectual brasileira e o mundo dos sentidos, especialmente entre as décadas de 1920 e 1940. Tomado como motivo político e estético, o sensorium foi matéria-prima no delineamento de propostas para a identidade artística e cultural do país, conectando-se de forma visceral à própria idéia de cultura popular, que passa por variações significativas no período compreendido entre os primórdios do Modernismo e a Era Vargas. Foram privilegiadas as relações entre os universos visual e sonoro, sobretudo em suas manifestações pictórica e escrita, analisadas a partir dos diálogos com a música. Esta última emerge como representante de um nacionalismo de base sensorial que se afirma ao longo da década de 1920, mas que pode ser mapeado já desde meados do século anterior, caracterizando a percepção acerca da cultura popular nas formas eruditas de expressão. O mundo dos sentidos, representado em grande medida pela dimensão sonora, funcionou ora como tema estruturador dos debates ideológicos, ora como veículo de divulgação e inserção internacional do país pela via da cultura, ou ainda, como instrumento político de intervenção social. A inclusão desta problemática na interpretação do Modernismo brasileiro fortalece os laços entre arte, cultura e política ao problematizar o impacto de suas formulações estéticas nas ações empreendidas na sequência pelo Estado Novo. Nesse cenário, a pintura, a literatura, a crítica e a produção intelectual serviram como plataforma de observação, através da qual se pode visualizar o alcance do problema, dando a ver a articulação entre a invenção artístico-intelectual e as querelas político-culturais de então. / This research deals with the connections between the Brazilian artistic and intellectual production and the world of the senses during the decades of 1920-1940. Taken as a political and aesthetic motive, the sensorium was the raw material of the proposals for the artistic and cultural identity, connected to the ideal of popular culture, which undergoes significant changes from the beginnings of modernism to the Vargas Era. The relations between visual and audio worlds were privileged, especially in its written and pictorial demonstrations and its dialogues with music. This last emerges as representative of a nationalism based on sensorial materials that asserts itself throughout the 1920s. And it can also be mapped as early as a mid-century earlier, characterizing the perception of popular culture in the forms of scholarly expression. The world of the senses, represented largely by sound dimension, worked as part of ideological debates and as a political tool for social intervention. The inclusion of this issue in the interpretation of Brazilian modernism strengthens the ties between art, culture and politics by questioning the impact of their aesthetic formulations on the actions taken following the Estado Novo. In this scenario, painting, literature, criticism and intellectual production served as a viewing platform through which we can see the scope of the problem, highlighting the link between artistic and intellectual invention and the quarrels of cultural and political field of the time.

Foram investigadas neste trabalho algumas das conexões entre a produção artística e intelectual brasileira e o mundo dos sentidos, especialmente entre as décadas de 1920 e 1940. Tomado como motivo político e estético, o sensorium foi matéria-prima no delineamento de propostas para a identidade artística e cultural do país, conectando-se de forma visceral à própria idéia de cultura popular, que passa por variações significativas no período compreendido entre os primórdios do Modernismo e a Era Vargas. Foram privilegiadas as relações entre os universos visual e sonoro, sobretudo em suas manifestações pictórica e escrita, analisadas a partir dos diálogos com a música. Esta última emerge como representante de um nacionalismo de base sensorial que se afirma ao longo da década de 1920, mas que pode ser mapeado já desde meados do século anterior, caracterizando a percepção acerca da cultura popular nas formas eruditas de expressão. O mundo dos sentidos, representado em grande medida pela dimensão sonora, funcionou ora como tema estruturador dos debates ideológicos, ora como veículo de divulgação e inserção internacional do país pela via da cultura, ou ainda, como instrumento político de intervenção social. A inclusão desta problemática na interpretação do Modernismo brasileiro fortalece os laços entre arte, cultura e política ao problematizar o impacto de suas formulações estéticas nas ações empreendidas na sequência pelo Estado Novo. Nesse cenário, a pintura, a literatura, a crítica e a produção intelectual serviram como plataforma de observação, através da qual se pode visualizar o alcance do problema, dando a ver a articulação entre a invenção artístico-intelectual e as querelas político-culturais de então. / This research deals with the connections between the Brazilian artistic and intellectual production and the world of the senses during the decades of 1920-1940. Taken as a political and aesthetic motive, the sensorium was the raw material of the proposals for the artistic and cultural identity, connected to the ideal of popular culture, which undergoes significant changes from the beginnings of modernism to the Vargas Era. The relations between visual and audio worlds were privileged, especially in its written and pictorial demonstrations and its dialogues with music. This last emerges as representative of a nationalism based on sensorial materials that asserts itself throughout the 1920s. And it can also be mapped as early as a mid-century earlier, characterizing the perception of popular culture in the forms of scholarly expression. The world of the senses, represented largely by sound dimension, worked as part of ideological debates and as a political tool for social intervention. The inclusion of this issue in the interpretation of Brazilian modernism strengthens the ties between art, culture and politics by questioning the impact of their aesthetic formulations on the actions taken following the Estado Novo. In this scenario, painting, literature, criticism and intellectual production served as a viewing platform through which we can see the scope of the problem, highlighting the link between artistic and intellectual invention and the quarrels of cultural and political field of the time.

Esta pesquisa pretende examinar as articulações e tensões entre o narrativo e o sensorial no cinema, trazendo como fio condutor, entre as convenções do narrativo e a imediaticidade do sensorial, o personagem cinematográfico. Entendemos que, sem abandonar as condições narrativas e representacionais que o produzem e definem (personagem-pessoa), o personagem de cinema é também um importante catalisador de afetos que agenciam memória e imaginação (personagem-figura) e, de modo mais substancial, um efeito produzido a partir de elementos concretos que se manifestam em termos de performatividade e de plasticidade (personagem-presença). Dessa forma, investindo numa reformulação da noção de personagem como \"efeito de personagem\" e explorando disjunções possíveis entre corpo, ator e personagem (sobretudo em filmes nos quais vários atores desempenham o mesmo papel ou, ao contrário, um mesmo ator desempenha diversos papéis), buscaremos fazer do personagem um instrumento privilegiado para a análise da complementariedade e dos eventuais atritos entre as dimensões narrativa (significação/interpretação), figural (sensação) e material (percepção) do cinema. / This research intends to investigate the tensions and articulations between the narrative and the sensorial in the cinema, having the film character as a guiding thread caught amongst the conventions of the narrative and the immediacy of the sensorial. We will argue that the film character is not only defined and conditioned by its narrative and representational implications (character-person), it is also an important catalyst of affects that stimulate our memory and imagination (characterfigure), and more substantially, an effect generated by concrete elements that often manifest themselves in terms of performativity and plasticity (character-presence). By reformulating the notion of character as \"character effect\" and exploring possible disjunctions between body, actor, and character (especially in films in which several actors play the same role, or on the contrary, the same actor plays several roles), we will advance the character as a privileged instrument for the analysis of the frictions and the complementarity of the narrative (signification/interpretation), the figural (sensation), and the material (perception) dimensions of the cinema.

Submitted by Cristhiane Guerra (cristhiane.guerra@gmail.com) on 2016-08-02T15:10:15Z No. of bitstreams: 1 arquivototal.pdf: 2292549 bytes, checksum: a59145d90885213ff5227ba297908370 (MD5) / Made available in DSpace on 2016-08-02T15:10:15Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2292549 bytes, checksum: a59145d90885213ff5227ba297908370 (MD5) Previous issue date: 2016-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper aims at analyzing the pedagogical proposal of the Sensorial Games for Early childhood education Program (ProJsei), which applied the Pedagogy of Embodiment (PC) to early childhood education, between the years 2008 and 2014. The theoretical references are based on the Perception-Action Ecological Theory and on the Bioecological Human Development Theory, which helped to guide the discussions about the methodology used in the Pedagogy of Embodiment. The ProJsei program was analyzed within the context of regular school physical education, based on data collected from the projects, 12 reports and 8 semi-structured interviews with people who took part in the ProJsei program over the period defined in 4 public schools in João Pessoa. The data collected was analyzed taking into consideration some analytical categories (Content Analysis) that we defined: objectives (aims), theoretical reference adopted (concepts), methodology (procedures) and results (effects). We identified types of knowledge related to the five senses of the participants of the ProJsei; we discussed the teaching-learning methodology that was developed by members of the program, and we examined the patterns of learning achieved by the children involved. The study has shown that the projects, departing from the objectives/aims defined, could expand children’s awareness in relation to themselves and to their environment. All lessons followed the phases proposed by the Pedagogy of Embodiment, which used 95 games developed by teachers in initial education (PFI), involving 372 children participating in the ProJsei, along 188 classes, covering 170 hours of activities. In the scope of concepts/theoretical references, the academic projects, from 2011, involved specific activities for the senses and were directed to an ecological perspective, developing activities that expanded the relationship child-environment. In that sense, the teachers in initial education (PFI) showed understanding in relation to the Pedagogy of Embodiment (PC), but they revealed the need to build knowledge about the gibsonian and bronfenbrenian theories. When analyzing the procedures/methodology of the ProJsei, we noticed that the teachers in initial education (PFI) concentrated on the second moment of the Pedagogy of Embodiment Lab Class (ALPC), using as resource the diagnostic evaluation data. We perceived that the microsystem has influence on the choice of games by the teachers (PFI) and that children could express what they learned more easily through drawings than orally. As for the effects/results of the ProJsei, the PFI reported that there was sensorial amplification of participants: in sight, they expanded the concept of primary colors and their nuances, in addition to the perception of the environment. In chemosensory projects, like taste, they took more pleasure in tasting and accepting food that were previously rejected; in terms of smell, they built some knowledge in relation to spicy and putrid scents and in the sensorial manipulative project – touch, they got better performance in the thermal category and in texture; in hearing, there was improvement in performance in terms of accoustic location and, in small scale, in relation to sequential memory, in addition to developing more sensitivity in the environment perception. We may say that the ProJsei stands as a pedagogical alternative for the application of PC in Early Childhood education, in spite of the fact that pedagogical improvements are required. The ProJsei promotes the access of students to the world of movement, not only in relation to perceptual motor abilities, but also in terms of communication with oneself, with others and with the world. / Objetivamos analisar a proposta pedagógica com que o Programa Jogos Sensoriais para a Educação Infantil (ProJsei) aplicou a Pedagogia da Corporeidade (PC) na Educação Infantil, entre os anos de 2008 a 2014. O referencial teórico tem como base a Teoria Ecológica da Percepção-Ação e a Teoria Bioecológica do Desenvolvimento Humano que serviram para iluminar as discussões sobre a metodologia utilizada na Pedagogia da Corporeidade. O ProJsei foi analisado dentro do contexto da educação física escolar, a partir de dados recolhidos nos projetos, 12 relatórios e 8 entrevistas semiestruturadas com pessoas que participaram do ProJsei, no período demarcado em 4 escolas públicas de João Pessoa. O material coletado foi analisado a partir das categorias analíticas (Análise de Conteúdo) que elegemos: objetivos (metas), referencial teórico adotado (conceitos), metodologia (modos) e resultados (efeitos). Identificamos os conhecimentos relativos aos cinco sentidos dos participantes do ProJsei; discutimos a metodologia de ensino-aprendizagem que foi desenvolvida pelos integrantes do programa, além de examinarmos as aprendizagens desenvolvidas pelas crianças. O estudo apontou que os projetos, a partir dos objetivos/metas conseguiram ampliar a consciência das crianças em relação a si mesmo e ao entorno. Todas as aulas seguiram os momentos propostos pela PC que utilizaram 95 jogos criados pelos Professores em Formação Inicial (PFI), envolvendo 372 crianças participantes do ProJsei, no decorrer de 188 aulas, totalizando 170 horas de atividades. No campo dos conceitos/referencial teórico, os projetos acadêmicos, a partir de 2011, contemplaram atividades específicas para os sentidos e se voltaram para uma perspectiva ecológica ao implantar atividades que ampliaram a relação criança-ambiente. Nesse sentido, os(as) PFI apresentaram compreensão em relação a PC, mas demonstraram necessidade em aprimorar os conhecimentos da teoria gibsoniana e bronfenbreniana. Ao analisarmos os modos/metodologia do ProJsei, verificamos que os(as) PFI se concentraram no segundo momento da Aula Laboratório da Pedagogia da Corporeidade (ALPC), tendo como recurso os registros da avaliação diagnóstica. Constatamos que o microssistema tem influência na escolha dos jogos por parte dos(as) PFI e que as crianças conseguiram se expressar com mais facilidade o que aprenderam, por meio dos desenhos, mais do que oralmente. Nos efeitos/resultados do ProJsei, os(as) PFI relataram que houve ampliação sensorial dos participantes: na visão, ampliaram o conceito de cores primárias e suas nuances além da percepção do ambiente; nos projetos quimiossensoriais, como o paladar, ampliaram o prazer em saborear e a aceitação de alimentos que antes eram rejeitados; no olfato, ampliaram o conhecimento em relação ao cheiro picante e pútrido e no projeto sensorial-manipulativo – tato, obtiveram melhor desempenho na categoria térmica e textura; na audição houve melhora de desempenho na localização sonora e, em menor escala em relação à memória sequencial, além de desenvolverem uma maior sensibilidade na percepção do seu entorno. Podemos afirmar que o ProJsei se mostra como alternativa pedagógica para a aplicação da PC na Educação Infantil, mesmo requerendo aperfeiçoamentos pedagógicos. O ProJsei promove abertura dos(as) educandos(as) ao mundo do movimento, não apenas com habilidades perceptivo-motoras, mas também de comunicação consigo mesmo(a), com os outros e com o mundo.

Comment La langue vient à l’enfant sourd selon qu’il se trouve dans un environnement sourd ou entendant ?Telle est la question que tente de mettre au travail cette thèse de psychologie clinique.L’histoire des sourds du moyen-âge jusqu’à nos jours comporte différentes positions idéologiques quant à l’accès au langage. Encore aujourd’hui la position « phonocentrée » reste prépondérante. La personne sourde est perçue comme une personne handicapée qu’il faut rééduquer. Les appareillages les plus sophistiqués, les séances d’orthophonie, doivent faire parler l’enfant sourd. La langue des signes ne reste qu’un pis-aller, non réellement investie comme une langue à part entière dans l’éducation de l’enfant sourd.Le bébé sourd naît le plus souvent dans un environnement entendant. La découverte de la surdité n’a lieu qu’aux environs du second semestre de la vie du bébé. Ce diagnostic représente un véritable traumatisme psychique pour les parents entendants. Ils se sentent le plus souvent trahis par ce « nouveau » bébé. L’urgence de la rééducation orale vient colmater la blessure narcissique faite aux parents. Dans ce contexte, le risque est grand pour le bébé de perdre l’étayage du « miroir environnement » et de se retrouver face à un vécu de « déprivation ». La surdité représente une autre manière d’être au monde, une autre manière de l’appréhender et d’interagir avec lui. Etre sourd aux bruits environnants ne signifie pas être sans langage. La langue des signes est une invention humaine extraordinaire qui nécessite de changer de paradigme. Elle interroge la problématique de la communication en général.Comment le bébé sourd interagit avec son environnement sourd et entendant? Ce bébé sourd présente une sensorialité spécifique qui nécessite un positionnement relationnel particulier de la part de son environnement entendant.L’observation filmée de trois dyades mère-bébé sourd, âgés de deux mois à deux ans, propose quelques éléments de réponse Le rythme, dans la clinique de la rencontre, apparaît comme un concept essentiel dans l’accordage de la dyade mère-bébé. / How does a child acquire language whether it finds itself in a deaf environnement or a normal (hearing) one ?That is the question that this clinical psychology thesis inquires.The history of the deaf community through the Middle Ages until today is composed of different ideological positions concerning how language is acquired. Until today, the « phonocentric » position remains preponderant. The deaf person is percieved (apprehended) as a handicapped person who needs to be re-educated. The most sophisticated material, speach therapy sessions, are supposed to make the deaf child speak. Sign language remains the last resort, not really considered as a language, in all senses of the term, when used as education for the deaf child.The deaf baby is most frequently born in a normally hearing environment. Discovery of deafness only occurs around the second semester of the baby’s life. This diagnosis can represent an absolute trauma for normally hearing parents. They often feel betrayed by this « new » baby. The emergency of getting oral re-education started is an attempt to make up for the narcissic wound inflicted on the parents. In this context, there is a great risk that the baby will lose the propping up of the « mirror environment » only to find itself confronted with a feeling of « deprivation ».Deafness represents a different way of being in the world, another way of apprehending and interacting with it. Being deaf to environing noise does not imply being without language. Sign language is an extraordinary human invention which implies changing the paradigm. It questions the problem of communication in general.How does the deaf baby interact with both normally hearing and a deaf environment ? The deaf baby has specific sensoriality which requires a particular relational position on behalf of its normally hearing environment.The video-observation of three mother-deaf baby dyads, from two months old to two years of age, proposes parts of a reply to these questions. Rythm, in the clinical situation of meeting, appears as a fundamental concept concerning the getting together of mother and baby dyad.

La première année de vie constitue une étape critique dans le développement des capacités de traitement des expressions faciales. Olfaction et expressions sont toutes deux étroitement liées, et il est reconnu que dès la naissance les enfants sont capables d’intégrer leur environnement de façon multi-sensorielle. Toutefois, la plupart des travaux sur le traitement multimodal des visages et des expressions se sont restreints à l’étude des interactions audio-visuelles.Dans ce travail de thèse, nous avons en premier lieu levé différentes ambiguïtés concernant l’ontogenèse des capacités de traitement des expressions. Les résultats obtenus ont permis de spécifier l’évolution des stratégies d’exploration visuelle des émotions au cours de la première année, et de démontrer la présence d’une distinction progressive des expressions selon leur signification émotionnelle. Au moyen de l’EEG, nous avons aussi précisé la nature et le décours temporel de la distinction des expressions chez les nourrissons de 3 mois.Le second objectif de nos travaux a été d’approfondir les connaissances sur le traitement multi-sensoriel des expressions, en nous intéressant spécifiquement aux interactions olfacto-visuelles. Nos expériences en potentiels évoqués ont permis de préciser le décours de l’intégration cérébrale de l’odeur dans le traitement des expressions chez l’adulte, et de démontrer la présence d’interactions similaires chez l’enfant de 3 mois. Nous avons également démontré qu’à 7 mois, les odeurs déclenchent une recherche d’expression spécifique. Il ressort de ces travaux que l’olfaction pourrait contribuer à l’établissement des capacités de traitement des expressions faciales. / The first year of life is critical for the development of the abilities to process facial expressions. Olfaction and expressions are both strongly linked to each other, and it is well known that infants are able to multisensorially integrate their environment as early as birth. However, most of the studies interested in multisensory processing of facial expressions are restricted to the investigation of audio-visual interactions.In this thesis, we firstly aimed to resolve different issues concerning the ontogenesis of infants’ ability to process facial expressions. Our results allowed to specify the development of visual exploratory strategies of facial emotions along the first year of life, and to demonstrate that a progressive distinction of expressions according to their emotional meaning is present. Using the EEG, we were also able to specify the nature and the time course of facial expressions distinction in 3-month-old infants.The second objective of our studies was to expand the knowledge concerning the multisensory processing of facial expressions. More specifically we wanted to investigate the influence of olfacto-visual interactions on this processing. Our event-related potentials experiments allowed to specify the time course of the cerebral integration of olfaction in the visual processing of emotional faces in adults, and to demonstrate that similar interactions are present in infants as young as 3 month-old. We also demonstrated that at 7 months of age odors trigger the search for specific facial expressions. Our results suggest that olfaction might contribute to the development of infants’ ability to process facially displayed emotions.

Face às transformações sócio-culturais ocorridas ao longo do século XX, que favoreceram a predominância de configurações psicopatológicas distintas das neuroses, a metapsicologia freudiana passou por críticas e revisões, que visavam tanto compreender quanto tratar essas patologias que desde então ficaram em evidência. O narcisismo se mostrou um conceito central nessa reformulação teórica, que permitiu a construção de uma segunda teoria tópica do aparelho psíquico, quando o inconsciente deixou de ser entendido como subproduto da consciência. Neste novo modelo, embora o conflito edipiano ainda mantenha um lugar de destaque na cena psíquica, sua importância no desvelamento dos processos de instauração das psicopatologias passou a um plano secundário. A aquisição de um sentido vital e o desenvolvimento de estilos subjetivos como tributários das marcações sensoriais estabelecidas nos primórdios da relação materno-infantil passaram, radativamente, a ocupar um lugar de destaque na teorização psicanalítica e, consequentemente, os processos infralingüísticos adquiriram relevo como moduladores da eficácia da cura pela palavra. Neste trabalho discuto aspectos de algumas das intuições freudianas acerca da forma como se constitui um psiquismo em sua teorização, e apresento a relevância de contribuições à sua teoria, realizadas por psicanalistas como Ferenczi, Winnicott, Anzieu e Haag, entre outros. A contribuição desses autores para a o entendimento das condições e obstáculos para o estabelecimento de um Eu capaz de agir de forma criativa na interação com seu meio, permite que se pense no fenômeno humano em uma perspectiva que rompe com os dualismos - aos quais Freud se manteve aderido - e compreende a subjetivação como um processo complexo e interminável. A categoria sensorialidade desempenha um papel significativo e precisa ser considerada na compreensão dos fenômenos que emergem no campo transferencial. Apresento um caso clínico como fio condutor e como ilustração da importância de seu resgate na prática da terapia psicanalítica contemporânea, visto que pretendo reafirmar a soberania da clínica para interpelar a teoria e enriquecê-la. / The social-cultural transformations which occurred during the 20th century, favored the prevalence of new psychopathological configurations, which were different to classical neuroses. As a result, the Freudian meta-psychology was submitted to criticisms and revisions, which intended not only to understand but also to treat those pathologies that were in evidence ever since. Narcissism became a central concept in that theoretical reformulation, which allowed for the construction of a second topical theory of the psychic apparel, in which the unconscious was no longer conceived of as being a by-product of the conscience. In this new model, although the Oedipian conflict still maintains a prominent place in the psychic scene, its importance in the establishment of psychopathologies was driven to a secondary level. The acquisition of a vital sense and the development of subjective styles as a tributary of the sensorial demarcations established in the beginning of the maternal-infantile relationship gradually occupied a prominent place in the psychoanalytical theory and, as a result, the infra-linguistic processes acquired relief as modulators of the effectiveness of the talking cure. In this work, aspects of some of the Freudian intuitions concerning the way in which a psyche is constituted in theory, is discussed, and the relevance of contributions to such theory, according to psychoanalysts such as Ferenczi, Winnicott, Anzieu and Haag, among others, is also presented. The contributions of such authors to the understanding of the conditions and obstacles necessary for the establishment of an "Ego" which is capable of acting in a creative manner while interacting with its environment, allows us to think of the human phenomenon in a perspective that breaks with the dualisms - to which Freud remained stuck - and permits one to understand subjection as a complex and endless process. Sensoriality is a category that acquires a significant paper in the understanding of the phenomena present in the transferencial field, and its importance must be recognized. A case history is presented as a conductive thread and illustration of the importance of its ransom in contemporary psychoanalytical practice, aiming at reaffirming the sovereignty of the clinical to question and enrich the theory.

Face às transformações sócio-culturais ocorridas ao longo do século XX, que favoreceram a predominância de configurações psicopatológicas distintas das neuroses, a metapsicologia freudiana passou por críticas e revisões, que visavam tanto compreender quanto tratar essas patologias que desde então ficaram em evidência. O narcisismo se mostrou um conceito central nessa reformulação teórica, que permitiu a construção de uma segunda teoria tópica do aparelho psíquico, quando o inconsciente deixou de ser entendido como subproduto da consciência. Neste novo modelo, embora o conflito edipiano ainda mantenha um lugar de destaque na cena psíquica, sua importância no desvelamento dos processos de instauração das psicopatologias passou a um plano secundário. A aquisição de um sentido vital e o desenvolvimento de estilos subjetivos como tributários das marcações sensoriais estabelecidas nos primórdios da relação materno-infantil passaram, radativamente, a ocupar um lugar de destaque na teorização psicanalítica e, consequentemente, os processos infralingüísticos adquiriram relevo como moduladores da eficácia da cura pela palavra. Neste trabalho discuto aspectos de algumas das intuições freudianas acerca da forma como se constitui um psiquismo em sua teorização, e apresento a relevância de contribuições à sua teoria, realizadas por psicanalistas como Ferenczi, Winnicott, Anzieu e Haag, entre outros. A contribuição desses autores para a o entendimento das condições e obstáculos para o estabelecimento de um Eu capaz de agir de forma criativa na interação com seu meio, permite que se pense no fenômeno humano em uma perspectiva que rompe com os dualismos - aos quais Freud se manteve aderido - e compreende a subjetivação como um processo complexo e interminável. A categoria sensorialidade desempenha um papel significativo e precisa ser considerada na compreensão dos fenômenos que emergem no campo transferencial. Apresento um caso clínico como fio condutor e como ilustração da importância de seu resgate na prática da terapia psicanalítica contemporânea, visto que pretendo reafirmar a soberania da clínica para interpelar a teoria e enriquecê-la. / The social-cultural transformations which occurred during the 20th century, favored the prevalence of new psychopathological configurations, which were different to classical neuroses. As a result, the Freudian meta-psychology was submitted to criticisms and revisions, which intended not only to understand but also to treat those pathologies that were in evidence ever since. Narcissism became a central concept in that theoretical reformulation, which allowed for the construction of a second topical theory of the psychic apparel, in which the unconscious was no longer conceived of as being a by-product of the conscience. In this new model, although the Oedipian conflict still maintains a prominent place in the psychic scene, its importance in the establishment of psychopathologies was driven to a secondary level. The acquisition of a vital sense and the development of subjective styles as a tributary of the sensorial demarcations established in the beginning of the maternal-infantile relationship gradually occupied a prominent place in the psychoanalytical theory and, as a result, the infra-linguistic processes acquired relief as modulators of the effectiveness of the talking cure. In this work, aspects of some of the Freudian intuitions concerning the way in which a psyche is constituted in theory, is discussed, and the relevance of contributions to such theory, according to psychoanalysts such as Ferenczi, Winnicott, Anzieu and Haag, among others, is also presented. The contributions of such authors to the understanding of the conditions and obstacles necessary for the establishment of an "Ego" which is capable of acting in a creative manner while interacting with its environment, allows us to think of the human phenomenon in a perspective that breaks with the dualisms - to which Freud remained stuck - and permits one to understand subjection as a complex and endless process. Sensoriality is a category that acquires a significant paper in the understanding of the phenomena present in the transferencial field, and its importance must be recognized. A case history is presented as a conductive thread and illustration of the importance of its ransom in contemporary psychoanalytical practice, aiming at reaffirming the sovereignty of the clinical to question and enrich the theory.

Ce travail vise à étudier les modes de présence du sujet et les degrés de la subjectivité dans les discours de voyage concernant la ville d’Istanbul. Nous nous proposons d’aborder la question de la présence dans les discours de voyage en analysant trois types de discours (les récits de voyage, les carnets de voyage et les guides touristiques) à l’aide de la sémiotique de l’énonciation, la sémiotique de la présence et la sémiotique visuelle. Le corps en tant que sujet énonçant peut être étudié dans la perspective de l’énonciation et en tant que sujet percevant peut être analysé dans la ligne de la perception. En partant de cette double fonction du corps, nous nous proposons d’étudier les marques de la subjectivité dans les discours de voyage à travers le sujet énonçant et le sujet percevant. Dans ce travail, nous observerons les styles énonciatifs qui précisent la place du sujet énonciateur, les différents rôles et les modes de saisies de l’énonciateur en tant qu’observateur. En outre, nous nous interrogerons sur les formes de présence de la « ville », autrement dit, sur la participation de la sensorialité (sujet) à la construction figurative de l’espace (objet). À part les stratégies énonciatives, le rapport texte-image, la contribution des différentes techniques de représentation (photo, dessin, carte) à l’instauration du sens seront étudiées dans le cadre de ce travail. Ces analyses concernant l’énonciation, la perception, la figurativité et la structure polysémiotique nous permettront de définir les caractéristiques sémiotiques de ces genres de discours. / This work aims to study the modes of presence of the subject and the degree of subjectivity in the discourses of travel concerning the city of Istanbul. We propose to address the issue of the presence in the discourse of travel by analyzing three types of discourse (the travel texts, travel notebooks and tourist guides) with the help of semiotics of the enunciation, the semiotics of presence and visual semiotics. The body as a enunciating subject can be studied in the perspective of enunciation and as a perceiving subject can be analyzed in the line of perception. Based on this dual function of the body, we propose to study the marks of subjectivity in the discourses of travel through the enunciating subject and the perceiving subject. In this work, we will observe the enunciation styles which specify the place of the enunciating subject, the different roles and input modes of the enunciator as an observer. In addition, we will examine the forms of presence of the "city", in other words, the participation of the sensoriality (subject) to the representational construction of space (object). Aside from enunciation strategies, the text-image relation, the contribution of different techniques of representation (photography, drawing, map) to the establishment of meaning will be considered in this work. These analysis concerning the enunciation, the perception, the figurativity and polysemiotic structure allow us to define the characteristics of these types of discourse.

A différentes reprises, l’auteur observe que la maladie, ici l’insuffisance rénale, survient à des moments clés de la vie du sujet. Après un tour d’horizon théorique sur la maladie, le soin, mais aussi les travaux théoriques traitant de la psychosomatique et du féminin, les observations débouchent sur des interrogations liées à la problématique du corps et de la psyché. C’est en rencontrant des patients en centre de dialyse, à partir de leur vécu et de leur discours sur le lieu de soin que la problématique du corps vient rejoindre la question du féminin, quel que soit le sexe (masculin ou féminin) des patients. D’abord, les relations maternelles sont le point de départ de la réflexion. Il s’avère que les patients rencontrés (hommes et femmes) ont été confrontés à des relations précoces, à un féminin primaire, venant particulièrement interroger les notions de rythme et de sensorialité. Ces Notions sont très présentes dans la pathologie de l’insuffisance rénale, ainsi que parfois dans les autres pathologies dont souffrent les patients. Ensuite l’analyse se poursuit plus précisément avec une réflexion sur les vécus contre-transférentiels. D’une part, se pose la question du vide, du désinvestissement chez les patients de sexe masculin, d’autre part, le mode d’être en relation des patientes vient interroger l’emprise. Enfin, l’auteur prolonge sa réflexion en abordant le féminin génital auprès des patientes de sexe féminin. La façon dont elles ont pu s’identifier aux imagos parentales, vivre l’Œdipe, changer d’objet et se séparer de l’objet primaire vient alors interroger la bisexualité mais aussi la violence et la haine. / The author observes at various times that the disease, in this case renal failure, arises at key moments in the life of the subject.After a theoretical overview on the disease, the care, but also the theoretical work dealing with psychosomatic and the feminine, observations lead to questions related to the concerns of the body and the psyche.It is by meeting patients in dialysis centers, from their experience and from their speeches where they are taken care of, that the matter of the body comes to join the question of the feminine, , regardless of gender (male or female) of the patients .At first, the maternal relationships are the starting point for the reflection. It turns out that patients met - both men and women - have faced premature relations and a primary female state, which particularly questions the notions of rythm and sensoriality. These concepts are very present in the pathology of renal failure, sometimes as well as in other pathologies the patients suffer from.Then the analysis continues more precisely with a reflection on counter-transference experiences. The first question that arises is that of the emptiness and the withdrawal of involvement of male patients and then the mode to be in relation for female patients leads to wonder about influence / pressure. Finally the author continues her reflection by considering female genital with female patients. How they were able to identify with parental images, experience the Oedipus complex, change the object, and separate from the primary object then leads to question bisexuality, but also violence and hate.