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Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed March 23, 2010). Includes bibliographical references (p. 144-151). Also issued in print.

The purpose of the study was to determine whether dream analysis, as an educational psychological means, can provide insight into adolescent emotional problems. Hence, a literature study was done on adolescent emotional problems, on dreams and on dream analysis. Several classical and contemporary theories on dreams and dream analysis were analysed to design a model for dream analysis. A qualitative study, with five adolescent girls with emotional problems, followed. Data gathering included recorded dreams, interviews, diaries, a personality test, (the Emotions Profile Index), a projection medium (Three Wishes) and the above-mentioned model for dream analysis. Findings indicated that dream analysis can provide insight into adolescent emotional problems, revealing the intrapsychic world of the individual. Emotional problems that were revealed by the dream analysis, are anxiousness, aggression, a negative self-concept, feelings of being socially isolated and depression. Compensatory as well as regulatory functions of dreams were revealed by the empirical investigation. / Die doel van hierdie studie is 0om te bepaal of droomontleding, as 'n opvoedkundig-sielkundige hulpmiddel, insig in adolessente emosionele probleme kan verleen. 'n Literatuurstudie oor adolessente emosionele probleme sowel as drome en droomontleding is dus gedoen. Verskeie klassieke en kontemporere teoriee oor drome en droomontleding is ontleed om 'n model vir droomontleding te ontwerp. Dit is gevolg deur 'n kwalitatiewe studie met vyf adolessente dogters met emosionele probleme. Data-insamelingstegnieke het die volgende ingesluit: droomverslae, onderhoudvoering, dagboeke, 'n persoonlikheidstoets (die Emotions Profile Index), en projeksiemedium (Drie Wense) en bogenoemde model vir droomontleding. Die bevindinge het getoon dat droomontleding insig in adolessente emosionele probleme verleen deurdat dit die intrapsigiese wereld van die individu blootle. Emosionele probleme wat deur droomontleding blootgele is, het angs, aggressie, 'n negatiewe selfkonsep, belewing van sosiale isolasie en depressie ingesluit. Kompenserende sowel as regulerende funksies van drome het tydens die empiriese ondersoek na vore gekom. / Educational Studies / M. Ed. (specialisation in Counselling)

Cet essai tente d’aborder, ou plutôt de comprendre l’idée du devenir, soit l’intuition du temps et de son propre déploiement pour un sujet qui vit au semblable rythme. Pour Bergson, cela n’arrive que dans de très rares occasions, pour l’artiste, chez le philosophe ou encore lors des situations d’extrême changement, voire d’urgence pour chacun d’entre nous. Seulement, est-ce que cette "vision directe de l’esprit par l’esprit" est véritablement exceptionnelle ? Ne s’agit-il pas plutôt d’actes instantanés où nous touchons l’objet avant même d’en avoir fait l’expérience, et qui serait plutôt "condition" de celle-ci, qui signe de son sceau l’avenir en général ? Par là, bien que nous ignorions exactement quels seront les retentissements de nos actes, nous en avons une intuition, un certain aspect y serait montré ou "présence" d’un quelque chose excédant toute explication logique. Si l’on souhaite montrer que cette intuition est déjà "présence" en chacun de nos actes singuliers, et nous accompagne dans notre quotidien à partir de notre perception du monde, il conviendra de trouver un moyen, une méthode pour explorer les régions inconscientes de notre être – ou de cet Être. Nous supposerons que nous sympathisons avec le réel, que nous "composons" en ce sens avec lui dans ce qui naît de l’instant – bien que sans le savoir. Notre intuition serait la forme « à venir » de notre expérience conformément à une personne, la façon dont mes souvenirs se constituent lorsque, paradoxalement, ces derniers enveloppent et se constituent selon une forme, un droit qui n’appartient pas qu’à moi. Ainsi nous chercherons à définir comment l’individu concourt avec une réalité qui, ainsi, l’excède, le transcende, mais dont celle-ci ne peut pas non plus être telle qu’elle apparaît sans lui. Quelle est cette part qui, échappant au monde, fait du sujet l’un de ses devenirs ? Peut-on expliquer cette part de liberté, puisque s’il y a intuition, il y a une pluralité des devenirs (virtuels) ? Nous établirons une méthode pour en comprendre le cheminement ontologique. Mais dans cette science de l’Être, il s’agira de confondre à la fois la psyché et la façon dont la matière s’organise : soit selon une chora d’un point de vue cosmologique. / This essay is an attempt to approach and to understand the idea of devenir, the intuition of time, and its own deployment for a subject that live in a similar pace. According to Bergson, this happens, only in very rare occasions, to the artist, to the philosopher or still in situation of extreme change, or even of emergency to all of us. But, is this « direct vision of the spirit by the spirit really exceptional? Are they rather instant acts when we touch the object even before having experienced it, and which will be rather "condition" of it, which marks the future in general? By this, even though we do not know exactly what will the impact of our acts be, we have an intuition of it, a certain aspect would have shown or "presence" of something that exceeds any logical explanation. If we wish to show that intuition is already "presence" in each of our unique acts, and accompanies us in our daily lives from our perception of the world, it will be suitable to find a way, a method to explore the regions of our unconscious being, or of this Being. We will suppose that we sympathize with the real that we "compose" in this sense with it in what is born of the instant, even without knowing it. Our intuition would be the form "to come" of our experience, according to a person, the way that my memories form when, paradoxically, they envelop and constitute according to a form, a right that does not belong only to me. Thus, we will seek to define how the individual contribute to the reality which, thus, exceeds, transcends him but which cannot be as such without him. What is this part that, escaping from the world, makes of the subject one of its destinies? Can we explain this part of freedom, since there is intuition, a plurality of (virtual) "devenirs"? We will establish a method to understand the ontological journey. But in this science of the Being, it will be to confuse both the psyche and the way in which the matter is organized: according to a "chora" a cosmological perspective.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-11-14T11:55:02Z No. of bitstreams: 1 João Antônio Pentagna de Moraes.pdf: 1404168 bytes, checksum: f08e09c0bd2e4dd2782eaee952cc8d9f (MD5) / Made available in DSpace on 2017-11-14T11:55:02Z (GMT). No. of bitstreams: 1 João Antônio Pentagna de Moraes.pdf: 1404168 bytes, checksum: f08e09c0bd2e4dd2782eaee952cc8d9f (MD5) Previous issue date: 2017-10-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The present work explores the concerns that have arisen in the field of clinical psychology, precisely in the ethical and political implications of the psychoanalytic unconscious. Research problem: how does that thing, which we call unconscious, work? It begins with 4 vectors: the psychedelic experience, the artistic process, psychoanalysis and philosophy. In psychedelia, we point out the dangers, the misunderstandings, the alienating fascinations, the bankruptcies of the surface, as well as the power of new assemblages between bodies that produce sages, auditions, ways of life. In other words, multiple effects on the production of an experimental unconscious that boils with micro-perceptions, but also requires a program, an activity to sustain exploration. In the artistic process, the Van Gogh case is taken. His letters and pictures are examined in an attempt to evaluate the conditions that inflamed, accelerated, and those that paralyzed his creation, making him ill. It is possible to notice that if, on the one hand, the painter's desire suffered control of the gregarious forces of the family and of the capital, on the other hand, it was involved and composed of elements which were immanent in his environment: the mistral wind, the sun, the wheat fields, the sunflowers, the dead painters. There arises another power of the unconscious: precisely virtuality. In the third vector, two concepts of psychoanalysis are problematized: the perverse-polymorph (codified by the structural logic) and the Principle of nirvana (mortified by the repetition of the same.), considering its consequences for analytical theory. A micropolitical and vitalistic unconscious is then outlined. Finally, in the passage through fluctuations of mood and confused ideas, in the work on the affections, the body without organs emerges as a conceptual personage, a theme buried in the psychoanalytic institutional history with its conception of desire based on lack and negativity. In the last vector, which has been called philosophical, even though it concerns more specifically the transcendental empiricism of Gilles Deleuze, the aim is to trace the obscure genesis of this potential body before it even appears, considering the conditions in which it comes, examining the possibility of using it as a measure determinable by its procedural exercise, implicated in the incessant evaluation of our compositions. Ethical virtue of the unconscious / O presente trabalho explora inquietações surgidas no campo da psicologia clínica, precisamente nas implicações éticas e políticas suscitadas pelo inconsciente psicanalítico. Problema de pesquisa: como funciona isso que chamamos de inconsciente? Parte-se de 4 vetores: a experiência psicodélica, o processo artístico, a psicanálise e a filosofia. Na psicodelia, apontam-se os perigos, os mal-entendidos, as fascinações alienantes, as falências da superfície, bem como a potência de novos agenciamentos entre corpos que produzem vidências, audições, modos de vida. Ou seja, efeitos múltiplos na produção de um inconsciente experimental, que fervilha com micropercepções, mas também exige um programa, uma atividade para sustentar a exploração. No processo artístico, toma-se o caso Van Gogh. Examinam-se suas cartas e quadros, na tentativa de avaliar as condições que inflamavam, aceleravam, e aquelas que paralisavam a criação, fazendo-o adoecer. Percebe-se como o desejo do pintor, se, por um lado, claudicava pelo controle de forças gregárias da família e do capital, por outro, envolvia-se e se compunha com elementos imanentes ao seu meio: o vento mistral, o sol, os campos de trigo, os girassóis, os pintores mortos. Surge outra potência do inconsciente: precisamente, a virtualidade. No terceiro vetor, problematizam-se 2 conceitos da psicanálise: o perverso-polimorfo (codificado pela lógica estrutural) e o Princípio do nirvana (mortificado pela repetição do mesmo), considerando suas consequências para a teoria analítica. Esboça-se, então, um inconsciente micropolítico e vitalista. Enfim, na passagem por flutuações de ânimo e ideias confusas, no trabalho sobre os afetos, emerge como personagem conceitual o Corpo sem Órgãos, tema soterrado na história institucional psicanalítica com sua concepção de desejo fundada na falta e na negatividade. Busca-se, então, no último vetor que se chamou filosófico, porém mais especificamente diz respeito ao empirismo transcendental de Gilles Deleuze, traçar a obscura gênese deste corpo potencial, antes mesmo dele aparecer, atentando para as condições em que ele advém, examinando a possibilidade de utilizá-lo como medida determinável por seu exercício processual, implicada na incessante avaliação de nossas composições. Virtude ética do inconsciente

Thesis (MPhil)--University of Stellenbosch, 2006. / On title page: M.Phil in Ancient Cultures. Bibliography. Also available via the Internet.

Thesis (M.A.)--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2833. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaves 461-474).