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Una de las problemáticas sociales más importantes en el Perú es la violencia dentro de la relación de pareja, lo más preocupante de esto es la justificación que las víctimas le dan a la violencia, esto debido a la idealización del amor romántico presente en las personas que tienen características de dependencia emocional, es por ello que se planteó conocer la relación que existe entre la violencia de pareja y la dependencia emocional, para lo cual se planteó como objetivo general determinar la relación entre la dependencia emocional la violencia de pareja en jóvenes adultos, los objetivos específicos fueron describir la conceptualización de la dependencia emocional y la violencia de pareja e identificar la prevalencia según sexo de dependencia emocional. El tipo de investigación es una revisión teórica, utilizando la técnica de análisis de documentos y fichaje, para lograrlo se utilizaron las diversas plataformas virtuales de carácter científico, usando criterios de selección y exclusión, respetando los derechos de autor y utilizando un software antiplagio. Se obtuvo como resultado una relación directa entre la dependencia emocional y violencia de pareja sufrida, respecto a la conceptualización la dependencia se define como un patrón persistente de necesidades afectivas no resueltas y la violencia de pareja como un daño interpersonal, así mismo, el sexo como mayor prevalencia de dependencia emocional y violencia de pareja sufrida es el femenino. Finalmente, la presencia de dependencia emocional explica la aparición de agresiones dentro de una relación amorosa.

[pt] A família como escola de sociabilidade entre as pessoas permanece como lugar de aquisição de verdadeiros valores humanos através de um estilo fraterno de convivência possibilitando aos indivíduos a transmissão desses valores à sociedade. A família que nasce a partir da união do homem e da mulher, permanece muito valorizada, sobretudo, por parte daqueles que desejam se casar porque a reconhecem como instituição desejada e querida por Deus. Os esposos com seu amor e pela fé na graça do sacramento do matrimônio podem resplandecer o verdadeiro amor de Cristo pela Igreja. Dessa forma, é urgente por parte dos casais e de toda Igreja universal, empenhados numa atividade de evangelização, apresentar uma pastoral de formação e preparação à iniciação da vida matrimonial para que o Evangelho da família possa ser reconhecido como Evangelho de Cristo. / [en] The family as a school of sociability among people remains a place for the acquisition of true human values through a fraternal style of coexistence enabling individuals to transmit these values to society. The family that is born from the union of man and woman, remains highly valued, above all, by those who wish to marry because they recognize it as an institution desired and wanted by God. Spouses with their love and faith in the grace of the sacrament of marriage can shine Christs true love for the Church. Thus, it is urgent on the part of couples and of the whole universal Church, engaged in an activity of evangelization, to present a pastoral formation and preparation for the initiation of married life so that the Gospel of the family can be recognized as the Gospel of Christ.

La presente investigación tuvo como objetivo general explorar las concepciones de los mitos del amor romántico y la violencia psicológica en un grupo de adolescentes de 14 a 16 años de la ciudad de Huacho. Para poder recoger dicha información, se realizó un estudio cualitativo a través de un diseño fenomenológico, ya que se buscaba conocer las perspectivas de los y las adolescentes acerca de los mitos del amor romántico y la violencia psicológica. Entre los principales resultados destacan que los y las adolescentes aún mantienen enraizados los mitos del amor romántico, específicamente el de la media naranja, la exclusividad y el de los celos. Esto los y las sitúa en una situación de vulnerabilidad, puesto que naturalizan la dependencia emocional, el control y los celos dentro de las relaciones de pareja, lo cual dificulta que las reconozcan como manifestaciones de violencia psicológica. Además, se evidenció un notable desconocimiento sobre la violencia psicológica, pues perciben sus manifestaciones como expresiones de amor y la consideran como un tipo de violencia menos grave que la física debido a que sus consecuencias no son visibles. / The present research aimed to explore the presence of myths of romantic love and conceptions of psychological violence in a group of teenagers between 14 and 16 years of age living in the city of Huacho. In order to compile this information, a qualitative study with a phenomenological approach was carried out, since the aim was to know about the teenager’s perspectives on myths of romantic love and psychological violence. The results show that teenagers still keep the myths of romantic love, mainly those of the better half, exclusivity and jealousy. This places them in a situation of vulnerability, because they, normalize emotional dependence, control and jealousy within relationships, which makes it difficult for them to recognize them as manifestations of psychological violence. Furthermore, it became evident that there is widespread ignorance about psychological violence; on the other hand, it is perceived as an expression of love, or else, it is considered a less serious type of violence than physical violence due to its less visible consequences.

La narración en Género: Romance surge de las experiencias personales de las directoras. El amor es un tema que personalmente les interesa a ambas a nivel general e individual y que ha significado el entendimiento de muchos aspectos importantes en sus vidas. Por ello, como realizadoras audiovisuales que se han enamorado, reconocen la necesidad de mostrar la complejidad del enamoramiento frente a una industria cultural donde se ha idealizado el amor romántico y sus procesos emocionales, a partir de cuentos de hadas y comedias románticas. Este relato se construye desde la intimidad de las directoras, recogiendo sensaciones, pensamientos y miedos de sus experiencias en el amor. Esto se efectuó, a través de la revisión de textos escritos y sentimientos en los procesos de ruptura y duelo de relaciones pasadas. Se adopta la postura de un yo del pasado. La distancia temporal permite complementar esos pensamientos con ideas más recientes, producto de los propios procesos de reflexión. A partir de ello, se plantean cuatro etapas: ilusión, ruptura, duelo y sanación. En cada una de ellas, el relato transita por un proceso de evolución, donde poco a poco se genera una suerte de entendimiento y de escucha entre ambas directoras, a pesar de tener experiencias muy distintas. Finalmente, se intenta dar una nueva forma de relato y replantear la imagen de “la chica de la comedia romántica”, aquella que ha sido construida bajo arquetipos heteropatriarcales, para presentar una nueva figura más independiente y activa en su propia historia de amor. Entonces, ¿cómo saber si te has enamorado?. Realmente no existe una fórmula establecida, solo confiar y aceptar que el “felices para siempre” no es una necesidad imperativa. / The narrative in Género: Romance arises from the director’s personal experiences. Love is a subject that personally interests both creators on a general and individual level and that has guided the understanding of many important aspects in their lives. For this reason, as filmmakers who have fallen in love, they recognize the need to show the complexity of falling in love in the face of a cultural industry where romantic love and its emotional processes have been idealized, based on fairy tales and romantic comedies. This story is developed from the privacy of the directors, collecting feelings, thoughts, and fears from their experiences of being in love. This was done through the review of written texts and feelings in the processes of breakup and mourning of past relationships. The narrative voice is the self from the past. The temporal distance allows complementing these thoughts with more recent ideas, products of the reflection process themselves. From this, four stages are proposed: illusion, rupture, mourning and healing. In each of them, the story goes through a process of evolution, where little by little a kind of understanding and listening is generated between the two directors, despite having very different experiences. Finally, an attempt is made to give a new form of story and rethink the image of "the girl in the romantic comedy", one that has been constructed under heteropatriarchal archetypes, to present a new, more independent, and active figure in her own love story. So, how do you know if you have fallen in love? There really is no set formula, just trusting and accepting that "happily ever after" is not an imperative need.

La presente investigación se propone conocer la relación existente entre las actitudes hacia el amor y la satisfacción de pareja en un grupo de estudiantes universitarios entre 18 y 25 años. Asimismo, conocer las diferencias entre las variables de estudio a partir del sexo y, finalmente, conocer la relación entre la edad y el tiempo de pareja actual con las actitudes hacia el amor y la satisfacción de pareja. Los resultados señalan que la actitud predominante en la muestra es Eros, caracterizada por ser un amor pasional y basado en la atracción física. Se encontró también una correlación significativa entre Eros y la satisfacción de pareja, lo cual resulta acorde a estudios previos y las tendencias amorosas en la cultura occidental. Por otro lado, la comparación a partir de la variable sexo señala que los hombres presentan significativamente más una actitud Ágape a comparación de las mujeres, lo cual puede estar asociado a los roles de género, así como evaluaciones diferenciadas al momento de renunciar a algo por la pareja. Finalmente, no se encontraron asociaciones significativas entre edad y tiempo de pareja con satisfacción de pareja; no obstante, se encontró una correlación significativa entre edad y las actitudes Manía y Ágape, lo cual dista de los resultados obtenidos en otros estudios. / This research aims to know the relation between attitudes towards love and couple satisfaction in a group of university students between 18 and 25 years old. In addition, the research studies the differences between the study variables based on sex and the relation between age and current time of relationship with attitudes towards love and partner satisfaction. The results indicate that the predominant attitude in the sample is Eros, characterized by being a passionate love and based on physical attraction. A significant correlation was also found between Eros and couple satisfaction, which is consistent with previous studies and love trends in Western culture. Additionally, the comparison based on the sex variable indicates that men have a significantly more Agape attitude compared to women, which may be associated with gender roles, as well as differentiated evaluations when renouncing to something for the couple. Finally, no significant associations were found between age and current time of relationship with partner satisfaction. However, a significant correlation was found between age and Mania and Agape attitudes, which is far from the results obtained in other studies.

Au sein de la pensée de Deleuze, la poésie d'Antonin Artaud apparaît comme la ligne de fuite par excellence à partir de laquelle tout le foisonnement conceptuel deleuzien s'articule. Artaud est en effet celui qui brise l'image de la pensée – ou ce que nous voulons dire habituellement par " penser " en philosophie – en refusant son innéité et son universalité, c'est-à-dire la cogitatio natura universalis. Car pour Artaud comme pour Deleuze, le plus souvent, la pensée s'affronte à son problème véritable, qui est son impouvoir ou son impossibilité. Ainsi, la première partie de la thèse s'attaque à la compréhension de la destitution de l'image de la pensée dans Différence et répétition de Deleuze, à partir de l'idée de " génital inné " d'Artaud dans la Correspondance avec Jacques Rivière. Si l'image de la pensée ne dit rien du processus de penser, de quelle logique sommes-nous capables ? Au travers de la découverte de la logique paradoxale déployée dans les paradoxes de Logique du sens de Deleuze, il s'agira de penser le rapprochement entre Artaud et Nietzsche. L'axe principal de cette partie est la critique du jugement menée par Artaud. Enfin, jeté dans les paradoxes de la vie, la troisième partie envisage le grand impensé de la philosophie qu'est le corps : en effet, de quel corps sommes-nous capables ? L'enjeu, de l'impossibilité de penser à la question du corps - rapprochant L'Ethique de Spinoza du corps sans organes d'Artaud - est bien de renouer la pensée avec la vie, selon le projet du Gai savoir de Nietzsche et qu'Artaud ne cesse de reformuler dès ses premiers écrits. L'impossibilité de penser dit non seulement la séparation d'avec la vie, mais aussi l'impensable qu'est le corps : en effet, que dire de notre propre corps, tel que nous le vivons ? Dans quelle mesure la création de concepts en rhizome dans Mille Plateaux de Deleuze et Guattari explore-t-elle le corps sans organes d'Artaud, ce corps vécu qui reste encore mystérieux pour la pensée ? Artaud souhaitait qu'on l'aime non pas pour son œuvre mais pour sa vie, témoignant d'une grande santé contre un monde malade : l'horizon de l'impossibilité de penser est alors la pensée blessée et profonde assumant la vie elle-même dans toute son opacité. / In the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity.

[pt] Esta dissertação roçará pelo ficcional. Teremos um Vieira personagem que, como ator, aparece em cena já idoso, invadido pelo passado, a recordar, a escrever, trazido pela narradora onisciente que lhe decifra gestos, palavras e até pensamentos. Através dele, conheceremos um pouco de sua vida e da vida de Inácio de Loyola, o seu grande mestre. Analisaremos, desde a sua gênese, a Reforma e a Contra-Reforma, a sua influência sobre Vieira e o seu posicionamento diante dos dois movimentos que mudaram a história da Igreja.. Neste contexto, examinaremos o movimento artístico que tanto influenciou Vieira, o Barroco - movimento de transgressão, com suas tendências e características, e o interesse da Igreja em dele apropriar-se para fazê-lo a sua arma de divulgação. Analisar-se-ão, finalmente, alguns sermões, começando pelos que se intitulam As cinco pedras da funda de Davi, e nestes sobretudo a questão do conhecimento de si mesmo, abordada por Vieira através das parábolas e histórias bíblicas por ele privilegiadas.Nos sermões do Rosário, referentes aos negros, atentarse- á para o forte cunho social e político que lhes é imprimido e a dura crítica aos senhores de engenho.Nos sermões do Mandato, tratar-se-á da contraposição do amor divino ao humano, destacando-se a questão do fino amor, proposta por Vieira, demonstrada através do contraponto entre a fineza dos dois amores, o divino e o humano, este sempre duvidoso e inconstante. / [en] This thesis borders on the fictional. Its protagonist is Vieira, already an old man, haunted by the past, reminiscing and writing, a character created by the omniscient narrator who deciphers his gestures, words and even thoughts. Through Vieira we learn something not only about his own life but also about that of Ignatius of Loyola, his great master. An analysis is made of the Reformation and the Counterreformation, from their very beginnings, and of their influence on Vieira, showing the stands he took in relation to the two movements that changed the history of the Church. In this context we will examine the artistic movement that had such influence on Vieira, the baroque - a transgressive movement, with its trends and characteristics, which the Church tried to appropriate for its own propaganda purposes.Finally, we will also analyze a few sermons, beginning with those known under the title The Five Stones in David`s Sling, with the emphasis on the issue of self-knowledge, which Vieira approaches by means of parables and favorite Biblical stories.In the Rosary sermons, which refer to the condition of black people, we underscore their very strong social and political flavor, with their harsh criticism of the powerful owners of sugar plantations.In the Mandate sermons, the theme is the contrast between divine love and human love; in them Vieira discusses the topic of fine love, demonstrating his views through a counterpoint between the fineness of the two loves, the divine and the human, the latter always doubtful and inconstant.

Made available in DSpace on 2016-04-26T18:11:40Z (GMT). No. of bitstreams: 1 LeniTese.pdf: 1044376 bytes, checksum: 32a0320e1b0d58aa028b317ff05c5c84 (MD5) Previous issue date: 2005-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Departing of the Roland Barthes\\\' definition, according to which the myth is a language in complete ideological action, the present Doctorship Thesis pledges to elucidate the shapes of the amorous speech in a brazilian mythical narrative: \\\"Iracema\\\", by José de Alencar. Taken like corpus analysis the text \\\"Iracema\\\", it was presented and defended under the view of the semiotic, considering specifically the studies about the intersemiotic relations that establish themselves between this speech and the coutesy \\\"voices\\\" of Tristão e Isolda there understood. / Partindo da clássica definição de Roland Barthes, segundo a qual o mito é linguagem em plena ação ideológica, a presente Tese de Doutorado empenha-se em desvendar as figuras do discurso amoroso que agem numa narrativa mítica brasileira: \\\"Iracema\\\", de José de Alencar. Tomado como corpus de análise o texto \\\"Iracema\\\", foi aqui apresentado e defendido sob a perspectiva da semiótica, contemplando-se especificamente os estudos das relações intersemióticas que se estabelecem entre este discurso e as \\\"falas\\\" corteses de \\\"Tristão e Isolda\\\", aí subentendidas.