Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2013. / Submitted by Elna Araújo (elna@bce.unb.br) on 2013-11-20T22:59:09Z No. of bitstreams: 1 2013_MaysaPuccinelliVictorRodrigues.pdf: 5606079 bytes, checksum: 76fecd920c5fc564f2a386084a913e6f (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-11-21T11:21:57Z (GMT) No. of bitstreams: 1 2013_MaysaPuccinelliVictorRodrigues.pdf: 5606079 bytes, checksum: 76fecd920c5fc564f2a386084a913e6f (MD5) / Made available in DSpace on 2013-11-21T11:21:57Z (GMT). No. of bitstreams: 1 2013_MaysaPuccinelliVictorRodrigues.pdf: 5606079 bytes, checksum: 76fecd920c5fc564f2a386084a913e6f (MD5) / A partir das contribuições de S. Freud e J. Lacan, propomos uma investigação acerca da teoria da angústia, em que pese suas ressonâncias com a arte. A expressão artística eleita será o cinema, especificamente representado pela obra Trilogia do Silêncio, do cineasta Ingmar Bergman, composta pelos filmes Através de um espelho (1961-62), Luz de Inverno (1961-62) e O Silêncio (1962). Para tal empreitada, propomos uma discussão conceitual que parte de uma revisão do pensamento destes autores, considerando pontos cruciais da teoria como o fenômeno do unheimlich, a questão do objeto na psicanálise e sua amarração nos registros Real/Simbólico/Imaginário. Em seguida, alçamos uma dialetização teórica entre angústia e fantasia, que nos conduzirá ao cerce da discussão direta com a obra. Nossa leitura será tangida pela consistência estética que alinhava as fontes da angústia infantil – solidão, escuridão e silêncio – ao bojo formal e conceitual da trilogia unificada no significante Silêncio. Assim, as obras ressoam paradigmáticas de um sistema discursivo que não se furta de abordar o real lacaniano, assinalado pelo que não engana: a angústia. Na metodologia deste trabalho, nos pautamos pela orientação ética de Freud e Lacan acerca da estética, a qual estabelece que a relação entre arte e psicanálise é sempre serviço gratuito da arte ofertado apenas à psicanálise. ______________________________________________________________________________ ABSTRACT / From the contributions of S. Freud and J. Lacan, we propose an investigation into the theory of angst, despite its resonances with art. The artistic expression elected is the cinema, specifically represented by the Trilogy of Silence, by the filmmaker Ingmar Bergman, mades by Throught a mirror (1961-62), Winter Light (1961-62) and The Silence (1962). For this enterprise, we propose a conceptual discussion that part of a revision of the thinking of these authors, considering the crucial points of the theory as the phenomenon of the unheimlich, the question of the object in psychoanalysis and its tying registers of Real / Symbolic / Imaginary. Then one, we propose a theoretical dialectic between fantasy and anxiety, which lead us to the discussion directly with the films. Our reading will be plucked by aesthetic consistency that lined the sources of infantile anxiety- loneliness, darkness and silence - the bulge formal and conceptual trilogy unified in significant Silence. Thus, the works resonate paradigmatic of a discursive system that does not hesitate from addressing the lacanian Real, marked by that does not disappoint: the angst. The methodology of this paper, we base on the ethical orientation of Freud and Lacan about aesthetics, which establishes the relationship between art and psychoanalysis is always art free service offered only to psychoanalysis.

Dans la première partie de la thèse, nous donnons les résultats classiques concernant l’espace de Hardy, les espaces modèles et les espaces de Bergman analytique et harmonique. Les notions de base telles que les projections et les noyaux reproduisant y sont introduites. Nous exposons ensuite nos résultats concernant d’une part, la stabilité du produit et la commutativité de deux opérateurs de Toeplitz quasihomogènes et d’autre part, la description matricielle des opérateurs de Toeplitz tronqués du type "a" "dans le cas de la dimension finie. / In the first part of the thesis,we give some classical results concerning theHardy space, models spaces and analytic and harmonic Bergman spaces. The basic concepts such as projections and reproducing kernels are introduced. We then describe our results on the the stability of the product and the commutativity of two quasihomogeneous Toeplitz operators on the harmonic Bergman space. Finally, we give the matrix description of truncated Toeplitz operators of type "a" in the finite dimensional case.

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As a still relatively young art form, cinema has evolved tremendously over the last one hundred and twenty-five years. However, as perhaps the most accessible popular art form at our disposal, it does not function merely as entertainment. This essay argues that film aesthetics are more than meets the eye. Through analysis of three northern European directors (Carl Theodor Dreyer, Ingmar Bergman, and Lars von Trier), I argue that cinema is an inherently mystical medium. Through this designation, I work to show how cinema functions to bring one to closer union with God, and thus function as sacramental. Both individual experience and communal consensus make viewing cinema an intensely pragmatic, and important, practice. Through the affective nature of cinema, the individual becomes malleable toward the cultivation of virtue. The mystical encounters one experiences become a co-participatory, pedagogical relationship between viewer and medium.

Let (L,h) → (X,ω) be a compact toric polarized Kahler manifold of complex dimension n. For each k ε N, the fibre-wise Hermitian metric hk on Lk induces a natural inner product on the vector space C∞(X,Lk) of smooth global sections of Lk by integration with respect to the volume form ωn /n! . The orthogonal projection Pk : C∞(X,Lk) → H0(X,Lk) onto the space H0(X,Lk) of global holomorphic sections of Lk is represented by an integral kernel Bk which is called the Bergman kernel (with parameter k ε N). The restriction ρk : X → R of the norm of Bk to the diagonal in X × X is called the density function of Bk. On a dense subset of X, we describe a method for computing the coefficients of the asymptotic expansion of ρk as k → ∞ in this toric setting. We also provide a direct proof of a result which illuminates the off-diagonal decay behaviour of toric Bergman kernels. We fix a parameter l ε N and consider the projection Pl,k from C∞(X,Lk) onto those global holomorphic sections of Lk that vanish to order at least lk along some toric submanifold of X. There exists an associated toric partial Bergman kernel Bl,k giving rise to a toric partial density function ρl,k : X → R. For such toric partial density functions, we determine new asymptotic expansions over certain subsets of X as k → ∞. Euler-Maclaurin sums and Laplace’s method are utilized as important tools for this. We discuss the case of a polarization of CPn in detail and also investigate the non-compact Bargmann-Fock model with imposed vanishing at the origin. We then discuss the relationship between the slope inequality and the asymptotics of Bergman kernels with vanishing and study how a version of Song and Zelditch’s toric localization of sums result generalizes to arbitrary polarized Kahler manifolds. Finally, we construct families of induced metrics on blow-ups of polarized Kahler manifolds. We relate those metrics to partial density functions and study their properties for a specific blow-up of Cn and CPn in more detail.

Cette recherche naît de l’interaction entre deux idées d’Eisenstein : en 1934 il affirma qu’un film est plus résistant que le granit, mais l’année d’après il soutint qu’il n’y aucune réalité physique dans les films, que de reflets et des ombres grises. La question de ce travail est donc : un réalisateur peut il toucher son film ? Un film n’est pas un objet. La contradiction entre les deux idées d’Eisenstein peut être dépassée si les films commencent à être étudiés au-delà de l’analogie “ombre-granit”, sans des mots qui chosifient les images. Si chaque image peut être étudiée en tant que partie intégrante d’un film, si chaque film peut être considéré comme un corps visuel suggérant des questions et devenant une matière de la pensée visuelle, alors les idées d’Eisenstein ne peuvent pas seulement exprimer la force physique d’un film, mais aussi un outil qu’un réalisateur peut développer pour modeler son œuvre : les ombres et les éclairages. La question peut être redéfinie : comment un réalisateur pourrait-il toucher son film ? Comment un film pourrait-il proposer des questions à propos de sa forme visuelle et de son interaction avec les forces physiques qui essaient de le modeler ?Cette étude n’impose pas de définition dogmatique sur le modelage, mais elle essaie d’approfondir trois chemins : la création par le biais des éclairages et des obstacles visuels dans les films de Bergman avec l’actrice Harriet Andersson ; le modelage et le problème de la pesanteur des corps dans certaines œuvres de Ford et Hitchcock ; les parcours du modelage pour exprimer la durée des corps humains (les yeux de Vera Miles) ou extrahumains (la désagrégation des coings à cause de la lumière). / This research is brought about by the interaction between two ideas Eisenstein wrote : in 1934 hestated that a film is stronger than granite, but the next year he maintained there is no physical reality in films, only reflections and grey shadows. So, the question of this work is : can a film director touch his film? A movie is not an object. Contradiction between the two Eisenstein ideas isapparent and can be overcome if films begin to be studied beyond “shadow-granite” analogy,without any words that compel an image to be a thing.On the contrary, if every image can be studied as an integrating part of a film, if each movie can be considered as a visual body which suggests some questions and which becomes a material of visualthought, then Eisenstein ideas can express not only the physical force of a film, but also oneinstrument a director can develop to touch and to model his film: shadows and lights.Consequently, the question can be redefined : how could a director touch his film? How could afilm propose some questions about its visual form and about its interaction with physical forces that try to model it ?This study does not impose a dogmatic definition about film modelling, it tries to examine threemodelling paths thoroughly : film creation by lights and visual obstacles in Bergman movies withthe actress Harriet Andersson ; film modelling and the problem of force of gravity on the bodies insome works by Ford and Hitchcock ; finally the ways to model movies by expressing duration ofhuman (the modelling of the eyes of Vera Miles) or extra-human bodies (Victor Erice film creationand disintegration of the fruits of a quince-tree because of the light)

Notre travail concerne le cinéma d'Ingmar Bergman et son esthétique. en effet, si ses œuvres dont nous en analyserons que trois (des fraises sauvage, à travers le miroir et persona) parce que nous les considérons comme représentatives, sont données comme narratives, il n'en demeure pas moins qu'elles sont mises en scène de façon très particulière.c'est pourquoi nous avons formulé l'hypothèse suivante que le cadrage choisi par bergman renvoie à sa pensée intime, pensée qui a été fortement surdéterminée voire formatée par la religion protestante. nous nous attacherons tout au long de notre thèse à démontrer sa spécificité et comment l'image de dieu et la pensée religieuse font partie intégrante de ses œuvres. / The aesthetic analysis of Ingmar Bergman’s movies requires a study of the theological and iconographic signifiers. The paradoxical effects of framing and the mobility of the filmic image tell a story of the soul and make it possible to map out an intuitive route for the individuals implied in the story. The unfolding of different points of view involve the soul and give some spiritual scope to this idiosyncratic cinema. In Bergman’s style, spirituality cannot be found within a fiction, but within a form. Style comes out from thought and from the exposure of a wandering search for “the self”. This process is enriched through the shift from dramatic narration to anti dramatic pictures and from linear plot to non figurative forms. In accordance with our active existence, Bergman prefers the figures that are shut in by the edge of the frame, the dissolved images, the empty compositions and disconnected looks: man didn’t come to the world intentionally, but was thrown into it and later forsaken on earth. The framing is a space where the characters can meet with sacred things and have a spiritual experience. A contradiction between earthly matters and heavenly ones remains the main subject within the frame.The study of the relationship between the image and the film script introduces Bergman’s cosmology: it is not the script which builds up the image but the image itself which generates an idea to be developed further.The faces are transformed in portraits, in their search for human truth and, on a wider scale, for man's commitment in Creation. In this sense, nature neither embodies material reality nor serves as a mere filmic object, but it stands out as a form of the sacred.

Denna rapport är en metaanalys av forskning inom fältet film och religion som handlar Ingmar Bergman och religion. Syftet är att redogöra för framträdande religiös tematik i forskning om Ingmar Bergmans filmer. Metoden som har använts kan kallas för ”en tematisk analys av en litteraturöversikt”. Källmaterialet som ligger till grund för analysen utgörs av två vetenskapliga artiklar, ett kapitel ur en monografi samt ett antologibidrag. De teman som lokaliserats i litteraturen utgörs av tre huvudteman: ”religiöst berättarmönster”, ”Gud” och ”människans helighet”. ”Religiöst berättarmönster” har två sub-teman: ”bikt” och ”konst och religion” och ”Gud” utgörs av två sub-teman: ”en frånvarande och tyst Gud” och ”en tvetydig inställning”.