The National Library of Canada houses 3.5 meters of textual documents related to the celebrated Quebecois composer, Jacques Hétu (1938-2010). Among the working documents and biographical material donated in 1997 to the Jacques Hétu Fonds are autograph compositional documents relating to Hétu’s Suite pour guitare, Op. 41, written in 1986 (10 folios of sketch material and the composer’s fair copy). After deciphering, transcribing, and ascertaining the chronology of the sketches, an examination of the documents yields a new understanding of Hétu’s compositional process for Op. 41 (including the discovery of an unpublished movement entitled “Prelude II”) and the work’s form and structure. In addition, unpublished writings and correspondence by the composer are explored regarding Hétu’s life, musical style and his reception in Quebec. The study differs notably from traditional sketch studies in its adoption of a theoretical framework and methodology borrowed from critique génétique, or genetic criticism, a French movement of literary criticism originating in the 1970s. As opposed to traditional approaches to “genetic” documents, critique génétique dismisses the notion of a singular definitive text in favor of textual plurality by elevating the status of variants produced during the creative process (i.e. rough drafts or discarded versions). The advantage of a “genetic” approach is that it allows for the preclusion of fundamental theoretical problems associated with the use of a composer’s sketches to analyze a musical work. The extent to which the approach of critique génétique can be applied to music sketch is examined along with the consequences of adopting such a theoretical framework (including those regarding performance, editorial practice, and the ontology of completions of fragmentary works). / Graduate

A criança autora de ato infracional - as medidas de proteção e o Conselho Tutelar - um debate para o campo psicanalítico. Dissertação de Mestrado, Instituto de Psicologia, Universidade de São Paulo, São Paulo. Este trabalho tem como objetivo abordar a temática da criança autora de ato infracional e a aplicação das medidas de proteção pelos Conselhos Tutelares de São Paulo-SP e, com isso, trazer contribuições para a aplicação destas medidas. Para que se possa apreender o contexto atual de sua aplicação, do surgimento dos Conselhos Tutelares e da situação da criança autora de ato infracional, faz-se um levantamento histórico sobre o assunto. Em seguida, apresenta um levantamento teórico, dentro do panorama jurídico, sobre os conceitos de ato infracional e as medidas socioeducativas e de proteção aplicadas pela justiça e pelo Conselho Tutelar, respectivamente, nestes casos. A pesquisa qualitativa de campo é o cerne deste trabalho. A escuta dos conselheiros tutelares, tendo como objetivo conhecer suas experiências no atendimento e encaminhamento destes casos, articula-se a uma série de problemáticas como a atribuição ou não de ato infracional praticado por criança, o entendimento das medidas de proteção como garantistas ou restritivas de direitos e a questão da competência nestas situações. Para concluir a primeira parte do trabalho, estas questões são desenvolvidas, onde se extrai a hipótese da pesquisa: qual o lugar da criança autora de ato infracional sob medidas de proteção?. Por meio deste questionamento, conjectura tratar-se da criança que está entre a garantia e a restrição de direitos, em que se forja a noção do fora-do-lugar. Encaminha-se uma articulação conceitual acerca dos lugares de discurso em psicanálise, elucida os lugares da criança enquanto sujeito nos quatro discursos propostos por Jacques Lacan e a concepção de infantil. Por fim, aborda a criança autora de ato infracional sob medidas de proteção por meio dos argumentos teóricos do discurso do capitalista e da noção de lei simbólica em psicanálise / This paper aims at discussing the matter of child offender and the application of protective measures by child protection authorities in São Paulo-SP and, with that, aims to bring contributions for the implementation of these measures. To apprehend the current context of these measures, the emergence of child protection authorities and child offenders situation, makes a historical survey on the subject. Further, it presents a theoretical research within legal landscape on the concepts of act of infraction, socioeducational measures and protection applied by justice and child protection authorities, respectively, in these cases. Qualitative research field is the core of this work. Listening child protective authorities, aiming to understand their experiences in care and management on these cases, articulates a number of questions such as attribution or not of act of infraction committed by children, the understanding of protection measures as guarantees or restriction of the rights and the matter of competence in these situations. To conclude the first part of the work, these questions are developed, in which it extracts the research hypothesis: what is the place of child offender under protective measures?. Through this questioning, conjecture that it is the child who is between the guarantee and the restriction of rights, which forges the notion of \"out-of-place\". Forward to a conceptual articulation about places of discourse in psychoanalysis, clarifies childs places as a subject in the four discourses proposed by Jacques Lacan and the child conception. Finally, discusses child offender under protective measures through the theoretical arguments of the capitalist discourse and the notion of symbolic law in psychoanalysis

This essay looks at subjectivity in Virginia Woolf’s The Waves employing a psychoanalytic approach and using the theories of Gilles Deleuze and Félix Guattari. Woolf’s relation to the theories of her contemporary Sigmund Freud was unclear. Psychoanalytic scholarship on Woolf’s writings, nevertheless, established itself in 1980’s as a dominant scholarly topic and has been growing since. However, the rigidity and medicalizing discourse of psychoanalysis make it poorly compatible with Woolf’s feminist, anti-individualist writing. This essay is a reading of The Waves, in which psychoanalytic theory is infused with a Deleuzo-Guattarian approach. The theories of psychoanalyst Jacques Lacan, and especially his concept of the Other, together with Rosi Braidotti’s concept of nomadic subjectivity, are used as relevant tools for thinking about subjectivity in the context of The Waves. The resultant reading is a criticism of psychoanalysis. In this reading, two characters are looked at in detail: Percival and Bernard. Percival emerges as the Lacanian Other, who, situated at the central nexus of power, symbolises the tyrannies of individuality and masculinity. Simultaneously, Percival is detached from the metaphysical world of the novel. His death marks a shift from oppressive individuality towards nomadic subjectivity. For Bernard, nomadic subjectivity is a flight from the dead and stagnating centre towards periphery, where new ethics can be negotiated. The essay concludes with the implications of such reading: the affirmation of nomadic subjectivity makes the Deleuzo-Guattarian approach more relevant in the context of Woolf, whereas psychoanalytic striving towards structure, dualism, and focus on pathology are rejected as incompatible with her texts.

The aim of this study is to attempt a re-conceptualisation of ethics and politics away from the well-rehearsed structure of singularity versus community, particularity or individuality versus universality, as well as from the inadequate dyadic positioning of these sets of terms. Dominant scholarship on Lévinas's and Derrida's work has generally been divided into those who see Derrida's work as continuing the Lévinasian legacy, and thus having little to offer to the political, and those who would like to divorce the trajectory of deconstruction from the Lévinasian heritage, and thus reveal it as being inherently political. The above split in opinion is largely based on a divergence in the interpretation of Lévinas's own writings as essentially about ethics, and therefore as either having little to offer to our thinking of the political, or as undergoing something like a ‘split', with the focus coming to rest more clearly on politics through the figure of the third, in later writings. My contribution to this impasse is to foreground a recent, though much overlooked notion within Jacques Derrida's work as an alternative to thinking being-with: that of community of singularities. I also suggest the notions of alteronomy and fiendship as alternatives to thinking being-with, which take into account the way in which the other-within-the-self restructures the concepts of freedom and autonomy and takes them beyond a humanist context. I will be arguing from two overarching points: a) that Lévinas's own work can convincingly be interpreted as not only concerned with the political from his earliest writings, but as setting up the political as the interruptive force within the ethical, thus providing a shift in perspective for what is essentially a mutually-interruptive relation between ethics and politics, and b) that Derrida's own writing need not be ‘divorced' from Lévinas's trajectory of thought, in order to be considered as having something to offer to our re-thinking of the relation between ethics and politics.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Psicologia Clínica, Programa de Pós-graduação em Psicologia Clínica e Cultura Departamento de Psicologia Clínica, 2015. / O presente trabalho foi produzido com o intuito de explorar a dimensão temporal na constituição do sujeito, de acordo com o pensamento de Jacques Lacan e em referência a um retorno a Sigmund Freud. Foi privilegiado o artigo de Lacan ―O tempo lógico e a asserção da certeza antecipada‖, de onde partiram algumas elaborações acerca da incidência do tempo no sujeito do inconsciente. Para explorar a concepção de tempo na psicanálise, foram utilizados também alguns artigos de Freud e outros artigos e seminários de Lacan. Dentre os principais conceitos e categorias que tratamos, articulando-os ao tempo e ao sujeito, estão: trauma; aparelho psíquico; processo primário e processo secundário; recalque; inconsciente; divisão; repetição; linguagem; alienação e separação; ato; pensamento; saber; verdade; e castração. A temporalidade abordada neste trabalho convoca noções de retroação, a posteriori (Nachträglichkeit), só-depois (après-coup), futuro anterior, origem, atraso, antecipação, intervalo, descontinuidade, escansão, suspensão, corte, urgência, pressa, isto é, noções que compõem o tempo lógico. O tempo, marcado por pausas e alternâncias, faz nascer o sujeito, modula o ato e possibilita desejar. / This dissertation aims at exploring the time dimension in the constitution of the subject, according to Jacques Lacan, in reference to Sigmund Freud. The main article to this study is ―Logical time and the assertion of anticipated certainty‖, that brings some elaborations on time and the subject of the unconscious. We also refer to some articles written by Freud and some of Lacan‘s seminars to explore the conception of time in psychoanalysis. Amongst the main concepts and categories that we deal with, articulating them with the ideas of time and subject, are trauma; psychic apparatus; primary process and secondary process; repression; unconscious; division; repetition; language; alienation and separation; act; thinking; knowledge; truth; castration. The temporality we investigate in this study brings to attention the notions of retroacting, a posteriori (Nachträglichkeit), après-coup, future perfect, origin, delay, anticipation, gap, discontinuity, scansion, suspension, cut, urgency, rush --- notions that are part of the logical time. Time, with its pauses and alternations, makes the subject possible, modulates the act and allows the desire.

In my thesis, Philip K. Dick's Do Androids Dream of Electric Sheep? is examined using French psychoanalyst Jacques Lacan's mirror stage theory. In the novel, humans have built androids that are almost indistinguishable from humans except that they lack a sense of empathy, or so the humans believe. The Voigt-Kampff Machine is a polygraph-like device used to determine if a subject shows signs of empathy in order to confirm if one is an android or a human. Yet, should empathy be the defining quality of determining humanity? In his article "The mirror stage as formative of the function of the ‘I’ as revealed in psychoanalytic experience," Lacan refers to a particular critical milestone in an infant's psychological development. When the baby looks in a mirror, they come to the realization that the image they are seeing is not just any ordinary image; it is actually themselves in the mirror. This "a-ha" moment of self-realization is what Lacan's Mirror Stage Theory is based on. According to Lacan's theory, the image that the child sees in a mirror becomes an "Other" through which they will always scrutinize and pass judgment on, for it is not how they have pictured themselves to be in their mind’s eye. I hypothesize that the androids are humans' artificial and technological Other. It is my thought that Dick uses the conflict of determining the biological from the artificial, the effort to differentiate humans from androids and biological animals from artificial ones, to illustrate Lacan's psychoanalysis of the mirror stage and its importance in our continual search for determining what humanity is and who we really are.

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<p>The starting point of this essay was the frustration I felt after having read the novel Nadja (1928) written by the French surrealist André Breton. The title promises the story of someone called Nadja but the promise stays unfulfilled. Recognition of this phenomenon, where a man writes a book about a woman, but the woman hardly is seen, made me want to examine it further.</p><p>Using the theories of the French psychoanalyst Jacques Lacan I analyze the relation between the male narrator and his female object. I also compare Nadja to a precursor: the novel Bruges-la-morte (1892) of the Belgian symbolist writer Georges Rodenbach. Their stories are, to a large degree, similar. The male main character meets a woman who becomes the center of his world for a short period of time, before he in Nadja rejects her, and in Bruges-la-morte kills her. What differentiates the two books mainly is, that whereas Breton uses Nadja as a tool to emancipate his unconscious in order to be able to create, Hugues tries to replace his dead wife with Jane in order to be able to desire a living object.</p><p>The setting for both stories is the City, which seems to be analogous to the Woman. I examine the possible interpretations of the notion of the City as it appears in the two novels.</p><p>The Lacanian notions of the Thing and objet petit a are essential for the understanding of the function of the Woman in these stories, I argue. Nadja is a femme-enfant, a muse, and the objet petit a for the male poet, i.e. the narrator of Nadja. Jane, the woman in Bruges-la-morte, is a femme fatale, and the Thing for the main character Hugues.</p>

The starting point of this essay was the frustration I felt after having read the novel Nadja (1928) written by the French surrealist André Breton. The title promises the story of someone called Nadja but the promise stays unfulfilled. Recognition of this phenomenon, where a man writes a book about a woman, but the woman hardly is seen, made me want to examine it further. Using the theories of the French psychoanalyst Jacques Lacan I analyze the relation between the male narrator and his female object. I also compare Nadja to a precursor: the novel Bruges-la-morte (1892) of the Belgian symbolist writer Georges Rodenbach. Their stories are, to a large degree, similar. The male main character meets a woman who becomes the center of his world for a short period of time, before he in Nadja rejects her, and in Bruges-la-morte kills her. What differentiates the two books mainly is, that whereas Breton uses Nadja as a tool to emancipate his unconscious in order to be able to create, Hugues tries to replace his dead wife with Jane in order to be able to desire a living object. The setting for both stories is the City, which seems to be analogous to the Woman. I examine the possible interpretations of the notion of the City as it appears in the two novels. The Lacanian notions of the Thing and objet petit a are essential for the understanding of the function of the Woman in these stories, I argue. Nadja is a femme-enfant, a muse, and the objet petit a for the male poet, i.e. the narrator of Nadja. Jane, the woman in Bruges-la-morte, is a femme fatale, and the Thing for the main character Hugues.

Notre thèse tente de dégager une structure globale, un espace de la mort en lien avec l’écriture du deuil qui serait propre à la poésie québécoise telle qu’elle est représentée par Anne Hébert (1916-2000), Fernand Ouellette (1930 –), Jacques Brault (1933 –) et Denise Desautels (1945 –). La notion d’hétérotopie de Michel Foucault constitue le cœur de notre approche théorique parce qu’elle fait le pont entre un lieu localisable et un lieu non localisable dans le réel. Nous l’utilisons pour montrer l’« espace imaginaire de la mort » (Michel Ragon) de chaque poète. Deux notions bachelardiennes – le retentissement et la résonance – guident notre compréhension des images poétiques dans l’écriture de la perte. La mort n’étant pas un sujet ni un thème comme les autres, en faire un concept nous permet de tenir compte de sa particularité philosophique puisqu’il « vise à dégager l’essence d’une notion d’abord perçue comme noyée dans une gangue de contingences multiples » (Claude Bremond). D’un poète à l’autre, l’hétérotopie révèle le passage d’un imaginaire utopique de la mort à une thématisation plus axée sur la problématique de la dépouille. C’est ainsi que la traversée des ténèbres entreprise par Anne Hébert pour naître à la parole vivante ouvre la porte à l’angoisse d’une fin définitive que Fernand Ouellette apaise par sa foi en un au-delà. Son espace de la mort rejoint la notion d’horizon de Michel Collot. De son côté, Jacques Brault thématise la mort comme la fin d’un chemin marqué de nombreux deuils que seule la mémoire peut surmonter. Quant à Denise Desautels, ses poèmes-cimetières sont de petits théâtres construits d’objets et de voix qui rompent la solitude de cet être de langage qu’est la mort.