Este trabalho tem por objetivo construir um diálogo teórico entre a alienação do fetichismo da mercadoria, em Marx, e algumas categorias da psicanálise. A noção marxista clássica de ideologia, concebida como o desconhecimento e a distorção da consciência necessariamente produzidos pelas condições efetivas da realidade social, é criticada pelo filósofo esloveno Slavoj iek, ao trazer para o campo da ideologia a noção psicanalítica de fantasia. Entretanto, realizamos uma primeira problematização dessa elaboração do filósofo por dirigir a sua crítica a essa noção de ideologia, remetendo-a ao fetichismo da mercadoria. Mostramos que esse conceito de ideologia a que a sua crítica se dirige se adéqua justamente à noção de ideologia desenvolvida por Marx e Engels nA ideologia alemã, e não ao fetichismo da mercadoria, visto que o fetichismo comporta uma noção mais complexa que não se resume a um mero desconhecimento da realidade e a uma distorção socialmente necessária da consciência. Retornamos a O capital de Marx para mostrar as imbricações da fantasia no fetichismo da mercadoria e para mostrar que a sujeição que atinge os sujeitos sob a alienação fetichista é da ordem do inconsciente. No contexto da relação entre fetichismo da mercadoria e inconsciente, problematizamos também aquilo que denominamos uma generalização a que iek incorre, ao defender a tese de que a alienação fetichista teria se deslocado genericamente do saber para o fazer humano. Dessa forma, concluímos que a formulação marxiana, Não o sabem, mas o fazem, continua atual e exercendo o seu poder ideológico, dependendo das condições sócio-simbólicas em que os sujeitos se inserem e são inseridos. Para compreender o sentido da noção de fantasia no campo da ideologia, empreendemos uma breve apresentação da noção freudiana da fantasia até uma compreensão lacaniana, em sua dimensão de gozo e de objeto a, elaborada por iek. O filósofo realiza uma distinção entre sintoma e fantasia para dizer que a ideologia não se estrutura na forma do primeiro, mas sim da segunda, em que a fantasia ideológica, em sua dimensão real, estrutura a realidade social. Na direção da pista deixada por iek, seguimos rumo às operações lacanianas de alienação e separação para pensar possibilidades do sujeito fazer frente à ideologia. Apresentamos, então, um estudo dessas operações em Lacan, e elaboramos, por nossa própria conta e risco, uma articulação delas com o fetichismo da mercadoria, tentando mostrar as determinações mútuas entre fetichismo e inconsciente. Da mesma forma que a fantasia ideológica e a operação da alienação operam um fechamento imaginário da abertura possibilitada pela separação, essa operação permite uma abertura desejante entre sujeito e Outro, lugar de onde se poderia partir para uma crítica possível à ideologia / This paper aims to build a theoretical dialogue amongst the alienation of commodity fetishism in Marx, and some categories of psychoanalysis. The classical Marxist notion of ideology, conceived as the ignorance and the distortion of consciousness necessarily produced by the actual conditions of social reality, is criticized by the Slovenian philosopher Slavoj iek, in bringing to the field of ideology the psychoanalytic notion of fantasy. However, we perform an initial questioning of his elaboration, for he addresses his critique to this notion of ideology, reporting it to the commodity fetishism. We show that this concept of ideology that his criticism is addressed precisely fits in the notion of ideology developed by Marx and Engels, in The German Ideology, and not in the commodity fetishism, since the fetishism involves a more complex notion that is not summed to a mere ignorance of reality and to a socially necessary distortion of conscious. We return to Marxs Capital to show the imbrications of fantasy in commodity fetishism and to show that the subjection, which reaches the subjects under the fetishist alienation is of the order of the unconscious. In the context of the relationship between commodity fetishism and unconscious, we also problematize what we call a generalization that iek incurs in defending the thesis that fetishist alienation would have generically shifted from the human knowing to the human making. Thus, we conclude that the Marxian formulation, We are not aware of this, nevertheless we do it, is still present and exerting its ideological power, depending on the socio-symbolic conditions in which the subjects insert themselves and are inserted. To understand the meaning of the notion of fantasy in the field of ideology, we undertake a brief presentation of the Freudian notion of fantasy to a Lacanian understanding, in its dimension of enjoyment and the object little-a, elaborated by iek. The philosopher makes a distinction between symptom and fantasy to say that ideology is structured not in the form of the former, but of the latter, in which the ideological fantasy, in its real dimension, structures the social reality. Towards the clue left by iek, we turn to the Lacanian operations of alienation and separation to think of possibilities to the subject to cope with ideology. Then we present a study of these operations in Lacan, and prepare at our own risk, an articulation of these psychic operations with commodity fetishism, trying to show the mutual determinations between fetishism and unconscious. Just as the ideological fantasy and the operation of alienation carry out an imaginary closure of the opening made possible by the separation, this operation allows a desiring gap between subject and Other, a place from which one could depart for a possible critique of ideology

Freud iniciou suas reflexões sobre o trauma partindo da etiologia das neuroses e da sua proposta do aparelho de linguagem. Após considerar a relação do trauma com a fantasia, vinculou-o à repetição e à pulsão de morte, dando ênfase ao inassimilável da experiência e propondo uma saída pela narrativa. Se Freud considerou a sexualidade traumática, Lacan propôs a existência de linguagem do ser falante como traumática. Do trauma ao troumatismo, suas elaborações sobre o tema apontam ao que excede o simbólico e o imaginário, aludindo o real: a tique e o troumatismo, e apontando no limite da fala, a escrita. Esse trabalho é um percurso passo a passo que nos permite levantar algumas questões para o que nomeamos clínica do trauma. Trata-se de uma clínica que deve operar com o inassimilável do instante traumático como primeiro modo de intervenção, o qual exige que possamos pensar suas particularidades / Freud began his reflections on trauma based on the etiology of neuroses and his proposal of the language device. After considering the relationship of trauma with the fantasy, linked it to the repetition and the death instinct, emphasizing the unassimilable aspect experience and proposing a way out by the narrative. If Freud considered traumatic sexuality, Lacan proposed the existence of the language of the talking being as being traumatic. From trauma to troumatismo, his elaborations on the topic point to what exceeds the symbolic and the imaginary, alluding to the real: the tyche and troumatismo, and pointing out at the limit of speech the writing. This work is a step-by-step route that allows us to raise some issues for which we call the trauma clinic. This is a clinic that must operate with the unassimilable aspect of the traumatic instant as a first mode of intervention, which requires us to be able to think about its particularities

O trabalho tem por objetivo explicitar as possíveis relações entre loucura e feminilidade, tomando como ponto de partida observações efetuadas no exercício clínico, tanto em consultório particular como em instituições de saúde mental, a partir das contribuições teóricas de Freud e Lacan. Denominamos de atravessamentos do feminino as expressões de sofrimento psíquico, em particular nos pacientes que passavam momentos de crise ou desorganização psíquica grave e que, de formas variadas, apresentavam signos referidos ao universo feminino. Inicialmente, realizamos uma retomada histórica da construção do conceito de histeria e, neste percurso, abordamos o quadro da loucura histérica, a partir do qual salientamos como a inclusão da histeria no campo médico acabou por desarticular os três termos que o quadro de loucura histérica carregava: loucura - histeria - feminino. Em seguida, foram analisados os relatos clínicos freudianos de Dora e de Schreber, desde que ambos são ilustrativos de como certos aspectos da feminilidade que irrompem na vida desses sujeitos podem ser entendidos como manifestações clínicas, produzidas como respostas possíveis à hiância aberta pelo encontro com o enigma da feminilidade. / The aim of this paper is to establish the possible relationships between insanity and femininity, using observations from clinical practice, (private practice as well as mental health institutions), as a jumping off point, beginning with theorical contributions from Freud and Lacan. The title feminine cross-over is given to expressions of psychological suffering, particularly in patients who have been through moments of crisis or grave psychological disorientation and which, in their varied manifestations, show signs which refer to the feminine universe. First, a background study of the construction of the concept of hysteria was carried out, in the course of which the clinical profile of hysterical insanity became apparent. Using this, the inclusion of hysteria in the medical field ended up being articulated by three terms loaded into the profile of hysterical insanity: insanity - hysteria - feminine. Next, Dora and Schreber\'s Freudian clinical reports were analyzed, since both illustrate how aspects of femininity which appear in the subjects\' lives can be understood as clinical manifestations, produced as possible answers to the beance (gap) opened by the shock with the enigma of femininity.

Esta tese nasce da inquietude sofrida pelo aluno no ensino da psicanálise na universidade que precisa enfrentar em sua formação a lógica curricular que impera na academia. O objetivo principal desta tese é atribuir e analisar o lugar do aluno no ensino da psicanálise na universidade, extraindo recomendações indispensáveis ao seu percurso. Para tanto, formulou-se um caminho metodológico não muito usual. Em primeiro plano, a experiência como aluno através de diário de campo das aulas do doutorado. Em seguida, fomentou-se uma discussão sobre o ensino da psicanálise na universidade, em um grupo de estudos com alunos da universidade. A análise do material se deteve sobre os pontos em que o discurso derrapa, pontos em que algo que era afirmado como o verdadeiro se destitui. O arremate final é a construção da ficção sobre Descartes para discutir o lugar do aluno nesse ensino. As discussões teóricas e sobre os grupos permitiram a indicação de que pelo discurso da histérica é possível habitar a universidade sem se paralisar ou entrar em uma busca incessante em relação ao saber. Mas habitar sempre esse mesmo discurso também é atroz, não permite o movimento que é necessário em relação ao não querer saber / This thesis was born from the uneasiness in psychoanalysis teaching suffered by the student that has to deal with the structure of the psychology course. The main objective of this thesis is to assign and to analyze the students place at psychoanalysis teaching in the university, giving essential recommendations to its route. Therefore, an unusual methodological approach was formulated. It started with the experience of writing a journal about the doctorate classes; then a discussion on the teaching of psychoanalysis in the university was put forward, in a study group with university students. The analysis of the material stood over the points where the speech fails, points at which something previously affirmed as true turned false. The finish line is the construction of fiction about Descartes to discuss the student\'s place in education. Theoretical and groups discussions allowed the indication that through the hysterical discourse it is possible to inhabit the university without being paralyzed or led into a never-ending quest for knowledge. But always inhabiting that same discourse is also atrocious; it does not allow the movement that is required with regard to the not wanting to know

Comment peut-on aborder la complexité narrative des romans de Nancy Huston, écrivaine se situant à cheval entre deux cultures, surtout si elle est doublée d’une hybridité symptomatique de notre époque marquée par les connexions entre différentes cultures? À travers une étude entrecroisant les théories structuralistes/sémiologiques, en particulier les écrits relativement récents de Jacques Fontanille qui remet l’énonciation au coeur du processus narratif, et la perspective transculturelle, ce mémoire s’intéresse à la spécificité de l’écriture de Huston, et plus largement celle des récits à caractère transculturel. Débutant avec la présentation des deux champs d’études choisis et l’identification des points de contact existant entre eux, le travail laisse ensuite place à l’analyse de deux romans de Huston, soit Dolce agonia (2001) et Lignes de faille (2006). Enfin, grâce au nouvel éclairage que les études transculturelles peuvent apporter aux théories structuralistes/sémiologiques, il est possible de reconsidérer le processus énonciatif dans les romans à caractère transculturel et d’ainsi confirmer leur statut de récits complexes et hybrides. / How is it possible to approach the narrative complexity in the novels of Nancy Huston, a writer positionning herself between two cultures, especially if that complexity is reinforced by hybridization, a phenomenon that represents our time marked by connections between different cultures? Through a study crossing structuralist/semiological theories, particularly the more recent writings of Jacques Fontanille who sets back the enonciation in the heart of the narrative process, and a transcultural perspective, this essay tries to understand the specificity of Nancy Huston’s writing, and in a larger perspective the specificity of transcultural narratives. The text begins with the presentation of the two chosen disciplines as well as the identification of some contact points between them, followed by the analysis of two of Nancy Huston’s novels, Dolce agonia (2001) and Lignes de faille (2006). Finally, with the new perspective brought by the transcultural studies on the structuralist/semiological theories, it is possible to reconsider the enonciative process in trancultural novels and to confirm in that way their status as complex and hybrid narratives.

Crime d’actualité au tournant du XVIe et du XVIIe siècle, le régicide est un objet de spéculations et un fait d’actualité en France et en Angleterre. Dans les deux royaumes, on débat de cette question sur fond de schisme religieux. Des théoriciens politiques réinventent la manière de parler de ce crime pour le légitimer et les dramaturges s’emparent de ce sujet problématique. Jacques de Fonteny met en scène le meurtre d’Henri III, Claude Billard de Courgenay celui d’Henri IV, Montchrestien représente l’exécution de Marie Stuart, Shakespeare et Marlowe mettent en scène les meurtres de Richard II et d’Edouard II. Au théâtre, le régicide est a priori un spectacle efficace, propre à provoquer de vives émotions chez le spectateur. Pourtant, ces représentations ne vont pas de soi. Comment, en effet, représenter un crime aussi énorme dans un contexte de crise politique ? Comment justifier le spectacle d’un meurtre d’une actualité aussi brûlante ? Les dramaturges négocient constamment entre des contraintes idéologiques et esthétiques, parfois contradictoires, qui pèsent sur la représentation. Ils empruntent souvent le détour par l’histoire. Plus le crime est inefficace politiquement, et plus il est efficace sur scène. La tyrannie du prince justifie sa mise à mort. Ses fautes morales transforment le régicide en châtiment acceptable et sa déchéance rend la scène pathétique. Un récit permet fréquemment de raconter la mort que l’on ne peut pas montrer sans risquer de décevoir le public. / The regicide is a topical crime between the sixteenth and the seventeenth-century. It is an object of many reflections and an actual event for french and english people. In both kingdom, there are debates on this issue while the schism has begun a reality. Because of the controversy, it is possible to speack about régicide as a punishment. Playwrighters perform this problematic subject. Jacques de Fonteny represent the murder of Henri Ird, Claude Billard de Courgenay represent Henri IVrth’s one, Antoine de Montchrestien represent the execution of Marie Stuart, Shakespeare and Marlowe perform the murders of Richard IInd et Edward IInd. A priori, such subject can move the audience. Nevertheless, such a performance isn’t an evidence. How, indeed, can a playwrighter show such an enormous crime during troubled period ? How can he justify the show in a crisis context ? Playwrighters have to consider ideological and aesthetic restrictions, which are sometimes in contradiction, to perform the murder of the sovereign. In many cases, they rewright history. Because the crime is usually ineffective as a politic action, it is effective for dramatic art. Tyranny justify that the prince is murdered. Some moral failures make this one acceptable. And because the king is falling, he appears as a pathetic victim for the spectators. When it is difficult to show the crime scene, the regicide is described by a messenger.

Notre thèse retrace la jeunesse d’Élémir Bourges (1852-1925), de sa naissance à Manosque jusqu’à son départ pour Samois, en août 1886. Nous examinons l’enfance du romancier à Marseille, ses découvertes artistiques, ses premiers essais littéraires (influencés par le Parnasse et le naturalisme), les amitiés qu’il noua à Paris, à partir de 1874 (Bourget, Coppée, Bouchor, Richepin, Redon, Zola, Montesquiou, Margueritte, Lorrain, Primoli, Goncourt, Mirbeau, Banville, etc.), la genèse de Jacques d’Aubray, de La Haine de Joël Servais, d’Angélique Pitié, de Sous la hache, du Crépuscule des dieux, de L’Enfant qui revient, des Oiseaux s’envolent et les fleurs tombent, son activité de critique dramatique au Parlement, de chroniqueur au Gaulois, et de critique littéraire dans la Revue des chefs-d’œuvre, sa rencontre en 1878 avec Anna Braunerova, sa future femme, et avec l’artiste tchèque Zdenka Braunerova, la réception du Crépuscule des dieux (1884) et de Sous la hache (1885). Notre biographie s’appuie sur un nombre très important de documents inédits, issus de la Bibliothèque nationale de France, du fonds Buzzini-Bourges des Archives de l’État du Valais, des Archives littéraires de Prague, des Archives du Musée de la Bohême centrale à Roztoky et de collections privées. Elle est suivie d’une édition du manuscrit de Jacques d’Aubray, premier roman inédit de Bourges. / Our thesis recounts the youth of Elémir Bourges (1852-1925), from his birth in Manosque until his departure for Samois in August 1886. We examine the novelist’s childhood in Marseille, his artistic discoveries, his first literary projects (influenced by Parnassianism and Naturalism) and the friendships he formed in Paris from 1874 (with Bourget, Coppée, Bouchor, Richepin, Redon, Zola, Montesquiou, Margueritte, Lorrain, Primoli, Goncourt, Mirbeau, etc.), the genesis of Jacques d'Aubray, La Haine de Joël Servais, Angélique Pitié, Sous la hache, Le Crépuscule des dieux, L'Enfant qui revient, Les oiseaux s’envolent et les fleurs tombent, his dramatic criticism in Le Parlement, chronicles in Le Gaulois, literary critic in La Revue des chefs-d’œuvre, his meeting in 1878 with Anna Braunerova, his future wife, and with the Czech artist Zdenka Braunerova, the reception of Le Crépuscule des dieux (1884) and Sous la hache (1885). Our biography is based on a large number of unpublished documents from the National Library of France, the Buzzini-Bourges fund of the Archives of the State of Valais, the Literary Archives of the Museum of Czech Literature (Prague), the Archives of Museum of Central Bohemia in Roztoky and private collections. It includes an edition of the manuscript of Jacques d'Aubray, Bourges’s first novel.

Philippe Lejeune, ao examinar a produção autobiográfica em língua francesa, identificou um traço constante nas obras de sua leitura, ao qual ele deu o nome de pacto autobiográfico. Em uma de suas formulações, o pacto autobiográfico seria a manifestação do engajamento pessoal do autobiógrafo, por meio de uma construção textual (prefácio, nota introdutória, preâmbulo) ou paratextual (título e subtítulo, informações de contracapa e orelhas do livro), que permite ao leitor admitir o texto como expressão da personalidade daquele que escreve, em seu valor de verdade. A construção teórica se mostra insuficiente: de um texto a outro, Lejeune revê e rediscute o pacto, aplicando nuances, levantando as ambiguidades em que o gênero está envolvido. Nessas tentativas de se aproximar mais do gênero, ele se expressa de maneira autobiográfica. Com isso, seu texto torna-se ele mesmo um objeto de estudo. Busco, em minha pesquisa, evidenciar o caráter relacional do pacto autobiográfico, na conjugação de atos de escrita e leitura. Parto de uma leitura de seus estudos sobre o gênero autobiográfico, colocando-os em diálogo com sua própria trajetória de pesquisador. Indo além, interessa-nos observar as leituras que Lejeune empreende em torno das Confissões de Rousseau, em paralelo aos primeiros textos teóricos. Em seguida, considerar os pactos lançados nos estudos em torno de diários, realizados num momento posterior às teorizações do pacto autobiográfico. Importa colocar em evidência as maneiras pelas quais o pacto se manifesta no próprio texto crítico de Lejeune. Nesse sentido, busco articular a dimensão autobiográfica e a dimensão crítica de seus textos. / Philippe Lejeune, examining the autobiographical production in French, identified a constant feature in the readings he did, to which he named autobiographical pact. In one of his formulations, the autobiographical pact would be the manifestation of the personal engagement of the autobiographer through a textual construction (prologue, introductory note, preamble) or para-textual (title and subtitle, information on the inside cover and book flaps), allowing the reader to admit the text as an expression of the personality of the writer, in its true value. The theoretical construction has proved insufficient: from one text to another Lejeune reviews and re-discusses the pact, applying nuances, raising the ambiguities in which the genre is involved. In those attempts to get closer to the genre, he expresses himself in an autobiographical manner. With that, his text becomes an object of study in itself. With my research, I intend to make evident the relational character of the autobiographical pact, in the conjugation of acts of reading and writing. I start with my readings of his studies about the autobiographical genre, putting them in dialogue with his own trajectory as a researcher. Besides that, we are also interested in observing the readings Lejeune undertake around the Confessions by Rousseau, in parallel to the first theoretical texts. After that, consider the pacts cast in the studies of the diaries, made after the theorizations of the autobiographical pact. It is important to make evident the ways in which the pact is expressed in Lejeune\'s critical text itself. In that sense, I expect to articulate both the autobiographical and the critical dimensions in his texts.

The main aim of this diploma thesis is to analyze the problem of anorexia from Foucault's perspective. The first hypothesis is that this 'pathology' is rather a social construction which has its origins in social norms and standards that operate in the society to make firm distinction between the normal and the pathological, the ideal and the unacceptable. In this study we will use Foucault's theory of power and discipline, the concept of biopower and also his critics of psychiatry. At the same time, we will complete our survey with the concept of construction and deconstruction of Jacques Derrida and with the social identity theory of Judith Butler.

The presented study takes up the problem of Bataille's impossible testimony of the impossible. This endeavor represents a wider contextual framework for a project of this thesis which proposes a way of laying down the foundation for a philosophical reading of Bataille's L'expérience intérieure by developing some key moments of his anthropology. Bataille's thought is introduced as the dynamics of a gesture of testimony (or a witnessing) which testifies to the difference du sens as it is being incorporated in the movement of writing (écriture) into the texts of La Somme Athéologique. Since these texts oftentimes resist a direct philosophical treatment, this essay discusses the possibilities of a philosophical approach to Bataille. Such discussion results in setting up the necessary limitations of an adequate philosophical attitude towards Bataille's thought while leaving its problematic quality in play. Then the narrower framework of this essay is put into work in an attempt to achieve an understanding of key parts of The Inner Experience through a philosophical analysis of Bataille's concept of humanity.