Thesis (doctoral)--Friedrich-Alexander-Universität zu Erlangen.

Thesis (doctoral)--Universität Zürich.

Prenant le contre-pied d’une certaine tradition critique qui privilégie la vision d’unMelville sombre et désincarné, ce travail cherche à souligner les potentialités, possibilités etpuissances du plaisir dans la fiction melvillienne. Il s’agit d’étudier les représentations etproblématisations de cet affect qui signale la rencontre du corps sentant et des matières. Cetterencontre est elle-même prise dans des formes et des codes culturels déterminant les conditions depossibilité du plaisir, et dont les traces sont disséminées dans le texte littéraire. En cela, la fictionmelvillienne est à la fois matérialiste et affective. Dans les mondes fictifs melvilliens, le plaisir et lajoie entrent dans des relations de contraste dynamique avec la souffrance et la mort, ce qui peutdonner naissance à des formes complexes de jouissance. L’oeuvre en prose de Melville produit ainsiun discours qui interroge, inquiète ou célèbre la possibilité du plaisir et des plaisirs sous différentsangles : esthétique, épistémologique, éthique, diététique, genré, politique et économique. Uneapproche à la fois textuelle, contextuelle et intertextuelle, mobilisant des outils d’analyse issus de laphilosophie, la psychanalyse ou la théorie littéraire, informe notre étude de l’usage des matières àplaisirs (nourriture, alcool, tabac) dans la poétique melvillienne (chapitre 1), des liens entreaffectivité et pensée, constitutifs de ce que l’on nomme une épistémè de la jouissance (chapitre 2),des éthiques et régimes élaborés par des sujets fictifs pour régler leurs plaisirs (chapitre 3), et de lacomposante collective (sociale, politique et économique) des plaisirs possibles (chapitre 4). / This thesis counters a commonly held critical view according to which Melville is a darkand disembodied author; in contrast, it aims to highlight the possibilities, potentialities andcapabilities of enjoyment in his fiction. Its object is to study the representations andproblematizations of pleasure as an affect which signals the encounter of a feeling body with matter.Such an encounter is enmeshed in cultural forms and codes that determine pleasure’s conditions ofpossibility and whose traces are disseminated through the literary text. Melville’s fiction is thereforematerialistic and affective. In melvillean fictional worlds, pleasure and joy enter into dynamic,contrasting relationships with pain and death, which can give rise to complex forms ofenjoyment/jouissance. Melville’s prose work consequently produces a discourse that interrogates,troubles or celebrates the possibility of pleasure and pleasures from aesthetic, epistemological,ethical, dietetical, gendered, political, and economic viewpoints. A textual, contextual andintertextual approach, mobilising analytical tools drawn from philosophy, psychoanalysis, andliterary theory, informs my study of the use of pleasurable matters (food, alcohol, tobacco) inMelville’s poetics (chapter 1), the links between feeling and thinking in what I call an episteme ofenjoyment (chapter 2), the ethical and dietetical systems elaborated by fictional subjects to regulatetheir pleasures (chapter 3), and the collective (social, political and economic) dimensions ofavailable pleasures (chapter 4).

Camille Claudel, une artiste de génie au destin hors du commun a suscité de nombreux travaux. Les esthéticiens de l'art, les historiens, les psychanalystes ont tissé autour de Camille Claudel un réseau extrêmement dense d'interprétations autour de sa vie, de son art. Dans ce projet, il s'agit d'examiner le rapport qu'entretient cette artiste avec ses oeuvres et cela à partir de ses correspondances, de ses écrits. La sculpture semble avoir pour elle, une place particulière. Cette passion viserait elle à promouvoir un certain discours ? Il s'agit d'examiner les fragments de sens épars dans ce matériel écrit pour tenter d'analyser ce dont il est question pour cette femme singulière et de tenter de saisir l'artiste dans sa vérité. Ce travail vise à apprécier le sens de cette passion, de cette inscription dans le réel de cet acte de création au-delà de toute considération esthétique. Cette approche dans le champ de la psychanalyse permet la mise en oeuvre d'une clinique différentielle et de travailler sur un témoignage à partir des écrits de l'artiste. / Camille Claudel, a genius artist with an unusual destiny, sparked off a lot of work. Estheticians, historians, psychoanalysts have woven around this women an extremely dense network of interpretations concerning her life and her art. This artist has a special connection with her pieces of art. This work aims to assess the meaning of this passion, of this inscription in the real of this act of creation, over and above all esthetic consideration.This work is about to examine from her correspondence, her writings, the scattered meanings of the fragments in this written material in order to try to analyze what it is about for this singular women and to attempt to understand the artist in her verity. This approach, in the field of the psychoanalysis, allows to do a reflection centered on the real of the artist and on her initiative to treat it

Adèle Hugo est née entre deux révolutions, l’une littéraire, l’autre politique. La dernière-née Hugo a été annoncée par son père comme « un ouvrage promettant de vivre ». Nous nous sommes laissés enseigner par la position subjective de la jeune femme et nous avons pu repérer comment à partir de cette inscription, assignation en tant qu’objet, Adèle s’estconstruite. Sa vie fut marquée de ruptures, la première se fit à sa naissance, la séparation de ses parents ; puis ce fut le mariage et le décès de sa soeur ; et enfin l’exil, celui imposé par son père, puis les siens. Adèle qui n’était pas la préférée d’aucun de ses parents a tout mis en oeuvre pour devenir, elle aussi « la fille exceptionnelle » de cet homme hors ducommun. En vain. C’est en écrivant, dans une « langue nouvelle » qu’elle confie ses états d’âme. Son écrit, travail de la lettre lui permet de maintenir une existence presque normale, jusqu’au jour où elle a rencontré le lieutenant Pinson et que sa soeur par la pratique spirite lui dicta sa conduite : « ma soeur, aime-le ! » / Adèle Hugo was born between two revolutions : the literary one and the political one known as The French Revolution. The last-born, she has been introduced by her father as « a work promising to live ». We learnt thanks to Adèle how a fore-written inscription, this ascription as an object, determined the young woman’s subjective position; therefore,we have been able to see her psychic construction. Her life had been marked by many breaks. The first one, at birth, her parents get assunder ; the second was the mariage and the death of her sister, then the imposed exile by her father, and at last her own exiles. Adèle who was not the favorite daugther, made all her best to become « the exceptional daugther » of this extraordinary man. To no avail. Writing in « a new langage », she consignes her spirit. Her writing, work of the letter, allowed her to have a nearly normal life, till the day she met Leutenant Pinson ; her sister, through spiritism told her « mysister, love him ! »

Made available in DSpace on 2016-04-25T19:20:11Z (GMT). No. of bitstreams: 1 Maruzania Soares Dias.pdf: 3780218 bytes, checksum: 08c5254231f62b64ab99b9e197aca369 (MD5) Previous issue date: 2010-11-18 / This dissertation examines, from the perspective of Lacanian psychoanalysis, the jouissance of God in the work of Marguerite Porete, The Mirror of Simple Souls. The aim was to understand the mystical jouissance as a face of jouissance feminine and to investigate the hypothesis of the mystical jouissance in the work of Porete considered as ethical jouissance. The mystique found in this compelling book, written in the language of Courtly Love and developed as an allegory that addresses the itinerary of the protagonist Alma in her search of the perfect union with God, is sustained by the assumptions of apophatic mysticism - the dynamics of Christian mystical experience that is expressed as of empty budget. With nothing to hold her, the soul becomes nothing. The experience of mystical ecstasy allows, for a brief moment, the jouissance of God, the jouissance of this glorification, where time and eternity come together as a causeway linking the created and uncreated. By demonstrating the centrality of jouissance in the subjective economy, Lacanian psychoanalysis has established the field of jouissance and reformulated the difference between the genders providing a place that, until now, never existed for females: the logic of all-non phallic, where there is a plus-de-jouir, a jouissance that goes beyond the phallic reference. As this Other's jouissance is impossible to symbolize, we have the love as a substitute to the lack of sexual relationship between sex, given that logic Lacanian will show us that Woman does not exist 1, while universal category, which is a correlate of the enunciation there is no sexual relationship , therefore, that is no sexual proportion / A presente dissertação analisa, pela abordagem da psicanálise lacaniana, o gozo de Deus na obra de Marguerite Porete, O Espelho das Almas Simples e Aniquiladas e que Permanecem Somente na Vontade e no Desejo do Amor. O objetivo foi compreender o gozo místico como uma face do gozo feminino e averiguar a hipótese de ser o gozo místico na obra de Porete um gozo estabelecido numa posição ética. A mística encontrada neste livro instigante, escrito na linguagem do Amor Cortês e desenvolvido numa alegoria que aborda o itinerário da protagonista Alma em sua busca da perfeita união com Deus, é sustentada pelos pressupostos da mística apofática dinâmica da mística cristã que se expressa como experiência de esvaziamento. Sem nada reter de seu, a Alma torna-se nada. A experiência do êxtase místico permite, por um breve momento, o gozo de Deus, o gozo dessa glorificação, onde tempo e eternidade se fundem como um istmo que vincula o criado e o incriado. Ao demonstrar a centralidade do gozo na economia subjetiva, a psicanálise lacaniana estabeleceu o campo do gozo e reformulou a diferença entre os sexos possibilitando um lugar até então inexistente para o feminino: a lógica do não-todo fálico, onde há um mais-gozar, um gozo que vai além da referência fálica. Dado que esse gozo do Outro é impossível de simbolizar, temos o amor como suplência à inexistência da relação sexual, uma vez que a lógica lacaniana vai nos mostrar que , enquanto categoria universal, A Mulher não existe , que é correlato do enunciado não há relação sexual , isto é, não há proporção sexual

There has been a long-standing and mutually-informing association between psychoanalysis, literature and the arts. Surprisingly, given the oral/aural basis of the ‘talking cure’, music has largely been overlooked by psychoanalysis. On the other hand, neuroscientific research investigating music reception and production has been increasing steadily in range and scope over the years. However, in order to avoid confounding factors, empirical studies have focused primarily on non-vocal music. Operatic vocal music has not featured prominently in either field. Yet the multidimensional, multi-layered nature of opera, which fuses together a number of different arts, would appear to provide fertile soil for both disciplines. This thesis aims to fill that gap, providing a stepping stone for further research. The individual strengths of psychoanalysis and neuroscience are leveraged separately at first, according to a ‘complementarist’ approach, and then jointly as the inter-discipline of neuropsychoanalysis. By combining various theories of mind with current knowledge about music processing in the brain, a more comprehensive understanding of the reception experience can be achieved. As a result, a neuropsychoanalytic theory can be formulated to account for the operatic reception experience in subjective as well as objective terms. According to this theoretical formulation, the bittersweet enjoyment of operatic vocal music, which can literally move an operaphile to tears, lies in a numberof subjective dynamics that are unique to the reception of opera, rather than in any distinct objective neural processes, which are common to the reception of all music. These subjective dynamics, which are recruited during neural processing, are triggered by the equally unique features of the operatic voice, in combination with a number of auxiliary elements that are specific to opera.

Nous chercherons à prouver que la notion de jouissance existe en tant que concept qui ne varie pas dans sa composition essentielle, qu’elle soit exercée par des droits réels ou par des droits personnels de jouissance. La définition de la jouissance nécessite en premier lieu de réaliser des comparaisons avec d'autres notions fondamentales du droit patrimonial telles que les droits subjectifs, la propriété et la possession. C'est ainsi qu'à l'instar de la propriété, la jouissance possède ses caractères propres. L'usus et le fructus ne suffisent donc pas à caractériser la jouissance pour la distinguer de la propriété. Cette dernière n'est en effet concevable que sur la chose d'autrui, ce qui implique nécessairement une série de d'éléments distinctifs aboutissant à la définition de la jouissance. Il s’agira alors principalement du caractère temporaire des droits de jouissance, duquel découle les différentes obligations du titulaire pour la conservation du bien. Tous ces éléments permettent alors d’aboutir à des mécanismes communs par leurs finalités. L’établissement de l’existence de la notion de jouissance devra nous amener par la suite à rechercher dans ses modalités comment s’effectue la mise œuvre de la notion de jouissance. Cela se fera à travers l’étude des règles qui dirigent la constitution des droits de jouissance, et leur exercice par le titulaire / The demonstration tends to prove that the enjoyment of possessions exists as a concept, which does not change in its essence, whether this one is experienced by the french categories of "droits réels" or "droits personnels" of enjoyment. The definition of enjoyment previously requires us to perform comparisons with other fundamental notions like property or subjective rights. Indeed, like property, enjoyment has proper characteristics. Enjoyment is only conceivable on someone else's property, which causes an ensemble of criteriums, genereted by the relationship with the owner. All these elements define the common regime of the notion and allow its revelation. After establishing the existence of the notion we will study the differents rules governing the constitution and the exercice of the rights of enjoyment

Magistro darbo tikslas yra Kventino Kompsono savimonės analizė viename žymiausių Williamo Faulknerio romanų Triukšmas ir Įniršis. Pasirinktas objektas, t.y. minėtas romanas ir herojus, yra literatūrologų nagrinėtas ne tik iš įvairių perspektyvų, bet ir naudojantis įvairiomis metodologijomis. Dažnai naudotasi psichoanalitinėmis teorijomis, kurios padėjo atskleisti sudėtingus žmogaus sąmonės ir pasąmonės mechanizmus. Tokių analizių dėka pasirodė daug vertingų ir įdomių Kventino psichikos interpretacijų ir buvo atskleistas santykio tarp veikėjo vidinio ir išorinio pasaulio sudėtingumas. Paminėtinais darbais laikytini John T. Irwin Doubling and Incest/ Repetition and Revenge ir Doreen Fowler The Return of the Repressed, kuriuose atitinkamai daugelio žymiausių Faulknerio romanų analizei naudojamasi Sigmundo Freudo ir Jacques Lacano teorijomis. Šiuos darbus sieja tai, jog juose remiamasi bendra nuostata pagal kurią libido ir jouissance yra konceptualizuojamas Edipo komplekso kontekste. Kitaip tariant, John T. Irwin ir Doreen Fowler libido ir jouissance analizuoja iš griežtai froidiškų pozicijų ir juos supranta kaip pirmapradiškai ir neišvengiamai incestinius. Žymus prancūzų psichoanalizės teoretikas Lacanas sukritikavo tokį libido apribojimą Edipo kompleksu ir pateikė „isteriko diskurso“ išsklaidą bei pasiūlė naują būdą, kuriuo būtų galima konceptualizuoti libidines tėkmes, kurias jis vadino jouissance. Lacanas jouissance suvokė kaip esantį be vietos, o ne kaip priklausantį... [toliau žr. visą tekstą] / The aim of this Master work is to provide the analysis and interpretation of Quentin Compson’s self-consciousness in William Faulkner’s famous novel “The Sound and the Fury.” The chosen object, that is, the mentioned novel and character has received a lot of attention from literary scholars and has been approached numerous times from many different angles and various methodological perspectives. Psychoanalytic theories have often been employed to portray the complexity of the human mind and sophisticated workings of its unconscious dimension. Such an approach has produced many valuable and interesting interpretations of Quentin’s psyche and has illuminated the complex relation between the inner and the outer world of the character. The most notable works are John T. Irwin’s “Doubling and Incest/ Repetition and Revenge” and Doreen Fowler’s “The Return of the Repressed” that respectively employ the Freudian and the Lacanian theories in the analysis of many Faulkner’s famous novels. The common feature that the analyses of these scholars share is that in all of them libido and jouissance is elaborated in the context of Oedipal complex. That is to say that John T. Irwin and Doreen Fowler treat libido and jouissance in the strict Freudian way and understand it as primarily and inevitably incestuous. A prominent French psychoanalyst Jacques Lacan has criticized such a restriction of libido by Oedipus complex and has, in his elaboration of “hysteric’s discourse”, suggested a new... [to full text]

L’autisme considéré d’abord comme une maladie d’ordre psychique est appréhendé aujourd’hui comme Trouble envahissant du développement (TED), et plus récemment comme Trouble du spectre autistique (TSA) dans le DSM 5 (Diagnostic and Statistical Manual of mental Disorders). L'imposition des critères de ce manuel, l’émergence des sciences cognitives et la recherche en génétique et en neurobiologie font que l’autisme est considéré comme un « handicap » qui relève plus d’une « éducation spécialisée» que d’un traitement psychiatrique ou psychologique. La clinique psychanalytique est mise en cause depuis quelques années par les instances de santé publique et les médias dans le traitement de l’autisme. Pour la psychanalyse lacanienne, l’autisme n’est pas un « handicap » mais une position subjective de l’être et un mode de jouissance singulier, suivant la proposition d’Eric Laurent du retour de la jouissance sur un bord, laquelle peut être traitée à partir d’une clinique du réel qui utilise les objets, la parole et le corps. Dans cette thèse, nous étudions l’autisme avec pour fil conducteur la clinique et ses effets. Nous nous penchons sur les premiers travaux psychiatriques et psychanalytiques, sur l’enseignement de Lacan ainsi que sur les concepts élaborés par certains de ses élèves. Nous traitons principalement d’une pratique clinique en institution, la « pratique à plusieurs », issue de cet enseignement. Nous exposons en dernier deux témoignages de sujets autistes, qui ont pu appareiller leur jouissance et s’ouvrir au lien social à partir de leurs propres inventions sans pour autant sortir de l’autisme. / Considered first and foremost as a mental illness, autism is nowadays being approached as a Pervasive Developmental Disorder (PDD) and, more recently still, as a disorder on the Autism Spectrum, as presented in the fifth edition of the DSM (Diagnostic and Statistical Manual of Mental Disorders). The imposition of criteria from this manual, the emergence of the cognitive sciences, alongside research in genetics and neurobiology, have led to autism being considered as a “disability” that would fall more under the remit of “specialized education” than that of psychiatric or psychological treatment. The psychoanalytic clinic has for some years now been called into question as a treatment for autism, by public healthcare bodies and the media alike. From the perspective of Lacanian psychoanalysis, autism is not a “disability”, but a subjective position of Being and a singular mode of jouissance, in line with Éric Laurent’s assertion that it entails a return of jouissance in a rim, a jouissance that may be treated by means of a clinic of the real that uses objects, speech, and the body. In this thesis, we study autism from the angle of the clinic and its effects. We draw on the early psychiatric and psychoanalytic texts, on Lacan’s teaching, and on concepts developed by some of his students. We look chiefly at a clinical practice specific to institutions, so-called “multi-person practice”, which was derived from the aforementioned teachings. Lastly, we present two studies of autistic subjects who were able to transform their jouissance into an apparatus and turn towards a social bond on the basis of their own specific inventions, without, however, leaving their autism behind.