Syftet med essän är att undersöka hur populärkulturens närvaro och inflytande i förskolan kan förstås utifrån olika perspektiv. Essän tar avstamp i berättelser om hur barn tar inspiration ur populärkulturella erfarenheter då de agerar, vilket leder till konsekvenser, vilka ibland kan upplevas som problematiska. Den undersöker möjligheter och risker med inkludering av populärkultur i förskolan i förhållande till barns literacyutveckling, identitetskonstruktion och inflytande. Den undersöker även vad som kan tänkas ligga bakom exkludering av populärkultur i förskolan.Skrivande har använts som en metod för att reflektera och få syn på nya perspektiv i relation till teorier och tidigare forskning. Reflektionen resulterade i flera upptäckter. Bland annat att klassrelaterade normer kan styra pedagogers val av kulturella aktiviteter i förskolans praktik. Vidare att risken som populärkulturen kan ge upphov till vad gäller identitetskonstruktion i samband med literacyutveckling kan inverteras till möjligheter genom critical literacy. Därigenom kan barn lära sig att se hur texter positionerar oss i samhället och hur de kan positionera sig annorlunda. Slutligen kan inkludering av populärkultur i förskolans praktik, som en konsekvens av barns inflytande stimulera barns literacyutveckling. Eftersom populärkulturen är en del av barns erfarenheter samt att den fungerar som katalysator för lärprocessen, genom att ge upphov till en känsla av flow. / This essay aims to examine how presence and influence of popular culture in junior kindergarten can be understood in different ways. The essay is rooted in narratives about children getting inspired from popular culture in their acting that leads to consequences, which sometimes can be experienced as problematic. It explores possibilities and risks that come with including popular culture in junior kindergarten, in relation to literacy development, construction of identity and influence of children. It also explores how to understand what maybe lies behind the exclusion of popular culture in junior kindergarten.Writing has been used as a method to reflect and to spot new perspectives in relation to theories and previous research. The result of the reflection was multiple discoveries. For instance, class related norms can dominate teachers choices of cultural activities put into practice in junior kindergarten. Further on the risks of popular culture, regarding construction of identity in connection with literacy development could be transformed in opportunities through critical literacy. Thereby children can learn to see how we´re positioned in society by texts and how they can position themselves differently. Eventually, inclusion of popular culture into the practice of junior kindergarten, as a result of child influence can stimulate literacy development. Because the popular culture is a part of earlier experiences of the child and it works like a catalyst in the process of learning, while it creates the feeling of flow.

À partir de notre expérience clinique auprès de personnes incarcérées, notre travail de recherche propose une modélisation théorique du concept de passage à l’acte dans son rapport à l’instance du Surmoi. Il s’agit ainsi de dégager les enjeux métapsychologiques du concept de Surmoi tels qu’ils se présentent dans la clinique des passages à l’acte, et plus spécifiquement dans le versant de l’acte criminel, en retraçant les conditions de son élaboration théorique. Si Freud pose les fondements essentiels à notre réflexion, les concepts kleiniens de Surmoi primitif et de position schizo-paranoïde nous seront bien plus précieux pour tenter de penser le retour de certains fonctionnements placés sous la domination d’un Surmoi particulièrement cruel et destructeur. Cet aspect repris par Lacan sous la forme impérative du Surmoi servira de base à nos propos. Si l’instance surmoïque est initialement repérée dans sa fonction de conscience morale en tant qu’instance légiférante, il est également question d’une double polarité plus paradoxale qui se fait l’envers de la Loi par une injonction féroce et cruelle de jouissance. Dans cette perspective, le passage à l’acte criminel se présente comme la réponse irrépressible à l’injonction d’un Surmoi fort aux actions sévères et virulentes. Ce travail insiste notamment sur l’acte criminel comme ultime recours. Un recours pour se dégager de la position d’objet de jouissance de l’Autre et la tentative de surgir ailleurs, comme sujet. / From our clinical experience with prison inmates, our research work proposes a theoretical paradigm of the concept of acting-out in relation with the superego instance. The purpose is thus to bring out the metapsychological stakes and issues of the superego concept as they appear in the clinical approach of the acting-out, and more specifically in relation with the criminal act, while tracing back the conditions of its theoretical elaboration. Even if the foundations that Freud laid is essential to our reflection, the kleinian concepts of primitive superego and of paranoid-schizoid position will be far more precious to us in this endeavour to reflect on the reappearance of certain modes of functioning which are under the supremacy of a particularly cruel and destructive superego. This aspect, which Lacan has reformulated with his view of an imperative superego, will provide the basis for our discourse. While the superego instance is first identified through its function of moral consciousness, as a legislating instance, there also exists a more paradoxical double polarity whereby the reverse side of the Law is expressed through a ferocious and cruel injunction to have enjoyment (“jouissance”). Within this perspective, the criminal acting-out appears like the irrepressible response to the injunction of a strong Superego pushing to commit harsh and virulent actions. This thesis notably insists on the criminal act seen as a last resort. A resort which aims at releasing oneself from the position where one has become the object of the Other's “jouissance”, while one tries, at the same time, to be a subject.

This thesis explores specific ways of using female singing voice in subculture of historically informed performance of baroque music in the Czech republic. The thesis is based on principles of cultural theory and cultural analysis. Main source for my research were interviews from the years 2015 and 2016 held with female singers specialized in historically informed performance, and my own living experience first as voice student, later as a performer in the field of baroque music. I explore ways of fulfilling fundamental demand of the subculture for "historical authenticity" (which is usually defined as "how did the music sound at the time of its origin"). I come to key term of "naturalness" and I further explore how this concept is embodied by the singers, how it affects the sound of the voice and aesthetic expectations of the singers and also listeners. I put the experience of "authentic" and "natural" interpretation of baroque music in context of thinking about pleasure, especially in terms of jouissance and plaisir described by Roland Barthes.

This thesis explores how the Lacanian concept of ‘the enjoyment of the Other’ (la jouissance de l’Autre) can be applied to break open normative understandings of the political factors shaping the climate crisis deadlock. The principal aim is to investigate how ostensibly disconnected environmental debates may be regarded as linked by an economy of enjoyment, more precisely by the promise of enjoyment by which the subject is libidinally attached to an ideology. Analysis of text proceeds by way of a psychoanalytic critique of ideology on two case studies from UK news media, namely, i) the development of onshore wind turbines and, ii) the appearance of direct-action environmentalist groups, in particular the activities of the group Just Stop Oil. This thesis finds that rhetorical devices across the discourses analysed are sustained by an ideological belief that the subject’s enjoyment has been stolen or ruined by the Other, that is, the external symbolic framework of language, morals and other people that shapes and influences subjectivity. On the one hand it is argued that the mediatisation of the climate crisis in terms of the enjoyment of the Other, that is, the belief that the Other has access to a full enjoyment which the subject is denied, portrays environmental politics as an empty display or ‘spectacle.’ On the other hand, it is suggested that the experience of environmental politics as a spectacle is a symptom of the decline of the state’s symbolic role in late capitalism.

De multiples plaisirs sont présents dans À la recherche du temps perdu. Ils sont importants pour les personnages en ce que, bien souvent, ils dirigent leur vie, mais aussi parce qu’ils participent à la constitution de portraits : observer les plaisirs d’un personnage permet de le peindre. L’importance du plaisir dépasse le niveau individuel pour atteindre celui du récit (diégèse et narration). Malgré une présence qui tend à l’omniprésence, le plaisir peine à être vécu au présent par des personnages qui le conjuguent plus facilement au passé ou au futur, et en ont une image très négative. C’est que les sens ne sont pas aptes à véhiculer le plaisir, et n’apportent que culpabilité, punition et déception. Il faut alors explorer d’autres voies : apparaissent artifices et perversions, qui finissent aussi par échouer à procurer un plaisir pur. Le héros proustien le trouve dans l’imaginaire, notamment la création littéraire. Paradoxalement, de l’échec du plaisir vient la fertilité créatrice. / Pleasure appears in various guise in A la Recherche du Temps Perdu. It often directs the characters’ lives or serves to define them: the objects and forms of pleasure enjoyed by the characters constitute indirect portraits of them. Pleasure is not only to be observed on an individual level, but can be analysed on the narrative level. Although it is everywhere to be found, it fails to be actually experienced by characters who more often than not reject it into the past or the future, and entertain a very negative vision of it. The senses indeed appear unable to provide pleasure, and only become sources of guilt, disappointment and retribution. Other paths to pleasure must then be discovered, but artificial paradises or perversions fail to yield real pleasure. The Proustian hero ultimately finds it in the world of imagination, especially through literary creation. Paradoxically, it is from the failure of experiencing pleasure that creative power derives.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Inutile de rappeler la prééminence du regard dans les oeuvres d’Alain Robbe-Grillet etparticulièrement dans Le Voyeur, La Jalousie et Instantanés qui forment le corpus du présenttravail. En apparence, l’auteur se contente de formuler très objectivement la subjectivitéhumaine. Et voilà que l’oeil de la concupiscence charnelle vient entamer cet ordre parfait,géométrique que l’on aurait cru inaltérable. L’objectif de ce travail est justement de montrerque l’oeil de l’arpenteur géomètre dissimule celui du pervers, à la recherche de la jouissance àtravers le regard.La première partie de ce travail, « Montage du regard », analyse les sujets regardantset les sujets/objets regardés dans leur diversité. La volonté de maintenir la distance entreregardeur et regardé et d’instaurer un regard distant est remise en question par tous lesprocédés textuels confirmant la présence d’une subjectivité qui regarde. Une subjectivité quiregarde, mais qui est aussi perverse. C’est ce que tente de montrer la deuxième partie,« Regard pervers et jouissance ». Il s’agit en fait non seulement d’étudier la présence effectivedu voyeur dans ces trois oeuvres, mais aussi de l’approcher dans sa diversité. La troisièmepartie, « Répétition et jouissance », vient confirmer la présence du voyeur pervers, toujours àla recherche de la jouissance par la ressaisie du spectacle convoité, d’où la présence de figuresobsédantes en leitmotiv.Notre approche sera une pure recherche formelle : analyser le regard, c’est mettre enévidence son fonctionnement textuel, par le moyen de la linguistique et de la stylistique. Ellecontribuera à élaborer une nouvelle lecture du regard chez Robbe-Grillet. / It is needless to mention the supremacy of one particular feature in Alain Robbe-Grillet’s works; namely, the look as it is particularly found in Le Voyeur, La Jalousie andInstantanés. These 3 works serve as the corpus for the research at stake. In appearance, andquite objectively, the author seems to be simply expressing human subjectivity. But therecome along eye of lust, altering every perfect geometrical order one could have noticed upuntil now. The goal of this work is to actually unveil the fact that the eye of the surveyor, thegeometer, is only an artifact dissimulating a perverted eye constantly in search of carnalpleasure through the look.The first part of this work, titled “Montage du Regard” ‘The optic setting’, is ananalysis of the observer and of the elements which are observed as diverse as they may be.The will to keep a distance between the observer and the element which a observed isconstantly questioned through the presence of textual elements that clearly reveal asubjectivity in the act of looking at a particular element. A subjectivity that observes, butwhich is also perverted. This is fully analyzed in the second part of the research, “Regardpervers et jouissance” ‘A perverse eye and a sensual pleasure’, which not only analyses theactual presence of the voyeur in the three works mentioned earlier, but also attempts toapproach him and tackle all his diverse aspects. The third part of this study “Répétition etjouissance” ‘Repetition and sensual pleasure’ reaffirms the presence of a perverted observer,always in search for carnal pleasure through the recapture of the coveted show. This furtherexplains the presence of obsessive scenes in a leitmotiv.Our approach in this study is based on a formal analysis of the look. Its goal is tohighlight its textual functioning thanks to linguistic and stylistic means, which will lead theway to a new reading and reconsideration of the look in Robbe-Grillet’s works.

L´existence d´état douloureux, chronique et sans substrat organique, de maladies de la douleur, sont signalés depuis le XIX siècle. La douleur, comme perception, est une expérience subjective qui intègre des sensations variées. Les différents syndromes de douleur chronique ont la douleur comme symptôme principal et se caractérisent par un ensemble de signes qui ne correspondent pas à un modèle de cause organiques non localisées. Alors que la douleur aigüe est un indicateur précieux dans l´établissement d´un diagnostic, la douleur chronique, pour avoir perdu son caractère de signald´alarme, nous renvoie à une multiplicité de déterminations d´ordre somatique, psychologique et/ou ambiant. L´apport de la psychanalyse, en partenariat avec la médecine se révèle utile dans l´appréhension du sens des symptômes dans laparticularité du cas et en relation avec la singularité du sujet. À la place de soutenir l´idée qu´il est nécessaire, à tout prix, d´éradiquer définitivement un syndrome douloureux quel qu´il soit et la souffrance psychique qui y est associée, il nous semble utile de prendre en considération ce qui est en jeu en termes structurel et inconscient. En d´autres mots, faire « parler » le corps, d´une douleur (psychique) impossible à symboliser. Possiblement, une douleur d´amour, c´est la supposition de base de notre hypothèse / The existence of painful condition, chronic and without organic substrate, disease of pain, are reported from the nineteenth century. Pain, such as perception, which is a subjective experience includes various sensations. Different chronic pain syndromes have pain as the main symptom and is characterized by a set of signs that do not correspond to a modelof organic causes unlocated. While acute pain is a valuable indicator in establishing a diagnosis, chronic pain, to have lost its character as a warning, we refer to a multiplicity of determinations order somatic, psychological and / or ambient. The contribution of psychoanalysis, in partnership with the medicine is useful in understanding the meaning of symptoms in the particularity of the case and in relation to the singularity of the subject. Instead of supporting the idea that it is necessary, at any cost, permanently eradicate a painful syndrome whatsoever and mental suffering associated with it, it is useful to consider what is involved in structural terms and unconscious. In other words, to "speak" the body, pain (psychic) Unable to symbolize. Possibly pain of love is the basic assumption of our hypothesis / A existência de condição dolorosa crônica e sem substrato orgânico , a doença de dor, são relatados a partir do século XIX. Dor, tais como percepção, que é uma experiência subjetiva inclui várias sensações . Diferentes síndromes de dor crônica tem a dor como o principal sintoma e é caracterizada por um conjunto de sinais que não correspondem a um modelo de causas orgânicas não localizados. Enquanto a dor aguda é um indicador valioso para estabelecer um diagnóstico, dor crônica, ter perdido seu caráter de advertência, nos referimos a uma multiplicidade de determinações ordem somática ,psicológica e / ou ambiente . A contribuição da psicanálise, em parceria com o medicamento é útil na compreensão do significado dos sintomas na particularidade do caso e em relação à singularidade do sujeito. Em vez de apoiar a ideia de que é necessário , a qualquer custo, eliminar permanentemente uma síndrome dolorosa que seja e sofrimento mental associado a ele, é útil considerar o que é envolvido em termos estruturais e inconsciente. Em outras palavras, para "falar" do corpo, dor ( psíquica ) Não é possível simbolizar . Possivelmente dor do amor é o pressuposto básico da nossahipótese

No primeiro capítulo da tese após a introdução, intitulado II, realizo um percurso teórico da imagem do corpo próprio nos escritos e seminários iniciais de Lacan, situando R, S e I - o Real, o Simbólico e o Imaginário - em jogo no ser humano. A conclusão deste capítulo introduz os dois conceitos principais que serão trabalhados na tese: o objeto ( a ) e o traço unário, considerando o traço unário como um traço do Outro simbólico, um traço de identificação não imaginária mas simbólica e o objeto como o real, não-especular. Aborda-se a importância do seminário A angústia de Lacan para a formulação da importância do conceito do traço e de ( a ) para a compreensão de RSI essencial para a abordagem da esquizofrenia e do autismo. A partir do esquema óptico utilizado por Lacan para abordar a constituição da imagem do corpo no ser humano, assim como a estruturação de RSI a partir da perda de uma parte do corpo próprio, de uma perda de gozo estruturante do ser humano, teço algumas considerações sobre os esquemas ópticos que poderíamos encontrar no caso do autismo e da esquizofrenia, a partir da articulação entre significante e corpo. Á partir dos estudos de M-C Laznik proponho situar o autismo, a partir da falha na impressão da marca do gozo do Outro a qual permite a inscrição do erotismo, à base da construção do narcisismo e do estabelecimento de um Outro no circuito pulsional. O autismo é, então, situado em relação a uma falha da inscrição do Outro primordial impedindo o tempo da inscrição total do Significante do Outro, da alienação no Significante do Outro Simbólico, da marcação pelo Outro, e da posterior Separação, não existente no Autismo. Por outro lado, na Esquizofrenia, situo a inscrição do Outro, do significante do Outro, da marca do Gozo do Outro, mas não há a inscrição da ausência da marca do Outro necessária para sair do lugar de objeto do Gozo do Outro (consultar o restante na tese) / This work discusses autism and schizophrenia based on two key concepts of this thesis: the object (a) and the unary trait trait of the Other. We try to account for a unique relationship of the autist to the signifier, a failure to incorporate the primordial signifier of the Other. We distinguish the autistic, who has not incorporated the mark of the jouissance of the Other, who has not incorporated the primordial signifier, and the schizophrenic, who has incorporated the mark of the jouissance of the Other, but is not able to use established discourses to build his/her own body, to name his/her own body. There is the possibility of constructions around the Sxs+ jouissance to label, no name, instead of the discourses in default. We distinguish schizophrenia strategies through an effort of placement of jouissance by the letter, and autistic strategies through an effort of placement of jouissance on the rim, on the boards

Nossa intenção com o presente trabalho foi pesquisar o estatuto teórico-clínico da sublimação ao longo do ensino de Lacan, enfatizando os momentos em que se detém no tema, fazendo avançar suas elaborações do conceito e partindo da hipótese de que a sublimação é um tratamento possível do gozo. Após o seminário em que se dedica de forma mais extensa ao tema da sublimação, em 1959-1960, no qual propõe a sublimação como elevação do objeto à dignidade da Coisa, o conceito aparece aqui e ali ao longo dos seminários subsequentes. Mas é em 1966-67 que a sublimação detém novamente a atenção de Lacan, que passa então a articulá-la com outros conceitos bastante importantes da teoria, quais sejam: alienação, repetição, acting out e passagem ao ato. Além disso, discute a articulação da sublimação com o ato sexual e, consequentemente, com a castração. Para isso, fará uso articulado do quadrângulo de Klein, das leis de Morgan e dos círculos de Euler, de modo a demonstrar a relação lógica entre os elementos. Desde as primeiras referências ao termo, passando pelas elaborações do seminário VII, nos anos de 1959-60, entendemos que é possível sustentar a vocação eminentemente clínica do conceito de sublimação como tratamento possível do gozo, em articulação com outros conceitos importantes no ensino de Lacan, como gozo, fantasia e ato. Partindo da sublimação definida como elevação do objeto à dignidade da Coisa, Lacan discute nos anos de 1966-1967 sua presença como satisfação ligada à repetição, mas que dela pode se afastar. A sublimação também se apresenta como saída do impasse do paradoxo da fantasia, que busca encobrir a relação sexual que não há. Propomos desde Lacan que a sublimação é um tratamento do gozo que permite que o sujeito, a partir da repetição, avance até um limiar, ainda que não o ultrapasse. O avanço está relacionado à sua possibilidade de prescindir do recalque, o que diferencia a sublimação do sintoma. A proximidade da sublimação com a relação sexual que não existe já se evidencia desde o seminário XIV e, no seminário XVI, proferido nos anos de 1968-1969, a sublimação retorna pela última vez no ensino de Lacan como estando do lado da mulher, articulada a não existência da relação sexual e como possibilidade privilegiada na perversão, o que deixa ainda mais claro, de nosso ponto de vista, seu estatuto de tratamento de gozo mortífero, na medida em que alude ao vazio da Coisa, criando a partir desse vazio. A partir desse percurso na sublimação, empreendemos uma discussão do documentário Elena, lançado no ano de 2013, sustentando que, com tal discussão, não se trata de aplicar a psicanálise à arte, mas sim de aplicar a arte à psicanálise, na medida em que a primeira permita à segunda avançar. Por evidenciar como toda a estrutura do filme se organiza em torno do vazio, ele permite que avancemos no debate sobre a sublimação e em sua elucidação como possibilidade de tratamento do gozo, em articulação com o ato em suas variáveis de acting out e passagem ao ato, tal como Lacan apresentara com os quadrângulos de Klein. Por último, propomos comentários suplementares que visam propor articulações que apontam caminhos pelos quais entendemos que a discussão sobre o tema da sublimação poderia ter continuidade. Aqui, propomos a articulação da sublimação com a psicose, com o sinthoma, tal como Lacan discute no seminário XXIII, e por último a relação da sublimação com o fim de análise. Nesse ponto, as discussões de Lacan sobre o quadrângulo de Klein nos fornecem indicações sobre a relação da sublimação com o ato analítico, que buscamos problematizar / Our intention with this paper was to research the theoretical and clinical status of sublimation throughout the teachings of Lacan, emphasizing the moments when he dwells on the topic, advancing his elaborations of the concept and working on the hypothesis that sublimation is a possible treatment of jouissance. After the seminar he most extensively dedicates to the topic of sublimation, in 1959-1960, when he proposes that sublimation raises an object to the dignity of das Ding, the concept appears sporadically throughout his subsequent seminars. But it is in 1966-67 that sublimation once again captures the attention of Lacan, when he begins to articulate it with other important concepts of the theory, namely: alienation, repetition, acting out and passage to the act. Additionally, he discusses the articulation of sublimation with the sexual act and, consequently, with castration. For this, he makes articulated use of Kleins quadrangle, De Morgans laws and Eulers circles to demonstrate the logical relation between the elements. From the very first references to the term through to the elaborations of seminar VII in 1959-60, we can see that it is possible to assert the eminently clinical vocation of the concept of sublimation as a possible treatment of jouissance, in articulation with other important concepts in the teachings of Lacan, such as jouissance, fantasy and act. Based on the definition that sublimation raises an object to the dignity of das Ding, Lacan in 1966-1967 discusses its presence as satisfaction that is linked to repetition, but that can be separated from it. Sublimation is also presented as a solution to the impasse of the paradox of fantasy, which seeks to disguise the sexual relationship that does not exist. We propose, drawing on Lacan, that sublimation is a treatment of jouissance that enables the subject, based on repetition, to advance towards a threshold, but not pass it. This advance is related to the subjects possibility of dispensing with repression, which distinguishes sublimation from the symptom. The proximity of sublimation to the sexual relationship that does not exist was evident since seminar XIV and, in seminar XVI, delivered in 1968-1969, sublimation returns for the last time to Lacans teachings as being feminine, articulated with the non-existence of the sexual relationship and as a privileged possibility in perversion, which further clarifies, in our opinion, its status as treatment of lethal jouissance, in that it alludes to the emptiness of das Ding, creating from this emptiness. Based on this analysis of sublimation, we embark on a discussion of the documentary Elena, released in 2013, asserting, through this discussion, that it is not about applying psychoanalysis to art, but instead art to psychoanalysis, since the former permits the latter to advance. By demonstrating how the entire structure of the film is organized around emptiness, it permits us to move forward the debate on sublimation and its elucidation as a possible treatment of jouissance, in articulation with the act in its variables of acting out and passage to the act, just as presented by Lacan with Kleins quadrangles. Finally, we make some additional comments that are intended to identify paths along which we consider the discussion on the topic of sublimation could be continued. Here, we propose the articulation of sublimation with psychosis, with the sinthoma, just as Lacan discusses in seminar XXIII, and finally the relationship of sublimation with the end of analysis. On this point, the discussions of Lacan on Kleins quadrangles provide us with indications about the relationship of sublimation with the analytical act, which we aim to address