Made available in DSpace on 2017-07-10T18:55:35Z (GMT). No. of bitstreams: 1 Taisa.pdf: 2439047 bytes, checksum: e5f452a27a34181c2d9a5260370e9295 (MD5) Previous issue date: 2013-12-11 / The purpose of this paper is to analyze, in a comparative way, the theme of melancholy, suicide, and death in eight Ariel poems the work of Sylvia Plath - "Lady Lazarus", "Daddy", "The moon and the yew tree "," Death & Co ", "Ariel," Tulips "," The detective "and" Purdah "- in five poems from other works of the same writer -" Pursuit "," the tree of life "," Mirror "," Edge "and" Words "- in four paintings entitled Vita e Morte , Allegoria la vita unama , La morte del peccatore and Melancolia I and the movie Sylvia , passion beyond words by Christine Jeffs. Based on the established thematic intertextuality between artistic forms - film, painting and poem - which constitute the corpus of this research and the conception of poetry as a place of culture, studies the poetry of Sylvia Plath, which is constructed by the plots of the imaginary, process and reminiscent of forgetfulness, so that art and suffering may converge and the shadow of suicide author protrudes over the text. It is, above all, a poetic which refers to the human condition of transience and permanence: the permanence of writing and transience of life. Therefore, this study is based mainly on the theoretical principles of Paz (1982, 1991 and 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) and Chevalier (2003). / A proposta deste trabalho é analisar, de modo comparativo, a temática da melancolia, do suicídio e da morte em oito poemas da obra Ariel, de Sylvia Plath Lady Lazarus , Daddy , The moon and the yew tree , Death & Co , Arie l, Tulips , The detective e Purdah , em cinco poemas de outras obras da mesma escritora Pursuit , The tree of life , Mirror , Edge e Words , em quatro pinturas intituladas Vita e Morte, Allegoria de la vita unama, La morte del peccatore e Melancolia I e na obra fílmica Sylvia, paixão além das palavras, de Christine Jeffs. Partindo da intertextualidade temática estabelecida entre as linguagens artísticas cinema, pintura e poema que constituem o corpus desta pesquisa e da concepção de poesia enquanto local de cultura, estuda-se a poética de Sylvia Plath, que se constrói pelas tramas do imaginário, do processo rememorativo e do esquecimento, de modo que arte e sofrimento se confluem e a sombra do suicídio da autora se projeta sobre o texto. Trata-se, sobretudo, de um fazer poético que remete à condição humana de transitoriedade e permanência: a permanência da escrita e a transitoriedade da vida. Para tanto, este estudo baseia-se, sobretudo, nos pressupostos teóricos de Paz (1982, 1991 e 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), de Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) e Chevalier (2003).

Made available in DSpace on 2017-07-10T18:55:37Z (GMT). No. of bitstreams: 1 Taisa Carvalho.pdf: 2439101 bytes, checksum: e86996f389ed7d98124c513aadc9081a (MD5) Previous issue date: 2013-12-11 / The purpose of this paper is to analyze, in a comparative way, the theme of melancholy, suicide, and death in eight Ariel poems the work of Sylvia Plath - "Lady Lazarus", "Daddy", "The moon and the yew tree "," Death & Co ", "Ariel," Tulips "," The detective "and" Purdah "- in five poems from other works of the same writer -" Pursuit "," the tree of life "," Mirror "," Edge "and" Words "- in four paintings entitled Vita e Morte , Allegoria la vita unama , La morte del peccatore and Melancolia I and the movie Sylvia , passion beyond words by Christine Jeffs. Based on the established thematic intertextuality between artistic forms - film, painting and poem - which constitute the corpus of this research and the conception of poetry as a place of culture, studies the poetry of Sylvia Plath, which is constructed by the plots of the imaginary, process and reminiscent of forgetfulness, so that art and suffering may converge and the shadow of suicide author protrudes over the text. It is, above all, a poetic which refers to the human condition of transience and permanence: the permanence of writing and transience of life. Therefore, this study is based mainly on the theoretical principles of Paz (1982, 1991 and 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) and Chevalier (2003) / A proposta deste trabalho é analisar, de modo comparativo, a temática da melancolia, do suicídio e da morte em oito poemas da obra Ariel, de Sylvia Plath Lady Lazarus , Daddy , The moon and the yew tree , Death & Co , Arie l, Tulips , The detective e Purdah , em cinco poemas de outras obras da mesma escritora Pursuit , The tree of life , Mirror , Edge e Words , em quatro pinturas intituladas Vita e Morte, Allegoria de la vita unama, La morte del peccatore e Melancolia I e na obra fílmica Sylvia, paixão além das palavras, de Christine Jeffs. Partindo da intertextualidade temática estabelecida entre as linguagens artísticas cinema, pintura e poema que constituem o corpus desta pesquisa e da concepção de poesia enquanto local de cultura, estuda-se a poética de Sylvia Plath, que se constrói pelas tramas do imaginário, do processo rememorativo e do esquecimento, de modo que arte e sofrimento se confluem e a sombra do suicídio da autora se projeta sobre o texto. Trata-se, sobretudo, de um fazer poético que remete à condição humana de transitoriedade e permanência: a permanência da escrita e a transitoriedade da vida. Para tanto, este estudo baseia-se, sobretudo, nos pressupostos teóricos de Paz (1982, 1991 e 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), de Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) e Chevalier (2003)

O trabalho O ato suicida e sua falha traz como questão central, a partir do escopo psicanalítico, o estatuto de ato do suicídio e o a posteriori de sua falha. Aposta-se na possibilidade de abordagem pela via da psicanálise de um fato que pode se manifestar de forma extrema e disruptiva e que, em um primeiro momento, aproxima-se daquilo que se caracteriza por uma extração considerável de palavra. Segue-se assim o objetivo de estruturar um campo conceitual orientado por Freud e Lacan, desde o qual se torna hábil organizar a questão acerca do momento do ato suicida e o estatuto disto que falha. Dada a amplitude dessa problemática, busca-se, por meio de uma redução encaminhada pela seleção de elementos específicos, traçar um percurso que permite situar uma teoria freudiana do suicídio que toma como pontos de firmamento o campo do ato e a metapsicologia da melancolia. Na sequência, tendo como pontos balizadores o Seminário, livro 10 A angústia (1962-63) e o Seminário, livro 15 O ato psicanalítico (1967-68), considera-se o suicídio circunscrito por Lacan aos parâmetros do ato pela conceituação de passagem ao ato e acting out. A hipótese de uma teoria freudiana do suicídio, firmada sobre os pilares conceituais de ato e melancolia, tem como eixo aquilo que escapa ao que é da ordem do representável e que se apresenta como um insuportável. Assim, recorre-se a Lacan com o objetivo de aprofundar esta problemática defendendo uma continuidade teórica entre a teoria freudiana do suicídio e a conceituação de passagem ao ato e acting out desde a asserção do objeto a. Este insuportável que perpassa a teoria freudiana do suicídio como da ordem de um irrepresentável encontra na conceituação lacaniana de objeto a um articulador. Este objeto como protagonista é definidor de uma temporalidade em que são diferenciados o momento do ato, do triunfo do a, e o depois em que o Outro se espraia como horizonte e onde o sujeito se reposiciona. É neste horizonte que a falha do ato pode ser viabilizada enquanto significante e isso apenas pode ser feito por aquele que sobre isso fala. Propõe-se que o ato suicida só pode ser valorado tal como pelo sujeito que, após a ruptura, se posiciona frente a seu ato e tem a possibilidade de então se implicar de maneira singular / The thesis \"The suicidal act and its failure\" brings as its central proposition, from the psychoanalytic scope, the suicidal act statute and the posteriori of its failure. It is considered the possibility of an approach through Psychoanalysis of a fact which can manifest in an extreme and disruptive way and that, at first, approaches what is characterized by a considerable words extraction. It is followed by the objective of structuring a theoretical field oriented by Freud and Lacan, from which enables it to organize the question regarding the suicidal act and its statute that fails. In consideration of such extent of this problematics, it is aimed, supported by a reduction directed by the selection of specific elements, to delineate a journey which allows locating a Freuds theory of suicide that considers as cornerstones the field of the act and the metapsychology of melancholy. Further, setting as landmarks the Seminar, book 10 The Anguish (1962-63) and the Seminar, book 15, - The Psychoanalytic act (1967-68), it is considered the suicide conditioned by Lacan to the act parameters by conceptualization of passage to the act and acting out. The hypothesis of a Freudian theory of suicide, consolidated over the conceptual pillars of act and melancholy, has its axis on that which escapes to what belongs to the representable range and which presents itself as unbearable. Therefore, Lacan is called upon aiming to deepen this problematics advocating a theoretical continuity between Freuds theory of suicide and the passage to the act and acting approach starting with the object a proposition. This unbearableness which permeates Freuds suicide theory in the order of a non representable encounters an articulator at Lacans concept of object a. This object as protagonist determines a temporality in which are differentiated the moment of the act, the triumph of a, and the afterwards in which the Other spreads as horizon and where the subject repositions itself. It is within this horizon that the act failure can be enabled as significant and only this can be executed by the one who speaks about it. It is proposed that the suicidal act can only be valued as such by the subject who, after the disruption, positions himself towards his act and has the possibility of at that time imply himself in a unique way

O presente trabalho tem por objetivo analisar poemas do escritor e poeta alemão Joseph von Eichendorff (1788-1857), ainda pouco conhecido e estudado no Brasil. Nossa análise visa apontar as confluências entre sua poética e a tradição da melancolia e, principalmente explorar a forma sui generis que o poeta se utiliza do tema. Para isso, selecionamos cinco poemas para compor o corpus do trabalho, a saber, Sehnsucht [Anseio, 1834], Im Herbst [No Outono, 1837], Wehmut [Melancolia, 1815], Wehmut [Melancolia, 1837] e Mondnacht [Noite ao luar, 1837]. Em nosso trabalho, não pretendemos abordar a história da melancolia de maneira minuciosa, mas destacamos os principais pontos que interessam às análises do corpus. Mais do que elencar elementos da melancolia nos versos do autor, nosso propósito é mostrar a maneira singular que a melancolia toma forma, em suas poesias, como um afeto que é parte constituinte de seu fazer poético. O diálogo entre as poesias analisadas e a melancolia parte de um ponto em comum: a música. Entendemos que a música é essencial para a obra de Eichendorff; seu poema Wünschelrute [Forquilha] pode ser entendido como motto de sua poética: Schläft ein Lied in allen Dingen,/ Die da träumen fort und fort,/ Und die Welt fängt an zu singen,/ Triffst du nur das Zauberwort ao poeta cabe lançar mão da palavra mágica, a poesia, despertando a canção adormecida em todas as coisas. A música é o ponto de partida para a rememoração, que leva o eu lírico, ora a uma busca melancólica pelo passado, ora a uma Sehnsucht (um anseio infinito) por terras longínquas, num desejo melancólico pelo lar. Através de sua linguagem singela, a poesia de Eichendorff mostra um eu lírico atento aos ruídos que surgem à sua volta, e trazem à tona ruínas de uma pátria distante e ansiada, de um passado perdido e saudoso, que, mesmo por breves instantes, por intermédio da palavra, pode ser revisitado. / This dissertation aims to analyze poems written by the German poet and writer Joseph von Eichendorff (1788-1857), an under-studied author in Brazil. Our study intends to point the confluences between his poetry and the tradition of melancholy, and mainly to explore the sui generis treatment of the subject developed by the author. Thus, five poems were selected to build our corpus: Sehnsucht [Yearning, 1834], Im Herbst [In Fall, 1837], Wehmut [Melancholy, 1815], Wehmut [Melancholy, 1837] e Mondnacht [Moonlit Night, 1837]. In this work, we do not intend to offer a comprehensive history of melancholy, but only to highlight the main topics related to the analysis of our corpus. Rather than just listing elements of melancholy in the writers verses, our goal here is to show the particular way in which melancholy takes form in his poetry: as a tenderness belonging to his poetic process. The dialogue between these poems and melancholy has one point in common: music. Music seems to be essential to Eichendorffs work. His poem Wünschelrute [Divining rod] can be understood as a motto of his poetry: Schläft ein Lied in allen Dingen,/ Die da träumen fort und fort,/ Und die Welt fängt an zu singen,/ Triffst du nur das Zauberwort the poet uses this magical word, the poetry, to awake the sleeping song of all things. Music is the starting point of remembrance, which takes the poetic persona either to a melancholic search for the past or to a Sehnsucht (an infinit wish) for foreign lands in a melancholic desire for his home. With its delicate language, Eichendorffs poetry shows a persona aware of the noises emerging around him, which bring up the ruins of a distant and desired homeland, of a lost and longing past which can be briefly revisited only through the use of language.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-07T11:25:04Z No. of bitstreams: 1 andreiadefreitasrodrigues.pdf: 4480860 bytes, checksum: 789f93014343f61108e9441c4c003602 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-07T12:18:00Z (GMT) No. of bitstreams: 1 andreiadefreitasrodrigues.pdf: 4480860 bytes, checksum: 789f93014343f61108e9441c4c003602 (MD5) / Made available in DSpace on 2016-10-07T12:18:00Z (GMT). No. of bitstreams: 1 andreiadefreitasrodrigues.pdf: 4480860 bytes, checksum: 789f93014343f61108e9441c4c003602 (MD5) Previous issue date: 2009-10-14 / O tema da melancolia tem sido fonte de atenção de filósofos, médicos, artistas, historiadores, pensadores de várias áreas do conhecimento, desde tempos imemoriais. Parte desse interesse se compreende pelo mistério que guarda sua própria definição, ambivalente e fascinante, que se refere à melancolia ora como um estado de desequilíbrio doentio, ora como pecado a ser punido, ora como estado da alma que exalta a genialidade. Na história das artes, a melancolia sempre determinou uma iconografia à parte, desde a antiguidade clássica. Este trabalho trata então, da melancolia abordada por um artista em particular, em uma época específica. Tendo como ponto essencial o estudo e a interpretação da gravura “Melencolia I”, de Albrecht Dürer, este trabalho privilegiará não apenas as características formais desta obra, mas as várias possibilidades e conexões que a mesma possui com o tempo e lugar onde foi produzida, principalmente a filosofia neoplatônica de Marsilio Ficino. Percorrendo além dos limites estreitos de uma leitura puramente formalista, a pesquisa considera a obra de arte como uma relação complexa e ativa aos acontecimentos da história circundante, pensando em sua análise iconográfica como um instrumento de reconstrução do indivíduo, do ambiente, da história geral. / The topic of melancholy has been a source of attention from philosophers, doctors, artists, historians, thinkers in various fields of knowledge, since time immemorial. Part of this interest to understand the mystery that keeps its own definition, ambivalent and fascinating, which is sometimes referred to melancholy as a state of imbalance sick, sometimes as sin to be punished either as a state that exalts the soul of genius. In the history of the arts, the melancholy always the part of an iconography from ancient classic. This work is then addressed by melancholy of an artist in particular, in a specific time. With the key point the study and interpretation of the engraving "Melencolia I", by Albrecht Dürer, this work focus not only the formal characteristics of this work, but the various possibilities and connections that it has the time and place where it was produced, mainly Neo-Platonist the philosophy of Marsilio Ficin. Traveling beyond the narrow confines of a purely formalist reading, the study considers the work of art as an active and complex relationship to the events surrounding the story, thinking about his iconographic analysis as a tool for reconstruction of the individual, the environment, the general history.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-09-19T17:19:30Z No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-09-22T15:05:38Z (GMT) No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) / Made available in DSpace on 2017-09-22T15:05:38Z (GMT). No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) Previous issue date: 2017-02-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A temática dos símbolos e do esoterismo levou ao encontro com a enigmática gravura “Melencolia I”, de Albrecht Dürer. Por trás desta obra desvela-se uma surpreendente atmosfera renascentista em torno do tema da melancolia que, segundo pesquisas, fez com que médicos, filósofos e teólogos se detivessem por séculos no estudo deste humor. Historicamente estabelecida, a melancolia tornou-se um sintoma dos grandes intelectuais, aqueles eruditos que, na eterna busca pelo conhecimento e enfrentando as limitações da cognição humana em conhecer, caíram em estado de melancolia, ou na acídia, assim denominada a melancolia medieval. A grande importância dada ao melancólico levou Dürer a produzir “Melencolia I” como um tributo ao estado de ânimo que atingiu os grandes sábios. Mas, sua obra não é simples. A quantidade de símbolos expostos na gravura reflete uma outra realidade, a realidade esotérica. Partindo dessa compreensão e munido de uma compilação científico-bibliográfica, nossa pesquisa deseja abordar o caráter esotérico em “Melencolia I”. Assim, exploramos o contexto filosófico e religioso do Renascimento para compreender o ambiente intelectual que impulsionou a confecção da obra. O Neoplatonismo florentino, a grande confluência dos estudos humanísticos e o desabrochar do esoterismo, como a Alquimia e a Magia, foram elementos chave no contexto renascentista que, chegando à Alemanha, influenciaram Dürer a executar uma de suas mais famosas obras, a “Melencolia I”. Como resultado a pesquisa encontrou uma hermenêutica para a gravura a partir do contexto cultural em que a mesma foi produzida. Levamos em consideração os aspectos do esoterismo, tão enaltecidos e promulgados no período, sobretudo pelo Neoplatonismo de Florença. Também encontramos indícios de que alguns aspectos da vida e Dürer influenciaram a temática de “Melencolia I”. / The matter of symbols and esoterism led to the encounter with the enigmatic Albretch Dürer’s engraving “Melencolia I”. Behind this work, a surprising atmosphere from Renaissance is revealed surrounding melancholy which has been the subject of studies by physicians, philosophers and theologians for many years according to previous studies. Historically registered, melancholy became the symptom of the greatest erudite intellectuals who in search of science and defying the human limitations in learning often felt in the state of melancholy, or acedia, as it was denominated during the Middle Ages. On the one hand, given the importance paid to the “melancholic people” Albretch Dürer decided to work on “Melencolia I” as a tribute to the mood of the greatest savants. On the other hand, his piece of art is not unchallenging, for the amount of exposed symbols on the engraving reflects one another reality: the esotericism. Starting from this comprehension along with a scientificbibliographic compilation this research aims at approaching the esoteric side on “Melencolia I”. Thus, exploring the philosophic and religious context during the Renaissance in order to understand the intellectual environment which influenced Dürer’s engraving. In regards to that, Neoplatonic Florentine Academy was the most important confluence of humanistic studies during the rise of esotericism expressed in practices such as the Alchemy and Witchcraft that were key elements on the context of Renaissance which in Germany culminated in the influence on Dürer’s “Melencolia I”, one his most well-known and celebrated works. As a result, this research finally unveiled a hermeneutic related to the engraving from a cultural context in which it was conceived. Thus, it was taken in consideration the aspects of esotericism – highly praised and diffused during that period chiefly by the Neoplatonic Florentine Academy. There also evidence that some aspects of Dürer’s life might have been influenced by the theme of “Melencolia I”.

Cílem této práce je prozkoumat Baudelairův vztah k jeho době. Prozkoumat, jaké soudobé fenomény nejvíce ovlivnily jeho dílo, a jak. Abychom tohoto cíle dosáhli, budeme postupně zkoumat čtyři obasti - politickou situaci, tvářnost města, novinový provoz a umění ve Francii devatenáctého století. Budeme se snažit v těchto oblastech umístit Baudelairovu osobu a zrekonstruovat vliv, který na Baudelaira a jeho dílo tyto oblasti měly. Sledovat budeme zejména dvě baudelairovské studie - esej Paříž druhého císařství u Baudelaira Waltera Benjmaina a knihu Baudelaire. L' irreductible Antoina Compagnona. Oba interpreti zdůrazňují, že pro náležité uchopení Baudelairova díla je nezbytné právě projasnění Baudelairova postoje k výše uvedeným oblastem. Problematickým, ale ústředním pojmem této práce je pojem modernité. Jelikož je tento pojem vztažen jak k Baudelairově době, tak k jeho postoji k této době, není možné jej jednoduše definovat a není to ani cílem této práce. Cílem je spíše v rozmanitých fenoménech devatenáctého století, stejně jako v Baudelairově postojích a dílu, rozpoznat to, co je s pojmem modernité slučitelné, alespoň v určitém z jejích významů. Uvidíme, že jak básníkova doba tak jeho dílo v sobě nese mnoho rozporů, nebudeme se však snažit tyto rozpory překlenout, ale naopak se je pokusíme...

L’objectif de ce travail est d’étudier la fluidité et la mélancolie dans la production textuelle de l’écrivaine argentine Alejandra Pizarnik (1936-1972). La problématique ontologique se dégage de la production de Pizarnik : la complétude de l’être doit se faire dans un espace unifié, assimilé principalement à la triade enfance-centre-jardin.Notre thèse soutient que la complétude ontologique se réalise dans l’espace du pur devenir deleuzien, du paradoxe des deux sens à la fois. Le caractère névrosé du sujet Pizarnik s’ajoute à cette affirmation. Le motif du vent est cardinal dans notre étude, car c’est l’instance qui est présente à la fois dans la notion de fluidité et dans celle de mélancolie. Nous abordons le motif du vent dans la production textuelle de Pizarnik et ses liens avec la mélancolie sous l’angle du Problème XXX,1 d’Aristote. / The purpose of this doctoral dissertation is to analyze the fluidity and melancholia in the textual production of the Argentinean writer Alejandra Pizarnik (1936-1972). The ontological problematic ooze from Pizarnik’s production: the completeness of the being should be achieved in a unified space, which is assimilated to the triad childhood-garden-centre.Our work states that the ontological completeness is made possible in the space of the pure deleuzian becoming, in the paradox of the both senses at once. The neurotic aspect of the Pizarnik subject adds to this affirmation. The theme of the wind is of first importance for our study, because it is the authority that is in the notion of fluidity and in the notion of melancholia. We will approach the theme of the wind in Pizarnik’s textual production and their links with melancholia under the aspect of Aristotle’s Problem XXX,1.

A partir d’une expérience clinique et d’une réflexion théorique indexée à la démarche freudienne nous proposons une approche psychanalytique de la psychopathologie de l’obésité à travers trois axes de réflexion. Le premier axe concerne l’impact de l’empiétement par les premiers objets sur les futurs investissements objectaux de l’obèse. Les effets délétères des perturbations précoces du nourrissage, par excès ou par défaut, pourront être traités soit par une série de mécanismes du registre du négatif - ce que nous proposons de nommer la lignée blanche -, soit par une incorporation primordiale de l’objet dont la ligne de fuite est la mélancolie corporelle - que nous associons à la lignée noire -. Le deuxième axe de réflexion interroge la question de la transgression des limites corporelles et orales à l’œuvre dans l’obésité, cela d’un point de vue individuel comme à l’échelle sociale et culturelle. Enfin, le troisième axe met en perspective la constitution de l’obésité avec les vicissitudes et les apories du développement de la psychosexualité. / From clinical experience and from a theoretical reflection indexed in the Freudian approach we propose a psychoanalytical approach of the psychopathology of the obesity through three axes of reflection. The first axis concerns the impact of the encroachment by the first objects upon the future objectal investments of the obese subject. The noxious effects of the premature disturbances of the early feeding, by excess or by default, can be treated or by a series of negative mechanisms-what we suggest naming the white lineage-, or by an incorporation of the object : the body melancholy - that we associate with the black lineage-.The second axis of reflection is the question of transgression of the body limits. We propose an individually and a social and cultural study of this phenomenon. Finally, the third axis is interested in the constitution of obesity and in the aporias of the development of the psychosexuality.

This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)