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O ódio ― um dos principais elementos de nossa relação com o outro ― é um afeto que suscita rejeição. Na perspectiva psicanalítica, ele protagoniza o processo de estruturação subjetiva do sujeito e por vezes funciona como elemento de preservação psíquica, como nos revela a prática clínica. Diante disto, é oportuno indagar: de que forma o ódio atua no psiquismo? A presente pesquisa se propõe a ser prolongamento da atividade clínica e a dar prosseguimento a estudos por nós anteriormente desenvolvidos. Para tanto, recorremos às postulações de três dos principais autores e psicanalistas conhecidos: S. Freud, M. Klein e D. W. Winnicott. Considerando as concepções de sujeito e de psiquismo humano de cada um desses autores, constatamos, em suas teorizações, a existência de dados fundamentais para o entendimento da presença do ódio na dinâmica psíquica. Partindo de tais teorias ― aqui parcialmente ampliadas por reflexões de estudiosos da atualidade sobre tal afeto ―, centramos nossa investigação na trama paradoxal do ódio, dada sua ambivalente atuação na dinâmica psíquica: funciona tanto como elemento de estruturação e afirmação do sujeito, quanto de resistência e destrutividade. Transitando entre os polos teórico e clínico ―e desse modo realçando a articulação ativa entre teoria e clínica, tal como postula a psicanálise ―, recorremos também a fragmentos clínicos para ilustrar nosso argumento central. Os exemplos clínicos reportados neste texto sugerem, em suma, que o ódio ― tal como evidenciado no processo de análise ― pode ser igualmente usado como defesa, assim modificando o desenvolvimento da trama psíquica. Acreditamos, finalmente, que esta tese possa vir a se constituir em subsídio e contribuição para aqueles que se dedicam à prática psicanalítica e ao estudo da psicanálise, particularmente no que diz respeito às complexas e reveladoras manifestações do ódio, características da condição humana. / Hatred ― one of the main constituent elements in ones relationship with other people― is a kind of affection that may engender rejection. From a psychoanalytical perspective, it protagonizes the selfs subjective structuring process and, at times, contributes to psychic preservation, as revealed in clinical practice. Thence, the need to start this work by posing the following question: how does hatred work in the psychic structure? This research is meant to be an extension of clinical practice and of our previously developed studies. To achieve this goal, we have resorted to some of the concepts of three major psychoanalists and authors: S. Freud, M. Klein and D. W. Winnicott. Considering their concepts on both the self and human psychism, we have detected in their theories pieces of information which are basic to the understanding of the presence of hatred in psychic dynamics; in addition to this, we have here examined some present day scholars contributions to our theme. All of these materials have helped us perceive the paradoxical plot created by the ambivalence of this affection in psychic dynamics, where it works not only to build up the selfs structure and affirmation, but also as an element of resistance and destructiveness. Moving from theory to clinical practice ― and thus reinforcing the active articulation between both these poles, as recommended by psychoanalysis ― we have also resorted to clinical fragments to illustrate our major argument. The clinical examples here reported suggest, in short, that hatred can be equally used as a defense ― as evidenced, for example, in the analytical process ―, thus modifying the development of the psychic plot. Finally, we do believe that this investigation can eventually contribute to the work of those who dedicate themselves to psychoanalytical practice and the study of psychoanalysis, particularly as regards the complex and revealing expressions of hatred, which are characteristic of the human condition.

Made available in DSpace on 2017-06-01T18:29:25Z (GMT). No. of bitstreams: 1 maria_neuma_carvalho_barros.pdf: 1957741 bytes, checksum: e836ca2c900673e0819088366e694031 (MD5) Previous issue date: 2014-08-14 / Hatred ― one of the main constituent elements in one s relationship with other people― is a kind of affection that may engender rejection. From a psychoanalytical perspective, it protagonizes the self s subjective structuring process and, at times, contributes to psychic preservation, as revealed in clinical practice. Thence, the need to start this work by posing the following question: how does hatred work in the psychic structure? This research is meant to be an extension of clinical practice and of our previously developed studies. To achieve this goal, we have resorted to some of the concepts of three major psychoanalists and authors: S. Freud, M. Klein and D. W. Winnicott. Considering their concepts on both the self and human psychism, we have detected in their theories pieces of information which are basic to the understanding of the presence of hatred in psychic dynamics; in addition to this, we have here examined some present day scholars contributions to our theme. All of these materials have helped us perceive the paradoxical plot created by the ambivalence of this affection in psychic dynamics, where it works not only to build up the self s structure and affirmation, but also as an element of resistance and destructiveness. Moving from theory to clinical practice ― and thus reinforcing the active articulation between both these poles, as recommended by psychoanalysis ― we have also resorted to clinical fragments to illustrate our major argument. The clinical examples here reported suggest, in short, that hatred can be equally used as a defense ― as evidenced, for example, in the analytical process ―, thus modifying the development of the psychic plot. Finally, we do believe that this investigation can eventually contribute to the work of those who dedicate themselves to psychoanalytical practice and the study of psychoanalysis, particularly as regards the complex and revealing expressions of hatred, which are characteristic of the human condition. / O ódio ― um dos principais elementos de nossa relação com o outro ― é um afeto que suscita rejeição. Na perspectiva psicanalítica, ele protagoniza o processo de estruturação subjetiva do sujeito e por vezes funciona como elemento de preservação psíquica, como nos revela a prática clínica. Diante disto, é oportuno indagar: de que forma o ódio atua no psiquismo? A presente pesquisa se propõe a ser prolongamento da atividade clínica e a dar prosseguimento a estudos por nós anteriormente desenvolvidos. Para tanto, recorremos às postulações de três dos principais autores e psicanalistas conhecidos: S. Freud, M. Klein e D. W. Winnicott. Considerando as concepções de sujeito e de psiquismo humano de cada um desses autores, constatamos, em suas teorizações, a existência de dados fundamentais para o entendimento da presença do ódio na dinâmica psíquica. Partindo de tais teorias ― aqui parcialmente ampliadas por reflexões de estudiosos da atualidade sobre tal afeto ―, centramos nossa investigação na trama paradoxal do ódio, dada sua ambivalente atuação na dinâmica psíquica: funciona tanto como elemento de estruturação e afirmação do sujeito, quanto de resistência e destrutividade. Transitando entre os polos teórico e clínico ―e desse modo realçando a articulação ativa entre teoria e clínica, tal como postula a psicanálise ―, recorremos também a fragmentos clínicos para ilustrar nosso argumento central. Os exemplos clínicos reportados neste texto sugerem, em suma, que o ódio ― tal como evidenciado no processo de análise ― pode ser igualmente usado como defesa, assim modificando o desenvolvimento da trama psíquica. Acreditamos, finalmente, que esta tese possa vir a se constituir em subsídio e contribuição para aqueles que se dedicam à prática psicanalítica e ao estudo da psicanálise, particularmente no que diz respeito às complexas e reveladoras manifestações do ódio, características da condição humana.

This thesis explores the nature of contemporary sculptural practices in relation to the broader field of installed sculpture (which deploy articulated, interrelated, but autonomous components) and in the context of recent approaches to both curation and display. The artistic work and attendant commentary constitute a response to the issues of sculptural agency and display raised by both the practice-based outcomes and key works of several contemporary artists: Gabriel Kuri, Gedi Sibony, Melanie Counsell, Marc Camille Chaimowicz and Michael Dean. In a number of exhibitions ‘post-installation’ practices and the function of ‘montage’ sculpture is examined. Through outlining the current landscape of sculptural production and medium specificity a progressive notion of the monument is established. The sculptural artwork is seen to retain a political resistance, as both art-object and thing in the world. An assessment is made of how sculptures produce space within and through their exhibition context, directly related to the production of space as a whole (a social morphology posited by Henri Lefebvre). Applying a conception of time in reference to spatial production opens up the artwork’s potential to draw on complex codes of mnemonic function, which can potentially generate emancipatory agency from ideological issues in late-capitalism. Re-readings of key installed works by Marc Camille Chaimowicz and Mark Dean, through contexts derived from Nietzsche and Mark Fisher, reveal how sculptures can activate specific mnemonic codes, or collective memory. Such art works utilise a ‘forgetful memory’ – a reflexive process of positing, junking and reimagining relationships to cultural information. The body of artistic work produced for this research, intertwined with its critical reflection, makes an original contribution to knowledge by interrogating theoretically and experientially the potentials of ‘the sculptural’, as part of the plural production of art and exhibition-making. By means of practice and its outcomes, the research engages the current dynamics of spatial production and radicality of sculptural objecthood. The work examines the complex relationships between social memory and historicity, with which sculpture in an exhibition environment can engage.

Made available in DSpace on 2016-04-28T20:38:58Z (GMT). No. of bitstreams: 1 Marcus Rodrigues Jacobina Vieira.pdf: 1160437 bytes, checksum: 442a325aeb410a9a2ce12e8ce617c63a (MD5) Previous issue date: 2014-12-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This is a research on mourning and melancholy, the challenges of going through a mourning process and the refusal to accept aging and the passage of time.The research was inspired in psychoanalytic theory and on the reading of the novel The portrait of Dorian Gray, by Oscar Wilde, whose main character, Dorian Gray refused to grow old. Some aspects of Oscar Wilde´s life history were extracted from his biograpy by Daniel Salvatore Schiffer and from Tzvetan Todorov´s book Les Aventuriers de la Absolu to illuminate the the same problematic of the difficulty to enter in the work of mourning, leading to melancholy and to the empoverishment of creativity. The mourning ellaboration process and the kleinian theory of the depressive position were closely related to symbolization and to creativity, through the kleinian theory of positions and through the work of Hanna Segal and Ronald Britton / Esta é uma pesquisa a respeito dos processos de luto e melancolia, dos desafios que surgem à elaboração de lutos e perdas, e da resistência ao envelhecimento e a passagem do tempo. Foi inspirada na teoria psicanalítica e na leitura do romance O Retrato de Dorian Gray de Oscar Wilde, e de seu personagem principal, Dorian Gray, que não aceitava envelhecer. Alguns aspectos da vida de Oscar Wilde foram extraídos de sua biografia, escrita por Daniel Salvatore Schiffer e do livro de Tzvetan Todorov, A beleza salvará o mundo: Wilde, Rilke e Tsvetaeva: os aventureiros do absoluto, para iluminar a mesma problemática de inibição do luto, conduzindo à melancolia e ao empobrecimento da criatividade. Os processos de luto e a teoria desenvolvida por Melanie Klein da posição depressiva foram intimamente relacionados à simbolização e à criatividade, através da teoria kleiniana das posições, e do trabalho de Hanna Segal e Ronald Britton

This essay discusses rape and silence in J.M. Coetzee’s novel Disgrace, with focus on how and why the characters Melanie and Lucy are silenced after being raped. Paying special attention to gender and race, as well as the novel’s South African context, an attempt is made to consider how rape is represented in Disgrace, and how this representation is related to the silence of Melanie and Lucy. The discussion’s theoretical framework is based on feminist theories on sexual violence and rape, as well as theory on cultural scripts, sexual scripts, and rape myths. This essay finds that the rapes in J.M. Coetzee’s Disgrace are representations of South Africa’s inverted racial power structures, and its traditional gender structures; structures that contribute to silencing Melanie and Lucy. This essay argues that Coetzee has deliberately activated South African cultural scripts in the text in an attempt to expose problematic viewpoints regarding gender and race in society, as well as in the reader.

This thesis examines the relationship between the fiction of James Joyce and the theological practices outlined by Ignatius of Loyola. By deliberately foregoing claims of direct or simple influence, the thesis illustrates the way in which Loyola's concepts of belief, irony, discernment, and indifference illuminate the operations of the Joycean text. These operations in both Loyola and Joyce are themselves best explicated through the use of Kleinian psychoanalytic theory. Klein and her followers analyze dynamics of belief, representation, and meaning as products of frustration. Loyola and Joyce both force the reader into symmetrical situations of frustration, and Kleinian analysis helps us see how Joyce uses his texts as a kind of exercise for the reader-an exercise of productive frustration, disappointment, and loss. I trace the way this loss can turn reading into a reparative act, one that moves through the Kleinian 'paranoid-schizoid' position into a more productive, contingent, depressive position. I thus address Eve Kosovsky Sedgwick's proposal for reparative reading. By examining both Loyola's and Joyce's engagement with (and invitations into) frustrating, paranoid reading, I show how this engagement might become reparative. The thesis begins with an analysis of Loyola's Spiritual Exercises, finding there a specific structure of 'earnest irony.' It continues with a close reading of 'The Dead,' discerning how this structure operates in the Joycean text at the levels of both content and narration. It then takes up Kleinian theory directly to see precisely what paranoid reading-of the kind both Joyce and Loyola demand-accomplishes, and what its failure achieves. Its final two chapters consider A Portrait of the Artist as a Young Man, where it finds the narrative apparatus forcing the reader into a particular form of productive frustration, and Ulysses, which requires the greatest form of 'earnest irony' from the reader.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2015. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-02-05T17:31:08Z No. of bitstreams: 1 2015_IsadoradeAssisBrasil.pdf: 3254863 bytes, checksum: 7b3caae769b9ad1bdd2409a16d14ccfe (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-02-05T18:02:36Z (GMT) No. of bitstreams: 1 2015_IsadoradeAssisBrasil.pdf: 3254863 bytes, checksum: 7b3caae769b9ad1bdd2409a16d14ccfe (MD5) / Made available in DSpace on 2016-02-05T18:02:36Z (GMT). No. of bitstreams: 1 2015_IsadoradeAssisBrasil.pdf: 3254863 bytes, checksum: 7b3caae769b9ad1bdd2409a16d14ccfe (MD5) / Essa pesquisa examina as ligações entre os conceitos de identificação projetiva e de transicionalidade, com base nas obras de Melanie Klein e Winnicott sobre as experiências precoces. Começa pelo estudo do conceito kleiniano de identificação projetiva, focado sobre seu aspecto intrapsíquico. Em seguida, contemplando-se os desenvolvimentos clínicos que conduziram à evolução histórica desse conceito, essa pesquisa chega ao seu entendimento enquanto um processo interpsíquico. Subsequentemente, busca-se relacionar a identificação projetiva às contribuições de Winnicott acerca do desenvolvimento emocional primitivo, detalhando a sofisticada forma como uma mãe se identifica com seu bebê, e as influências disto para o estado de preocupação materna primária. Finalmente, apoiado nas convergências e divergências entre Klein e Winnicott, costura-se o argumento de que a identificação projetiva, aliada à transicionalidade, favorece o movimento pendular que configura um funcionamento psíquico dinâmico e saudável. / This research examines the links between the concepts of projective identification and transitionality, based on the works of Melanie Klein and Winnicott about early experiences. It starts by studying the kleinian concept of projective identification, in its intrapsychic focus. Afterwards, by contemplating the clinical developments that led to its historical evolution, this study arrives at the understanding of projective identification as an interpsychic process. Subsequently, it relates this mechanism to Winnicott’s contributions regarding the primitive emotional development, detailing the sophisticated way that a mother identifies with her baby, and how this can influence the state of primary maternal preoccupation. Finally, supported by the convergences and divergences between Klein and Winnicott, it sews the argument that projective identification, when allied with transitionality, favors the oscillating movements that configure a dynamic and healthy psychological functioning.

This thesis analyzes the mother-child relationship in the Harry Potter novels by using Melanie Klein’s object-relation based theory. I argue the mothers and their relationship with their offspring represent fragments of a whole complicated psyche. The characters are not analyzed as individuals, but instead as pieces, sometimes multiple pieces, of a whole psyche. When these characters and novels are taken together, a whole, multi-faceted person comes into view. Rowling depicts both good and bad mothers, and children who characterize different positions according to Klein. These positions are the paranoid-schizoid position with Harry Potter and the depressive position with Sirius Black and Rubeus Hagrid. Although the series suggests a developmental arc or a coming of age story within fantasy literature, there is no linear progression; instead, there are disruptive positions without development.