Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2011. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-12-05T13:23:23Z No. of bitstreams: 1 2011_CassioKoshevnikoffZambelli.pdf: 479894 bytes, checksum: 6d125e54baf8459b190ca759546a1ac9 (MD5) / Approved for entry into archive by LUCIANA SETUBAL MARQUES DA SILVA(lucianasetubal@bce.unb.br) on 2011-12-05T14:53:27Z (GMT) No. of bitstreams: 1 2011_CassioKoshevnikoffZambelli.pdf: 479894 bytes, checksum: 6d125e54baf8459b190ca759546a1ac9 (MD5) / Made available in DSpace on 2011-12-05T14:53:27Z (GMT). No. of bitstreams: 1 2011_CassioKoshevnikoffZambelli.pdf: 479894 bytes, checksum: 6d125e54baf8459b190ca759546a1ac9 (MD5) / A área de interesse desta dissertação é a psicanálise, mais especificamente o estudo teórico sobre o conceito de contratransferência. O objetivo geral do trabalho consiste em delinear o aparecimento do termo contratransferência na psicanálise, mostrando como o conceito foi desenvolvido nos textos de Sigmund Freud, Sándor Ferenczi, Paula Heimann e ainda qual seria a relação na compreensão desse conceito entre esses autores. Nas obras de Freud, investigou-se a origem do termo e a sua concepção inicial, mostrando como esse conceito estava presente em suas obras por meio da disponibilidade do afeto e do inconsciente do analista, discutindo a ambiguidade da contratransferência presente na obra desse autor. Em seguida, refletiu-se sobre a noção de contratransferência em Ferenczi, evidenciando como suas ideias permitiram a abertura emocional do analista para que pudesse aprofundar a compreensão de seus pacientes, levando em consideração a sensibilidade, a empatia e o tato do analista. Por fim, refletiu-se a releitura que Heimann realizou do conceito de contratransferência em Freud. A partir dessa releitura verificou-se a forte ênfase no conceito de identificação projetiva e a ampliação da compreensão da contratransferência. Concluindo, elaborouse considerações a respeito do entrelaçar da teoria da contratransferência nesses autores. ______________________________________________________________________________ ABSTRACT / The area of interest of this dissertation is psychoanalysis, specifically the theoretical study on the concept of countertransference. The overall objective of the work is outline the emergence of the term countertransference in psychoanalysis, marking how the concept was developed in the articles of Sigmund Freud, Sándor Ferenczi and Paula Heimann. Also what would be the relationship of this concept among those authors. At the works of Freud, we investigate the origin of the term and its original development, showing how the concept was present in his works through the availability of affection and analyst's unconscious, discussing the ambiguity present in the work of countertransference this author. Then, is reflected the comprehension of countertransference in Ferenczi, marking how his ideas allowed the analyst's emotional openness that could deeper the understanding of their patients, taking into account sensitivity, empathy and tact of the analyst. Finally, is reflected the understanding on the concept of countertransference by Heimann. At her understanding is implied a strong emphasis on the concept of projective identification, making possible a expansion on the concept of countertransference. In conclusion, we prepared considerations about the theory’s intertwining on the concept of countertransference in these authors.

Made available in DSpace on 2016-04-28T20:39:27Z (GMT). No. of bitstreams: 1 paula regina peron.pdf: 494275 bytes, checksum: a65a98ab762277ffef7014864c55fed9 (MD5) Previous issue date: 2007-05-17 / The present psychoanalytical research brings metapsychological considerations on the theme of trauma, its impacts and possible psychical consequences, based on Sigmund Freud and Sándor Ferenczi. Through the contributions of Ferenczi, the subject of trauma is examined, with the intention to understand clinical phenomena, especially of psychical paralysis and strong submission to the analyst, features that characterize a typical transferencial picture, nominated by the author as masochist-depressive transference. Such basis allowed us to consider that indifferent and violent repetitive maternal and paternal attitudes can provoke pathological effects on the psychical development of a child, taken by great amounts of excitement, disorganizing his subjective functioning and mobilizing pathological defense mechanisms that reflect a wounded narcissism. Four clinical cases have been examined, in which transferencial movements indicated psychical defenses such as splitting, psychopathological progression and identification with the aggressor. In such cases, the analyst had to work to allow the bounding of psychical excesses to words, and thus to construct meanings for traumatic experiences. The clinical necessity of non-standardized psychoanalytical technique was verified, and also the need to consider the importance of the real fact, as much as the patient s attributed meaning to the traumatic fact. It was concluded mainly that considering the masochist-depressive transference, the underlying traumatic factors and the derivative pathological psychical defenses brings more possibilities of intervention to the analysis, with special attention for the factors that produce compulsion to repetition and corporal symptoms / A presente pesquisa psicanalítica, baseada em Sigmund Freud e Sándor Ferenczi, traz considerações metapsicológicas sobre o trauma, seus impactos e possíveis conseqüências psíquicas. Através das contribuições do psicanalista húngaro Ferenczi, o tema do trauma é examinado para possibilitar a compreensão de fenômenos clínicos, especialmente de paralisia psíquica e forte submissão ao analista, que caracterizam um quadro transferencial típico nomeado pela autora como transferência depressivo-masoquista. Tal embasamento permitiu considerar que as atitudes materna e paterna podem provocar, quando repetidas e carregadas de indiferença e violência, efeitos patológicos sobre o desenvolvimento psíquico de uma criança, que fica então inundada por grandes quantidades de excitação, tendo seu funcionamento subjetivo desorganizado e mobilizando defesas patológicas que refletem um narcisismo ferido. Foram examinados quatro casos clínicos cujos movimentos transferenciais faziam supor defesas psíquicas de clivagem, progressão psicopatológica e identificação com o agressor. Em tais casos, evidenciou-se a necessidade do analista trabalhar para permitir o ligamento de excessos psíquicos às palavras e assim, construir sentido para experiências traumáticas. Verificou-se a necessidade clínica de não uniformizar a técnica psicanalítica, e de levar em conta tanto a importância do fato real, quanto a significação singular que um determinado paciente atribuiu ao fato traumático. Concluiu-se principalmente que considerar a transferência depressivo-masoquista, os fatores traumáticos subjacentes e as defesas psíquicas patológicas derivadas permite a ampliação das possibilidades de intervenção da análise, com atenção especial para os fatores que produzem compulsão à repetição e sintomas corporais

Made available in DSpace on 2014-06-11T19:28:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2001-10Bitstream added on 2014-06-13T19:37:38Z : No. of bitstreams: 1 gabriel_msa_me_assis.pdf: 539685 bytes, checksum: 963616cd0420efe0bd4eecdb2e979ab8 (MD5) / Esta dissertação é resultado de pesquisa em que os instrumentos utilizados foram questionários e entrevistas.De tal modo, foi descrito como o método de trabalho corporal foi construído por Pethö Sándor, assim como também sua provável fundamentação teórica, composto da imbricação entre a neurologia, anatomia e psicologia profunda de C. G. Jung. Além disso, foi também constatado que tanto o método de trabalho corporal como a própria vivência do autor foram tangidas por ensinamentos da sabedoria perene. Para que esse método pudesse ser inserido num contexto histórico, partimos da descrição das trajetórias históricas da filosofia, da medicina, da psicologia e do desenvolvimento dos métodos e técnicas corporais, passando pela descrição de cada um deles até chegarmos à atualidade, no afã de cumprirmos nosso objetivo. / This dissertation is the result of a research which was carried out based on questionaires and interviews. This is mainly at the record of the way followed by Pethö Sándor over his life to draw up the method of body therapy. This method works the imbrication of Neurology, Anatomy and the deep Psycology by C. G. Jung. The available elements used to record the building-up of this method are presented in the proof that both, the body therapy and Sándorþs own life experience were touched by the teaching of ageless wisdom. For this method could be included in a historical context, this work was started by the description of the historic ways of Phylosophy, Medicine, Psychology and also the historical development of both, physical methods and technics. Then, each one was described from the beginning to the present time, with the strong will to reach the purpose of this work.

Made available in DSpace on 2016-06-02T20:12:13Z (GMT). No. of bitstreams: 1 2207.pdf: 1191412 bytes, checksum: 5584fb11b5279406dc2be1603307e92e (MD5) Previous issue date: 2008-06-16 / From the link between the works of Freud, Ferenczi and Groddeck, this study attempts to show that psychoanalysis, since their first developments, provides evidence for the formulation of a psychoanalytic psychosomatic. In the first chapter, when we approach psychoanalytic concepts that are in the intersection between the psychic and somatic, we present evidences suggesting that somatic changes that affect somatic functions and/or structures are produced when, under impact of a traumatic situation, added by the insufficiency of the specific action, the discharge of the affection occurs of a totally unconscious way, running a cumulative excitement that found no other way of expression. This means of discharge, which is based upon the acting, not on the word, can come up from phylogenesis after the failure of the ontogenesis to equip the individual with more consistent reactions to him face limit-situations of reality. Prevented from acting against the object, the natural aggressiveness -inherent to the instincts of preservation of the species- acts in the way to disrupt the psychic functioning or, if it is sufficiently protected by the cleavage of the ego, disorganizing the somatic structures. On that regression beyond the psychic limits, selfdestructiveness, remnant of the original masochism, expressed a force even more basic in the formation of living being, as sought to show in the second chapter. Identified by Freud at both the psychological level as in the somatic level, the death drive extends the roots of unconscious to the biological level, considering the existence of an undifferentiated region between soma and psyche, where the variations of a level impact on the other. This hypothesis is supported: (1) by Ferenczi, who introduced changes in analytical technique with the aim of promoting a regression able to access content from traumatic experiences, and reached archaic and undifferentiated contents, that remains detained in the body as a memory without words, at the margin of language and the further development of the ego, producing psychical and somatic suffering, (2) by the location of the It at the psychic apparatus, connected directly with the somatic forces. By tracing the origin of It until the thought of Groddeck, in the third chapter, we find an unconscious-It that precedes the psychosomatic existence. For Groddeck, the lack of symbolic significance of organic diseases are due to the split between soma and psyche inherent at the explanatory model, for which the disease and the sickness organs are not seen as symbols that can be decoded and resized from the symbolic nature of unconscious. Finally, we show that, in despite the work of Freud provides explanations for the psychosomatic phenomenon in a psychoanalytic perspective it is Groddeck and Ferenczi that provide the clinical features that allow rescuing the psychosomatic phenomenon to become synonymous with lack of symbolization. Despite Freud have remained away of this issue and skeptical about the resolution of the psychosomatic disease through analysis, some of his assertions in his last years show that the creator of metapsychology not remained totally unrelated to that possibility. / A partir da articulação entre as obras de Freud, Ferenczi e Groddeck, este trabalho procura mostrar que, desde os seus primeiros desenvolvimentos, a psicanálise oferece elementos para a formulação de uma psicossomática psicanalítica. No primeiro capítulo, ao abordarmos conceitos psicanalíticos que se constituíram na intersecção entre o psíquico e o somático, apresentamos elementos que permitem supor que as alterações somáticas que atingem funções e/ou estruturas do corpo são produzidas quando, sob impacto de uma situação traumática, somado à insuficiência da ação específica, o afeto se descarregar de modo totalmente inconsciente, veiculando uma excitação acumulada que não encontrou outra possibilidade de expressão. Tal via de descarga, que tem como base o ato, e não a palavra pode ser evocada a partir da filogênese quando a ontogênese falha em equipar o indivíduo com reações mais condizentes ao enfrentamento de situações-limite da realidade. Impedida de se atualizar contra o objeto, a agressividade natural, inerente aos instintos de conservação da espécie, atua no sentido de desorganizar o funcionamento psíquico, ou, se este estiver suficientemente protegido pela clivagem do ego, desestruturar o funcionamento somático. Nessa marcha regressiva para além dos limites psíquicos, a auto-destrutividade, resquício do masoquismo original, expressa uma força ainda mais fundamental na constituição do vivo, como procuramos mostrar no segundo capítulo. Identificada por Freud tanto no nível psíquico como no nível somático, a pulsão de morte estende as raízes do inconsciente ao registro biológico, e permite considerar a existência de uma região indiferenciada entre soma e psique, onde as variações de um registro repercutem sobre o outro. Essa hipótese é corroborada: (1) por Ferenczi, que ao empreender modificações na técnica analítica com o objetivo de promover uma regressão capaz de acessar conteúdos derivados de experiências traumáticas, acessa conteúdos arcaicos e indiferenciados, que se mantêm imobilizados no corpo como lembranças sem palavras, à margem da linguagem e do desenvolvimento posterior do ego, produzindo sofrimentos somato-psíquicos; (2) pela localização do Isso no extremo do aparelho, em conexão direta com as forças somáticas. Ao rastrearmos a origem do Isso até o pensamento de Groddeck, no terceiro capítulo, encontramos um Isso-inconsciente precedendo toda a existência psicossomática. Para Groddeck, a falta de significação simbólica das doenças orgânicas deve-se à cisão entre soma e psique inerente ao próprio modelo explicativo, para o qual a doença e os órgãos doentes não são vistos como símbolos que podem ser decodificados e redimensionados a partir da natureza simbólica do próprio inconsciente. Para finalizar, procuramos mostrar que, apesar da obra de Freud fornecer elementos para a explicação do fenômeno psicossomático na perspectiva psicanalítica, é Groddeck e Ferenczi que fornecem os elementos clínico-conceituais que permitem resgatar o fenômeno psicossomático de se tornar sinônimo de ausência de simbolização. Apesar de Freud ter se mantido afastado dessa temática, e cético em relação à resolução da doença somática pela via analítica, algumas de suas afirmações em seus últimos anos indicam que o criador da metapsicologia não se manteve totalmente alheio a essa possibilidade.

One of the famous Russian composers and a pianist himself, Sergei Prokofiev (1891–1953) composed a vast quantity of piano music. His nine piano sonatas represent well how he projected his musical individuality and the principles that he addressed in his autobiography: classical line, modern trend, toccata line, lyrical line, and grotesque line. However, even though Prokofiev's piano sonatas are considered one of the important collections in the piano repertoire, not all of them have gained popularity and only a few tend to be frequently performed by pianists today. For this reason, this dissertation focuses on one of his less-performed piano sonatas, No. 4 in C minor, Op. 29. The pianists György Sándor and Boris Berman were chosen as specialists in Prokofiev's piano works, and their performance editions and recordings are analyzed and compared as main references. This study provides analysis and a performance guide to this piano sonata. This guide discusses pedaling, fingering, phrasing, touch, voicing, tempo suggestion, articulation, hand distribution, and expression.

Made available in DSpace on 2016-04-29T13:31:35Z (GMT). No. of bitstreams: 1 Dissertacao integral.pdf: 1828407 bytes, checksum: 5ae4f33e879a658e67f1ba3bedfa29f0 (MD5) Previous issue date: 2005-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Abstract The purpose of this work is to study the formation of analytical psychology in Brazil. To this end, a social approach in the history of psychology was used seeking to place people and facts in a general context once history is inserted in a certain time and place. Three figures considered pioneers in this field in the country were identified Nise da Silveira, Pethö Sándor and Leon Bonaventure whose personal and professional paths are addressed. At the same time, also noted, are the possible related broader events and situations that may be related to their being responsible for their role as pioneers. In mapping the contributions made by these professionals in the field of analytical psychology, one perceives the development of a creative work not limited to the dissemination of Carl Gustav Jung s concepts, but to the proposition of their own methods and techniques. Furthermore, particularly in the work of the two first pioneers researched, one observes the collaboration toward the birth of a Brazilian analytical psychology. / O objetivo deste trabalho é o estudo da constituição da psicologia analítica no Brasil. Para esse fim, utilizou-se a abordagem social em história da psicologia buscando situar personagens e fatos no contexto geral, na medida em que se entende que a história está inserida em determinado tempo e lugar. Foram identificados três personagens considerados pioneiros da disciplina no país Nise da Silveira, Pethö Sándor e Leon Bonaventure, cujos percursos pessoais e profissionais são abordados, ao mesmo tempo em que são apontados eventos e situações mais amplos que podem estar relacionadas ao processo que levou tais pessoas a assumirem o papel de pioneiros. Ao mapear-se a contribuição desses profissionais, para o campo da psicologia analítica, percebe-se o desenvolvimento de um trabalho criativo que não se limita à disseminação, no país, dos conceitos de Carl Gustav Jung, propondo métodos e técnicas próprias. Além disso, particularmente na obra dos dois primeiros pioneiros pesquisados, observa-se a colaboração para a constituição de uma psicologia analítica brasileira.

<p>This dissertation, by presenting comprehensive analyses of six poems by the Hungarian poet Sándor Weöres, investigates the poetical forms and the poetical philosophies in these texts. The poems represent specific philosophic spheres of Weöres' poetry. The analyses emerge from the formal elements, and aim to shed light upon the structural coherences between the texts and their philosophical contexts. This method of analysis also complies with Weöres' views on the aesthetics of poetics and his method of writing, where form and structure always played an outstandingly important role. The complex methods used in the analyses are very much influenced by the views and methods of a text stylistics that looks at the literary work as a global entity. Taken together, these analyses illustrate the focal points of a remarkable poetical form and a most profound philosophical context in the poems of an outstanding Hungarian poet.</p>

This dissertation, by presenting comprehensive analyses of six poems by the Hungarian poet Sándor Weöres, investigates the poetical forms and the poetical philosophies in these texts. The poems represent specific philosophic spheres of Weöres' poetry. The analyses emerge from the formal elements, and aim to shed light upon the structural coherences between the texts and their philosophical contexts. This method of analysis also complies with Weöres' views on the aesthetics of poetics and his method of writing, where form and structure always played an outstandingly important role. The complex methods used in the analyses are very much influenced by the views and methods of a text stylistics that looks at the literary work as a global entity. Taken together, these analyses illustrate the focal points of a remarkable poetical form and a most profound philosophical context in the poems of an outstanding Hungarian poet.

In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.