The proof set forward in this thesis is that the method of Marshall McLuhan (1911-1980), which he came in the 1970’s to describe as ‘structuralist’, ‘phenomenological’ and even ‘metaphysical’, owes a heretofore unacknowledged debt to Sigmund Freud (1856-1939). Critics have thus far neglected the influence of nineteenth and twentieth century psychology in McLuhan’s work, although a wealth of biographical material supports the argument that McLuhan’s ‘metaphysical’ method is derived as much from psychoanalysis and analytical psychology (C.G. Jung) as from any of McLuhan’s acknowledged predecessors. Returning to the texts from which McLuhan gained his knowledge of psychology, I trace the influence of Freud, Jung and their disciples upon McLuhan, establishing McLuhan’s use of Freudian concepts and terminology in his first book The Mechanical Bride (1951), and his use of the psychoanalytic concepts of the ‘unconscious’, ‘trauma’ and ‘repression’ in the books that came after it. What McLuhan calls the ‘unconscious’ is more often named by him as Logos, ‘acoustic space’ or the ‘media environment’, and I trace the debts that these concepts owe not only to Freud and Jung but to Aristotle, St. Thomas Aquinas, gestalt theory, art theory, Henri Bergson, Pierre Teilhard de Chardin, Wyndham Lewis, Siegfried Giedion, Harold Innis, the French symbolist poets of the late nineteenth century and the British modernists of the early twentieth. Despite his rejection of the Freudian argument, McLuhan, like Freud, conceptualizes pain or trauma as the ‘cause’ of transformations (i.e. processes) in the unconscious; but while for McLuhan, invoking St. Thomas Aquinas and Aristotle, technologies are ‘formal causes’ simultaneous with (or ‘preceded’ by) their effects, for Freud and his modern interpreter Jacques Lacan, trauma is ‘paradoxical’ in structure, presenting as both its own ‘cause’ and ‘effect’. Situating McLuhan in relation to French structuralism, I contrast McLuhan’s concepts of ‘figure’ (as cause) and ‘ground’ (as effects), elaborated in his last book Laws of Media (1988), to the concepts of the ‘signifier’ and the ‘signified’ in Ferdinand de Saussure’s Course in General Linguistics (1916), and critique McLuhan’s ‘tetrad’, the ideograph with which he illustrates media ‘effects’, in relation to the psychoanalytic concept of the signifier elaborated by Lacan. In reply to McLuhan’s maxim that ‘the medium is the message’, I conclude that technologies, insofar as they function as ‘formal causes’, are doubly ‘hidden’: firstly, because, as McLuhan says, they can only be grasped through their effects; and secondly because, as Lacan says, their effects can only be articulated when they manifest as ‘disturbances’ in the symbolic order, i.e., as fantasies of the Other’s jouissance (enjoyment). There are numerous stories about how McLuhan would frustrate his critics by refusing to take a ‘point-of-view’, and in fact his (psychoanalytic) technique of ‘putting on’ the audience as a mask, and his (deconstructivist) manner of changing perspectives as often as necessary, sit oddly with his championing of Logos. A comparison with Freud and Lacan finds McLuhan at a ‘paradoxical’ moment in the history of Western thought, poised between modernism and postmodernism, between structuralism and deconstructivism, and between metaphysics and psychoanalysis. / Thesis (Ph.D.) - University of Adelaide, School of History and Politics, 2008

Nous dégageons dans ce mémoire les limites de l'utilisation du concept de narcissisme au sein de la sociologie et plus particulièrement dans les livres La culture du narcissisme de Christopher Lasch et L'ère du vide de Gilles Lipovetsky. Pour ce faire, nous avons retracé l'évolution du concept de narcissisme dans la psychanalyse freudienne ainsi que la psychanalyse américaine s'inspirant de la réforme hartmannienne. Nous sommes parties du fait qu'il existe une certaine méprise concernant l'acception de ce concept au sein de thèses sociologiques et avons illustré cela par une analyse des auteurs précités. Que ce soit dans la conceptualisation freudienne du phénomène du narcissisme; l'encadrant d'abord par du sexuel, ensuite dans les avatars que le moi subit ou bien les thèses hartmanniennes, kernbergiennes et kohutiennes mettant l'accent sur le soi, le concept de narcissisme demeure un concept fortement déterminé par la psychanalyse et en conséquence exige que l'on s'y réfère adéquatement. Nous avons ainsi découvert que Lasch opère plusieurs glissements conceptuels entre l'acception freudienne et l'acception postfreudienne, rendant sa thèse confuse. Quant à Lipovetsky, nous avons montré que parce qu'il occulte le dispositif psychanalytique, il ne peut comprendre la portée même de sa thèse sur le narcissisme de l'individu postmoderne. Ce mémoire parcourt ainsi le concept de narcissisme dans le cadre du premier et du deuxième dualisme pulsionnel, de la réforme hartmannienne mettant l'accent sur le narcissisme comme investissement libidinal du soi, du narcissisme tel que Green le conçoit et finalement, ce voyage conceptuel culmine dans une analyse des thèses laschiennes et lipovetskiennes sur le narcissisme de l'individu du 20ième siècle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Narcissisme, Premier dualisme pulsionnel, Deuxième dualisme pulsionnel, Postmodernité, Freud, Hartmann, Kernberg, Kohut, Green Lasch, Lipovetsky.

As seen from cultural history, shape-shifting is a very widespread literary motif, which suggests that it has high inspirational power and general appeal. Shape-shifting has not been critically examined in the detail it merits: it is mostly examined as a part of other theories. Examination of Freud‟s psychological theories and modern literature such as Dracula, Harry Potter and the Prisoner of Azkaban and The White Wolf of the Hartz Mountains shows strong connections between the power of this motif and repressed animal instincts – an animal within. This connection usually manifests symbolically rather than as an actual representation of an unearthing of repressed material. There are connections to religious beliefs and a wish to be more than human which raises questions about what is implied by changing into an animal – less than human – shape. The relation between shape-shifting and repression causes an uncanny atmosphere about the motif, something which is used extensively in The White Wolf of the Hartz Mountains and Dracula. There is also evidence suggesting the possibility that psychosis and neurosis might manifest as a sort of mental shape-shifting. In literature this can be seen in the were-wolf Lupin in Harry Potter and the Prisoner of Azkaban and the Berserkers of the Norse. Examination of the Boggart and Lupin of Harry Potter and the Prisoner of Azkaban and of the Norse berserkers show that the empowerment of shape-shifting mostly lies in control. All of this considered, and with the lack of critical examination in mind, shape-shifting seems severely underestimated and under-examined.

Walter Benjamin, in Thesis IX of his “Theses on the Philosophy of History,” wrote of the angel of history looking back at the past from the now-time of the present moment, at the historical wreckage, a single catastrophe as it were, piling in front of its feet, as it gets pulled forward facing back into the temporality of the future and the space of modernity’s violent excesses, heralded by the promise of apparent progress. As the title to my dissertation suggests, my study begins, following the angel’s look, with these three words, seeing what remains, and as such it is structured around the very nature of this arresting “look back” and that which is being regarded, the ruins, or the remains and remainders that exist after, and in the aftermath of, traumatic loss. Working with and across a variety of mediums, I conduct a series of exegetical studies of recent “texts” – literary, photographic, and cinematic – within which, I argue, this look back figures as central to the concern of how we might understand the simultaneous existence of the forces of remembrance and forgetting, and of mourning and melancholia in memory-work. The various “texts” within which I explore this look back are Anne Michaels’s novel Fugitive Pieces, the photographic series titled Library of Dust by David Maisel, the movies Hiroshima, mon amour by Marguerite Duras and Alain Resnais and Amour by Michael Haneke. I situate my exploration of the enigmatic nature of the look back in these different textual scenes alongside Sigmund Freud’s critical work on transference and transference love and Kaja Silverman’s rigorous expansion of the psychoanalytic objective of the “cure by love.” Here, it is my intention, as such, to work toward and expand on my thesis that this look, of the angel (or the materialist historian or the artist as witness), is a look of redemptive love, both against erasure and against the possibility of invisibility, “to awaken the dead” as it were, so as to address the loss inscribed in historical experiences with catastrophic temporality and to thereby redeem the ethical from within the scene of trauma.

No description available.

Freiburg i. Br., Univ., Diss., 2002.

Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T14:33:23Z No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T14:33:30Z (GMT) No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T14:33:36Z (GMT) No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) / Made available in DSpace on 2017-08-21T14:33:42Z (GMT). No. of bitstreams: 1 DissSM.pdf: 674702 bytes, checksum: a1347e662fa95536cc5f05ef488cc9fe (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The purpose of this paper is to discuss Freud's dualistic drive, arguing that the transition from one dualism to another is not a rupture in his theory, but rather a movement in his thinking. For this, we start from the analysis of the concept of drive, marking its specificity when compared to the animal instinct and showing how the sexual drives and the drives of self-preservation allowed the appearance of two different ways of processing the psychic energy. Next, we deal with the psychic conflict that begins with the process of repression and has as a background duel between sexuality and self-preservation, a subject that interests us, because we will see how the clinic and its impasses end up bringing problems to the first Theory. For this reason, we will deal with the difficulties brought about by paraphrenias and by the concept of narcissism that end up smoothing the first dualism. Finally, we will see how traumatic neurosis and the compulsion to repetition bring new elements to Freud and culminate in the elaboration of a new definition of the drive, which will now also be thought from the dispute between the life drives and the death drive. / Este trabalho tem como propósito discutir o dualismo pulsional em Freud, defendendo que a passagem de um dualismo a outro não se configura enquanto uma ruptura em sua teoria, mas sim enquanto movimento em seu pensamento. Para isso, partimos da análise do conceito de pulsão, marcando sua especificidade quando comparada ao instinto animal e apresentando de que maneira as pulsões sexuais e as pulsões de autoconservação possibilitaram o aparecimento de dois modos diferentes de processar a energia psíquica. Em seguida, tratamos do conflito psíquico que se inicia com o processo de recalque e tem como pano de fundo o duelo travado entre a sexualidade e a autoconservação, assunto que nos interessa, pois veremos como a clínica e seus impasses acabam por trazer problemas à primeira teoria pulsional. Por este motivo, trataremos das dificuldades trazidas pelas parafrenias e pelo conceito de narcisismo que acabam por esfumaçar o primeiro dualismo. Por fim, veremos como a neurose traumática e a compulsão à repetição trazem elementos novos à Freud e culminam na elaboração de uma nova definição do pulsional, que agora será pensado também a partir da disputa travada entre as pulsões de vida e as pulsões de morte.

No description available.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2008. / Submitted by Jaqueline Oliveira (jaqueoliveiram@gmail.com) on 2008-12-10T16:42:08Z No. of bitstreams: 1 DISSERTACAO_2008_JoseReginoDeOliveira.pdf: 1256550 bytes, checksum: 36b49d7af92ec50bd18967d47fd45ec8 (MD5) / Approved for entry into archive by Georgia Fernandes(georgia@bce.unb.br) on 2009-03-04T12:53:27Z (GMT) No. of bitstreams: 1 DISSERTACAO_2008_JoseReginoDeOliveira.pdf: 1256550 bytes, checksum: 36b49d7af92ec50bd18967d47fd45ec8 (MD5) / Made available in DSpace on 2009-03-04T12:53:27Z (GMT). No. of bitstreams: 1 DISSERTACAO_2008_JoseReginoDeOliveira.pdf: 1256550 bytes, checksum: 36b49d7af92ec50bd18967d47fd45ec8 (MD5) / O objetivo desse trabalho é refletir sobre o papel do ator na encenação cômica, as necessidades e especificidades que envolvem o trabalho do ator na construção do Riso. Para isso foram confrontados os estudos de Freud sobre o Chiste e sua Relação com o Inconsciente, o Sistema das Ações Físicas elaborado por Stanislavski, relatos de experiências colhidas em entrevistas com artistas que trabalham com a arte cômica ou já tiveram experiências com essa arte, minhas experiências com o grupo de Teatro Celeiro das Antas, como professor no departamento de Artes da Universidade de Brasília e como Palhaço. A análise desse material permitiu listar procedimentos para serem usados pelo ator com o objetivo de provocar o Riso. Muitos desses procedimentos são usados não apenas pelos atores, mas também pelas pessoas que utilizam o Riso como forma de comunicação. A proposta é ampliar o repertório de possibilidades dos artistas que trabalham com a produção do Riso. _______________________________________________________________________________ ABSTRACT / This research aims to understand actor’s role in comical performances, as well as the specific characteristics and necessities which involve the actor’s work in provoking laughter. To achieve this goal, different proposals and experiences were compared: Freud´s studies on Jokes and Their Relations to Unconscious; the Method of Physical Action created by Stanislavski; different experiences told in interviews with artists who work with comical performances; as well as the author’s own experience in the Brazilian group Celeiro das Antas, as a teacher at the performance arts department in the University of Brasilia (Brazil) and as a clown. The analysis of such elements permitted to achieve a list of procedures to be applied by an actor in order to lead to laughing. Many of these procedures are adopted not only by actors but also by other professionals who use humor as a mean of communication. The research intends to enlarge the range of possibilities to the artists who work provoking laughter and creating humor.

CAMPOS, Renata Carvalho. Sintoma e fantasia como fundamentos da clínica psicanalítica com crianças. 2015. 121f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-22T15:16:00Z No. of bitstreams: 1 2015_dis_rccampos.pdf: 887521 bytes, checksum: 1e60ba72b92027b2f56ae5d720fdf96f (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-12-22T15:31:45Z (GMT) No. of bitstreams: 1 2015_dis_rccampos.pdf: 887521 bytes, checksum: 1e60ba72b92027b2f56ae5d720fdf96f (MD5) / Made available in DSpace on 2015-12-22T15:31:45Z (GMT). No. of bitstreams: 1 2015_dis_rccampos.pdf: 887521 bytes, checksum: 1e60ba72b92027b2f56ae5d720fdf96f (MD5) Previous issue date: 2015 / É consensual entre os teóricos, a proposição de que a psicanálise é uma só, não havendo diferenças entre a análise de adultos e de crianças. Esses autores consideram, no entanto, que existem especificidades no tocante à infância, decorrentes do desenvolvimento e da linguagem, cujas repercussões comparecem na clínica. Tendo em vista essas divergências, questiona-se sobre a existência de particularidades na psicanálise com crianças e o que elas envolvem. Trata-se de uma mera questão de técnica? O que está para além da técnica e que une sob o termo psicanálise o tratamento de adultos e crianças? O que é comum às duas formas de psicanalisar? Em síntese, o que fundamenta a clínica psicanalítica? Fundamentar remete à articulação da teoria a um campo de experiência e é nesse contexto que se insere essa pesquisa, uma vez que, ela se origina nos impasses da clínica e retorna à teoria numa tentativa de aprofundar a compreensão do trabalho analítico com a criança. Nesse sentido, objetiva-se situar as diferenças que envolvem a clínica com crianças dentro da teoria psicanalítica, segundo as contribuições de Freud e Lacan. Ao investigar a clínica psicanalítica nos seus fundamentos, pretende-se estabelecer princípios para pensar a psicanálise com crianças, questionando o discurso em favor das especificidades. Sintoma e fantasia são utilizados como parâmetros por reunirem as condições necessárias para a presente investigação, a saber: correspondem à essência do que é desenvolvido num processo de análise e apresentam-se independente da idade do paciente. Dessa forma, como introdução à pesquisa, aborda-se a constituição da clínica psicanalítica com crianças, indicando as principais controvérsias acerca dessa prática. As contribuições de Lacan são contempladas numa discussão centrada na proposição do sujeito como um conceito que vem dirimir uma perspectiva desenvolvimentista da psicanálise com crianças, tendo em vista que o estatuto do sujeito em Lacan é ético e não ôntico, referindo-se ao inconsciente. Nos capítulos seguintes, sintoma e fantasia inauguram outro momento da pesquisa, ao mesmo tempo em que mantém o diálogo com o anterior. Isso porque, ao situar esses dois conceitos como parâmetros de trabalho, pretende-se compreender se a análise realizada com crianças se distancia da proposta originalmente pensada para adultos. Nesse cenário, considera-se que a presente investigação se insere no campo da psicanálise com crianças, sem, no entanto, se restringir a ele. Acredita-se que a relevância da pesquisa consista, justamente, em discutir o singular que a clínica com crianças comporta, suscitando questionamentos importantes à teoria, para, concomitantemente, localizar essas diferenças no campo da psicanálise.