This essay provides an analysis of the novel When Nietzsche Wept written by Irvin D. Yalom. The novel takes place during the late eighteen hundred century in Vienna and throughout this essay I explore how Yalom has created a setting, where he has placed some of most prominent philosophers of this time in his fictional world in order to educate the reader about the birth of psychoanalysis and give an alternative version to how it emerged. I argue that Yalom manages to implement different original theories in connection to psychoanalysis to show how the ideas circulating at that point in history contributed to the development of psychoanalysis. The essay compares the original theories of Freud, Breuer and Nietzsche to those brought forward by the characters and illustrates the similarities in order to support Yalom´s alternative version. In conclusion, this essay demonstrates how Yalom has created an alternative version of the development of psychoanalysis by blending original theories with fictive events in order to show how psychoanalysis was a zeitgeist of its time and had more than one founding father.

Dans cette étude nous avons choisi d’aborder la question de la filiation dans la société antillaise en mettant en concordance la psychanalyse et la littérature. Nous nous référons à trois auteurs : Aimé Césaire, Édouard Glissant et Patrick Chamoiseau qui ont marqué le XXe siècle par trois mouvements : la Négritude, l’Antillanité et la Créolité. L’approchepsychanalytique se réfère aux théories de Freud et de Lacan. À partir des oeuvres poétiques et romanesques nous remontons à l’origine et à ses mythes, nous explorons les traces de la filiation dans les noms, les lieux, les langues, nous visitons les généalogies de la Mère-Afrique aux Pères fondateurs : le Rebelle, le Marron primordial et le Conteur. Le dessein des trois auteurs est de permettre à tout un peuple de se réconcilier avec son Histoire dont la généalogie a été interrompue par la traite et l’esclavage. Les personnages des oeuvres théâtrales et romanesques prennent à leur charge le travail d’élaboration du traumatisme, de la remémoration et de la transmission. La psychanalyse nous montre que ce qui est transmis ce n’est pas seulement une histoire mais aussi des contenus inconscients. Les peuples antillais nés du système esclavagiste héritent d’une double filiation antagoniste représentée par les figures du maître et de l’esclave. L’économie de l’esclavage a mis la mère au centre de la structure familiale et a abandonné le père au rôle de géniteur. Nous avons examiné le drame oedipien dans cette organisation matrifocale. / In this study we chose to address the issue of filiation in Antillean society by matching psychoanalysis and literature. We refer to three authors: Aimé Césaire, Edouard Glissant and Patrick Chamoiseau that marked the twentieth century by three movements: the Negritude, the Caribeanness and the Creoleness. The psychoanalytic approach refers to theories of Freud and Lacan. From the poetry and fiction we go back to the origin and myths, we explore the traces of filiation in names, laces, languages, we visit the genealogies of Mother Africa to the Founding Fathers: the Rebel, the primordial Maroon and the Storyteller. The purpose of the three authors is to enable a people to come to terms with its history whose genealogy was interrupted by the slave trade and slavery. The characters and theatrical fiction shall bear the work of developing the trauma, of remembering and transmission. Psychoanalysis shows us that what is transmitted is not only history but also unconscious contents. The Antillean peoples born of the slave system inherit a double antagonist filiation represented by the figures of master and slave. The economics of slavery put the mother at the center of family structure and abandoned the father to the role of genitor. We examined the Oedipal drama in this matrifocal organization.

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Orientador: Carmen Maria Bueno Neme / Resumo: Esta pesquisa, de natureza teórica e conceitual, parte da hipótese de que tanto nos textos de Heidegger, quanto nos de Freud, há uma concepção de angústia que se assenta em um lugar fundante da existência humana, o qual poderia ser articulado sob um vértice comum que denominamos como condição de desabrigo. Entendemos que, seja na perda de familiaridade revelada pela angústia ontológica descrita por Heidegger em Ser e Tempo (1927), seja no desamparo fundamental anunciado pela angústia enquanto expressão privilegiada da pulsão descrito por Freud em Inibição, Sintoma e Angústia (1926), é a condição de desabrigo que vem à tona. Para tanto, em Freud analisamos em que medida o conceito de angústia originária em articulação com a concepção de pulsão de morte e de desamparo, aponta para uma dimensão sobre a qual a experiência subjetiva se sustenta e que é da ordem do irrepresentável e do indeterminado. Já em Heidegger, analisamos em que medida o afeto fundamental da angústia revela o estatuto ontológico da existência caracterizado pelo estranhamento, indeterminação e pela falta de familiaridade. Ao propor este ponto de articulação entre dois autores de matrizes teóricas distintas, não defendemos que entre eles exista um lugar epistemológico comum, mas sim procuramos conduzir um diálogo no sentido de destacar os pontos de convergência e divergência entre suas concepções de angústia, bem como as implicações ontológicas e éticas dessa classe paradigmática de afetos para a compreensão do... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research, of theoretical and conceptual nature, starts from the hypothesis that either in Heidegger´s works, as in Freud's, there is a conception of anguish that relies as a foundation place of human existence, which could be associated under a common vertex that we define as a condition of homelessness. We understand that, either in the loss of familiarity revealed by the ontological anguish described by Heidegger in Being and Time (1927), or in the fundamental helplessness announced by anguish as a privileged expression of the drive described by Freud in Inhibition, Symptom and Anxiety (1926), it is the homelessness condition that raises up. Therefore, in Freud we analyze to what extent the concept of original anguish in conjunction with the conception of death drive and helplessness, points to a dimension on which subjective experience is sustained and which is of unrepresentable and undetermined order. In Heidegger, on the other hand, we analyze to which extent fundamental anguish reveals the ontological status of existence characterized by strangeness, indeterminacy and lack of familiarity. By suggesting this point of confluence between two authors of different theoretical matrices, we do not defend that among them there is a common epistemological place, but rather we seek to conduct a dialogue in order to highlight the points of convergence and divergence between their conceptions of anguish, as well as the ontological and ethical implications of this paradigmatic... (Complete abstract click electronic access below) / Doutor

In this essay, I study how the artist is portrayed in the works of August Strindberg and Ingmar Bergman. I compare Strindberg’s novels The Romantic Organist (1888) and By the Open Sea (1890) with Bergman’s The Hour of the Wolf (1968) and Fanny and Alexander (1982). It should be noted that I’m focusing on the film manuscripts (“Filmberättelser”) of Bergman rather than the films.  My aim is to study how the works of Strindberg and Bergman correspond in regards to the artist motif. Strindberg’s influence on the works of Ingmar Bergman has been wildly recognized among scholars and critics for decades, but no extensive study has before been made on the subject of the artist.

In this essay Jon Fosse’s novel Trilogien is explored through the lens of Sigmund Freud’s well-known paper titled “Das Unheimliche”. Fosse has a significant style of writing, which is argued to have a vital influence on the content, specifically the characters and the time. The reading of Freud’s text helps to illuminate the ways in which Fosse’s story is operating on multiple levels at once. The first chapter of the analysis concerns the characters of the book, and how they can be understood by the motif of the double brought from Freud’s essay. It seems that the subject's whole being, and the story alike, is gliding. Subjects aren’t fixed in the world of Trilogien, and with the double motif we understand how that is contributing to the uncanniness felt when reading the book. Time is also not truly reliable here, it is more relative and elastic than the external world. Occurrences keep happening over and over, which are analyzed through Freud’s motif of repetition. When applied, we can see how the legacy of the family and the trauma of experience gives an explanation of how time functions in Trilogien. Lastly, the chapter of form is connected to both of the earlier chapters. Just like subjects and time are repeated, so is the text in itself with sentences being almost circular rather than linear. The story is having a hard time getting through all the worldly repetition, which seems to spill over into the content itself, creating a holistic being whose parts are drifting into each other.

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Made available in DSpace on 2014-07-29T16:19:02Z (GMT). No. of bitstreams: 1 Dissertacao Edson Manzan Corsi.pdf: 892608 bytes, checksum: 7241984b3e1a9a6410ecca4287ae543c (MD5) Previous issue date: 2010-12-10 / This thesis has as its object of study three modalities of the uncanny as they appear in the poetry of Irish writer William Butler Yeats. They are: the incidence of the Double, the contact with the Deads, their way of operation in the metaphysical sphere as well as in the world of the Living, and the Animist way of thinking which embraces the omnipotence of thought. We believe that this is possible to be theoretically thought and analyzed through the ideas presented by Sigmund Freud in his essay titled The uncanny ( Das Unheimliche ), edited in 1919. In order to help our discussion of the problem, we used some considerations from French psychoanalyst Jacques Lacan. For example, what he exposes in his seminar dedicated to the anxiety and in his essay on the mirror stage . Many important ideas and concepts from literary critics such as T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, among others, were also used as basis for the development of our discussion on the theme of the strangeness (uncanny) in the frontiers between literature and psychoanalysis. The thought of Friedrich Nietzsche also helped us to understand the concept that Yeats developed and used of tragic joy and the relationship of the poet with the tragic thinking, discussed by the German philosopher and which influenced the work of the Irish writer. This influence made possible, in the poetry Yeats wrote, appear an aspect of absurdity, of ambition for being assimilated in the chorus of the tragedy visible, for instance, in the chapter about the Double and that we can find in his most important poems. / Esta dissertação tem, como objeto de estudo, três modalidades do estranho na poesia do escritor irlandês William Butler Yeats. São elas: a incidência do Duplo, o contato com os Mortos, o modo de operação deles, tanto no âmbito metafísico quanto no mundo dos Vivos, e o modo de pensar Animista que abarca a onipotência de pensamento. Acreditamos que isso é possível de ser teoricamente pensado e estudado a partir das ideias apresentadas por Sigmund Freud, em seu ensaio O estranho ( Das Unheimliche ), publicado em 1919. Para auxiliar nossa discussão do problema, utilizamos algumas considerações do psicanalista francês Jacques Lacan. Por exemplo, o que ele expõe em seu seminário dedicado à angústia e no seu ensaio sobre o estádio do espelho . Muitas ideias e conceitos importantes de críticos literários como T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, entre outros, foram também utilizados como base para o desenvolvimento de nossa discussão sobre o tema do estranho, nas fronteiras entre a literatura e a psicanálise. O pensamento de Friedrich Nietzsche também ajudou-nos a entender o conceito que Yeats desenvolveu e usou de alegria trágica e a relação do poeta com o pensamento trágico, discutido pelo filósofo alemão e que influenciou a obra do escritor irlandês. Isso possibilitou, na poesia que Yeats escreveu, aparecer um aspecto de absurdidade, de ambição por assimilar-se ao coro da tragédia visível, por exemplo, no capítulo sobre o duplo e que podemos encontrar em seus mais importantes poemas.