O presente trabalho consiste na formulação, no desenvolvimento e exame da hipótese de que o conto de Machado de Assis produz um “efeito de vertigem”, desestabilização inquietante na leitura, corte com uma pretensa linearidade, e que, sustentamos, encontra-se ligado à estrutura da narrativa. O “efeito de vertigem” apresenta-se em contos que, podemos dizer, são representativos da força do estilo de Machado, por uma razão não qualquer – funcionam como “operadores de passagem”: a vertigem joga com continuidade/descontinuidade, fascínio/ perturbação, as simultaneidades, o enigma na lida com os limites, com o real, na ficção e na vida. Encontramos nos contos, na proximidade e em relação ao efeito de vertigem, o trato ficcional que põe em questão as descontinuidades fundamentais, interrogantes da condição humana – o sexo e a morte; as mesmas que configuram as perguntas que se colocaram para Freud, em toda sua obra, pelo viés da clínica psicanalítica. A verdade subjetiva tem íntima relação com a ficção, portanto escolhemos seguir examinando a proximidade da forma da narrativa machadiana com sua vertigem, do trabalho de Freud com as “passagens” na relação ao inconsciente (aqui ganha destaque a relação entre o chiste, a obliqüidade e a ironia) e da elaboração de Lacan com relação à estrutura do sujeito, com a topologia da banda de Moebius. Neste ponto, as teses de Ricardo Piglia sobre a forma do conto integram o exame sobre a estrutura, assim como a consideração do termo das “passagens” sobre as quais tanto trabalhou Walter Benjamin. A conclusão leva à consideração do “efeito de vertigem” como um princípio de composição (não chave de leitura) do conto, presente em contos que podemos situar como representativos da obra de Machado de Assis. Passagens paradoxais, lugares de trânsito dos enigmas que são transportados do imaginário social para a grande ficção, recorte de algo singular, mas que diz também de uma dimensão do coletivo de um contexto e de um tempo, via o “relâmpago” da forma conto, ao modo machadiano. / The present work consists in formulating, developing and examining the hypothesis in which Machado de Assis’ tale produces a “vertigo effect”, disturbing destabilization during the process of reading, cut with an intended linearity, and that, we sustain, is connected to the narrative structure. The “vertigo effect” is present in tales that, we can say, represent the strength of Machado’s style, not for any reason – they work as “passage operators”: the vertigo plays with the continuity/discontinuity, fascination/perturbation, simultaneities, the enigma in dealing with the limits as the reality, in fiction and in life. We find in the tales, in the proximity and in relation to vertigo effect, the fictional trait that interrogates the fundamental discontinuities, questions of the human condition – sex and death; the same that configured the inquiries which came to Freud throughout his production, through the psychoanalytical clinic. The subjective truth has an intimate relation with fiction, so that we chose to keep on following the proximity of the Machado’s narrative form with its vertigo, of Freud’s work with the “passages” in relation tothe unconsciousness (point in which the relation among the joke, obliquity and irony is highlighted) and of the elaboration by Lacan on the structure of the subject, with the topology of the “Moebius band”. At this point, the assessment of Ricardo Piglia on the form of the tale integrates the exam about the structure as well as the consideration of the term “passages”, so much developed by Walter Benjamin. The conclusion takes into consideration the “vertigo effect” as a composition principle (not as reading key) of the tale, present in tales that we can situate as representative of Machado de Assis’ work. Paradoxal passages, transitory places of the enigmas that are transported from the social imaginary to the great fiction, cut of something unique, but that also brings a dimension of the collectivity of a context and of a time, through the “bolt” of the form tale, in Machado’s way.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work has dealt with the clinical Little Hans case - statement by Freud in 1909 - and aims to bring the dialogue between this theoretical and Jacques Lacan, with prints and case analysis. Specifically, the study aims to provide for the issue of child psychoanalysis and addressing the problem of phobia while symptomatic output. Considering the clinic with children as contemporary practice of psychoanalysis, there was a theoretical study, whose methodological dynamics was the literature, using mainly from Freud´s texts and Lacan. Therefore, the work is divided into three sections. The first brings the issue of child psychoanalysis, highlighting as it reaches the place of subject of desire and law, making it therefore possible to be analyzed. In addition, support for the next chapter in this first are brought some positions and functions assumed by the child in the family dynamics. The second chapter develops the dialogue between Freud and Lacan about Hans case, presenting the facts following the case, the chronology, the directions of Freud and Lacan considerations. Are treated some issues such as the relationship between Hans and his mother, the question of the paternal function, as well as the complex of Oedipus and castration in Hans. Finally, the third chapter is the phobia as symptomatic output, serving Hans as the means possible so that it is positioned in the world and enter in the symbolic order. Thus, issues are worked that concern the phobia, such as anxiety, anguish, symptomatic formation and its prospects and the specific clinical case, the focus on substitutive function assumed by the phobic symptom on the limping paternal function. We conclude the work by pointing out some directions for the relationship between the current children´s clinic and the symptom. / Este trabalho tem por tema o caso clínico do pequeno Hans comunicado por Freud em 1909 e almeja trazer o diálogo entre esse teórico e Jacques Lacan, com as impressões e análises do caso. Especificamente, o estudo objetiva dispor sobre a questão da criança para psicanálise e abordar a problemática da fobia enquanto saída sintomática. Considerando a clínica com criança como prática contemporânea à psicanálise, realizou-se um estudo teórico, cuja dinâmica metodológica foi a pesquisa bibliográfica, utilizando-se, sobretudo, de textos de Freud e de Lacan. Por conseguinte, o trabalho se encontra estruturado em três capítulos. O primeiro traz a questão da criança para psicanálise, destacando como ela alcança o lugar de sujeito de desejo e de direito, tornando-se, portanto possível de ser analisada. Além disso, por fundamentar o capítulo seguinte, neste primeiro são trazidas algumas posições e funções assumidas pela criança na dinâmica familiar. No segundo capítulo, é desenvolvido o diálogo entre Freud e Lacan acerca do caso Hans, apresentando os fatos que acompanham o caso, a cronologia, os direcionamentos de Freud e as considerações de Lacan. São tratados alguns assuntos como a relação entre Hans e sua mãe, a questão da função paterna, assim como os complexos de Édipo e de castração em Hans. Por fim, o terceiro capítulo traz a fobia como saída sintomática, servindo a Hans como o meio possível para que ele se posicione no mundo e insira-se na ordem simbólica. Assim, são trabalhados temas que tangem à fobia, como a ansiedade, a angústia, a formação sintomática e suas perspectivas e no caso clínico específico, a aposta na função de suplência assumida pelo sintoma fóbico, diante da função paterna claudicante. Concluímos o trabalho apontando alguns direcionamentos para a relação existente entre a clínica infantil atual e o sintoma.

Made available in DSpace on 2017-07-10T18:26:24Z (GMT). No. of bitstreams: 1 Patricia Schneider.pdf: 1075652 bytes, checksum: c18124b11bffe8ae5493c5e0f9f7557f (MD5) Previous issue date: 2010-12-02 / The objective of this study is to analyze the conception of body and sexuality in a phenomenological-psychoanalytical perspective, and, from this reconstruction, to understand the notion of carnal unconscious in Merleau-Ponty, a notion that is being established from an articulation with the psychoanalytical theory. For this, the work has as an investigative base the first part of Phenomenology of Perception of Maurice Merleau-Ponty, capital text where it is explored the theme of the experience of the own body and its critical counterpoint to the traditional theories current in modern science and metaphysics. The Cartesian doctrine of the body is founded on the premise that the thought is prior to the perception, that is, the spirit has metaphysical and cognitive primacy over the body. The body is characterized for exercising a purely instrumental function in relation to the soul. Empiricism, however, bases the knowledge on sensory experience at which the body is defined as a piece of matter, an object of study of anatomy. However, Merleau-Ponty identifies, on these two canonical positions (intellectualism and empiricism), a convergence of base: a dualistic principle of conception, which camouflages the most characteristic experience of perceived phenomena, among them, the experience of the own body - dualism that splits our internal and external experience, spiritual and corporal. Thus, the tradition ends up masking the true experience of the body in such a way that the sexuality is only an instinct, an isolated physiological process, a predetermined mechanism. For the philosophical or even scientific tradition, the affection becomes an irrelevant issue, without receiving any ontological status more prominent. Differently, shows Merleau-Ponty, Freud has been the one that will launch new theoretical foundations in sense of rethinking more radically the experience of sexuality, considering the fact that everything that humans do has one or more sense or meaning. Thus, sexuality is not just an isolated physiological process, since the own man is understood as a cultural and historical being, a sense producer being, because the body reveals itself, in its latest radicalism, as a "sexual being". Without ever reducing itself to the object condition, the body becomes a source of meaning. It is a living experience. Sexuality becomes, therefore, the most genuine deflagration of this dialectical and paradoxical movement. So, this is a fundamental characteristic of embodiment that Freud already presumes in his clinical experience. Despite Freud's ambivalent relationship with philosophy, this study makes a laconic incursion in his theory, focusing on the notions of desire and unconscious, in order to reconstruct the problematic of the unconscious in Merleau-Ponty. This one, while recognizing the Freudian merit, criticizes and challenges some points, in order to propose his own notion of carnal unconscious. This proposal has as central axis the notion of carnality, which culminates in an ontological rehabilitation of the sensible and announces a challenge to the conception of unconscious structured as a language, typically Lacanian. / O objetivo deste trabalho é analisar a concepção de corpo e sexualidade numa perspectiva fenomenológico-psicanalítica, e, a partir dessa reconstrução, compreender a noção de inconsciente carnal em Merleau-Ponty, noção que passa a ser instituída a partir de uma articulação com a teoria psicanalítica. Para tanto, o trabalho tem como base investigativa a primeira parte da Fenomenologia da Percepção de Maurice Merleau-Ponty, texto capital no qual é explorado o tema da experiência do corpo próprio e seu contraponto crítico às teorias tradicionais vigentes na ciência e na metafísica modernas. A doutrina cartesiana do corpo está fundada no princípio de que o pensamento é anterior à percepção, isto é, o espírito possui primazia metafísica e cognitiva em relação ao corpo. O corpo se caracteriza por exercer uma função meramente instrumental em relação à alma. O empirismo, por seu turno, fundamenta o conhecimento na experiência sensível em que o corpo se define como um pedaço da matéria, um objeto de estudo da anatomia. Ora, Merleau-Ponty identifica, nessas duas posições canônicas (intelectualismo e empirismo), uma convergência de base: um princípio dualista de abordagem, que camufla a experiência mais própria dos fenômenos percebidos, dentre eles, a experiência do corpo próprio  dualismo que cinde nossa experiência interna e externa, espiritual e corporal. Assim, a tradição termina por mascarar a verdadeira experiência do corpo de tal maneira que a sexualidade não passa de um instinto, de um processo fisiológico isolado, um mecanismo predeterminado. Para a tradição filosófica ou até mesmo científica, a afetividade se torna um tema irrelevante, sem receber qualquer estatuto ontológico mais proeminente. Diferentemente, mostra Merleau-Ponty, Freud terá sido aquele que lançará novas bases teóricas no sentido de se repensar mais radicalmente a experiência da sexualidade, ao considerar o fato de que tudo o que o ser humano faz tem um ou mais sentidos. Assim, a sexualidade não é apenas um processo fisiológico isolado, já que o próprio homem é visto como um ser cultural e histórico, um ser produtor de sentido, pois o corpo se revela, em sua radicalidade última, como ser sexuado . Sem jamais se reduzir à condição de objeto, o corpo se torna fonte de sentido. É uma experiência viva. A sexualidade se torna, pois, a deflagração mais genuína desse movimento dialético e paradoxal. Ora, essa é uma característica fundamental da corporeidade que Freud já presumirá em sua experiência clínica. Apesar da ambivalente relação de Freud com a filosofia, este estudo faz uma lacônica incursão na sua teoria, enfocando as noções de desejo e de inconsciente, para reconstruir a problemática sobre o inconsciente em Merleau-Ponty. Este, ao mesmo tempo em que reconhece o mérito freudiano, critica e questiona alguns pontos, para propor a sua própria noção de inconsciente carnal. Essa proposta tem como eixo central a noção de carne, que culmina numa reabilitação ontológica do sensível e anuncia uma provocação à concepção de inconsciente estruturado como linguagem, tipicamente lacaniana.

Abstract The empirical material for studying children's creative writing was collected in Taivalkoski, Lapland (a basic education course at Päätalo Institute, ten girls), and Oulu, Northern Finland (a creative writing project in a hospital school, two girls and two boys), in spring 2000. I was the instructor at the courses as well as the researcher. The children were 8–13 years in age. The subject of my study consists of the stories written by the children: what sort of stories they write and how creative writing suits hospital and school environments. I also look into bibliotherapy conducted among children and young people. In my study I describe, analyse and interpret by means of qualitative research the courses in creative writing offered by Päätalo Institute and the hospital school. As case studies, these two are stand-alone studies independent of each other. By qualitative approach in this work I mean that I describe how I build my interpretation as a researcher. The stories written by children provide material externalised from the subconscious as stories and writings which it is possible to interpret from a depth-psychological point of view. Sigmund Freud's understanding of dreams as manifestations of subconscious fears and hopes acquires a new form in the horror stories children write. The child works his or her activated energy charge through manipulating the dream-like and violent elements in stories in a controlled manner: by writing. In bibliotherapy, one studies one's own feelings, thoughts and memories and compares them to the experiences of others. This sort of work on feelings, thoughts and memories seemed to take place especially in the writer projects of the hospital school children: they worked on emotional processes while writing. On the basis of my study, creative writing and bibliotherapy offer a child or a young person a means for working out, at both conscious and subconscious levels, matters relating to the present stage of his or her development and current life condition. While writing, the child deals with his or her relations to friends, parents and the self. He or she treats hobbies and other topics of interest but problems as well. Studies already provide information as to the positive effects of bibliotherapy – reading and writing both have therapeutic effects – but more in-depth research is required. My dissertation shows that groups using bibliotherapy can function in the field of paediatric and adolescent psychiatry in homes for children and adolescents. They can also function in the environment of youth clubs and schools with bibliotherapy as a creative literary art activity to deter problems and foster growth and development. The method I developed, the Fantasy Treasure Chest (Fantasian aarrearkku), is one that can be taken in more general use for both instructing creative writing and collecting research material. / Tiivistelmä Lasten luovan kirjoittamisen tutkimuksen empiirinen aineisto kerättiin keväällä 2000 Taivalkoskella (Päätalo-instituutin sanataiteen perusopetuksen jakso, 10 tyttöä) ja Oulussa (sairaalakoulun luovan kirjoittamisen projekti, 2 tyttöä, 2 poikaa). Toimin itse sekä tutkijana että kurssien ohjaajana. Lapset olivat 8–13-vuotiaita. Tutkimuskohteina olivat lasten kirjoittamat tarinat: millaisia tarinoita he kirjoittavat, ja miten luova kirjoittaminen sopii sairaala- ja koulukontekstiin. Tein myös katsauksen lasten ja nuorten parissa toteutettuun kirjallisuusterapiaan. Tutkimuksessani kuvaan, analysoin ja tulkitsen laadullisen tutkimuksen keinoin Päätalo-instituutin ja sairaalakoulun luovan kirjoittamisen kursseja. Nämä ovat tutkimustapauksina itsenäisiä, toisistaan riippumattomia kokonaisuuksia. Laadullinen lähestymistapa työssäni on sitä, että kuvaan, miten tutkijana rakennan tulkintaani. Lasten kirjoittamista tarinoista löytyy tiedostamattoman materiaalia ulkoistuneina tarinoiksi ja kirjoituksiksi, jotka avautuvat syvyyspsykologisesta näkökulmasta tulkittuina. Sigmund Freudin käsitykset unista pelkojen ja toiveiden tiedostamattoman ilmentyminä saavat uudenlaisen muotonsa esimerkiksi lasten kirjoittamissa kauhukertomuksissa. Tarinoiden unenomaisten ja väkivaltaisten elementtien kautta lapsi käsittelee aktivoitunutta energialataustaan hallitussa muodossa: kirjoittamalla. Kirjallisuusterapiassa tutkitaan omia tunteita, ajatuksia ja muistoja, ja näitä verrataan toisten kokemuksiin. Tätä tunteiden, ajatusten ja muistojen käsittelyä näytti tapahtuvan etenkin sairaalakoulun lasten kirjoittajaprojektissa: lapset työstivät kirjoittamisen ohessa psyykkisiä prosessejaan. Tutkimukseni perusteella lasten luova kirjoittaminen ja kirjallisuusterapia tarjoavat lapselle ja nuorelle väylän työstää meneillään olevaan kehitysvaiheeseen ja elämäntilanteeseen liittyviä asioita sekä tietoisella että tiedostamattomalla tasolla. Lapsi käsittelee kirjoittaessaan suhdettaan kavereihin, vanhempiinsa ja itseensä. Hän käsittelee kirjoittamalla harrastuksiaan ja mielenkiinnonkohteitaan mutta myös ongelmiaan. Tutkimukset kertovat kirjallisuusterapian myönteisistä vaikutuksista – lukemisella ja kirjoittamisella on terapeuttinen vaikutus – mutta tarvitaan vielä perusteellisempia tutkimuksia. Väitöskirjani osoittaa, että kirjallisuusterapeuttisia ryhmiä voi toimia lasten- ja nuorisopsykiatriassa ja lasten- ja nuorisokodeissa sekä sanataidetoimintana ennaltaehkäisevänä, kasvua ja kehitystä tukevana ryhmätoimintana kerhoissa ja kouluissa. Kehittelemäni Fantasian aarrearkku -menetelmä on yksi keino käyttöön otettavaksi niin luovan kirjoittamisen ohjaukseen kuin tutkimusmateriaalin keräämiseenkin.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-18T14:56:13Z (GMT). No. of bitstreams: 1 Tinti_TauanFernandes_M.pdf: 690660 bytes, checksum: f383a642a724f05ed1c7d2d14b1d9166 (MD5) Previous issue date: 2011 / Resumo: Este trabalho consiste em uma leitura de Fim de Partida, de Samuel Beckett, construída a partir da hipótese de que esta peça, com o que pode ser definido como uma recusa sistemática a tudo o que lhe venha de fora, é capaz de integrar à sua própria estrutura formal os impasses gerados pelas tentativas de interpretá-la, em um movimento que paradoxalmente fortalece cada vez mais sua lógica interna à medida que a interpretação é negada. Ao longo de três capítulos, busca-se investigar as diferentes ramificações dessa ideia como forma de esboçar a posição-limite na qual a peça se encontra: no primeiro capítulo, a hipótese em questão é desenvolvida a partir da leitura de alguns objetos de Fim de Partida, e a partir disso se argumenta que os personagens se aproximam mais de seus objetos fraturados e ausentes do que de pessoas; no segundo, a condição desses personagens é desenvolvida no sentido de um confronto entre duas formas de temporalidade, a progressão e a circularidade, submetidas ao mesmo princípio de escassez que atravessa outros níveis da peça; no terceiro capítulo, a hipótese central é a de que em Endgame são colocados em questão diversos procedimentos do humor de forma altamente destrutiva, e a significação retroativa que seus destroços passam a ter adquirido nesse processo podem ser extrapolados de modo a produzir um pequeno vislumbre, de dentro da própria peça, tanto de seu estatuto de obra de arte, quanto de sua relação complexa com a tradição / Abstract: This work consists in a reading of Samuel Beckett's Endgame built upon the hypothesis that the play, through what can be defined as a deliberate exclusion of everything external to it, is capable of integrating the resulting deadlocks from the attempts of its interpretation to its own formal structure, in a paradoxical movement that strengthens the play's internal logic through the denial of interpretation. Throughout three chapters, this work aims to explore different ramifications of that idea in order to outline the boundary represented by the play: in the first chapter, the interpretative hypothesis is developed upon a reading of the objects of Endgame, culminating in the idea that its characters are closer to the absent and fractured objects that they demand than to proper persons; in the second chapter, their condition is developed in the sense of a confrontation between two forms of temporality, progression and circularity, which are submitted to the same principle of scarcity that penetrates other levels of the play; in the third chapter, the central hypothesis is that Endgame puts into question some procedures of humor in a highly destructive manner, and that the retroactive meaning acquired by the resulting ruins of this process may be extrapolated into a glimpse, from within the play itself, both of its status as a work of art and of its complex relationship with tradition / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

The main topic of this diploma thesis resides in the comparison of the expressionist painting and the existential literature in connection with the motif of screaming. Despite the temporal and geographical distance of the two artistic movements (we are focused more profoundly in the German and Austrian expressionist painting, while the main literary work of this thesis, the existential novel The Fall comes from the great mind of a French writer, Albert Camus), the research aspires to prove the interconnection of the two movements and their common tendencies, based on the analyses of chosen themes, motifs, technics, and structure. We propose the motif of screaming as the main part of the comparison, as it constitutes an essential axis of the occidental art, as well as the crucial contact point between Expressionism and Existentialism. In spite of the bountifulness of the various interpretations this motif offers, we have chosen only selected ideas and concepts. As far as the formal structure is concerned, the work is divided into three chapters, where the first two are focused on the origins, a brief characterization of the main point of the two esthetics. Furthermore, they describe their related counterparts of the visual arts and literature (the Expressionist literature and Existential painting...

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西游记是明代吴承恩所攥写的。西游记的主角是孙悟空。孙悟空出生时，具有超自然力量，但是一直很叛逆。因为孙悟空对天堂犯了大错，所以他受到惩罚，他必须帮助玄奘去印度取经回中国。整个旅程中，孙悟空和朝圣者经历八十一场灾难，也让孙悟空变成了一个更好的人。这篇论文应用西格蒙德·弗洛伊德的性心理發展分析为什么孙悟空在朝圣中，行为和性格变的更好。孙悟空在生命的早期阶段发展了固着，通过一直吃达到自我享乐。之后，孙悟空找到了他的阳具，如意金箍棒，孙悟空一直用如意金箍棒试图征服。孙悟空也开始仿效他的父亲形象，玉皇大帝。因为孙悟空违反玉皇大帝的法律，玉皇大帝试图处决孙悟空，但是失败了。所以，孙悟空认为强的人是高于法律的。然而只有佛陀能给孙悟空惩罚，把孙悟空放在五阶山下。孙悟空在五阶山下五百年以后，观音委任孙悟空保护玄奘去印度取经。孙悟空在玄奘身上找到了一位父亲形象，在观音身上找到了一位母亲形象。孙悟空模仿玄奘不使用他的阳具，如意金箍棒试图征服。反而，孙悟空用如意金箍棒做好事，不伤人。 / The Journey to the West is written by Wu Cheng'en,1505-1580 A.D., during the Ming Dynasty, 1368–1644 A.D. The protagonist in The Journey to the West is named Sun Wukong. Sun Wukong is born with supernatural powers and is always up to no good. As punishment for his crimes against the Heaven, Sun Wukong must take a journey to India to help the monk Tripitaka, in order to retrieve Buddhist scriptures back to China. Throughout the journey Sun Wukong and the pilgrims will go through eightyone calamities. The pilgrimage transforms Sun Wukong into becoming a better man. This paper applies Sigmund Freud’s psychosexual development to Sun Wukong to understand his actions and personality and why it changes for the better during The Journey to the West. Sun Wukong develops a fixation to always pleasure himself through eating in the early stages of his life. Later Sun Wukong finds his phallus, the Golden Rod, to conquer, imitating his first father figure, the Jade Emperor. The Jade Emperor tries to execute Sun Wukong for disobeying his laws, but fails. Therefore, Sun Wukong believes that strong people are above the law. The only one that is strong enough to punish him is Buddha by putting Sun Wukong under the FivePhase Mountain. After five hundred years under the mountain, Sun Wukong is assigned by Guanyin to protect Tripitaka during the pilgrimage. Sun Wukong finds a father figure in Tripitaka and a mother figure in Guanyin. Sun Wukong imitates Tripitaka’s kind nature by not using his phallus, the Golden Rod, to conquer. Instead Sun Wukong uses the Golden Rod to do good merits and not hurt humans.

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