Nossa intenção com o presente trabalho foi pesquisar o estatuto teórico-clínico da sublimação ao longo do ensino de Lacan, enfatizando os momentos em que se detém no tema, fazendo avançar suas elaborações do conceito e partindo da hipótese de que a sublimação é um tratamento possível do gozo. Após o seminário em que se dedica de forma mais extensa ao tema da sublimação, em 1959-1960, no qual propõe a sublimação como elevação do objeto à dignidade da Coisa, o conceito aparece aqui e ali ao longo dos seminários subsequentes. Mas é em 1966-67 que a sublimação detém novamente a atenção de Lacan, que passa então a articulá-la com outros conceitos bastante importantes da teoria, quais sejam: alienação, repetição, acting out e passagem ao ato. Além disso, discute a articulação da sublimação com o ato sexual e, consequentemente, com a castração. Para isso, fará uso articulado do quadrângulo de Klein, das leis de Morgan e dos círculos de Euler, de modo a demonstrar a relação lógica entre os elementos. Desde as primeiras referências ao termo, passando pelas elaborações do seminário VII, nos anos de 1959-60, entendemos que é possível sustentar a vocação eminentemente clínica do conceito de sublimação como tratamento possível do gozo, em articulação com outros conceitos importantes no ensino de Lacan, como gozo, fantasia e ato. Partindo da sublimação definida como elevação do objeto à dignidade da Coisa, Lacan discute nos anos de 1966-1967 sua presença como satisfação ligada à repetição, mas que dela pode se afastar. A sublimação também se apresenta como saída do impasse do paradoxo da fantasia, que busca encobrir a relação sexual que não há. Propomos desde Lacan que a sublimação é um tratamento do gozo que permite que o sujeito, a partir da repetição, avance até um limiar, ainda que não o ultrapasse. O avanço está relacionado à sua possibilidade de prescindir do recalque, o que diferencia a sublimação do sintoma. A proximidade da sublimação com a relação sexual que não existe já se evidencia desde o seminário XIV e, no seminário XVI, proferido nos anos de 1968-1969, a sublimação retorna pela última vez no ensino de Lacan como estando do lado da mulher, articulada a não existência da relação sexual e como possibilidade privilegiada na perversão, o que deixa ainda mais claro, de nosso ponto de vista, seu estatuto de tratamento de gozo mortífero, na medida em que alude ao vazio da Coisa, criando a partir desse vazio. A partir desse percurso na sublimação, empreendemos uma discussão do documentário Elena, lançado no ano de 2013, sustentando que, com tal discussão, não se trata de aplicar a psicanálise à arte, mas sim de aplicar a arte à psicanálise, na medida em que a primeira permita à segunda avançar. Por evidenciar como toda a estrutura do filme se organiza em torno do vazio, ele permite que avancemos no debate sobre a sublimação e em sua elucidação como possibilidade de tratamento do gozo, em articulação com o ato em suas variáveis de acting out e passagem ao ato, tal como Lacan apresentara com os quadrângulos de Klein. Por último, propomos comentários suplementares que visam propor articulações que apontam caminhos pelos quais entendemos que a discussão sobre o tema da sublimação poderia ter continuidade. Aqui, propomos a articulação da sublimação com a psicose, com o sinthoma, tal como Lacan discute no seminário XXIII, e por último a relação da sublimação com o fim de análise. Nesse ponto, as discussões de Lacan sobre o quadrângulo de Klein nos fornecem indicações sobre a relação da sublimação com o ato analítico, que buscamos problematizar / Our intention with this paper was to research the theoretical and clinical status of sublimation throughout the teachings of Lacan, emphasizing the moments when he dwells on the topic, advancing his elaborations of the concept and working on the hypothesis that sublimation is a possible treatment of jouissance. After the seminar he most extensively dedicates to the topic of sublimation, in 1959-1960, when he proposes that sublimation raises an object to the dignity of das Ding, the concept appears sporadically throughout his subsequent seminars. But it is in 1966-67 that sublimation once again captures the attention of Lacan, when he begins to articulate it with other important concepts of the theory, namely: alienation, repetition, acting out and passage to the act. Additionally, he discusses the articulation of sublimation with the sexual act and, consequently, with castration. For this, he makes articulated use of Kleins quadrangle, De Morgans laws and Eulers circles to demonstrate the logical relation between the elements. From the very first references to the term through to the elaborations of seminar VII in 1959-60, we can see that it is possible to assert the eminently clinical vocation of the concept of sublimation as a possible treatment of jouissance, in articulation with other important concepts in the teachings of Lacan, such as jouissance, fantasy and act. Based on the definition that sublimation raises an object to the dignity of das Ding, Lacan in 1966-1967 discusses its presence as satisfaction that is linked to repetition, but that can be separated from it. Sublimation is also presented as a solution to the impasse of the paradox of fantasy, which seeks to disguise the sexual relationship that does not exist. We propose, drawing on Lacan, that sublimation is a treatment of jouissance that enables the subject, based on repetition, to advance towards a threshold, but not pass it. This advance is related to the subjects possibility of dispensing with repression, which distinguishes sublimation from the symptom. The proximity of sublimation to the sexual relationship that does not exist was evident since seminar XIV and, in seminar XVI, delivered in 1968-1969, sublimation returns for the last time to Lacans teachings as being feminine, articulated with the non-existence of the sexual relationship and as a privileged possibility in perversion, which further clarifies, in our opinion, its status as treatment of lethal jouissance, in that it alludes to the emptiness of das Ding, creating from this emptiness. Based on this analysis of sublimation, we embark on a discussion of the documentary Elena, released in 2013, asserting, through this discussion, that it is not about applying psychoanalysis to art, but instead art to psychoanalysis, since the former permits the latter to advance. By demonstrating how the entire structure of the film is organized around emptiness, it permits us to move forward the debate on sublimation and its elucidation as a possible treatment of jouissance, in articulation with the act in its variables of acting out and passage to the act, just as presented by Lacan with Kleins quadrangles. Finally, we make some additional comments that are intended to identify paths along which we consider the discussion on the topic of sublimation could be continued. Here, we propose the articulation of sublimation with psychosis, with the sinthoma, just as Lacan discusses in seminar XXIII, and finally the relationship of sublimation with the end of analysis. On this point, the discussions of Lacan on Kleins quadrangles provide us with indications about the relationship of sublimation with the analytical act, which we aim to address

Doctor of Philosophy / Department of Chemical Engineering / James H. Edgar / The effects of process conditions on the material’s properties were investigated for the sublimation growth of aluminum nitride and the epitaxial growth of silicon carbide. Since the mid 1990’s, these semiconductors have made new types of high power electronics and short wavelength optoelectronics that were never before feasible. The sublimation growth of AlN crystals on SiC seeds was carried out to produce high quality AlN bulk crystals. Si-face, 3.5 º off-axis 6H-SiC (0001) and 8 º off-axis 4H-SiC (0001) wafers were used as the substrates. An investigation of the initial growth demonstrated 1800 – 1850ºC was the optimum temperature for AlN growth. By optimizing the temperature gradient, large area AlN layer was deposited. Consecutive growths and continuous growth were performed to enlarge the crystal thickness. Single-crystalline AlN layers, each with a thickness of 2 mm and a diameter of 20 mm, were produced. X-ray diffraction confirmed the grown AlN had good crystal quality. Approximately 3 – 6 at% of Si and 5 – 8 at% of C were detected in the crystals by x-ray photoelectron spectroscopy, which came from the decomposition of SiC seeds and the degradation of the graphite components in the furnace. Molten KOH/NaOH etching revealed the dislocation density decreased from 108 cm-2 to 106 cm-2 as the AlN layer thickness increased from 30 μm to 2 mm. Epitaxial growth of SiC was carried out in a chemical vapor deposition system. High-quality 6H-SiC and 4H-SiC homoepitaxial films were produced at growth rates up to 80 μm/hr by using a novel single precursor, methyltrichlorosilane (MTS). Inclusions of 3C-SiC were circumvented by employing 8º mis-orientated substrates. Adjusting the H2/Ar flow ratio in the carrier gas effectively changed the C/Si ratio in the gas phase due to the reaction between H2 and the graphite heater; thereby, influencing surface roughness and dislocation density. Low H2/Ar ratios of 0.1 and 0.125 produced smooth surfaces without step-bunching. Higher H2/Ar ratios of 0.2 and 0.33 enhanced the conversion of basal plane dislocations into threading edge dislocations, and reduced the density of basal plane dislocations to approximately 600 cm-2.

Este trabalho visa a discussão do processo criativo do ator, o paradoxo que representa sua criação e as conseqüências ética e estéticas que o mesmo carrega. Para isso tratamos de focalizar a discussão articulando-a à psicanálise e à filosofia trágica. O objetivo centra-se na função do desejo e a pulsão em relação com o inconsciente. Por isso desenvolvemos o Olhar, pulsão escópica, no processo criativo do ator e na sua relação deste com o público. Também abordamos as relações do sublime e do grotesco, não só na criação artística como assim também na própria vida. A pulsão invocante, a Voz, é estudada como material de importância ética, na construção da personagem. E o vazio nos aparece, na discussão da ética e a estética, como fundador, como mestre condutor da criação artística. Abordamos todos os temas salientando a impossibilidade de discutir ética e estética sem ter como matéria consistente o paradoxo que com tanta pertinência Pablo Picasso definiu quando expressou: dordure on fait lòr dur de la création. / The present work aims at discussing the actor creation process and the paradox represented by such creation and its ethic and aesthetic consequences. To that end, we focused on the discussion from the psychoanalysis and tragic philosophy viewpoint. The discussion objective is centered on the desire and pulsion functions and their relation with unconsciousness. Thus, we developed the Look, a scopic pulsion, within the creation process. We also focused on the relationship between sublime and grotesque not just in the artistic creation, but also in life. The evoking pulsion, the Voice, was studied as a material ethically important when building a character. And in the ethical discussion, emptiness appears to be the artistic creation founder and leading master. We approached the aforementioned themes and highlighted the impossibility of discussing ethics and esthetics without considering the paradox a consistent matter as defined by Pablo Picasso that said: dordure on fait lòr dur de la creation.

The present work deals with the technological process lyophilization. The work is aimed at optimizing the management of temperature and pressure during the process.

Tin disulfide (SnS2) is a two-dimensional (2D) material with excellent properties and high prospects for low-cost solutions to catalytic and optoelectronic applications. In this work, vertical nanoflakes of SnS2 have been synthesized using custom-designed close space sublimation (CSS) system and investigated for applications in photoelectrochemical (PEC) water oxidation and metal-semiconductor-metal (MSM) photodetector. For the PEC application, vertical SnS2 nanoflakes grown directly on transparent conductive substrates have been used as photoanodes, which produce record photocurrents of 4.5 mA cm−2 for oxidation of a sulfite hole scavenger and 2.6 mA cm−2 for water oxidation without any hole scavenger, both at 1.23 VRHE in neutral electrolyte under simulated AM1.5G sunlight, and stable photocurrents for iodide oxidation in acidic electrolyte. This remarkable performance has been attributed to three main reasons: (1) high intrinsic carrier mobility of 330 cm2 V−1 s−1 and long photoexcited carrier lifetime of 1.3 ns in the nanoflakes, (2) the nanoflake height that balances the competing requirements of light absorption and charge transport, and (3) the unique stepped morphology of these nanoflakes that improves photocurrent by exposing multiple edge sites in every nanoflake. In another application, these SnS2 nanoflakes have been used to enhance the performance of lead sulfide quantum dot (PbS QDs) photodetectors by providing a high-mobility channel for photoexcited charges from PbS QDs, which results in 2 orders of magnitude enhancement in responsivity. The physical models and experimental findings presented in this dissertation can help engineer more cost-effective solutions for PEC water splitting and optoelectronics based on 2D metal dichalcogenides.

Currently thin film solar cells have efficiencies in the range of 16-18%. Higher efficiencies of 20% or more can be achieved by two junction solar cells in which two p-n junctions are connected in series one on top of the other in a tandem structure. The ideal bandgaps for optimum efficiency in a tandem structure are about 1eV for the top cell and 1.7 eV for the bottom cell. Copper Indium Gallium di-Selenide (CIGS) with a bandgap of 1 eV is a suitable candidate for the bottom cell and Cadmium Zinc Telluride (CZT) with a tunable bandgap of 1.44-2.26 eV is a suitable candidate for the top cell. This work involves characterization of cadmium zinc telluride films and solar cells prepared by close spaced sublimation. CZT is deposited by co-sublimation of CdTe and ZnTe. The process has been investigated on various wide bandgap semiconductor materials including cadmium sulphide, cadmium oxide and zinc selenide. Different post deposition heat treatments were carried out to determine their effect on film and device properties. Characterization of the CZT devices was done using XRD, EDS, SIMS, J-V and spectral response measurements. CZT (Eg~1.7 eV) /CdS exhibited best performance when compared to the other window layers investigated. The best device exhibited Voc=640mV, FF=40% and Jsc=4.5 mA/cm2. The theoretical performance of CZT based solar cells were investigated using SCAPS. The effect of bulk and interface defects on the device parameters were studied.

Indiana University-Purdue University Indianapolis (IUPUI) / The studies of rechargeable lithium-sulfur (Li-S) batteries are included in this thesis. In the first part of this thesis, a linear sweep voltammetry method to study polysulfide transport through separators is presented. Shuttle of polysulfide from the sulfur cathode to lithium metal anode in rechargeable Li-S batteries is a critical issue hindering cycling efficiency and life. Several approaches have been developed to minimize it including polysulfide-blocking separators; there is a need for measuring polysulfide transport through separators. We have developed a linear sweep voltammetry method to measure the anodic (oxidization) current of polysulfides crossed separators, which can be used as a quantitative measurement of the polysulfide transport through separators. The electrochemical oxidation of polysulfide is diffusion-controlled. The electrical charge in Coulombs produced by the oxidation of polysulfide is linearly related to the concentration of polysulfide within a certain range (≤ 0.5 M). Separators with a high porosity (large pore size) show high anodic currents, resulting in fast capacity degradation and low Coulombic efficiencies in Li-S cells. These results demonstrate this method can be used to correlate the polysulfide transport through separators with the separator structure and battery performance, therefore provide guidance for developing new separators for Li-S batteries. The second part includes a study on improving cycling performance of Li/polysulfide batteries by applying a functional polymer on carbon current collector. Significant capacity decay over cycling in Li-S batteries is a major impediment for their practical applications. Polysulfides Li2Sx (3 < x ≤ 8) formed in the cycling are soluble in liquid electrolyte, which is the main reason for capacity loss and cycling instability. Functional polymers can tune the structure and property of sulfur electrodes, hold polysulfides, and improve cycle life. We have examined a polyvinylpyrrolidone-modified carbon paper (CP-PVP) current collector in Li/polysulfide cells. PVP is soluble in the electrolyte solvent, but shows strong affinity with lithium polysulfides. The retention of polysulfides in the CP-PVP current collector is improved by ~50%, which is measured by a linear sweep voltammetry method. Without LiNO3 additive in the electrolyte, the CP-PVP current collector with 50 ug of PVP can significantly improve cycling stability with a capacity retention of > 90% over 50 cycles at C/10 rate. With LiNO3 additive in the electrolyte, the cell shows a reversible capacity of > 1000 mAh g ⁻¹ and a capacity retention of > 80% over 100 cycles at C/5 rate. The third part of this thesis is about a study on a binder-free sulfur/carbon composite electrode prepared by a sulfur sublimation method for Li-S batteries. Sulfur nanoparticles fill large pores in a carbon paper substrate and primarily has a monoclinic crystal structure. The composite electrode shows a long cycle life of over 200 cycles with a good rate performance in Li-S batteries.

[pt] Esta tese consiste na realização de uma investigação acerca dos conceitos de sublimação e idealização em psicanálise, com o intuito de verificar a hipótese de que ambas participam do processo de constituição da cultura. Para tanto, sugerimos que, no texto freudiano, a cultura é concebida como uma resposta à condição inexorável de desamparo e que sua constituição depende da renúncia à satisfação pulsional. Embora a sublimação seja o destino pulsional que tradicionalmente é associado à construção da cultura, propomos que também a idealização participa deste processo. Tanto a sublimação quanto a idealização atenderiam à renúncia pulsional exigida pela cultura, mas enquanto a sublimação renunciaria aos objetivos iniciais da pulsão a partir da dessexualização, a idealização apenas inibiria meta original da pulsão. A partir disso, sugerimos que na atualidade observa-se, por um lado, um declínio da atividade sublimatória e, por outro, um aumento da idealização. / [en] This thesis proposes an investigation about the concepts of sublimation and idealization in psychoanalysis, in order to verify the hypothesis that both participate in the constitution of culture. Thus we suggest that, in the Freud s text, culture is conceived as a response to the inexorable condition of helplessness and that its constitution depends upon the renunciation of instinctual satisfaction. Although sublimation is the instinctual vicissitude that is traditionally associated with the construction of culture, we propose that idealization also participates in this process. Both sublimation and idealization comply with the instinctual renunciation required by culture, but while sublimation renounces to the initial aims of the drive through desexualization, idealization only inhibits the original aim of the instinct. Finally, we suggest that the dynamics of contemporary society allow for the hipotesis of, on one hand, a decrease in sublimatory activity and, in the other hand, an increase of idealization.

No description available.

Dans En route, (1895) de J.-K. Huysmans, Durtal, le protagoniste, est à la recherche de ce que l’on pourrait appeler son idéal esthétique. Cette recherche, qui est l’une des étapes de sa conversion, le mène d’église en église, à travers Paris et jusqu’à l’abbaye Notre-Dame de l’Âtre, en quête d’art religieux, du plain-chant le plus authentique, des messes les plus touchantes, des plus belles figures de piété. Or, on observe que cette recherche obsessionnelle d’un idéal esthétique est l’un des leitmotivs de la littérature décadentiste. Comment expliquer qu’elle ait une importance aussi grande dans En route, sachant que la conversion, ainsi que le laisse entendre la fin célèbre d’À rebours, signale la fin des obsessions du décadentisme ? Ce mémoire s’attarde à cerner les objets auxquels s’attache Durtal, à examiner leur rapport avec ceux auxquels s’attache le décadentisme et à déterminer si la conversion, dans En route, peut être considérée comme une extension de la crise du sujet décadentiste. Il interroge la figure du personnage huysmansien, les notions de poétique propres au décadentisme huysmansien et ce que Freud identifie dans l’essai Un souvenir d’enfance de Léonard de Vinci (1910) comme une tendance de l’homme célibataire à sublimer ses pulsions sexuelles en une forme d’idéalisation et d’enthousiasme pour l’art, en une soif difficilement contentée d’art, de beauté et de connaissance. L’enjeu de ce travail est de démontrer que la quête de l’idéal esthétique, dans En route, se situe entre l’obsession décadentiste et la sublimation du désir. / In J.-K Huysmans 1895 novel En route, Durtal, the protagonist, is in search of what one might call an aesthetic ideal. This quest, which is one of the stages of his conversion, takes him from church to church, through Paris and ultimately to the Abbey of Notre-Dame de l’Âtre, in search of religious art, of the most authentic Gregorian chant, the most touching masses, the most beautiful figures of piety. This obsessive search for the aesthetic ideal is one of the leitmotifs of decadent literature. However, how can we explain that it has such great importance in En Route, given that religious conversion, as the famous ending of À rebours suggests, should be the end of the decadent movement’s obsessions? This research focuses on identifying the art to which Durtal is attracted, and will examine their relationship with decadent art to determine whether conversion, in En Route, can be considered as an extension of the crisis of the decadent subject. It also studies the figure of the Huysmansian character, the notions of poetics specific to Huysmansian decadentism and what Freud identifies in the essay Leonardo da Vinci and a Memory of His Childhood (1910) as a tendency of the celibate man to sublimate his sexual drives into a form of idealization and enthusiasm for art, a hard-satisfied thirst for art, beauty and knowledge. The goal of this research is to demonstrate that the quest for the aesthetic ideal, in En Route, lies between the old decadent’s obsessions and the sublimation of sexual desire.