Magistrinio darbo tema – ,,Mirties traktuotė Edgaro Allano Poe ir Charles’o Baudelaire’o kūryboje“. Pagrindiniai keliami klausimai – kaip mirtis yra vaizuojama (panašumai ir skirtumai) bei ar autorių požiūris į mirtį, jų filosofinis mirties supratimas pakeitė požiūrį į literatūrą. Mirties traktuotė Poe ir Baudelaire’o kūryboje bus aptariama dviejuose skyriuose. Pirmame skyriuje jų kūryba lyginama pagal šiuos aspektus: mirtis ir meilė, gyvenimo iliuziškumas, gyvenimas – kelionė į mirtį, laikinumas, makabriškumas. Gyvųjų ir mirusiųjų pasauliai, įasmeninta mirtis, mirties gamtovaizdžiai. Pirmame skyriuje analizuojami mirties vaizdavimo panašumai, o antrame skyriuje – motyvai ryškesni, išskirtiniai vieno ar kito poeto kūryboje. Poe – mirtis ir baimė, o Baudelaire’o – nuobodulys, narciziška mirtis, mirtis ir kūryba. Poe ir Baudelaire’o kūryboje ironija ar sarkazmas dažniausiai slepia skaudžiai išgyvenamą pasaulio netobulumą. Jis netobulas jiems atrodė jau vien todėl, kad laikinas, yrantis. Negalėdami su tuo susitaikyti jie kūrė utopinę tikrovę anapus mirties, o kaip pakaitalą šiame pasaulyje tobulumo atspindžiu laikė vaizduotę ir jos padarinį – kūrybą. Tai jiems buvo pasaulis, kur dingsta netobulumas. Tikrovės perkūrimas ir tobulinimas buvo jų svarbiausias tikslas. Menas – tikrovė, ir tik tokioje perkurtoje erdvėje įmanoma gyventi. Šie poetai, pabrėždami pasaulio iliuziškumą, sustiprino kuriamosios tikrovės lygiateisiškumą tikram gyvenimui. Gyvenimas – nuolatinis artėjimas... [toliau žr. visą tekstą] / The theme of master’s work – ,,The treatment of death in Poe’s and Baudelaire’s creation“. The main raising questions – how death is reflected (the main similarities and differences) and does the view to the death, philosophical death understanding of this writers, changed view to entire literature? There are two parts of work. The analysis of main similarities of the death are reflectioning in the first one, differences are considering in the second part of work. First part is about main similar motives as: death and love, illusory of life, life – travel to death, temporality, macabre. The worlds of alives and deads, personified death, landscapes of the death. The fear of death description is the main difference of death reflection in Poe’s creation. Spleene, narcisstic death, death and creation – in Baudelaire’s. Imperfection of this world is the course of irony and sarcasm in Poe’s and Baudelaire’s creation. It seemed imperfect, because of its temporality and transience. They couldn’t face it and created utopic reality beyond the death. It was the place, where all imperfection fades away. The main purpose of these writers was recreation and making perfect the reality. The art is perfect reality, and in this recreated space it is possible to live. Poe and Baudelaire treated life the same illusory as dreams, illusions. Because of this, the world of art was the same important, true as life. They criticizes, and ironicies the order of the world, but art and beauty worships... [to full text]

This thesis introduces and examines the work of French philosopher Michel Henry with particular focus on his phenomenological-theological analyses of the self. Given its thematic emphasis, the thesis incorporates several interlocutors in addition to Henry: primarily Edmund Husserl, Martin Heidegger and St. Augustine but also Jean-Luc Marion, Jean-Yves Lacoste and Dominique Janicaud. Revolving around the question of the self, the thesis maintains that Henry elucidates a peculiar and ultimately problematic theory of the self—a duplicitous self bifurcated between interior and exterior fields of display. While appreciating Henry’s attempt to reconstitute the interior self in relation to God, we argue he ultimately disqualifies the utility of the exterior body in the world; to overcome this imbalance we employ key insights from St. Augustine’s “phenomenology of the self,” drawing especially on his more mature works, De Trinitate, City of God and the Confessions. The first chapter offers broad context to the thesis as a whole by specifying what constitutes phenomenology as a line of inquiry, the debate surrounding the “theological turn” introduced by Dominique Janicaud in the 1990s and a constructive proposal for a rapprochement between phenomenology and theology. Chapter two determines Henry’s place in the phenomenological tradition, bringing to light his critical departure from both Heidegger and Husserl. Heidegger’s analytic of being-inthe- world discloses how human existence is co-emergent with the exterior (i.e. ecstatic) field of the world. Husserl’s focus on the intentional life of the ego suggests that consciousness is like a “lighthouse” that illuminates objects before its gaze. From Henry’s perspective, both Heidegger and Husserl advance a self shaped entirely by the exterior world and its temporal horizon. To counter the singular focus on exteriority, Henry does not deny exteriority but attends to the possibility of a site of pure interiority, secure and complete in its transcendental self-presence and thus disengaged from the exterior horizon of the world. Chapters three and four critically elaborate Henry’s duplicitous self from a theological point of view. Interrogating Henry’s triptych on Christianity (C’est moi la vérité, 1996; Incarnation, une philosophie de la chair, 2000; and Paroles du Christ, 2002), we see that the self is structured a duplicity or two-sidedness. Chapter three’s main premise is that the interior ego is manifest internal to itself apart from exterior horizon of temporality. Prior to the temporal opening of the world, Henry articulates a self who appears in non-temporal or “acosmic” union with divine life. Joined together in perfect unity by a subjective structure called “auto-affection,” the interior self and God form a fully-realized “monism,” a parousaic presence that both eliminates the Creator-creature distinction and promotes escapism from the world. Chapter four confirms this thesis with regard to Henry’s richly textured considerations of the body. Chapters five and six proceed to show a constructive way beyond Henry’s duplicitous self. Over against Henry, the thesis elaborates an eschatological conception of the self we call the “porous self.” Ordered by the eschatological structure of “seeking,” the porous self takes as its principal interlocutor St. Augustine, however, insights from Marion, Lacoste, Husserl and Heidegger are employed. This thesis figures a self that does not split, but integrates, the interior and exterior fields of display within the absolute horizon of the parousia or eternal Sabbath to come. Chapter five discusses the temporal nature of faith nurtured by the eucharist and the chapter six highlights the importance of the body in view of the ecclesial, sacramental and resurrection bodies. An exercise in constructive philosophical theology, this thesis figures the self over against Henry’s duplicitous self, and in so doing, integrates interiority more deeply with exteriority in a manner that accounts for (1) the temporal nature of the body in the world and (2) the eschatological distance between the self and God.

En se démarquant de la signification traditionnelle du concept de pardon – i.e. « actionmorale » – cette thèse appréhende le pardon en tant que source du temps éthique.Comme renonciation à l'effacement (Tilgung) de la culpabilité, la notion du pardondépasse les schémas conceptuels du discours phénoménologique sur le don. Signifiantune abstention du jugement moral, son sens est davantage celui de l'étymologie destermes allemands Verzeihen (pardon) et Verzicht (renonciation), et se distinguenotamment de la réconciliation synthétique. La difficulté d'une telle approche tient à lanécessité d'une reformulation du concept de temps : alors que le temps de la culpabilitérelève de la structure économique et chronologique de la succession continue des unitésde temps, le pardon temporalise l'intervention éthique en interrompant cet enchaînementcausal. Ainsi, il rend possible des actions éthiques originales et indépendantes d'uneculpabilité précédente.Il s'agit alors de repenser la temporalité du pardon à travers trois figures temporellesreconstruites à partir des auteurs suivants: 1. la critique du concept d’anticipation (F. Nietzsche) et le mouvement conceptuelde l’anticipation au sursis (H. Cohen, W. Benjamin)2. l’instant de l'indécision (M. Heidegger) et l’événement (V. Jankélévitch, J.Derrida)3. la simultanéité de la répétition et de l’altérité comme recommencement (E.Levinas)Enfin, cette recherche sur la temporalité du pardon révélera la difficulté d'unerenonciation au pardon en tant qu’action morale. Elle exigera une redéfinition du vivreensemble au-delà de l'exigence des jugements moraux et de la réconciliationsynthétique. / Departing from the traditional conception of forgiveness as moral action, this thesisconceives of forgiveness as a renunciation of the effacement of guilt and thus as thesource of ethical time.The idea of forgiveness as renunciation exceeds the conceptual schemes of thephenomenological discourse concerning the gift. Based on the etymology of theGerman words Verzeihen (“forgiveness”) and Verzicht (“renunciation”), forgiveness isdistinguished from synthetic reconciliation; it involves an abstention from moraljudgements. The challenge posed by this approach is the need to formulate a newconcept of time. The time of guilt and punishment is economic and chronological,structured as a linear succession of quantifiable units. Forgiveness, in contrast, can beseen as an ethical intervention within the structural unfolding of this causal chain,making it the prerequisite for original ethical acts that are independent from previousguilt.Therefore, this study examines the temporality of forgiveness, identifying three differenttemporal models based on works by the following authors: 1. the criticism of the concept of anticipation (F. Nietzsche) and the shift fromanticipation to postponement (H. Cohen, W. Benjamin);2. the instant of indecision (M. Heidegger) and the event (V. Jankélévitch, J.Derrida);3. the simultaneity of repetition and alterity, i.e. recommencement (E. Levinas).Finally, this study of the temporality of forgiveness leads to the challenge of renouncingforgiveness as a moral act. It necessitates a redefinition of living together asindependent of moral judgments and synthetic reconciliation.

A presente dissertação busca contornar interrogantes advindos de nossa experiência junto à clínica das psicoses - no marco de nossa inserção no Núcleo de Ensino, Pesquisa e Extensão em Clínica das Psicoses, da Clínica de Atendimento Psicológico da UFRGS. Esta conjuga distintas vivências, da escuta individual de pacientes ao envolvimento no trabalho de oficinas terapêuticas, as quais, ao longo do tempo, fizeram-nos questionar acerca das especificidades e impasses do laço transferencial aí colocado. A noção de temporalidade, desde a psicanálise, nos foi bastante cara no armado desta questão. Nos primeiros momentos de nosso texto, intentamos situar o terreno das principais elaborações de Freud e Lacan acerca da temática das psicoses, desde onde nossa questão sobre a transferência poderia alojar-se. Deste modo, fez-se preciso retomar dois dos principais casos clínicos freudianos, Schreber e o Homem dos Lobos, para melhor situar os entornos da contraindicação freudiana quanto ao trabalho analítico com pacientes psicóticos, bem como extrair consequências da colocação em relevo do mecanismo da Verwefung (foraclusão) para os desdobramentos subsequentes de Lacan. Abordaremos, a seguir, a guinada que a leitura lacaniana das referidas proposições faz apontar como possibilidade no trabalho junto às psicoses. Para trabalhar sobre os fragmentos clínicos que estiveram na base das interrogações propulsoras desta pesquisa, fez-se relevante traçarmos algumas considerações acerca da noção de escrita do caso em psicanálise. Desde então, arrolamos algumas destas narrativas da clínica onde, parece-nos, de distintos modos, contorna-se uma pergunta sobre a transferência em seu enlace com a temporalidade. Acolhemos uma hipótese, destarte, de que a constituição psicótica colocaria em cena uma espécie de abismo temporal, desde a não incidência de balizas simbólicas capazes de instituir um ritmo – intervalo – entre o campo do sujeito e o campo do Outro. Considerando a acepção de Lacan quanto ao registro inconsciente enquanto pulsátil, vislumbraríamos uma fratura no tempo de fechamento, desvelando o psicótico enquanto mártir deste inconsciente a céu aberto. Tais elaborações terão implicações cruciais às especificidades do armado transferencial, onde se colocaria em jogo a possibilidade de forjar-se um tempo, desde a presença do analista enquanto sustentadora de umaposição de vazio capaz de possibilitar ao sujeito algum estancamento no movimento infinitizado do significante, incessante promovedor do congelamento do sentido. / The present dissertation tries to circumvent questions about our experience with the clinic of psychosis – in our insertion in the Núcleo de Ensino, Pesquisa e Extensão em Clínica das Psicoses, from Clínica de Atendimento Psicológico da UFRGS. This brings different experiences, from listening individually to the patients to being involved with the work of therapeutic workshops, which, over time, has made us wonder about the specifics of the transference and its impasses at psychosis clinical. The notion of temporality, from psychoanalysis, was quite important for this issue. In the first moments of our text, we intend to situate the main elaborations of Freud and Lacan on the subject of psychosis, from which our question about the transference could have place. Thus, it became necessary to resume two major clinical freudians cases, Schreber and the Wolf Man, in order to locate the surroundings of the contraindication regarding the freudian analytic work with psychotic patients and to draw consequences of placing emphasis on the mechanism of Verwefung (foreclosure) for the subsequent developments of Lacan. We will address, then, the Lacanian reading of these propositions, showing how the work with psychosis is possible. In order to work on the clinical fragments that were on the basis of the questions driving this research, it was important to draw some considerations about the notion of writing of the case in psychoanalysis. Since then, we mention some of these narratives from the clinic which, in different ways, leads us to a question about the transference and its link to the temporality. We situate a supposition, thus, that the psychotic constitution brings to our attention a kind of abyss of time, considering the non-incidence of symbolic beacons that are able to establish a rhythm – a break – between the subjetc´s field and the Other´s field. Considering the proposition of Lacan about the unconscious registration as pulsatile, we could see a fracture at the closing time, unveiling the psychotic as a martyr of the unconscious as an open sky. These elaborations will have crucial implications on the specificities from the transference, where we put into play the possibility of forging a time, since the presence of the analyst while sustaining a position of emptiness that may allow the subject some stagnation in the in the incessant movement of significant, promoter of the freezing sense.

MACHADO, José Wellington de Oliveira. Memórias, poéticas e temporalidades: a invenção estética de Limoeiro do Norte (1943 a 1957 e 1957 a 2016). 2016. 206f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-03-23T15:00:50Z No. of bitstreams: 1 2016_dis_jwomachado.pdf: 2283498 bytes, checksum: 960299c68ec8a9916844c6e3b9660de1 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-03-23T15:01:50Z (GMT) No. of bitstreams: 1 2016_dis_jwomachado.pdf: 2283498 bytes, checksum: 960299c68ec8a9916844c6e3b9660de1 (MD5) / Made available in DSpace on 2017-03-23T15:01:50Z (GMT). No. of bitstreams: 1 2016_dis_jwomachado.pdf: 2283498 bytes, checksum: 960299c68ec8a9916844c6e3b9660de1 (MD5) Previous issue date: 2016 / This research attempts to understand in which way did the colonels, priests, bishops, memoir writers, poets and other characters have done idealizations for the past and the future of Limoeiro do Norte-CE. In the first part, titled TIMES, we analyze the time idealizations throughout the twentieth century, trying to comprehend how was builded the notions of space of experience and horizons of expectation. In the second part, MEMORIES, I studied some books of memoirs trying to observe how the writers of these books have done, in their writings, representations of their own families and other institutions such as schools and Catholic Church. In the third part, IMAGES, I analyzed texts and images. I was trying to understand how imagetic the written texts are and how textual the images are. The intention was to see how the audio-visual productions helps to create this social imaginary of Limoeiro, producing the illusion of an identity or a North to Limoeiro. / Esta pesquisa intenta perceber como os coronéis, os padres, os bispos, os memorialistas, os poetas e outros personagens idealizaram o passado e o futuro da cidade de Limoeiro do Norte. Na primeira parte, intitulada TEMPOS, analiso as idealizações do tempo ao longo do século XX, percebendo como se constroem espaços de experiência e os horizontes de expectativa. Na segunda parte, MEMÓRIAS, estudei parte dos livros dos memorialistas e observei como eles construíram representações a partir das suas próprias famílias e de outras instituições, como as escolas e a Igreja Católica. Na terceira parte, IMAGENS, analisei como os textos escritos são imagéticos e como as imagens são textuais. A intenção era perceber como as produções audiovisuais ajudam a criar esse imaginário social limoeirense, produzindo a ilusão de uma identidade ou de um norte para Limoeiro do Norte.

Le présent travail porte sur les transformations inhérentes au passage du médium littéraire au médium cinématographique. Pour étudier cette question, un corpus double a été analysé, consituté d’un côté, de trois textes tirés de La Recherche de Marcel Proust et de l’autre de leurs adaptations filmiques respectives à savoir Un Amour de Swann de Volker Schlöndorff, Le Temps retrouvé de Raoul Ruiz et La Captive de Chantal Akerman pour La Prisonnière. Grâce à ce corpus, il nous a été possible de déterminer les types des transformations en jeu ainsi que les stratégies mises en œuvre et les mécanismes sous-jacents à celles-ci. De ce point de vue, la pratique de la transposition n’est plus affaire de fidélité ou d’infidélité mais la traduction d’une dynamique transtextuelle qui donne lieu à trois rapports intersémiotiques que sont la résistance, le détour et l’extension. De là, transposition filmique devient un langage et l’adaptation un genre de discours / This work relates to the inherent transformations to the transition from literary medium to cinematografic one.To study this issue, a double corpus was analysed, formed on one side of three textes taken from remembrance of the things past, on another side their respective film adaptations namely Swann in love of Volker Schlöndorff, The Time regained of Raoul Ruiz and The Captive of Chantal Akerman. Using this corpus, we were able determine the types of processing involved as well as the implemented strategies and the mecanisms underlying those latter. From this point of view, the practice of transposition is no longer matter of fidelity but a transtextuel dynamics that results in three inter semiotic links wich are resistance, deviation and extension. Thus filmic transposition becomes a language and the adaptation a kind of speech

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-21T14:09:14Z No. of bitstreams: 1 dissertacao-beatriz-viana-de-araujo-zanfra.pdf: 1514376 bytes, checksum: b02e965c00e708aae53caa5ca0d9893f (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-21T14:10:00Z (GMT) No. of bitstreams: 1 dissertacao-beatriz-viana-de-araujo-zanfra.pdf: 1514376 bytes, checksum: b02e965c00e708aae53caa5ca0d9893f (MD5) / Made available in DSpace on 2016-06-21T14:10:00Z (GMT). No. of bitstreams: 1 dissertacao-beatriz-viana-de-araujo-zanfra.pdf: 1514376 bytes, checksum: b02e965c00e708aae53caa5ca0d9893f (MD5) Previous issue date: 2014-12-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Na obra A estrutura do comportamento, de 1942, Maurice Merleau-Ponty, por meio da noção de estrutura, combate o naturalismo e o intelectualismo, mostrando que o corpo não é um agregado de músculos e de nervos que opera de acordo com a causalidade mecânica e funcional e que a consciência reflexiva não é a única forma da consciência e nem sua primeira manifestação, mas sim dependente da consciência perceptiva e indiscernível do corpo como princípio estruturante. Nesse sentido, no capítulo destinado à questão das relações da alma e do corpo, Merleau-Ponty mostra que todos os problemas a esse respeito se reduzem ao problema da percepção, entendida como "o ato que nos faz conhecer existências" e vê a necessidade da filosofia transcendental ser redefinida a fim de integrar nela o fenômeno do real, sendo tal filosofia a fenomenologia, com a investigação da percepção desempenhando um papel fundamental nela. Em Fenomenologia da Percepção, de 1945, Merleau-Ponty retoma o problema das relações da alma e do corpo abordado no livro anterior, mostrando que a temporalidade resolve tal problema, pois a ideia de subjetividade como temporalidade nos permite ver que o para-si, a revelação de si a si, é o vazio no qual o tempo se faz, e o mundo "em si", que é o horizonte de nosso presente, fazem o problema redundar em saber como um ser que é porvir e passado tenha também um presente, o que acaba suprimindo o problema, já que o porvir, o passado e o presente estão ligados no movimento de temporalização. Sendo assim, a solução de todos os problemas de transcendência se encontra na espessura do presente pré-objetivo, onde encontramos, entre outras coisas, o fundamento de nossa liberdade. / On the work The structure of behavior (1942) Maurice Merleau-Ponty, through the notion of structure, combats naturalism and intellectualism, showing that the body is not an aggregate of muscles and nerves that operates according to mechanical and functional causalities and showing that the reflective consciousness is not the only form of consciousness and is not its first manifestation, but dependent on perceptual consciousness and indiscernible of body as a structuring principle. Accordingly, on the chapter dedicated to the question of the relation between soul and body, Merleau-Ponty shows that all problems in this regard are reduced to the problem of perception, which is understood as "the act that makes us know existences" and sees the need for transcendental philosophy be redefined in order to integrate the phenomenon of reality. This philosophy is the phenomenology, with the research of perception playing a key role in it. On Phenomenology of Perception (1945) Merleau-Ponty takes up the question of the relation between soul and body covered in the previous book, showing that the temporality solves this problem because the idea of subjectivity as temporality allows us to see that the for-itself, the revelation of self to self, is the emptiness in which time is done, and the world "in itself", which is the horizon of our present, make the problem redound to know how a being that is future and past has also a present, eliminating the problem, because the future, the past and the present are linked in the movement of temporalization. Thus, the solution of all problems of transcendence is in the thickness of the pre-objective present, where we can find, among other things, the foundation of our liberty.

In these novels, Woolf demonstrates the ways in which wartime trauma affects post-war life, from the societal trauma of losing an entire generation in Jacob’s Room, to the continuation of wartime beyond the end of the war for traumatized soldiers and anyone whose lives they touch in Mrs. Dalloway, to recovery through the creation of art and family ties in To the Lighthouse, to the question of futurity inherent in wartime trauma in The Years.

A presente dissertação busca contornar interrogantes advindos de nossa experiência junto à clínica das psicoses - no marco de nossa inserção no Núcleo de Ensino, Pesquisa e Extensão em Clínica das Psicoses, da Clínica de Atendimento Psicológico da UFRGS. Esta conjuga distintas vivências, da escuta individual de pacientes ao envolvimento no trabalho de oficinas terapêuticas, as quais, ao longo do tempo, fizeram-nos questionar acerca das especificidades e impasses do laço transferencial aí colocado. A noção de temporalidade, desde a psicanálise, nos foi bastante cara no armado desta questão. Nos primeiros momentos de nosso texto, intentamos situar o terreno das principais elaborações de Freud e Lacan acerca da temática das psicoses, desde onde nossa questão sobre a transferência poderia alojar-se. Deste modo, fez-se preciso retomar dois dos principais casos clínicos freudianos, Schreber e o Homem dos Lobos, para melhor situar os entornos da contraindicação freudiana quanto ao trabalho analítico com pacientes psicóticos, bem como extrair consequências da colocação em relevo do mecanismo da Verwefung (foraclusão) para os desdobramentos subsequentes de Lacan. Abordaremos, a seguir, a guinada que a leitura lacaniana das referidas proposições faz apontar como possibilidade no trabalho junto às psicoses. Para trabalhar sobre os fragmentos clínicos que estiveram na base das interrogações propulsoras desta pesquisa, fez-se relevante traçarmos algumas considerações acerca da noção de escrita do caso em psicanálise. Desde então, arrolamos algumas destas narrativas da clínica onde, parece-nos, de distintos modos, contorna-se uma pergunta sobre a transferência em seu enlace com a temporalidade. Acolhemos uma hipótese, destarte, de que a constituição psicótica colocaria em cena uma espécie de abismo temporal, desde a não incidência de balizas simbólicas capazes de instituir um ritmo – intervalo – entre o campo do sujeito e o campo do Outro. Considerando a acepção de Lacan quanto ao registro inconsciente enquanto pulsátil, vislumbraríamos uma fratura no tempo de fechamento, desvelando o psicótico enquanto mártir deste inconsciente a céu aberto. Tais elaborações terão implicações cruciais às especificidades do armado transferencial, onde se colocaria em jogo a possibilidade de forjar-se um tempo, desde a presença do analista enquanto sustentadora de umaposição de vazio capaz de possibilitar ao sujeito algum estancamento no movimento infinitizado do significante, incessante promovedor do congelamento do sentido. / The present dissertation tries to circumvent questions about our experience with the clinic of psychosis – in our insertion in the Núcleo de Ensino, Pesquisa e Extensão em Clínica das Psicoses, from Clínica de Atendimento Psicológico da UFRGS. This brings different experiences, from listening individually to the patients to being involved with the work of therapeutic workshops, which, over time, has made us wonder about the specifics of the transference and its impasses at psychosis clinical. The notion of temporality, from psychoanalysis, was quite important for this issue. In the first moments of our text, we intend to situate the main elaborations of Freud and Lacan on the subject of psychosis, from which our question about the transference could have place. Thus, it became necessary to resume two major clinical freudians cases, Schreber and the Wolf Man, in order to locate the surroundings of the contraindication regarding the freudian analytic work with psychotic patients and to draw consequences of placing emphasis on the mechanism of Verwefung (foreclosure) for the subsequent developments of Lacan. We will address, then, the Lacanian reading of these propositions, showing how the work with psychosis is possible. In order to work on the clinical fragments that were on the basis of the questions driving this research, it was important to draw some considerations about the notion of writing of the case in psychoanalysis. Since then, we mention some of these narratives from the clinic which, in different ways, leads us to a question about the transference and its link to the temporality. We situate a supposition, thus, that the psychotic constitution brings to our attention a kind of abyss of time, considering the non-incidence of symbolic beacons that are able to establish a rhythm – a break – between the subjetc´s field and the Other´s field. Considering the proposition of Lacan about the unconscious registration as pulsatile, we could see a fracture at the closing time, unveiling the psychotic as a martyr of the unconscious as an open sky. These elaborations will have crucial implications on the specificities from the transference, where we put into play the possibility of forging a time, since the presence of the analyst while sustaining a position of emptiness that may allow the subject some stagnation in the in the incessant movement of significant, promoter of the freezing sense.

L'objectif de cette thèse est étudier la caractère monobloc de la théorie du récit de Paul Ricœur. Elle comporte trois séries de questions. D’abord, il s'agira de savoir quelles sont les connotations du terme « récit » dans les travaux de Ricœur. Il sera ensuite nécessaire d'identifier les problèmes majeurs et les caractéristiques de l'étude de la théorie du récit. Si l'on considère la « médiation » comme sa caractéristique la plus importante, alors nous aurons également définir la « médiation » quant à son mécanisme de fonctionnement et quant à son fondement théorique. Enfin, il faudra élucider le rôle joué par la théorie du récit dans la pensée herméneutique de Ricœur. Cette thèse tente de répondre aux questions mentionnées ci-dessus à l'aide d'une méthodologie d'analyse qualitative complète qui examine minutieusement les textes et les mots clés spécifiques dans une perspective comparative basée sur des ressources herméneutiques analytiques. Cette thèse se compose de quatre parties. Le chapitre 1 traite de la théorie du discours de Ricœur, qui sert de base théorique permettant une vision holistique de l'objet de recherche. Le chapitre 2 présente la structure de base de la théorie du récit de Ricœur, i.e. le «cercle narratif» comprenant trois étapes de la mimèsis. Les chapitres 3 et 4 vont respectivement aborder les deux problèmes majeurs de cette théorie, à savoir temporalité et subjectivité. Le chapitre 4 illustre la catégorie d'identification narrative concernant antécédents, connotation, et caractéristiques. Finalement, l'auteur arrive à la conclusion que la caractéristique de médiation de la théorie du récit de Ricœur sont étroitement liés à son affirmation du « détour herméneutique ». En somme, par son examen de la structure fondamentale du récit et les relations dialectiques entre la narrativité, la temporalité et l’ipséité, cette thèse se propose de prouver le rôle médiateur que la théorie du récit de Ricœur joue dans son système herméneutique. / This goal of this thesis is to investigate Ricoeur’s narrative theory as a whole. It has respectively the following four sets of questions as its research tasks. Firstly, what are the connotations of the notion of “narrative” in Ricoeur’s works? Secondly, what are the major problematics and features of Ricoeur’s narrative theory studies? Thirdly, if we consider “mediation” as its most outstanding characteristic, then shall we also define “mediation” regarding its function mechanism and theoretical foundation? At last, what role does narrative theory play in Ricoeur’s system of hermeneutic thoughts? This thesis attempts to answer the above-listed questions with the methodology of comprehensive, qualitative analysis that scrutinizes specific texts and keywords in a comparative perspective based on the hermeneutic analytical resources.This thesis consists of four parts. Chapter 1 discusses Ricoeur’s theory of discourse, which serves as the theoretical framework that enables a holistic view of the research object. Chapter 2 presents the basic structure of Ricoeur’s narrative theory, i.e. the “narrative circle” consisting of three stages of mimesis, in a comparison with “mimēsis” and “muthos” in Aristotle’s Poetics. Chapter 3 and Chapter 4 respectively address the two major problems of this theory, i.e. temporality and subjectivity. The theoretical central core of this thesis lies on Chapter 3. Chapter 4 illustrates the notion of “narrative identity” regarding its background, connotation, and characteristics. Finally, the author concludes that Ricoeur’s narrative theory function as a mediating force in such a way that corresponds with his assertion of “hermeneutic detour”. To sum up, by examining the fundamental structure of narratives, the dialecticism between narrativity and temporality and that between narrativity and selfhood, this thesis demonstrates the mediating role that Ricoeur’s narrative theory plays in his hermeneutical thought system.