A partir de alguns estudos sobre a Academia Brasileira de Letras entidade fundada no Rio de Janeiro, em 1897 , é possível chegar a uma imagem já muito conhecida, porém pouco questionada: a de um espaço cuja compleição é marcadamente androcêntrica. Ainda que a associação entre Academia e dominação masculina possa parecer um tanto apressada, há um conjunto de implicações sociológicas nela inscritas que merecem ser descortinadas e problematizadas. Cabe-nos, assim, percorrer os caminhos teórico-analíticos que nos possibilitem apreender os matizes que tal correlação encoberta, tendo em vista as prerrogativas de gênero. Para tanto, nosso ponto de partida, situado no encalço de alguns déficits documentais, será o período de consolidação da ABL, que assiste à cogitação do nome de uma mulher para figurar entre seus membros fundadores. Trata-se da escritora Júlia Lopes de Almeida que, logo em seguida, viu-se excluída da relação final de agremiados. Também dedicaremos especial atenção a 1930, ano em que a escritora Amélia Beviláqua propõe candidatura à Academia, obtendo como resposta um sonoro não. Além destes episódios, que representam verdadeiros vazios institucionais, buscaremos evidenciar as mudanças que se processaram na Casa de Machado de Assis ao longo do tempo, tendo como ponto de inflexão o ano de 1976, momento em que é aprovada a elegibilidade feminina, alteração regimental esta que fora sucedida pela exígua presença de mulheres até os dias atuais, mais especificamente, pelo ingresso de seis escritoras: respectivamente Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai e Ana Maria Machado. A partir do quadro construído, procuraremos mostrar se a referida modificação no Regimento Interno foi sintomática de uma alteração nos contornos tradicionais e conservadores da ABL, ou se as circunstâncias e motivações que orientaram tais ingressos resultam de forças sociais ratificadoras do cânon literário. / From some studies about the Brazilian Academy of Letters an institute established in Rio de Janeiro in 1897 , we can see an image that is widespread but not questioned, i.e., that of a space that tends to be visibly male chauvinist. Although the association of the Brazilian Academy and the male domination may seem to be simplistic, there is in it, in fact, a series of sociological implications that must be scrutinized and questioned. Thus, taking a theoretical and analytical approach vis-à-vis the gender, the aim of this study is to capture the nuances that such an association veils. Therefore, our starting point, which takes into consideration the absence of some documents, will be the period of consolidation of the ABL, when the name of a woman is considered to emerge among its founding members. This woman was the writer Júlia Lopes de Almeida, who immediately afterwards saw herself excluded from the final list of members. Also we will dedicate special attention to 1930, year in which the writer Amélia Beviláqua proposed her candidacy to the ABL and got a sound no as a reply. Besides these occurrences, which represent a true institutional emptiness, we will seek to elucidate the changes that took place in the House of Machado de Assis throughout the years, having as a turning point the year 1976, period in which women eligibility was approved. We will see that such an alteration has been followed, until now, by a rare presence of women, more specifically, by the admission of six writers: Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai and Ana Maria Machado. From the resulting frame, we will find out whether the changes made in its statute in 1976 were, finally, indicative of a shift in the traditional and conservative structure of ABL or whether the circumstances and motivation that oriented the attainment of prestige and, consequently, a chair in the Brazilian Academy of Letters was the result of social forces which ratify the literary canon.

Made available in DSpace on 2016-04-28T20:38:33Z (GMT). No. of bitstreams: 1 Giselli Renata Goncalves.pdf: 1137975 bytes, checksum: 598432b0a666235d8e37c6eb1c4e67c3 (MD5) Previous issue date: 2012-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the task to investigate the functioning of psyche, it fits to Psychology to stabilish a dialogue with different fields where the soul finds expression possibilities. In such case, the poetical art, whose psychological meaning was already salient for Jung, seems to constitute a privileged field for manifestation of symbolic contents. Our research consists of examining the symbols related to Feminine Archetypal expressed by the poem Mar Absoluto (Absolute Sea), authored by Cecilia Meireles. We aim to understand which aspects of this archetype are expressed by its writing, how they are expressed and its imagistic contents. We adopt a method of qualitative analysis, based on ontologic and epistemologic concepts of the Jungian paradigm. The symbolic images were submitted to the analysis method proposed by Penna (2009), called archetypal symbolic process, which aims to understand and assimilate the meaning of the symbol. To do so, we use the process of symbolic amplification, which consists of widening the context of images, relating it to mythology, folklore and art, aiming to place it in the panorama of universal subjects of the human experience. Thus, we hope "to translate" such images in concepts, and possibly to know its meanings in depth. The analysis results show that the symbols expressed by the poem join both polarities of the maternal archetype, that is, they refer to the Good-Bad Mother. The sea appears experienced as a Great Mother Sea / Na tarefa de investigar o funcionamento da psique, cabe à psicologia estabelecer um diálogo com diversas áreas onde a alma encontre possibilidades de expressão. Nesse sentido, a arte poética, cuja importância psicológica já fora ressaltada por Jung, parece-nos constituir um campo privilegiado para a manifestação de conteúdos simbólicos. Nossa pesquisa consiste na análise dos símbolos relacionados ao Feminino Arquetípico presentes no poema Mar Absoluto, de Cecília Meireles. Objetivamos compreender quais aspectos deste arquétipo ganham expressão em sua escrita, de que forma e por meio de qual conteúdo imagético. Para tanto, adotamos uma metodologia qualitativa baseada nos pressupostos ontológicos e epistemológicos do paradigma junguiano. As imagens simbólicas selecionadas no poema foram submetidas ao método de análise proposto por Penna (2009), denominado processamento simbólico arquetípico, o qual visa compreender e assimilar o significado do símbolo. Para tanto, utilizamo-nos do procedimento de amplificação simbólica, o qual consiste no alargamento do contexto das imagens, relacionando-as à mitologia, ao folclore e às obras de arte, no intuito de situá-las no panorama dos temas universais da experiência humana. Dessa forma, buscamos "traduzir" tais imagens para alguma forma de conceituação que nos possibilite conhecer seus significados em profundidade. Os resultados da análise mostram que os símbolos presentes em Mar Absoluto reúnem as duas polaridades do arquétipo materno, ou seja, referem-se à Mãe Bondosa-Má, sendo o mar experienciado como uma Grande Mãe Marítima

Made available in DSpace on 2016-04-28T20:38:33Z (GMT). No. of bitstreams: 1 Marcelo Francisco de Mello.pdf: 896143 bytes, checksum: d5fc85a3d2a8092bb742d85718e3e4c3 (MD5) Previous issue date: 2012-10-26 / This work begins with a clinical case, so its method is mainly clinical and falls within the tradition of fundamental psychopathology, a discipline which seeks a bailout of human subjectivity, believing that since the creation of the General Psychopathology proposed by Jasper (1913), the human subjectivity has been deprecated instead of an objectivist psychopathology that aims to observation of human suffering through technological mechanisms for classification. The clinical method is the one adopted by the Fundamental Psychopathology, so psychoanalysis is more suitable for such discipline. Within this theoretical-clinical, this work refers to the involvement of obsessive neurosis in a woman. Such manifestation finds little support in the current theory, enabling the importance of this production. The construction of the narrative of the cited case reveals theoretical, clinical and transferential barriers, which the author conducts a possible detailed study the most. The desire, its cause and its impossible of accomplishment were brought to the fore, as well as the constitution of the feminine in rescuing the eternal question: anatomy is destiny or not? / Este trabalho se inicia com um caso clínico, portanto seu método é eminentemente clínico e se insere na tradição da Psicopatologia Fundamental, disciplina que visa um resgate da subjetividade humana, pois entende que desde a criação da Psicopatologia Geral proposta por Jasper (1913) a subjetividade humana vem sendo preterida em detrimento de uma psicopatologia objetivista que visa à observação do sofrimento humano através de mecanismos tecnológicos de classificação. O método clínico é o método adotado pela Psicopatologia Fundamental, portanto a psicanálise é a casa mais confortável para esta disciplina. Dentro deste referencial clínico-teórico, este trabalho versa sobre o acometimento da neurose obsessiva em uma mulher. Manifestação que encontra pouco respaldo na teoria vigente, o que viabiliza a importância desta produção. A construção da narrativa do caso exposto revela entraves teóricos, clínicos e transferenciais, os quais o autor realiza um estudo o mais detalhado possível. O desejo, sua causa, e sua impossibilidade de realização foram trazidos a baila, bem como a constituição do feminino no resgate da eterna questão: a anatomia é ou não o destino?

Made available in DSpace on 2016-04-28T20:38:42Z (GMT). No. of bitstreams: 1 Iza Maria Abadi de Oliveira.pdf: 853726 bytes, checksum: 41f43eca01fb33e2b6f4cd5a3b996085 (MD5) Previous issue date: 2013-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research focus on the theme of the passionate follies, conceiving them under the angle of the feminine refusal in the maternal. Such questions are presented from the clinical history of Rosa and from the tale, O Homem da Areia, from E.T.A Hoffmann which, in their specificities present approximated logics. For explanation of the propositions of this paper, through the freudo-lacanian literature, tributary relations are established between the concepts of: maternal, focusing on the deadly face of an embodiment of pleasure; of Verleugnung in its relationship with the maternal belief; and feminine while a position in the sexual. Regard to this, the figure of an outline that encloses and includes a maternal body, is an aid for guiding assumptions of this study. The figures of the automaton and the mortified woman are presented as forms of passion. These seek to represent the unrepresentative, what is from the real field, in the case of this study, ways that utter an extreme passion. Conditions found in other passionate disorders in which there is a devastation of the subject, by tapping the irreducible field of language. In this direction, it is suggested a medical device called Fort-da literary, in which the subject can build and translate its conflict literally. This study draws the passionate follies as a psychopathology which points out to contemporary social issues. From the assumption that, in those psychopathological settings, there is a depletion of the narrative, indicating a discursive configuration similar to a contemporary narrative specificity / Esta pesquisa é dedicada ao tema das loucuras passionais, concebendo-as sob o ângulo da recusa do feminino no materno. Tais questões são apresentadas a partir da história clínica de Rosa e o do conto, O Homem da Areia, de E.T.A. Hoffmann que, em suas especificidades, apresentam lógicas aproximadas. Para fundamentação das proposições deste trabalho, através da literatura freudo-lacaniana, estabelecem-se relações tributárias entre os conceitos de: materno, enfocando a face mortífera de uma corporeidade de gozo; de Verleugnung na sua relação com a crença materna; e de feminino enquanto uma posição no sexual. Neste, a figura de um contorno que circunscreve e contém um corpo materno, é um subsídio para os pressupostos norteadores deste estudo. As figuras do autômato e da mulher mortificada são apresentadas como formas de figuras da paixão. Estas buscam representar o irrepresentável, o que é do campo do real, no caso deste estudo, formas que absolutizam uma extrema passionalidade. Condições encontradas em estados de perturbações passionais, e nas quais há uma devastação do sujeito, tocando no campo do irredutível da linguagem. Nessa direção, sugere-se um dispositivo clínico, denominado Fort-da literário, em que o sujeito possa construir e traduzir seu conflito literariamente. Deste estudo se extrai a indicação de loucuras passionais como uma psicopatologia que sinaliza questões do laço social contemporâneo. A partir do pressuposto de que, naquelas configurações psicopatológicas, há um empobrecimento da narrativa, indica-se uma configuração discursiva similar a uma especificidade narrativa contemporânea

Made available in DSpace on 2016-04-28T20:38:44Z (GMT). No. of bitstreams: 1 Lilian Garcia de Paula.pdf: 656720 bytes, checksum: 81ee5c1c9652c6ee04744d4debd56cff (MD5) Previous issue date: 2013-09-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this dissertation is to understand the expression of the feminine retracted in the work Dom Casmurro (1899) by Machado de Assis, through the analysis of the characters of the book, their psychic dynamics and the relationship between man and woman. The dissertation was conducted based on Jungian approach and was used a qualitative research methodology. The book Dom Casmurro has been read and mapped to perform the synopsis and analysis of its characters and contexts. The analysis was divided into three stages and was focused on the feminine characters, the matter of the anima to the male characters and the relationship between Capitu and Bentinho. The research suggests that the patriarchal culture in Brazil of the nineteenth century, femininity and masculinity could not be fully lived, with both women and men wearing a mask for the expected socially to their genders inhibiting deeper experiences of their personalities. In this way aspects of femininity in women characters and aspects of the anima in men had little chance of integration, hindering gender relations. We can think that today are still present the same issues relating to women, since it is a process that is not yet completed in the society / Esta dissertação teve como objetivo compreender a expressão do feminino retratado na obra Dom Casmurro (1899) de Machado de Assis através da análise dos personagens do livro, suas dinâmicas psíquicas e a relação existente entre homem e mulher. A dissertação foi realizada com base na abordagem junguiana e utilizou-se a metodologia qualitativa de pesquisa. O livro Dom Casmurro foi lido e mapeado para realização da sinopse e análise de seus personagens e contextos. A análise foi dividida em três momentos e foi focada nas personagens femininas, na questão da anima para os personagens masculinos e na relação entre Capitu e Bentinho. A pesquisa sugere que na cultura patriarcal do século XIX no Brasil, a feminilidade e a masculinidade não puderam ser vivenciadas plenamente, sendo que tanto as mulheres quanto os homens vestem uma máscara referente ao esperado socialmente para seus gêneros inibindo vivências mais profundas de suas personalidades. Neste sentido aspectos do feminino nas personagens mulheres e aspectos da anima nos homens tinham pouca possibilidade de integração, dificultando as relações de gênero. Podemos pensar que na atualidade ainda estão presentes as mesmas questões referentes ao feminino, visto que é um processo que ainda não se completou na sociedade

A partir de alguns estudos sobre a Academia Brasileira de Letras entidade fundada no Rio de Janeiro, em 1897 , é possível chegar a uma imagem já muito conhecida, porém pouco questionada: a de um espaço cuja compleição é marcadamente androcêntrica. Ainda que a associação entre Academia e dominação masculina possa parecer um tanto apressada, há um conjunto de implicações sociológicas nela inscritas que merecem ser descortinadas e problematizadas. Cabe-nos, assim, percorrer os caminhos teórico-analíticos que nos possibilitem apreender os matizes que tal correlação encoberta, tendo em vista as prerrogativas de gênero. Para tanto, nosso ponto de partida, situado no encalço de alguns déficits documentais, será o período de consolidação da ABL, que assiste à cogitação do nome de uma mulher para figurar entre seus membros fundadores. Trata-se da escritora Júlia Lopes de Almeida que, logo em seguida, viu-se excluída da relação final de agremiados. Também dedicaremos especial atenção a 1930, ano em que a escritora Amélia Beviláqua propõe candidatura à Academia, obtendo como resposta um sonoro não. Além destes episódios, que representam verdadeiros vazios institucionais, buscaremos evidenciar as mudanças que se processaram na Casa de Machado de Assis ao longo do tempo, tendo como ponto de inflexão o ano de 1976, momento em que é aprovada a elegibilidade feminina, alteração regimental esta que fora sucedida pela exígua presença de mulheres até os dias atuais, mais especificamente, pelo ingresso de seis escritoras: respectivamente Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai e Ana Maria Machado. A partir do quadro construído, procuraremos mostrar se a referida modificação no Regimento Interno foi sintomática de uma alteração nos contornos tradicionais e conservadores da ABL, ou se as circunstâncias e motivações que orientaram tais ingressos resultam de forças sociais ratificadoras do cânon literário. / From some studies about the Brazilian Academy of Letters an institute established in Rio de Janeiro in 1897 , we can see an image that is widespread but not questioned, i.e., that of a space that tends to be visibly male chauvinist. Although the association of the Brazilian Academy and the male domination may seem to be simplistic, there is in it, in fact, a series of sociological implications that must be scrutinized and questioned. Thus, taking a theoretical and analytical approach vis-à-vis the gender, the aim of this study is to capture the nuances that such an association veils. Therefore, our starting point, which takes into consideration the absence of some documents, will be the period of consolidation of the ABL, when the name of a woman is considered to emerge among its founding members. This woman was the writer Júlia Lopes de Almeida, who immediately afterwards saw herself excluded from the final list of members. Also we will dedicate special attention to 1930, year in which the writer Amélia Beviláqua proposed her candidacy to the ABL and got a sound no as a reply. Besides these occurrences, which represent a true institutional emptiness, we will seek to elucidate the changes that took place in the House of Machado de Assis throughout the years, having as a turning point the year 1976, period in which women eligibility was approved. We will see that such an alteration has been followed, until now, by a rare presence of women, more specifically, by the admission of six writers: Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai and Ana Maria Machado. From the resulting frame, we will find out whether the changes made in its statute in 1976 were, finally, indicative of a shift in the traditional and conservative structure of ABL or whether the circumstances and motivation that oriented the attainment of prestige and, consequently, a chair in the Brazilian Academy of Letters was the result of social forces which ratify the literary canon.

abstract: Among the hundreds of hymnals published in the United States during the Second Great Awakening (1790–1850), the first official hymnal of The Church of Jesus Christ of Latter-day Saints is a rare example of a hymnal compiled by a woman. The Latter-day Saints wanted a hymnal adapted to their unique beliefs and emerging identity, and Emma Smith—the wife of founding prophet Joseph Smith—was given sole charge of selecting the hymns. The hymnal is also significant because Emma Smith selected and arranged hymns from 1830–1835, years of an emerging rhetoric for the early women’s rights movement. Nevertheless, few studies attend to Smith’s agency and priorities as a compiler, being preoccupied with the contributions of W. W. Phelps, the editor, printer, and most represented poet of the hymnal. Drawing on Karlyn Kohrs Campbell’s theories of agency and of feminine style as well as Kenneth Burke’s theory of form, this thesis uses close textual analysis and coding to examine the rhetorical strategies Smith employed in the hymnal’s preface and in the organization of the Sacred Hymns section. The analysis reveals the hymnal’s recurring themes as well as the ideas it circulates about sex, gender, agency, and community inclusion/exclusion. It also uncovers tension between Smith’s and Phelps’ priorities for the hymnal, particularly in how Smith and Phelps characterize those who should and should not be included with equal authority in Zion, the ideal community the Latter-day Saints sought to build. / Dissertation/Thesis / Masters Thesis English 2019

La spécificité de l’adolescence est la venue au premier plan de la génitalité. Cela entraîne à la fois une métamorphose du corps et un remaniement psychique. À l’adolescence, le corps est aussi un lieu de contradiction que tantôt il attaque, tantôt il embellit dans un érotisme effréné. En effet, la contradiction peut se traduire sous forme symptomatique et manifester l’encombrement que l’adolescent ressent devant son corps qui lui échappe. Il ne sait pas repérer ce qu’il ressent, il ne sait pas le nommer et même il ne sait pas qu’il ne sait pas. Parfois le rapport qu’il entretient avec son corps est suffisamment paradoxal pour qu’il ne puisse pas se l’approprier. C’est cette étrangeté qui va provoquer un clivage chez l’adolescent. Les deux perspectives qui émanent de ces positions sont assez différentes quant à l’avenir du sujet. Ce travail s’inscrit dans la continuité de divers travaux de recherche sur la problématique adolescente. Il vient rendre compte de la mise en place dans un service de Pédiatrie générale d’un groupe thérapeutique à médiation écriture avec des adolescentes qui se scarifient. C’est en considérant ces scarifications comme un langage du corps au coeur de la problématique adolescente et pubertaire, et au regard des difficultés que ces adolescentes ont à mettre des mots sur l’indicible de leur douleur, que le groupe a été créé. La mise en place de celui-ci correspond plus globalement à une réflexion sur le processus d’adolescence, de subjectivation, et le rapport au corps, notamment à travers le travail de symbolisation à l’adolescence. Nous interrogeons également à l’endroit de notre réflexion, la médiation écriture en tant que dépôt d’une trace sur un support, qui au même titre que la rencontre de la lame sur la peau, viendrait comme une butée (Le Breton, 2002) ; la rencontre avec la feuille par analogie au corps viendrait recréer et offrir un contenant à la souffrance psychique. Le groupe quant à lui pourrait être vécu comme espace transitionnel au sens où l'entend Winnicott, au fondement de l’expérience créatrice et rassurante pour l’adolescente. Le corps aurait alors une fonction semblable dans ce qu'il incarnerait une frontière entre un dedans et un dehors. Une des fonctions de la pratique scarificatoire serait alors de restaurer les limites du Soi dans une lutte contre un possible effondrement. / The specificity of adolescence is the coming to the fore of genitality. This involves both a metamorphosis of the body and a psychic reworking. The body is also a place of contradiction that sometimes attacks, sometimes it embellishes in a frenzied eroticism. Indeed, the contradiction can be translated in symptomatic form and manifest the clutter that the adolescent feels in front of his body that escapes him. He does not know how to identify what he feels, he does not know how to name it and he does not even know he does not know. Sometimes the relationship he has with his body is sufficiently paradoxical that he can't appropriate it. It is this strangeness that will cause a cleavage in the adolescent. The two perspectives that emanate from these positions are quite different as to the future of the subject. This work is a continuation of various research works on the adolescent problem. He reports on the establishment of a therapeutic group in writing in a Pediatric General Service, writing with teenagers who are scarifying themselves. It is by considering these scarifications as a body language at the heart of the adolescent and pubertal problem, and in view of the difficulties that these teenagers have to put words on the indescribable of their pain, that the group was created. The setting up of this one corresponds more generally to a reflection on the process of adolescence, of subjectivation, and the relation with the body, in particular through the work of symbolization in adolescence. We also question the place of our reflection, the mediation writing as a deposit of a trace on a support, which as well as the meeting of the blade on the skin, would come as a stop (Le Breton, 2002); the encounter with the sheet by analogy with the body would come to recreate and offer a container for psychic suffering. The group could be seen as a transitional space in Winnicott's sense, at the root of the creative and reassuring experience for the teenager. The body would then have a similar function in what it would incarnate a border between an inside and an outside. One of the functions of the scarificatory practice would then be to restore the limits of the Self in a fight against a possible collapse.

In 1958, actress Donna Reed formed her own production company to create The Donna Reed Show, which ran successfully until 1966. One of only two female television producers working in Hollywood, Reed’s show foreshadowed much of the discontent illustrated in Betty Friedan’s The Feminine Mystique. The series explored Donna’s frustrations with housework, her interest in professional activities outside the home, and her determination to be an equal in her marriage. However, The Donna Reed Show also diverged from Friedan on key issues by elevating the housewife and establishing her moral authority, thus foreshadowing more conservative “maternal” feminism as identified by Christina Hoff Sommers. The Donna Reed Show has been falsely grouped with other family sit-coms as conformist and has been largely overlooked for its contributions to the feminist movement by scholars, when in fact Reed created the most complex mother character on television at the time.

<p>The aim of this study was to find out how features that have been found to be typical of women’s language, such as hedges, tag questions and a high level of talkativeness etc., are represented in a popular TV series. Five cross-sex conversations from one episode of the sitcom <em>The New Adventures of Old Christine </em>were analyzed, and the results show that many of the features of interest, as for instance tag questions, minimal responses and indirect style, are unexpectedly used more frequently by men in this small investigation. In fact, the only feature that was used more frequently by the female main character was hedges. Several factors affect the results of the study, as for instance the fact that the conversations are fictional. The special characteristics of the speakers also affect the results, as well as the tone and the topic of the chosen conversations. Many of the features of interest were used to a very small extent, which is probably a result of the fact that the language in a sitcom is to be entertaining and rather quick, which leaves little or no room for the features studied.</p>