Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente pesquisa percorre os interiores de uma fortaleza colonial, cenário de A varanda do frangipani, do escritor moçambicano Mia Couto. Nessa obra, o autor estabelece com o leitor um pacto ficcional (ECO, 1994) e o convida a iluminar-se com as diversas micro-narrativas que traçam um paralelo entre o ontem e o hoje de uma varanda que protege e aprisiona. O narrador convoca o narratário e relata a história de personagens que vivem uma realidade paradoxal, transitando entre as visões de dentro e de fora, racional e irracional. Em um mundo fragmentado, os componentes ficcionais se conjugam para compor uma narrativa que promove profundas reflexões através da palavra, pois palavras valem a pena se nos esperam encantamentos (COUTO, 2007, p. 112) / The present research goes through the inside of a colonial fortress, scenario from Under the frangipani, by the Mozambican writer Mia Couto. In this work, the author establishes with the reader a fictional pact (ECO, 1994) and invites him to bright himself up with the various micro-narrative that draw a parallel between yesterday and today of a balcony that protects and "imprisons". The narrator requests the narratee and relates the characters that live a paradoxal reality's stories, transiting between the views of inside and of outside, rational and irrational. In a fragmented world, the fictional components combine themselves to compose a narrative that promotes deep reflection through word, because words are worth if we expect enchantment (COUTO, 2007, p. 112)

Através do estudo da obra de Salvador Dali, pontuamos algumas questões importantes que envolvem a conexão da arte com a psicanálise. Os pontos assinalados da teoria freudiana sobre a temática da angústia e sua relação com a arte praticada por Dali se baseiam no ensaio O estranho (1919) e no Seminário lacaniano, livro 10. Dali escreveu vários artigos e um ensaio teórico sobre o que ele entendeu por método paranóico-crítico de conhecimento da realidade. Por conta disso, revisamos alguns dos textos freudianos que tocam no tema da paranóia e da realidade psíquica. Esse método aplicado à sua própria arte nos ensinou que uma obra de arte pode funcionar como objeto pequeno a para o observador cuja realidade psíquica tenha sido tocada por uma dada tela. Outro tema importante refere-se ao que resolvemos chamar de o Outro Geográfico de Dali. Baseamos essa pesquisa na noção lacaniana do grande Outro como tesouro dos significantes e a relação disso com a região nordeste da Catalunha, na Espanha. Notamos que os lugares onde Dali viveu e onde construiu suas casas-museu foram extremamente importantes para ele, o que fica claro pelo fato dele repetir insistentemente partes da natureza dessa região ao longo de toda sua obra, como significantes que insistem em ser reescritos. Conhecido como o triângulo daliniano por seus biógrafos, os lugares que compõem essa estrutura são: Figueres, sua cidade natal; Cadaqués, no litoral nordeste da Catalunha onde o menino Dali passava as férias de verão e onde construiu sua morada conjugal com sua adorada Gala; e Púbol, no interior da Catalunha, onde restaurou um Castelo para sua mulher morar. Supomos que esses três lugares, tal qual o tempo para o psiquismo, funcionaram, para Dali, dentro da lógica própria do inconsciente. Além disso, falaremos sobre a influência dos pintores favoritos de Dali, em especial daqueles que funcionaram para ele como grandes mestres. / The study of the art of Salvador Dali enables us to highlight some important points involving the connection between art and psychoanalysis. The points related to the Freudian concept of anguish and its relation to the art practiced by Dali are based on the essay The uncanny (1919) and on Lacans Seminar, book 10. Dali also wrote some articles and an essay about what he called paranoiac-critical method of knowing reality. Due to this, we revised some points related to the Freudian concept of paranoia and its relation to the reality of the unconscious. Dalis critical method and its application to his own art has taught us that a work of art can function as an object little a for the observers whose unconscious reality are touched by a given picture. Another important theme dealt with in this paper has to do with what we called Dalis Geographic Other. We based such research on the Lacanian notion of the big Other as the treasure of significants and its relation to the northeastern region of Catalunia, in Spain. We could notice that the places where Dali lived and built his museum-houses were extremely important to him. This is clearly noticed in his works of art, as some parts of the nature belonging to these regions are repeatedly depicted in his paintings, just like significants that insist on being rewritten. Regarded as the Dalinian triangle by his biographers, the places that compose such structure are: Figueres, his birth-place; Cadaqués, on the northeastern coast of Catalunha, where, as a boy, he spent his summer holidays with his family, and where he built his matrimonial home with his beloved Gala; and, finally, Púbol, in the interior of Catalunha, where he rebuilt a castle for his wife to live. We assume that, just like the notion of time, these three places also worked, for Dali, within the same logic of the unconscious. Besides this, we also highlight the influence of some of Dalis favorite painters, mainly the ones who operated to him as big masters.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente pesquisa percorre os interiores de uma fortaleza colonial, cenário de A varanda do frangipani, do escritor moçambicano Mia Couto. Nessa obra, o autor estabelece com o leitor um pacto ficcional (ECO, 1994) e o convida a iluminar-se com as diversas micro-narrativas que traçam um paralelo entre o ontem e o hoje de uma varanda que protege e aprisiona. O narrador convoca o narratário e relata a história de personagens que vivem uma realidade paradoxal, transitando entre as visões de dentro e de fora, racional e irracional. Em um mundo fragmentado, os componentes ficcionais se conjugam para compor uma narrativa que promove profundas reflexões através da palavra, pois palavras valem a pena se nos esperam encantamentos (COUTO, 2007, p. 112) / The present research goes through the inside of a colonial fortress, scenario from Under the frangipani, by the Mozambican writer Mia Couto. In this work, the author establishes with the reader a fictional pact (ECO, 1994) and invites him to bright himself up with the various micro-narrative that draw a parallel between yesterday and today of a balcony that protects and "imprisons". The narrator requests the narratee and relates the characters that live a paradoxal reality's stories, transiting between the views of inside and of outside, rational and irrational. In a fragmented world, the fictional components combine themselves to compose a narrative that promotes deep reflection through word, because words are worth if we expect enchantment (COUTO, 2007, p. 112)

Através do estudo da obra de Salvador Dali, pontuamos algumas questões importantes que envolvem a conexão da arte com a psicanálise. Os pontos assinalados da teoria freudiana sobre a temática da angústia e sua relação com a arte praticada por Dali se baseiam no ensaio O estranho (1919) e no Seminário lacaniano, livro 10. Dali escreveu vários artigos e um ensaio teórico sobre o que ele entendeu por método paranóico-crítico de conhecimento da realidade. Por conta disso, revisamos alguns dos textos freudianos que tocam no tema da paranóia e da realidade psíquica. Esse método aplicado à sua própria arte nos ensinou que uma obra de arte pode funcionar como objeto pequeno a para o observador cuja realidade psíquica tenha sido tocada por uma dada tela. Outro tema importante refere-se ao que resolvemos chamar de o Outro Geográfico de Dali. Baseamos essa pesquisa na noção lacaniana do grande Outro como tesouro dos significantes e a relação disso com a região nordeste da Catalunha, na Espanha. Notamos que os lugares onde Dali viveu e onde construiu suas casas-museu foram extremamente importantes para ele, o que fica claro pelo fato dele repetir insistentemente partes da natureza dessa região ao longo de toda sua obra, como significantes que insistem em ser reescritos. Conhecido como o triângulo daliniano por seus biógrafos, os lugares que compõem essa estrutura são: Figueres, sua cidade natal; Cadaqués, no litoral nordeste da Catalunha onde o menino Dali passava as férias de verão e onde construiu sua morada conjugal com sua adorada Gala; e Púbol, no interior da Catalunha, onde restaurou um Castelo para sua mulher morar. Supomos que esses três lugares, tal qual o tempo para o psiquismo, funcionaram, para Dali, dentro da lógica própria do inconsciente. Além disso, falaremos sobre a influência dos pintores favoritos de Dali, em especial daqueles que funcionaram para ele como grandes mestres. / The study of the art of Salvador Dali enables us to highlight some important points involving the connection between art and psychoanalysis. The points related to the Freudian concept of anguish and its relation to the art practiced by Dali are based on the essay The uncanny (1919) and on Lacans Seminar, book 10. Dali also wrote some articles and an essay about what he called paranoiac-critical method of knowing reality. Due to this, we revised some points related to the Freudian concept of paranoia and its relation to the reality of the unconscious. Dalis critical method and its application to his own art has taught us that a work of art can function as an object little a for the observers whose unconscious reality are touched by a given picture. Another important theme dealt with in this paper has to do with what we called Dalis Geographic Other. We based such research on the Lacanian notion of the big Other as the treasure of significants and its relation to the northeastern region of Catalunia, in Spain. We could notice that the places where Dali lived and built his museum-houses were extremely important to him. This is clearly noticed in his works of art, as some parts of the nature belonging to these regions are repeatedly depicted in his paintings, just like significants that insist on being rewritten. Regarded as the Dalinian triangle by his biographers, the places that compose such structure are: Figueres, his birth-place; Cadaqués, on the northeastern coast of Catalunha, where, as a boy, he spent his summer holidays with his family, and where he built his matrimonial home with his beloved Gala; and, finally, Púbol, in the interior of Catalunha, where he rebuilt a castle for his wife to live. We assume that, just like the notion of time, these three places also worked, for Dali, within the same logic of the unconscious. Besides this, we also highlight the influence of some of Dalis favorite painters, mainly the ones who operated to him as big masters.

Marc Levy et Guillaume Musso sont deux écrivains populaires contemporains se distinguant à la fois par de nombreuses références à l’insolite dans leurs romans et par une image très étudiée, construite à travers une forte présence dans les médias à chaque sortie de leur nouveau roman. L’objectif de cette thèse est d’analyser la relation volontairement tissée entre l’univers des fictions de Levy et Musso et leur personnage public coproduit par les médias, le public et ces écrivains eux-mêmes, ainsi que leur entourage professionnel. Dans le cadre d’une recherche interdisciplinaire, l’enjeu est de comprendre par quelles méthodes des écrivains peuvent bâtir aujourd’hui leur popularité, au sens plein du terme.Mots / Marc Levy and Guillaume Musso are two French contemporary authors of popular fiction who are noted for their numerous references to the concept of the uncanny in their novels and for their image created by their regular appearance in the media any time their new works are published. The aim of this dissertation is an analysis of the continually built up relationship between the world in Levy’s and Musso’s fiction and their public image, which is co-created by the media, the readers, by the authors themselves and also by the publishers cooperating with the authors. The present interdisciplinary study attempts to check what methods contemporary writers use in order to gain popularity, in the full sense of the word.Key words:

The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide. / Graduate / 0311 / 0900

Philosophiae Doctor - PhD / In this thesis, I will argue that one of the ways to think about the concept of homelessness and its relationship to violence is to trace the concept as it emerges in key theoretical texts of critical intellectuals who find themselves both in and outside the Western homeland. In attempting to do so, I limit this thesis to three key theoretical articulations from which the concept of homelessness can be extracted: the works of Sigmund Freud, Franz Fanon and Michael Foucault. In bringing to bear the life and work of these individuals, the hope is to conceive of the relationship between violence and homelessness in new and unforeseen ways. I propose to bring an informed interdisciplinary and gender perspective to bear on the concept of homelessness. Accepting the supposition that the body can be seen as a site of homecoming,I explore the question of who owns the body. This exploration is undertaken through an examination of the advocacy slogan, ‘my body, my business’, and the placement of the Afrikan sex worker alongside Freud, Fanon and Foucault. The Afrikan sex worker in this work is a new feminist potentiality in much the same way that homelessness offers new postcolonial possibilities. While much of postcolonial criticism has centred on the problem of the colonized subject’s relation to the home, there has not yet been a sustained undertaking of the history and meaning of the concept of homelessness and, more importantly, its relationship to the experience of violence in the contemporary world. The history of homeless people tends to be recorded through surveillance and documentation by those institutions responsible for providing discipline, punishment, shelter and cure so as to ‘save’ and ‘rescue’ them. These responses, particularly when done systematically, can become frameworks that hold the homeless person ransom to a particular language game of ‘truth’, thereby restricting the homeless person’s movement and possibility of finding a voice. Deriving a concept of homelessness from the life and work of Freud, Fanon and Foucault allows for new insights. These thinkers offer a view of homelessness that is productive for thinking against the grain of dominant orthodoxies. This contrasts with the implication of pathologization of homelessness which arises in the frameworks of dominant political,therapeutic and social work approaches.The creation of homelessness also recalls the attendant violence of its experience. I argue that the space of homelessness needs to be contextualized. When homelessness is imposed, as with torture or a tsunami, there is a closing down of space; but when chosen, as with the transgendered sex worker who leaves her home and community due to threats, impositions and judgements, homelessness may paradoxically open up space. Drawing on the insights from these theorists, I also suggest that the concept of homelessness may at a symbolic level serve rather as a powerful space of resistance to hegemonic practices of belonging, offering a way of destabilising dominant patriarchal, heteronormative and Western constructions of home.The thesis concludes that homelessness cannot be kept outside the boundaries of the home; and neither can the homeless be fully assimilated into the homeland, as something within the home is irreducible to any ordering of things. The border, boundary and intersections of home and homelessness are blurred, forever incomplete, as the home finds itself ceaselessly stained and crossed with the uncanny, that is, the ‘unhomely’. Home, as noted by Delia Vekony (2010), is a site of hospitality. It is a space to think, play, and dream, eat, make love and raise children. But it is also a stage upon which the state apparatus, global economy, monotheistic religions and patriarchal order assert control over the body. Homelessness has been constructed as a material experience for many: a site of terror, abandonment and lack of direction. It is often experience it as free falling or as the mental foreclosure of space. Yet I underline another dimension of homelessness: as an experience of liberation. This ‘camping on the borders’ allows for a disruption of identification, a state of refuge from the demands of others and a form of nomadic thinking. Within any home setting lurks the uncanny, what cannot be housed, likewise within any homeless setting a becoming-at-home is possible. Both home and homelessness hold the possibility of terror as well as a comforting, exciting retreat and escape.

Au travers de la thèse j’interroge l’instance de Surmoi en insistant sur son aspect processuel. Le processus surmoïque est constant et très complexe. Ce travail dynamique et topique du Surmoi est lié avec le travail économique de constellation des énonces catégoriques surmoïques qui encadrent et réorganise le mouvement psychique. La constellation des énoncés surmoïques comme une sorte de langage interne est construit dans le lien intersubjectif entre des sujets. L’énoncé c’est un message transmis par l’autre. L’autre apparait comme ancien l’énonciateur qui a laissé des traces dans la réalité psychique et aussi comme celui qui énonce et qui existe dans la réalité actuelle. Je propose l’hypothèse du Surmoi comme la modalité de passage entre le sujet et la culture sous angle des énonces surmoïques venu de l’autre dans les liens par le biais du processus d’identification multiple, ce que construit de la toile de Surmoi multiple. Le Surmoi multiple permet de dépasser la problématique de la paradoxalité et de l’ambuiguité du Surmoi et permet de voir sa double inscription, pulsionnelle et culturelle à la fois. L’autre qui est inscrit dans son environnement groupal prolonge mon hypothèse à ce qui se passe entre le sujet et le groupe est véhiculé dans l’espace psychique interne du Surmoi ce que je montre au travers de la clinique des sujets en malêtre et en crise et avec une fragilité identitaire. Je tente une réflexion sur la capacité contenante de l’institution, représentée par un groupe social institué (le groupe des soignants, le groupe des éducateurs, des professeurs) qui sont placés dans une référence culturelle donnée. Je propose de voir le groupe comme espace potentiel constituant la groupalité interne du Surmoi comme une toile signifiant. Le Surmoi multiple est à la frontière psychique et il est aussi la forme potentielle entre ce qui est intrapsychique et intersubjective. La fonction de l’autre à travers ses énoncés liés au contexte d’énonciation, est un fil rouge. La thèse tente de montrer que l’énoncé de l’autre organise une scène fournissant une forme potentielle comme une des traces multiples et surmoïques de l’autre chez un autre. La consciance morale – le sens interne qui guide est situé dans le Surmoi autant que la moralité et la culture interiorisé. Les lois sociales et la métacadre permettant de „vivre ensemble” fondent la condition humaine d’un sujet dans l’intitution. La clinique montre que les sujets qui souffrent déposent leur malêtre dans le groupe, qui s’organise comme une scène. Quand la culture portée par ce groupe possède les principes donnant un dispositif opérant, le cadre acquiert aussi une fonction contenante. Le lien entre le sujet et autrui est vu comme un échange d’une scène à une autre scène, ce qui convoque la figure de l’intrus et de l’étranger. Dans la rencontre avec le sujet il s’agit de transformer l’intrus en étranger familier. Par conséquent la quête du lien d’altérité est mise en question. / Through this thesis I question the Superego instance, emphasising its processing aspect. The Superego process is constant and very complex. The dynamic and topical work of the Superego is linked with the categorical, economic work of togetherness of statements that frame and reorganise the psychological movement. The togetherness of Superego statement as a sort of internal language is built in the inter subjective link between persons. The statement is a message transmitted by the ‹ Other ›. The Other appears as the former speaker who has left traces in the psychic reality of the person and also exists and sets the current reality. I propose the hypothesis of the Superego as a transfer mode between the person and his surroundings culture in terms of Superego statements passed from the ‹ other › within the bounds of multiple identifications. A process that builds the canvas of a multiple Superego. Multiple Superego overcomes the problem of paradoxical and ambiguity of simple Superego and demonstrates its double registrar, both drive and cultural. The Other one, registered in his group environment prolongs my hypothesis of what happens between the person and his group carried in the internal psychic space of the Superego. I demonstrate this with clinical cases, the persons with fragile identity in identity crisis. I try to reflect on the restraining capacity of the Institution , represented by an establish social group (eg the caregiver group, the educator group, the teachers) which is placed in a given cultural reference. I propose to see the group as a potential element (space) that will look into the multiple Superego as a workable canvas. Multiple superego is as the psychological border and it is also the potential form between what is intrapsychic and intersubjective.The mental capacity and the function of the other one through his speaking statements related to his surrounding context is a red string of this thesis. The thesis attempts to show that the speaking statement the other one arrange both groupal and psychic space like an scene providing in potential possibility in a multiple traces of superego of the other in another.The moral consciance - the internal sense which guide is located in the Superego as much as internalized morality and culture. Social laws and meta-framework for "living together" based the human condition of each person in intitution. The clinic case shows the suffering person who deposit their pain and ilness on the group, which get organized as a psychic scene. When the culture carried by this group has the principles giving an operating device, the framework also acquires a containing function. The relationship between two persons or person and the others is seen as an exchange from one psychic scene to another, which is associated with problematic of un intruder and un uncanny. In this case the encounter consiste to transform the intruder in familiar uncanny. Away the quest of otherness (alterity) is in question.

Ma pratique picturale rend compte du réel, mais en questionnant les ambiguïtés, les dualités, qui l’animent. La culture et la philosophie chinoises m’ont invité à m’engager sur cette voie de l’« Entre chien et loup », même si cette expression n’existe pas dans la langue chinoise. Le but de cette thèse est de franchir un nouveau seuil : montrer comment des concepts occidentaux, loin de mes origines, comme le sublime, ou le romantisme, ou encore celui de l’« inquiétante étrangeté » pouvaient aussi éclairer ma pratique picturale. Cette thèse veut témoigner de l’articulation que peuvent opérer pratique et théorie dans le cadre d’une recherche en art : comment un artiste peut entrer dans une pensée par la pratique, comment, en écho, la théorie peut lui servir d’outil. L’exposition de ma thèse rassemblera une quarantaine de tableaux de divers formats, une sélection de ceux réalisés de 2012 à 2016 pour la préparation de cette soutenance. Ces tableaux ne sont pas l’illustration de ma recherche : ils sont l’aboutissement de ce doctorat, où pratique et théorie n’ont pas été menées parallèlement, mais en résonance. Pour présenter l’état de mes recherches historiques et théoriques, le portfolio comporte deux volumes. Un corpus de textes – une sélection de douze « entrées » jalonnant ma recherche, plutôt qu’un texte linéaire – associé à la reproduction d’un choix de mes tableaux réalisés pendant ces années, pour le premier volume. Le second veut montrer l’influence que peut exercer dans ma mémoire des œuvres liées à l’« Entre chien et loup ». J’ai créé un objet original, pour matérialiser un « Fil des images », un « album-atlas » se déroulant comme un rouleau de peinture chinoise. Dans l’exposition de thèse, la dernière zone de l’espace aura un statut particulier : dans une semi-obscurité, le jury sera invité à parcourir une installation présentant ce « Fil des images ». / My pictorial practice reflects the real, but byquestioning the ambiguities and dualities thatdrive. Chinese culture and philosophy promptedme to engage in this project of "Entre chien etloup" - even though this expression does not existin Chinese. The aim of this thesis is to reach anew threshold: show how Western concepts,far from my roots, like the Sublime, orRomanticism, or that of the "uncanny" couldalso enlighten my pictorial practice. Thisdissertation is a testament to how practice andtheory can be joined within the framework of aparticular artistic research: how an artist entersinto a thinking process through practice and how,as a sort of echo, he may use theory as a tool. The exhibition for my dissertation defenceincludes about forty paintings of different sizes,a selection of some that were created for thisparticular purpose between 2012 and 2016.These paintings do not illustrate my research –they are the outcome of a doctoral workduring which practice and theory were notfollowing a parallel path but were interlaced. To present my historical and theoreticalresearch, the portfolio consists of two volumes.A collection of texts - a selection of twelve "keywords" staking my research, instead of a lineartext - associated with the reproduction of aselection of my paintings made during theseyears, for the first volume. The second wants toshow the influence that works related to the"Entre chien et loup" may be exercised in mymemory. I created an original object tomaterialize a "Fil des images" (The Flow ofImages), an "album-atlas" unfolding like aChinese scroll painting. In this exhibition, thelast area has a special status, in a half-light,the jury is invited to discover an installationthat introduces the Fil des images.

Syftet med denna uppsats är att undersöka hur det kusliga kan skapas och användas i litteraturen. De litterära verk som analyseras är Maria Gripes Tordyveln flyger i skymningen och Agnes Cecilia – en sällsam historia. Analysen utgår från tankar om det kusliga som huvudsakligen återfinns i Sigmund Freuds essä ”Das Unheimliche” (”Det kusliga”) från 1919. Även Viktor Sklovskijs främmandegöringsbegrepp används för att analysera Gripes texter. Studien visar att romanerna främmandegör bland annat naturen och tiden för läsaren, medan det kusliga i dem – som inledningsvis kan uppfattas som hotfullt och farligt – visar sig peka i positiv riktning, mot förening och försoning. Slutsatsen är att det kusliga i Tordyveln och Agnes Cecilia används på okonventionella sätt, vilket leder till en främmandegöring av det kusliga i sig självt. / The purpose of this essay is to examine how the uncanny can be created and used in literature. This is done by analyzing Maria Gripe’s novels Tordyveln flyger i skymningen and Agnes Cecilia – en sällsam historia. The analysis is based on thoughts pertaining to the uncanny that mainly can be found in Sigmund Freud’s essay “Das Unheimliche” (“The Uncanny”) from 1919. Viktor Sklovskij’s theory on defamiliarization is also used to analyze Gripe’s texts. Among other things the study shows that the novels defamiliarize nature and time for the reader. At the same time the uncanny – which initially can be perceived as threatening or dangerous – turns out to be pointing in a positive direction, toward unification and reconciliation. The conclusion is that the uncanny in Tordyveln and Agnes Cecilia is used in unconventional ways, which leads to a defamiliarization of the uncanny in itself.