La double approche pratique et théorique de cette thèse reflète le caractère paradoxal du mot allemand "unheimlich" qui décrit une sensation ambiguë entre étrangeté et familiarité. À ceci correspond la définition donnée par Freud, selon laquelle l'effrayant de l'"Unheimlich" « remonte au depuis longtemps connu, depuis longtemps familier». Nous retrouvons cet aspect familier au cœur de l'adjectif "unheimlich" dans la syllabe "heim" qui signifie « chez-soi». Dans la traduction française « inquiétante étrangeté», cette signification se perd. L'ancrage de l'"Unheimlich" dans l'entre-deux amène une indécidabilité (Derrida), voire un constant passage ou aller-retour. Par conséquent, il a toujours échappé à une conceptualisation et apparaît aujourd'hui comme un « non-concept» (Masschelein). Cependant, l'"Unheimlich" est de plus en plus souvent mis en relation avec l'art, ce dont témoignent les nombreuses expositions qui s'y sont récemment consacrées. Serait-ce alors dans l'art que l'"Unheimlich" trouve son véritable "Heim" ? Selon notre hypothèse centrale, il serait à l'œuvre dans l'art lorsque celui-ci s'avère être auto-réflexif et illimité. Différents « passages» nous guident dans notre approche du cœur "unheimlich" d'une pratique artistique personnelle hantée par la mort, l'origine, les doubles, l'Ange de l'Histoire (Benjamin), une rencontre impossible avec un Autre-moi et par des « lettres volées» de la langue allemande. Située entre photographie et installation, cette pratique témoigne du caractère hybride de l'art actuel qui semble être devenu « étranger à lui-même» (Kristeva). Les travaux personnels reflètent-ils l'entre-deux "unheimlich" qui nous inquiète, mais qui peut aussi nous enchanter ? Ou alors, l'"Unheimlich" serait-il irreprésentable, renvoyant à un au-delà des images ? / The double (theoretical and practical) approach of this thesis reflects the paradoxical nature of the German word "unheimlich" which describes an ambiguous feeling between strangeness and familiarity. Correspondingly, Freud states that the terrifying of the "Unheimlich" « leads back to something long known to us, once very familiar ». The syllable "heim" «( home ») in the middle of the adjective "unheimlich" reflects this aspect of familiarity which is lost in the French translation « inquiétante étrangeté» (as well as in the English « uncanny »), The "Unheimlich's" anchorage in the in- between involves an undecidability (Derrida), a constant passage or to-and-fro, Therefore it has always escaped a stringent conceptualization and appears today as an « unconcept » (Masschelein). However, more and more the "Unheimlich" is being connected with art as is evident from the numerous exhibitions recently devoted to it. Could it be then that it founds its real "Heim" in art ? According to my main hypothesis, the "Unheimlich" is at work in art when it turns out to be self-reflexive and unlimited. Different « passages» guide our approach to the "unheimlich" heart of my own art practice haunted by death, origins, doubles, the « Angel of History » (Benjamin), an impossible encounter with an Other-me and the «purloined letters » of the German language. Located between photography and installation, this practice gives an account of the hybrid nature of current art which seems to have become a « stranger to itself» (Kristeva). Do the personal works that we compare to other artist's works, reflect the "unheimlich" in-between that disturbs, but also can delight us? Or could the "Unheimlic"h tum out to be unrepresentable, referring to a quality that goes beyond images ?

Este trabalho explora a produção do artista Farnese de Andrade, mais especificamente as suas assemblages. Na busca pela singularidade destas, a pesquisa mergulha nas possíveis relações existentes entre elas e o conceito freudiano denominado unheimlich. Tais relações podem ser encontradas em distintos objetos, especialmente nas recorrentes peças nas quais o corpo fragmentado é elemento constituinte, seja por meio de esculturas de divindades, de pedaços de bonecas ou de ex-votos. Questões como a morte, a literatura fantástica e a memória colonial brasileira, cada uma a seu modo, contribuem de maneira fundamental para o desenvolvimento da pesquisa / This investigation explores the production of the artist Farnese de Andrade, more specifically his assemblages. In them, the research tries to find their singularity and deeply investigates the possible relationship among them and the Freudian concept denominated as unheimlich. Such relationships can be found in different objects, especially in the recurrent pieces in which the fragmented body is the constituent element, whether by the use of divinity sculptures, pieces of dolls or ex-votes. Matters as death, fantastic literature and Brazilian colonial period, each in its own way, fundamentally contribute to the development of this inquire

Este trabalho explora a produção do artista Farnese de Andrade, mais especificamente as suas assemblages. Na busca pela singularidade destas, a pesquisa mergulha nas possíveis relações existentes entre elas e o conceito freudiano denominado unheimlich. Tais relações podem ser encontradas em distintos objetos, especialmente nas recorrentes peças nas quais o corpo fragmentado é elemento constituinte, seja por meio de esculturas de divindades, de pedaços de bonecas ou de ex-votos. Questões como a morte, a literatura fantástica e a memória colonial brasileira, cada uma a seu modo, contribuem de maneira fundamental para o desenvolvimento da pesquisa / This investigation explores the production of the artist Farnese de Andrade, more specifically his assemblages. In them, the research tries to find their singularity and deeply investigates the possible relationship among them and the Freudian concept denominated as unheimlich. Such relationships can be found in different objects, especially in the recurrent pieces in which the fragmented body is the constituent element, whether by the use of divinity sculptures, pieces of dolls or ex-votes. Matters as death, fantastic literature and Brazilian colonial period, each in its own way, fundamentally contribute to the development of this inquire

Au delà de toute classification nosographique, il y a un caractère irréductible qui relie la dimension de l’habiter à l’humain, quelles qu’en soient ses conditions, sa structure. Parce qu’elle est intimement intriquée au corps et au langage, la question de l’habiter intéresse la psychanalyse qui, dès lors, se doit de l’envisager dans ses liens avec la folie et la norme. Que signifie habiter ? Quels territoires désigne ce verbe ? Quelles en sont ses frontières? Habiter a-t-il toujours pour horizon la constitution d’un espace circonscrit, d’un « chez-soi » ? En effet, le propre de l’exister humain n’est pas uniquement caractérisé par l’appropriation d’un territoire, par l’acquisition d’un espace privé, mais par le fait d’être toujours déjà exposé à son dehors. Nous habitons d’ailleurs ce paradoxe : chez-nous, c’est toujours hors de nous. Cet inconfort inhérent à tout habiter humain est à l’origine de nombreuses impasses cliniques dans les pratiques actuelles de réinsertion par le logement. Cette réflexion, au croisement de la philosophie, de la psychanalyse et des sciences sociales, veut questionner les frontières entre le dedans et le dehors, entre moi et l’autre, en pointant que l’habitation du sujet n’est jamais toute. « L’habitat-terrier » de Monsieur H, la « maison hantée » de Madame M et le « garde-meubles » de Monsieur C - trois déclinaisons cliniques de l’habiter - nous permettent de montrer comment l’inconscient et l’Unheimlich interrogent les catégories habituelles du familier, de l’intimité et de l’étranger. Ainsi, l’habiter ne saurait être pensé sans un rapport à la hantise. Plus précisément, ce que la hantise fait au lieu qu’on habite, c’est de lui autoriser un « hors-lieu », ce qui constitue l’essence même de l’opération psychanalytique. Dès lors, quelle serait une conception freudienne de la maison? Il s’agira de penser les modalités de l’habiter en les articulant aux questions de seuil, d’accueil et d’hospitalité, ceci afin de dégager une certaine « éthique de l’habiter ». / The bond between the questions of inhabiting and being is an inveterate one, beyond any nosographic considerations, regardless of the structure and the conditions surrounding each and every person. Inhabiting is intimately woven into the fabric of the body and of language, and is therefore of natural interest to psychoanalysis, which, in turn, is called upon to address its relationship to insanity and to the norm. What does inhabiting mean? Which territories does this term point at? What are its frontiers? Does inhabiting always pertain to a to well-defined space, of one’s own? Human existence is not only defined by the appropriation of territory, nor by the acquisition of private space, but also by the very fact of being constantly exposed to one's “outside”. Indeed, we dwell within this paradox: “our place” is forever outside of our selves. This discomfort, inherent to all human inhabiting, is at the heart of numerous clinical dead-ends, encountered by projects aiming at social inclusion through housing. Our study, at the crossroads of philosophy, psychoanalysis and social science, seeks to question the frontier between “inside” and “outside”, between myself and others, pointing out that inhabiting is never one and a whole. We will look at three clinical studies: M. H’s “burrow”, Ms. M’s “haunted house” and Mr. C’s “storage facility”. They will allow us to examine how the subconscious, and the Unheimlich put ill at ease the habitual categorization of familiarity, intimacy and the foreign. We will discover that inhabiting cannot be addressed unrelated to the concept of haunting. Indeed, it is the haunting which makes it possible for a situ to have its corresponding ex-situ, which is the very essence of the psychoanalytic process. What would then be a Freudian conception of the House? We will study the various modes of inhabiting as they pertain to the issues of the threshold, of welcoming and of hospitality, aiming at a definition of the Ethics of Inhabiting

The uncanny is a feeling that is closely related to fear and fright but is not quite the same. It is a feeling of unsettling discomfort – that there is something that one does not understand. This project explores the aesthetic of the uncanny through tailoring. By using draping and the inherent body-altering techniques within tailoring this project shows alternative expression within tailoring by distortion of body and garment.

Made available in DSpace on 2016-08-26T15:19:09Z (GMT). No. of bitstreams: 1 tese_7875_Dissertação de Mestrado - Christine Ribeiro Miranda.pdf: 17668602 bytes, checksum: d9acbfff60cb000c6ad4ac7085f49f4e (MD5) Previous issue date: 2014-08-04 / Esta dissertação investiga o unheimlich em português, 'estranhamente familiar' -, conceito psicanalítico desenvolvido por Sigmund Freud, em obras que fazem parte de 4 (quatro) séries do trabalho do artista plástico Attilio Colnago: "Do Retorno às Meias Verdades", 10 + 1 Perigosas Maneiras de Amar", "Minas das Liberdades Gerais" e "Diálogos com a Paixão". Aproxima as obras do artista já tão conhecidas por seus aspectos principais tais como a presença da figura humana, os espaços interiores, o sagrado em um contraponto com o profano, e as memórias do estranhamente familiar. Para tanto, pesquisou-se a bibliografia ligada ao tema, que teve como ponto de partida o ensaio de Freud de 1919, "Das Unheimliche", traduzido para o português como "O Estranho" e prosseguiu-se através de escritos de outros autores que se interessam pelo conceito de estranhamente familiar, trazendo-o para a contemporaneidade e associando-o a outras áreas do conhecimento, entre eles Nicholas Royle, Anneleen Masschelein e Anthony Vidler. Com base na teoria estudada foram selecionadas, dentre as séries escolhidas, as obras mais significativas em relação ao tema para serem analisadas. Busca-se desvendar e analisar um lado ainda não investigado da obra do artista e ao mesmo tempo mostrar a importância de se estudar o conceito de estranhamente familiar no campo das artes plásticas.

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Há muitas menções à estética do grotesco na produção literária de Clarice Lispector, todavia sem que esse tema seja apresentado em primeiro plano pela crítica que se ocupa dos estudos da obra da autora. Privilegiou-se, desde o lançamento do primeiro romance da escritora, em 1943, o enfoque dos instantes epifânicos positivos, dos temas metafísicos, das leituras de viés existencialista e da investigação do fracasso da linguagem, permanecendo em segundo plano um lado obscuro também presente em sua produção ficcional. O presente trabalho se dedica a investigar de que maneira a tradição do grotesco, sobretudo aquela estudada por Kayser, Bakhtin e Victor Hugo, está presente na obra literária de Clarice Lispector, especialmente nas narrativas curtas A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos e A solução. A análise desses textos nos revela que esse fenômeno parece servir a propósitos bem específicos na autora: o de constituir um disparador de determinadas emoções, como o Unheimlich freudiano, nos personagens que se defrontam com a figuração do grotesco, acionando, por oposição, a percepção de um Belo faltante, ausente, o que cria o espaço da desarmonia e do desequilíbrio. Por outro lado, as várias formas grotescas apresentadas por Clarice parecem não se fixar rigidamente, elas são difusas e voláteis, de modo que estão sempre em metamorfose. / The grotesque aesthetics is frequently mentioned in the literary work of Clarice Lispector, though this theme hasnt been primarily presented by the critics that deal with the authors work. Since the first novel of the author, launched in 1943, it has been common the focus on the most rare and unique moments of epiphany, metaphysical themes, existencialist biases, and the investigation of literature failure, leaving in the background the obscure side also present in the production of her fiction work. The following work is a proposal to investigate in which way the grotesque tradition, mainly that studied by Kayser, Bakhtin and Victor Hugo, is presented in the literary work of Clarice Lispector, specifically in the short narrations A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos and A solução. The analysis of these texts reveal to us that this phenomenum might serve to the very specific purposes of the author such as to bring forward certain emotions, like the Freudian Unheimlich of the characters in face of the figuratively grotesque, bringing into action, as the opposite, an absent Beauty lack perception, that creates the space of disharmony and imbalance. However, on the other side, the many grotesque forms conveyed by Clarice seem not to be strictly fixed, they are diffuse and volatile and so in a state of permanent metamorphosis.

Há muitas menções à estética do grotesco na produção literária de Clarice Lispector, todavia sem que esse tema seja apresentado em primeiro plano pela crítica que se ocupa dos estudos da obra da autora. Privilegiou-se, desde o lançamento do primeiro romance da escritora, em 1943, o enfoque dos instantes epifânicos positivos, dos temas metafísicos, das leituras de viés existencialista e da investigação do fracasso da linguagem, permanecendo em segundo plano um lado obscuro também presente em sua produção ficcional. O presente trabalho se dedica a investigar de que maneira a tradição do grotesco, sobretudo aquela estudada por Kayser, Bakhtin e Victor Hugo, está presente na obra literária de Clarice Lispector, especialmente nas narrativas curtas A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos e A solução. A análise desses textos nos revela que esse fenômeno parece servir a propósitos bem específicos na autora: o de constituir um disparador de determinadas emoções, como o Unheimlich freudiano, nos personagens que se defrontam com a figuração do grotesco, acionando, por oposição, a percepção de um Belo faltante, ausente, o que cria o espaço da desarmonia e do desequilíbrio. Por outro lado, as várias formas grotescas apresentadas por Clarice parecem não se fixar rigidamente, elas são difusas e voláteis, de modo que estão sempre em metamorfose. / The grotesque aesthetics is frequently mentioned in the literary work of Clarice Lispector, though this theme hasnt been primarily presented by the critics that deal with the authors work. Since the first novel of the author, launched in 1943, it has been common the focus on the most rare and unique moments of epiphany, metaphysical themes, existencialist biases, and the investigation of literature failure, leaving in the background the obscure side also present in the production of her fiction work. The following work is a proposal to investigate in which way the grotesque tradition, mainly that studied by Kayser, Bakhtin and Victor Hugo, is presented in the literary work of Clarice Lispector, specifically in the short narrations A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos and A solução. The analysis of these texts reveal to us that this phenomenum might serve to the very specific purposes of the author such as to bring forward certain emotions, like the Freudian Unheimlich of the characters in face of the figuratively grotesque, bringing into action, as the opposite, an absent Beauty lack perception, that creates the space of disharmony and imbalance. However, on the other side, the many grotesque forms conveyed by Clarice seem not to be strictly fixed, they are diffuse and volatile and so in a state of permanent metamorphosis.

This paper deals with the novel Never Let Me Go by Kazuo Ishiguro and explores the feeling of unease established by the author. The theoretical framework for this paper is based on questions of humanity and thus makes use of existentialism as established by Sartre and Kierkegaard. Initially the essay explores how the setting of the novel helps establish a familiar world with unfamiliar elements. After that questions of humanity are raised and how these questions relate to the clones by showing that the clones have human qualities yet are not treated as human. These questions are expanded in the following part about ethical issues and it is shown that the reader is tempted by the author to cross certain ethical boundaries leading to a feeling of unease. Special attention is given to freedom of choice in the third part of the analysis and it is shown how the choices of the clones are very limited, especially if they are considered human. The fourth part then discusses the narrative perspective and how the narrator Kathy H. is used by the author to establish a connection and a perception of the narrator as human.