62 resultados para Angústia
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Uma leitura atenta da ficção de Graciliano Ramos pode revelar uma forma aguda de refletir o mundo através de uma reflexão anterior sobre a própria linguagem da literatura e da sociedade. É uma leitura desse teor que se pretende mostrar, apoiada na conhecida teoria das funções da linguagem de Jakobson. Num jogo constante entre as funções fática e metalingüística, Graciliano Ramos demonstra visível consciência dos problemas de linguagem, cujo tratamento moderno aponta uma postura bastante crítica (via linguagem) perante o homem e a vida. An attentive of Graciliano Ramos’ fiction reveals a deep form of reflection on the world thorough a previous reflection on the very language of literature and society. Such a reading is here attempted based on Jakobson’s well known theory of language functions. In a constante play between the fatic and the metalinguistic function, Graciliano Ramos demonstrates a clear awareness of the problems of language, whose modern treatment points at a very critical poise (via language) before man and life.
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Luís Guilherme Coelho Buchianeri propõe, nesta obra, que nos dias atuais a velocidade continua acelerando exponencial e paradoxalmente, mas apenas no mundo externo. No mundo interno, se desacelera, “tendendo a uma paralisia que não promove a angústia estruturante, mas leva à agonia, à sensação de falta de futuro, à necessidade de preenchimento do tempo com conteúdos dados à imediaticidade dos afetos”. Tal busca de concretude, diz, impede a subjetivação do ser humano moderno. A subjetividade, segundo o autor, considerada lenta e imprecisa, está sendo descartada na era da instantaneidade e da satisfação imediata dos desejos, em que a máquina possibilita que tudo se realize em “tempo real”. Assim, se no nascimento da modernidade a velocidade instigava a ação, transformação e rebeldia, hoje, vazia de conteúdos, paralisa e instala nesse espaço um tempo entediante. Nos jovens, principalmente, essa variedade de estímulos decorrentes dessas mutações no espaço e no tempo produziria uma falta de sentido na vida, acompanhada por “um esvaziamento do sujeito, uma sensação subjetiva a que poderíamos denominar tédio”. Paralelamente a esse tema, discutido amplamente neste livro, que leva em conta a realidade de jovens de diversos países, o autor aborda outra questão contemporânea – a da “depressão como figura de subjetivação da atualidade”. Ao analisar conceitos com base em teorias da Psicologia e da Filosofia, ele procura demonstrar que o tédio se sobressai em relação à depressão como a subjetividade típica de um mundo acelerado e volátil
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Pós-graduação em Psicologia - FCLAS
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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This paper concentrates on demonstrating that the novel called São Bernardo ,written by Graciliano Ramos, utilizes some literary strategies that cause the effect of being built by rememorizations, which is a vital aspect of several of the author’s titles. Such objective is reached via the analyses of how the following narrative categories: focalization, narrator, characters, story and time converge toward the elaboration of the memory and the comparison between this construction on São Bernardo and Angústia. In order to be successful on this task, three groups of study constitute our theoretical basis: a) critical essays concerning Graciliano Ramos; b) theoretical propositions about the narrative categories; c) academic articles on the constitution of memory. Papers composed by Antonio Candido, Alfredo Bosi, Sonia Brayner, Luís Costa Lima and others are part of the first group. The second one is constituted by propositions of Gérard Genette, Benedito Nunes etc. Finally, on the last one, we find Paul Ricouer and Henri Bergson
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The modernist poet Emílio Moura (1902-1971) incorporates a strictly modern language regarding the imagistic suggesting a mainly poetry metalinguistic. That way, from the works Canto da hora amarga (1932) and Cancioneiro (1944) we attest, through the poetic analysis, that modernity Moura’s poetry takes place in confluences with ideas ranging from biblical tradition and come to the depersonalization of the modern I and questing. We objectify, therefore, demonstrate and explore the metalinguistic and intertextual character that results in the personification of poetry, as clarified muse. To achieve this, this same poetry undergoes a dualistic and pessimistic sentiment, baroque, the I that is divided into life and death, light and shadow; goes through a romantic feeling of anguish and desolation and reaches the multiplicity of the poetic speaker, which promotes a constant struggle with the language. More than draw a correlation between classical and modern ideas (in the sense that the poet creates depersonalization and appropriates of free, short prose or verse, typical of modernism), intend to supply, at least in part, the dearth of studies on the miner poet who has found fertile ground to question and analyze internally the role of poetry in the multiplicity of man and modern society to therefore conclude that universalism the Emílio Moura becomes distinctive and mature. Thus, we will check how poetic inflows corroborate both works for reevaluation and critical insertion of poetic the Emílio Moura in the context of modern/Modernist Brazilian literature
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The tattoo is a social phenomenon found in all social strata, with broad inclusion in all age groups and their motivation is commonly related to aesthetic pleasure, beauty and interest in body art. These references, however, are insufficient to understand the B side of the experience: the nightmares, attempts to erase, the compulsion and the concern about stop tattooing. Something happens between the search of beauty and the execution of the tattoo, that drags out the person to the anguish dimension. In detailing this, the specificity of distress Unheimliche will serve as our guide and, in the epistemological function of uncovering, allow an approximation to the concept of identification. Reading of the concept, the identification function will appear and, with it, the uncovering of the infinite pulse of desiring, when the object wants to talk,represent itself and manifest.The tattoos psychic function in the neurosis is the same for each step every morning: find the object and with this North, calibrate the compass of neurosis.
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Pós-graduação em Psicologia do Desenvolvimento e Aprendizagem - FC
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Current paper presents the relationships between beliefs, specifically religious ones, and the Peirce’s theory of interpretants. It is assumed that religious belief emphasizes the emotional aspect of faithful, preventing criticism and change of habit. According to the author, the nature of cognition is contrary to the determination of this kind of belief since it is based on the method and fallibility of hypotheses. It is not enough for the method to deduce its consequences but seeks the inductive verification of their results in the long run and through the community of beings who thinks through signs. The problem of religious belief is the acceptance of a transcendent world and intuition which guides behavior. The vague idea of God is not submitted to scientific hypotheses but, engendered by religious systems, it creates signs whose emotional appeal is evident, redirecting it to its own target principles. Therefore, is repeats the success achieved in the past by dogmas, which were effective to appease the anguish of the believer and reproduce order. Knowledge should not have any boundaries because it is grounded on the method and cognition of reality.
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The conducts that occur in the context of intersubjectivity are arranged from unconscious psychological fields which influence individual and collective practices. Therefore, it becomes important to consider the collective imagination of psychology students as this may interfere about the exercise of their clinical practice. The aim of this study was to investigate the collective imaginary of psychology students about the clinical practice with patients considered difficult in the analytic setting. Based on the psychoanalytic method, this research utilized the Procedure of Drawings-Stories with Theme in group interview, for the purpose of discuss on the vicissitudes of contemporary clinical work with these patients. In the present study, participated eight undergraduates of the eighth semester of a psychology course.The resulting material of the interview constituted by drawings-stories and the narrative was psychoanalytically analyzed, in the light of the Multiple Fields Theory proposed by Herrmann and in dialogue with the winnicottian thought, allowing to apprehend the follows fields of affective-emotional meaning: “Insecurity”, “Perfect Therapist”, “Mutuality”, “Experience”, “Negation of Madness” and “Madness as tal”. In general the imaginary manifestations of psychology students constitute the analytic relationship with the difficult patients by mobilizing feelings of insecurity, distress, anxiety, incapacity and helplessness.
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The hospitalization process can cause significant changes in the children’s everyday life because, besides the suffering caused by the disease, there are the invasive processes which bring them sorrow. Thus, aiming to make this state of sorrow lower and to contribute for the treatment process we developed in a hospital the Mobile Toy Library project which develops interactive activities through playing, trying to make the staying of these kids at the hospital easier. The team is formed by Psychology professors and students, who daily visit the children with a trolley full of toys in order to interact and play with them. We wait on 500 patients a year. We concluded the Mobile Toy Library provides ways for kids to elaborate their psychological conflicts, lowering their sorrow as well as their negative feelings of staying in hospital, and this helps them deal with the disease, family and medical team all together.
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Considerado una verdadera lección de cine, ya que es una película que se refiere al propio arte cinematográfica, La ventana indiscreta (Rear Window), dirigida por Alfred Hitchcock en 1954, tuvo como base para el guión de John Michael Hayes el cuento “Tenía que ser un asesinato” (“It had to be murder”, 1942), de Cornell Woolrich. Reconocido como uno de los mayores escritores del género policial noir, Woolrich profesaba la “poética del fracaso, [...] conduciendo gradualmente la angustia de la víctima al centro del cuadro, en contraste con la indiferencia mecánica de una sociedad que no se molestaba con su suerte”. (OLIVA, 2003, p.116- 7). La película tuvo un gran éxito de público y crítica, pero esto no había ocurrido con el cuento, que solo se hizo conocido después de su adaptación para el cine. El propósito de este trabajo es realizar un análisis comparativo entre los dos textos, subrayando los siguientes aspectos: 1) la caracterización del género noir (cuando la investigación ya no es un juego para mentes refinadas, como había sido en la narrativa policial clásica) y del suspense (narrativa de tensión que se caracteriza por el aplazamiento de la resolución del enigma), tanto en la narración literaria como en la película; 2) la autorreferencialidad en la película y en el cuento mediante el uso de la metaficción; 3) el problema de la transposición del foco en primera persona de la narrativa para el cine; 4) los diferentes desenlaces, señalando en qué medida indican visiones del mundo también divergentes.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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Pós-graduação em Psicologia - FCLAS