A psicologia do ego de ernst kris e seu legado para a psicanálise da arte

This article intends to discuss the importance of the ego-psychology towards the psychoanalytical interpretation of the aesthetic experience. Its focus is based on the Ernst Kris original work, therefore it intends to present certain basis of his aesthetical thinking. In this case, however, it will suggest one certain reading which emphasizes the problem of sublimation as a drive destination-and not as a defense mechanism-in within this relationship between art and psychoanalysis; hence, it brings out a phenomenon that crosses the psychoanalytical thinking since its first conception.

A concepção freudiana de melancolia: elementos para uma metapsicologia dos estados da mente melancólicos

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Psicanálise e musicalidade(s): sublimação, invocações e laço social

Pós-graduação em Psicologia - FCLAS

Desligamentos da crítica: psicanálise e reflexão sobre arte

This paper intends to discuss the relationship between psychoanalysis and aesthetic thinking under the prism of the “unbinding” theory – earlier conceived by the psychoanalyst Andre Green –, linking it to some theories proposed by Hal Foster, art historian and art critic, where we can find the lacanian “real” as the linking concept. One could say, in this linkage made here, that both authors are dealing, in a very particular way, with a question that refers to the theory of the real (as it was conceived by Jacques Lacan), even in the case of Green it is not referred directly; Green’s theory, however, seems to discuss some kind of a regredience that could be linked to the death drive. Accessing the psychoanalytical dispositive, and using it as it is appropriated to the (art) object to be interpreted, Foster, for example, advances in both the field of aesthetic reflection and in the more specific field of psychoanalysis. It should be noted that Foster’s reflection refers strictly to the post-pop images, observed mainly in the 1990’s photography. Thus, I think that this intersection between aesthetics and psychoanalysis might allow us to shed some light on a new art reading possibility towards a “non-applied” psychoanalytical paradigm, which, in my opinion, seems to be an appropriate way to understand some of the contemporary art production.

A compreensão da definição freudiana do conceito de pulsão sexual para a compreensão do conceito de sexualidade humana

This article approaches the definition of sexual drive proposed by Freud in the Three Essays and how the psychoanalytic conception of human sexuality has been theoretically presented from this first exposition: both as a construct of the species and as an individual construct. It seeks to show how the very metapsychological definition of drive (Trieb) – in 1905 and also in Freud’s 1915 Instincts and their Vicissitudes – interlaced biological contributions and the psychoanalytic clinic in the formulation of an original concept of the human sexuality. The paper also discusses how, because of this duplicity, there is sometimes a developmental interpretation of sexuality in the Three Essays. In the first two of the Three essays, Freud tried to expand the possibilities of sexual behavior, analyzing the drives in the diversity of perversions and in children’s sexuality, while in the third essay the focus was on the adult sexual drive from the moment it organizes itself around an object (hence being no longer auto-erotic) and the reproduction function. Certain experts have occasionally questioned whether the 1905 article attributed a biological teleology to the human sexuality by assigning reproduction as the eventual purpose of the sexual drive – that is, a reproductive goal achieved through the sexual intercourse (coitus). Our study seeks to show how the physiological point of view proposed by Freud in his 1915 article on Instincts sheds some light on how the very biological origin of the drives denies this supposed exclusive reproductive purpose of sexuality. The duplicity of Freud’s concept of drive – as expressed in the enigmatic sentence where he states that this is a concept situated on the border between the psychical and the physical – is then discussed taking into account this intercrossing between the biological and the psychical presented in the Three Essays. The points of view proposed by Freud in 1915 for the definition of the concept of drive – the physiological and the biological points of view – are suggested as conceptual tools to the understanding of this twofold character of human sexuality, according to psychoanalysis.