823 resultados para Melancholy Psychoanalysis (Freud)


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O presente artigo objetiva uma discusso sobre o vocabulrio fundamental da Metapsicologia freudiana, para alm da concepo de um simples e estanque agrupado de termos tcnicos. Levando-se tambm em considerao o fato de que Freud foi um escritor brilhante e um perspicaz explorador dos recursos oferecidos pela lngua alem, nossa inteno demonstrar certas distores de seu estilo e vocabulrio sofridas aps ter passado por tradues internacionalmente influentes para as lnguas inglesa e francesa. Logo, com a recente entrada da obra freudiana para o domnio pblico, esta finalmente passou a ser traduzida diretamente para o portugus, tornando-se atualmente um desafio fundamental aos tradutores brasileiros de Freud recuperar a vivacidade de suas palavras sem deixar de levar em considerao a acuidade de suas proposies.

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Este trabajo aborda crticamente los argumentos fundamentales de un sector de teorizaciones y prcticas psicoanalticas que han sido agrupadas bajo la denominacin de "tradicin hermenutica", basndose en dos aspectos: primero, atendiendo a la distancia que dichos argumentos mantienen respecto de la propuesta original de Freud; segundo, analizando los supuestos y valores epistmicos que han orientado (explcita e implcitamente) a tales perspectivas. Posteriormente al abordaje crtico, se conjeturan argumentos tendientes a trascender o reenfocar algunos problemas metodolgicos de la investigacin y prctica psicoanaltica, tales como la conceptualizacin y formalizacin de la accin causal, la validacin de las conjeturas (metapsicolgicas y clnicas) y el lugar de las formalizaciones tericas en la clnica

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Este trabajo aborda crticamente los argumentos fundamentales de un sector de teorizaciones y prcticas psicoanalticas que han sido agrupadas bajo la denominacin de "tradicin hermenutica", basndose en dos aspectos: primero, atendiendo a la distancia que dichos argumentos mantienen respecto de la propuesta original de Freud; segundo, analizando los supuestos y valores epistmicos que han orientado (explcita e implcitamente) a tales perspectivas. Posteriormente al abordaje crtico, se conjeturan argumentos tendientes a trascender o reenfocar algunos problemas metodolgicos de la investigacin y prctica psicoanaltica, tales como la conceptualizacin y formalizacin de la accin causal, la validacin de las conjeturas (metapsicolgicas y clnicas) y el lugar de las formalizaciones tericas en la clnica

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Este trabajo aborda crticamente los argumentos fundamentales de un sector de teorizaciones y prcticas psicoanalticas que han sido agrupadas bajo la denominacin de "tradicin hermenutica", basndose en dos aspectos: primero, atendiendo a la distancia que dichos argumentos mantienen respecto de la propuesta original de Freud; segundo, analizando los supuestos y valores epistmicos que han orientado (explcita e implcitamente) a tales perspectivas. Posteriormente al abordaje crtico, se conjeturan argumentos tendientes a trascender o reenfocar algunos problemas metodolgicos de la investigacin y prctica psicoanaltica, tales como la conceptualizacin y formalizacin de la accin causal, la validacin de las conjeturas (metapsicolgicas y clnicas) y el lugar de las formalizaciones tericas en la clnica

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Este trabajo aborda crticamente los argumentos fundamentales de un sector de teorizaciones y prcticas psicoanalticas que han sido agrupadas bajo la denominacin de "tradicin hermenutica", basndose en dos aspectos: primero, atendiendo a la distancia que dichos argumentos mantienen respecto de la propuesta original de Freud; segundo, analizando los supuestos y valores epistmicos que han orientado (explcita e implcitamente) a tales perspectivas. Posteriormente al abordaje crtico, se conjeturan argumentos tendientes a trascender o reenfocar algunos problemas metodolgicos de la investigacin y prctica psicoanaltica, tales como la conceptualizacin y formalizacin de la accin causal, la validacin de las conjeturas (metapsicolgicas y clnicas) y el lugar de las formalizaciones tericas en la clnica

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The following dissertation is framed by the psychoanalytic line of thought inaugurated by Sigmund Freud and rethought by Jacques Lacan. The starting point of this work is the notion of repetition, which finds its utmost reason in what Freud called compulsive repetition. The idea of repetition, besides being called by Lacan as one of the foundations of Psychoanalysis, articulates a series of theoretical landmarks which, in turn, constitute Psychoanalysis own arguments whether linked to clinical practice or articulated around metapsychological reflection of the psychoanalytical field. This dissertation is gravitates around four specific theoretical moments: two Freudian ones and two Lacanian ones. The latter taking place during the period called The return to Freud, which comprises the period from 1953 to 1964. In this period, the postfreudian developments deviate from Freudian theory, as well as the psychoanalytic method, which is reviewed by poststructuralism. Altogether, the four moments being analyzed are: in Freud, the repetition linked to the act in 1914, and the repetition as such developed in Beyond the Pleasure Principle in 1920.In Lacan, the theory of the insistence of the signifier from 1955 and what he later named as the failed encounter with the real in 1964...

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Includes index and bibliographies.

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In this paper I integrate the work of a number of philosophers to clarify some psychological issues that can arise in human existence when a conflict of intrapersonal or interpersonal desires arises. This paper utilises the work of Deleuze, Freud, Jung, Heidegger, Hegel and Nietzsche to provide a conceptual framework as to how mental disturbances can arise if unconscious desires cannot be satisfied due to the experience of a resistance from a conflicting or opposing desire. This paper argues that the phenomenal experience of a conflict of desires can be unconcealed in moments of un-readiness-to-hand and from the awareness of the psychophysiological experience of stress or angst. The work that is presented, results in the conclusion that it is fundamentally necessary to embrace Nietzsches idea of the will to power to overcome these difficulties and to achieve personal individuation and authentic wellbeing. This advice is in contrast to an inauthentic choice of depending on the use of Freudian defence mechanisms to conceal a conflict of desires from consciousness. A detailed theoretical example of the process involved in the resolution of a conflict of desires through self-transcendence is specifically informed by the ideas of Nietzsche and Jung.

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My PhD-thesis The uneasy borders of desire Magnus Enckell's representations of masculinities and femininities and the question how to create the self concentrates on the works of Finnish fin-de-sicle artist Magnus Enckell (1870-1925). My thesis deals with representations of masculinities, femininities, sexualities and different identity-positions. My research is about questions concerning representational ways of melancholy, androgyny, narcissism, themes of Golden Age and Double in Enckell s ouvre. These themes are analyzed by contextualizing them with different, but intersecting, discourses of varied scientific, artistic and occult ideas in the fin-de-sicle. The main point is analyze how the subject is constructed in both Foucauldian and Freudian sense and what one has to know about oneself. My approaches are based on ideas expressed in different discourses as queer-theory, Michel Foucault s genealogical epistemology and knowledge-power theory, psychoanalysis, art history and visual culture studies. My starting point lays is Foucault s idea expressed in his The History of Sexuality that the constitution of homosexual or as well as heterosexual subject inaugurates possibilities for transgressive activities e.g. by giving own voice to the sexualized subject. My main thesis is to suggest that Enckell s works in their multiple and ambiguous ways construct a phantasmatic position for viewer who may identify oneself to different desires, may construct or deconstruct a sexual identity for oneself or try to define the truth about oneself. Enckell s works should be considered as a contradictory processes which both seduce person to construct an identity and as well as lure person to pursue for the deconstruction of specific and permanent identity by celebrating the ambiguousness and discontinuity in one s identity. I m suggesting that the gazing subject feels pleasure in finding one s identity but the one must face the exposure of the melancholic structure which forms the basis of sexual desire. The subject may try to resolve one s melancholy by creating a phantasy about the original and unisexual being where desires, sexualities, phantasies and identities haven t been diverged. This can be fantasized in terms of art which forms a double for the melancholic subject who is in this limited and imaginary way able to forget for a while one s existential solitude.

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Leevi Haapala explores moving image works, sculptures and installations from a psychoanalytic perspective in his study The Unconscious in Contemporary Art. The Gaze, Voice and Time in Finnish Contemporary Art at the Turn of the Millennium . The artists included in the study are Eija-Liisa Ahtila, Hans-Christian Berg, Markus Copper, Liisa Lounila and Salla Tykk. The theoretical framework includes different psychoanalytic readings of the concepts of the gaze, voice and temporality. The installations are based on spatiality and temporality, and their detailed reading emphasizes the medium-specific features of the works as well as their fragmentary nature, heterogeneity and affectivity. The study is cross-disciplinary in that it connects perspectives from the visual culture, new art history and theory to the interpretation of contemporary art. The most important concepts from psychoanalysis, affect theory and trauma discourse used in the study include affect, object a (objet petit a) as articulated by Jacques Lacan, Sigmund Freud s uncanny (das Unheimliche) and trauma. Das Unheimliche has been translated as uncanny in art history under the influence of Rosalind Krauss. The object of the study, the unconscious in contemporary art, is approached through these concepts. The study focuses on Lacan s additions to the list of partial drives: the gaze and voice as scopic and invocative drives and their interpretations in the studies of the moving image. The texts by the American film theorist and art historian Kaja Silverman are in crucial role. The study locates contemporary art as part of trauma culture, which has a tendency to define individual and historical experiences through trauma. Some of the art works point towards trauma, which may appear as a theoretic or fictitious construction. The study presents a comprehensive collection of different kinds of trauma discourse in the field of art research through the texts of Hal Foster, Cathy Caruth, Ruth Leys and Shoshana Felman. The study connects trauma theory with the theoretical analysis of the interference and discontinuity of the moving image in the readings by Susan Buck-Morss, Mary Ann Doane and Peter Osborn among others. The analysis emphasizes different ways of seeing and multisensoriality in the reception of contemporary art. With their reflections and inverse projections, the surprising mechanisms of Hans-Christian Berg s sculptures are connected with Lacan s views on the early mirroring and imitation attempts of the individual s body image. Salla Tykk s film trilogy Cave invites one to contemplate the Lacanian theory of the gaze in relation to the experiences of being seen. The three oceanic sculpture installations by Markus Copper are studied through the vocality they create, often through an aggressive way of acting, as well as from the point of view of the functioning of an invocative drive. The study compares the work of fiction and Freud s texts on paranoia and psychosis to Eija-Liisa Ahtila s manuscripts and moving image installations about the same topic. The cinematic time in Liisa Lounila s time-slice video installations is approached through the theoretical study of the unconscious temporal structure. The viewer of the moving image is inside the work in an in-between state: in a space produced by the contents of the work and its technology. The installations of the moving image enable us to inhabit different kinds of virtual bodies or spaces, which do not correspond with our everyday experiences. Nevertheless, the works of art often try to deconstruct the identification to what has been shown on screen. This way, the viewer s attention can be fixed on his own unconscious experiences in parallel with the work s deconstructed nature as representation. The study shows that contemporary art is a central cultural practice, which allows us to discuss the unconscious in a meaningful way. The study suggests that the agency that is discursively diffuse and consists of several different praxes should be called the unconscious. The emergence of the unconscious can happen in two areas: in contemporary art through different senses and discursive elements, and in the study of contemporary art, which, being a linguistic activity is sensitive to the movements of the unconscious. One of the missions of art research is to build different kinds of articulated constructs and to open an interpretative space for the nature of art as an event.

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