915 resultados para Melancolia Psicanálise (Freud)
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O termo melancolia, como foi mostrado em todo o decorrer do nosso trabalho, principalmente no histrico da melancolia, um termo, por excelncia, escorregadio. De vrias facetas, a melancolia pode vir a designar desde patologia, passando por inspirao filosfica, para desaguar num modo de ver a vida, como bem nos coloca Denlson Lopes em seu livro Ns os mortos: melancolia e neo Barroco (1999). A Asa Esquerda do Anjo (LUFT, 2005) uma obra que j nos acompanha h algum tempo, pois desde a graduao estudamo-la. Em torno da protagonista, chamada de Gisela pela me e Gusela pela av, circula toda a trama desse romance moderno. Tentamos visualiz-la nos trs captulos da dissertao. No primeiro, focalizamos a obra sob o aspecto de uma possvel esttica da melancolia, tendo por base terica Marie Claude Lambotte (2000). Depois, elaboramos algumas linhas sobre as perdas da protagonista que do enredo emergem. Por fim, demonstramos Gisela pelo aspecto de mltiplas faces. Sabendo que uma obra literria infinita em seus significados, cremos que A Asa Esquerda do Anjo (2005) suscita outras nuances. Isto nos d a certeza que no um texto acabado, finalizado. Estas nuances podero ser estudadas, pesquisadas em uma outra oportunidade por ns ou por outros leitores de Luft. A fim de estudar a melancolia em Gisela, fundamentamos nossa dissertao com os estudos de Freud (1980) a respeito do tema. Este faz uma anlise comparando a melancolia ao luto, para poder chegar, assim, a um denominador comum, j que o termo flexvel em seus significados. Freud e alguns outros autores no campo, tais como, Bataille (1980); Benjamin (1984); Erickson (2003); Klein (1971); Kristeva (1989); Lino (2004); Peres (2003); Santos (2005), Scliar (2003), pois, nos auxiliaram em nossas pesquisas e direcionaram melhor o nosso olhar sobre a obra. Acreditamos ter alcanado nosso objetivo estudar a obra A Asa Esquerda do Anjo (LLUFT, 2005) pelo foco da melancolia e suas nuances. Gisela um personagem inacabado. Em seu discurso ela deixa isto bem ntido. Assim tambm, no buscamos respostas prontas, com teor de acabamento. O fechar da histria est nas mos do leitor. Mas, medida que reiniciamos nova leitura, percebemos algo novo, que pode ser extrado da obra, do personagem, da trama. neste abrir/fechar que a prpria Gisela sussurra: Vem, vem, vem.... Ao chamar a todos ns, chama tambm para um novo caminhar com ela, em suas perturbaes subjetivas e sua ausncia de respostas. Ao aceitarmos este convite, fica difcil retornarmos pelo mesmo caminho de antes. necessrio, ento, junto com este ser de papel, rever nossos passos, para, enfim, redimensionarmos nossa escrita acerca de ns mesmos e (por que no dizer?) do mundo que nos circunda
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Entitled Joana s several mask: the melancholy in Perto do corao selvagem, the work is divided in six parts: the first one consists of the elaboration of a theoretical sketch about the melancholy that it offers the presuppositions that orientate the work, it is a short introduction about the study of the melancholy, a report until our time, the against-depressive ones and the arrival of the melancholy in Brazil and their particularities; the second part raises the theme of the melancholy, deepening its conception until what is called creative melancholy spread by Walter Benjamin, it serves as anchor for Clarice s writing and as a potential force for the processes lived by the characters of this writer; the third part examines Clarice Lispector s method emphasizing important points of production related to the theme of the melancholy, her style is the psychological analysis; the last one parts (fourth, fifth and sixth parts) are divided in topics that illustrate the conflicts, in most of the time contradictory, of the protagonist Joana, as well as, her difficult interaction with the things and the people that surround her. The fragmentary writing, the being's essential searches, the proximity with the death, the multiplicity of voices of feminine, De profundis, surrealist images, the incessant search for the thing , trips, epiphany, the flaw in the language, the taste of the badly, everything starting from melancholy - transformation and creation tool. The work about melancholy (Freud, Benjamin, Kristeva), it s place of ambiguous and contradictory movements. It is a trip that leads to several corporal and psychological sensations of Joana, enigma-scenes to be deciphered and conflicting images that make you wake up for a critical vision of the modern society. Since the beginning, something pulses without stopping, an incessant memory and the search for something that is lost. We are before recyclings of the interior/exterior, pain/pleasure, visions, abyss, ecstasy in the future and an exit through the melancholic light
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Esta disertacin aborda la lectura e interpretacin de las obras Grande Serto: Veredas, de Joo Guimares Rosa y Del Ingenioso Hidalgo Don Quijote de la Mancha, de Miguel de Cervantes Y Saavedra, enfocando aspectos relacionados a las acciones de los caballeros andantes Riobaldo, el jaguno de Rosa y don Quijote, el Caballero de Cervantes, las cuales tuvieron decisiva influencia en su estado de espritu melanclico. En la base terica de este trabajo, investigamos la nocin de melancola, sistematizada por Kristeva y Freud, as como los estudios de la melancola y de la alegora a la luz del pensamiento de Walter Benjamin. Este estudio se concentra, sobre todo, en el aspecto que denominamos de alegora de la circularidad, que permea las dos novelas, mientras expresin de cosas inacabadas que sugiere la idea de movimientos de espiralamento. Se percibi que lo retorno es consagrado en ambas las obras, es decir diferente el igual, dicho que consagra la diferencia y cierra las puertas para la repeticin literal de sentido. En tal comprensin, ese movimiento no puede ser concebido como metfora del mismo, pues sugiere la travesa que permanece inacabada y tortuosa, su estatuto de repeticin no se honda en el encuentro de las dos puntas del ovillo, porque gira en el interior de aquello que repite como diferencia y liberacin
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The present research deals with a philosophical reflection about the constitution of the subject religious and moral in the thought of Freud, starting from of question of religion while one of the various spaces concretion of the individual morality. Our hypothesis is that religion presents itself as a space of revival of the primary relationship with the mother of the subject and as a moral agency. That primary relationship corresponds to the period before the Oedipus complex. The cut caused in the Oedipus complex sake in the an emptiness the subject, leading him to a situation of helplessness. In trying to fill the emptiness and consequently out of the situation of displeasure occasioned by the helplessness, the individual seeks diverses means, between which, the religion. The religion, that sense, quest for one part, that support be filling of the existential emptiness, triggered in the Oedipus complex, and on the other, works as a staunch ally of the Superego, which for turn is direct heir of the Oedipus complex and whose function is to require of the subject to moral living, as is established by the social body, where the individual is inserted. Therefore, we seek to draw this subject starting from general ideas of the philosophy, about the moral, as well as some theoretical elements of freudian thought, since his idea of the origin of the culture, morality and religion the more specific elements that pertain to the individual subject, ie, the psychism
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This paper aims to discuss the concept of symptom in psychopedagogy and psychoanalysis, drawing the consequences for the direction of treatment for each of these fields. Learning Problems has been the name given by various fields of knowledge to what does not happen as expected in the learning process. To address these problems several professionals are called upon. Faced with this demand a new field of knowledge is created: the psycho-pedagogy. In Brazil, it is established as a field of work and research from the contributions of Alicia Fernndez. This author, supported by the work of French philosopher and educator Sara Pan, takes the concept of Freudian-Lacanian symptom as a fundamental concept to read the so-called "learning problems". Given this one must question whether the concept of symptom Fernandez is really the same as psychoanalysis. Are they the same? If yes, how to sustain as different fields? If not, what are consequences for the direction of treatment for each of these fields? For this study, the theoretical works of Alicia Fernndez and Sara Pain were read aiming to clarify the concept of symptom in psychopedagogy. To discuss the psychoanalytic concept of symptom we turned to the texts of Freud, Lacan and commentators in which this issue is discussed. The results show that Pain and Fernandez seek psychoanalysis as a theory to be coupled with others to solve the learning problems. The concept of symptom as a return of the repressed and as an indicator of a sense to be found in the history of the subject is similar to the psychoanalytical one, however, in psychopedagogy other fields of knowledge and techniques are used as reference and these are sometimes incompatible with the concept of symptom presented. The use of psychological tests for the diagnosis, the idea of transference without the notion of subject supposed to know and the proposed treatment are indications of a different treatment approach from what the ethics of psychoanalysis proposes
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Lacanian psychoanalysis has won a considerable space in brazilian university: a search for Lacan in the field of subject of the CAPES Thesis Bank shows 1.032 results! However the difference in the style of knowledge production and language usage is considerable between academic psychology and lacanian theory. The difficulty in reading and understanding Lacan is something pointed out by supporters and critics alike. In addition to that, his disciples choose many times to imitate his baroque, complex style, full of neologisms, causing perplexity in many unprepared audiences. What is the origin of such an enigmatic and polemic style of expression? How it became so widespread under the sign of repetition? And which are the consequences of this style to the communication, transmission and teaching of lacanian psychoanalysis? Through these questions it is our goal to contribute to the dialogue between lacanian psychoanalysis and the academy, to provide a better understanding of the causes of this style, analyzing the consequences it has to the transmission of psychoanalysis. We chose to perform a theoretical study, using authors that have treated Lacan s style and the history of psychoanalysis from a critical point of view, like Beividas (2000), Roustang (1987, 1988) and Gellner (1988), and also those that have defended and justified its legitimacy, like Glynos e Stavrakakis (2001), Fink (1997) and Souza (1985), using as well some works by Freud and Lacan. The study of these texts has led us to three main themes: 1) the difficulty of the lacanian text; 2) Lacan, heir of Freud; 3) consequences of the lacanian style. In the first one, we enumerate many different explanations and interpretations given by commentators about the difficulty and particularity of the lacanian discourse; in the second, we show how Lacan came to occupy the place of great idealization that was before destined to Freud, what made his style something to be taken as a model, to be imitated by disciples; in the third, we explore the way in which the concepts are treated in lacanian psychoanalysis, arguing that their multiple meanings point out that the final goal is not to build a clear and coherent theory, but to try to aim directly at the subject, to catch him
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As relaes que Wittgenstein mantm com o pensamento de Freud, como atestaram vrios estudiosos, so marcadamente ambguas: existe, por um lado, uma crtica acerba do carter pseudocientfico com que a psicanálise apresenta supostas descobertas empricas, e do fascnio exercido por este modo de proceder; mas h, por outro lado, evidncias da sua admirao pelo efeito dissolvente do uso de metforas e interpretaes, chegando mesmo Wittgenstein a incorporar essa estratgia ao seu prprio mtodo de investigao lgica dos conceitos filosficos. Neste trabalho pretendo retirar de uma reflexo acerca do mtodo incorporado s Investigaes Filosficas, comparvel em muitos aspectos clnica de uma psicanálise lingstica dessubstancializada, alguns pontos positivos que se poderiam acrescentar crtica da concepo de linguagem de Lacan.
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Coordenao de Aperfeioamento de Pessoal de Nvel Superior (CAPES)
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Ps-graduao em Filosofia - FFC
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Ps-graduao em Filosofia - FFC
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Ps-graduao em Psicologia - FCLAS
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Fundao de Amparo Pesquisa do Estado de So Paulo (FAPESP)
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Ps-graduao em Psicologia - FCLAS
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Esta dissertao trata de uma discusso referente ao estatuto da psicanálise no contexto da Teoria Crtica, cujo propsito o de refletir sobre o conceito de Durcharbeitung, elaborado por Freud, a partir da leitura de Theodor Adorno. Do ponto de vista geral, a teoria freudiana representa a prpria razo de ser da Escola de Frankfurt, pois permite Teoria Crtica pensar seu objeto, pensar-se a si mesma, e pensar a prpria psicanálise enquanto momento da cultura. Baseando-nos metodologicamente numa interpretao dialtica da psicanálise, recorremos ao corpus terico do psicanalista Jacques Lacan, com intuito de mostrar que aquilo que interessa o carter dialtico da teoria freudiana inserido no corpo terico frankfurtiano. No que se refere a Adorno especificamente, a questo da "elaborao do passado" uma das mais importantes dentre as quais se lhe apresentaram na intercesso das dcadas de 1950 e 60. Contido, tal como pretendemos discutir neste estudo, necessrio atentar para o fato que essa elaborao- ou perlaborao - , no mbito da dialtica negativa, no pode assumir, de forma alguma, uma conotao positiva, pois, assim, estaria fadada a torna-se, de incio, incua.
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Esta dissertao tem como objetivo analisar o romance Cinzas do Norte (2005), de Milton Hatoum, verificando quais so as relaes das categorias estticas de melancolia e resistncia com o contexto histrico da Ditadura Militar, de 1964, no Brasil. Partindo da ideia de que a teoria com a qual estamos lidando marcada pela melancolia segundo Walter Benjamin. Nesse sentido, examinamos como a arte, que parte de composio da narrativa e, tambm as referncias memorialsticas, utilizadas como estratgias ficcionais de resistncia ao regime de represso, em particular, ao autoritarismo, servem de base para problematizar os regimes de imposio instaurados naquele perodo. Com base em algumas abordagens tericas, relacionadas resistncia, melancolia e memria. Mediante essas abordagens verificamos quais consequncias esto ligadas ao perodo ditatorial, e como elas fazem parte da compreenso do sujeito melanclico. Para dar conta da teoria relacionada melancolia utilizamos os textos de autores como: Sigmund Freud (1976), Maria Rita Kehl (2009), Julia Kristeva (1989), Walter Benjamin (1985), Susan Sontag (1976), Suzana Lages (2007). Para os estudos relacionados resistncia e a memria, utilizaremos os textos de Alfredo Bosi (2002), Jacques Le Goff (2003), Paul Ricoeur (2007) e Aleida Assmann (2011), serviro de base para nossas reflexes.
