Dissertations / Theses on the topic '1873-1939'

Le but de cette thèse est d'étudier Ford Madox Ford, né Hueffer, romancier anglais, dans les rapports multiples qu'il entretint avec la France. Ce travail se constitue de deux parties : dans la première partie - elle consiste en quatre chapitres -, nous étudions la revue internationale que Ford fonda et édita à Paris en 1924. Cette revue s'intitule la revue translatlantique (janvier 1924-decembre 1924). Conçue dans le but de promouvoir l'internationalisme dans les lettres, elle contient des publications françaises, anglaises et américaines. Dans la deuxième partie de ce travail (3 chapitres), nous étudions "Ford et la provence" : la présence de cette dernière dans le meilleur roman de Ford, The Good Soldier (1915), l'image que Ford se faisait de la Provence avant son expatriation (1922) et après y avoir vécu (entre 1922 et 1939), et la place qu'occupe la Provence dans le cadre de la vision de Ford du monde contemporain
The aim of this thesis is to study Ford Madox Ford, né Hueffer, in his various relations with France where he exiled himself since 1922 until the day of his death. The first part of this study (4 chapters) consists of an attempt to study the international review Ford founded and edited in Paris in 1924. The aim of this review which lasted 12 months, was to promote internationalism in the world of letters. Entitled the transatlantic review, it published french, english and american writers at a time where there was a large number of american expatriates in Paris. In the second part of this work, we investigate Ford's relations with Provence, this part of France where he lived for long stretches of time. It consists of three chapters, the first one of which is an analysis of the presence of Provence in Ford's best novel. The good soldier (1915). Follows a study of the type of vision Ford had of this part of France, as well as an analytical study of the place of Provence in the larger context of ford's vision of the world in which he lived

Afrikaans: Louis Ernst Brandt wat op 21 Oktober 1873 te Zoeterwoude in Nederland gebore is, het tussen 1904 en 1939 'n groat bydrae tot die Suid-Afrikaanse kerklike en openbare lewe gemaak. Hy het onder besonder bevoorregte omstandighede in Velp groat geword, waar sy vader die amp van burgemeester beklee het. Sy skoolopleiding ontvang hy tuis en aan die Stedelike Gimnasium van Arnhem. Vanaf 1893 tot 1898 studeer hy teologie aan die Universiteit van Utrecht, waar hy in aanraking kom met 'n teologie wat grootliks deur die Nederlandse etiese rigting van die negentiende eeu bepaal is. Prof J J P Valeton jr ( 1848 - 1912) was een van sy vernaamste mentors. Brandt was 'n eminente student wat veral op kulturele en sportgebied uitstaande prestasies gelewer het. Na voltooiing van sy universit~re studie word hy die eerste voltydse sekretaris van die NCSV waarvan hy 'n leidinggewende stigterslid was. Vanaf 1900 tot 1903 is hy predikant van die Nederlandse Hervormde Kerk, gemeente Niezijl. Op 28 Augustus 1902, tree hy in die huwelik met Johanna van Warmelo van Transvaal, 'n gevierde Afrikaner-heldin gedurende die Engelse Oorlog van 1899 - 1902. In 1904 verhuis die gesin na Transvaal waar Brandt agtereenvolgens Nederduitsch in die volgende gemeentes van die Hervormde Kerk van Afrika dien:- Zoutpansberg/Waterberg, Johannesburg, Vereeniging/Heilbron en Kensington/Turffontein. Sy bydrae wat hy gelewer het tot opbou van die Kerk na die ontwrigting van die oorlog en die bewo~ twintiger en dertiger jare wat daarop gevolg het, kan nie te hoog waardeer word nie. Afgesien van talle kerklike kommissies waarop hy gedien het, was hy vir 21 jaar voorsitter van die Algemene Kerkvergadering. Die vernaamste vrugte van sy ewewigtige leierskap was die vestiging van 'n deeglike kerklike infrastruktuur, die teologiese fakul tei t aan UP en sendingwerk onder die heidene. Hy vereenselwig hom volkome met Afrikaner-nasionalisme. Onvermoeid bevorder hy die ideaal op die terrein van die onderwys, kul tuur en ekonomiese opheffing. Hy beywer hom doelbewus vir die verbetering van tussen-kerklike betrekkinge en speel in die verband 'n beduidende rol. Op 23 Junie 1939 sterf hy op 66-jarige ouderdom.
English: Louis Ernst Brandt who was born at Zoeterwoude in the Netherlands on October 21, 1873, made noteworthy contributions between 1904 and 1939 in Church and public life in South Africa. He was brought up under very favourable circumstances in Velp where his father was mayor. He received his schooling at home and at the City Gymnasium of Arnhem. From 1893 to 1898 he studied theology at the University of Utrecht where he carne into contact with a theology which was mainly determined by the Netherlands Ethical direction of the nineteenth century. Prof. J J P Valeton jr (1848 - 1912) was one of his most important mentors. Brandt was an eminent student who produced outstanding performances especially in the cultural and sports areas. After completion of his University studies he became the first full-time secretary of the NCSV - an organisation of which he was a founder member. From 1900 to 1903 he was minister of the Netherlands Reformed Church in the parish of Niezijl. On August 28, 1902 he married Johanna van Warmelo of Transvaal, a famous Afrikaner heroine during the English war of 1899 to 1902. During 1904 the family moved to the Tra~svaal where Brandt consecutively served the Nederduitsch Hervormde Kerk in the following parishes: Zoutpansberg/Waterberg, Johannesburg, Vereeniging/Heilbron, Kensington/Turffontein. His contribution to the restructure of the church after the disruption of the war and the miserable twenties and thirties which followed, cannot be overestimated. Apart from his service on numerous Church Commissions he was chairman of the General Assembly for 21 years. The most important fruits of his well-balanced leadership were the founding of a thorough church infrastructure,the theological faculty at Pretoria University and mission work amongst the heathen. He identified himself completely with Afrikaner nationalism. Tirelessly he furthered this ideal in the fields of education, culture and economic upliftment. He purposely did his best to improve inter-church relations.
Thesis (DDiv)--University of Pretoria, 1989.
Church History and Church Policy
DDiv
Unrestricted

This thesis examines ways in which Hungarian writers depicted their capital city, Budapest, in the years between the creation of Budapest in 1873 and the beginning of the Second World War in 1939, and discusses ways in which these literary representations of the city contributed to wider constructions of identity and difference. During this period, at the same time as Hungarian society became increasingly dominated by its rapidly expanding capital city, it also became more receptive to anti-urban sentiments. The late nineteenth-century explosion in population and publishing created a substantial body of new writing. Budapest came to represent everything that was new, and formed the context for broader discussions of morality, belonging, assimilation, race, and the nature and purpose of art. A thematic approach traces the development of urban narratives and tropes over time, and in each chapter, I discuss a number of works in social and literary- historical context. My argument is that Hungarian authors, despite their best efforts, failed to write the city in convincingly simplistic terms: the greater the urge to impose a form of logic or an ideology on the city, the less successful its realisation.

Madox Ford est une des grandes figures, non seulement de la littérature d’expressionanglaise, mais de la vie culturelle et artistique d’Europe occidentale dans le premier tiersdu XXe siècle. Il est très lié à Henry James et à Conrad (avec qui il écrit trois romans),joue un rôle de premier plan comme éditeur et contribue au développement del’impressionnisme littéraire et à l’instauration du « modernisme ». Cosmopolite par sesantécédents (anglais, allemand, français), grand voyageur partagé entre l’Angleterre, lesEtats-Unis et la France (surtout la Provence, sa terre d’élection et Toulon), Ford estl’auteur d’une oeuvre considérable qui compte plus de 80 ouvrages. Marine Bernot achoisi d’analyser plus particulièrement une dizaine de récits de souvenirs de toutes sorteset deux récits de voyage qu’il publie de 1904 à 1937. On y découvre toute une époque, unécrivain original et une personnalité d’une rare complexité – politiquement avancé,féministe et libertaire, écologiste avant la lettre, quelque peu visionnaire, un homme quiparle aux gens d’aujourd’hui
Ford Madox Ford is one of the most important figures, not only of English literature butof the Western European cultural and artistic world of the twentieth century. Closelyconnected with Henry James and Joseph Conrad (with whom he wrote three novels incollaboration), Ford played a vital role as editor, contributor to literary impression and aspioneer of “modernism”. Cosmopolitan by birth (English, German, French), this tirelessvoyager, torn between England, the United States and France (especially Provence, hischosen domain and Toulon), Ford is the author of a voluminous sum of publicationsmade up of more than 80 books and other items. The author of this thesis, Marine Bernot,has chosen to concentrate on a dozen or so memoirs covering the years going from 1904to 1937, focusing particularly on two travel ‘novels’, Provence and The Great TradeRoute. These works, which give an original insight into the first half of the twentiethcentury, introduce the reader to an original and complex personality – politicallyadvanced, feminist, non-conformist, ecologist ahead of his times, visionary –, a man inharmony with contemporary preoccupations

Madox Ford est une des grandes figures, non seulement de la littérature d’expressionanglaise, mais de la vie culturelle et artistique d’Europe occidentale dans le premier tiersdu XXe siècle. Il est très lié à Henry James et à Conrad (avec qui il écrit trois romans),joue un rôle de premier plan comme éditeur et contribue au développement del’impressionnisme littéraire et à l’instauration du « modernisme ». Cosmopolite par sesantécédents (anglais, allemand, français), grand voyageur partagé entre l’Angleterre, lesEtats-Unis et la France (surtout la Provence, sa terre d’élection et Toulon), Ford estl’auteur d’une oeuvre considérable qui compte plus de 80 ouvrages. Marine Bernot achoisi d’analyser plus particulièrement une dizaine de récits de souvenirs de toutes sorteset deux récits de voyage qu’il publie de 1904 à 1937. On y découvre toute une époque, unécrivain original et une personnalité d’une rare complexité – politiquement avancé,féministe et libertaire, écologiste avant la lettre, quelque peu visionnaire, un homme quiparle aux gens d’aujourd’hui
Ford Madox Ford is one of the most important figures, not only of English literature butof the Western European cultural and artistic world of the twentieth century. Closelyconnected with Henry James and Joseph Conrad (with whom he wrote three novels incollaboration), Ford played a vital role as editor, contributor to literary impression and aspioneer of “modernism”. Cosmopolitan by birth (English, German, French), this tirelessvoyager, torn between England, the United States and France (especially Provence, hischosen domain and Toulon), Ford is the author of a voluminous sum of publicationsmade up of more than 80 books and other items. The author of this thesis, Marine Bernot,has chosen to concentrate on a dozen or so memoirs covering the years going from 1904to 1937, focusing particularly on two travel ‘novels’, Provence and The Great TradeRoute. These works, which give an original insight into the first half of the twentiethcentury, introduce the reader to an original and complex personality – politicallyadvanced, feminist, non-conformist, ecologist ahead of his times, visionary –, a man inharmony with contemporary preoccupations

Sous le pseudonyme de ford madox ford se cache un ecrivain anglais meconnu de ses compatriotes bien que son oeuvre ne compte pas moins de quatre vingt volumes publies, romans, poemes, essais, critique, journalisme et autobiographie. L'oeuvre romanesque de ford que dominent deux chefs d'oeuvre: the good soldier (1915) et parade's end (1928) a suscite un vif interet aux etats unis sans pour autant troubler l'indifference des anglais a l'egard d'un auteur en qui ils ne voient generalement que le collaborateur de conrad. Les ecrits autobiographiques revelent un homme las de la reserve pronee outre-manche qui etabli en provence dans les annees vingt choisit la lumiere et la volubilite meridionales. L'etude de ces ecrits dans leur integralite - alors qu'en angleterre seuls de courts extraits en sont disponibles - permet de mieux cerner les causes des reticences de la critique anglaise envers ce chantre du sud
Though they usually acknowledge that such novels as the good soldier (1915) and parade's end (1928) are masterpieces, the british have chosen to see in ford madox ford not a master, but a writer whose main claim to glory is that he was, at one time, conrad's collaborator. Over half a century, from 1891 until the year of his death, 1939, he published over eighty books, novels, essays, poetry, criticism and autobiographies. The study of his autobiographies - of which the english reader can only read excerpts - throws some light on ford's long standing alienation from any genuine critical appraisal in his own country

Ford Madox Ford est un écrivain impressionniste qui se veut historien de son temps et paraît représenter la vie moderne grâce à un texte envisagé à partir du visuel pour faire voir. Il encourage ainsi le rapprochement de son écriture avec l’art des peintres français du XIXème siècle, mais il engage dans ses récits une multitude d’arts et d’esthétiques afin de produire son impression suivant sa pensée originale et singulière. Celle-ci soutient l’accumulation et l’association artistiques mises en œuvre dans les romans en brisant les cadres esthétiques établis pour fusionner arts et esthétiques dans une forme qui s’adapte au réel afin d’en structurer l’informe et de le révéler pour en offrir une expérience au lecteur. Soumis au pictural et au théâtral pour se donner à voir dans des tableaux et des scènes, le récit dévoile en fait comment la modernité résiste à l’illusion mimétique. Peinture et théâtre figurent donc non le visible mais sa perte, et les romans sont poussés par leur objet à la dé-figuration proprement moderne que l’esthétique fordienne promeut et que le cinéma porte. Celui-ci donne alors accès à la vision d’un monde fragmenté et en mouvement par sa totalisation dans la métamorphose continue du filmique, qui en outre invite l’identification visuelle. Mais le cinématographique n’ouvre pas à la totalisation du roman, ni à ce dialogue que l’auteur entend engager avec son lecteur sym-pathique pour lui transférer son œuvre. Ce transfert se fait bien par le texte et sa structure mais en définitive hors de la figuration, grâce à la musique du roman qui à la fois gouverne, rassemble et abolit la représentation, les arts et le texte pour faire com-prendre l’œuvre
Ford Madox Ford is an impressionist writer who purports to be a historian of his own time and seems to represent modern life in a text conceived visually to make you see. He thus encourages a parallel between his writing and the nineteenth-century French painters’ art to be drawn ; yet he draws on a vast array of arts and aesthetics in his narratives to forge his impression according to his original and singular conception of art. That conception supports the artistic accumulation and association exercised in the novels while it shatters established aesthetic frameworks to merge arts and aesthetics in a form which adapts to reality to structure its formlessness and reveals it to offer an experience of it to the reader. In obeying pictorial and theatrical norms to be seen as pictures or in scenes, the narrative in fact discloses how modernity resists mimetic illusion. So painting and the theatre do not represent visibility but its loss, and the novels are forced by their object to embrace a thoroughly modern de-figuration which Fordian aesthetics endorses and the cinema realises. The latter then grants access to the vision of a fragmented and moving world totalled by the continuous metamorphosis of film, which besides encourages visual identification. However the cinema does not lead to the totalisation of the novel, nor to the dialog which the writer intends to have with his sympathetic reader in order to transfer his artwork onto him. That transfer does happen by means of the text and its structure but ultimately without figuration, through the music of the novel which at once governs, unites and abolishes representation, the arts and the text so the artwork be com-prehended

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2011.
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A área de interesse desta dissertação é a psicanálise, mais especificamente o estudo teórico sobre o conceito de contratransferência. O objetivo geral do trabalho consiste em delinear o aparecimento do termo contratransferência na psicanálise, mostrando como o conceito foi desenvolvido nos textos de Sigmund Freud, Sándor Ferenczi, Paula Heimann e ainda qual seria a relação na compreensão desse conceito entre esses autores. Nas obras de Freud, investigou-se a origem do termo e a sua concepção inicial, mostrando como esse conceito estava presente em suas obras por meio da disponibilidade do afeto e do inconsciente do analista, discutindo a ambiguidade da contratransferência presente na obra desse autor. Em seguida, refletiu-se sobre a noção de contratransferência em Ferenczi, evidenciando como suas ideias permitiram a abertura emocional do analista para que pudesse aprofundar a compreensão de seus pacientes, levando em consideração a sensibilidade, a empatia e o tato do analista. Por fim, refletiu-se a releitura que Heimann realizou do conceito de contratransferência em Freud. A partir dessa releitura verificou-se a forte ênfase no conceito de identificação projetiva e a ampliação da compreensão da contratransferência. Concluindo, elaborouse considerações a respeito do entrelaçar da teoria da contratransferência nesses autores. ______________________________________________________________________________ ABSTRACT
The area of interest of this dissertation is psychoanalysis, specifically the theoretical study on the concept of countertransference. The overall objective of the work is outline the emergence of the term countertransference in psychoanalysis, marking how the concept was developed in the articles of Sigmund Freud, Sándor Ferenczi and Paula Heimann. Also what would be the relationship of this concept among those authors. At the works of Freud, we investigate the origin of the term and its original development, showing how the concept was present in his works through the availability of affection and analyst's unconscious, discussing the ambiguity present in the work of countertransference this author. Then, is reflected the comprehension of countertransference in Ferenczi, marking how his ideas allowed the analyst's emotional openness that could deeper the understanding of their patients, taking into account sensitivity, empathy and tact of the analyst. Finally, is reflected the understanding on the concept of countertransference by Heimann. At her understanding is implied a strong emphasis on the concept of projective identification, making possible a expansion on the concept of countertransference. In conclusion, we prepared considerations about the theory’s intertwining on the concept of countertransference in these authors.

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The present dissertation intends to discuss the concept of death s drive in the works of Freud and Ferenczi. Figueiredo (1999) debated similar subject, as he examined Beyond the pleasure principle (FREUD, 192) and Thalassa (FERENCZI, 1924), through a rereading of Freudian s text of 1920, approaching both psychoanalysts in relation to death s drive notion, stressing the regressive character, not of a instinctual group, but of the own organism. The present essay, nevertheless, focuses the uneasy conciliation between Freud and Ferenczi in this point, leading the last, at his final thoughts, to emphasize formally his difference in relation to Freud.
A presente dissertação pretende discutir o conceito de pulsão de morte nas obras de Freud e Ferenczi. Figueiredo (1999) dissertou sobre tema semelhante a este, ao examinar as obras Além do princípio de prazer (Freud, 1920) e Thalassa (Ferenczi, 1924), a partir de uma releitura do texto freudiano de 1920, aproximando ambos os psicanalistas no que concerne à noção de pulsão de morte, dando ênfase ao caráter regressivo, não propriamente de um grupo pulsional, mas do próprio organismo. No presente trabalho, enfoca-se a difícil conciliação entre Freud e Ferenczi neste ponto, levando o último, ao final, a marcar formalmente sua distinção em relação ao mestre.

Orientador : Osmyr Faria Gabbi Junior
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Restrito aos textos de Freud produzidos entre 1886 e 1896, o trabalho tenta mostrar que nos fundamentos da metodologia fteudiana encontram-se idéias oriundas da tradição britânica, em particular as de Stuart Mill e de Hughlings Jackson. Inicia pondo em evidência o interesse de Freud pelo método dos tipos, proveniente de Charcot, e relaciona essa metodologia com a atividade de inovação nosográfica realizada por Freud, mostrando que ela era orientada pela busca do caso único (Anna O., p. ex.) e pela identificação do mecanismo psíquico típico a cada quadro de neurose. A seguir, tenta mostrar como a teoria da classificação proposta por Stuart Mill, na qual defende-se a determinação empírica da noção de tipo e sua organização pelas causas, pode servir de fundamento para a metodologia fteudiana. Discute, também, a influência exercida pelas idéias de Mill sobre a formação científica alemã e mostra como elas já estavam presentes nas obras de Meynert e Exner. A segunda parte discute o lugar ocupado pelas idéias de Jackson na psicanálise fteudiana e mostra como certas hipóteses basilares da metapsicologia podem ter sido apropriadas a partir de seus textos. Sobretudo, mostra como a prescrição de Jackson sobre a necessidade de se ter uma distribuição empírica e uma classificação científica das doenças mentais, alicerçada nas concepções de Mill, constitui a base da metodologia fteudiana; sugere-se que esse modelo de ciência e método é capaz de justificar o caráter explicativo e o estatuto científico da metapsicologia fteudiana
Abstract: Restricted to Freud's texts produced between 1886 and 1896, the work tries to show that in the foundations of the Freudian methodology there are ideas originated in the British tradition, particularly the ones of Stuart Mill and Hughlings Jackson. It begins evidencing Freud's interest for the method of the types, originated from Charcot, and it relates that methodology with the activity of nosographique innovation accomplished by Freud, showing that it was guided by the search of the case unique (Anna O., for exemple) and by the identification of the- psychical mechanism utypical to each neurosis picture. Furthermore, it tries to show how the theory of the classification proposed by Mill, in which he defends the empirical determination of the type notion and its organization by the causes, can stand as foundation for the Freudian methodology. It discusses, also, the intluence carried out by Mill's ideas about the German scientific formation and it shows how they were already present in Meynert and Exner works. The second part discusses the place taken by Jackson's ideas in the Freudian psychoanalysis and shows how certain basic hypotheses of the eta psychology might have been appropriated from his texts. Above all, it shows how the prescription of Jackson about the necessity of having an empirical distribution and a scientific classification of the mental diseases, found in Mill's conceptions, constitutes the base of the Freudian methodology; it is suggested that this model of science and method is capable of justifying the explanatory character and the scientific statute of the Freudian metapsychology
Doutorado
Doutor em Filosofia

Ford Madox Ford occupa une place majeure mais paradoxale au sein du modernisme. Son inscription dans ce contexte littéraire se caractérise par la vibration entre l'hommage à son héritage artistique et l'enthousiasme pour les démarches de rupture constitutives du modernisme. Les résistances à inscrire Ford dans le canon moderniste peuvent s'expliquer par la difficulté à réconcilier les contradictions de son œuvre et à en dégager ainsi un système esthétique stable. L'ambivalence se retrouve au cœur du projet esthétique de l'auteur et particulièrement de Parade's End. Cette tétralogie décrit un rapport contradictoire à l'héritage - idéologique, esthétique et philosophique - et au passé. La dialectique est irréconciliable entre la chimère d'un passé venant habiter le présent et la rupture dont cette nostalgie est le symptôme. Le texte témoigne d'une réticence à dénouer les apories qu'il génère : il est impossible d'établir une ligne de partage fixe entre les valeurs de la tradition et de la modernité. La dimension fondamentale de négativité imprime au texte un paradoxal dynamisme. Ce travail explore la tension entre hommage et dérision qui caractérise Paradas End, La nostalgie d'une idéologie stable, d'un récit satisfaisant les attentes du lecteur et d'un sujet qui se laisse appréhender de façon unifiée, est simultanément sublimée et tournée en dérision. Cette mise en crise des systèmes de pensée idéologique, esthétique et ontologique ne débouche pas sur l'élaboration d'un système alternatif; elle ne débouche pourtant pas sur du vide, mais sur un système dont nous devinons les contours. Le texte est en perpétuel mouvement vers une esthétique qu'il suggère en creux
Ford Madox Ford held a major yet paradoxical stance within modernist. His relationship to his literary context is characterized by a vibration between the tribute to his artistic heritage and enthusiasm for the imperative of novelty mat defines modernism. The reluctance to inscribe Ford within the modernist canon may be explained by the difficulty to reconcile his work's contradictions and consequently to delineate a stable aesthetic System. Ambivalence is indeed at the core of the author's aesthetic project, particularly so in Parade's End. The tetralogy describes a contradictory relationship to its ideological, aesthetic and philosophical heritage and to the past; it initiates an irreconcilable dialectic between the ideal of a past inhabiting the present and the notion of newness that such nostalgia implies. The text conveys a reluctance to resolve the confusion it generates: it is thus impossible to establish a fixed line between the values of tradition and those of modernity. The fundamental dimension of negativity endows the text with a paradoxical dynamism. This work explores the tension between homage and derision that characterizes Parade's End, The nostalgia of a stable ideology, of a satisfyingly coherent narrative and of a subject that can be grasped as a whole, is simultaneously sublimated and derided. The crisis of ideological, aesthetic and ontological Systems of thought that is thus made blatant does not result in the development of an alternative System; it does not however lead to void either, but to lets us delineate a System that has yet to be created. The text is constantly moving towards an aesthetics whose contours are merely suggested

L'histoire d'amsterdam-pleyel de 1932 a 1939 est celle d'un mouvement de masse concu au niveau international et qui, prend en france un dimension originale. En 1932, la pultiplication des conflits oblige l'internationale communiste et le parti communiste a accentuer leur lutte contre la guerre. Ce dernier s'adresse a h. Barbusse, l'homme des organisations de masse, a une epoque ou il privilegie celles-ci. En s'associant a r. Rolland, h. Barbusse choisit un homme connu pour ses positions pacifistes. Toutefois le congres d'amsterdam reste domine par la strategie revolutionnaire, eludant les positions pacifistes. Le mouvement, en france se structure dans des comites locaux. Rassemblant differentes organisations et de larges couches sociales. Il prend une forme specifique et nouvelle. Avec l'arrivee d'hitler au pouvoir, l'antifascisme est devenu prioritaire. L'association d'amsterdam au congres de pleyel donne naissance au mouvement amsterdam-pleyel, lequel se mobilise peu en france, tant le danger semble lointain. Mas, avec l'annee 1934, le mouvement s'ancre durablement dans la vie poli tique francaise ponctuee par les crises internationales qui menent a la guerre. Amsterdam-pleyel doit se transformer. Au depat relais du parti politique, il joue desormais un role complementaire. Devenu paix et liberte, a l'heure du front populaire il developpe avec ses comites locaux une veritable vie associative. Issu du pc, dans sa composition, il est amene a developper avec lui des relations conflictuelles, sans aller jusqu'a la rupture. En 1939 paix et liberte devient une association. Cette trans formation sonne le glas du mouvement de masse dans sa forme primitive
Amsterdam-pleyel (193-1939) was an international mass movement which took on an original aspect in france. In 1932, the rising number of conflicts led the third international and the communist party ot trengthen their efforts against war. The communist party called on h. Barbusse, a specialist in mass organizing, who at the time emphasized its importance. He in turn chose r. Rolland, known for his pacifist positions, as his associate. However, the amsterdam congress, where the issue of revolutionnary strategy was dominant, softened its positions. In france, the movement was based on the creation of local committees which attracted various organizations and new social groups and it took a new specific form. In 1933, thecoming to power of hitler changed the priorities : the amsterdam committee, attending the pleyel congress gave birth to the amsterdam-pleyel movement. At first, the movement was not very active against external fascism which seemed to be a quite remote danger. But in 1934, the movement established itself on a lasting basis in the nation's life and followed the french political life and the international crises which eventually led to the war. That was a new period for the amsterdam-pleyel movement which had to undergo some transformations. At first acting as an intermediate of the political party, it began to play a complementary role which emphasized political unity. Changing its name to peace and liberty, it followed the line of popular frotn for which it acted as an intermediate, with civil society. Its local

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The present thesis aims to evaluate, through extensive bibliographical research, the repercussion of the second drive theory in the works of Freud and Ferenczi, a clipping that can contribute to a better understanding of this controversial topic in the psychoanalytic field. It is hypothesized that the diverse destinies that the notion of the death drive assumed in the thought of these two authors would derive from reasons other than just metapsychological or particular. In the end, it is considered that these diverse destinations are deeply articulated to the predominant clinical strategies in both
A presente tese pretende avaliar, por meio de ampla pesquisa bibliográfica, a repercussão da segunda teoria pulsional nas obras de Freud e Ferenczi, um recorte que pode contribuir para o melhor entendimento deste tema controverso no campo psicanalítico. Parte-se da hipótese de que os destinos diversos que a noção de pulsão de morte assumira no pensamento destes dois autores decorreria de outras razões que não apenas metapsicológicas ou particulares. Considera-se, por fim, que tais destinos diversos encontram-se profundamente articulados às estratégias clínicas predominantes em ambos

On ne s'est pas suffisamment intéressé à la dimension anthropologique de Freud, c'est-à-dire à la manière dont il aborde et dont il enrichit la connaissance de l'universel humain. Considérés de près, les écrits de Freud laissent entrevoir l'ambivalence de ce médecin qui ne s'élève vers les régions de l'universalité philosophique que par une "audacieuse extrapolation". Nous avons étudié ce rapport en gestation, en envisageant les relations que Freud entretint avec des pédagogues qui rejoignirent le mouvement psychanalytique des 1909. Nous avons tout d'abord montré la proximité de Freud et de ces pionniers et son extrême sympathie vis-à-vis de l'application pédagogique de la psychanalyse. Puis nous avons trace l'histoire du mouvement de pédagogie psychanalytique et envisage les raisons historiques et ontologiques de la nécessité d'une rencontre (partie I). Notre recherche s'est alors orientée dans quatre directions avec l'étude des plus importants protagonistes du mouvement : August Aichhorn ; Hans Zulliger ; Oskar Pfister ; Anna Freud. Ces quatre études sont hétérogènes à proportion de quatre fortes personnalités ; de quatre créations dans des champs de formation différents. Mais elles sont homogènes dans la mesure où elles permettent d'éclairer un double questionnement : d'une part, leur confrontation à Freud reprend la question non résolue des rapports entre psychanalyse et pédagogie et elle envisage les diverses manières dont les uns et les autres ont tenté de conjuguer deux « impossibles métiers », au début du siècle. Les résultats de cette enquête mettent en évidence une relation en miroir. Mais plus profondément, la rencontre des éducateurs et de Freud est celle de deux points de vue sur l'homme : le naturalisme et une perspective innéiste qui parait propre au métier d'éduquer. Cette rencontre soulève la question éternelle des rapports, en nous, de la nature et de la liberté.

Cette recherche développe une analyse de l'élaboration du concept d'angoisse dans l'ouvre freudienne. Nous proposons alors de considérer le concept freudien d'angoisse comme une véritable nouveauté dans le domaine psychopathologique de son époque. De ce point de vue, nous considérons pertinente une interrogation historico-conceptuelle de cette problématique dans le but d'analyser ce que nous pouvons appeler la réinvention freudienne de l'angoisse, trajet qui situera l'angoisse comme un affect inconscient décisif dans la subjectivité humaine. La réinvention de l'angoisse impliquera un ensemble des matériels lesquels seront forgés dans la discussion que Freud soutiendra avec la psychopathologie de son époque et les conceptions de nervosité contemporaines à sa genèse. Également on trouvera une discussion avec les idées directrices du travail scientifique, ainsi qu'avec les débats qui traverseront le mouvement psychanalytique ; d'abord, dans l'élaboration du concept d'inconscient et du sexuel, mais aussi avec les débats officiels et non officieux entre Freud et ses collaborateurs et amis, et dans l'aventure métapsychologique, les relectures métapsychologiques et ses vicissitudes. De cette perspective, se manifeste clairement la nécessité d'envisager l'angoisse comme nœud problématique dans le travail freudien. Dans ce nœud convergeront à la fois des références à une époque, un certain état de construction théorique et une pratique clinique qui interroge et bouleverse, les catégories explicatives. La réflexion freudienne montrera une invariante : l'angoisse est une problématique qui cristallise et où convergent les questions les plus fondamentales et elle se constitue comme une énigme dont l'abordage pourrait faire apparaître de nouvelles perspectives dans la compréhension de la névrose
This research develops an analysis of the elaboration of the anguish concept in the Freudian work. Our proposition is to consider the Freudian concept of the anguish as a real innovation in the psychopathologic domain of its era. From this point of view, we consider appropriate a historical- conceptual interrogation of that problematica with the objective of analysing what we can denominate the Freudian reinvention of the anguish, journey that will place the anguish as an unconscious affect crucial in the human subjectivity. The reinvention of the anguish will imply an ensemble of materials that will be forged in the discussion that Freud will hold with the psychopathology of his period and the conceptions of nervousness contemporary to his genesis. Likewise, we will encounter a discussion with the directive ideas of the scientific work, but also with the debates that will pass through the psychoanalytic movement; at first, in the elaboration of the unconscious and sexual concept, but also in the official and non-official debates between Freud and his collaborators and friends, as also in the metapsychological adventure, the metapsychological re-readings and their vicissitudes. From this perspective, the necessity of considering the anguish as a problematic knot, in the Freudian work, is clearly manifested. To that knot will converge the references to a period, a certain state of the theoretical construction and a clinical practice that interrogates and subverts the explicative categories. The Freudian reflection will demonstrate one invariant: the anguish is a problematica that crystallizes and where the most fundamental issues converge and it constitutes itself as an enigma whose approach could offer new perspectives in the neurosis comprehension

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From the link between the works of Freud, Ferenczi and Groddeck, this study attempts to show that psychoanalysis, since their first developments, provides evidence for the formulation of a psychoanalytic psychosomatic. In the first chapter, when we approach psychoanalytic concepts that are in the intersection between the psychic and somatic, we present evidences suggesting that somatic changes that affect somatic functions and/or structures are produced when, under impact of a traumatic situation, added by the insufficiency of the specific action, the discharge of the affection occurs of a totally unconscious way, running a cumulative excitement that found no other way of expression. This means of discharge, which is based upon the acting, not on the word, can come up from phylogenesis after the failure of the ontogenesis to equip the individual with more consistent reactions to him face limit-situations of reality. Prevented from acting against the object, the natural aggressiveness -inherent to the instincts of preservation of the species- acts in the way to disrupt the psychic functioning or, if it is sufficiently protected by the cleavage of the ego, disorganizing the somatic structures. On that regression beyond the psychic limits, selfdestructiveness, remnant of the original masochism, expressed a force even more basic in the formation of living being, as sought to show in the second chapter. Identified by Freud at both the psychological level as in the somatic level, the death drive extends the roots of unconscious to the biological level, considering the existence of an undifferentiated region between soma and psyche, where the variations of a level impact on the other. This hypothesis is supported: (1) by Ferenczi, who introduced changes in analytical technique with the aim of promoting a regression able to access content from traumatic experiences, and reached archaic and undifferentiated contents, that remains detained in the body as a memory without words, at the margin of language and the further development of the ego, producing psychical and somatic suffering, (2) by the location of the It at the psychic apparatus, connected directly with the somatic forces. By tracing the origin of It until the thought of Groddeck, in the third chapter, we find an unconscious-It that precedes the psychosomatic existence. For Groddeck, the lack of symbolic significance of organic diseases are due to the split between soma and psyche inherent at the explanatory model, for which the disease and the sickness organs are not seen as symbols that can be decoded and resized from the symbolic nature of unconscious. Finally, we show that, in despite the work of Freud provides explanations for the psychosomatic phenomenon in a psychoanalytic perspective it is Groddeck and Ferenczi that provide the clinical features that allow rescuing the psychosomatic phenomenon to become synonymous with lack of symbolization. Despite Freud have remained away of this issue and skeptical about the resolution of the psychosomatic disease through analysis, some of his assertions in his last years show that the creator of metapsychology not remained totally unrelated to that possibility.
A partir da articulação entre as obras de Freud, Ferenczi e Groddeck, este trabalho procura mostrar que, desde os seus primeiros desenvolvimentos, a psicanálise oferece elementos para a formulação de uma psicossomática psicanalítica. No primeiro capítulo, ao abordarmos conceitos psicanalíticos que se constituíram na intersecção entre o psíquico e o somático, apresentamos elementos que permitem supor que as alterações somáticas que atingem funções e/ou estruturas do corpo são produzidas quando, sob impacto de uma situação traumática, somado à insuficiência da ação específica, o afeto se descarregar de modo totalmente inconsciente, veiculando uma excitação acumulada que não encontrou outra possibilidade de expressão. Tal via de descarga, que tem como base o ato, e não a palavra pode ser evocada a partir da filogênese quando a ontogênese falha em equipar o indivíduo com reações mais condizentes ao enfrentamento de situações-limite da realidade. Impedida de se atualizar contra o objeto, a agressividade natural, inerente aos instintos de conservação da espécie, atua no sentido de desorganizar o funcionamento psíquico, ou, se este estiver suficientemente protegido pela clivagem do ego, desestruturar o funcionamento somático. Nessa marcha regressiva para além dos limites psíquicos, a auto-destrutividade, resquício do masoquismo original, expressa uma força ainda mais fundamental na constituição do vivo, como procuramos mostrar no segundo capítulo. Identificada por Freud tanto no nível psíquico como no nível somático, a pulsão de morte estende as raízes do inconsciente ao registro biológico, e permite considerar a existência de uma região indiferenciada entre soma e psique, onde as variações de um registro repercutem sobre o outro. Essa hipótese é corroborada: (1) por Ferenczi, que ao empreender modificações na técnica analítica com o objetivo de promover uma regressão capaz de acessar conteúdos derivados de experiências traumáticas, acessa conteúdos arcaicos e indiferenciados, que se mantêm imobilizados no corpo como lembranças sem palavras, à margem da linguagem e do desenvolvimento posterior do ego, produzindo sofrimentos somato-psíquicos; (2) pela localização do Isso no extremo do aparelho, em conexão direta com as forças somáticas. Ao rastrearmos a origem do Isso até o pensamento de Groddeck, no terceiro capítulo, encontramos um Isso-inconsciente precedendo toda a existência psicossomática. Para Groddeck, a falta de significação simbólica das doenças orgânicas deve-se à cisão entre soma e psique inerente ao próprio modelo explicativo, para o qual a doença e os órgãos doentes não são vistos como símbolos que podem ser decodificados e redimensionados a partir da natureza simbólica do próprio inconsciente. Para finalizar, procuramos mostrar que, apesar da obra de Freud fornecer elementos para a explicação do fenômeno psicossomático na perspectiva psicanalítica, é Groddeck e Ferenczi que fornecem os elementos clínico-conceituais que permitem resgatar o fenômeno psicossomático de se tornar sinônimo de ausência de simbolização. Apesar de Freud ter se mantido afastado dessa temática, e cético em relação à resolução da doença somática pela via analítica, algumas de suas afirmações em seus últimos anos indicam que o criador da metapsicologia não se manteve totalmente alheio a essa possibilidade.

Orientador: Luiz Roberto Monzani
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O objetivo deste trabalho é investigar a concepção de Freud sobre ciência entre 1873 e 1900. Para tanto, assumimos uma leitura de orientação epistemológica na tentativa de remontar essa concepção contrapondo-a ao contexto e à articulação das proposições do autor, focando assim o teor de suas argumentações. Iniciamos pelo delineamento de um panorama no qual tentamos recuperar as influências históricas que Freud sofreu para o estabelecimento de sua concepção de ciência. Neste panorama, detectamos uma presença acentuada do modelo das Naturwissenschaften, uma vez que seus valores teriam advindo tanto de seu contato com os membros da escola de Helmholtz, representantes expressivos desse modelo, como também de Brentano e Mill, filósofos que defendiam a psicologia como uma disciplina autônoma e científica. A seguir, começamos a acompanhar internamente o percurso de Freud tendo em vista como essa concepção de ciência se manifestava no desenrolar de suas pesquisas. Vimos que inicialmente ele se ajustava a um programa neurofisiologista, em que o operar técnico no laboratório oferecia o tom de sua cientificidade. No entanto, logo começou a revelar uma disposição para defender o estudo científico de novos objetos, como a histeria e a hipnose. Dali em diante, sua concepção de ciência parece ter sido constantemente desafiada. A psicologia era pouco a pouco resgatada do estoque de suas influências para explicar o que ele observava mediante a fala de suas pacientes na clínica. Após tentar unir essa disciplina à neurologia para propor uma explicação científica aos processos psíquicos, Freud deparou-se com uma base conceitual nova, o que por sua vez implicava o nascimento de uma nova teoria, a metapsicologia. Sugerimos, ao final, que a concepção de ciência de Freud ainda pode revelar aspectos inexplorados, sendo estes muito provavelmente contributivos para o debate da cientificidade da psicanálise e da fundação histórica dessa disciplina
Abstract: The aim of this work is to investigate Freud's conception of science between 1873 and 1900. For this purpose, we assume an epistemological oriented approach in an attempt to reconstruct this conception by setting it against to the context and the articulation of the author's propositions, by focusing on the content of his argumentation. We started by outlining a panorama in which we try to recover the historical influences that Freud suffered to establish his conception of science. In this panorama, we detect a strong presence of the model of the Naturwissenschaften, once his values could have been derived both from his contact with members of the school of Helmholtz, significant representatives of this model, as well as Brentano and Mill, philosophers who advocated psychology as an autonomous and scientific discipline. Afterwards, we begin to follow Freud's path internally in order to understand how this conception of science would manifest itself in the course of his research. We realized that initially he adjusted himself to a neurophysiologist program, in which the technical research in the laboratory offered the scientific tone. However, he soon began to show a willingness to defend the scientific study of new objects, such as hysteria and hypnosis. Thereafter, his conception of science seemed to be constantly challenged. Psychology was gradually brought back from the reserve of his influences to explain what he observed through the speech of his patients at the clinic. After trying to unite this discipline to neurology in order to propose a scientific explanation for psychic processes, Freud found a new conceptual basis, which in turn implied the birth of a new theory, metapsychology. We suggest, at the end, that Freud's conception of science still can reveal unexplored aspects, which are most likely to contribute to the debate on the scientific status of psychoanalysis and the historical foundation of this discipline
Mestrado
Filosofia
Mestre em Filosofia

This thesis is an examination of how the themes of adultery and regeneration are interwoven and explored by selected English novelists in the first half of the twentieth century. It is essential to establish that Ford, Lawrence, Waugh and Greene do not adhere to the ‘archetypal' pattern of the adultery novel established in the nineteenth century and, in fact, turn that pattern on its head. Ford's The Good Soldier and Parade's End provide two differing perspectives. The first uses adultery as a metaphor for the disintegration of English society, mirroring the social disintegration that accompanied the First World War; Parade's End, however, presents an adulterous relationship as being a regenerative force in the post-war society. Lawrence's Lady Chatterley's Lover also uses an adulterous relationship as a means of addressing the need for social, and national, regeneration in the inter-war years. Waugh's A Handful of Dust presents a woman's adultery as the ruin of not only a good man, but also civilisation in general; Brideshead Revisited is more religious in tone and traces the spiritual regeneration of its central character, whose conversion, ironically, is made possible through his adulterous relationship. Similarly, Greene's The Heart of the Matter and The End of the Affair portray the process of spiritual regeneration; in both novels this movement towards salvation is intertwined with an exploration of adulterous love. The ultimate question probed in this thesis is how the twentieth century novel of adultery overturns the traditional literary approach to the subject. Adulterous unions and illegitimate children are no longer presented as being exclusively socially destabilising or subversive in these novels; most intriguingly significant is that, in some of these novels, the illegitimate child becomes a symbol of hope, and, indeed, of regeneration.

Plus de cent ans après son invention, où en est la psychanalyse ? On annonce régulièrement sa crise, voire sa disparition, mais est-ce la psychanalyse en tant que discipline qui se voit menacée ou bien plutôt sa pratique : la méthode thérapeutique forgée par Freud au tournant du 20eme siècle et qui perdure, depuis, sous la forme dite de la « cure type » ? Bien que relativement inchangée, cette méthode a fait l'objet de nombreux conflits dans son Histoire. Conflits violents entre Freud et deux de ses disciples, Rank et Ferenczi, dans les années 20. Conflits passionnels autour de Jacques Lacan et de sa révolution analytique à partir des années 50. A chaque fois, et en filigrane, ce sont les mêmes interrogations qui font retour : le pouvoir de la méthode, son efficacité thérapeutique, les implications du transfert, la finalité de la cure. Autant de thèmes qui traduisent les difficultés techniques et les impasses rencontrées. Autant de failles qui mettent enjeu l'analyste dans sa fonction et dans son rôle. Les débats ont-ils été d'autant plus virulents qu'ils portaient sur cet aspect de la question ? Si les réponses apportées furent différentes selon les époques, le mouvement dans l'ensemble fut celui de la préservation de l'invention. Aux propositions des uns de modifier la technique (Rank, Ferenczi, Viderman, Roustang), a répondu le souci de la communauté de défendre la pureté de la méthode. A quel prix, selon quels enjeux et avec quelles conséquences ?
More than a hundred years after its invention, where is psychoanalysis now? Its crisis, even its disappearance, is regularly announced, but is it psychoanalysis as a subject which is threatened, or rather its practice : the therapeutic method forged by Freud at the turn of the 20th century and which bas endured since then, under the form called "the typical cure"? Although relatively unchanged, this method was the source of many conflicts in its history : violent conflicts between Freud and two of his disciples, Rank and Ferenczi, in the twenties, passionate conflicts around Jacques Lacan and his analytic revolution from the fifties. Each time, and implicitly, the same interrogations are back : the power of the method, its efficiency, the implication of the transfer, and the purpose of the cure. So many themes which convey the technical difficulties and the dead ends which were reached. So many flaws which involved the analyst in his/her function and in his/her role. Have the debates been more virulent when concerning this aspect of the question? If the answers have been different according to the times, the global movement has been the preservation of the invention. To the propositions made by some to modify the technique (Rank, Ferenczi, Viderman, Roustang), was answered the concern of the community to stand up for the purity of the method. At what price, depending on which stakes and with which consequences ?

Le corpus se compose de deux ouvrages non-fictionnels When Blood is Their Argument : An Analysis of Prussian Culture et Between St. Dennis et St. George : A Sketch of Three Civilisations, publiés pendant la guerre en 1915(Between St. Dennis, traduit en français, a été bien accueilli en France) ; et de quatre ouvrages autofictionnels dont un texte inachevé, True Love & a General Court Martial, commencé bien avant la fin de la Grande Guerre mais qui n’a pas été publié jusqu’à 1999; d’un texte inédit, Mr. Croyd : A Romance of Reconstruction (alias That Same Poor Man), terminé en 1920, dont le manuscrit se trouve à la Bibliothèque de Cornell (« Division of Rare and Manuscript Collections ») ; de No Enemy : A tale of Reconstruction, écrit principalement en 1919, publié dix ans plus tard, en 1929, aux Etats-Unis, et après plusieurs décennies en Angleterre en 2002 ; et The Marsden Case : A Romance of Reconstruction, publié en 1923. La notion de trauma est implicitement et explicitement au cœur de ces six œuvres. Il est généralement convenu que le trauma n’est pas l’apanage des temps modernes, pourtant celui engendré par la Grande Guerre est sans précédent. Il ne se limite pas qu’au champ de bataille mais a touché toute une société, mobilisée derrière l’effort de guerre. Le cas de Ford Madox Ford, né Hueffer est unique dans le sens où il est le seul à traverser le gouffre qui s’était ouvert entre sa génération représentée par Henry James, Bennett, Kipling, Wells, et ceux qui ont prostitué leurs plumes en faveur d’une cause idéologique, et la jeune génération d’écrivains meurtris (Robert Graves, Siegfried Sassoon, Richard Aldington, etc.) qui se sont sentis trahis par ce qu’ils appelaient les Vieux – les dirigeants politiques et les écrivains. Ce travail, étayé sur des arguments socio-politique, théorique, et autobiographique, permet d’examiner les processus douloureux de reconstruction et de consolidation de la pratique impressionniste fordienne et de son auteur, ébranlés par l’expérience traumatique de la guerre
The corpus consists of two non-fiction volumes When Blood is Their Argument: An Analysis of Prussian Culture and Between St. Dennis and St. George: A Sketch of Three Civilizations, published during the war in 1915 (Between St. Dennis was translated in French and well received by the French government); and four autofictions including an unfinished text, True Love & a General Court Martial, started well before the end of the Great War but was not published until 1999; an unpublished book, Mr. Croyd: A Romance of Reconstruction (alias That Same Poor Man), completed in 1920, the manuscript is available at the Library of Cornell ( "Division of Rare and Manuscript Collections"); No Enemy: A Tale of reconstruction, mainly written in 1919, published ten years later, in 1929, only in the United States, and after several decades in England, in 2002; and The Marsden Case: A Romance of Reconstruction, published in 1923. The notion of trauma is implicitly as well as explicitly the main theme of these six books. It is generally agreed that the trauma is not the prerogative of modern times, however, the trauma generated by the Great War is extraordinary. It is not restricted only to the battlefield but affected a whole society, mobilised behind the war effort. The case of Ford Madox Ford, née Hueffer is unique in the sense that he is the only writer who crossed the abyss that opened up between the two generations of writers, on the one hand, his, represented by Henry James, Bennett, Kipling, Wells, and all those who participated in the ideological cause, and the young disillusioned generation of writers (Robert Graves, Siegfried Sassoon, Richard Aldington, etc.) who were betrayed by those they called the Old – political leaders and writers. This work, bearing on socio-political, historical, theoretical and biographical arguments, attempts to examine the painful processes of reconstruction and consolidation of the Fordian impressionist technique and its author, ‘shell-shocked’ by the traumatic experience of war

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The present psychoanalytical research brings metapsychological considerations on the theme of trauma, its impacts and possible psychical consequences, based on Sigmund Freud and Sándor Ferenczi. Through the contributions of Ferenczi, the subject of trauma is examined, with the intention to understand clinical phenomena, especially of psychical paralysis and strong submission to the analyst, features that characterize a typical transferencial picture, nominated by the author as masochist-depressive transference. Such basis allowed us to consider that indifferent and violent repetitive maternal and paternal attitudes can provoke pathological effects on the psychical development of a child, taken by great amounts of excitement, disorganizing his subjective functioning and mobilizing pathological defense mechanisms that reflect a wounded narcissism. Four clinical cases have been examined, in which transferencial movements indicated psychical defenses such as splitting, psychopathological progression and identification with the aggressor. In such cases, the analyst had to work to allow the bounding of psychical excesses to words, and thus to construct meanings for traumatic experiences. The clinical necessity of non-standardized psychoanalytical technique was verified, and also the need to consider the importance of the real fact, as much as the patient s attributed meaning to the traumatic fact. It was concluded mainly that considering the masochist-depressive transference, the underlying traumatic factors and the derivative pathological psychical defenses brings more possibilities of intervention to the analysis, with special attention for the factors that produce compulsion to repetition and corporal symptoms
A presente pesquisa psicanalítica, baseada em Sigmund Freud e Sándor Ferenczi, traz considerações metapsicológicas sobre o trauma, seus impactos e possíveis conseqüências psíquicas. Através das contribuições do psicanalista húngaro Ferenczi, o tema do trauma é examinado para possibilitar a compreensão de fenômenos clínicos, especialmente de paralisia psíquica e forte submissão ao analista, que caracterizam um quadro transferencial típico nomeado pela autora como transferência depressivo-masoquista. Tal embasamento permitiu considerar que as atitudes materna e paterna podem provocar, quando repetidas e carregadas de indiferença e violência, efeitos patológicos sobre o desenvolvimento psíquico de uma criança, que fica então inundada por grandes quantidades de excitação, tendo seu funcionamento subjetivo desorganizado e mobilizando defesas patológicas que refletem um narcisismo ferido. Foram examinados quatro casos clínicos cujos movimentos transferenciais faziam supor defesas psíquicas de clivagem, progressão psicopatológica e identificação com o agressor. Em tais casos, evidenciou-se a necessidade do analista trabalhar para permitir o ligamento de excessos psíquicos às palavras e assim, construir sentido para experiências traumáticas. Verificou-se a necessidade clínica de não uniformizar a técnica psicanalítica, e de levar em conta tanto a importância do fato real, quanto a significação singular que um determinado paciente atribuiu ao fato traumático. Concluiu-se principalmente que considerar a transferência depressivo-masoquista, os fatores traumáticos subjacentes e as defesas psíquicas patológicas derivadas permite a ampliação das possibilidades de intervenção da análise, com atenção especial para os fatores que produzem compulsão à repetição e sintomas corporais

Ce travail explore le domaine d'intersection entre le texte et la sexualite, en proposant d'etudier l'inscription d'une subjectivite feminine au sein des recits de dorothy richardson (pilgrimage), katherine mansfiels (the collected short stories), et jean rhys (the left bank, quartet, after leaving mr mackenzie, et good morning, midnight). Il s'appuie sur les theories lacaniennes de l'ordre langagier pour faire apparaitre dans ces ecritures feminines des modeles enonciatifs particuliers, fondes sur une pratique de la litterature comme espace de lecture. La figure de la lectrice dans le texte surgit dans ces textes comme le trope revelateur de la nature discursive de la feminite qui s'articule a la sexuation des proces de la signification. Dorothy richardson, katherine mansfield et jean rhys, en textualisant la femme, orientent d'ecriture vers un deficit semantique, et, de diverses manieres, presentent la lecture comme un discours (du) feminin
This study explores the field of intersection between text and sexuality, as it proposes to examine the inscription of a feminine subjectivity within the fictional writings of dorothy richardson (pilgrimage), katherine mansfield (the collected short stories), and jean rhys (the left bank, quartet, after leaving mr mackenzie, and good morning, midnight). This analysis of gender takes root in the lacanian theories of the symbolic order of language in order to identify particular enunciative patterns, based on the practice of literature as a reading activity. The figure of the female reader in the text appears in these texts as the narrative locus for the exposition of the discursive nature of feminity and of gender identity, bound up with the sexual implications of signifying processes. By writing feminity into their texts, dorothy richardson, katherine mansfield and jean rhys direct the writing activity toward a semantic loss, and, through diferrent narrative strategies, offer a vision of reading as a feminine form of discourse, as the discourse of the female gender

La question du traumatisme psychique est consubstantielle de la découverte de l’inconscient freudien.Cette théorie originelle, remaniée radicalement par l’apport conceptuel du fantasme et de la théorie du complexe d’œdipe a laissé tracer dans les conceptions actuelles du pychotraumatisme.Ne retrouve-t-on pas en effet, dans les théories du débriefing psychologique l’idée d’une abréaction nécessaire avec des effets thérapeutiques passant par la magie du discours ?L’effraction psychique comme métaphore d’une intrusion/déliaison de l’économie pulsionnelle de l’appareil psychique nous apparaît féconde dans le domaine d’exploration du psychotrauma que nous proposons de mener au travers d’expériences cliniques diversifiées portant sur le recueil de témoignages de survivants de la Shoah, ou d’un travail sur l’écriture du trauma, mais également à partir de trois missions d’enquêtes expertales que nous avons menées pour l’ONG humanitaire Médecins du Monde (tremblement de terre en Arménie (1989), attentats terroristes en Israël (2000-2002) ou le contexte de guerre visant des civils en Israël (2006).Nous avons regroupé nos différentes expériences cliniques de confrontation au réel traumatique en quatre parties : trauma et attentats terroristes que nous qualifions de démocides, trauma et guerre, trauma et catastrophe naturelle, et enfin trauma et Shoah.A ces quatre parties, émaillées de cas cliniques, qui chaque fois sont un appel à interroger la théorie, nous engageons une discussion sur les théories du traumatisme et pour ouvrir ce travail vers d’autres perspectives, nous interrogeons les dimensions si essentielles du témoignage et de la transmission dans son rapport à la mémoire de l’événement traumatique.Enfin, nous proposons de transposer le modèle israélien de prise en charge des victimes du terrorisme et d’organisation de soins et d’efficience thérapeutique après les attentats survenus en France (2012/2015-2016) par la création d'une Unité de Soins Psychotraumatismes et résilience au sein de l'OSE. Tout au long de ce travail, nous abordons la question du traumatisme psychique dans ses trois dimensions, individuelle et collective, intentionnelle ou accidentelle, unique ou répétée, en interrogeant la théorie psychanalytique et sa conceptualisation centrale dans la compréhension du phénomène.Sur le plan théorique nous présentons une relecture de la fatigue de compassion d’un point de vue psychodynamique par le détour conceptuel du transfert, du contre-transfert, de l’identification projective kleinienne et de l’introjection ferenczienne pour arriver à cette proposition qui s’inscrit dans la filiation du corpus freudien que nous avons nommée, Névrose traumatique de contre-transfert et identification à l'agressé
The question of psychic traumatism is consubstantial of the discovery of the unconscious freudian.This original theory, radically reshaped by the conceptual contribution of fantasy and oedipal complex theory has left its mark on current conceptions of psychotraumatism. Indeed, do we not find, in the theories of debriefing psychological the idea of a necessary abreaction with therapeutic effects through the magic of speech?The psychic intrusion as a metaphor of an intrusion/delinking of the impulsive economy of the psychic apparatus appears to us fertile in the field of exploration of psychotrauma which we propose to carry out through diversified clinical experiments relating to the collection of testimonies of survivors of the Shoah, or work on writing about trauma, but also from three expert fact-finding missions we have carried out for the humanitarian NGO Médecins du Monde (earthquake in Armenia (1989), terrorist attacks in Israel (2000-2002) or the context of war targeting civilians in Israel (2006).To these four parts dotted with clinical cases which each time are a call to question the theory, we engage a discussion on the theories of trauma and to open this work towards other perspectives, we question the so essential dimensions of testimony and transmission in its report to the memory of the traumatic event.Finally, we propose to transpose the Israeli model of caring for victims of terrorism and organizing care and therapeutic efficiency after the attacks in France (2012/2015-2016) through the creation of a Psychotrauma and Resilience Care Unit within the OSE (Oeuvre de Secours aux Enfants) .Throughout this work, we address the issue of psychic trauma in its three dimensions, individual and collective, intentional or accidental, unique or repeated, by questioning psychoanalytical theory and its central conceptualization in the understanding of the phenomenon.On the Theoretical level we present a re-reading of compassion fatigue from a psychodynamic point of view through the conceptual detour of transference, counter-transference,Kleinian projective identification and Ferenczian introjection to arrive at this proposition which is part of the filiation of the Freudian corpus that we have named, traumatic neurosis of counter-transference and identification with the agressed

Le corpus se compose de trois ouvrages de non-fiction The Soul of London (1905), The Heart of the Country (1906) et The Spirit of the People (1907), regroupés en un seul volume sous le titre England and the English – an Interpretation lors de la publication de la trilogie à New-York en 1907. Cette trilogie a été ensuite éditée en 2003 par Carcanet Press sous la direction de Sara Haslam. Peu étudiées, ces oeuvres ont une existence propre à l'intérieur de la trilogie, au coeur del'oeuvre fordienne, voire au sein de la littérature moderne. Ce travail herméneutique permet de mettre au jour le feuilletage d'un texte prétexte à une réflexion à la fois autobiographique, philosophico-théologique, socio-historique et théorique portant sur l'écriture et l'art en général. Il révèle l'esthétique innovante d'un auteur qui cherchera sans relâche sa place dans le paysage littéraire international, entre impressionnisme et futurisme, et essaiera de recueillir l'adhésion de « l'homme moyen sensible » en la personne de son lecteur, en lui transmettant un message d'amour par le biais d'une langue hybride et plurielle inspirée de la « langue des oiseaux ». Derrière l'Angleterre se dessine la Provence et une esth/éthique du troubadour
The three books collected in England and the English are The Soul of London (1905), The Heart of the Country (1906) et The Spirit of the People (1907). Although the complete trilogy was edited in New-York in 1907 it was made available to English readers in 2003 only, when Sara Haslam edited the volume for Carcanet Press. This study means to show in what ways those so-called essays are crucial and make sense as a trilogy, within Ford's own work as well as within modern literature. The hermeneutic approach adopted here attempts to decipher a multi-layered text and brings out underlying themes and intertexts that bear on the author's biography as well as on his interests in philosophical, religious, and socio-historical topics and reflect his passion for writing. The trilogy comes out as emblematic of the original aesthetic of a writer who, hovering between impressionism and futurism, tried to find his own way within the international literary landscape. Ford defines and addresses here an homme moyen sensible, very close to his ideal reader and transmits to him a specific message of love resorting to a hybrid, joyful and plural language inherited from the medieval langue desoiseaux. England becomes indistinguishable from Provence and from aesth/ethics connected with its troubadours