Academic literature on the topic 'Jean Lefebvre'

This paper begins with the accusation of “totalization” that has been directed at Neil Brenner and Christian Schmid’s concept of “planetary urbanization.” In so doing, it first critiques the meanings typically attributed to “totality” and “totalization” by Brenner and Schmid as well as their critics, and then explicates the concepts of totality and totalization developed in the tradition of Hegelian Marxism, especially in the works of Georg Lukács, Jean-Paul Sartre, Henri Lefebvre, and Fredric Jameson. Following a review of some influential invocations of Hegelian or Marxist conceptions of totality in anti-colonial and socialist–feminist politics, the paper concludes by arguing that participants in the contentious planetary urbanization debate can best address their substantive concerns by working through instead of disavowing the concept of totality—especially the version of it proposed by Lefebvre, involving state and capital, “the urban” and the everyday.

Este artigo faz uma breve a reflexão de como o capitalismo, através do urbanismo contemporâneo, constrói sua lógica de dominação na cidade neocapitalista a partir das reflexões de Lefebvre, principalmente aquelas apresentadas em sua obra O direito à cidade; que expõe o contínuo processo de eliminação das funções cívicas originais da cidade pré-capitalista, moldando o urbano contemporâneo através de uma visão de formação de cidades “lucrativas”, que competem em um teatro global de especulação, marginalização e desigualdade urbana. Em primeiro, será apresentado uma pequena parte da construção sobre a inovação do pensamento marxista, através do Capital de Karl Marx, e da obra Questão de Método de Jean-Paul Sartre. Após isso será realizado uma análise do pensamento lefebvriano, sobre a forma de dominação capitalista que é implementada pelos processos de urbanização.

A presente pesquisa partiu do desejo de se investigar as possibilidades terapêuticas do tratamento psicanalítico. A partir do estudo da obra Entre o sonho e a dor, do psicanalista J.-B. Pontalis, este campo inicial por demais abrangente pôde ser delimitado, e a questão do trabalho de pesquisa circunscrita. Optou-se por centralizar o estudo no processo de constituição daquilo que o autor chama de espaço psíquico uma metáfora que indica a realidade psíquica, ou, em outras palavras, a própria subjetividade, desde que viva. Esta noção do vivo é fundamental porque, diante de uma situação clínica em que o analista (Pontalis, no caso) experimentava a morte do espaço psíquico do paciente, colocava-se precisamente a necessidade de constituir ou recuperar esse espaço psíquico amortecido: que o sujeito pudesse nascer para si mesmo. O tratamento psicanalítico, então, para Pontalis, teria, entre outras, essa possibilidade terapêutica: favorecer a constituição (ou reinstalação) do espaço psíquico. Compreender analiticamente esse processo constitutivo, mediante o esclarecimento de suas bases metapsicológicas, é o objetivo deste trabalho. Para tanto, foram utilizados basicamente três conjuntos de referenciais teóricos: 1) alguns trabalhos do próprio Pontalis que constam da obra supracitada; 2) as posições esquizoparanoide e depressiva, do arsenal teórico kleiniano e, por fim, 3) as matrizes da intersubjetividade (Coelho Jr. e Figueiredo, 2004) e a metapsicologia do cuidado (Figueiredo, 2009). Esses fundamentos metapsicológicos estão apresentados, a título de organização, em dois eixos: no primeiro, os fundamentos relativos à dimensão intersubjetiva na constituição do espaço psíquico a que se atribuiu o nome de trabalho de transmissão, e cujo foco, nesta pesquisa, está nas funções exercidas pelos objetos primários. No segundo eixo, situam-se os fundamentos relativos à dimensão intrapsíquica da subjetividade, entre os quais, a partir de Melanie Klein e Luis Claudio Figueiredo, se destaca o trabalho do luto. Enfatizou-se e justificou-se que as dimensões intersubjetiva e intrapsíquica são interdependentes, não se opõem como experiências nem como conceitos antagônicos, de modo que o pareamento nos dois eixos foi tão-somente um recurso para organizar a estrutura da dissertação. Nas Considerações Finais, a hipótese da constituição do espaço psíquico como uma possibilidade terapêutica do tratamento psicanalítico é retomada, e acrescida de algumas considerações que a articulam à metapsicologia do cuidado. Em linhas gerais, sustenta-se que a instalação do espaço psíquico ou da metáfora materna (Pontalis) representa justamente a constituição de uma matriz de cuidado, isto é, da capacidade de cuidar de si e dos outros. Estas seriam, dentre outras, perspectivas terapêuticas que um processo psicanalítico pode almejar
The present work has stemmed from a wish to investigate the therapeutic possibilities of the psychoanalytic treatment. Starting with the study of Between the dream and psychic pain, by psychoanalyst J.-B. Pontalis, this initial and extraordinarily broad field could be limited, and the research question could be circumscribed. We chose to center the study in the process of constitution of what the author calls psychic space a metaphor that designates psychic reality or, in other words, subjectivity itself, as long as it is alive. This notion of aliveness is essential because, facing a clinical situation in which the analyst (Pontalis, in this case) experienced the death of the patients psychic space, there arose precisely the need to constitute or recover this deadened psychic space: that the subject could be born to him/herself. According to Pontalis, the psychoanalytic treatment would thus have this therapeutic possibility among others: to favor the constitution (or reinstallation) of the psychic space. The objective of the present work is to analytically understand this constitutive process, by means of the clarification of its metapsychological bases. Three groups of theoretical frameworks have been used to achieve said objective: 1) some papers by Pontalis, pertaining to the aforementioned work; 2) the paranoid-schizoid and depressive positions, from the Kleinian theoretical framework, and finally 3) the patterns of subjectivity (Coelho Jr. & Figueiredo, 2004) and the metapsychology of caring (Figueiredo, 2009). These metapsychological foundations are presented, for didactical purposes, in two axes: firstly, those foundations related to the intersubjective dimension of the constitution of the psychic space which have been termed work of transmission, and whose aim, in the present research, is on the functions exerted by the primary objects. Secondly, the foundations related to the intrapsychic dimension of subjectivity, among which, according to Melanie Klein and Luis Claudio Figueiredo, the work of mourning is emphasized. It has been emphasized and justified that the intersubjective and intrapsychic dimensions are interdependent, i.e. they are not opposed to each other as experiences nor as antagonistic concepts, so that the pairing of both axes is a mere resource to organize the thesis structure. On the Concluding Remarks, the hypothesis of the constitution of the psychic space as a therapeutic possibility of the psychoanalytic treatment is readdressed, added by some considerations that connect it to the metapsychology of caring. In general terms, it is argued that the installation of the psychic space or the maternal metaphor (Pontalis) refers precisely to the constitution of a pattern of caring, i.e. the ability to take care of oneself and of others. These, among others, would be therapeutic perspectives that a psychoanalytic process can aspire to

Ce que nous appelons la Chronique (1408-1436) de Jean Lefèvre de Saint-Rémy (v.1396-1468) est une des sources les plus utilisées pour cerner l'histoire des Ducs de Bourgogne de la dynastie Valois, particulièrement les principats de Jean sans Peur et de Philippe le Bon. L'oeuvre historiographique décrit la guerre civile entre Armagnacs et Bourguignons de 1408 à 1435, en plus de quelques relations originales concernant la campagne d'Azincourt de 1415 vue du côté des Anglais ou encore les fêtes relatives aux noces de Philippe de Bourgogne et d'Isabelle de Portugal à Bruges, en janvier 1430. C'est en tant que roi d'armes de la Toison d'or que Jean Lefèvre a élaboré son oeuvre, prenant sa documentation depuis la copie de plusieurs sources narratives dont la plus importante est celle d'Enguerrant de Monstrelet mais également à partir de son témoignage oculaire, de ses enquêtes auprès de l'aristocratie bourguignonne ou encore des échanges avec les différents historiens contemporains évoluant au sein de la cour ducale. Le milieu bourguignon a influencé très largement cet auteur, celui-ci prenant comme type d'écriture celui des "Mémoires" composés par différents laïcs de son entourage. L'objectif de ses écrits historiques, traitant de manière clairement partiale les événements guerriers ou mondains, se situe dans la tradition encomiastique vis-à-vis du pouvoir à qui il doit ses missions, ses revenus et sa situation. En ce sens, nous retrouvons là une similitude avec les autres hérauts auteurs d'oeuvres historiques de la fin du Moyen Age, dont la sauvegarde de la fama et des revendications du maître reste la principale cause d'écriture
The Chronicle (1408-1436) of Jean Lefèvre of Saint-Rémy (v.1396-1468) is one of sources the most used to understand the history of the Dukes of Burgundy from the dynasty Valois, particularly Princedom of John the Fearless and of Philip The Good. The historiographical work describes the civil war between Armagnac and Burgundians from 1408 until 1435, besides some original relations concerning the campaign of Azincourt of 1415 or the wedding of Philippe de Bourgogne and Isabelle of Portugal in Bruges, in January 1430. Jean Lefèvre developed his work as "Toison d'or" King of Arms (Golden Fleece chilvaric order's herald), taking his documentation from the copy of several narrative books, the most important of which are the one of Enguerrand of Monstrelet, but also from its eye testimony, from its inquiries with the Burgundians aristocracy or exchanges with the various contemporary historians evolving within the ducal courtyard. The Burgundian court influenced very widely this author, this one fascinating as type of writing that of the Reports consisted by various laymen of its circle of acquaintances. The objective of its historic papers, handling in a clearly partial way the warlike or worldly events, it situated in the encomiastic tradition towards the power to whom he owes his missions. We find a similarity with the other heralds authors of historic works of the end of the Middle Ages there, among which the protection of the fama of the Prince, which stays the main cause of writing

This chapter describes the daily lives of a broad spectrum of early St. Louis denizens—from the most humble to the most well-to-do—by focusing on their material possessions based on Charles-Joseph Labuxière's inventory. It begins with a snapshot of the lifestyle of Jean Comparios, a longtime French marine who was deployed to Louisiana early during the French and Indian War and posted up the Mississippi to Fort de Chartres, and Marguerite, a black female slave. It then turns to the material things owned by Pierre-François Brunot D'Inglebert Lefebvre Desruisseau and his wife Marguerite La Ferne; Louis Deshêtres and the Deshêtres family; and Jean-Baptiste Hervieux. The chapter discusses marriages, illnesses, and deaths of early St. Louis denizens as well as their material possessions such as houses, clothing, furniture, and household furnishings.

Chapter one surveys examples from news articles, books, and exhibitions that take the destruction of art as their starting point, and attempts to gather these approaches and accounts as a framework for the book. Solvent form looks to recent examples such as critic Jonathan Jones’s concept of a Museum of Lost Art—a place where all the destroyed and lost artworks might hang—poet Henri Lefebvre’s book The Missing Pieces, the Tate Modern’s recent virtual exhibition Gallery of Lost Art, as well as literary parallels taken from Tom McCarthy’s Remainder and Georges Perec’s character Bartlebooth in Life A User’s Manual. From here, it considers Georges Bataille’s concept of the negative miracle from The Accursed Share in relation to thoughts from Giorgio Agamben and Paul Virilio, while providing examples such as Rachel Whiteread’s House, Robert Rauschenberg’s Erased de Kooning Drawing, and Jean Tinguely’s Homage to New York.