Academic literature on the topic 'Pierre Janet'

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-07T13:16:37Z No. of bitstreams: 1 julianagoncalvesblaser.pdf: 1145879 bytes, checksum: a8431f26237035be63ba806e0f977f3a (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T16:44:33Z (GMT) No. of bitstreams: 1 julianagoncalvesblaser.pdf: 1145879 bytes, checksum: a8431f26237035be63ba806e0f977f3a (MD5)
Made available in DSpace on 2016-01-25T16:44:33Z (GMT). No. of bitstreams: 1 julianagoncalvesblaser.pdf: 1145879 bytes, checksum: a8431f26237035be63ba806e0f977f3a (MD5) Previous issue date: 2015-02-09
A Psicologia francesa do final do século XIX, recentemente separada da Filosofia, utilizava como um de seus principais métodos o estudo dos estados alterados de consciência e das doenças mentais no intuito de compreender melhor o funcionamento normal da mente humana. Dentre os pioneiros desta Psicologia, destacou-se Pierre Janet. Seu estudo sobre as alterações mentais, principalmente o hipnotismo e a histeria, deram origem às suas concepções sobre força e fraqueza psicológica, dissociação e atividade subconsciente, ideias estas que abriram margem para um novo entendimento da atividade mental fora da consciência, contribuíram para o desenvolvimento da psiquiatria dinâmica e, principalmente, apresentaram à sua época um caráter conciliador entre as novas tendências da psicologia e a antiga psicologia. Contudo, embora tenha sido um autor relevante, seus trabalhos são pouco conhecidos na atualidade e, em língua portuguesa, a bibliografia sobre ele é escassa. Nosso objetivo foi, portanto: (i) analisar o surgimento do conceito de dissociação na obra inicial de Pierre Janet, assim como as suas principais acepções; (ii) apresentar como Janet chegou à formulação deste conceito e como esse se desenvolveu ao longo de sua obra; (iii) explicar o mecanismo da dissociação segundo o autor; (iv) esclarecer o que ocorre com os elementos dissociados da consciência; (v) apresentar a relação da dissociação com outros conceitos fundamentais da obra de Janet, tais como vontade, fraqueza de síntese e automatismo e; (vi) expor as explicações de Janet para a histeria, hipnotismo e duplas personalidades com base na sua teoria da dissociação. Para tanto, realizamos uma leitura analítica da segunda fase de suas obras, que vai desde 1885 a 1894 (contendo 3 livros e 17 artigos), na qual este autor se dedicou a estudar profundamente este tema, buscando estabelecer a definição dos principais conceitos desta fase de suas obras, com ênfase na dissociação, e também as relações existentes entre eles. Como resultados obtivemos que conceito dissociação apareceu pela primeira vez nas obras de Janet em 1887 no artigo L'anesthésie systématisée et la dissociation des phénomènes psychologiques. Nele Janet coloca que a dissociação ocorre quando um item, seja uma memória, uma sensação ou um movimento, não se liga à ideia de eu do sujeito, sendo, portanto, removido da consciência normal. Porém, a partir de 1889, da obra L’automatisme psychologique, não vemos mais aparecer o termo dissociação, mas sim um novo termo, o termo desagregação (désagrégation), o qual acreditamos ser, contudo, seu sinônimo. O mecanismo da dissociação é apresentado por Janet, principalmente, quando ele explica a formação dos sintomas histéricos. Para ele estes sintomas histéricos, ou seja, as anestesias, as abulias, as amnésias e os problemas do movimento são todos causados por uma fraqueza de síntese psicológica que leva, por sua vez à desagregação psicológica. Nestes quadros, devido à fraqueza de síntese, certos grupos de sensações, memórias, emoções ou informações sobre o ambiente deixam de ser sintetizados à ideia de eu (fator fundamental, segundo Janet, para que um fenômeno possa fazer parte da consciência) e, portanto, permanecem dissociados da consciência normal, gerando, respectivamente: as anestesias, as amnésias, as modificações do caráter e as abulias. Estes elementos não sintetizados continuam, contudo, a existir podendo “ficar isolados e desaparecer ou podem se associar com outros fatos igualmente separados de toda a consciência e formar uma segunda personalidade” (Janet, 1887 p.402). A ação destes cada um deles sobre a consciência da histérica, por sua vez, é a raiz do que Janet chamou de acidentes histéricos dentre os quais estão incluídos as contraturas, a catalepsia parcial, o sonambulismo, os ataques, alguns delírios e os atos subconscientes. É possível concluir que a dissociação é de fundamental importância para a compreensão da histeria sob o ponto de vista de Janet e que é também um conceito chave da fase inicial de suas obras.
The French psychologists of the XIX century used, as one of its main methods, the exploration of the altered states of consciousness and mental illness to achieve a better understanding of the normal human mind. Among this French psychologists, Pierre Janet is a central figure. His studies on hysteria and hypnotism gave birth to his conceptions about psychological weakness, dissociation and unconscious activity. His theories held to a new understanding of mental activity occurring outside of conscious awareness, contributed to the development of the dynamic psychiatry and, specially, seemed to conciliate the two divided trends of the XIX century French psychology (the medical and the philosophical one). Even though Pierre Janet be an important French psychologist, in Brazil, there is a lack of studies about him. Because of it, our aim was to: (i) find out when Janet started to use the concept “dissociation”, its definition, and its changes; (ii) show how did Janet conclude about the existence of dissociation of consciousness, (iii) point out the relationship between the dissociation and the mental weakness, (iv) explain the mechanism of dissociation according to Janet, (v) describe what happens to the elements dissociated to normal consciousness and (vi) show the role of dissociation on hysteria, hypnotism and double personality according him. To achieve our goal we analyzed Pierre Janet’s works between 1885 and 1894 (3 books and 17 articles). As a result we noticed that the concept dissociation appeared for the first time in the article of 1887 L'anesthésie systématisée et la dissociation des phénomènes psychologiques. In this article, Janet explains that dissociation happens when an element, a memory or a sensation, is not synthesized to self, being, consequently, removed to the normal consciousness. However, from 1889 and beyond Janet substituted the term dissociation for another one, desegregation, keeping for both the same meaning. The mechanism of dissociation is described by Janet while he is explaining the hysterical symptoms. According to him, its symptoms (anesthesia, amnesia and movement disturbances) are due to a problem to synthesize sensations, memories and information about the environment (respectively) to self. This elements which were not synthesized can continue existing outside the normal consciousness, isolated or grouped, in a more or less complex system, being able to originate a secondary personality. These elements can affect the hysterical psychism giving birth to the hysterical accidents as contractures, the hysterical crises, the delirium, the catalepsies, the somnambulism and the unconscious acts. To sum up, it is possible to conclude that dissociation in a fundamental concept of the initial works of Pierre Janet and it is an essential concept to understand his views of hypnotism, hysteria and double personality.

Ce travail de thèse entend montrer que le concept de corps-propre, tel qu'il apparaît dans les années 1940, s'inscrit dans une longue histoire de la métaphysique au XIXe siècle. Plus précisément, dans les années 1940, la phénoménologie développe un concept de corps propre, qui est un possible parmi plusieurs autres. Cette diversité de concepts possibles de corps propre traduit diverses orientations métaphysiques (animistes, spiritualistes et vitalistes). La place du corps se révèle alors être centrale dans les débats métaphysiques à partir de la seconde moitié du XIXe siècle, lesquels se nouent entre les philosophes et les scientifiques, les médecins et les psychiatres. A cet égard, nous repartons du courant spiritualiste français, lequel assume une perspective métaphysique forte, qui nous permettra d'interroger la manière dont se construit un champ de débat dans la France de la deuxième moitié du XIXe siècle jusqu'au début du XXe siècle. Ce travail répond à trois enjeux méthodologiques : Il permet de montrer l'importance des questionnements métaphysiques dans l'articulation des différentes disciplines (philosophie, médecine, aliénisme), mais aussi à l'intérieur du champ philosophique. Cette perspective, permet d'essayer de thématiser une histoire de la discussion entre philosophie et science, dans une perspective inspirée de Canguilhem. Ce travail permet de montrer l'importance des relectures de la métaphysique classique dans les débats autour du corps-propre, notamment en thématisant l'articulation problématique de plusieurs figures. En interrogeant l'articulation de la métaphysique classique (Malebranche, Spinoza, ou Leibniz) avec d'autres figures métaphysiques, en particulier celle de Maine de Biran, on montre le rôle des figures dans la construction d'un débat transdisciplinaire. Enfin, ce travail permet de s'interroger sur la pluralité des concepts possibles de corps, et sur les enjeux de leur réminiscence par le travail historique. Il s'agit moins en effet de tracer une genèse linéaire du concept de corps-propre, que de s'interroger sur la fécondité métaphysique de ces concepts et les raisons de leur occultation. Bien plus encore, c'est l'effet-retour sur des auteurs ou catégories historiographiques que ce travail permet de relire sous une nouvelle perspective, qui nous semble important. En effet on montrera qu'il est possible de réintégrer la phénoménologie dans une histoire de la métaphysique et d'interroger les résurgences du spiritualisme dans la philosophie contemporaine, mais aussi de redéfinir le spiritualisme depuis ses interactions avec les sciences positives. À cette fin, on proposera d'étudier dans une première partie les débats métaphysiques internes au courant spiritualiste, avant de s'interroger sur l'articulation entre métaphysique et clinique à la charnière du XXe siècle, pour envisager dans un troisième moment l'apparition d'une pluralité de métaphysiques possibles dans les années 1930, solidaires d'une redécouverte de la philosophie biranienne
The aim of this thesis is to show that the concept of the self-body, as it emerged in the 1940s, is part of a long history of metaphysics in the 19th century. More precisely, the concept of self-body developped by phenomenology is one possible concept among several others. This diversity of possible concepts of the self-body reflects various metaphysical orientations (animist, spiritualist and vitalist). From the second half of the 19th century onwards, the place of the body was central to metaphysical debates between philosophers and scientists, doctors and psychiatrists. In this respect, we take as our starting point the French spiritualist movement, which assumes a strong metaphysical perspective, enabling us to examine the way in which a field of debate is constructed in France from the second half of the 19th century to the beginning of the 20th century. This work meets three methodological challenges: It shows the importance of metaphysical questioning in the articulation of different disciplines (philosophy, medicine, alienism), but also within the philosophical field. From this perspective, we can attempt to thematize a history of discussion between philosophy and science, from a perspective inspired by Canguilhem. This work shows the importance of rereadings of classical metaphysics in debates on the body as a subject, notably by thematizing the problematic articulation of several figures. By questioning the articulation of classical metaphysics (Malebranche, Spinoza or Leibniz) with other metaphysical figures, in particular Maine de Biran, we show the role of figures in the construction of a transdisciplinary debate. Finally, this work allows us to examine the plurality of possible concepts of the body, and the issues involved in recalling them through historical work. It's not so much a question of tracing a linear genesis of the concept of the body as it is of questioning the metaphysical fecundity of these concepts. It enables a return effect on authors and historiographical categories in order to re-read them from a new perspective. We will show that it is possible to reintegrate phenomenology into a history of metaphysics and to question the resurgence of spiritualism in contemporary philosophy, but also to redefine spiritualism from its interactions with the positive sciences. To this end, the first part of the paper examines the metaphysical debates within the spiritualist movement, before looking at the articulation between metaphysics and clinic at the turn of the 20th century. The third part considers the emergence of a plurality of possible metaphysics in the 1930s, linked to a rediscovery of Biranian philosophy

Cette recherche porte sur les missions de Français dans le domaine de la psychologie au Brésil entre 1908 et 1947. L'étude a permis l'établissement d'une chronologie séparant ces missions en trois moments. On assiste d'abord à la légitimation de la discipline en tant que discours scientifique issu de recherches expérimentales et capable de réintégrer les faits jugés avérés dans le domaine de l'intelligible, grâce aux cours de Georges Dumas (qui s'y rend la première fois en 1908), et de Pierre Janet (qui y séjourna en 1922 et en 1933). Puis on identifie l'application de la psychologie au projet de développement du Brésil, tout spécialement avec l'application de tests d'intelligence dans l'organisation de l'éducation de masse et dans l'industrie - technique apportées par Henri Piéron (en 1923, 1926 et 1947), Théodore Simon (en 1929) et Henri Wallon (en 1935). Enfin, la formation en psychologie se met en place dans les nouvelles universités du pays avec les missions de Jean Maugié qui va enseigner à l'Université de Sâo Paulo de 1935 à 1944, et d'André Ombredane qui restera à l'Université du Brésil (à Rio de Janeiro), de 1939 à 1945. Il est aussi montré dans la thèse que les relations scientifiques ont été le résultat d'une volonté réciproque et qu'elles ont largement dépassé la sphère académique. Le Brésil acquiert un support pour son entreprise de modernisation ainsi qu'un allié qui va lui ouvrir les portes de l'Europe et l'aider à améliorer son image à l'étranger, alors que la France, en retour, envoie chez son partenaire ses chercheurs les plus prestigieux, afin d'étendre son influence scientifique, culturelle, économique et diplomatique
This research focuses on the French missions in Brazil in the field of psychology from 1908 to 1947. The study allowed the establishment of a timeline that separates these missions into three distinct periods. First, the study tackles the legitimacy of the discipline as a scientific discourse originated from experimental researches capable of incorporating facts deemed proven in the realm of the intelligible, using the lessons gleaned from the lectures of Georges Dumas (who went there the first time in 1908) and Pierre Janet (who went there in 1922 and in 1933). Then it identifies the application of psychology in Brazil's development project, most especially in the administration of intelligence tests in the structure of public educational System and in the industry, techniques elucidated in the lectures of Henri Piéron (in 1923, 1926 and 1947), Theodore Simon (1929) and Henri Wallon (in 1935). Finally, this research discusses how psychology training firmly took its roots in higher education in the new universities of the country with the mission of Jean Maugüé who taught at the University of São Paulo from 1935 to 1944, and André Ombredane who stayed at the University of Brazil (in Rio de Janeiro) from 1939 to 1945. This thesis also shows that scientific relationships are the result of a murual will and that they have far exceeded the academic sphere. Brazil has acquired support for its modernization and a partner to open Europe's doors and to help the country improve its image abroad, whereas France, in turn, sends to its partner its associate its most prestigious researchers, in order to expand its scientific, cultural, economie and diplomatie influences

En 1922, le flûtiste René Le Roy eut l'idée de créer une formation chambriste dont l'effectif instrumental atypique (flûte, harpe et trio à cordes) n'est pas sans rappeler celui de la Sonate pour flûte alto et harpe de Debussy qu'il affectionnait particulièrement. Le Quintette Instrumental de Paris poursuit une intense carrière musicale jusqu'en 1940, grâce à l'investissement et à la rigueur de ses membres originels : Marcel Grandjany puis Pierre Jamet à la harpe, René Bas au violon, Pierre Grout à l'alto et Roger Boulmé au violoncelle. Le groupe est dissous durant la guerre, à la suite du départ de René Le Roy pour l'Amérique et de la mort au combat de Roger Boulmé. Le Quintette se reforme en 1944, sous l'impulsion de son harpiste dont il portera le nom. À la séparation définitive de l'ensemble en 1958, le Quintette Pierre Jamet trouve un nouvel élan en la personne de Marie-Claire Jamet, fille de Pierre Jamet, et de son mari le flûtiste Christian Lardé. Cette thèse, qui se concentre sur la première période d'activité de l'ensemble (1922-1940), se propose d'examiner la manière dont le groupement est parvenu à s'implanter et pérenniser son activité, alors même qu'il ne correspondait à aucune tradition chambriste et qu'il ne disposait d'aucun répertoire préexistant. Les interprètes sollicitèrent les compositeurs de leur temps afin d'enrichir progressivement leur répertoire. À la lumière de documents d'archives pas ou peu exploités jusqu'à maintenant, la première partie du travail s'attache à reconstituer la trajectoire musicale de l'ensemble et à mesurer la place qu'il occupe dans la vie musicale de son époque. Il jouit d'un contexte historique favorable à la pratique de la musique de chambre et suscite l'intérêt des compositeurs, séduits par le potentiel expressif de cette nouvelle combinaison instrumentale. Une deuxième partie revient sur les stratégies de carrière mises en place par l'ensemble lui-même pour promouvoir son activité en France comme à l'étranger. L'occasion nous est donnée de revenir sur la figure de l'imprésario qui, à l'instar de Marcel de Valmalète, exerce une influence de plus en plus grandissante dans la vie musicale française. Dans une période de grands bouleversements géopolitiques, l'Association Française d'Action Artistique (A.F.A.A.), qui œuvre pour la promotion de la musique française à l'étranger, favorise grandement le déploiement de la carrière du Quintette en Europe et en Amérique. À ce titre, les deux tournées américaines réalisées en 1934 et 1935 s'érigent comme un modèle de rayonnement artistique. Proche de René Le Roy et surtout de Pierre Jamet, Nadia Boulanger facilite l'introduction du Quintette dans le milieu musical new-yorkais, en endossant un rôle d'intercesseur. La programmation de concerts, également reconstituée, repose sur le principe d'alternance de pièces d'effectifs différents, tout en s'attachant à remettre à l'honneur des pages méconnues du répertoire baroque et présenter les dernières productions de compositeurs contemporains. Afin d'en mesurer les spécificités, le répertoire interprétatif du Quintette est mis en regard d'autres formations de la même époque, en particulier le Trio Cortot-Thibaud-Casals, le Trio Pasquier et le Quatuor Calvet, qui bénéficiaient également d'une grande visibilité sur les mêmes années d'exercice. Enfin, la troisième partie aborde spécifiquement l'esthétique du répertoire en quintette progressivement constitué entre 1923 et 1938, et qui comprend près d'une trentaine d'œuvres composées à l'intention du Quintette Instrumental de Paris. Un corpus plus resserré comprenant les dix quintettes les plus représentatifs de leur répertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero et Françaix) font l'objet d'une analyse approfondie de l'écriture et de la gestion de l'effectif instrumental. Ce travail permet d'aborder les questions d'homogénéité sonore, d'explorations timbriques et de configuration instrumentale
In 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration

Suite à l'indépendance de l'Inde en 1947, le premier ministre Nehru lance un vaste plan de modernisation du territoire où il prévoit la réalisation de nombreuses villes nouvelles. Pour le nouvel état du Punjab, l'ambition est la construction d'une capitale qui sera le symbole de cette politique. Le projet urbain de Le Corbusier pour Chandigarh s'appuie sur un premier plan dressé par les architectes Albert Mayer et Matthew Nowicki et s'inscrit à l'échelle internationale dans un débat sur la production d'une l'architecture puisant dans ; le « Nouveau Régionalisme ». Pour ce qui est de la réalisation du plan à l'échelle de la ville, nous faisons l'hypothèse que les architectes Le Corbusier, Pierre Jeanneret, Maxwell Fry et Jane Drew, avec l'aide des ingénieurs indiens, ont mis en place une série d'outils urbains qui ont permis une réalisation dans la durée. Un des objets de cette thèse est de relever les catégories temporelles utilisées par les architectes pour cette ville nouvelle. Comment les architectes qui ont eu à concevoir cette ville nouvelle se positionnaient par rapport au temps? Quels sont les apports externes à cette pensée sur la ville, notamment de la part d'Albert Mayer, de Maxwell Fry et de Jane Drew? Dans quelle mesure les projets de bâtiments, réalisés ou non, de Le Corbusier sont les fragments d'une pensée pour la ville? Pour répondre à ces questions, nous avons principalement travaillé sur les lettres, les carnets de croquis de l'architecte conservés à la, Fondation Le Corbusier, ainsi que sur ses plans récemment publiés sous forme numérique en DVD. Une grande partie de l'analyse a aussi été produite directement sur place, au pied des bâtiments
After the independency of India in 1947, the Prime Minister Nehru promoted a wide planning to modernize the territory, where he anticipated about fifty new towns. For the new state of Punjab, the ambition was to build a capital, as a symbol of this policy. The Le Corbusier's urban project for Chandigarh is based on a previous planning designed by the architects Albert Mayer and Matthew Nowicki; it belongs to the international discussion about the architectural production inspired by the « New Regionalism ». For the realization of the plan at the scale of the city we assume that Le Corbusier, Pierre Jeanneret, Maxwell Fry and Jane Drew, helped by Indian engineers, will set a range of tools to allow the formerly realisation. One of the topics of this thesis is to understand the temporal categories used by the architects for the creation of the new town. We will try to estimate how Chandigarh has been decided since the origin as an open project. How is the position of the architects in charge of its design in relationship with the time's issues? What sort 0 external contributions are part of this way of thinking the city, particularly from Albert Mayer, Maxwell Fry and Jane Drew? How the Le Corbusier buildings projects, realized or not, are the fragments of thinking the city? ln order to answer to such questions, we will work essentially on the architect's letters, sketches notebooks conserved in The Le Corbusier Foundation and on its numeric DVD recently published plans. A great part of the analysis has been produced right on the sit at the bottom of the buildings

In dieser Dissertation werden die Begriffe Hysterie und Psychasthenie aus der Hinsicht Pierre Janet, französischen Arztes des 19. Jahrhundert, anhand zahlreicher Fallbeispiele beschrieben
In this dissertation will be hysteria and psychasthenia discussed in the sense of Pierre Janet, a french physician from the 19th century, through many case studies

The visual and behavioral codes prevalent in society at any given moment are part of its social conventions and constitute a framework that rules everyone´s image, dress and the attitudes that society not only tolerates but expects from them. However, it is unquestionable that despite the rigidity and formality imposed on personal appearance and manners, it is still possible to find some room to play with the possibilities afforded to people, albeit conditioned by their social status, so as to manage to express their inner self, mood, and even outlook on life, at any point in time. What is more, it is possible for an individual inserted in such a society to become the center around which everything revolves and trace a path to success, without necessarily trespassing any of the red lines drawn by society's norms. In her novels, Jane Austen chose as protagonists middle to upper class young women that stand out by managing to, in the limited scope of action afforded to them, work society in their favour so as to achieve their perceived notions of fulfillment and personal happiness. Based on one of Austen's novels Emma, and its 2020 movie adaptation directed by Autumn de Wilde, we will assess how Alexandra Byrne’s costumes work in relation to the aesthetics of Emma’s world and surroundings. As well as investigate how they showcase, are impacted and can even be read as symbolic representations of the course of her life, evolution and relationships in this movie, which is considered to be particularly faithful to the novel.Keeping this in mind, we will analyse several scenes that are key both in terms of the plot and the costumes of the main character—Emma. This analysis will consider filmic and design notions of characters, narrative and space, as well as their construction and representation. It will focus on questions of storytelling regarding how the viewer is informed about Emma’s personality and mood, as well as capable of feeling her emotions, in the key events of the plot. As well as try to answer why and how Emma and her costumes remain the main focus in almost every shot of the movie, and how components such as the fictional space, its framing and composition are always in relation and dependent on her and her portrayal.Despite this movie being Autumn de Wilde’s debut, her mastery of notions of visual hierarchies, aesthetics and cinematic techniques that keep Emma highlighted and the focus of the action at all times, in the foreground of the shot, is undeniable. This translates to impeccably shot spaces that are completely in tune with the costumes, providing a sense of ease or contrast to the characters' relation to the space, further highlighting the subjects in the main action.In such an aesthetically developed piece, it is then also unavoidable that Emma’s every interaction and the development of her relationships will have a direct impact on her inner image, and therefore her outer image, affecting her relation and attachments to her costumes.