Academic literature on the topic 'Transitionalism'

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>BOLSA NOTA 10<br>A presente dissertação procura abordar os múltiplos sentidos da relação entre vida e criação, a partir de um encontro entre psicologia e teatro. Através de uma reflexão sobre a noção de transicionalidade, proposta no pensamento do psicanalista Donald Winnicott, este estudo procura compreender de que modo a formação da subjetividade se dá em um espaço de experimentação, no jogo paradoxal entre continuidade e ruptura com os signos culturais. Em um diálogo com autores e artistas da cena teatral, que enfrentaram os limites da representação em seus processos de criação, busca-se problematizar as fronteiras entre arte e vida para além do paradigma mimético que orientou de forma dominante o teatro ocidental. A problematização das fronteiras aqui realizada pretende incidir não somente sobre um domínio estético como também colocar questionamentos à forma como pensamos a relação entre subjetividade e cultura.<br>The present dissertation aims to approach the multiples senses of the relationship between life and creation departing from an encounter between theater and psychology. Through the reflection about the notion of transitionality, proposed in the work of the psychoanalyst Donald Winnicott, this study tries to understand the manners in which formation of subjectivity takes place within an experimental space, in the paradoxical play between continuity and rupture with the cultural signs. In a dialogue with authors and artists from the theatrical scene, who, in their creative processes faced the limits of representation, the work aims to question the borders between art and life, beyond the mimetic paradigm which orientated in a dominant way occidental theatre. This questioning of the borders intends to incur on, not only an esthetic domain, but also on the thought about the relationship between subjectivity and culture.

Cette recherche a pour objectif l’étude métapsychologique du concept de la limite et de la double limite. Au centre de l’intérêt est situé la clinique de la psychose chez les patients adolescents et le potentiel créateur et transformateur du corps. La méthodologie de cette recherche s’appuie sur la réalisation d’un atelier de jeux corporels qui a eu lieu dans un cadre hospitalier à Athènes. De ce groupe ont été choisis quatre adolescents, fait qui permet une étude approfondie de cas à travers la participation observatrice, la prise des entretiens de recherche et le suivi de leurs dossiers médicaux. Les hypothèses portent sur le rôle de l’appropriation subjective du corps, la relation transférentielle particulière à cause du dispositif thérapeutique choisi, et la mobilisation du narcissisme primaire et du narcissisme secondaire à travers le mouvement joué. Ce qu’il a été dégagé se rapporte principalement au mouvement joué quant à sa fonction de la limite. Dès lors, il se voit l’attribution de la communication non-verbale en ce qui concerne particulièrement la pathologie psychotique,fait qui interroge l’élaboration de l’aire transitionnelle qui représente un prototype de la fonction de la limite<br>The object of this research is the metapsychological study of the concept of the limit and the double limit. The main interest is based to the clinic of the psychosis during adolescence and the potentiality of creation and transformation expressed by the body. The methodology leans to the realization of a workshop of physical play which held place in a Hospital in Athens. From this group, four adolescents were chosen, in order to study deep lyeach clinical case throughout the observatory participation the interviews that took place and their medical records. The hypothesis are about the role of the subjective appropriation of the body, the particularity of the transfer and the mobilization of the primary and secondary narcissisme through this played movement. The functioning of the limit is lightened and there fore the attribution of the non-verbal communication is shown and particularly referring to the psychotic pathology, which questions the elaboration of the transitionnality representing a prototype of the function of the limit

Made available in DSpace on 2016-04-28T20:37:38Z (GMT). No. of bitstreams: 1 Laura Elza Mack.pdf: 518644 bytes, checksum: 351e337ff36e03b758336cada2ab81a5 (MD5) Previous issue date: 2011-06-07<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>Nothing can be taken for granted in Winnicott s view, not even time: each new individual must create his/her own concept of time. This awareness allows us to reach a deeper understanding of the significance of time for the English psychoanalyst. If time is created by individuals as a result of their special relationship with their mothers, then we cannot understand time as something that exists beforehand, like chronological time. Each individual is faced with the challenge of fashioning a time to live in. This dissertation is interested in researching the experiences of temporality of the baby. Under the care of a good enough mother, each child is able to experience time in its continuity, and therefore create the subjective, transitional and objective time necessary to keep on being<br>Na teoria de D. W. Winnicott percebemos que nada é dado ao sujeito e até mesmo o tempo é uma conquista do processo de amadurecimento. Isto revela um aspecto bastante particular da concepção de tempo em Winnicott, já que se trata de um tempo vivo e necessário à existência. E aqui, é preciso apreender a palavra vivo em uma concepção especificamente winnicottiana, pois não se trata, como é o caso do tempo cronológico, de um tempo apresentado como uma dimensão a priori da realidade, como algo que pré existe ao sujeito. Com efeito, este tempo vivo deve ser constituído e, neste sentido, cabe ao bebê constituir o tempo necessário à própria existência. Pretendemos, portanto, no presente trabalho, investigar as experiências de temporalização (como modos de permanência do ser) do bebê que, sujeito aos cuidados maternos, é capaz de experimentar um tempo contínuo e assim criar seus tempos, a saber, o tempo subjetivo, o transicional e o objetivo. Nestes tempos o sujeito experimentará a continuidade de ser, fato que, para Winnicott, equivale à manutenção da saúde

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Nesta tese, faço uma leitura dos escritos de Winnicott coligada à filosofia de Whitehead apoiada nas afinidades existentes entre estes autores. Realizo uma leitura que, ao contrário do que é usual nas exposições do autor, explicita pressupostos e sistematiza conceitos. Nela, priorizo a abordagem relacional e processual, aprofundo as descrições dos conceitos de self, meio ambiente, saúde, apropriação e transição e chego a delinear uma metapsicologia winnicotiana. A releitura dos processos de transformação de si daí resultantes potencializa a relevância das colocações de Winnicott para a clínica e para a teoria psicanalítica.<br>In this thesis I perform a reading of Winnicotts writings allied with Whiteheads philosophy, supported by the existing affinities between these two authors. My reading, contrary to the usual way the author exposes his ideas, clarifies presupositions and systematizes concepts. In it I give priority to a relational and processual approach, treat in detail his descriptions of concepts such as self, environment, health, appropriation and transition and reach a delineation of a Winnicotts metapsychology. This will result in a re-reading of the processes of self transformations which in turn will enhance Winnicotts contributions for psychoanalytical practice and theory.

This thesis investigates the depiction of ageing and old age in several key works of South African literature of the transitional and post-transitional period. The study covers texts set both in the transitional period prior to the 1994 democratic elections and in the years following that historical watershed. I examine how the literary representation of the ageing individual operates within the rhetoric of transition and new beginnings that characterizes the contemporary political and ideological climate of South Africa. The study includes a close examination of two novels (Age of Iron by J.M. Coetzee, and Agaat by Marlene van Niekerk), a collection of short stories (The Mistress’s Dog by David Medalie), and a volume of poetry (Body Bereft by Antjie Krog). My reading of these texts centres on exploring how the authors depict their ageing protagonists in relation to ideas of time, place and the body. Using Julia Kristeva’s theories on abjection, I analyse whether or not a degree of agency can be found in the abject depiction of older age. Similarly, I examine the ways in which reading older age through the lens of Mikhail Bakhtin’s idea of the grotesque allows for a liberation from reductive understandings of the embodiment of ageing individuals. Because both Agaat and Body Bereft are translated from Afrikaans, I also explore the ways in which translation intersects with the socio-political ideologies of the periods in which these texts are set, as well as how this may have an impact upon the representation of older age. Through examining the tension between the nostalgic, backward-looking perspective usually attributed to old age, and the progressive, forward-looking sentiment of modern South Africa, I investigate the ways in which these writers – Coetzee and Van Niekerk in particular – associate the ageing body with political concerns. I also show how, in their different ways, all four writers counteract stereotypes associated with senescence.<br>Thesis (DLitt)--University of Pretoria, 2014.<br>tm2015<br>English<br>DLitt<br>Unrestricted

La présente étude porte sur l’activité théâtrale de Jerzy Grotowski (1933-1999), metteur en scène et pédagogue polonais, notamment connu pour l’influence que son training de l’acteur a eu sur le théâtre occidental. À travers une étude du parcours proposé par Grotowski à l’acteur, nous proposons de réfléchir aux critères qui définissent le cathartique dans le théâtre contemporain. Le training grotowskien étant basé sur la suppression des blocages psychophysiques de l’individu, notre étude de la catharsis de l’acteur chez Grotowski suit trois axes de réflexion principaux : premièrement, celui concernant la quête identitaire à travers la pratique théâtrale ; deuxièmement, la mise en jeu des matériaux de l’intime pendant l’entraînement de l’acteur ; et enfin, celui d’une pratique théâtrale comme exercice spirituel, favorisant l’épuration d’éléments identitaires résultant de conditionnements sociaux, et qui entravent la quête d’une subjectivité cachée et authentique. Nous défendons qu’au cours de son parcours d’entraînement chez Grotowski, l’acteur réalise un processus cathartique au cours duquel il purge sa subjectivité des conditionnements comportementaux dérivant de son contexte socio-culturel d’appartenance. Nous reconnaissons trois moments constitutifs de ce processus. Dans un premier moment cathartique, le training agit comme un exercice hygiénique pour prédisposer le corps et l’intériorité de l’acteur à l’acte créatif. Nous traitons le deuxième moment de la catharsis de l’acteur à l’aune des théorisations jungiennes de l’inconscient collectif, qui constituent une référence pour Grotowski lui-même. Dans cette perspective, la préparation de la mise en scène permet à l’acteur comme au spectateur de se confronter avec les archétypes, les mythes de sa culture et, à travers une purification de ces contenus psychiques collectifs, de s’approcher de sa propre singularité subjective. Continuant à explorer les possibilités cathartiques de la représentation, nous soutiendrons que pendant la représentation, l’acteur atteint le sommet de son processus cathartique, en dévoilant publiquement son intimité sur scène. Dans cet offrande faite au spectateur, nous identifions le dernier moment de la catharsis de l’acteur chez Grotowski<br>The present study focuses on the theatrical activity of Jerzy Grotowski (1933-1999), a Polish director and educator, known in particular for the influence his actor’s training has had on Western theatre. Through a study of the path proposed by Grotowski to the actor, we intend to reflect on the criteria that define the cathartic in contemporary theatre. Since Grotowski’s training is based on the removal of psychophysical blockages in the individual, our study of the actor’s catharsis in Grotowski's work will follow three main lines of investigation: firstly, the quest for identity through theatrical practice; secondly, the use of intimate materials during the actor’s training; and finally, the enacting the theatrical practice as a spiritual exercise, the purpose of which is to reflect on the identity elements learnt through social conditioning, which stand in the way of developing an authentic subjectivity We will argue that in the course of Grotowski's training, the actor experiences a cathartic process in which he purges his subjectivity of the behavioural conditioning deriving from his socio-cultural background. We will recognise three constituent moments of this process. A first cathartic moment operating within the training, which acts as a hygienic exercise to predispose the body and the interiority of the actor to the creative act. The second moment of the actor’s catharsis will be treated in the light of the Jungian theories about the collective unconscious, explicitly drawn upon by Grotowski. The preparation of the staging would allow both the actor and the spectator to confront the archetypes, i.e. the myths of his culture, and, through a purification of these collective psychic contents, to get closer to his own subjective singularity. Continuing to explore the cathartic possibilities of performance, we will argue that during the performance the actor reaches the peak of his cathartic process by publicly revealing his intimacy on stage. We argue that, for Grotowski, the final moment of the actor’s cathartic process lies in this act of offering oneself to the spectator

Made available in DSpace on 2016-04-28T20:38:43Z (GMT). No. of bitstreams: 1 Felipe Ferreira de Nichile.pdf: 895017 bytes, checksum: 3f8751056aa871d474a5cbd930f3d686 (MD5) Previous issue date: 2013-06-07<br>The basis of this psychoanalytic research is the comparative analysis between the works of D. W. Winnicott and André Green regarding the Theoretical-Clinical proposals presented by the authors to the treatment of the borderline patient, whose behavior is often characterized by a refractory dynamic to the classical treatment proposed by Sigmund Freud. Therefore, we aimed to draw a parallel between the psychoanalytic treatment sessions conducted by each of the authors, having as reference the instigating case of a borderline patient they had in common. Based on the clinical interventions that both authors report about the case, we attempt to establish which were the main theoretical aspects that supported them, as to investigate which innovations the authors bring to this type of patient, to whom they created clinical dispositives compatible with what they understand to be this psychopathology. To that end we intent to establish their main points of convergence and divergence. We concluded then that despite being quite close in some aspects, the authors propositions are, to a large extent, quite heterogeneous theories and present quite divergent clinical proposals. According to Winnicott, the regression to the dependency is the emphasis of the treatment, as a way to resume the normal process of personal maturation, amended by a traumatic situation and that needs to be lived again in analysis, this time with the support of a favorable environment to this return. To Green, the treatment is based on the creation of analytical environment favorable to the processes of verbalization and symbolization, as a possibility to give meaning to the vicissitudes of the drives as a way to the internalization of negative<br>A presente pesquisa psicanalítica tem como escopo a análise comparativa entre as obras de D. W. Winnicott e André Green no que diz respeito às propostas teórico-clínicas apresentadas pelos autores para o tratamento do paciente-limite, aquele que costuma apresentar uma dinâmica refratária ao tratamento psicanalítico clássico como foi proposto por Sigmund Freud. Para isto, buscamos traçar um paralelo entre as sessões do tratamento psicanalítico conduzido por cada um dos autores, tendo como referência o instigante caso de uma paciente-limite comum aos dois autores. Partindo, portanto, das intervenções clínicas que cada um deles relatam sobre o caso, buscamos estabelecer quais os principais aspectos teóricos que as fundamentaram, no intuito de apurar quais as inovações que os autores trazem para esta espécie de paciente, para a qual ambos se dedicaram a criar dispositivos clínicos compatíveis com o que eles entendem ser esta psicopatologia. Neste sentido, procuramos estabelecer quais são seus principais pontos de convergência e de divergência. Pudemos concluir com isso que, apesar das proposições dos autores serem bastante próximas em alguns pontos, em sua maior parte tratam-se de teorias bastante heterogêneas e que apresentam propostas clínicas bastante divergentes. Para Winnicott, a ênfase do tratamento encontra-se na regressão à dependência, como uma maneira de retomar o processo normal de amadurecimento pessoal, alterado por uma situação traumática e que necessita ser vivido novamente na análise, desta vez com o apoio de um ambiente favorável a esta retomada. Para Green, o tratamento baseia-se na criação de um ambiente analítico favorável aos processos de verbalização e simbolização, como uma possibilidade de dar sentido às vicissitudes das pulsões por meio da internalização do negativo

Cette recherche est le résultat d’une longue expérience des groupes – notamment d’enseignants en formation – et des interrogations que cette expérience et ce public ont fait naître dans les phénomènes transférentiels et contre-transférentiels observables dans ce travail groupal. A partir d’une expérience d’analyse de pratique dans le cadre de formations continues d’enseignants en souffrance professionnelle, ce travail de thèse vise à montrer comment les mouvements psychiques qui habitent ces situations groupales, à la fois indiquent des motions qui appartiennent à toute mise en groupe, et des mouvements ravivés par les situations d’enseignement, dont la classe, prototype essentiel de la fonction, lieu d’exercice de base de la profession enseignante. Il s’agit d’explorer comment ces mouvements se construisent d’abord sur une « corporéité de groupe » proche des formes primaires de symbolisation, sur des alliances autour de mouvements paranoïdes : menaces qui peuvent naître d’idées persécutives, liées aux rapports hiérarchiques, institutionnels et sociaux, mettant aussi en jeu la fonction sociale de l’Ecole. Ces formes de pactes et d’alliances inconscientes évoluent dans le groupe de travail vers une « autorisation collective » à un mouvement dépressif d’où émergent des affects de honte. Le partage de ces affects et leur mise en représentation langagière permettraient leur élaboration groupale d’abord avant d’être introjectées par les individus eux-mêmes. Ces mécanismes sont liés à l’installation d’un transfert de base groupal et d’un contre-transfert dont la « diffraction » semble un phénomène nécessaire à la mise en lien des niveaux intrapsychique, interpsychique et trans-psychique, soit la mise en place de la groupalité comme transitionnalité possible entre les groupes internes et le groupe réel, et enfin de refaire lien avec l’institution et le tissu social. Cette évolution groupale, relativement stable à travers les groupes présentés ici, permet la mise en place d’une évaluation centrée sur ces mouvements psychiques produits par le groupe et son effet sur la « transformation » d’une groupalité psychique individuelle<br>This research is the outcome of a long experience of groups- in particular of student teachers- and the questioning emerged from this experience and this public in the transferential phenomena and counter transferential, observable in this groupal work.From an experiment of practical analysis, as part of teachers' continuous training, professionally suffering, this thesis work targets to show how the psychic motions taking part in these groupal situations, show both motions which belong to the group's implementation, and motions strengthened by the teaching situations, whose class, essential pattern of mission and basic place of the teaching function.The question is to explore how these motions first build up on an " existence of the group" close to the primary forms of symbolization, based on alliances of paranoide movements : threats which may appear from persecutive ideas, linked to hierarchical, institutional and social report, facing-off the social function of the school.This forms of unconscious pacts and alliances evolve in the group work towards a "collective permission", to the depressive motion, from which affects of shame emerge.The sharing of these affects and the setting of their language representation would allow first their groupal elaboration before being incorporated by the people themselves.These mecanisms are due to the installation of a transfer of groupal basis and of a counter transfer whose diffraction seems a necessary phenomenon for the linking of intra-psychic, inter-psychic and trans-psychic levels, which means the establishment of teamwork as a possible transitionality between the internal groups and the real group, and at last to make links with the institution and the social fabric.This groupal evolution, relatively stable through the groups presented here, permits the setting up of an evaluation centered on this psychic motions producted by the group and its effect on the "transformation" of an individual psychic groupality