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1
Campbell, Janet. "The mother as subject within the writings of psychoanalysis and women's writings". Thesis, University of Sussex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238820.
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Campbell, Kirsten. "From this one to an other : Jacques Lacan and feminist epistemology". Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310442.
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Pajaczkowska, Claire. "Before language : the rage at the mother". Thesis, Middlesex University, 1988. http://eprints.mdx.ac.uk/13278/.
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The thesis argues that psychoanalysis is a necessary component of cultural analysis. It is argued that existing syntheses of psychoanalysis and political theories tend to limit the recognition of the relative autonomy of psychic reality by offering accounts of the social determination of subjectivity. The contemporary reappropriation of psychoanalysis by feminist theorists has formulated new explanations of the social position of women as the 'second sex'. The challenge of feminism to traditional theories of culture and society includes questions of how sexual difference informs the transformation of thought into language, how language determines theory, and how theory conceptualises the difference between subjectivity and objectivity. The contradictions within existing syntheses of structuralism, Marxism and feminism are described, and the differences between psychoanalysis and sociology are traced through the the critical reception of Freud's Totem and Taboo by anthropologists. The validity of Freud's concept of the Oedipus complex is explored, and it is suggested that despite the limited acceptance by anthropologists, Totem and Taboo contains a valid theory of the relation of the subject to society. Freud's work is relocated within the paradigm of evolutionary biology to provide a materialist analysis of psychic structure that is not based on linguistics. A study of the origins of language reveals the complexity of the historical factors determining the co-evolution of representation, the maternal function, and the structuration of psychic reality. New discoveries about the pre-Oedipal dyad that underlies the Oedipus complex have shown the effects of infantile dependence and maternal care on adult subjectivity, and it is argued that factors such as the unconscious fear of dependency and of women are of particular significance for feminist thought. It is argued that the theory of pre-Oedipal and prelinguistic subjectivity can make intelligible aspects of ideologies of racism and sexism that are not fully explained by sociological or political theory. The mechanism of projection or projective identification, it is argued, provides a specifically psychoanalytic contribution to existing theories of culture.
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Erikson, Kajsa. "No Need for Penis-Envy : A Feminist Psychoanalytic Reading of The Bell Jar". Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36034.
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This essay analyzes Esther Greenwood’s identity crisis, mental illness, and recovery in Sylvia Plath’s novel The Bell Jar (1963) from a feminist psychoanalytic perspective. The purpose is to understand the cultural and psychological mechanisms behind the main character’s situation. Esther is a talented and hardworking student who dreams of a literary career in 1950’s America. At the age of nineteen, events and realizations launch Esther into an identity crisis that leads to severe depression. Why she falls ill, and the nature of her illness and recovery, are up for interpretation. The thesis of this essay is that Esther Greenwood’s identity crisis, mental illness, and recovery can be explained using a feminist interpretation of Freud’s theories of hysteria and melancholia, and the development of the differences between the sexes, which includes the Freudian concepts of castration, bisexuality, and the Oedipus complex.
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Batorowicz, Beata Agnieszka, i n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.
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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art historys patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Batorowicz, Beata Agnieszka. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367273.
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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history's patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
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Bruteig, Rune. "Who's afraid of the Fenris-wolf? : projections of a skin self and Nordic mythographic filmmaking (a feminist and psychoanalytical introspective)". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23208.
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Chapter One of this thesis looks at psychoanalytical object relations theory dealing with early childhood, with an aim to outline the shift that has taken place within critical thinking on personal development--from an emphasis on oedipal relations to the auspicious re-exploration of pre-oedipal states. Here the main theme derives from the paradoxical nature of the human skin, whose fluid sensory and communicative qualities profoundly shape our psychological functioning, and thus ultimately our creation of (gendered) knowledge in all its forms.Chapter Two seeks to establish some of the possible socio-political implications of a recovered pre-oedipal sensibility, by way of situating the place of the personal within critical discourse--the cross-fertilization of critical theory and self-critical artistic discourses. Using the specific example of film, my central conceit consists in drawing a parallel between the skin and the filmic screen as both being simultaneously introjective and projective liminal membranes.
Chapter Three is a case study of sorts, one which traces the manifestations of a liminal subjectivity during a critical phase in the history of my native Nordic culture--the period of transition between pagan and Christian society. Its spirit is then shown to be alive and well within the ensemble films of Ingmar Bergman, whose work has come to stand as something of an archetype of the Nordic film form.
The second section, PRAXIS, appropriately provides this project's own creative component, a sketch of a film scenario that I hope to one day be able to liberate from the stasis of the written page and project into the uncertain spaces of a theater screen.
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Jennings, Morgan J. ""There's a real hole here": Female Masochism and Spectatorship in Michael Haneke's La Pianiste". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6869.
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In this project, I examine the relationship between female masochism, performance, and spectatorship in Michael Haneke’s film La Pianiste (2001). The film stages a relationship to sexuality that structures the subject’s excruciating negotiations with the other as always mediated by the law, the letter, or the body as instrument, which is allegorized by the protagonist’s occupation as a piano teacher. In my analysis, I identify the ways in which the film paradoxically offers a critique of mediation’s effect on the feminine position while encouraging viewers to confront the possibility that desire is only possible through these mediations. Contributing to feminist theory and psychoanalytic film theory, I foreground the way in which the film’s complex portrayal of female masochism produces indeterminacy via masochistic spectatorship. Ultimately, I argue that the unmarked position of feminine masochism, which is historically, psychoanalytically, and literarily reserved for male subjects, challenges the spectator to take enjoyment into account when approaching mediations of violence and sexuality.
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Anderson, Elizabeth Joan, i n/a. ""Lest we lose our Eden" : Jessie Kesson and the question of gender". University of Otago. Department of English, 2006. http://adt.otago.ac.nz./public/adt-NZDU20060906.095909.
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My doctoral thesis focuses on the twentieth-century Scottish writer, Jessie Kesson, examining the effects of the cultural construction of gender from a feminist psychoanalytic perspective.
Although my primary focus is on the detrimental effects traditional gender roles have on girls and women, recently published studies claiming that 'masculinity' is in a state of crisis are of particular value to my work. The reasons contemporary critics offer for this 'crisis in masculinity' vary widely. There are those who are convinced that women are to blame for abandoning their traditional roles as wives and mothers and moving too far into areas of society that are traditionally 'male'. This, they believe, results in a 'feminised' society that has an adverse effect on the development and well-being of boys and men. Those who support this argument generally believe that social, emotional and psychological distinctions between the genders are biologically inherent rather than socially constructed, and would prefer to see gender positions polarised rather than assimilated. At the other end of the scale are those who believe that the behaviours associated with traditional 'masculinity' are outmoded, fostering a form of emotional distrophy that is responsible for the increase in male suicide and autistic-like behaviours. Those who support this argument believe that males should develop a new set of behavioural traits more closely aligned to those traditionally thought of as 'feminine': traits like spontaneity, expressiveness, empathy and compassion.
I have found the latter arguments exciting on two counts: firstly because an increasing number of male critics are joining female critics in acknowledging that many of the traits and behaviours traditionally associated with 'masculinity' are life-denying for both sexes; secondly, and most importantly, because these critics are echoing the findings of the feminist psychoanalytic critic, Jessica Benjamin, whose work I have found so stimulating. But, where critics have pointed to the problem ('masculine' behaviour) and recommended that it be modified to something more closely resembling 'feminine' behaviour, Benjamin has not only identified the source of the problem, she has developed a revised theory of human development, 'Intersubjectivity', which offers a positive and transformative approach to human behaviour. I examine Benjamin�s theory closely in Chapter Two, and make use of it in succeeding chapters.
In May 2000, financed by the Bamforth Scholarship fund (with help from the Humanities Division of the University of Otago), I attended a conference at the University of St Andrews entitled 'Scotland: The Gendered Nation', which gave me a wider view of the concerns of contemporary Scottish writers and scholars. The paper I presented at the conference, "That great brute of a bunion!": the construction of masculinity in Jessie Kesson�s Glitter of Mica�, was published in the Spring 2001 issue of Scottish Studies Review. Following the conference I spent the rest of May in Scotland finding out more about Kesson and her writing under the generous tutelage of Kesson�s biographer, Dr Isobel (Tait) Murray, from the University of Aberdeen. Kesson wrote many plays for the BBC, and I was able to read Dr Murray�s copies of some of these unpublished works in the security of the Kings College Library, along with back copies of North-East Review to which Kesson contributed. In Edinburgh I visited the National Library of Scotland which holds back copies of The Scots Magazine containing pertinent articles by Kesson and her contemporaries. Then I travelled to those parts of North-East Scotland which feature most precisely in Kesson�s life and writing. My Scottish month was invaluable for its insight into the critical literary climate of Scotland, and for allowing me to reach Jessie Kesson imaginatively: through the boarded-up windows of the Orphanage at Skene; by the ruined Cathedral at Elgin; at the top of Our Lady�s Lane; and on the steps of her cottar house at Westertown Farm. [SEE FOOTNOTE] It was a privilege to trace Kesson�s footsteps and then to return to the other side of the world with a much keener sense of her 'place'. I would like to think this has carried over into my work, the structure of which is as follows:
Chapter One gives a brief history of Jessie Kesson�s life and writing. Chapter Two focuses on Jessica Benjamin the feminist psychoanalytic critic whose work provides the main theoretical framework for my thesis. Chapter Three considers the expression of female sexuality in the novella Where the Apple Ripens, and the way society conspires to have it diminish rather than enhance a sense of female self-hood. Where the Apple Ripens is not Kesson�s first published work but, because it introduces the central concerns of my thesis through the experiences of an adolescent girl, I have chosen to begin with it rather than with The White Bird Passes and to work towards increasingly complex gender relations in succeeding chapters.
In Chapter Four, The White Bird Passes, I look at the way Kesson depicts girls and women as instruments of male sexuality, controlled by a nervous patriarchy whose institutions (family, education, church) take away the promise of her female characters.
Chapter Five is centred on The Glitter of Mica, and considers the consequences of a masculinity constructed around the destruction of 'the Mother'.
Chapter Six considers the fate of the anonymous young woman in Another Time, Another Place, and examines the conventions of the social order that deny her self-definition.
Chapter Seven also examines the social conventions that shape and limit the lives of Kesson�s female characters - this time in a selection of Kesson�s short stories and poems.
In Chapter Eight I look at selected writers from the eighteenth to the twentieth-century whose work, in diverse and often contradictory ways, has contributed to an interrogation of gender in Scottish literature. This is not an historical and systematic survey of gender relations in Scotland; it is not even an historical and systematic survey of gender questions in Scottish literature. Rather, it is an impressionistic account of such matters in some selected Scottish literature - selected in part to cover some highly influential figures, and in part from Jessie Kesson�s more immediate context: feminine, rural, the North East. There is a place for such historical and systematic work, of course, and I hope that someone will do it. All I can hope for is that I may have provided some beginning but more importantly, that my work in this chapter will sharpen, further, an understanding of Jessie Kesson.
I begin with the life and work of the poet, Robert Burns. As well as featuring in Kesson�s Glitter of Mica, Burns and his legacy are matters of influence in the gendered ideal of 'Scottishness' for both laymen and writers at home and abroad. Following Burns, I contrast the unconscious gender ideology which permeates Neil Gunn�s writing with the progressive awareness of gender issues that characterises the work of Lewis Grassic Gibbon and aligns the latter with Kesson�s. I then examine the idealised landscapes and sentimentalised characters of the Kailyard era and the hostile response of the anti-Kailyard writers. This leads into an examination of Hugh MacDiarmid�s poem, A Drunk Man Looks at the Thistle. MacDiarmid, like Burns, was monumental on the Scottish literary scene and his efforts to rekindle the spirit of the primitive Scot through literature have made him influential with a smaller but equally significant group. What is of particular relevance to my work is that the ideal of 'Scottishness' fostered by writers such as Burns and MacDiarmid is heavily dependent on prescribed gender positions which promote the exploitation of women while rendering them subservient to men and politically powerless. It is from within this environment of gender-based Scottishness that Jessie Kesson and other women writers, were writing and arguing. Therefore, lastly, in Chapter Eight, I concentrate on those women writers whose work has the most relevance to the time, place and ideological content of Kesson�s writing: Violet Jacob, Catherine Carswell, Lorna Moon, Willa Muir and Nan Shepherd. The writing of all of these women is concerned with psychic well-being centred on human relations and/or self-determination and, of the five, the writings of Willa Muir and Nan Shepherd are considered more fully because of the particular contribution they make to my examination of Jessie Kesson: Willa Muir commented, both directly and indirectly, on gender matters. Nan Shepherd, quite apart from being a friend of many years to Jessie Kesson, wrote novels in which gender issues are entirely central.
FOOTNOTE: I am indebted to Sir Maitland Mackie for giving me a guided tour of Westertown Farm, the setting for Darklands in The Glitter of Mica.
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Seu, Irene Bruna. "A psychoanalytic feminist inquiry into shame". Thesis, University College London (University of London), 1996. http://discovery.ucl.ac.uk/1317507/.
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This thesis offers an inquiry into shame; in particular a reading of some women's lived experience of shame from a psychoanalytic and feminist perspective. This work also reflects critically on epistemological issues and tensions between the adoption of qualitative methods of research and psychoanalytic, feminist and post-structuralist readings of texts. The thesis starts with an outline of its contents, a reflexive history of the research, and a brief introduction on shame. Chapters one to three review the main body of literature on shame, critically reflecting on how shame is constructed within different theoretical frameworks. This investigation begins with the work of Sigmund Freud and the different constructions of shame in Freudian metapsychology (chapter one) and continues with a review of the literature on the role of shame in social and interpsychic dynamics (chapter two). Chapter three focuses on the literature arguing for a crucial link between shame and femininity. Epistemological and methodological issues are discussed in chapters four; while chapter five provides a detailed description of how the research was carried out and of the analysis of the text. Chapters six to ten are based on in-depth semi-structured interviews on women's experience of shame. The discursive analysis investigates the ideological function of the shameful subject position within the context of the themes identified in the thematic decomposition of the interviews. The conclusion summaries and reflects on the thesis as a whole; it also comments on some implications of the different readings of shame proposed in the thesis.
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Zafar, Yasmeen. "Feminism, psychoanalysis and postmodernism : bridging the discourses". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42051.
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This paper seeks to analyze the inter-relationship of three
theories: feminism, psychoanalysis and postmodernism. It
attempts to do this by focussing on the issue of sex crimes;
how each theory provides an explanation for the
phenomenon of sex crimes. It goes on to examine each
theory in more detail, using their position on sex crimes as
a starting point to a discussion of their theoretical
foundations. It acknowledges the major writers in the field
and notices the current trend of analysis to be that of
merger between the theories. The paper examines both the
feasibility and validity of such a merger.Law, Peter A. Allard School of
Graduate
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Minato, Mauren de Vargas. "MULHERES CONVERSANDO SOBRE SAÚDE: A EXPERIÊNCIA DE PASSAGEM DO TEMPO". Universidade Federal de Santa Maria, 2014. http://repositorio.ufsm.br/handle/1/10340.
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This project aims to understand and analyze the narratives of one of the empowerment women groups of the 4th edition of the extension project "Sexual and reproductive rights: talking about Health", focusing on representations about "the experience of the passage of time" for women in present time. This research is a ramification of a project entitled "Sexual and Reproductive Women s Health: The Group as a Device", linked to the Research Group "Health, Social Minorities and Communication". It is configured as intervention-research, in which one of the researchers acts as mediator/observer in this group. For the analysis of the qualitative information was used the clinical listening, working with the floating attention, to identify the characteristics of speech, noted the peripheral elements and the characteristics of argument. The interpretation of the set of information was built from the Critical Social Psychology, establishing a dialogue with the Gender /Feminist Studies, Group Psychology and Psychoanalysis.O presente trabalho objetiva conhecer e analisar as narrativas de um dos grupos de empoderamento de mulheres da 4ª edição do projeto de extensão Direitos sexuais e reprodutivos: conversando sobre saúde , enfocando as representações sobre a experiência da passagem do tempo para as mulheres na atualidade. Essa pesquisa é uma ramificação de um projeto intitulado Saúde Sexual e Reprodutiva das Mulheres: O Grupo como Dispositivo , vinculado ao Grupo de Pesquisa Saúde, Minorias Sociais e Comunicação . Configura-se como pesquisa-intervenção, na qual uma das pesquisadoras atua como mediadora/observadora do grupo em questão. Para a análise das informações qualitativas foi empregada a escuta clínica, trabalhando com a atenção flutuante, para identificar as características dos discursos, assinalar os elementos periféricos e as particularidades da argumentação. A interpretação do conjunto de informações foi a partir da Psicologia Social Crítica, estabelecendo um diálogo com os Estudos de Gênero/Feministas, Psicologia de Grupos e a Psicanálise.
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Hofmann, Ingrid. "Deadly seductions : femme fatales in 90's film noir". Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.
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Jacobs, Amber. "Theorising matricide : psychoanalysis, feminism and the Oresteian myth". Thesis, Queen Mary, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394372.
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Buck, Claire. "Reading the feminine self : H.D./Freud/psychoanalysis". Thesis, University of Kent, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328627.
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Silas, Elizabeth J. "THEMES OF AWAKENING IN MAINSTREAM FILMS: FEMALE SUBJECTS AND THE LACANIAN SYMBOLIC". Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133495057.
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Thesis (Master of Arts)--Miami University, Dept. of Mass Communication, 2005.Title from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).
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Drew, Lorna Ellen. "The mysteries of the gothic, psychoanalysis/feminism/the female gothic". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1993. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23880.pdf.
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McIver, Victoria. "Psychoanalytic feminism: a systematic literature review of gender". AUT University, 2010. http://hdl.handle.net/10292/905.
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Using a modified, systematic literature review I will examine issues of subjectivity, gender, and differnce in relation to psychoanalytic feminist theory. Psychoanalytic feminism evolved out of a reaction to classical psychoanalytic theory. In particular, the works of Chodorow (1978), Kristeva, (1977, 1989) and Benjamin (1988) were used. The literature revew will discuss the development of these theoretical perspectives and the understanding of subjectivity, gender and difference in psychoanalytic feminism and the implication this has for clinical practice.
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Schmiedel, Stevie. "Contesting the oedipal legacy : Deleuzean vs psychoanalytic feminist critical theory". Thesis, University of Nottingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289082.
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Rhodes, Molly Rae. "Doctoring culture : literary intellectuals, psychology and mass culture in the twentieth-century United States /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9809139.
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Potgieter, Liske. "Deconstructing Disney's diva: a feminist psychoanalytic critique of the singing princess". Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/3379.
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This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.
22
Höglund, Sebastian. "A Lacanian Psychoanalytic Feminist Interpretation of Marie in Louise Erdrich’s Love Medicine". Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-26141.
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This thesis is an analysis of Marie’s struggle for empowerment within a patriarchal system in Louise Erdrich’s Love Medicine. The main focus of this thesis is the untangling of Marie’s desire: why does she choose the path that she has taken in life and why is she seemingly unable to feel content? Marie’s life takes place within a patriarchal framework and this paper utilizes feminist theory to delineate this framework and demonstrate its oppressiveness. In order to untangle Marie’s desire, this paper also employs a Lacanian psychoanalytic perspective. The object of Marie’s desire seems to be to become empowered within patriarchal society, but she is socially castrated by its gatekeeper, Leopolda. Even though Marie attempts a different path to empowerment, she is unable to be satisfied until she confronts Leopolda once more. In typical Lacanian fashion the object of her desire keeps returning until its form becomes clear: the object of her social castration, that is, the “phallic” spoon.
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Gamboa, Solis Flor De Maria. "Towards a New Psychoanalytic Theory of Abandonment : A Feminist Intervention via Myth". Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504359.
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Carson, Juli (Juli Christine) 1962. "Excavating discursivity : Post-Partum Document in the conceptualist, feminist and psychoanalytic fields". Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/9386.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (v. 2, leaves 441-473).
Post-Partum Document, a multi - media artwork made by American artist Mary Kelly from 1973- 1978 , was informed by and contributed to contemporaneous debates in the fields of Conceptualism, feminism, and psychoanalysis throughout the seventies. This dissertation addresses the project's "debate - specificity." The conventional art historical categorization and analysis of an artwork, one based upon its medium specificity, was a mode of modernist criticism that Kelly's work specifically interrogated. What therefore distinguished Post-Partum Document from other artworks of its period was an interrogation of the "discursive site," i. e. a specific site of debate grounded within a given discourse. Within the practice of art, Post-Partum Document begs us to think of the discursive site as a displacement of the "material" site. It's "multimedia" status thus indicates the manner in which it simultaneously addressed questions of aesthetics, semiotics, film, psychoanalysis, and activism within the visual field. Previous studies have engaged Post Partum Document primarily as an example of psychoanalytically informed feminist art. My dissertation traces its original debate within the broader history of Conceptualism, feminism, and psychoanalysis in Britain, followed by its American reception in the eighties, at which point PostPartum Document became a model for feminist critical art practice.
by Juli Carson.
Ph.D.
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Mendonça, Ligia Gama e. Silva Furtado de. "Há mulher na estrutura perversa?" Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5260.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEsta dissertação propõe-se a discutir a existência de mulheres estruturalmente perversas a partir da teoria psicanalítica, sobretudo através das contribuições indispensáveis de Freud e Lacan. Inicialmente, ao estudar a perversão, há a dificuldade de isolá-la como uma estrutura específica distinguindo-a da psicose e da neurose a partir do ponto de vista fenomenológico devido à manifestação polimorfa-perversa da sexualidade humana. No entanto, uma das questões discutidas ao tratar este tema tão nebuloso é se há mulher na estrutura perversa, ou se as posições perversas seriam apenas restritas ao homem. Logo, para esta pesquisa, fez-se necessário, além de abordar as questões referentes à mulher, entender o percurso freudiano no estudo da perversão, desde os seus primeiros usos até a sua formação conceitual. Para isso, é preciso compreender os diversos usos do vocábulo Verleugnung em Freud e o estudo de Lacan que, por sua vez, consolida o termo como um mecanismo perverso. Examinando acerca do fetichismo e dos pares de opostos freudianos que as questões decorrentes da aproximação entre mulher e perversão se perfizeram. Finalmente, mostrou-se essencial abordar a discussão quanto à clínica da perversão e ilustrar a teoria tratada através de casos da literatura e de exemplos oriundos da arte.
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Walters, Ruth. "Utopias lost : feminism and the problem of masochism". Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282969.
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Fuentes, Maria Josefina Sota. "As mulheres e seus nomes: Lacan e o feminino". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-16122009-090444/.
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Contrariamente ao feminismo que resume o feminino a uma construção discursiva histórica e procura atualmente desconstruir o dualismo das diferenças sexuais, considerada obrigatória e restritiva, nesta pesquisa procuramos demonstrar que se A mulher não existe, segundo Jacques Lacan, o feminino insiste não como categoria que daria enfim consistência à mulher como gênero, mas como um real que afeta o ser falante e que requer soluções de nomeações diante da foraclusão do significante dA mulher no inconsciente. Na primeira parte, intitulada As mulheres e o feminino na cultura, exploramos os diversos nomes do feminino que designaram a mulher ao longo da história ocidental que vão desde o terror à mulher passando por distintas formas de difamação, até sua adoração pelo viés da beleza ou pelo efeito que a nomeação lhe confere. Os nomes do feminino que Freud recolheu na experiência psicanalítica e nos aportes trazidos pelas mulheres analistas da época são também avaliados, bem como as teses de Lacan sobre o feminino e a condição feminina. Na segunda parte, intitulada Soluções e impasses ao feminino, investigamos as soluções de suplência e os impasses frente ao feminino em quatro mulheres: Anna O., a jovem homossexual, Helene Deutsch e Marguerite Duras através de sua personagem Lol V. Stein, elogiada por Lacan por ter elucidado uma prática da letra convergente com o uso do inconsciente, tema de nossa investigação.Unlike the feminism abstracting the feminine into a historical discursive construction and currently demanding to deconstruct the dualism of sexual differences considered mandatory and restrictive, in this research we intend to demonstrate that, if The woman does not exist, according to the thesis of Jaques Lacan, the feminine insists not as category that would finally give consistency to the woman as gender, but as a real that affects the talking being and requires solutions of nomination according the foreclosure of The women significant in the unconscious. In the first part, entitled \"The women and the feminine in the culture\", we explored the various female names that designated the women throughout western history ranging from the terror on women, through different forms of defamation, until its worship by the beauty bias or by the effect that its appointment can cause. The names of the feminine that Freud sought on psychoanalytic experience and in the contribution brought by women analysts at the time are also evaluated, as well as the theory of Lacan on women and the feminine condition. In the second part, entitled \"Women analysis\", we investigated the solutions and deadlocks heading the female from the analysis of four women: Anna O., the young homosexual, Helene Deutsch and Marguerite Duras through its character Lol V. Stein, praised by Lacan to have elucidated a practice of convergent letter with the use of the unconscious, theme of our research.
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Mendonça, Ligia Gama e. Silva Furtado de. "Da perversão-polimorfa à estrutura perversa: um estudo sobre a possibilidade de haver mulheres estruturalmente perversas". Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9010.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEsta tese é um prolongamento de uma pesquisa em psicanálise sobre perversão e mulheres iniciada no curso de Especialização e estendida no Mestrado. A partir da constante afirmação no campo lacaniano sobre a inexistência de mulheres estruturalmente perversas, traçamos um percurso sobre o estudo da perversão em Freud e Lacan para interrogarmos a possibilidade de haver mulheres perversas. Para isso, no primeiro capítulo, aprofundamo-nos na teoria da sexualidade freudiana, diferenciando perversidade de perversão e delimitando a distinção entre perversão-polimorfa e estrutura perversa através dos conceitos de fixação e exclusividade, presentes em Freud desde 1905, e do mecanismo perverso (Verleugnung), proclamado por Lacan, mas presente na obra freudiana. Investigamos também neste capítulo a importância das fantasias de espancamento (FREUD, 1919) e da vivência edipiana para o entendimento acerca das perversões. A partir disso, analisamos o fetichismo e os pares de opostos, sadismo-masoquismo (esmiuçando as obras de Marquês de Sade e Sacher-Masoch, responsáveis pela origem dos termos), e voyeurismo-exibicionismo. O segundo capítulo foi dedicado, de maneira geral, à fantasia. De início percorremos o conceito em Freud e Lacan para, posteriormente, através do entendimento sobre fantasia, pensarmos sobre os atos. Em seguida, examinamos a definição de homem e mulher para a psicanálise, diferente daquela utilizada pela biologia, para interrogarmos a possibilidade de uma mulher ser perversa. Na terceira parte desta pesquisa, utilizamos a história de duas mulheres, Gertrude Bainszewski e Suzane von Richthofen, avaliamos o caso Violette de André (1995) e ponderamos sobre a personagem Erika Kohut de A professora de piano (2001) para pensarmos sobre a teoria até então apresentada
This thesis is an extension of a research in psychoanalysis about perversion and women started in the Specialization course and extended in the Masters. From the constant affirmation in the Lacanian field about the lack of women structurally perverse, we followed the course on the Freud and Lacan study of perversion to question the existence of structurally perverse women. To do this, in the first chapter, we pursued the Freudian theory of sexuality, distinguishing perversity of perversion and delimiting the difference between polymorphous perversity and perverse structure through the concepts of fixation (Fixierung) and exclusivity, present in Freud since 1905, and the perverse mechanism (Verleugnung), proclaimed by Lacan, but current in Freudian work. This chapter also researched the importance of the text A child is being beaten (FREUD, 1919) and the Oedipal experience to understand the perversions. From there, we analyze the fetishism and the pairs of opposites, sadism-masochism (scrutinizing the works of Marquis de Sade and Sacher-Masoch, responsibles for the origin of the terms) and voyeurism-exhibitionism. The second chapter was dedicated generally to fantasy. We start this concept in Freud and Lacan to subsequently think about the acts. Then, we examine the definition in psychoanalysis of man and woman, different from that used by biology, to question the existence of perverse women. In the third part of this research, we use the story of two women, Gertrude Bainszewski and Suzane von Richthofen, evaluate the Violette case from André (1995) and we ponder the character of Erika Kohut in The piano teacher (2001) to think about the theory presented so far
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Barbosa, Marina Silvestre. "Devastação feminina: a outra face do amor". Universidade Federal de Alagoas, 2018. http://www.repositorio.ufal.br/handle/riufal/3494.
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There is no limit to the concessions each woman makes to a man, Lacan (1974) stated in Television. It is possible to observe such cases in history, literature, music and psychoanalytic clinic. This has led writers, musicians and psychoanalysts to produce works on the way women love. They use various semblance to disguise the lack of a signifier that designates what it is to be a woman. Love is considered one of those semblances that can buffer the lack of the female signifier. Given this, the question of the importance of love for women is questioned, and consequently we try to identify what led Lacan (1975-1976) to affirm that the man can be a devastation for the woman. Thus, the present research aims to analyze, from the Lacanian propositions, the concept of female devastation, under the hypothesis that this can be one of the effects of the so-called female enjoyment. For that, a theoretical research was carried out in psychoanalysis. A research was carried out in the work of Jacques Lacan, mainly from Seminar XX On feminine sexuality, the limits of Love and Knowledge (Encore) (1972-1973) and also in texts of contemporary authors that discuss aspects related to devastation, feminine sexuality and female enjoyment. The theorizations about female sexuality have changed since Freud and the beginning of Lacan's teaching. With the notion that feminine sexuality is beyond the phallus, developed by Lacan in Seminar XX, it was possible to discuss the devastation in the amorous partnerships. It is concluded that female devastation can be considered the other face of love, since it is related to the fall of love as a semblant that can provide a limit to female enjoyment.FAPEAL - Fundação de Amparo à Pesquisa do Estado de Alagoas
Não há limites às concessões que cada mulher faz a um homem, afirmou Lacan (1974) em Televisão. É possível observar casos assim na história, na literatura, nas músicas e na clínica psicanalítica. Isso levou escritores, músicos e psicanalistas a produzirem trabalhos a respeito do modo de amar das mulheres. Elas se utilizam de diversos semblantes a fim de recobrir a falta de um significante que designe o que é ser mulher. O amor é considerado um desses semblantes que pode tamponar a falta do significante do sexo feminino. Diante disso, questiona-se a importância do amor para as mulheres, consequentemente busca-se identificar o que levou Lacan (1975-1976) a afirmar que o homem pode ser uma devastação para a mulher. Deste modo, a presente pesquisa tem como objetivo analisar, a partir das proposições lacanianas, o conceito de devastação feminina, sob a hipótese de que esta pode ser um dos efeitos do chamado gozo feminino. Para isso, foi realizada uma pesquisa de cunho teórico em psicanálise. Realizou-se uma pesquisa na obra de Jacques Lacan, principalmente a partir do Seminário XX Mais, ainda (1972-1973) e também em textos de autores contemporâneos que discutem aspectos relacionados à devastação, à sexualidade feminina e ao gozo feminino. As teorizações a respeito da sexualidade feminina modificaram-se desde Freud e o início do ensino de Lacan. Com a noção de que a sexualidade feminina está mais além do falo, desenvolvida por Lacan no Seminário XX, foi possível discutir a devastação nas parcerias amorosas. Conclui-se que a devastação feminina pode ser considerada a outra face do amor, pois ela está relacionada à queda do amor enquanto um semblante que pode proporcionar um limite ao gozo feminino.
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Massoura, Kiriaki. "The politics of body and language in the writing of Margaret Atwood". Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/10907/.
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Pires, Teresa Cortez Pereira Bento. "A mulher na psicanálise: Estudo exploratório". Master's thesis, ISPA - Instituto Universitário, 2012. http://hdl.handle.net/10400.12/2292.
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Dissertação de Mestrado em Psicologia ClínicaAlgumas teorias convencionais da Psicanálise acerca da mulher têm sido criticadas por serem determinadas por ideologias patriarcais e inadequadas à realidade psíquica das mulheres, recebendo também pouco apoio empírico tanto da Psicologia como de outras áreas. Tendo como base estas teorias psicanalíticas, procurava explorar-se o quanto psicólogos e estudantes de Psicologia concordavam com as mesmas e se tal se encontrava relacionado com aspetos da sua representação pessoal das mulheres. Foi aplicado um questionário com dois instrumentos desenvolvidos para este estudo (a Escala de Concordância com as Teorias Psicanalíticas acerca da Mulher e o Teste Semiprojetivo da Representação da Mulher) a uma amostra de conveniência de 101 Psicólogos e estudantes de 4º ou 5º ano de Psicologia (85 mulheres; média de idades de 27,2 anos). Existiu uma grande variabilidade entre sujeitos no acordo com as teorias psicanalíticas. Este surgiu mais ligado a variáveis pessoais (i.e., maior acordo em homens e sujeitos mais jovens) do que profissionais (i.e., modelo teórico, área). Um maior acordo relacionou-se com diversos aspetos da representação das mulheres: a uma representação menos vaga e mais precisa da mulher; a um maior foco no próprio como referência para a apreensão da mulher; a mais respostas narcísicas; a mais conteúdos morais e de aparência/sexualizados. Encontraram-se diferenças de sexo, idade, modelo teórico e área na representação pessoal da mulher. Estes resultados questionam o valor objetivo e universalizável das teorias psicanalíticas acerca da mulher, já que estas parecem estar consideravelmente relacionadas com um envolvimento pessoal, o que tem implicações na prática clínica. ------- ABSTRACT ------- A number of the conventional psychoanalytical theories about women have been criticized for being determined by patriarchal ideologies and inadequate to the psychic reality of women. They have also received limited empirical support from Psychology and other areas. Based on these psychoanalytical theories, we aimed to explore the extent in which psychologists and Psychology students agreed with them and if that agreement was related to aspects of their personal representation of women. A questionnaire containing two instruments developed for this study (ECTPM scale and TRIC semi-projective test) was administered to a convenience sample of 101 psychologists and 4th and 5th year Psychology students. It was found a considerable variability between subjects concerning the agreement with psychoanalytical theories. This agreement was more related to personal variables (i.e., it was higher in men and in younger subjects) than to professional variables (i.e., model, area). A higher agreement was related with several aspects of the representation of women: a less vague and more precise representation of women; a higher self-focus as reference for the perception of women; a higher amount of narcissistic answers; a higher amount of moral and appearance/sexual contents. There were differences in the representation according to gender, age, model and area of Psychology. These results question the objective and universalized value of these theories about women, since they seem to be considerably related to a personal involvement, which has practical implications.
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Haden, Heather Jean. "The Aesthetics of Unease: Telepresence Art and Hyper-Subjectivity". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429862881.
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Nubile, Marisa Vieira Ferraz Cunha. "Uma viagem pelo território das letras: ressonâncias do feminino na escrita numa perspectiva psicanalítica". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-07062011-153248/.
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Este trabalho tem como base os aportes da teoria psicanalítica, em especial daquilo que Lacan desenvolveu acerca do feminino e da escrita. Ao usar esse referencial, buscou-se fazer um rastreamento teórico dos dois conceitos, com o objetivo de articulá-los. Em Psicanálise, desde Freud, a escrita foi pensada como uma metáfora das inscrições psíquicas, portanto, do substrato do inconsciente. O feminino recebeu também um tratamento diferenciado do senso comum, pois, embora anatomia e gênero sejam aspectos que não se podem negligenciar, os últimos aportes a respeito do feminino, para a Psicanálise de orientação lacaniana, fazem referência a uma posição em que o sujeito está não-todo regulado pelo padrão fálico. Além disso, essa posição comporta um gozo que foge da possibilidade de apreensão pelo aparato simbólico humano. Ora, se o feminino aponta para um excedente, essa mesma perspectiva é encontrada na concepção de escrita e, em especial, de letra, quando Lacan começou a articulála com o gozo. A partir desse enquadre, foi proposto o argumento de que o feminino habita o lugar de gozo da escrita/letra. Como é possível observar, fez-se uma torção no uso dos dois significantes, de maneira que, ao invés de uma escrita feminina, sugeriu-se pensar no feminino na escrita. Deixando de ser adjetivo, o feminino passou a ser tratado não como a qualidade de alguns escritos, mas como substância da escrita, que seria, eventualmente, reconhecida em certos escritos literários construídos nesse território-litoral, no qual gozo e significante se margeiam. Assim, saindo da perspectiva da escrita psíquica, foram trabalhados alguns textos literários, nos quais, foi possível observar ressonâncias da posição feminina. Por fim, discutiu-se como tal posição poderia comparecer na educação de maneira geral e na escrita trabalhada na escola, de maneira específica. Observa-se que o professor tem maiores e melhores condições de criar alternativas para lidar com o \"gozo excessivo\" que permeia o campo educativo quando a posição feminina, na sua vertente de não-todo e de pluralidade, pode ser sustentada.This work is based on the contribution of the psychoanalytic theory, especially the one developed by Lacan on the feminine and writing. By using this reference, an attempt was made to theoretically track those two concepts, intending to articulate them. In Psychoanalysis, since Freud, the writing was thought as a metaphor of the psychic registrations, so, from the unconscious substrate. The feminine received as well a differentiated treatment of the common sense, because, despite anatomy and gender are aspects that can\'t be neglected, the latest contributions on the feminine, for the Lacanian oriented Psychoanalysis, make reference to a position where the person is not-all regulated by the phallic patterns. Besides, this position comprises an enjoyment that escapes from the possibility of seizure by the human symbolic apparatus. Nevertheless, if the feminine indicates a surplus, this same perspective is found in the conception of writing and, in special, of the letter, when Lacan started to articulate it with the enjoyment. From this point of view moment, it is proposed that the feminine inhabits the place of enjoyment of the writing/letter. As it\'s possible to observe, a twist was made in the use of both significants, so that, instead of a feminine writing, it was suggested to think about the feminine in the writing. No longer used as an adjective, the feminine started to be treated not as a quality in some writings, but as a substance of writing, which would be, eventually, recognized in some literary writings made in this territory-coast, where enjoyment and significant are side by side. So, leaving the perspective of the psychic writing, some literary texts were studied where it was possible to observe resonance of the feminine position. At last, it was discussed how such position could attend in education in a general way and in writing as worked at school, in a specific way. It is noticed that the teacher has more and better conditions to create alternatives to deal with the \"excess of enjoyment\" that permeates the educative field when the feminine position, in it\'s not fullness and plurality can be sustained.
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Tobler, Judith. "Gendered signs of the sacred : contested images of the mother in psychoanalysis, feminism, and Hindu myth". Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/13910.
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Bibliography: leaves 333-354.This thesis engages a multi-disciplinary theoretical approach to identifying, analysing, and interpreting discourse relating to the feminine and the maternal found at the intersection of psychoanalysis, feminism, and religion. The study explores embodiment, gender, and the sacred as expressed in symbolic representations of the mother and the institution of motherhood in patriarchy. I have therefore drawn on Freudian and post-Freudian theories, gender analysis, feminist critical analysis, and classical Hindu goddess myth to discern ways in which sacred images of the mother serve to reinforce the oppression of women on the one hand and can be transformed to provide empowering symbols for women's lived reality on the other. Theory of sacred space is also employed, particularly with regard to the human production of the sacred through the contested politics of sacred space.
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Zana, Augusta Rodrigues de Oliveira. "Identidades e posições nas relações sociais em perspectivas feministas : interrogações à psicanálise a partir de articulações entre materialidade e discurso". Thesis, Université de Paris (2019-....), 2020. https://theses.md.univ-paris-diderot.fr/RODRIGUES_DE_OLIVEIRA_ZANA_Augusta_va2.pdf.
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Que ce soit dans le champ de la psychanalyse ou dans celui des études féministes et queer, différents courants perçoivent l’identité des femmes purement comme une sorte d’unification imaginaire. Cependant, une fois reconnue l’importance de la désessentialisation, nous ne pouvons nier l’existence de vulnérabilités différenciées. À partir de cette tension, notre objectif est de penser la catégorie « femmes » selon l’hypothèse que, s’il n’y a rien d’« authentiquement féminin », mais il y a bien une vulnérabilité différenciée, la catégorie « femmes » ne peut être définie qu’en vertu de l’oppression éprouvée par elles. Dans un cadre théorique ancré dans la psychanalyse, notamment à partir de Freud et de Laplanche, et des perspectives féministes, nous esquissons une méthodologie de recherche théorico-conceptuelle guidée par l’approche théorico-méthodologique des « savoirs situés » afin d’interroger la psychanalyse à partir des inflexions occasionnées par des perspectives féministes. En faisant appel à des propositions non identitaires, telles que la performativité selon Judith Butler et l’apport des perspectives féministes matérialistes concernant les positions dans les rapports sociaux, nous arrivons à une compréhension non essentialiste de la catégorie « femmes », caractérisée par une position dans les rapports sociaux comportant des formes d’oppressions concrètes et variées, qui ne peuvent être comprises en dehors des rapports sociaux multiples et imbriqués. Selon cette perspective, le « devenir femme » est appréhendé en tant qu’expérience même de l’oppression, dont la psychanalyse permet de situer à partir de normes opérantes – sur le principe de la hiérarchie des genres – en même temps que défaillantes car cette hiérarchie se pose à l’enfant comme une énigme à traduire. Cette approche nous permet de situer des oppressions genrées, ainsi que d’articuler ce que serait la « spécificité de la psychanalyse », en tenant compte de l’imbrication entre discours (ou le champ de la représentation) et matérialitéBoth in the field of psychoanalysis and in that of feminist and queer studies, different perspectives conceive the identity “women” as a kind of imaginary unification. However, once we recognize the importance of desessentialization, we cannot deny the existence of differentiated vulnerabilities. This tension placed, our objective is to think about the category “women” under the assumption that if there is nothing “genuinely feminine”, but there is indeed a differentiated vulnerability, that category can only be defined by the oppression experienced by them. In order to question psychoanalysis about some feminist perspectives’ contributions, we outline a theoretical-conceptual methodology guided by the “situated knowledge” theoretical-methodological approach based on a theoretical framework anchored in psychoanalysis, notably Freud and Laplanche, and in feminist perspectives. Appealing to propositions outwards identity approaches, such as performativity according to Judith Butler and positions in social relations provided by materialist feminism perspectives, we achieve a non-essentialist understanding of the category “women”, characterized by positions in social relations bounded to concrete and varied forms of oppression, which cannot be understood outside multiple and imbricated social relations. In this perspective, “becoming a woman” can be defined by the experience of oppression, which psychoanalysis allows us to situate as operative standards, such as the principle of gender hierarchy, that at the same time that work reveal their flaw, in the way that is posed to the child as an enigma to translate. Understanding the notion of “women” in those terms allows us to locate gender oppressions, as well as to articulate what would be the “specificity of psychoanalysis” considering the imbrications between discourse (or the field of representation) and materiality
Tanto no âmbito da psicanálise quanto nos campos dos estudos feministas e queer, diferentes perspectivas concebem a identidade “mulheres” como uma espécie de unificação imaginária. No entanto, uma vez reconhecida a importância da dessessencialização, não podemos negar a existência de vulnerabilidades diferenciadas. A partir dessa tensão, nosso objetivo é pensar a categoria “mulheres” segundo a hipótese de que, se não há nada de “autenticamente feminino” e, ao mesmo tempo, existe uma vulnerabilidade diferenciada, tal categoria não pode ser definida senão em virtude de sua opressão. A partir de um referencial teórico ancorado na psicanálise, notadamente Freud e Laplanche, bem como em perspectivas feministas, delineamos uma metodologia de pesquisa teórico-conceitual, orientada pela abordagem teórico-metodológica dos “saberes situados”, a fim de interrogar a psicanálise a partir de inflexões ocasionadas por perspectivas feministas. Fazendo recurso a proposições não-identitárias, tais como a performatividade em Judith Butler e as contribuições de perspectivas feministas materialistas no que se refere a posições nas relações sociais, chegamos a uma compreensão não essencialista da categoria “mulheres”, caracterizada por posições nas relações sociais que circunscrevem formas concretas e variadas de opressão, as quais não podem ser compreendidas senão a partir de relações sociais múltiplas e imbricadas. Nessa perspectiva, o “tornar-se mulher” pode ser concebido enquanto a experiência mesma da opressão, que a psicanálise permite situar a partir de normas operantes – por um princípio de hierarquia de gêneros – ao mesmo tempo em que sempre existe algo que falha, uma vez que essa hierarquia se coloca para a criança como um enigma a traduzir. Esa abordagem possibilita situar opressões gênero-específicas, assim como articular o que seria a “especificidade da psicanálise”, levando em consideração as imbricações entre discurso (ou o campo da representação) e materialidade
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Crowell, Mary L. "Facilitating difficult knowledge in the classroom| Intimate transgressive pedagogy from a psychoanalytic and poststructural feminist framework". Thesis, Washington State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3715181.
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This dissertation seeks to address the facilitation of difficult knowledges in the classroom. I employ constructs of poststructural feminism to critique rationalist-only frameworks that limit the forms of knowledge that "count" in the construction of knowledge. In response to these critiques, this dissertation constructs an alternative pedagogical framework from a psychoanalytic and poststructural feminist lens that emphasizes the bordered landscapes of the un/conscious. This approach is named Intimate Transgressive Pedagogy (ITP). Additionally, this dissertation introduces an empirical study that explored one semester of classroom teaching using Intimate Transgressive Pedagogy. Student and teacher experiences are analyzed through the theoretical concepts of ITP with a further discussion of the implications of the pedagogical concepts and empirical findings for multicultural teacher education.
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Sözalan, Hürriyet Özden. "The representation of the female subject in contemporary women's dramatic writing". Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310122.
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MEDEIROS, SERGIO. "BEAUTY AND DEATH: A PSYCHOANALYTIC APPROACH ON AESTHETICS AND THE FEMININE SUBJECT". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6712@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORConstruindo a hipótese de que a estética é uma estratégia para mitigar a angústia e consubstanciar o desejo, o autor busca estabelecer seu estatuto para o aparelho psíquico. No campo do sujeito, a estética participaria do nasrcisismo primário, momento em que a constituição do Eu é testemunha por uma imagem que dá materialidade ao sujeito e à presença da alteridade. Desenhar um perímetro para o vazio e poder vê-lo é atribuir sentido à existência e conter a angústia da morte. A estética também serviria à causa do desejo. Das cenas do sonho manifesto à imagem do objeto erótico, o desejo não pode dispensar a forma que constituirá o conteúdo de sua ilusão. Caberia a estética apresentar os contornos do recalcado e resgatar a criatividade da polimórfica perversão infantil. Através das obras-de-arte, o autor apresenta a estética como uma relação entre os sujeitos, intermediada pela angústia e pelo desejo. Investigando o sentido da busca pela estética designada como bela, analisa-se o papel desta na atualidade. Tendo como foco a subjetividade feminina contemporânea, o autor destaca sua dupla relação com a imagem. Se há, de um lado, um discurso estético enunciado pela mídia constituindo um corpo destinado ao consumo haveria, por outro, um mandamento estético proferido pelo superego feminino impondo o olhar do Outro como compensação ou negação da castração. O autor conclui sua abordagem do que designou como Doenças de beleza identificando dois grupos distintos um formado por sujeitos que buscam a morte do corpo como estratégia de sobrevivência do Eu. E outro, constituído pelos aderentes à mensagem estética contemporânea e adictos à visibilidade.
In order to build up the hypothesis that aesthetics is a strategy to alleviate anguish and to consubstantiate desire, the author seeks to set up a statute for the psychic system. In the field of the subject, aesthetics would be part of the primary narcissism, a moment when the formation of the Ego is witnessed by an image that lends materiality to the subject and to the presence of alterity. To design a perimeter for the void and to be able to see it is to bestow sense to existence and to restrain the anguish of death. Aesthetics would serve the cause of the desire. From scenes of manifest dreams to the image of the erotic object, desire can not dispense with the shape which will grant form to its illusion. It would be incumbent on aesthetics to present the configurations of the repressed and to redeem the creativity of the polymorphic infantile perversion. By means of works of art the author presents aesthetics as a relation between the subjects, mediated by anguish and desire. Investigating the sense of the quest for aesthetics regarded as beautiful, one analyses its role at the present time. Using as a focus the contemporaneous feminine subjectivity, the author points out its double relation with image. Whereas, on one hand, there is an aesthetic discourse expressed by the media making up a body intended for consumption, on the other hand there would be another, an aesthetic commandment stated by the feminine superego imposing the regard of the Other as compensation for or negation of castration. The author concludes his approach of what he named as Infirmities of Beauty by identifying two distinct groups, one made up by subjects who seek the death of the body as a strategy for the survival of the Ego. And another made up by those who adhere to the contemporaneous aesthetic message and are addicted to visibility.
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Nguyen, Catthuan L. "A Joint Reading of the Color Purple and the Awakening: From Feminism to Womanism and the Significance of Authentic Feminine Space". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/87.
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Alice Walker’s The Color Purple and Kate Chopin’s The Awakening fundamentally share the universal feminist yearning for personal freedom and independence within an oppressive, patriarchal society. With regards to the texts’ stylistic differences and disparate social contexts, their heroines seek to ideologically oppose social rules and conventions for women without achieving the same results. This difference lies in the fact that Chopin’s text fosters the traditional feminism embraced by the majority culture, while Walker’s text makes use of womanism. The availability and authenticity of feminine space for the generation of women’s culture also determine the extent of changes achieved.
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Sanada, Elizabeth dos Reis. "A mulher e o (não) saber: um estudo psicanalítico sobre os avatares da sexualidade feminina". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-02092006-075830/.
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O presente trabalho busca realizar um estudo psicanalítico sobre os avatares da sexualidade feminina, tendo como ponto central de discussão averiguar os diferentes posicionamentos assumidos pela mulher na tentativa de responder ao mal-estar estrutural que norteia sua constituição, no que tange à falta de um significante capaz de nomeá-la. Assim, em consonância com a estrutura lógica dos três tempos do complexo de Édipo lacaniano, percorreremos o processo de constituição do sujeito feminino, situando-o primeiramente diante da influência do Outro materno, a seguir, em relação ao saber paterno, para finalmente considerá-lo em sua dimensão cultural, relacionado ao conceito de suplência, abarcando, deste modo, o campo dos saberes constituídos, a partir da escrita inominável que se faz apreender por meio da arte, da literatura e da análise. Além disso, apresentaremos como material de pesquisa uma leitura psicanalítica pautada no acompanhamento específico de três casos clínicos de mulheres, com idade entre 20 e 30 anos, cujo objetivo será verificar a existência de uma relação particular com o saber, como uma tentativa de assegurar o lugar ocupado anteriormente junto ao desejo materno. Entretanto, como veremos na conclusão do trabalho, os dados obtidos confirmam apenas em parte esta hipótese, uma vez que, na seqüência da pesquisa, a figura paterna se revelará como fundamental, não só no que se relaciona à questão sexual, mas principalmente, no que diz respeito ao posicionamento do sujeito feminino frente ao saber.The current paper proposes to carry out an analytical study of avatars in the female sexuality, having for its core discussion point the checking of different positions assumed by women in an attempt to explain the structural distress that guides their constitution in respect to the lack of significance capable of being named by them. Hence, in consonance with the logical structure of the three-staged Lacanian Oedipus complex, we move through the process of the female subjects constitution, placing it firstly before the influence of the maternal Other, then next related to paternal knowledge, to finally consider this process in his cultural dimension, bound by the supplying concept, tin this manner, embracing the field of constituted knowledge, by means of an unnamable script that provides apprehending through art, literature and analysis. Further to that, we will present as research material, a psychoanalytic reading, specifically propped on the assessment of three clinical cases with women aged from 20 to 30. The objective of this reading is to verify a specific relationship with knowledge, as an attempt to ensure a place previously occupied by maternal desire. However, as we shall see at the papers conclusion, the gleaned data only partially confirms this hypothesis, since the research sequence plays itself out showing that the father figure turns out to be fundamental, not only in that related to the sexual issue, but mainly in that which refers to the female positioning before knowledge.
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Guignard, Sophie. "Le cœur, l’âme et le corps : Expressions de l’intime féminin dans sept romans du XIXe siècle et de l’extrême contemporain". Doctoral thesis, Uppsala universitet, Romanska språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260215.
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This thesis examines representations of the intimate as experienced by female protagonists, through expressions related to the heart, the soul and the body, in a comparative study of novels by French women writers from the 19th century and the present day. The corpus consists of seven novels : Ourika by Claire de Duras (1822), Lélia by George Sand (1833 & 1839), Monsieur Vénus. Roman matérialiste by Rachilde (1884), Femme nue, femme noire by Calixthe Beyala (2003), Vous parler d’elle by Claire Castillon (2004), Le Cœur cousu by Carole Martinez (2007), and Mon cœur à l’étroit by Marie NDiaye (2007). As a starting point, the thesis provides an extensive literature survey of existing research on the intimate as well as an introduction of the feminist and psychanalytic approaches underpinning the subsequent analyses, which are conducted in two parts, according to the personal and relational dimensions of the intimate. The theories of Beauvoir, Kristeva and Lacan offer perspectives on the intimate experience of women characters which is conveyed in literary imagery as the desire of the Other, and which is oppressed in a patriarchal symbolic order, although an aesthetic with specific narrative techniques related to women’s experience of the intimate is identified in most of the novels. These features include blurring and fragmentation of spatiotemporality, a marked intricacy of narrative voice, proximate first-person narrators, and the development of themes such as the writing of the body, sensed as a container. A discrepancy is noticed between the dominating androcentric posture of the heroines which is found in underlying discourse, and the sensorial dimension of their experience. This leads to a sublimation of body and sexuality in the romantic novels, a masochistic exaltation of the body and pain in the decadent novel and a psychotic and paranoid state in the novels from present day literature. The themes of female sacrifice and of death and denial of the body are very strong throughout the corpus. Relationships within the family are explored, including the mother-daughter relationships that are emphasised in the recent novels but not in those from the 19th century. Family structure, Christian culture and patriarchal, hierarchical social organisation are analysed as grounds for women’s alienation in the novels. The issue of perversion, which is striking in the novels on several different levels, is described as a transgression which involves the reader.
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Theus, Tyler A. "Hitchcock and the Material Politics of Looking: Laura Mulvey, Rear Window, and Psycho". Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/communication_hontheses/3.
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In this essay, I argue that issues of voyeurism and scopophilia raised in Laura Mulvey’s early essay, “Visual Pleasure in Narrative Cinema,” are closely related to the social and economic shifts which occurred during the post-war period. Specifically, I argue that Mulvey’s essay articulates a particular kind of formal technique associated with what she calls “non-narrative scopophilia,” a kind of long-take shot that is utilized to great effect by Alfred Hitchcock in two of his later films, Rear Window (1955) and Psycho (1960). I argue that these shots represent a disruption to the smooth functioning of the classical Hollywood model of narrative and gender ideology in the post-war period tied closely to the changing economic realities of the period. I further argue that such a disruption is closely related to a new model of consumerism that emerges during this period.
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Souza, Cristiane de Almeida. "Gozo místico: testemunho do feminino". Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1260.
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A presente pesquisa objetiva trabalhar as considerações psicanalíticas sobre o feminino, depreendidas da obra de Freud, Lacan e comentadores, por meio da mística. Lacan, em O seminário, livro 20, Mais, ainda, concedeu à mística o estatuto de verdade sobre o feminino e, desse modo, apresentou um caminho a ser percorrido a fim de melhor se poder meio-dizer sobre o que é da ordem do inefável. Para tanto, a pesquisa orienta-se sobre alguns eixos temáticos: 1) apresentar o que é propriamente o feminino para a psicanálise, dissociando-o do sexo biológico e afirmando-o como uma posição subjetiva que pode ser visitada tanto por homens quanto por mulheres. Para sustentar tal afirmativa recorre-se à experiência de Francisco de Assis, homem e grande místico; 2) conceituar o gozo, extraído da noção freudiana de pulsão de morte e abordar algumas possíveis modalidades de gozo, principalmente o gozo feminino que Lacan relacionou com o gozo dos místicos; 3) diferenciar o gozo místico do delírio místico psicótico, apresentando alguns pontos específicos que auxiliam a distinguir a posição mística da psicose. Com isso, objetiva-se desfazer possíveis confusões que levam, muitas vezes, o místico a ser tratado e considerado um doente mental. Aproveita-se, ainda, a riqueza da biografia de Francisco de Assis para abordar as noções do sentimento oceânico e do despertar, intentando apontar para a verdade que sustenta e orienta a vida do místico: um mais além.Supported by Freuds and Lacans theories and some of their commentators, the present research aims at working on the psychoanalytical considerations on the feminine and its relation to the mystic jouissance (enjoyment). Lacan, in The Seminar, Book XX: Encore (1972-1973), stated that the mystic experience stands for the truth as regards the feminine. By doing so, he showed us a way to be paved so as to get as near as possible to what is considered to be ineffable. We intend to support our points by presenting the theories on the feminine according to psychoanalysis. By doing so, we not only discard the idea related to the biological sex but we also state that the feminine is an affirmative subjective position which can be visited by both men and women and that is why we turn to the experience of San Francisco de Assis, a great mystic man. We not only work on the concept of jouissance extracted from Freudians notion of death drive but we also work on the concepts which deal with the feminine jouissance once Lacan related it to the one mystic people experience. It is important to differ the mystic jouissance from the psychotic mystic delirium and to do so we must highlight some specific points which will enable us to distinguish one position from the other. We finally intend to clear up some of the mistaken ideas with regard to the mystic people once most of such ideas lead to the prejudiced notion that the mystic person is mentally sick. Once San Fancisco de Assis biography is very rich, we also mean to bring up the notion regarding the oceanic feeling and the one related to the awakening, as we intend to point out that the truth that supports and guides a mystic persons life is something that is placed far beyond .
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Proctor, Nancy E. "American women sculptors in Rome in the mid-nineteenth century : feminist and psychoanalytic readings of a displaced canon". Thesis, University of Leeds, 1998. http://etheses.whiterose.ac.uk/894/.
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Henry James's phrase, `white, marmorean flock', has become the defining image for the American women sculptors who worked in Rome in the midnineteenth century at the height of neoclassicism, subsuming their works and histories under the connotations of its words. Instead of simply permitting us to name these sculptors, `white, marmorean flock' raises both a problem of historiography, as a study of the exclusion of the women sculptors from questionable canons, and, more importantly, a problematic of the feminine and subjectivity in the context of artistic Symbolic activity. Nathaniel Hawthorne's 1860 novel about expatriate artists in Rome, The Marble Faun, is a primary site for the excavation of the foundations of our contemporary understanding of the American women sculptors in Rome in the mid-nineteenth century. Conflated with the objects of her creative production in a `Pygmalion effect', the woman sculptor is figured in Hawthorne's novel as a limit, embodying an impossible (for phallic cultural discourses) coincidence of femininity and creativity. Read through a matrixial lens, sculptures by Edmonia Lewis intrude uncannily in these canonical narratives of the nineteenth century, as the woman sculptor of colour in the studio destabilises and unfixes gender, race, and class identities. Here too the Sadean `nothingness' of the neoclassical sculpture emerges as a limit in our understanding of nineteenth century modes of seeing -a limit which is perhaps best approached `through the defiles of the signifier', photography. For although the flat, white, ideologically-laden surfaces of American history sculpture are now articulated by the spaces of the modernist white cube gallery, the woman sculptor remains a `strange and estranged' stain on the screen of American art, `rather out of place in the picture'. By focussing on the margins of American art history, this study deploys the anamorphic effect in an attempt to `hallow the hollow and to hollow the hallow': to move towards reading the works and histories of the American women sculptors who worked in Rome in the mid-nineteenth century in a symbolic register in which white is also black, and sculptors are also women.
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Papadima, Maria. "Debates on child abuse and trauma in psychoanalysis and feminism : the shift from non-trauma to trauma-based psychotherapy discourse". Thesis, University of East London, 2010. http://roar.uel.ac.uk/2609/.
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The aim of this thesis is to explore the currently dominant discourse on child abuse and trauma as it has come to be understood in the last 30 years in British psychoanalysis. This research mainly draws on a psychoanalytic framework, to show how a specific way of conceptualising trauma and child abuse has led to a shift from a non-trauma based psychoanalysis in the UK to a trauma-based one. In order to present the core elements of this discourse, I closely read psychoanalytic (British and French) and second-wave feminist texts that are relevant to this topic, against the background of the wider trauma paradigm and memory studies, which are also presented in the thesis. In the British psychoanalytic tradition in particular in attachment theory and contemporary Kleinianism this shift towards trauma has not yet been studied in the context of wider discussions that are occurring in cultural and social studies. Hence, the shift towards trauma-based psychoanalysis is routinely seen as a positive step forward, without examining it in the context of wider discussions about trauma and its meaning. The shift from a non-trauma based to a trauma-based psychoanalysis signifies a parallel shift towards the desexualisation of psychoanalysis, which I also examine. The introduction of trauma as a central concept in psychoanalysis has meant a shift from a discourse of desire to a discourse of needs, and this is one of this thesis' central findings.
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Cossi, Rafael Kalaf. "A diferença dos sexos: Lacan e o feminismo". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-25072017-090645/.
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Este trabalho investiga o debate estabelecido entre a psicanálise lacaniana e os estudos feministas e de gênero a respeito da diferença dos sexos, assim como os desdobramentos que a teoria da sexuação de Lacan pode trazer para esse tema. Examinamos a obra de autoras do feminismo francês indispensáveis para a pesquisa desta interface, no caso os de Irigaray, Cixous, Montrelay, Kristeva e Wittig tais trabalhos, notadamente edificantes do movimento da escrita feminina, verificamos terem repercutido decisivamente tanto em Lacan quanto nos estudos de gênero contemporâneos. Investigamos a obra de Robert Stoller, a introdução do termo gender nesse contexto e o desenvolvimento de sua teoria do núcleo de identidade de gênero, a ser debatida por Lacan no seminário XVIII e que constatamos ter sido determinante para o estabelecimento de sua noção de semblante. Detectamos que o lacanismo incorporado em solo norte- americano foi aquele que se voltou para o estruturalismo de Lévi-Strauss e as relações de parentesco, evidente nas obras de Rubin e Butler. Comprovamos que as críticas a Lacan giraram principalmente em torno das noções correlatas ao registro simbólico e seu suposto caráter apolítico e ahistórico, o que obrigou defensores da psicanálise a se pronunciar. Sob a hipótese de que a sexuação lacaniana poderia trazer novos ares para esta discussão, concluímos que tratar do falo enquanto função, da teoria dos gozos e de derivações dos aforismos Não há relação sexual e A mulher não existe, a partir de recursos da lógica, da teoria dos números e dos conjuntos, acabaram por revigorar o entendimento lacaniano da diferença dos sexos, que se esquiva das prescrições heteronormativas e da binaridade dos gênerosThis thesis looks into the debate established between lacanian psychoanalysis and feminist and gender studies on the difference between the sexes, as well as the developments that Lacan\'s theory of sexuation can bring to this theme. We examine the fundamental french feministss works that deal with this interface, in the case Irigaray´s, Cixouss, Montrelays, Kristevas and Wittigs. Those works, especially edifying of the feminine writing movement, have had a decisive impact on both Lacan and in contemporary gender studies. We examined the work of Robert Stoller, the introduction of the term gender in this context, and the development of his \"core gender identity\" theory, to be criticized by Lacan in the seminar XVIII, and which we have found to be determinant in establishing the lacanian notion of semblant. We verified that the lacanian strand incorporated in United States of America was the one that turned to Levi-Strauss\'s structuralism and kinship relations, as we see in the works of Rubin and Butler. We realized that the criticisms to Lacan were about his notions established through the symbolic register and its supposed apolitical and ahistorical character, which compelled proponents of psychoanalysis to react. Under the hypothesis that the lacanian sexuation could move this discussion forward, we concluded that dealing with the phallus as a function, the theory of jouissance and derivations of the aphorisms \"There is no sexual relation\" and \"The woman does not exist\", from logic field, number theory and set theory resources, finally invigorated the lacanian understanding of difference between the sexes, which escapes heteronormative prescriptions and gender binarity
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Langford, Wendy. "The subject of love : a study of domination in the heterosexual couple". Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306913.
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Machado, Lucienne de Almeida. "Pagu: a arte no feminino como performance de si". Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8311.
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The present dissertation has as objective to show the construction of the conception of feminine in which that is understood as the art of the performance of self. Such relationship will happen through the analysis of autobiographical writing: Paixão Pagu: uma autobiografia precoce de Patrícia Galvão (1940). As a way of implementing this proposal was used the theoretical framework of psychoanalysis going through numerous authors that may contribute to this thematic. Specifically, however, a bibliographic review was carried out in some theoretical productions of Sigmund Freud and Jacques Lacan, by means of a clipping of texts that address the question of the feminine. Thinking on the paths that would guide us we resorted to the methodology of Cartography, Poetics and Poetry as traces that allowed the construction of this conception of feminine. By means of Pagu’s autobiography, the present work proposes the construction of a notion of a performance of self, another way of thinking the subjective construction of feminine, as a piece of art. The metaphor of the birth of flowers goes through the discussion in aid of the understanding of certain nakedness, not in the pornographic sense of the phallic vision of the presentation of the female, but in the sense of a blossom. The art of the feminine as performance of self is that of a body naked and removed from excesses for the creation of its flowers. Therefore, the present work intents to present a certain conception of the feminine in its approximation with art.
A presente dissertação tem por objetivo apontar para a construção de uma concepção do feminino em que este é entendido como a arte da performance de si. Tal relação acontecerá por meio da análise do escrito autobiográfico: Paixão Pagu: uma autobiografia precoce de Patrícia Galvão (1940). Como forma de execução dessa proposta utilizou-se do referencial teórico da psicanálise perpassando por diversos autores que possam contribuir para essa temática. Especificamente, entretanto, foi realizada uma revisão bibliográfica em algumas das produções teóricas de Sigmund Freud e Jacques Lacan, por meio de um recorte de textos que abordam a questão do feminino. Pensando nos caminhos que nos guiassem recorremos à metodologia da Cartografia, da Poiética e Poética como traçados que nos permitissem a construção dessa concepção do feminino. Por meio da autobiografia de Pagu, o presente trabalho propõe a construção da noção de uma performance de si, um outro modo de se pensar a construção subjetiva do feminino, como uma obra de arte. A metáfora do nascimento das flores percorre a discussão no auxílio da compreensão de um certo desnudamento, não no sentido pornográfico de uma visão fálica da apresentação feminina, mas no sentido de um desabrochar. A arte no feminino como performance de si é a arte “nu” feminino, um corpo despido e retirado dos excessos para a criação de suas flores. Por isso, o presente trabalho pretende apresentar uma certa concepção do feminino na sua aproximação com a arte.
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Chiaretti, Paula. "O que quer uma mulher segundo o discurso da revista feminina". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-20072016-170040/.
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As revistas femininas surgem como um saber oficial que, de forma objetiva e imparcial, produz um efeito de transparência de sentido e de verdade sobre a mulher. Segundo a Análise do Discurso Pêcheutiana - AD (referencial teórico-metodológico adotado nesta pesquisa), este apagamento do processo de constituição do sentido faz com que o sujeito se reconheça e venha a ocupar o lugar ao qual é chamado no discurso. O sujeito é, nessa perspectiva, uma posição discursiva. Interpelado pela ideologia, o sujeito cria sentidos. Isto porque há uma necessidade de que os sentidos se sedimentem de modo a formar um universo logicamente estabilizado. Entretanto, Freud ao final da sua obra se pergunta o que quer a mulher?, enquanto que Lacan, no retorno à obra freudiana, propõe sua provocante fórmula A mulher não existe. Esta dissertação tem como objetivo analisar recortes de revistas femininas de diversas épocas (de 1917 a 2007) a fim de propor como estas revistas constroem sentidos sobre o que é e o que quer a mulher a partir das condições de produção do discurso. Como a AD se interessa pela determinação histórica dos processos de significação, torna-se importante retomar a história do feminismo e textos acadêmicos de feministas, ambos tomados aqui como um interdiscurso presente no discurso das revistas femininas. Enquanto a Psicanálise tenta investigar como A mulher se constitui, a preocupação das revistas femininas é descrever a mulher e suas condutas, sedimentando e naturalizando sentidos e dando origem a uma norma de identificação. A Psicanálise trata de A mulher como uma posição do sujeito diante do gozo e da submissão à norma fálica (não-toda), de forma que A mulher não formaria uma regra como o homem, elas somente poderiam ser contadas uma a uma. Na via contrária, as revistas femininas constroem sentidos por meio de genéricos discursivos (fórmulas encapsuladas que codificam valores e crenças), naturalizando os sentidos atribuídos à mulher e suas atividades. Concluímos que tanto o movimento feminista, a fim de que funcione promovendo mudanças e rupturas de toda ordem (moral, religiosa, jurídica), quanto as revistas femininas, ao contrário da Psicanálise, propõem uma positividade de um sujeito universal mulherFemale magazines emerge as an official knowledge that objectively and impartially produces an effect of transparency of meaning and truth about woman. According to the Discourse Analysis proposed by Pêcheux -DA (the theoretical-methodological referential adopted by this research), this erasing of the constitution process of the meaning leads the subject to the recognition of itself and to the occupation of the place where it belongs in the discourse. In this perspective, the subject is a discursive position. Interpellated by the ideology, the subject creates meaning. That occurs because there is a need of sedimentation of sense so that it originates a logically stable universe. However, Freud at the end of his work asks himself what does the woman want, while Lacan, in his return to the Freudian work, proposes his provocative formula the woman does not exist. This dissertation aims to analyze female magazines extracts from different periods (from 1917 to 2007) to propose how these magazines build meanings about what is a woman and what a woman wants, under the discourse production conditions. Because the DA concerns the historical determination of the signification processes, it is important to return to the feminism history and to academic feminists texts, both seen here as an interdiscourse present in the discourse of female magazines. While the Psychoanalysis tries to investigate how The woman is formed, female magazines are concerned with describing the woman and her behavior, sedimenting and naturalizing meanings and originating a norm of identification. The Psychoanalysis considers The woman as a subject position in front of the joy and the submission of the phallic logic (not-whole), so the woman would not form a rule as the man, they could only be counted one by one. On the other hand, the female magazines build these meanings by using discursive generics (encapsulated formulas that codify values and beliefs), naturalizing the meanings assigned to the woman and her activities. We concluded that both the feminist movement, in order to promote changes and brakages of all kinds (moral, religious, juridical), and the female magazines, different from the Psychoanalysis, propose a positivity of an universal subject named woman
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Kohlrausch, Luciana Portella. "A HETEROGENEIDADE, LINGUAGEM E FEMININO: UMA ABORDAGEM LINGÜÍSTICA E PSICANALÍTICA ACERCA DO FEMININO EM TEXTOS DE CLARICE LISPECTOR". Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/9811.
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This dissertation aims at analyzing texts written by Clarice Lispector according to the theory of Authier-Revuz and relating the findings of such analysis to theories about the feminine. The corpuses of this work are texts
from the book A descoberta do mundo ( The discovery of the world ) by Clarice Lispector on which there is a set of texts that have been published on newspaper. The theoretical implications that have been used were the
Enunciation Linguistics, most specifically the theory of the heterogeneity(ies) of Authier-Revuz, and the freudian-lacanian psychoanalysis. Authier-Revuz distinguishes shown heterogeneity from constituted heterogeneity. The shown
heterogeneity is classified in many forms of linguistic marks on the text which point to this heterogeneity. The psychoanalysis shows that the feminine takes the place of representing the significant of the lacking. These associations show the characteristics of the feminine writing: enlightening some lacking.Essa dissertação tem como objetivo analisar, segundo a teoria de Authier-Revuz, textos de Clarice Lispector e relacionar essa análise com teorias sobre o feminino. O corpus do trabalho são textos do livro A descoberta do mundo de Clarice Lispector, no qual se encontra um conjunto de textos que foram publicados em jornal. Os pressupostos teóricos utilizados foram a Lingüística da Enunciação, especificamente a teoria da(s) heterogeneidade(s) de Authier-Revuz e a psicanálise freudo-lacaniana. Authier-Revuz diferencia heterogeneidade mostrada e heterogeneidade constituída. A heterogeneidade mostrada é classificada em diversas formas de marcas lingüísticas no texto que denunciam essa heterogeneidade. A psicanálise mostra que o feminino está no lugar de representar o significante da falta. Essas associações mostram as características da escrita feminina: transparecer uma falta.