A angústia e o objeto a na obra de Edgar Allan Poe

Detalhes bibliográficos
Autor(a) principal: Brito, Rafael Ângelo de Oliveira
Data de Publicação: 2019
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Repositório Institucional da Universidade Federal do Ceará (UFC)
dARK ID: ark:/83112/001300000v8kf
Texto Completo: http://www.repositorio.ufc.br/handle/riufc/49892
Resumo: It is proposed, in this research, to analyze the work of Edgar Allan Poe from the reading and review of his productions, with the aim of investigating how his work teaches about the aesthetic effect in his relations with anguish and the object a. This investigation arises from a previous research that made it possible to articulate the real and the object a with terror through the link with anguish as the desired affect in this type of fiction. For this, the trail left by Lacan follows, where from the artist's creation material and his attempt at representation, something appears as a remainder, as intimate with what insisted on a resistance to representation and, still, with regard to his way of working with art and his original way of putting it in relation to reality. Freud's formulations about anguish make up, in this path, a central axis of this investigation. An exponent of a tradition whose literary marks remain today, Poe is taken as an object of study, in particular, for the place he occupied in Lacan's teaching. Starting from this possible treatment given by art to reality, in its relations with anguish, we investigate what type of procedure is highlighted in Poe's work, taking as its starting point the Fatal Woman and the strange object present in his work. Furthermore, the effect that, against the will of the Self, therefore against the will of its own sense, is provoked in the reader by this object and which denounces the very cause of artistic creation, is essential in his writings. In Poe's tales, the treatment given to the female figure and the appearance of a foreign object in the plot are observed, thus opting for the tales to provide a production closer to what we want to delimit as an object, without refraining from bringing contributions sporadic of his poetry. It starts with the look and the voice as pulsating objects that guided the listening of Poe's writing and the relationship between these and the anguish was more precisely delimited, guided by the psychoanalytic texts that deal with the anguish and the object a. The tales indicate forms of the subjects' relationship with this archaic element (object a) and that will trigger the anguish for maintaining an intrinsic association with the primordial subjective loss. What causes strangeness, whether in the voice of the first story, in the look of Ligeia in the second or in the teeth extracted from the third, is the positive character that it establishes in the face of what should not appear, since it constitutes a subjective loss since the your origin. It is pointed out, here, something that appears in the place that should be empty and the relationship of this emergence with anguish and the effect connected to the stranger.
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spelling A angústia e o objeto a na obra de Edgar Allan PoeAnguish and object a in the work of Edgar Allan PoeEdgar Allan PoeObjeto aPsicanalise e ArteIt is proposed, in this research, to analyze the work of Edgar Allan Poe from the reading and review of his productions, with the aim of investigating how his work teaches about the aesthetic effect in his relations with anguish and the object a. This investigation arises from a previous research that made it possible to articulate the real and the object a with terror through the link with anguish as the desired affect in this type of fiction. For this, the trail left by Lacan follows, where from the artist's creation material and his attempt at representation, something appears as a remainder, as intimate with what insisted on a resistance to representation and, still, with regard to his way of working with art and his original way of putting it in relation to reality. Freud's formulations about anguish make up, in this path, a central axis of this investigation. An exponent of a tradition whose literary marks remain today, Poe is taken as an object of study, in particular, for the place he occupied in Lacan's teaching. Starting from this possible treatment given by art to reality, in its relations with anguish, we investigate what type of procedure is highlighted in Poe's work, taking as its starting point the Fatal Woman and the strange object present in his work. Furthermore, the effect that, against the will of the Self, therefore against the will of its own sense, is provoked in the reader by this object and which denounces the very cause of artistic creation, is essential in his writings. In Poe's tales, the treatment given to the female figure and the appearance of a foreign object in the plot are observed, thus opting for the tales to provide a production closer to what we want to delimit as an object, without refraining from bringing contributions sporadic of his poetry. It starts with the look and the voice as pulsating objects that guided the listening of Poe's writing and the relationship between these and the anguish was more precisely delimited, guided by the psychoanalytic texts that deal with the anguish and the object a. The tales indicate forms of the subjects' relationship with this archaic element (object a) and that will trigger the anguish for maintaining an intrinsic association with the primordial subjective loss. What causes strangeness, whether in the voice of the first story, in the look of Ligeia in the second or in the teeth extracted from the third, is the positive character that it establishes in the face of what should not appear, since it constitutes a subjective loss since the your origin. It is pointed out, here, something that appears in the place that should be empty and the relationship of this emergence with anguish and the effect connected to the stranger.Propõe-se, nesta pesquisa, a analisar a obra de Edgar Allan Poe a partir da leitura e da revisão de suas produções, com o objetivo de investigar como sua obra ensina sobre o efeito estético em suas relações com a angústia e o objeto a. Esta investigação surge de uma pesquisa anterior que possibilitou uma articulação do real e do objeto a com o terror por meio do vínculo com a angústia como afeto desejado nesse tipo de ficção. Para isso, segue-se o rastro deixado por Lacan, onde a partir da matéria de criação do artista e sua tentativa de representação, algo aparece como resto, como íntimo daquilo que insistiu em uma resistência à representação e, ainda, no que concerne à sua forma de trabalhar com a arte e seu modo original de colocá-la em relação com o real. As formulações freudianas sobre a angústia compõem, nesse trajeto, um eixo central desta investigação. Expoente de uma tradição cujas marcas literárias permanecem até hoje, Poe é tomado como objeto de estudo, de modo particular, pelo lugar que ocupou no ensino de Lacan. Partindo desse tratamento possível dado pela arte ao real, em suas relações com a angústia, investiga-se que tipo de procedimento está destacado na obra de Poe, tomando como ponto de partida a Mulher Fatal e o objeto estranho presente em sua obra. Configura-se, outrossim, como essencial em seus escritos o efeito que, contra a vontade do Eu, portanto contra a vontade do próprio sentido, é provocado no leitor por esse objeto e que denuncia a própria causa da criação artística. Nos contos de Poe, observa-se o tratamento conferido à figura feminina e o comparecimento de um objeto estranho na trama, opta-se assim, pelos contos por proporcionarem uma produção mais aproximada do que queremos delimitar como objeto a, sem abster de trazer contribuições esporádicas de sua poesia. Parte-se do olhar e da voz como objetos pulsionais que guiaram a escuta da escrita de Poe e delimitou-se de forma mais precisa a relação destes com a angústia, guiando-se pelos textos psicanalíticos que tratam da angustia e do objeto a. Os contos indicam formas de relação dos sujeitos com esse elemento arcaico (objeto a) e que irão desencadear a angústia por manterem uma associação intrínseca com a perda subjetiva primordial. O que causa estranhamento, seja na voz do primeiro conto, no olhar de Ligeia no segundo ou nos dentes extraídos do terceiro, é o caráter positivo que o mesmo estabelece em face do que não deveria aparecer, já que se constitui como perda subjetiva desde a sua origem. Aponta-se, aqui, algo que aparece no lugar que deveria estar vazio e da relação desse surgimento com a angústia e o efeito ligado ao estranho.Pereira, Caciana LinharesBrito, Rafael Ângelo de Oliveira2020-02-06T14:17:15Z2020-02-06T14:17:15Z2019info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfBRITO, Rafael Ângelo de Oliveira. A angústia e o objeto a na obra de Edgar Allan Poe. 2019.100f. Dissertação (Mestrado)- Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2019.http://www.repositorio.ufc.br/handle/riufc/49892ark:/83112/001300000v8kfporreponame:Repositório Institucional da Universidade Federal do Ceará (UFC)instname:Universidade Federal do Ceará (UFC)instacron:UFCinfo:eu-repo/semantics/openAccess2020-02-06T14:17:16Zoai:repositorio.ufc.br:riufc/49892Repositório InstitucionalPUBhttp://www.repositorio.ufc.br/ri-oai/requestbu@ufc.br || repositorio@ufc.bropendoar:2024-09-11T18:18:22.925780Repositório Institucional da Universidade Federal do Ceará (UFC) - Universidade Federal do Ceará (UFC)false
dc.title.none.fl_str_mv A angústia e o objeto a na obra de Edgar Allan Poe
Anguish and object a in the work of Edgar Allan Poe
title A angústia e o objeto a na obra de Edgar Allan Poe
spellingShingle A angústia e o objeto a na obra de Edgar Allan Poe
Brito, Rafael Ângelo de Oliveira
Edgar Allan Poe
Objeto a
Psicanalise e Arte
title_short A angústia e o objeto a na obra de Edgar Allan Poe
title_full A angústia e o objeto a na obra de Edgar Allan Poe
title_fullStr A angústia e o objeto a na obra de Edgar Allan Poe
title_full_unstemmed A angústia e o objeto a na obra de Edgar Allan Poe
title_sort A angústia e o objeto a na obra de Edgar Allan Poe
author Brito, Rafael Ângelo de Oliveira
author_facet Brito, Rafael Ângelo de Oliveira
author_role author
dc.contributor.none.fl_str_mv Pereira, Caciana Linhares
dc.contributor.author.fl_str_mv Brito, Rafael Ângelo de Oliveira
dc.subject.por.fl_str_mv Edgar Allan Poe
Objeto a
Psicanalise e Arte
topic Edgar Allan Poe
Objeto a
Psicanalise e Arte
description It is proposed, in this research, to analyze the work of Edgar Allan Poe from the reading and review of his productions, with the aim of investigating how his work teaches about the aesthetic effect in his relations with anguish and the object a. This investigation arises from a previous research that made it possible to articulate the real and the object a with terror through the link with anguish as the desired affect in this type of fiction. For this, the trail left by Lacan follows, where from the artist's creation material and his attempt at representation, something appears as a remainder, as intimate with what insisted on a resistance to representation and, still, with regard to his way of working with art and his original way of putting it in relation to reality. Freud's formulations about anguish make up, in this path, a central axis of this investigation. An exponent of a tradition whose literary marks remain today, Poe is taken as an object of study, in particular, for the place he occupied in Lacan's teaching. Starting from this possible treatment given by art to reality, in its relations with anguish, we investigate what type of procedure is highlighted in Poe's work, taking as its starting point the Fatal Woman and the strange object present in his work. Furthermore, the effect that, against the will of the Self, therefore against the will of its own sense, is provoked in the reader by this object and which denounces the very cause of artistic creation, is essential in his writings. In Poe's tales, the treatment given to the female figure and the appearance of a foreign object in the plot are observed, thus opting for the tales to provide a production closer to what we want to delimit as an object, without refraining from bringing contributions sporadic of his poetry. It starts with the look and the voice as pulsating objects that guided the listening of Poe's writing and the relationship between these and the anguish was more precisely delimited, guided by the psychoanalytic texts that deal with the anguish and the object a. The tales indicate forms of the subjects' relationship with this archaic element (object a) and that will trigger the anguish for maintaining an intrinsic association with the primordial subjective loss. What causes strangeness, whether in the voice of the first story, in the look of Ligeia in the second or in the teeth extracted from the third, is the positive character that it establishes in the face of what should not appear, since it constitutes a subjective loss since the your origin. It is pointed out, here, something that appears in the place that should be empty and the relationship of this emergence with anguish and the effect connected to the stranger.
publishDate 2019
dc.date.none.fl_str_mv 2019
2020-02-06T14:17:15Z
2020-02-06T14:17:15Z
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dc.identifier.uri.fl_str_mv BRITO, Rafael Ângelo de Oliveira. A angústia e o objeto a na obra de Edgar Allan Poe. 2019.100f. Dissertação (Mestrado)- Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2019.
http://www.repositorio.ufc.br/handle/riufc/49892
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identifier_str_mv BRITO, Rafael Ângelo de Oliveira. A angústia e o objeto a na obra de Edgar Allan Poe. 2019.100f. Dissertação (Mestrado)- Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2019.
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