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This article explores the representation of wrath in relation to the topic of shipwreck in literary texts from 17th-century Spain. As seen in the emblematic genre of the time, as well as in novellas and theatre plays, wrath is represented as the shipwreck of reason. Lack of control and the destruction of the mind as consequences of anger are associated with the capsizing of ships in marine storms. From the Renaissance and well into the late 17th-century, a sound mind is figuratively equivalent to the tranquil voyage in which the ship is in control of the maritime space. By contrast, the reckless and uncontrollable mind is comparable to the ship tossed and destroyed by the tempest, unable to return from the abyss of the ocean depths. As demonstrated in the literary texts of the time, to let the mind be taken over by the passions, particularly wrath and love, was frequently correlated with madness and, thus, with moral decline, as under contemporaneous thought, insanity was connected to ethical degeneration and conversely, sanity with Christian virtues. Moreover, the symbolic implication of the shipwreck motif in Early Modern Spanish literature also reflected the medical notions of the time—namely those related to the bodily humors. Within these sociocultural coordinates, wrath and unrequited love are correlated to choleric and melancholic natures that can lead to madness and social unrest. In sum, the connection of wrath to nautical devastation is an effective means to convey social and political commentary and transmit didactic messages.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The novel In the Castle of My Skin (1953) by Barbadian author George Lamming can be reread from a planetary perspective (Spivak 2003; Pratt 2022). In this way, two large areas of inquiry into alterity become evident that link the human with the non-human as forms of resistance to colonial modernity. On the one hand, a planetary melancholy (Apter 2013), which comes into tension with post-imperial melancholy (Gilroy 2004), becomes noticeable in the processes of loss of young G. in the face of the disintegration of the colonial world and childhood from of the emergence of the climatic force, the flood of the first chapter. On the other hand, two forms of criticism within the narrative that warn about the collapse of the colonial world, which are thought through a previous tradition in the character of the Old Man (Jonas 1988) and planetary humanism (Gilroy 2000) in the character of Trumper. These are complex procedures that deactivate the usual readings of the conflicts between nature and culture to reread not only new forms of resistance to the colonial modernity of the 20th century, but also inscribe the work outside the field of World Literature.

The poem Litania da Velha (Cruz, 1997), by Arlete Nogueira da Cruz, condenses the relationship between the narrative of an old woman and the city of São Luís, especially the Historical Center. It is within this scenario that the lyrical subject weaves the melancholy of the passage of time, in the course of daily life, permeated by old age, abandonment and sacred/profanity. In this sense, the research has as objectives: to understand the presence of melancholy constructed within the text in question; to discuss the verisimilitude between the space and the Old Woman; to analyze the discourse of the abandonment of minors and the sacred in the poetics. To do so, it was necessary to follow a qualitative and bibliographic methodology, listing authors such as Walter Benjamin (1989), Marcelo Lima Costa (2016), Dinacy M. Corrêa (2010), among other relevant works in the area. Thus, the present work stands out because it proposes a different perspective on the consecrated poem from Maranhão, as well as because it highlights the local literary production. [ABSTRACT FROM AUTHOR]

This article proposes a reading into “Biografia involuntária dos amores”, by João Tordo (2017). This book, from the perspective of contemporary Portuguese Literature, is read for its cosmopolitanism, uprooting and ontological vacuum. Based on an incomplete manuscript left by Teresa Brión, the narrator sets out on a melancholic itinerary through different spaces. However, at several moments he leaves open the possibility that nothing is true, everything is made up or even dreamed. As a theoretical contribution to the proposed approach to the study of melancholy and writing, we have theorists such as Freud (1996), Ginzburg (2011), Benjamin (1984), Silva (2016), Silva (2017). [ABSTRACT FROM AUTHOR]

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The article analyses the conceptual foundations of Parmigianino in relation to his Hermetic and Neoplatonic ideas and alchemical practice, which were important in Renaissance Italian culture. Parmigianino's Self-Portrait in a Convex Mirror is viewed as an embodiment of the artist as a demiurge, a creator of a brand new universe. The article highlights the symbolic and metaphysical significance of the convex mirror, reflecting the artist's creative power and the hidden values of reality. Melancholy, associated with Saturn, was a characteristic of artists and intellectuals in that cultural context. The article discusses Parmigianino’s frescos of Diana and Actaeon, a myth that symbolizes the pursuit of wisdom and the transformative process of the alchemist. Finally, it is also examined Parmigianino's potential interest in alchemy based on historical accounts. The controversy surrounding Parmigianino's involvement in alchemy is discussed, along with the opinions of various scholars

The relationships between trauma, melancholy and artistic creation, in the autofiction Une Mélancolie Arabe(2008), by Abdellah Taïa, are the background for the cinematographic and literary initiation of the protagonist, Abdellah, a Moroccan living in Paris. The purpose of this article is to show that this narrator-character, from a peripheral country, when experiencing the mourning of his origin and the cultural idealization of the host country, problematizes a relevant issue for comparative literature, debating, during return trips to countries Arabs, the idealization of the French capital as a reference for intellectual training. The hypothesis put forward is that, when experiencing initiatory rituals, in which artistic work and social and erotic interactions intertwine, the narrator finds himself confronted with the imaginary frustration embodied by the body and language of the other, ending up reinventing his place as a francophone writer. The theoretical-methodological contribution consists of the concepts of melancholy, by Sigmund Freud; não-lugar da literatura, by Eneida Souza; différance, by Jacques Derrida; ethical violence, by Judith Butler; and minor language, by Deleuze and Guattari.

The article discusses the book "Le Cas Jonas - Essai de phénoménologie clinique et criminologique" by Englebert and Cormann, which proposes an innovative model of clinical analysis combining different areas. The case of Jonas, a man who goes through a state of melancholy after the death of his mother, is explored as an act of freedom in the face of the loss of meaning in his life. The authors highlight the insufficiency of the diagnosis of major depressive disorder with melancholic characteristics and propose a phenomenological approach to understand the case. The book invites us to rethink clinical phenomenology and criminology. [Extracted from the article]

Rejecting the aesthetic and thematic exuberance of the first phase of modernism in Brazil and reinforcing, from the 1930s onwards, through fiction, a gloomy mistrust of the social, economic and political changes that were taking place in the country at the beginning of the century, Cornélio Penna produced a fundamentally melancholic literature. Based on authors who reflected on the malaise of the modern man, this article investigates the devices through which that pessimistic melancholy dissolves in the construction of the plots and characters, in their spatial and subjective dimensions, of Penna’s first two novels, Fronteira (1935) and Dois romances de Nico Horta (1939). [ABSTRACT FROM AUTHOR]

The conceptions of lovesickness and of its remedies that emerge in the Decameron result from a medical tradition that in previous centuries was assimilated by the Latin culture. The case of the Decameron is particularly interesting because this work was composed during the Black Death epidemic, between 1348 and 1354. Boccaccio’s Decameron seems to be situated in a tension between two diseases: the black plague, from which the brigata tries to escape, and lovesickness. It is quite significant that Boccaccio dedicated his work to women who love and need the comfort of literature, thereby addressing a new ideal of noble women, not based on their wealth, but on their intelligence and sensitivity. Women are often victims of their melancholy, because they have no opportunity to distract themselves, being confined to the private space of their rooms. Boccaccio describes women as being subject to passion and illness, so that the lovesickness cases described in the Decameron strongly allude to the discrimination of women and to the oppression they had to endure. An explicative example that testifies to the preeminent role that the medical culture played is Decameron X, 7, in which Lisa, the daughter of an apothecary, strangely cannot be healed by pharmacological remedies that her father knows, and not a single physician can help to heal her lovesickness. The case of Lisa can be interpreted as an exemplum: a woman afflicted by the same sickness as Lisa could understand how to behave by means of reading of this novella. Moreover, this paper will demonstrate that a useful outline of Lisa’s symptomatology can be found in Dino del Garbo’s commentary on Guido Cavalcanti’s poem Donna me prega.

The essay aims to analyze the writings of Gianni Celati and his way of ‘re-narrating’ and ‘re-mapping’ the environment in contemporary times, focusing on two trilogies, namely Narratori delle pianure (1985), Quattro novelle sulle apparenze (1987) and Verso la foce (1989), as well as on the collections of short stories Un eroe moderno (2008), Il benessere arriva in casa Pucci (2008), and Selve d’amore (2013). The paper discusses how the themes addressed by the author, who assumes the role of a flâneur of postmodernism, are a way to express his continuous nostalgia for the naturalness, simplicity, and originality of living and narrating.

Why had the neoliberal and antipopular reforms occurred at Brazil (during Bolsonaro's government) been extensively supported by its people? To answer this question, this paper uses the concept of disaster capitalism to define neoliberalism as a political program that constitutes a specific rationality. This concept, however, turned out to be insufficient to explain the subjective mechanisms involved in the popular support to the reforms. The hypothesis of melancholy - based on the freudian psychoanalysis - was used as a resort, since it uses the identification processes to explain popular submission to a leader, even though their political program is consisted in antipopular reforms and the dismantling of the brazilian State. [ABSTRACT FROM AUTHOR]

The article proposes an initial reflection on queer modernisms in Brazil, more specifically, in the cultural, intellectual and artistic scenarios of the city of Rio de Janeiro (RJ) that took shape from the 1920s onwards. In its first part, the text presents a critical review of a set of North American and European studies on modernisms and queer modernisms that were produced from the 1990s onwards. In a second moment, the article focuses on connecting in a preambular way the life and work of artists such as Lúcio Cardoso, Mário Peixoto, Alberto Cavalcanti and Farnese de Andrade, four artists of dissident gender and/or sexualities who lived and/or passed by the capital of Rio de Janeiro and that could, more than being studied in isolation, be constellated as a group of queer modernists who were on the margins of the canon of Brazilian modernism. In this way, the article presents itself as a first attempt to fill a lack of studies regarding the ties between queer studies and modernisms in Brazil, above all to expand the narrow bibliography regarding the possible articulating sensibilities of ethical and aesthetic problems of queer modernisms. [ABSTRACT FROM AUTHOR]

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Based on the theory of Arthur Coleman Danto I try to outline possible similarities between the state of art after its end and the state of melancholy. The melancholic breaks the order, thus paradoxically drawing its boundaries. Aristotle’s Problems, Robert Burton’s Melancholia, and a study of Melancholia of theorist László F. Földényi help us to name characteristics of this state.

The objective of the study “Philosophical and literary refl ections on the pandemic in Carta ao Coronavírus (March 22, 2020) by Timorese Dadolin Murak” is to present, on one side, the socio-political context of the outbreak of the COVID-19 pandemic, the emergency measures enacted by the international and Timorese authorities, as well as the denial of the pandemic by Giorgio Amgaben and the opposite criticism by Yara Frateschi; and, on the other, to analyze the literary text, according to the refl ections on exaustion (Pelbart) and melancholy (Agamben), and the facets of individualism and those of solidarity. In addition, the role of the intelectual (Sartre), activist or writer, who takes a stand on diff erent social issues, will be considered. Murak denies Agambem´s fallacy about the invention of the pandemic. [ABSTRACT FROM AUTHOR]

Drawing on the concept of “left-wing melancholia”, introduced by Enzo Traverso, this paper explores Eric Hobsbawm’s melancholic perspective on the short twentieth century. It evaluates Hobsbawm’s hypothesis about the role of fear of communism in social­‑democratic reforms and argues that social-democratic intellectuals, both in history and political economy, share his pioneering diagnosis. [ABSTRACT FROM AUTHOR]

The purpose of this work is to discuss the suicide and its structure of the act, taking as its premise that the satisfaction present in self-punishment introduces the Lacanian perspective on passage to the act and acting out. For the construction of this study, the metapsychology of melancholia in its differentiation from the mourning process, the myth of Ajax, of Sophocles, and the Freudian case about the Young Homosexual Woman were used as basis, to explore the positioning of the Ego and the object as intrinsic gear to the suicidal act. Given that Ajax lets himself fall on the sword and the Young Homosexual Woman survives after throwing herself off a bridge, what is noticeable is that there is in the fall the outcome of something that would no longer be bearable. It is in this movement that the egoic constitution is transposed and the subject throws himself out of the scene, by identifying himself with object a, in a last exit. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper discusses Bacurau, by Kleber Mendonça Filho and Juliano Dornelles, focusing, from the perspective of materialist-dialectical criticism in a country of dependent capitalism, the treatment of the modern-archaic binomial and melancholy, in which appear, as allegories, Brazilian artistic works. The paper also debates the figurations around the nation project, social transformation, and the resistance of the popular classes in contemporary Brazil. [ABSTRACT FROM AUTHOR]

Copyright of Aufklärung: Revista de Filosofia is the property of Aufklarung: Revista de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The canso of the troubadours is devoted to the expression of love. It is a didactical poetry? Does it learn to love, or to be careful to the traps of love? The dangerous experience of the melancholia is one of its most important subjects. This article will to examine tree points. The first one is the lyric definition of the melancholia, which is built in a parallel to the medical models; the nature of the lover or of the beloved one, which can make the melancholy possible or impossible; the conflict between the ideal and the reality, and, for the last point, the solutions for the love melancholy, and the questions they cause.

The novel The Sea (2005), by the Irish writer John Banville, is a narrative that provides an analysis of grief and melancholy that affect human beings, as the plot has a memorialist nature and is loaded with these two loss reactions. The novel's protagonist and narrator, Max Morden, a sixty-year-old man, tells about his past and important losses, that ended up profoundly affecting the way he dealt with life. First, the tragic loss of the twins Myles and Chloe, in the protagonist's childhood that generated the trauma of swimming. Later, in his old age, Max loses his wife to cancer, that motivates his return to the childhood landscape, the little town of Ballyless. The mourning process is followed by Max's state of melancholy, his particular feeling, from the moment he decides to return to his past and retell it in a therapeutic perspective. In this perspective, we discuss the reactions of loss, mourning and melancholy in the novel The Sea based upon authors such as Walter Benjamin (1984), Moacyr Scliar (2008), Sigmund Freud (2013), Kathleen Costello-Sullivan (2018), among others, that contribute to the understanding of these feelings. Thus, the article proposes to reflect on the writing of John Banville and on the way he analyzes the affective procedure of Max, who, in two different moments of his life, goes through the process of mourning and reacts in a melancholy way. [ABSTRACT FROM AUTHOR]

This paper discusses the role of color in the literary narrative and the use of symbologies as a means of guiding the character in the trajectory and impacting the construction of relationships with the surrounding people. The Yellow Wallpaper is a short story first published in January 1892 by the American writer Charlotte Perkins Gilman. It describes a marriage relationship, and a young wife suffering from "temporary nervous depression" after the birth of their baby is mediated by the yellow color. In this sense, the objective of this work is to analyze and discuss how the chromatic element is used and how it interferes with the narrative of the short story "The Yellow Wallpaper". From that investigation, thus, this research aims to discuss and encourage the use of color as a narrative tool, based on the studies of discursive semiotics. To do so, the methods and concepts used for the analysis were based on Julien Greimas' works. The results point at a range of meanings that vary along with text according to the protagonist's relationship with her environment and its yellow wallpaper. From consternation to excitement, yellow color plays the role of guiding the character from a feeling of melancholy, going through a context of disgust and refusal, changing to a feeling of instigation and pleasure, finally reaching a state of obsession with the yellow wallpaper. [ABSTRACT FROM AUTHOR]

This paper analyze the use of photography in the documentary The Pearl Button, by Patricio Guzmán (2015). Among the multiple elements that make up the story proposed in the film, photography appears as a thread that links the different episodes of the national past recalled by the filmmaker, which focus on the twilight of the indigenous peoples of Tierra del Fuego and the disappearance of leftist militants during Pinochet’s military dictatorship. If photography is the visual index that refers to both moments, political violence is the practice that historically crosses them. From a historical point of view, the article focuses on the relationship between the photographs used in the documentary, the disappearance as a repeated mechanism of state violence, and the melancholic vision of the filmmaker in the face of the end of certain “community projects” in Chilean history.

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Copyright of Revista de Ciências Sociais - Brazil is the property of Revista de Ciencias Socias do Universidade Federal do Ceara and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Melancholiform states in different clinical configurations challenge us to investigate their relationship with narcissistic pathologies in postmodernity. We present a study based on freudian propositions in an attempt to update them in the clinical context of current civilization. Without the belief in an Other capable of transmitting the operation of castration to negate the instinctual orality regime and metaphorize it through the sexual sense, a massively masochistic position emerges that enjoys with the experience of feeling excluded and discredited. Considering the consumer practices that are widespread in contemporary democracies, the article circumscribes that the disappointment with the universal Other that does not exist can trigger imaginary phenomena in subjects who break with the symbolic order at the cost of self-destruction. [ABSTRACT FROM AUTHOR]

This study analyzes the poetics of the photographic registers of Severo Sarduy (Cuba, 1937-1993), Pedro Lemebel (Chile, 1952-2015), Alair Gomes (Brazil, 1921-1991) and Hudinilson Júnior (Brazil, 1957-2013). By body and artifice, sensibilities traverse the works that revisit not only baroque, but the neobaroque in its aesthetic dimension. By a folding, we look between queer and photography to think about the performative of the body as image through melancholy and trauma. What we call the "skin of images" is close to a texture of the in-between look that touches us, like a surface that extends from one skin to another. [ABSTRACT FROM AUTHOR]

The present article, based on a critical and biographical study, brings reflections on the production of the Paraguayan poet Hérib Campos Cervera, related to melancholy as a psychoanalytic construct and literary product. The text is anchored in discussions around exile (SAID, 2003), biography and biographical criticism (ARFUCH, 2010; SOUZA, 2005, 2011), melancholy (FREUD, 2006; KRISTEVA, 1989), and memory (DERRIDA, 2001). In summary, we carefully examined the studies in Cervera's biographical and intellectual dimensions through the postulates of psychoanalysis in order to understand the role of grief and melancholy in the two mentioned poles, life, and work. [ABSTRACT FROM AUTHOR]

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Copyright of Metafísica y Persona. Revista Sobre Filosofía, Conocimiento y Vida is the property of Universidad Popular Autonoma del Estado de Puebla A.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Thanks to numerous immigrants moving to Montreal, the city has become very favorable to a meeting of cultures and individuals among which many artists of Jewish origin. Those who seek to integrate into the new society go through an often painful journey complicated by the feeling of loneliness, the effort to belong to the community, the desire for love and fulfillment, as well as the dark past common to the entire Jewish world of Eastern Europe. All these features are present in two Montreal novels: Régine Robin’s La Québécoite and Naïm Kattan’s La Célébration. Two facets of sadness will be analysed: melancholy and nostalgia.

This paper aims to analyze the temporal relations and the hostility of the surrounding spaces experienced by the narrator-protagonist of O verão tardio (2019), by Luiz Ruffato. We propose that the realism in this work is not due to the richness of detail with which the narrator describes the world around him, or the objectivity of the narrative that evokes social critique, but rather the subjectivity of a particular - and therefore limited - gaze about the same fictional world. The confessional tone of the first-person narrative is the first element to establish empathy between the reader and the protagonist - a melancholic man, whose physical sensations are on the surface of the text and whose mechanical and repetitive gestures question the value of adapting to social expectations, and the relationship between the subject, his past and his hopelessness regarding the future. We rely on the theoretical support of Schøllhammer's (2009, 2012, 2020) discussions about affective realism as a trend in recent Brazilian literature (to which we align our reading of the novel), Pellegrini's critical observations on Ruffato's work and the contributions of Ginzburg (2012, 2017) about the narrator, and about violence and melancholy as constitutive elements of relationships throughout the history of Brazilian literature and society. [ABSTRACT FROM AUTHOR]

In this essay, we offer an epistemological view on how the Bolsonaro's catastrophe around the covid-19 pandemic imposed on journalism a search for a "melancholic reinvention of history". Starting from two Jornal Nacional TV broadcasts of deaths by the disease, we methodologically activate references around another concept of rein vention of history and melancholy. Through this, we are also faced with a crisis in Brazilian journalism, pointing to a crisis of memory and of ways of thinking about temporalities. [ABSTRACT FROM AUTHOR]

In this article, I analyze the position of Madame de Staël on the pursuit of happiness, the treatment of passions and the role of compassion, three central themes in Schopenhauer, but with which she articulates a different path to the denial of the will and the mere affirmation of the will. Madame de Staël interpreted compassion, that feminine passion par excellence in Schopenhauer, also in a broader way and in which ethics and politics combine in relation to the art of living instead of denying the will.

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Desenvolvimento e Meio Ambiente is the property of Universidade Federal do Parana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main objective of this article is to critically analyze the romance "Bárbara no Inverno", present in the book A cidade ilhada (2009), by the contemporary brazilian writer Milton Hatoum. Based on the main theories about the modern tale, anchored in the discussions of Edgar Allan Poe, Julio Cortázar and Ricardo Piglia, he understands it is a succinct and condensed narrative, who aims to a surprise effect. In this sence, the analysed tale, predict a disaster history, revealed at the end of the text.The deterritorialized of exile and desolation experience reinforces the situation of abyss and fall in which the characters go through. In this way, it is sought, through the theoretical formulations of Edward Said and Julia Kristeva, to understand the exile's phenomenon as a catalyst for the subject emptying and the deep felling of melancholy. Associated too to the conceptions and thoughts of A escritura do desastre (2016) by Maurice Blanchot. It is concluded, after all, the female protagonist is devasted, at the same time, for the misfortune of exile and for the abandonment which is a culminating fact of her subjective disaster. [ABSTRACT FROM AUTHOR]

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Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we intend to examine the origins and the expression of moral masochism in a woman and, especially, the role of moral masochism in the construction of the feminine, approaching it from the clinical material of the psychoanalytic therapy of a 36-year-old woman dealing with extreme guilt after having an affair. We will analyze, based on the contributions of classic psychoanalytic theory, the connections between femininity and moral masochism, contemplating mostly the aspects of childhood and phantasmatic life, mainly oniric life, of this patient. Our attention will be pointed towards the relationship she established with others, especially the parental figures, focusing in pre-oedipal and oedipal problematics of her psychic life, which, in our analysis, are at the origin of her moral masochism. At last we shall question the role of moral masochism in the patient's religious practice. [ABSTRACT FROM AUTHOR]

The present article has as its main objective the analysis of the testimony of a family member of a missing political dissident that disappeared during the Brazilian military dictatorship, which was published as a book in 2012 under the title Before the past: the silence that comes from Araguaia. Having as its starting point the perspective that the narration contributes to overcoming the trauma of those who are willing to express their life experiences, the approximation between the feelings of grief and melancholy through psychoanalysis and understanding melancholy as a variation of mourning, as Idelber Avelar points out, it is intended to highlight passages in Liniane Brum's narrative testimony that operate as a form of resistance to the silencing policy that surrounds the theme of dictatorship in Brazil, also functioning as a melancholic writing that contributes to the resolution of trauma and grief. [ABSTRACT FROM AUTHOR]