Vivemos em um tempo em que o mal-estar se radicaliza e se expressa em manifestações de intolerância. Buscamos sustentar a intolerância como fruto do mal-estar presente na constituição das fronteiras nos campos social e subjetivo e nos modos de circulação entre territórios. Há na intolerância uma posição do sujeito pautada pela ignorância consentida das complexidades em jogo - sociais, políticas, históricas, culturais, linguísticas ou psíquicas. Nessa operação, há um tripé: a paranoia como matriz do conhecimento da lógica liberal, que mantem o imaginário de uma sociedade sob ameaça e incita o medo da alteridade como afeto político central e o ódio como coadjuvante. Em uma lógica identitária, que se presta a certa ‘obturação’ da aventura do desejo, o outro se torna sinônimo de inimigo ou objeto de uma indiferença radical que preconiza o seu desaparecimento. A ignorância obscurece a ambivalência que está no cerne do sujeito e da agressividade que habita cada um. Mas, se de um lado, o ódio ou o desejo de destruição são constitutivos; de outro, é de escolha e responsabilidade do sujeito colocá-lo em ato.
This research presents the thesis that, in the Sigmund Freud's works, there are theoretical elements that argue in favor of a certain notion of "horror" in psychoanalysis. A mapping of the presence of the term "horror" and variant expressions with the same radical was carried out, taking into account their different versions of translations into Portuguese. This mapping pointed to four German terms used by Freud, which were often translated as "horror" in Portuguese: 1) Furcht; 2) Schreck; 3) Scheu; and 4) Grauen / Grausen. Each term was analyzed according to its etymology offered by dictionaries, Freud's commentators and translators, as well as by the psychoanalyst himself. Next, a theoretical context was elaborated, listing the terms with their respective concepts and notions. Possible indirect theoretical influences were traced, as well as internal articulations related to psychoanalytic discoveries in their clinical dimension. Incidences of interdisciplinarity in the contextualization of these terms and their respective concepts or notions in Freudian thought were also pointed out. The investigation of these terms culminated in the discovery of countless images, sometimes directly pointed out by Freud, but also inferred as the proposed discussions demanded. In the research, these images had the function of illustrating certain objects descriptions, but they also had their own function. They generated a reflection on the proposed theme, which was not exposed in the form of text, but in the form of a digital mosaic that was elaborated and which received the title "Horror Mnemosyne". More than presenting horrible images or images of horror, the mosaic is an iconographic mapping of the research path undertaken, and at certain moments it is especially the images themselves that indicate the path of argument that was followed in the text. In the research, images related to the Greek myth of Medusa stood out, mainly those that represent the head of the severed gorgon. Freud's unfinished manuscript, "The head of Medusa", was an important articulator of the images and words approached during this investigation, since the gorgóneion [head of the gorgon] was suggested by him as an important symbol of horror. A conception of "horror" in Freud can only be stipulated in view of the observation of the polysemy of words and the survival of images. Such findings led the investigation to highlight the presence, in Freud's works, of a gesture of horror, tributary to the clinic, but which finds its antecedents in the thought and work of Charles Darwin and Jean-Martin Charcot. Therefore, the thesis points to three levels of incidence of horror in Freud's work: 1) horror as a word; 2) horror as an image; and 3) horror as a gesture. These three axes are developed in an interlaced and fluid way, revealing their intrinsic and dynamic mooring.
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