Thesis (M.A. (Fine Arts))--University of the Witwatersrand, Faculty of Humanities, School of Arts, 2016. / The early part of this dissertation is concerned with a particular period (1946-­‐1969) in sculptor Louise Bourgeois’ life when her artistry and her psychoanalysis overlapped for the first time. Within this time frame, the years 1952 – 1969 reference a particular period when she was in deep psychoanalysis with Dr. Henry Lowenfeld, a period, which profoundly affected her self understanding and associated art practice. By establishing her positioning within a story of Modernism (as a departure point) I will then go on to consider how the more traditional historical readings of her work can be used to understand her work and behavior within a more pronounced psychoanalytic frame. From this positioning I will reconsider Bourgeois’ artistic practice as being deeply linked to an unconscious need to repair early psychic ruptures with maternal and paternal caretakers. From a Kleinian position I will foreground Bourgeois’ predisposition to sculpt as a reparative enactment driven by her primary internal Object-­‐Relations. Key works and free-­‐associative written material (composed in relation to her psychoanalytic sessions from the outlined time frame) will provide evidence for her psychic shifts over the period. These will be investigated in relation to changes in her sculptural output -­‐ key signifiers of repressed psychic experience, becoming conscious. The dissertation seeks to understand the relationship between these two investigative processes (art and psychoanalysis). Similarly, with reference to Bourgeois, the latter half of this project will investigate my personal (parallel) experience as a sculptor and analysand1 . In relation to both enquiries, I will specifically consider the therapeutic relationship between the physical act of making artworks and the verbal psychoanalytic experience. In an effort to understand how the pairing of these two communicative modalities might impact artistic experience. / MT2017

Orientador: Luzia Margareth Rago / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T13:44:06Z (GMT). No. of bitstreams: 1 Laurentiis_GabrielaBarzaghiDe_M.pdf: 188718690 bytes, checksum: efdce2b517714ad07709da63f618f70c (MD5) Previous issue date: 2015 / Resumo: Esta dissertação aborda a produção artística de Louise Bourgeois, focando as formas corporais trazidas em suas obras. Trata-se de perceber como sua arte possibilita elaborar críticas ao modelo falogocêntrico do feminino e, simultaneamente, abre possibilidades para a criação de formas múltiplas das subjetividades das mulheres. A produção de sentidos para as obras é realizada a partir de uma orientação teórica e metodológica feminista e pós estruturalista, apresentada, principalmente, nos escritos de Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago e Michelle Perrot / Abstract: This research addresses the artistic production of Louise Bourgeois, focusing on the corporal forms expressed in in her pieces. It pertains the perception of how her art enables the possibility to criticize the phallogocentric model of feminine and, simultaneously, allows the creation of multiple forms on the women subjectivity. The production of meanings for her works is accomplished trough a theoretical and methodological feminist and post structuralist orientation, presented, mainly, in the writings of Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago and Michelle Perrot / Mestrado / Historia Cultural / Mestra em História

Composé de deux parties, le mémoire « Posthumes. Inventaire » suivi de « Fragments et photos exhumés du garde-robe, un archivage » s'intéresse à la consignation de souvenirs d'enfance rattachés à un événement traumatique. Il cherche à saisir de quelle façon un adulte arrive à consigner sa mémoire lorsque, dans l'enfance, on l'a tenu à l'écart d'un événement traumatisant. Dans un premier temps, la partie de création du mémoire offre, sous forme de fragments, une accumulation de souvenirs qui, à l'image d'un album photos, dresse le portrait d'une enfance marquée par le suicide d'un proche. À travers les souvenirs relatés, la narratrice retrouve et expose des lieux et des situations de son enfance dont le sens est teinté par le suicide de la conjointe de son père. La seconde partie, quant à elle, est constituée d'un dossier d'accompagnement offrant un éclairage théorique sur l'œuvre de création. Dans cette partie, l'auteure présente et explique sa démarche de création, tant sur le plan de la forme que de la méthode de travail, tout en définissant les diverses influences et réflexions qui ont mené à la rédaction du mémoire de création. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Souvenirs, mémoire, enfance, suicide, traumatisme, filiation, fragments, perte, famille, deuil, Louise Bourgeois, Mélanie Gélinas, Denise Desautels.

A tese que aqui se apresenta tem por finalidade proceder à análise crítica do processo de criação dos artistas José Leonilson e Louise Bourgeois. Fazendo uso da metodologia da Literatura Comparada, entendida em termos de investigação do espaço intervalar, pressupõe-se sua eficácia na análise de obras tais como as dos artistas citados, consideradas em função de três elementos principais. São estes a relação entre o processo de criação e a subjetividade; o desenvolvimento de temáticas de ordem afetiva e a elaboração de peças que congregam elementos visuais e verbais. Tomou-se como pressuposto a possibilidade de reflexão a respeito do sentido da produção dos artistas tendo como base a noção de ressonância entre palavras e imagens poéticas, conforme sugerido por Gaston Bachelard. Nesse sentido a tese propõe um aprofundamento do espaço intervalar da Literatura Comparada, identificado na alternância entre aproximação e distanciamento entre imagens. Assim procedeu-se operativamente a um trabalho de análise da obra de Leonilson e Bourgeois de forma associativa, buscando a ressonância do sentido de suas imagens em imagens poéticas e literárias que também refletem sobre a relação entre a subjetividade e o processo de criação, bem como elaboram uma dimensão afetiva. Tais procedimentos, sustentados em estudos críticos sobre a poesia, permitiu delimitar alguns elementos fundamentais para a caracterização do espaço intervalar de criação de Leonilson e Bourgeois. A tese desenvolve-se sobre as noções de gesto poético e imagem poética, as quais permitem caracterizar o espaço de criação dos artistas nos termos de uma paisagem litorânea desenhada pela conversa entre o artista e o outro. Conversa constituída na alternância entre fala e silêncio. / This thesis aims to analyse José Leonilson’s and Louise Bourgeois’ creative processes. The applied methodology relies on the conception of Comparative Literature as analytical enterprise operating in “in-between” spaces. Thus, such methodology, as we try to demonstrate, would be adequate as a critical approach of visual art productions such as elaborated by these artists. We operated having on site three main characteristics of their productions. The first of them is the strong relation between the creative process and the artists’ subjectivity. This was observed also in relation to the emotional thematic developed by the artists’, as much as the relation between verbal and visual elements in their pieces. We further assumed that the elaboration of meaning regarding these artists pieces might be developed with the notion of resonance between words and images, as proposed by Gaston Bachelard. In such sense, the thesis tries to enhance the comparative “in-between” space as the space where images alternatively near and distance themselves from one another. Thus, the analysis of Leonilson’s and Bourgeois’ production operated through the association between their images and those of other poetic and literary pieces which also depict on the relation between the creative process and subjectivity, as much as on the emotional dimension claimed by these artists. Such procedures, sustained by critical studies on poetry as well, enabled us to characterise Leonilson’s and Bourgeois’ creative process as an “inbetween” place. In order to reach this place, the thesis operated on the notions of poetic gesture and of poetic images, which unfold in the identification of the creative process as something of the order of a seaside landscape drawn by the conversation between the artist and the other. A conversation sustained by speech as much as by silence.

A tese que aqui se apresenta tem por finalidade proceder à análise crítica do processo de criação dos artistas José Leonilson e Louise Bourgeois. Fazendo uso da metodologia da Literatura Comparada, entendida em termos de investigação do espaço intervalar, pressupõe-se sua eficácia na análise de obras tais como as dos artistas citados, consideradas em função de três elementos principais. São estes a relação entre o processo de criação e a subjetividade; o desenvolvimento de temáticas de ordem afetiva e a elaboração de peças que congregam elementos visuais e verbais. Tomou-se como pressuposto a possibilidade de reflexão a respeito do sentido da produção dos artistas tendo como base a noção de ressonância entre palavras e imagens poéticas, conforme sugerido por Gaston Bachelard. Nesse sentido a tese propõe um aprofundamento do espaço intervalar da Literatura Comparada, identificado na alternância entre aproximação e distanciamento entre imagens. Assim procedeu-se operativamente a um trabalho de análise da obra de Leonilson e Bourgeois de forma associativa, buscando a ressonância do sentido de suas imagens em imagens poéticas e literárias que também refletem sobre a relação entre a subjetividade e o processo de criação, bem como elaboram uma dimensão afetiva. Tais procedimentos, sustentados em estudos críticos sobre a poesia, permitiu delimitar alguns elementos fundamentais para a caracterização do espaço intervalar de criação de Leonilson e Bourgeois. A tese desenvolve-se sobre as noções de gesto poético e imagem poética, as quais permitem caracterizar o espaço de criação dos artistas nos termos de uma paisagem litorânea desenhada pela conversa entre o artista e o outro. Conversa constituída na alternância entre fala e silêncio. / This thesis aims to analyse José Leonilson’s and Louise Bourgeois’ creative processes. The applied methodology relies on the conception of Comparative Literature as analytical enterprise operating in “in-between” spaces. Thus, such methodology, as we try to demonstrate, would be adequate as a critical approach of visual art productions such as elaborated by these artists. We operated having on site three main characteristics of their productions. The first of them is the strong relation between the creative process and the artists’ subjectivity. This was observed also in relation to the emotional thematic developed by the artists’, as much as the relation between verbal and visual elements in their pieces. We further assumed that the elaboration of meaning regarding these artists pieces might be developed with the notion of resonance between words and images, as proposed by Gaston Bachelard. In such sense, the thesis tries to enhance the comparative “in-between” space as the space where images alternatively near and distance themselves from one another. Thus, the analysis of Leonilson’s and Bourgeois’ production operated through the association between their images and those of other poetic and literary pieces which also depict on the relation between the creative process and subjectivity, as much as on the emotional dimension claimed by these artists. Such procedures, sustained by critical studies on poetry as well, enabled us to characterise Leonilson’s and Bourgeois’ creative process as an “inbetween” place. In order to reach this place, the thesis operated on the notions of poetic gesture and of poetic images, which unfold in the identification of the creative process as something of the order of a seaside landscape drawn by the conversation between the artist and the other. A conversation sustained by speech as much as by silence.

A tese que aqui se apresenta tem por finalidade proceder à análise crítica do processo de criação dos artistas José Leonilson e Louise Bourgeois. Fazendo uso da metodologia da Literatura Comparada, entendida em termos de investigação do espaço intervalar, pressupõe-se sua eficácia na análise de obras tais como as dos artistas citados, consideradas em função de três elementos principais. São estes a relação entre o processo de criação e a subjetividade; o desenvolvimento de temáticas de ordem afetiva e a elaboração de peças que congregam elementos visuais e verbais. Tomou-se como pressuposto a possibilidade de reflexão a respeito do sentido da produção dos artistas tendo como base a noção de ressonância entre palavras e imagens poéticas, conforme sugerido por Gaston Bachelard. Nesse sentido a tese propõe um aprofundamento do espaço intervalar da Literatura Comparada, identificado na alternância entre aproximação e distanciamento entre imagens. Assim procedeu-se operativamente a um trabalho de análise da obra de Leonilson e Bourgeois de forma associativa, buscando a ressonância do sentido de suas imagens em imagens poéticas e literárias que também refletem sobre a relação entre a subjetividade e o processo de criação, bem como elaboram uma dimensão afetiva. Tais procedimentos, sustentados em estudos críticos sobre a poesia, permitiu delimitar alguns elementos fundamentais para a caracterização do espaço intervalar de criação de Leonilson e Bourgeois. A tese desenvolve-se sobre as noções de gesto poético e imagem poética, as quais permitem caracterizar o espaço de criação dos artistas nos termos de uma paisagem litorânea desenhada pela conversa entre o artista e o outro. Conversa constituída na alternância entre fala e silêncio. / This thesis aims to analyse José Leonilson’s and Louise Bourgeois’ creative processes. The applied methodology relies on the conception of Comparative Literature as analytical enterprise operating in “in-between” spaces. Thus, such methodology, as we try to demonstrate, would be adequate as a critical approach of visual art productions such as elaborated by these artists. We operated having on site three main characteristics of their productions. The first of them is the strong relation between the creative process and the artists’ subjectivity. This was observed also in relation to the emotional thematic developed by the artists’, as much as the relation between verbal and visual elements in their pieces. We further assumed that the elaboration of meaning regarding these artists pieces might be developed with the notion of resonance between words and images, as proposed by Gaston Bachelard. In such sense, the thesis tries to enhance the comparative “in-between” space as the space where images alternatively near and distance themselves from one another. Thus, the analysis of Leonilson’s and Bourgeois’ production operated through the association between their images and those of other poetic and literary pieces which also depict on the relation between the creative process and subjectivity, as much as on the emotional dimension claimed by these artists. Such procedures, sustained by critical studies on poetry as well, enabled us to characterise Leonilson’s and Bourgeois’ creative process as an “inbetween” place. In order to reach this place, the thesis operated on the notions of poetic gesture and of poetic images, which unfold in the identification of the creative process as something of the order of a seaside landscape drawn by the conversation between the artist and the other. A conversation sustained by speech as much as by silence.