Esta é uma investigação sobre a imaginação do artesão, captada na zona pré-reflexiva do ser, ou seja, num espaço psicológico anterior ao pensamento racional onde se enraíza um complexo individual do artesão, que caracteriza seu fazer. Através de entrevistas e observações de artesãos em seus trabalhos, buscou-se a imaginação criativa no campo da experiência do fazer manual, nascida da intimidade atenta entre o artesão e uma matéria que ele escolheu, por ter ressonância com sua individualidade. Conclui-se que o trabalho do artesão é fonte inesgotável de realização de sua individualidade, na medida em que o artesão consegue acolher, em seu íntimo, as limitações da matéria-prima onde imprime sua vontade / This is a study about the artisans imagination captivated in the pre reflexive zone of being, that is, in a psychological space before the rational mode of thinking where it roots the artisans individual complexity that characterize his work. Through interviews with and observations of the artisans in their working place, on search for the creative imagination, in the field of labor and doing experience, born from the attentive intimacy between the artisan and the raw material that he had chosen, because of its resonance with his individuality. One come to the conclusion that the artisans work is an inexhaustible wellspring of individual fulfillment as the artisan is able to shelter in his innermost the limits of the raw material where he prints his will

Esta é uma investigação sobre a imaginação do artesão, captada na zona pré-reflexiva do ser, ou seja, num espaço psicológico anterior ao pensamento racional onde se enraíza um complexo individual do artesão, que caracteriza seu fazer. Através de entrevistas e observações de artesãos em seus trabalhos, buscou-se a imaginação criativa no campo da experiência do fazer manual, nascida da intimidade atenta entre o artesão e uma matéria que ele escolheu, por ter ressonância com sua individualidade. Conclui-se que o trabalho do artesão é fonte inesgotável de realização de sua individualidade, na medida em que o artesão consegue acolher, em seu íntimo, as limitações da matéria-prima onde imprime sua vontade / This is a study about the artisans imagination captivated in the pre reflexive zone of being, that is, in a psychological space before the rational mode of thinking where it roots the artisans individual complexity that characterize his work. Through interviews with and observations of the artisans in their working place, on search for the creative imagination, in the field of labor and doing experience, born from the attentive intimacy between the artisan and the raw material that he had chosen, because of its resonance with his individuality. One come to the conclusion that the artisans work is an inexhaustible wellspring of individual fulfillment as the artisan is able to shelter in his innermost the limits of the raw material where he prints his will

Orientador: Rita Luciana Berti Bredariolli / Resumo: Esta pesquisa tem como eixo central o tema da ilustração, com foco no ofício do ilustrador no contexto da narrativa visual presente em livros ilustrados. A discussão desenvolvida percorre a diversidade de dinâmicas possíveis a serem estabelecidas no jogo semântico entre palavras e imagens, bem como na tessitura de relações entre a arte narrativa e a faculdade da imaginação. Ponderando acerca do lugar ocupado pela faculdade da imaginação na construção de conhecimento, reflete-se acerca da possível função social e pedagógica do livro ilustrado, ou, de modo mais amplo, da imaginação. Um dos aspectos fundamentais que norteiam a pesquisa consiste no entendimento da própria dissertação como um processo criativo em ilustração. Dessa forma, a visualidade e materialidade da dissertação são compreendidos como elementos de equivalente importância em relação ao texto, proporcionando também possibilidades poéticas de compreensão do trabalho por meio da a­­­bordagem artística da ilustração. / Abstract: This research focuses on the theme of illustration, especially with regard to the illustrator’s craft in the context of the visual narrative present in picturebooks. The discussion developed goes through the diversity of possible dynamics to be established in the semantic game between words and images, as well as in the relationship between narrative art and the faculty of imagination. Pondering about the place occupied by the faculty of imagination in the construction of knowledge, there are considerations about the social and pedagogical function of picturebooks, or, more broadly, of imagination. One of the fundamental aspects that guide this research is the understanding of the dissertation itself as a creative process in illustration. Thus, the visuality and materiality of the dissertation are understood as elements of equivalent importance in relation to the text, also providing poetic possibilities of understanding the work through the artistic approach of illustration. / Mestre

The project was informed by non-rational modes of perception which explored the matrix of dream, imagination, my body and the viewer. The material from this matrix was brought together and translated into artworks through the use of every day materials, techniques and procedures. The resulting artwork offered an experience in the form of an installation which included projected images, aural landscapes, tactile surfaces and spatial constructions.

Aquesta tesi se centra en la Teoria de la Metàfora Conceptual i la filosofia experiencialista de George Lakoff and Mark Johnson i en la filosofia existencialista de Jean-Paul Sartre.En el primer capítol estudiem les obres de Lakoff i Johnson sobre la Metàfora (1980, 1999) i també fem una revisió crítica de les més importants reformulacions, ampliacions i crítiques que ha rebut la teoria.En el segon capítol fem una comparació entre experiencialisme i existencialisme a través del concepte d'imaginació un element clau en ambdues teories.En el tercer i darrer capítol examinem les metàfores centrals que podem descobrir en el llibre més important de l'existencialisme: L'être et le Néant de Jean-Paul Sartre (1943a). Com si es tractés d'un nou capítol de Lakoff & Johnson (1999) centrarem la nostra atenció en aquest importantíssim llibre de Sartre per tal de descobrir quines metàfores sostenen el seu sistema. L'anàlisi es basarà en la teoria de la Metàfora Conceptual (tal com es presenta a Lakoff & Johnson 1999) i en la idea clau en aquest mateix llibre que la metàfora és una habilitat essencial que ens permet construir sistemes filosòfics.Finalment, un apartat de conclusions tancarà la tesi per tal de recollir les principals propostes que han estat defensades al llarg del treball. / This dissertation deals with Conceptual Metaphor Theory and Experientialist philosophy by George Lakoff and Mark Johnson and Existentialist philosophy by Jean-Paul Sartre. In the first chapter we study Lakoff and Johnson's works on Metaphor (1980, 1999) and we also do a critical review of the most important revisions, extensions and criticisms related to the theory.In the second chapter we do a comparison between experientialism and existentialism by means of the concept of imagination a key component of both theories. In the third and last chapter we examine the central metaphors that we can discover in the most important book of existentialism: Jean-Paul Sartre's (1943a) L'être et el Néant. As though it were another chapter in Lakoff & Johnson (1999) we will pay attention to this very important book of Sartre's in order to discover which metaphors sustain his system. The analysis will be based on Lakoff & Johnson's Conceptual Metaphor Theory and Lakoff & Johnson's (1999) key idea that metaphor is an essential skill that allows us to build philosophical systems. Finally, a part of Conclusions will close the dissertation in order to summarize the key proposals defended throughout the work.

Ce mémoire création a pour sujet l'utilisation de l'imagination matérielle en écriture dramatique. Il s'organise en trois scènes dramatiques qui ont été écrites en engageant, pour chaque scène, un organe du corps distinct, lié à un élément de la nature et à une saison. Chaque scène comporte trois trios: l'eau, les reins, l'hiver; le bois, le foie, le printemps; le feu, le coeur, l'été. Elles mettent en relation les deux mêmes personnages, devant un feu. Une lecture publique des scènes a été présentée lors d'une conférence démonstration où l'auteur a également exposé les caractéristiques de son expérimentation. Des réflexions théoriques inspirées de La psychanalyse du feu et de L'eau et les rêves de Gaston Bachelard appuient la recherche, ainsi que des travaux de Larry Tremblay, Louis Jouvet, Eugenio Barba, Jerzy Grotowski, Pol Pelletier et Bonnie Bainbridge Cohen. L'auteur de ce mémoire a aussi suivi un entraînement physique et énergétique, le qi gong de La mémoire du souffle, afin de favoriser une perception subtile des manifestations du corps. Cet entraînement a été supervisé par Marie-Claude Rodrigue. Il mobilise, à chaque saison, un organe corporel spécifique en correspondance avec un élément de la nature. La tenue d'un journal de bord complète la démarche en vue de témoigner de la manifestation de la dynamique corps objet -corps sujet chez l'auteur dramatique en action. L'utilisation de l'imagination matérielle a stimulé la pulsion créatrice de l'auteur dramatique. Des traces des éléments de la nature et de leurs dérivés sont perceptibles dans les trois scènes. La principale révélation de l'expérimentation est la reconnaissance de l'existence d'un mouvement énergétique particulier à chaque élément de la nature lorsque celui-ci est imaginé et senti, comme une matière, dans un organe du corps. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Théâtre, Écriture dramatique, Imagination matérielle, Corps, Entraînement.

Ce mémoire en création littéraire comporte deux parties : un recueil intitulé La migration des étoiles et un dossier d'accompagnement, La courtepointe. La migration des étoiles est un récit calqué sur la forme discontinue de la mémoire et de l'oubli. Il met en scène une narratrice qui, à la suite du passage difficile de l'enfance à l'âge adulte, vit un sentiment d'éclatement et de dépossession de sa propre existence. La quête de la narratrice s'articule principalement autour du besoin de reconstituer sa vie, de lui donner une forme pour mieux faire face au temps qui lui échappe et donner sens au monde qui l'entoure. Pour ce faire, la rêverie, l'imaginaire et la fiction, ses seules emprises sur le temps et l'espace, interviennent comme des outils visant à combler les lacunes de sa mémoire et à redonner vie à l'histoire qu'elle tente de reconstruire. Ce recueil composé de fragments narratifs et poétiques se présente comme la courtepointe de sa vie morcelée, d'une mémoire à recoudre par pans. La courtepointe est un essai sur l'écriture en tant qu'espace de création propice à l'exploration de ce qui, de l'enfance, perdure dans l'imaginaire de l'écrivain. Cette réflexion vise à clarifier les liens entre la mémoire, l'oubli et les restes pêle-mêle de souvenirs d'enfance qui serviront de matériau à l'écrivain. Elle s'intéresse aussi à l'apport de la rêverie et de l'imagination dans la reconstruction des souvenirs, dans le remaniement nécessaire d'une mémoire sans cesse réinventée. Elle ouvre finalement sur la recherche d'un espace de création toujours plus vaste et vivant pour l'écrivain visant à ressusciter les images de son enfance. L'essai est ponctué de trois études de récits dont les auteurs ont rendu lisibles certaines parcelles d'enfance. Il s'agit d'Enfance, de Rose amer et de Little Jordan, écrits respectivement par Nathalie Sarraute, Martine Delvaux et Marly Youmans, trois romancières dont les démarches ont tout particulièrement inspiré ma réflexion. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : création littéraire, enfance, mémoire, fragment, rêverie

This research examines and describes the ways psychotherapists address ethical dilemmas through a hermeneutic analysis of how they responded to a portrayal of a therapy session represented in a television series. Interview transcripts were analyzed and assessed for both how therapists navigate difficult ethical terrain, and upon what, thematically, they tend to direct their thought and concern. Moreover, particular consideration is given to the role of imagination in the development of ethical meaning, intention, and understanding in the clinical context, which intersects with a critique of the American Psychological Association's ethics code and its underlying philosophical assumptions. Such theoretical underpinnings suggest a view of therapists as rational agents capable of applying ethical rules and codes to resolve dilemmas in a logical, formulaic manner, a view which is questioned for its failure to account for the empathetic, vitalizing, and hermeneutic value of imaginative thought, rehearsal, and reflection in practice. Finally, implications for therapy, pedagogy, and interpersonal understanding are explored. / McAnulty College and Graduate School of Liberal Arts; / Clinical Psychology / PhD; / Dissertation;

How do we build for a specific place and culture in the age of globalization, where the notion of culture has become fluid and drawn from a multiplicity of locations? This thesis argues that rather than relying on ideologies of symbols, an authentic regional architecture must derive its meaning through the experience of localized rituals that take place over time, and thus give constancy to place. The notion of cultural identity in this thesis is explored through the story of the Baths and the Mineral Spring in Sofia, Bulgaria. This story takes us from the origins of the city, through its cultural mutations and transformations and finally to the questions posed by the decommissioned Baths. The thesis design proposal outlines an alternate architectural strategy to the current proposal: converting the Bath House into a prestigious spa center and ‘Museum of Sofia’. The alternate design in contrast, addresses the importance of place specific ritual and the still enduring practice of spring water collection - which has now been dislocated from the main Baths square. The question of authenticity in the design for the Baths Square is connected to the changing notion of cultural identity. The origins of which are rooted in our response to a particular environment; a rapport which has framed our social ideologies, cultural practices, and their formal manifestations. However, within the regimes of globalization cultural identity has become uprooted from ‘place’ and has come into crisis. In response to this crisis of identification, there is a frantic desire to reaffirm the local and re-envision a collective identity. This thesis proposes an architecture of the material imagination - which recognizes the multiplicity of our cultural reality today. It creates spaces that are not designed primarily on the visual level of the symbol but rather spaces which are to be experienced sensorially and habitually; only then becoming part of the collective experience and identity of the culture. These spaces reduce the specificity of the symbol as a depiction of ‘one’ identity, and rather derive cultural meaning from the experience of a unique and hierophantic place, and its living practice.

Dissertation--Berlin--Universität, 1995. / Bibliogr. p. 338-351.