Tese (doutorado)—Universidade de Brasília, Instituto de Psicologia, 2007. / Submitted by wesley oliveira leite (leite.wesley@yahoo.com.br) on 2009-10-16T18:56:17Z No. of bitstreams: 1 Tese_Monica Botelho.pdf: 1008035 bytes, checksum: b9be343b8c44153387231b9a7cdd3fb4 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2011-01-25T13:52:59Z (GMT) No. of bitstreams: 1 Tese_Monica Botelho.pdf: 1008035 bytes, checksum: b9be343b8c44153387231b9a7cdd3fb4 (MD5) / Made available in DSpace on 2011-01-25T13:52:59Z (GMT). No. of bitstreams: 1 Tese_Monica Botelho.pdf: 1008035 bytes, checksum: b9be343b8c44153387231b9a7cdd3fb4 (MD5) Previous issue date: 2007-02 / Esta tese discute o trabalho psicoterápico da gestalt-terapia. Tem como foco seu caráter de experimentação, buscando ampliar seu significado e seus fundamentos epistemológicos. Os experimentos gestálticos nasceram no contexto original da abordagem. Instituíram a experiência como forma de ampliação da consciência, atendendo a uma mudança paradigmática que pretendia oferecer uma compreensão da vivência humana a partir da visão organísmica e holística. A partir de um diálogo com a fenomenologia de Merleau-Ponty e com a arte de Lygia Clark, o trabalho pretende ampliar a fundamentação fenomenológica da experimentação. O filósofo dedicou sua obra ao tema das relações entre homem e mundo, buscando uma compreensão que partia do mundo da experiência, de um a priori da correlação sujeito-objeto. Situou o corpo como consciência e desenvolveu um viés de pensamento que desembocou em uma ontologia do Ser. Este trabalho desenvolve um recorte das propostas merleau-pontyanas e as coloca em diálogo com as noções de campo organismo-ambiente, ajustamento criativo e agressão. Lygia Clark partiu da vocação da arte moderna de unir arte e vida e desenvolveu um trabalho peculiar fundamentado na transformação do espaço em espaço-tempo, inserindo o público no contexto da obra e propondo a experimentação como forma de acesso à totalidade. Suas obras envolviam as pessoas em um processo vivencial, se colocando como um campo de experiência. Este trabalho discute sua trajetória e aponta para a experiment-ação como ação intercorporal produtora de significados que permite a ressignificação da existência. Articula as noções de campo, corporeidade, forma e significação como dimensões constitutivas da experimentação. Sugere denominar a intervenção terapêutica como proposição, que visa a experiment-ação e tem como tarefa o desajustamento criativo. Este introduz na situação uma diferença que provoca a implicação corporal do cliente com a experiência imediata no contexto psicoterápico. Quando o cliente sente suporte na situação, a experiência tende a se desdobrar em uma ação agressiva e criativa produtora de significados que permitirão a ele ultrapassar o instituído e transgredir. Este trabalho conclui pela compreensão da psicoterapia como um campo de experiência estética que, como tal, não prescinde da corporeidade, é descentradora, produtora de significados e transgressora. _____________________________________________________________________________ ABSTRACT / This dissertation discusses the gestalt-therapy psychological work. The focus is its experimental character, seeking to amplify its meanings and its epistemological basis. The gestalt experiments were born in the original context of this theory. Experience was established as a means to amplify conscience, responding to a paradigmatic shift that intended to offer a comprehension of human living experience from organismic and holistic view. Starting from a dialogue between Merleau-Ponty’s phenomenology and Lygia Clark’s art work, this dissertation intends to amplify the phenomenological basis of experimentation. The philosopher oriented his work to the theme of relation between man and world, searching for an understanding that began from the world of experience, from an a priori in the subject-object correlation. He located body as conscience and developed a line of thought that resulted in an ontology of Being. This work develops an outline of Merleau-Ponty’s proposals and puts them in dialogue with gestalt notions of field organism-environment, creative adjustment and aggression. Lygia Clark took from modern art’s inclination of uniting art and life and developed a peculiar work based on transformation of space in space-time, inserting the audience into the context of the piece and proposing experimentation as a means to access wholeness. Her work enwrapped people in an experiencing process, putting itself as a field of experience. This work discusses the course of her art and points to a experiment-action as inter corporal action that produces meaning, allowing to re-signify the existence. It articulates notions of field, embodiedness, form and meaning as constructive dimensions of experiment-action. It suggests calling therapeutic intervention as proposition, which aims at the experiment-action and has as its goal the creative des-adjustment. It places a disparity in the situation that instigates the client’s body implication with the direct experience in the psychotherapy context. When the client feels support in the circumstance, experience tends to develop into an aggressive and creative action which produces meanings that will allow him/her to surpass the established notions and transgress. This work concludes considering psychotherapy a field of aesthetic experience that, as such, does not dismiss embodiedness, is “descentering”, producer of meaning and transgressor.

En la Fenomenología de la Percepción se distinguen dos modos de estudiar el lenguaje: Una es la corriente empirista, que supone al lenguaje como un fenómeno que se interpreta como la acción de ciertos estímulos del cuerpo, asociando los vocablos a las imágenes conectadas a través del aparato nervioso. Por otra parte, se encuentra la lingüística que proviene de la tradición intelectualista, la cual contrarresta los trabajos empiristas aduciendo que el lenguaje es una elaboración de la propia conciencia. la encargada de significar el mundo exterior con sus categorías y pensamientos. Para Merleau-Ponty, tanto el empirismo como el intelectualismo, al elaborar sus hipótesis sobre el lenguaje y la relación mundo-sujeto, olvidan el punto de partida que al fenomenólogo le interesa retomar: hay una relación primera entre el sujeto y el mundo, anterior a toda concepción, a toda formulación del lenguaje, que se establece en la percepción, que es génesis de nuestras certidumbres. Lo novedosos de la obra de Merleau-Ponty es señalar este problema y deconstruir este “verdeckt”, volviendo al silencio y encontrar en él –a través del cuerpo- los orígenes del lenguaje. Merleau-Ponty dirá que en este esfuerzo de volver sobre el olvido, supone elaborar un itinerario sobre las etapas por las cuales se pueden entender la posibilidad de la emergencia del lenguaje a partir de la relación cuerpo - mundo. Para el autor, se debe volver a esa relación preconcebida (fe perceptiva), en la que no hay pensamientos que determinen nuestra experiencia. Desde el vínculo cuerpo-mundo, descubriremos de qué manera Merleau-Ponty logra integrar las concepciones anteriores. Sin rechazarlas ni suprimirlas, propone una síntesis en la cual, lo que tiene de unilateral el empirismo y el intelectualismo podría superarse en una dialéctica que las integre y cuyo secreto se encontraría en la temporalidad de la existencia humana. Para proponer esta perspectiva, Merleau-Ponty tiene que subrayar que el contacto con el mundo comienza antes del conocimiento, es decir, con la percepción.

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Cette thèse doctorale est une exploration du concept de déploiement spatial genré à partir d'un cadre théorique de phénoménologie féministe. En partant de la phénoménologie incarnée et existentielle de Maurice Merleau-Ponty, j'argumente qu'il y a une constitution mutuelle entre le corps et l'espace qui s'effectue au prisme du genre. Le déploiement spatial genré est un concept illustrant comment les sujets incarnés occupent l'espace de façon située, existentielle et ontologique. La pensée d'Iris Marion Young est également centrale à mon propos phénoménologique afin d'illustrer la portée politique de ce déploiement spatial genré, qui a pour conséquence la création d'espaces genrés. En complexifiant la philosophie de Merleau-Ponty, Young ouvre la voie à une riche branche de la phénoménologie féministe contemporaine dans laquelle j'insère mon étude doctorale en augmentant sa conception d'intentionnalité entravée et en développant celle de l'intentionnalité appropriatrice. J'effectue des incursions théoriques du côté de la géographie féministe pour étudier la notion d'agentivité spatiale en lien avec la corporéité et la spatialité et finalement regarder comment les lieux s'inscrivent dans, et constituent, les subjectivités. Suivant cette exploration du déploiement genré et des espaces genrés, j'étudie certaines conséquences ontologiques découlant de l'inégal accès aux espaces selon le genre : les expériences vécues féminines du déplacement dans l'espace selon la modalité affective de la peur, l'augmentation de leur vulnérabilité situationnelle et le désalignement temporel féminin. / This dissertation is an exploration of the concept of gendered spatial deployment from the theoretical framework of feminist phenomenology. Starting from Maurice Merleau-Ponty's embodied and existential phenomenology, I argue that there is a mutual constitution between the body and space that takes place through the prism of gender. Gendered spatial deployment is a concept that illustrates how embodied subjects take up space in situated, existential, and ontological ways. Iris Marion Young's thought is also central to my phenomenological proposal. Her work illustrates the political significance of this gendered spatial deployment, which has resulted in the creation of gendered spaces in Western society in the 20th and 21st centuries. By complexifying Merleau-Ponty's philosophy, Young opens the way to a rich branch of contemporary feminist phenomenology, and the present doctoral research is situated within this emerging field through my extension of her conception of *inhibited* intentionality and my development of a notion of *appropriative* intentionality. Furthermore, I make theoretical forays into feminist geography to study the notion of spatial agentivity in relation to embodiment and spatiality, and ultimately to look at how places are inscribed in, and constitutive of, subjectivities. Following this exploration of gendered deployment and gendered spaces, I examine some of the ontological consequences of unequal gendered access to spaces and spatiality more generally: women's lived experiences of spatial displacement in the affective modality of fear, their increased situational vulnerability, and female temporal misalignment.

Drawing on the ideas of J.G. Fichte and M. Merleau-Ponty, I argue that experience and freedom are intersubjective, linguistic, and bodily. In the first chapter, I take up Fichte's three "fundamental principles" from the Science of Knowledge alongside his ideas of embodiment and intersubjectivity from the Foundations of Natural Right to show that all experience is an indefinite mixture of self and not-self, and, therefore, that both the experiences of self-consciousness and its freedom must also be accomplished with reference to the not-self, and particularly others. The second chapter is an examination of Merleau-Ponty's account of expression in his Phenomenology of Perception. The key insight I pursue here is that the medium of expression, which makes possible all significance, is bodily and intersubjective, and that any expressive act is therefore both self-opaque and soliciting cooperation. In the end, I turn to how this cooperation, i.e. freedom, should be enacted.

Figure majeure de la scène contemporaine, tant sociale que conceptuelle, le corps est à la fois au centre de tout un discours "corporéïste" (qui en fait le lieu du sujet et travaille à le rendre le plus transparent possible à l'identité individuelle) et investi par des pratiques médicales bénéficiant de moyens techniques jusqu'alors inédits, tendant de plus en plus à l'instrumentaliser. A partir de ce double constat, nous avons choisi d'interroger trois exemples de biotechnologies, les greffes, les techniques de chirurgie esthétique et celles des procréations médicalement assistées mettant en évidence la variété de l'intervention technique, l'humanisation ou l'aliénation qu'elle rend possible. La phénoménologie, et notamment la notion de "corps propre" dégagée par Merleau Ponty nous permettra d'affiner notre compréhension de la corporéïté, avant de confronter la pensée du philosophe au concret des pratiques évoquées et d'examiner si les concepts phénoménologiques permettent d'articuler la rencontre du corps et de la technique et de poser des balises éthiques à certaines interventions médicales.

Artistic meaning via visual art and literary fiction is debated in modern aesthetic thought. Language is a cognitive component in postmodernist aesthetic projects. This thesis investigates Maurice Merleau-Ponty's and Paul Ricoeur's writings on painting and language, respectively, whose phenomenological aim is the revelation of being in works of the imagination in tandem with Lambert Zuidervaart's approach to artistic truth which opens the lifeworld to the biotic context of the earth. For him, imaginative disclosure is integral to techno-scientific and art realms. Embodiment, natality, and expression illuminate the problematic of meaning in forms of postmodern visual art. Metaphoric imagination and metaphor are used for metaphor is a principle of articulation, not a figure of speech. Aesthetic projects connect with the lifeworld in a hermeneutic circle of meaning.

La presente tesis busca, a partir de un análisis fenomenológico de la primera infancia, explicar la génesis del individuo humano en el pensamiento de Merleau-Ponty. Sostenemos que el individuo se origina a partir de la organización de los movimientos que realiza su cuerpo, oscilando entre el anonimato brindado por el mundo natural y el anonimato del mundo cultural, sin los cuales no podría existir. Analizaremos cómo se va instituyendo esta “oscilación” del cuerpo en el recién nacido y le va dando un estilo particular de relacionarse con el mundo, pero que solo puede darse si entendemos la génesis de la individualidad como una relación intersubjetiva. Para ello, hemos dividido la tesis en tres capítulos. En el primero describimos cómo Merleau-Ponty sitúa al cuerpo como ser al mundo proponiendo, a través de los movimientos que son estimulados por la madre, que el niño vaya adquiriendo su propia manera de relacionarse con las cosas y consigo mismo. En el segundo capítulo analizamos la adquisición del lenguaje a través de los movimientos propiciados por el cuerpo del niño en el proceso de separación madre-hijo, y que van creando gestos y palabras de diferentes grados de complejidad. En el tercer capítulo, analizamos la dialéctica entre lo sedimentado y lo instituyente, dentro del contexto de la reflexión del fenomenólogo sobre la historicidad y su vinculación con la naturaleza en la que retoma ideas planteadas por el materialismo histórico. Estos tres capítulos han sido planteados como ejes (cuerpo, expresión, historicidad) de una reflexión sobre la génesis del individuo descrita en la etapa infantil y puesta bajo la noción de Fundierung / Tesis

Il s’agit dans cette thèse d’un parcours à travers la pensée de Merleau-Ponty afin de mettre en avant la nécessité de l’intervention du lien de l’intérieur topologique des corps de Chair, la nécessité d'une pensée s'adressant à la psychanalyse, à la topologie, à la psychologie, afin de donner une autre ouverture sémantique à l’inconscient, à travers la passivité-activité et la fondation en phénoménologie. Le chiasme, la réversibilité, l’empiètement, l’intercorporéité, l’interschématisme, l’enchevêtrement du désir et du sentir est l’élan pour désigner le narcissisme esthésiologique du corps à l’espace, le mouvement de son institution, sa corrélation et sa formation continue dans l’espace vécu.De l'espace des puzzles chez Husserl à l'espace vide et combinatoire de la Gestalt théorie, on passera à la courbure de l'espace par l'intervention de l'inachevé du regard afin d'arriver à l'espace enveloppé-enveloppant, à l’intervention de la topologie pour désigner les relations de l’intérieur des corps de Chair chez Merleau-Ponty. Par la suite, l’analyse de l’espace intermédiaire de la conscience-inconscient nous amène à l’espace onirique qui transparaît à l’espace de l’objectivité, et démontre l’intervention de l’imaginaire, du symbolique, du désir et de l’inconscient lors de l’apparaître. / This thesis is about a transversal approach of Merleau-Ponty’s analysis, and aims at determining the need for intervention of topological interrelation within bodies of Flesh, the need to insert a psychoanalytical, topological, psychological approach, in order to give another dimension to the unconscious in combination with the role of passivity-activity and foundation in phenomenology. Chiasm, reversibility, encroachment, intercorporality, interschematism, chiasm of desire and sense are significant to define the esthesiological narcissism of the body in space, the movement of its institution, its correlation and continuing formation in the lived space.From Husserl's space of puzzles to the empty and combinatorial space of the Gestalt theory, we proceed to the curvature of space by intervention of the uncompleted gaze in order to reach the space of enveloped-enveloping, the topology where the internal relations within Merleau-Ponty's body of Flesh are described. Thereafter, the analysis of the intermediary space of consciousness-unconscious leads us to the oniric space which shows through the space of objectivity, and reveals the intervention of the imaginary, the symbolic, the desire and the unconscious in appearance.