Submitted by Biblioteca Central (biblioteca@unicap.br) on 2018-05-18T17:44:21Z No. of bitstreams: 2 Mario_Cysneiros_Oliveira_Neto.pdf: 2118291 bytes, checksum: 07d525c3215463d95e9b1db52a2e8914 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-18T17:44:21Z (GMT). No. of bitstreams: 2 Mario_Cysneiros_Oliveira_Neto.pdf: 2118291 bytes, checksum: 07d525c3215463d95e9b1db52a2e8914 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-04-04 / In this dissertation we have realized a reflective study over some of the reasons for the existence of the creative impulse and of Art. We had as a general goal to investigate the motivations for production and appreciation of art through theories of psychanalyses, philosophy and immersion in the artistic universe of Francisco Brennand. From psychanalyses, we’ve studied the concepts of pulsion, phantasy and sublimation in Sigmund Freud, the bond between sexuality and regression to the motherly womb in Sándor Ferenczi and the theory of creativity of Donald Woods Winnicott. From philosophy, we’ve used the concept of will from Arthur Schopenhauer, the subjective experience of spaces in the theory of Gaston Bachelard and the transcendence phenomena under the prism of Plato. Concerning the field research, we’ve investigated the creative aspects of Francisco Brennand and his relations with his atelier through personal contact and an interview with the artist, visits to the Oficina Brennand and access to the artistic and bibliographical collection of the place, as well as through texts and videos published in the media. Having collected the data, we’ve stablished connections between his artistic production with the theories studied and we’ve developed some thought and intuitions. We’ve oriented the research from dimensions, three spaces, the intrapsychic, intersubjective and transcendence, and to facilitate the understanding of our purpose we’ve created a metaphorical image, The Tree of Existence, which, respecting this tripartition, organizes our theoretical writings and offers a general view of the existing dynamics between the dimensions. We’ve considered the presence of a feeling of existential discomfort due to the interaction between those dimensions, and the existence of a conflict of opposing forces, each plane seeking to impose itself over the other and be dominant. Then we followed the guiding hypothesis that through the fruition of art, its creation and contemplation, there would be a reduction in the feeling of discomfort, and that this decrease would happen through two main experiences, two phenomena, the existential increase due to the achievement of metaphysical planes and the movement of return to a mythical past of fusion and completeness – the fire. This fact showed resemblances between the path and destiny of sexuality and art, sex and the divine, chaos and the superior world. The present text sought to explore some of these purposes and their means of realization. / Realizamos nesta dissertação um estudo reflexivo sobre algumas razões da existência do impulso criativo e da Arte. Tivemos como objetivo geral investigar as motivações da produção e apreciação da arte através de teorias da psicanálise, filosofia e imersão no universo artístico de Francisco Brennand. Da psicanálise, estudamos os conceitos pulsão, fantasia e sublimação em Sigmund Freud, o vínculo entre sexualidade e regressão ao útero materno em Sándor Ferenczi e a teoria da criatividade de Donald Woods Winnicott. Da filosofia, utilizamos o conceito de vontade de Arthur Schopenhauer, a vivência subjetiva dos espaços na teoria de Gaston Bachelard e os fenômenos da transcendência sob o prisma de Platão. Sobre a pesquisa de campo, investigamos os aspectos criativos de Francisco Brennand e sua relação com seu atelier a partir do contato pessoal e entrevista com o artista, por meio de visitas à Oficina Brennand e acesso ao acervo artístico e bibliográfico do local, por textos e vídeos publicados na mídia. Colhidos os dados, estabelecemos conexões entre sua produção artística com as teorias estudadas e desenvolvemos algumas intuições e reflexões. Orientamos a pesquisa a partir de dimensões, três espaços, o intrapsíquico, intersubjetivo e transcendência, e para facilitar o entendimento de nosso propósito criamos uma imagem metafórica, A Árvore da existência, que, respeitando essa tripartição, organiza nosso escrito teórico e oferta um panorama geral da dinâmica entre as dimensões. Consideramos a presença de um sentimento de mal-estar existencial decorrente da interação entre tais dimensões, por existir um conflito de forças opostas, cada plano buscando se impor aos demais e ser predominante. Então seguimos a hipótese norteadora de que pela fruição da arte, sua criação e contemplação, haveria a diminuição do mal-estar; e que tal minoração de desconforto ocorreria a partir de duas experiências principais, dois fenômenos, a ampliação existencial com alcance de planos metafísicos e o movimento de retorno a um passado mítico de fusão e completude – o fogo. Tal fato demonstrou semelhanças entre os caminhos e destinos da sexualidade e arte, o sexo e o divino, o caos e o mundo superior. E o presente texto buscou explorar alguns desses propósitos e suas vias de realização.

Thesis (MA (VA)(Visual Arts. Jewellery Design))--University of Stellenbosch, 2006. / In this thesis I concern myself with a rather particular process of making jewellery – a creative process which epitomises repetitive, labour-intensive and timeconsuming actions, results in an “optimal” experience (Csikszentmihalyi 1990) and leads to meticulous and refined products. In dealing with this process I present its conceptual framework which I understand as a sequence of physical, mental and emotional elements through which I move from fascination (the initiating factor of the process) to product (a concrete and legitimising by-product of the process). As I progress from fascination to product, I move through the distinct, yet interwoven stages of ideation, planning and preparation, production, meditation, incubation and insight. These stages, together with fascination and product, constitute a continuous, three-dimensional spiralling form which characterizes the conceptual structure of my process. Within that conceptual structure, I differentiate between the phase of decisionmaking and the “experiential” phase (here signifying “to experience”). The former phase comprises the stages of ideation, planning and preparation, and production; whereas the latter phase stretches over the stages of production, meditation, incubation and insight. I define decision-making as a sequential thought-process and distinguish between an open-ended and a highly restricted or defined type of decision-making. The open-ended type takes the form of free experimentation and dominates the stage of ideation, leading to those ideas which I choose to translate into concrete jewellerypieces. As I move from ideation to planning and preparation, and subsequently to production in developing and implementing my idea, I increasingly make use of the restricted type of decision-making in the form of relying on previously accumulated knowledge and experience. Understanding decision-making as “a logical process leading to a conclusion” (Loy 1988:146), I interpret decision-making in general, and the restricted type in particular, in terms of the philosophical notion of dual thoughtprocesses, based on the causally and sequentially linked elements of decision-making. As the stage of production progresses, the dual thought-processes of decisionmaking are increasingly relegated to my sub-conscious. Consequently, my consciousness is free to engage in what I refer to as meditation, as a result of which I move into the experiential phase of my process. My meditative state of mind can be ascribed to non-dual, spontaneous and random thought-processes which bring with an atmosphere of incubation out of which insights arise. As a result of my non-dual mind-set I experience both my thinking and my acting during meditation as non-dual, accumulating or resulting in an exhilarating, overtly positive, worthwhile and fulfilling experience. Even though this experience acts as a motivation for engaging in the process and is therefore of enormous significance, the tangible product of the process does serve a legitimizing function as it endows my almost excessively time-consuming and labour-intensive acts with purpose. However, as a result of the input of enormous amounts of personal energy over prolonged time-spans my process leads to an intimate relationship between my products and me, causing a dilemma and paradox as I struggle to let go of my jewellery-pieces.

The primary aim of this research was to determine whether teachers in their initial or in-service training have acquired a basic knowledge of the interpretation of children's drawings of human figure. A literature study was done in which the focus was placed on major aspects such as: • The normal development of children's drawings according to different stages, and • Those drawings that deviate from the normal development and their implications. • Reliability of children's drawings as a projective tool. A measuring instrument was developed in order to measure the basic knowledge of teachers with regard to the interpretation of children's drawings of human figure. The results of the empirical research indicated that teachers have limited basic knowledge with regard to the interpretation of children's drawings. The educational implications with reference to teachers, education system and other professionals were discussed. Recommendations for further research on similar topics were made. / Educational Studies / M. Ed. (with specialisation in Guidance and Counselling)

The primary aim of this research was to determine whether teachers in their initial or in-service training have acquired a basic knowledge of the interpretation of children's drawings of human figure. A literature study was done in which the focus was placed on major aspects such as: • The normal development of children's drawings according to different stages, and • Those drawings that deviate from the normal development and their implications. • Reliability of children's drawings as a projective tool. A measuring instrument was developed in order to measure the basic knowledge of teachers with regard to the interpretation of children's drawings of human figure. The results of the empirical research indicated that teachers have limited basic knowledge with regard to the interpretation of children's drawings. The educational implications with reference to teachers, education system and other professionals were discussed. Recommendations for further research on similar topics were made. / Educational Studies / M. Ed. (with specialisation in Guidance and Counselling)

Text in English with abstracts in English, Afrikaans and Setswana. Translated titles in Afrikaans and Setswana supplied / Dataset link: https://doi.org/10.25399/UnisaData.14101913.v1 / The gap between diverse cultures living in a globalized world is not intransigent nor unassumingly flexible. This space is an arena of dissimilarities and correlations, which result in interactions that incite unusual expectations. ‘Cultural hybridity’ is clearly mirrored within contemporary society. New methods and approaches are required to comprehend the lived experiences of escalating displacement. This research traces the trajectory of migration, identity, self and other from the point of view of contemporary diasporic artists. Notions of ethnicity, authenticity, identity, transnationality, singularity and duality are debated against the backdrop of the creative practices of Anish Kapoor and Yinka Shonibare. Informed by Homi K. Bhabha’s concept of the third space, and also theories of hermeneutic translation by Georg Gadamer and Paul Ricoeur, this dissertation creatively and critically investigates the ambiguities and ambivalences in this field of inquiry. / Die gaping tussen uiteenlopende kulture wat in ’n geglobaliseerde wêreld woon, is nóg onversetlik nóg pretensieloos veerkragtig. Hierdie ruimte is ’n arena van ongelykhede en korrelasies wat lei tot interaksies wat ongewone verwagtings ontketen. “Kulturele hibridisme” word duidelik in die eietydse samelewing weerspieël. Nuwe metodes en benaderings word vereis om die werklike ervarings van toenemende ontheemding te verstaan. Hierdie navorsing spoor die trajektorie van migrasie, identiteit, self en ander vanuit die oogpunt van eietydse diasporiese kunstenaars na. Idees rondom etnisiteit, egtheid, identiteit, transnasionaliteit, enkelvoudigheid en tweevoudigheid word teen die agtergrond van die kreatiewe praktyke van Anish Kapoor en Yinka Shonibare bespreek. Hierdie verhandeling, wat geïnspireer is deur Homi K. Bhabha se konsep van die derde ruimte, asook teorieë van hermeneutiese verplasing deur Georg Gadamer en Paul Ricoeur, ondersoek op ’n kreatiewe en kritiese wyse die dubbelsinnighede en teenstrydighede in hierdie ondersoekveld. / Sekgala magareng ga ditso tse di farologaneng tse di tshelang mo lefatsheng le le susumetsanang ga se a tsepama le mme ga se obege bonolo. Sebaka seno ke serala sa dipharologano le dikamano tse di lebisang kwa dikgolaganong tse di tlhosetsang ditsholofelo tse di sa tlwaelegang. Tota 'motswako wa setso' o bonala sentle mo setšhabeng sa sešweng. Go tlhokega mekgwa le selebo se sentšhwa go tlhaloganya maitemogelo a phuduso e e oketsegang. Patlisiso eno e lebelela motlhala wa bofudugedi, boitshupo, jwa sebele le jo bongwe go tswa mo mogopolong wa batsweretshi ba sešweng go tswa mo mafelong a bofudugedi (diaspora) Go ganetsanwa ka megopolo ya lotso, boammaaruri, boitshupo, boditšhaba, bongwefela le bobedi go lebeletswe ntlha ya ditiragatso tsa boitlhamedi tsa ga Anish Kapoor le Yinka Shonibare. Thesisi eno e e theilweng mo mogopolong wa ga Homi K. Bhabha wa sebaka sa boraro, le ditiori tsa saense ya boranodi ka Georg Gadamer le Paul Ricoeur, e batlisisa ka boitlhamedi le ka tshekatsheko, ketsaetsego e e mo lephateng leno la dipatlisiso. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)