Déployant une esthétique tournée vers la claire lisibilité des images garantissant leur performativité narrative, la ligne claire s’est naturellement constituée comme un style graphique idéel pour la bande dessinée. Mais en bâtissant un univers orienté vers la neutralisation de l’empreinte plastique de l’auteur, elle restreint singulièrement les ressources expressives de la représentation. À l’orée des années 70, de nombreux auteurs américains et français participent à redéfinir de façon radicale les canons du neuvième art et explorent le potentiel figural de l’image et du récit : l’icône et la linéarité narrative se trouvent alors perturbées par de multiples expérimentations. Elles sont placées en déséquilibre et accède à travers cette instabilité à une richesse insoupçonnée. La bande dessinée découvre l’équivoque et s’accorde à l’incertitude d’une pratique expérimentale et non plus normée. Tourmentée, l’image atteint à une puissance poétique qui étend le champ d’expression du neuvième art. Nous souhaitons observer les conditions d’émergence de ces auteurs et de production de ces œuvres qui entrent en dissidence avec l’esthétique « classique », afin d’analyser les procédés stylistiques employés pour détourner la bande dessinée des conventions de la ligne claire. Nous verrons ainsi que les diverses stratégies que nous avons relevées conduisent, selon les degrés d’intensité développés par les auteurs, à une conversion des images et des récits qui les amènent progressivement à s’éloigner de la limpidité figurative et narrative pour aller vers une confusion figurale de plus en plus affirmée. / The Clear Line naturally constituted itself as an ideal graphic style for the comic strip by deploying an aesthetic turned towards the clear legibility of the images, guarantying their narrative performativity. By building a graphic universe oriented towards the neutralization of the author's plastic imprint, it strangely restricts the expressive resources of the representation. At the dawn of the 1970s, many American and French authors tried to radically redefine the canons of the ninth art and explore the figural potential of the image and narrative: the icon and the narrative linearity are then disturbed by multiple experiments. They are placed in imbalance and access through this instability to an unsuspected wealth. Comics discover this ambiguity and the uncertainty of an experimental practice no longer normed. Tormented, the image reaches a poetic power that extends the field of expression of the ninth art.We wish to observe the conditions of emergence of these dissenting authors and works parting with the "classical" aesthetic, and analyze the stylistic processes used to divert the comics from the conventions of the Clear Line. The various strategies we have identified, to the levels of intensity developed by the authors, lead to a conversion of images and narratives, gradually moving away from figurative and narrative limpidity towards a growingly assertive figural confusion.

Que peut la singularité par rapport au film ? Cette thèse évalue la possibilité d'analyser un film à partir des éléments singuliers dont il est composé. La singularité dont il est question correspond aux éléments dissemblables, aporétiques, lacunaires qui ne se conforment pas avec ce qu'on est en droit d'attendre d'une narration, d'une esthétique ou d'une grammaire cinématographique. Cette recherche a dû aborder le concept même de singularité pour diverses acceptions, mais aussi pour des domaines aussi bien scientifiques qu'artistiques. La méthode qui en est sortie a été appliquée à un corpus de film restreint : Nostalghia d'Andreï Tarkovski, Les Harmonies Werckmeister de Béla Tarr et Seven invisible men de Sharunas Bartas. Son application a révélé combien ces œuvres sont infiniment plus complexes et plus ambiguës que l'on a pu le croire. Elle a surtout permis de mettre en évidence que ce que l'analyse figurale nomme figure doit être prolongé par la notion d'anti-figure. La figure seule ne suffit plus à restituer les battements toujours vivaces qui parcourent un film. D'autre part, elle laisse apercevoir combien ces battements répondent en réalité à la confrontation de trois hiatus, l'un figuratif, l'autre représentatif et le dernier psychique, impliquant la mémoire des images, le réel et le pathos. / This thesis evaluates the possibility of analyzing a movie from the singular elements it contains. The singularity in question corresponds to dissimilar elements, of aporias or gaps that does not comply with what we expect from a narrative, from an aesthetic or from a cinematographic grammar. This research has approached the concept of singularity both in science and in the arts by studying the different meanings of this termThe method that was elaborated from the properties of singularities was subsequently applied to a small corpus of movie: Nostalghia by Andrei Tarkovsky, Werckmeister Harmonies by Béla Tarr and Seven invisible men by Sharunas Bartas.Its application has revealed how these works are much more complex and ambiguous than we might believe. He has contributed to highlight that what the figural analysis calls a figure should be extended by the notion of anti-figure. a figure alone is not sufficient to render the beats that cross a movie. On the other hand, it lets see how these beats actually correspond to the confrontation of three hiatus, the first is figurative, the second is representative and the last is psychic involving the memory of images, the reality and the pathos.

Ce travail part d’une double intuition de Georges Bataille. D’une part, une loi qu’il énonce au Collège de Sociologie : « Les êtres humains ne sont jamais unis entre eux que par des déchirures ou des blessures ». D’autre part, l’idée que les œuvres d’art sont, depuis Lascaux, les traces d’une archéologie de la vie communautaire des hommes, le chiffre d’un non-savoir sur la sphère du sacré qui fait tenir les hommes ensemble, à travers quelques figures-limites (le cadavre, les larmes, l’orgie, le sacrifice). Ces deux intuitions me permettent de définir l’anthropologie figurative comme la discipline qui cherche dans les images une pensée figurale de la communauté, et le partage de la douleur dans le cinéma contemporain comme l’un de ses objets privilégiés. Les pensées contemporaines de la communauté (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) m’autorisent cette hypothèse : le cinéma contemporain a désormais moins affaire à la construction politique d’un peuple qu’à la figuration de communautés trouvant dans l’événement du partage leur seule fin. Or, seul un travail figural peut contrevenir à la solitude du corps souffrant et défaire sa clôture pour l’inclure dans un groupe pathétique qui synchronise des gestes ou assemble des chairs. Le corpus international de films que je constitue autour de la survivance de figures de la communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) ou d’une figuration chorégraphique du soin (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) relève d’un réalisme figuratif qui demande à être étudié non pas sous l’angle d’une politique de l’esthétique (Jacques Rancière), mais d’une impolitique de la beauté. Soit l’idée que l’art est ce lieu où la puissance du pâtir et la puissance du partage, sans faire une politique, autorisent l’espoir d’une communauté prochaine. / This work started with two crucial insights from Georges Bataille’s œuvre. On the one hand, Bataille formulated a law on the constitution of community in the Collège de Sociologie: “Human beings are only linked together by wrenches or wounds”. On the second hand, he elaborated the idea that works of art are, since Lascaux, the traces of an archaeology of men’s community life, the code of a “non-savoir” about the sacred sphere which ties men together thanks to some borderline figures (the corpse, the tears, the orgy, the sacrifice). These two ideas allow me to define figurative anthropology as the discipline that seeks a figural thought of community in images, and the sharing of pain as one of its privileged objects. Contemporary thoughts of community (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) allow me to state this hypothesis: contemporary cinema is not pertaining to the political construction of a people but to the figuration of communities which find in this very sharing their sole purpose. Only a figural work can contravene to the loneliness of a suffering body and break its closed isolation into include it in a pathetic group that synchronises gestures and assembles fleshes. The international corpus of films that I put together about the survival of figures of communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) or the choreographic figuration of care (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) comes under a figurative realism which has not to be studied from the point of view of the politics of aesthetics (Jacques Rancière), but of the impolitics of beauty: that is to say that art is the place where the capacity for suffering and sharing, without leading to a political construction, allows the hope of an imminent community.

Uma particularidade notável da narrativa arguediana consiste no fato de seu trabalho literário destacar o embate existente entre a realidade e a língua de forma muito própria. Isto se fez presente, sobretudo, na necessidade de verter para a linguagem literária conteúdos das sociedades e culturas andinas de expressão quéchua. No que diz respeito a isto, o ajuizamento crítico sobre o penúltimo romance de Arguedas, Todas las Sangres (1964), acabou por conduzir a um falso dilema entre representação e fracasso. Arguedas não permaneceu insensível a este debate, ao mesmo tempo era obrigado a aprimorar seus recursos narrativos diante da realidade nova e desconcertante que se propunha a retratar em seu último romance, El Zorro de Arriba y el Zorro de Abajo (1971). Nele, como é sabido, foram levados ao paroxismo os recursos expressivos com os quais o autor estava habituado a lidar. Um desdobramento deste embate surge com o enfrentamento do caráter inconciliável do incondicionado, capaz de furtar-se aos intentos de descrevê-lo, e da linguagem que vem a torcer-se, a refundar-se com o propósito de permanecer fiel ao cenário metamórfico que imita. Buscamos analisar disto que resiste à expressão aproximando-nos de uma forma autônoma e que não é alheia ao romance, o mito. Desde uma concepção determinada do mito, capaz de ser pensada em paralelo à de ideologia, quando o aspecto poiético de ambas é posto em relevo, derivamos para a consideração da mimesis. A abertura da poiesis mimética busca ser preservada nestas passagens. A permeabilidade e a plasticidade criativa que se reserva à noção de mimesis posta em funcionamento deve incidir sobre a realidade do texto. Veremos como a incidência mimética manifesta-se, na textualidade do romance, por intermédio de oscilações de sentido, cuja análise se realiza segundo a perspectiva não retórica da metáfora, para o que recorremos a Paul Ricoeur. Acompanha-se, além disso, o debate em torno da noção de figura, desenvolvido por Erich Auerbach, com o propósito de estabelecer um vínculo entre mediação e invenção. / One remarkable specificity of Arguedian narrative lies in the fact that his literary work highlights the struggle between reality and language in a very particular way. Such tension is present, above all, in the need to translate into literary language the contents of culture and society of the Quechuan-speaking people in the Andes. In this respect, the critical reception of Arguedass previous novel before his last, Todas las Sangres (1964), led to a false dilemma between representation and failure. Arguedas did not remain insensitive to this debate, to the point he felt urged to enhance his narrative resources facing a new and baffling reality he was about to portray in his last novel, El Zorro de Arriba y el Zorro de Abajo (1971). As it is known, in this novel the expressive resources the author was accustomed to cope with were almost taken to a paroxysm. One of the outcomes of this tension springs from the irreconcilable character of the unconditioned, which is able to elude the intentions to describe it, and the language, which comes to twisting itself, to refounding itself so as to remaining faithful to the metamorphic scenario that it imitates. We aim at analyzing what resists expression, which comes close to an autonomous form and is not estranged from the novel, the myth. Starting from a specific conception of the myth, able to be considered in parallel to ideology, as the poietic aspect of both can be highlighted, we approach a discussion about mimesis. The openness of mimetic poiesis tries to be preserved in such passages. The creative permeability and plasticity that are linked to the notion of mimesis must focus on the reality of the text. We will analyze how the mimetic incidence is manifest in the novels textuality through the oscillation of meanings, whose study follows the non-rhetorical perspective of the metaphor, according to the theories of Paul Ricoeur. There is also the discussion on the notion of figure¸ in the terms of Erich Auerbach, in order to establish the link between mediation and invention.

Depuis les années 1990, le flou a envahi les écrans, touchant toutes les productions audiovisuelles, qu’ils s’agissent des films d’auteur, des blockbusters, des séries, ou encore des publicités. S’il est le plus souvent devenu un composant narratif, voire purement « cosmétique », des longs-métrages, certains réalisateurs tentent de se dégager de cet usage normé afin de jouer avec son potentiel menaçant, que nous savons qualifié de symptomal. Le terme de « symptôme », qui se réfère à l’usage qu’en fait Georges Didi-Huberman, renvoie à un contre-régime de l’image qui vient soulever le régime figuratif. En privilégiant une approche esthétique, phénoménologique et sémiologique, notre thèse met au jour la puissance symptomale du flou, à savoir son potentiel figural, haptique ou encore informe. Selon la théorie développée par Georges Didi-Huberman à partir des écrits de Sigmund Freud, le terme de « symptôme »fait également écho au mouvement du temps, c’est-à-dire au travail qu’opèrent les hantises, les survivances au sein des images afin d’ébranler, de faire vaciller le régime figuratif. Le flou-symptôme est donc aussi envisagé à partir de l’angle du temps, d’un temps qui malmène la représentation, la narration. Notre attention se porte sur différents types de flou, qu’il enveloppe totalement ou partiellement l’image(faible profondeur de champ), s’immisce progressivement dans l’image (mouvement de mise au point), ou encore résulte d’un travail sur le montage rapide (flicker) et la matière (définition de l’image, flou atmosphérique). Dans ce travail, nous analysons toutes ces différentes formes de flou afin de révéler que si certains réalisateurs s’emploient à défaire la fiction première, c’est pour mieux esquisser de nouvelles lignes de fuite narratives, des vies nouvelles. / Since the 90s, blur has invaded screens through all audiovisual productions. This phenomenon can be found not only in arthouse movies but also in blockbusters, TV series, or commercials. Its recurrent appearance as a narrative component, or even “cosmetic”, led some directors to grow away from this standardized use and to fully develop its threatening potential, that we call here symptomal. Symptom,according to Georges Didi-Huberman's works, refers to a counter-regime in which the image upraises the figurative regime. By favoring an aesthetic, phenomenological, and semiologistic approach, this thesisreveals the symptomal power of the blur, namely its figural, haptic, and formless potential. According to the theory that Georges Didi-Huberman elaborated from Sigmund Freud's work, the term “symptom”resonates with the flow of time, id est the labor operated by hauntings and survivances within images in order to undermine and shake the figurative regime. Thus the blur-symptom is also envisioned through the scope of time, a time which destabilizes representation and narration. Our focus is on the different types of blur : an image completely or partially blurred (shallow depth of field), blurring through a motion in the focus (focus-through), or through flickers and even a processing of the matter (image definition andatmospheric blur). In this study, we analyze these different forms of blur to reveal that some directors strive to dismantle the original fiction. Doing so, they eventually sketch new narrative lines of flight, newlives.

Dans cette thèse, nous proposons des pistes pour une théorie visuelle de la bande dessinée à travers l’analyse de l’œuvre transpositive du dessinateur argentin Alberto Breccia. Étudier cet aspect de son œuvre constitue à notre sens le meilleur point de départ pour une étude focalisé sur la vertu plastique de la bande dessinée, le plastique dans l’image étant associé avec les matériaux et les procédés de celle-ci. La bande dessinée transpositive, regroupant les bandes dessinées qui adaptent des textes littéraires ou autres objets culturels, existe au moins depuis la naissance de cet art. Dans la pratique de la transposition l’œuvre transposée se réclame d’un lien direct et explicite avec un ou plusieurs textes ou récits antécédents. Toutefois, la transposition est un phénomène plus large que le simple passage d’une histoire d’un texte- source à une mise en image linéaire par une bande dessinée. Il existe, en effet, toute une dimension d’analyses qui concernent la dimension thématique et narrative ainsi que la dimension formelle, plastique, visuelle des procédés et modes de représentation. C’est ce dernier aspect qui nous occupe dans nos analyses car il nous semble que Breccia est l’un des premiers dessinateurs à explorer à l’occasion de ses transpositions littéraires toute une gamme de moyens nouveaux en bande dessinée. Cela n’est pas un hasard, car les transpositions que Breccia sélectionne l’amènent justement à explore les limites entre figuratif et informel. Il est l’un des premiers à ouvrir la bande dessinée sur des préoccupations plastiques nouvelles, qui sortent du cadre de la lisibilité et de la reconnaissance immédiate de ses premières planches plus illustratives. / In this thesis some clues for a visual theory of comics is proposed relying on the analysis of Argentinian transpositive comics artist’s work, Alberto Breccia. The transpositive aspect of his work is an excellent starting point for an investigation focused on the plastic virtue of comics, which is associated to its materials and processes. Transpositive comics adapt literary texts or other cultural objects, and they have been around at least since the beginning of the art form itself. In the practice of transposition, the transposed work claims a direct and explicit link with one or more background texts or stories. However, transposition is a broader phenomenon than the mere passage from a story, or a source-text, to a linear image set up in the form of comics. There is, indeed, a whole dimension of analysis that concerns the thematic and narrative dimension, as well as the formal, plastic and visual dimensions, processes and modes of representation. The latter aspect will be the focus of the present analysis, because Breccia seems to be one of the first comic artists to explore a range of new ways of representation in comics, using literary transpositions. This is no coincidence, since the transpositions selected by Breccia lead him to explore precisely the boundaries between figurative and informal. He is one of the first artists to open comics to new plastic concerns, which go beyond the readability and the immediate recognition of his first more illustrative comics.

Le sujet de ce travail est le rôle du son dans le cinéma d’animation, à partir du concept d’audio-vision. Ce concept, provenant du théoricien Michel Chion, exprime une activité ou une modalité de la perception qui s’active –est qui est la face subjective– des produits audiovisuels qui dans le cas de l’animation donnent lieu à des expériences singulières. Le lieu de rencontre entre ces instances est la scène sémiotique d’une expérience de sens où une forme de textualité (résultat d’une écriture sonore et visuelle) inscrite dans un support matériel s’active et rencontre un corps vivant, qui la transforme en un récit audiovisuel, ou bien aussi en une pure expérience corporelle, rythmique ou vibratoire, qui est aussi une forme de sens. Cette scène pratique est comprise d’après le concept de dispositif, provenant de la théorie filmique, mais ici liée à la théorie de l’énonciation. Pour aborder cette scène si complexe, j’ai choisi de mettre l’accent sur un aspect particulier : le son, l’écoute, et les approches sémiotiques que se sont occupées de cette dimension de l’expérience perceptive, notamment la sémiotique du son. Pour tester cette approche, dans cette thèse on fait des analyses pratiques d’un type de productions animées que, selon le critère, on peut appeler « indépendantes », « expérimentales », ou même « abstraites » : les courts métrages animés de Norman McLaren et de Mirai Mizue. Néanmoins, pour éloignées que semblent ces productions de l’animation traditionnelle on va proposer qu’à la base de toutes ces productions il y a un même dispositif et un même type de pratique (dans le sens sémiotique du terme), un « faire technique » sur lequel on projettera des contenus divers (narratifs, dynamiques, musicaux, énergétiques). / The subject of this work is the role of sound in animation, from the concept of audio-vision. This concept, from theorist Michel Chion, expresses an activity or mode of perception that is activated –and that is is the subjective side- of audiovisual productions. In the case of animation this activity gives rise to unique experiences. The meeting point between these aspects is the semiotic scene of a meaningful experience, where a form of textuality (the result of an aural and a visual writing) registered in a physical medium, is activated by a living body. This experience is interpreted as an audio-visual narrative, or as a pure physical experience of rhythm and vibration, which is also a form of sense. This practical scene is understood from the concept of ‘apparatus’, coined in the field of the film theory, but connected here with enunciation theory. To address this complex scene, I chose to focus on a particular aspect: sound and listening, from a semiotic perspective. To test this approach, in this work I propose practical analysis of a type of animated productions that according to the criteria, can be called

Este estudo teve como objetivo investigar se o Teste Wartegg é um instrumento capaz de avaliar a criatividade em seleção de pessoal. Foi realizada uma validade de construto através de estudos correlacionais entre indicadores de criatividade nos protocolos do Wartegg e do Torrance – Forma Figural. Participaram desta pesquisa 68 candidatos de processos seletivos, 47% homens e 52,7% mulheres, com idades entre 18 e 41 anos. Foram observadas evidências de fidedignidade no Wartegg correlacionando-se os itens que compõem as categorias que se acredita estarem relacionadas com a função básica imaginação – criatividade, flexibilidade, visão convencional e rigidez – com seus totais. O melhor indicador no Wartegg para investigar a criatividade foi o somatório da criatividade com a flexibilidade. Além disso, verificou-se uma correlação direta entre o campo 5 do Wartegg e os índices criativos figurais do Torrance (ICF 1 e ICF 2). Ainda que o estudo em questão apresente alguma evidência de validade, novos estudos são necessários. Por fim, constata-se que o objetivo do Wartegg, tanto pelo rapport como pela construção teórica, está muito mais direcionado para o entendimento de questões mais amplas da personalidade do que para a investigação de uma função básica específica. Entretanto, a correlação das funções básicas com testes que investiguem o mesmo construto talvez seja uma das únicas formas de validar o instrumento, tendo em vista a dificuldade de encontrar um teste que avalie as condições de personalidade de maneira tão ampla. / This study it had as objective to investigate if the Wartegg Test is an instrument capable to assess the creativity in personnel selection. A construct validity has been verified through correlation studies between creativity indicators in the protocols of the Wartegg Test and those of the Figural Form of the Torrance Test. Sixty eight candidates for selective processes, 47.0% men and 52.7% women, were involved in this research, ranging from 18 to 41 years of age. Evidences of trustworthiness in the Wartegg Test had been observed correlating items of categories which were assumed to be related with the basic function imagination - creativity, flexibility, conventional vision and rigidity - with its totals. The best Wartegg indicator found to investigate creativity is the sum of creativity plus flexibility. Moreover, a direct correlation was verified between field 5 of the Wartegg and the figural creativity index of the Torrance (ICF 1 e ICF 2). Despite the study presents some evidence of validity, new studies are required. Finally, it is evident the objective of the Wartegg, as much for rapport as for the theoretical construction, is more directed to understanding of ampler questions of personality than to investigation of a specific basic function. However, the correlation between basic functions and tests which investigate the same construct may be the only way to validate the instrument, due the difficulty in finding a test that evaluates conditions of personality in so ampler way.

Made available in DSpace on 2016-06-02T20:02:54Z (GMT). No. of bitstreams: 1 5736.pdf: 2625805 bytes, checksum: 4561c12dbfe262f92a7207b44898afa2 (MD5) Previous issue date: 2014-01-31 / This research has as its context the exploration potential of manipulative materials in mathematics teaching Geoespaço. In order to increase knowledge of the development and implementation of exploratory-investigative tasks and tasks of figural representation involving manipulative materials Geoespaço and having specific objectives the development and use of Geoespaço in different didactic sequences. The theoretical foundation takes the qualitative and quantitative analysis Proceedings of the National Meetings of Mathematics Education (ENEMs) from 2001 to 2010 and the Proceedings of the National Association of Postgraduate Education and Research (Anped) from 2000 to 2013, more specifically, on the use of manipulative materials from of Lorenzato (2006) and Bezerra (1962), on the theory of figural representations of Fischbein (1993) and on the exploratory-investigative tasks Bridge (2009). The relevance of this research is partly because of making clear the importance of making use of manipulative materials in exploratory-investigative tasks in various methodologies of teaching math. / Essa pesquisa tem como contexto a exploração das potencialidades do material manipulativo Geoespaço no ensino de matemática. Com o objetivo de aprofundar conhecimentos sobre a elaboração e aplicação de tarefas exploratório-investigativas e tarefas de representação figural envolvendo material manipulativo Geoespaço e tendo como objetivos específicos o desenvolvimento e a utilização do Geoespaço em diferentes sequências didáticas. A fundamentação teórica toma a analise qualitativa e quantitativa dos Anais dos Encontros Nacionais de Educação Matemática (ENEMs) de 2001 a 2010 e os Anais da Associação Nacional de pós-graduação e Pesquisa em Educação (Anped) de 2000 a 2013, de modo mais específico, sobre o uso de materiais manipulativos a partir de Lorenzato (2006) e Bezerra (1962), sobre a teoria de representações figurais de Fischbein (1993) e sobre as tarefas exploratório-investigativas de Ponte (2009). A relevância dessa pesquisa se dá pelo fato de tornar clara a importância de se valer de material manipulativo em tarefas exploratório-investigativas em diversas metodologias de ensino de matemática.

Este estudo teve como objetivo investigar se o Teste Wartegg é um instrumento capaz de avaliar a criatividade em seleção de pessoal. Foi realizada uma validade de construto através de estudos correlacionais entre indicadores de criatividade nos protocolos do Wartegg e do Torrance – Forma Figural. Participaram desta pesquisa 68 candidatos de processos seletivos, 47% homens e 52,7% mulheres, com idades entre 18 e 41 anos. Foram observadas evidências de fidedignidade no Wartegg correlacionando-se os itens que compõem as categorias que se acredita estarem relacionadas com a função básica imaginação – criatividade, flexibilidade, visão convencional e rigidez – com seus totais. O melhor indicador no Wartegg para investigar a criatividade foi o somatório da criatividade com a flexibilidade. Além disso, verificou-se uma correlação direta entre o campo 5 do Wartegg e os índices criativos figurais do Torrance (ICF 1 e ICF 2). Ainda que o estudo em questão apresente alguma evidência de validade, novos estudos são necessários. Por fim, constata-se que o objetivo do Wartegg, tanto pelo rapport como pela construção teórica, está muito mais direcionado para o entendimento de questões mais amplas da personalidade do que para a investigação de uma função básica específica. Entretanto, a correlação das funções básicas com testes que investiguem o mesmo construto talvez seja uma das únicas formas de validar o instrumento, tendo em vista a dificuldade de encontrar um teste que avalie as condições de personalidade de maneira tão ampla. / This study it had as objective to investigate if the Wartegg Test is an instrument capable to assess the creativity in personnel selection. A construct validity has been verified through correlation studies between creativity indicators in the protocols of the Wartegg Test and those of the Figural Form of the Torrance Test. Sixty eight candidates for selective processes, 47.0% men and 52.7% women, were involved in this research, ranging from 18 to 41 years of age. Evidences of trustworthiness in the Wartegg Test had been observed correlating items of categories which were assumed to be related with the basic function imagination - creativity, flexibility, conventional vision and rigidity - with its totals. The best Wartegg indicator found to investigate creativity is the sum of creativity plus flexibility. Moreover, a direct correlation was verified between field 5 of the Wartegg and the figural creativity index of the Torrance (ICF 1 e ICF 2). Despite the study presents some evidence of validity, new studies are required. Finally, it is evident the objective of the Wartegg, as much for rapport as for the theoretical construction, is more directed to understanding of ampler questions of personality than to investigation of a specific basic function. However, the correlation between basic functions and tests which investigate the same construct may be the only way to validate the instrument, due the difficulty in finding a test that evaluates conditions of personality in so ampler way.