Made available in DSpace on 2016-04-04T18:29:44Z (GMT). No. of bitstreams: 1 Giuliana Gnatos Lima Bilbao.pdf: 679853 bytes, checksum: 598f2d8624577284ea9d1789119a0568 (MD5) Previous issue date: 2008-12-16 / This intervention research aimed to comprehend the experience of a Painting Workshop, which is a psychological approach implemented in PUC Campinas Psychology Clinic during three months in the year of 2007. The theoretical referential is Edmund Husserl s Phenomenology, and the Humanist-existential Psychology. In a room of the Psychology Clinic fourteen workshop meetings were organized, with duration of two hours each. They were conducted by the researcher as a facilitator adopting Roger s proposition of three attitudes: empathy, unconditional positive regard and congruency. After each workshop, the researcher elaborated narratives about the recently experienced meeting, using Benjamin s definition of narrative (1936/1994), and Husserl s definition of consciousness (1935/1996) as a base. It was the intention of the researcher to capture the movement of consciousness in the meaning creation that configure the experience. Based on the elaborated narratives, the intention was to expose the elements experienced by the researcher, who understands that the emerging meanings were configured in the intersubjective net of the meetings. Through the experience of the Painting Workshop and based on the principle that the human being has whether autonomy and the resources for self-comprehension and change, it was verified that participants of the Painting Workshop directed themselves to psychological integration by sharing their experiences in a kind and supportive environment. According to the perspective of setting differentiated psychological attention, the Painting Workshop makes us think carefully about the benefits and viability of the implementation of new models of clinical intervention in public health institutions that are able to pririze clients autonomy and psychological growth. / Esta pesquisa-interven??o objetivou compreender a experi?ncia vivida em uma Oficina de Pintura ; modalidade de aten??o psicol?gica implementada no servi?o de psicologia da PUC-Campinas ; durante tr?s meses no ano de 2007. Os referenciais te?ricos adotados foram a Fenomenologia de Edmund Husserl e a Psicologia Existencial-Humanista. Foram realizados catorze encontros de oficina ; com dura??o de duas horas ; em uma sala do servi?o de psicologia. A pesquisadora conduziu os encontros como facilitadora ; adotando as atitudes preconizadas por Rogers(1961/1999) de empatia ; aceita??o positiva incondicional e congru?ncia. Ap?s cada encontro ; a pesquisadora elaborou narrativas sobre a experi?ncia vivida ; baseando-se tanto na concep??o de narra??o de Benjamin(1936/1994) como na concep??o de consci?ncia de Husserl(1935/1996) ; buscando capturar o movimento da consci?ncia na cria??o de significados que configuram a experi?ncia. A partir das narrativas constru?das pela pesquisadora ; buscouse explicitar os elementos vividos ; entendendo que os significados que emergiram formaram-se na teia intersubjetiva dos encontros. Atrav?s da experi?ncia vivida na Oficina de Pintura e partindo do princ?pio de que o homem ? dotado de autonomia e possui dentro de si recursos para a auto-compreens?o e mudan?a ; verificamos que as participantes da Oficina de Pintura caminharam no sentido da integra??o psicol?gica ; compartilhando suas experi?ncias ; num clima acolhedor e de apoio m?tuo. Assim ; numa perspectiva de enquadres diferenciados de aten??o psicol?gica ; a Oficina de Pintura leva a refletir sobre os benef?cios e a viabilidade de implementar novos modelos de interven??o cl?nica em institui??es de sa?de p?blica que privilegiem a autonomia e o crescimento psicol?gico dos clientes.

The Master of the Budnany Altarpiece (in other circumstances also called Master of the Vejprnice Altarpiece) appears to be a painting workshop operating in the 1590s, probably in Prague or hypothetically in Cheb (Eger). It is a construct created by art historians on the basis of a group of surviving works that show significant stylistic similarities. It includes three torsionally preserved painted altarpieces. These are the Budňany altarpiece, the Pruhonice altarpiece and the altarpiece of the Knights of the Cross monastery. Mostly these are works of lower quality, which, according to current interpretation, illustrate the average production of Prague workshops at the end of the 15th century. Stylistically, they are strongly derived from the production of the Nuremberg Painting Centre, but also, allegedly, from the problematically defined contemporary "court" painting in Prague. The so-called "Vejprnice panel", originally the main part of another painted altarpiece, was also included in the group for a time because of its stylistic affinity, which transformed the naming of the anonymous workshop master. The author of this conception was Jaroslav Pešina, who was by far the most active on the subject, most recently in 1978, and this thesis thus partly polemics with his conclusions. The content of this thesis...