Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Londero, Selmara Merlo
 |
| Orientador(a): |
Rolnik, Suely Belinha |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Psicologia: Psicologia Clínica
|
| Departamento: |
Psicologia
|
| País: |
BR
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/15462
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Resumo: |
The thesis draws upon trials with vocal dance, improvisation and authentic movement, i.e. the bodywork of both somatic education and flamenco, to seek an approach to the knowledge of the body. It problematizes the body, discussing the real drive and female enjoyment as possibilities to question the dichotomy mind/body, reason/affection, present in our culture. The trial led to the experience of consciousness change through movement, and was woven in a writing that tries to suspend rational judgments and moral values. The experience with dance gradually became a writing device. The cartographic method enabled the co-emergence of knowing, acting and creating while the text wove itself. Thus the trials with dancing were registered in a diary. The experimentations intended to move away from the excess of meanings, worn down words, which separates the body from its affections, allowing the opening of experience to host the instability generated by the affectations and the struggles of life forces. It was possible to experience dance movements as resistance to the capture of disciplining the body and as an opening for connections that the movement establishes, producing a corporeal writing. Sometimes the text appears more prepared by a network of associations woven by contents in connection to different times, sometimes gushes like a flow of ideas. It is in bordering the meaningless, the friction of affections between feelings and ideas, thoughts and images that the text constitutes itself and constructs new meanings. In this sense, knowledge of the body or drive is the driving force of the movement that leads to dancing and writing. The text was created by means of sublimation and draws upon the thoughts of authors of philosophy, dance, art and psychoanalysis, mainly Freud, Lacan, Deleuze, Guattari, Spinoza and Nietzsche |
