Detalhes bibliográficos
| Ano de defesa: |
2012 |
| Autor(a) principal: |
Paiva, Cristina |
| Orientador(a): |
Salles, Cecilia Almeida |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Comunicação
|
| País: |
BR
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
https://tede2.pucsp.br/handle/handle/4418
|
Resumo: |
This research is mainly focused on the analysis of communicative aspects present in contemporary creation workshops which general aim is to guide its members in the search for singular ways of poetic expression, arising from the confrontation between the individual and the collective, based on a wide range of possibilities experienced. These workshops are focused mainly on the creation process and not so much on the outcomes. These proposals come over others oriented to the search for final products that match pre-established aesthetic models. As a consequence, rather than adopt a single methodological approach to drive all participants towards similar results, both workshops analyzed are guided by the understanding of creation processes as a result of the dialogic interaction between the artist and his cultural environment, in which cognitive resources, perception, memory and imagination play a fundamental role. Thus, our hypothesis is that such workshops are configured as networks under construction as conceptualized by Cecilia Almeida Salles in Crítica de Processos Criativos (Criticism of Creative Processes). For this analysis, we selected two workshops proposals, one artistic and other literary the first designed by the artist Edith Derdyk and the second by the writer Mario Bellatin. The methodological strategy adopted was the analysis of the theoretical assumptions on which are based such workshops, as well as the way both are structured and organized, ie. the ways its creators implement their proposals. Then, these proposals are discussed in the light of Salles Theory, in order to extract, from the examination of its singularities, aspects that can be generalized as characteristics of workshops of contemporary creation. In addition, we rely on other researchers and theorists who could help in the analysis of the proposals addressed, such as Merleau-Ponty, Flávio Motta, Luigi Pareyson, Jorge Fornet and Donald Shaw |
