Uma mulher e o olhar em ato: o que a arte desnuda do não-todo do corpo

• Ano de defesa: 2018
• Autor(a) principal: Pâmella Fernandes Freitas
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAF - DEPARTAMENTO DE PSICOLOGIA; Programa de Pós-Graduação em Psicologia; UFMG
• Palavras-chave em Português: Incógnito; Não-todo; Olhar; Corpo; Asssentimento
• Link de acesso: http://hdl.handle.net/1843/30092

To the extent that a woman is postulated by psychoanalysis as being "closer" to the Real, this research sought to ascertain what a woman, when offering herself to be looked at, reveals of the not-all of her body. The purpose of this research, therefore, is to contribute to the theoretical advance of psychoanalysis in regard to the constitution of a subject, of a woman, of a body and to enlighten the notion of the not-all. From the analysis of the works and reports of two artists - Ethel Braga, a performer, and Monica Piloni, a fine artist - it has been elucidated that to discuss the logical notion of the notall is to say something incognito, obscure and enigmatic that concerns, not only women, but every subject. It`s to say something of an absence, of an emptiness, in which all bodies orbit: the Real. After the research drawn in the course of this work, the Freudian question "What does a woman want?" became "What does a subject want?" and a possible answer was pointed out: what a subject wants is an access, a glimpse, a gaze at the Real that presents itself as something obscure installed in the body. In an attempt to clarify this obscure, it was investigated how to identify it and how to give it visibility. It`s in this moment that art has much to say, in so far as it produces, in act, the imagining of a reach to a whole body. By a psychoanalytic interpretation, three acts were addressed in this research: 1) the constitution of the subject, of his body, in three dimensions; 2) the importance of the gaze, both in the constitution of a body that the subject believed it possess, and also from the gaze sustained by the function of being object a, that is, what could fill the absence, attribute (or identify) something in the place of the Real dimension that remains inaccessible; and, finally, 3) an indication of the act necessary for the subject to rupture from the anguish of being and having a not-all body: the assent. By the end of this investigation, it was possible to indicate, from what art strips to the eye of it`s observer, that the Real dimension of the body remains as that which does not cease to not subscribe and therefore is not exposed, in fact, to the gaze.