Trevas, luz, arte : o espectador sob efeito da obra

• Ano de defesa: 2021
• Autor(a) principal: Pereira, Bruna Fangueiro
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Mato Grosso; Brasil; Instituto de Educação (IE); UFMT CUC - Cuiabá; Programa de Pós-Graduação em Psicologia
• Palavras-chave em Português: Espectador; Fenômeno de recepção estética; Inconsciente; Obra de arte; Psíquico; CNPQ::CIENCIAS HUMANAS::PSICOLOGIA; Spectator; Aesthetic reception phenomenon; Unconscious; Work of art; Psychic
• Link de acesso: http://ri.ufmt.br/handle/1/4761

This textual production proposes to investigate the unconscious psychic processes involved in the spectator's contact with a work of art of their choice, using, for that, the psychoanalytic theoretical bias. The spectator's contact with the work of art is also known as the phenomenon of the spectator's aesthetic reception in the face of artistic expression. The present study had as other objectives to investigate the function of the work from the trajectory of Freudian psychoanalysis with these artistic productions and investigate whether there are possibilities for aggregation of these works of art in contemporary psychoanalytic practice. To this end, four case studies were carried out, three of which were taken from literary narratives by authors who work with psychoanalytic theory, and a case study that was composed by the researcher's own experience as a spectator of musical works of art. The research carried out was of a qualitative nature, and the case studies contained in this dissertation were obtained, initially, with the use of bibliographic research, when portraying the cases contained in literary works and, later, with the use of autobiographical research, when portraying the researcher's experience as part of the research in question. What could be observed from the cases discussed in this dissertation was the conception of artistic expression as having a role, on the one hand, numbing, corroborating Freud's conclusions about art. And, on the other hand, a new theoretical conception was produced regarding the function of artistic production that opposes the conclusions covered by Freud. This is because this other conception came to contemplate art as having a function of unveiling, which reveals the psychic contents that lie in the obscurity of the unconscious. In this last process, which went beyond the limits understood by classical psychoanalysis regarding art and its effects, it was possible to go deeper into the ways in which it could function as an access to the traumatic contents of the viewer and how art could provide the symbolization of these latent contents, making them available to consciousness. From the moment the repressed contents were unveiled to the spectators through each of the aesthetic reception experiences that are part of the case studies of this research, there was also a study on the possibilities of spectator transmutation as in each experience of contact with the respective works, there could be a new meaning created by the observer during the process of unveiling his own unconscious. This provided, simultaneously, the unveiling and the resignification of contents covered and protected by fantasies against the real or traumatic, transforming their own psychic reality.