O efeito do estranho na obra de Salvador Dali

• Autor(a) principal: Santos, Vanisa Maria da Gama Moret
• Data de Publicação: 2010
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/14592
• topic: Art; Surrealism; The Other; The Uncanny; Paranoia; Unconscious reality; Arte; Surrealismo; Outro; Estranho; Paranóia; Realidade psíquica; CNPQ::CIENCIAS HUMANAS::PSICOLOGIA::TRATAMENTO E PREVENCAO PSICOLOGICA

The study of the art of Salvador Dali enables us to highlight some important points involving the connection between art and psychoanalysis. The points related to the Freudian concept of anguish and its relation to the art practiced by Dali are based on the essay The uncanny (1919) and on Lacan´s Seminar, book 10. Dali also wrote some articles and an essay about what he called paranoiac-critical method of knowing reality . Due to this, we revised some points related to the Freudian concept of paranoia and its relation to the reality of the unconscious. Dali´s critical method and its application to his own art has taught us that a work of art can function as an object little a for the observers whose unconscious reality are touched by a given picture. Another important theme dealt with in this paper has to do with what we called Dali´s Geographic Other . We based such research on the Lacanian notion of the big Other as the treasure of significants and its relation to the northeastern region of Catalunia, in Spain. We could notice that the places where Dali lived and built his museum-houses were extremely important to him. This is clearly noticed in his works of art, as some parts of the nature belonging to these regions are repeatedly depicted in his paintings, just like significants that insist on being rewritten. Regarded as the Dalinian triangle by his biographers, the places that compose such structure are: Figueres, his birth-place; Cadaqués, on the northeastern coast of Catalunha, where, as a boy, he spent his summer holidays with his family, and where he built his matrimonial home with his beloved Gala; and, finally, Púbol, in the interior of Catalunha, where he rebuilt a castle for his wife to live. We assume that, just like the notion of time, these three places also worked, for Dali, within the same logic of the unconscious. Besides this, we also highlight the influence of some of Dali´s favorite painters, mainly the ones who operated to him as big masters.