Lugares do desenho na história sintomal da Escola de Artes e Arquitetura (UCG), transformações disciplinares e institucionais e a arte como recalque

• Autor(a) principal: Morais, Fabíola Arantes de
• Data de Publicação: 2017
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/8308
• topic: História; História e psicanálise; Arte; Desenho; Escola de Artes e Arquitetura; History; History and psychoanalysis; Art; Drawing; School of Arts and Architecture; CIENCIAS HUMANAS::HISTORIA

The thesis presented here defends the existence of a Visual Art course in the subsoil of the School of Arts and Architecture and explores the idea of a repression of this content, which returns to the surface in the form of symptoms. The structure in notebooks seeks to solve the singularities of from each approach of this phenomenon. This research stitches memories that oat within a the School of Art and Architecture of Pontifícia Universidade Católica de Goiás. It gives special attention to the fragments relative to the practice of drawing in itself and the factors that surround it. Freud, Rüssen, Didi Huberman and Ricouer bless and get along in these chapters that describe the Arts and Architecture School of UCG (Escola de Artes e Arquitetura da UCG): Freud, opening the rst notebook, inspires every remark in the text that show how psique, inevitable path to the historic content, changes it. Lacan grounds the drawing of a map named the Interpretation of the Freudian psychic system, while Rüssen orients the conceptualization of the sources. In the second notebook, Didi Huberman brings to the text the idea of collage as an instrument of an assembly that carries meaning within itself. This concept was used both to organize the complexity that lies around the beings drawing, architecture, teaching methodology, arts and artists, and also strongly inspired the assembly of this very thesis, organized in notebooks, built by blocks of text that keep between them the gaps of collage. Still on notebook 2, the text makes an exercise with Paul Ricoeur, countering the relativization of any past with the statement that it only exists through the mediation of the present, with a positivist stream of historiographical praxis, both in classes previous to graduation, as in graduation courses, such as Architecture and Urbanism. In the third notebook, this problematization, applied to the very school’s contingencies, is better felt, through the exposing of documents: images with syllabi, programs, drawings and illustrations. In notebook IV, the bid is of a discourse in images, which not only illustrate the propositions in other notebooks, but also propose a visual narrative of free collage. To achieve this e ect we made two versions, one online and one printed. In the rst, the diagramming takes care that the images and phrases have white space of reverberation around each other. In the printed version, we use detached blades so that the reader can examine them separately. Furthermore, the images speak for itself. Literally.