Educações : leituras e vivências bibliográficas em Merleau-Ponty : itinerários do olhar fruidor

• Autor(a) principal: Cunha, Tereza Ramalho de Azevedo
• Data de Publicação: 2019
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFMT
• Texto Completo: http://ri.ufmt.br/handle/1/3986
• topic: Olhar fruidor/sentido; Leituras/textos; Visuais/bibliográficos; Educações/corpo percipiente/quiasma; CNPQ::CIENCIAS HUMANAS::EDUCACAO; Spectator look/sense; Visual/bibliographic readings/texts; Education/perceptive body/chiasm

The present research, entitled “Educations: Reading and Bibliographic Experience in Merleau- Ponty: Itineraries of the Spectator Look”, focuses on investigating texts by Maurice Merleau- Ponty (1908-1961), concentrating more attentively and punctually in his works, namely: “Phenomenology of Perception”; “Nature”, “The Primacy of Perception and its Philosophical Consequences”; “Child Psychology and Pedagogy”, “Prose of the World”, “The Eye and the Spirit” and “Causeries”. Considering a methodology which contemplates studies related to corporeity, perception, existence, having these, incontestably, the mark of writings of the French philosopher this proposal offers dense descriptions through a demonstration field constituted of visual texts readings, like graffiti (Maputo, Mozambique and Cuiabá, Brazil), children’s pictures and drawings. Merleau-Ponty Phenomenology deals with something beyond physical phenomena, evoking thoughts by means of essences and sensations, without the sieve and the canonized control of reason. The pictures and their engenderings, as well as painters’ poetry, are considered important points of reflections to which Merleau-Ponty devotes attention: thus, the phenomenology favors the dive of the look into the aesthetics texts admitting that such an attitude can and must be assumed by perceptive subjects. We know that looking is not a passive act; being active and attentive, it prevents things from remain immutable. Inadvertently, there are moments in which the work questions the spectators, and from this chiasmatic relationship, both the painter and the spectator are trespassed by the world and the world makes itself felt. In consonance with the philosophical thought this work is based on the conceptions of Discursive Semiotics by Algirdas-Julien Greimas (1917-1992) et al. This field of knowledge, organized with scientific rigor, favors the notion of the text and the trajectory of the sense that gives meaning to it, presenting procedures for analyses, social descriptions, culture, arts, among others. Nonetheless, reflections made by both, the philosopher and the semioticist are based on linguistic and language experiences of the Brazilian educator, Paulo Freire (1921-1997). Within this horizon, an aesthetic vocabulary emerges, through the perception of cultural phenomena of concrete reality, through which, the educator from Pernambuco, created an emancipatory pedagogy methodology for literate and illiterate people for all genders, ages, ethnicities, and religious denominations capable of changing society.