Dançando a carne: uma poética do corpo no mito adâmico

In this dissertation we reflect about sensitive the dimension of the body, which enables us to participate in mythical space and set him as a potential space for artistic creation in dance, experience provider in senses for world, for life and for existence. It´s a written, thrashing some reflections on the human condition from a gaze cast upon the myth of Adam, leading us to think about the possible relationships between art and myth in contemporary times, as fields of knowledge open to creation, and semantic spaces able to assign new meanings to living through the pulsations of a body that is myth and what is dance. One of the goals of this study is set up a new point of view to analyze the Adam's myth, enabling to new interpretations, meanings and understandings from the experience in the process of creation in contemporary dance. Therefore, methodologically reference is made in the Phenomenology, or rather the phenomenological attitude proposed by Merleau-Ponty (1994), which considers the experience of the body as the primary source of knowledge. Dipping on this process of creation in contemporary dance, one artistic and choreographic work was originated, titled "The Body I am”, in contemplation of this dance that echoes the mystery, that emerges from the depths of the body, and it brings to the human surface and your world, your relationships. Realize that dance is as a sensitive guide and counselor reflections ontological and epistemological, able to validate and perpetuate the myth whereas ancestral wisdom inheritance.

Experiencias de danzaterapia de mujeres que han sufrido cáncer de mama. Un estudio fenomenológico

Objective: This essay aims at identifying, describing and analyzing possible changes both in the experience of the body and in interpersonal relations of women with breast cancer, which result from their participation in Dance Therapy group meetings.Method: This is a phenomenologically oriented qualitative research using Maria Fux´s dance therapy method for group experiences. Eight meetings are described here, and an analysis of descriptions based primarily on Merleau-Ponty and María Fux is provided.Results: The participants have been able to express pain and sorrow over the circumstances that breast cancer and its relational environments have brought to their lives. They have been able to go through moments of creation and surrender to the rhythmic body sensations and experiential environment with different emotions lived separately and jointly. They have revived memories and sensations of their childhood and adolescence, and finally, they have rediscovered their sensitive body through body resignifications marked by the absence of the breast, and by means of feelings of greater acceptance and integration of lived experiences in new gestalts.Conclusions: This project is still under way, but it is already possible to conclude that the life experiences provided in dance therapy have allowed these women to improve their integration and welfare. Likewise, they have felt positive changes in the perception of their corporality and in their way of being in the world and with other subjects, thus experiencing the body in a new and different way.

Humanism is a violence typical of the beasts. Philosozing with a Hammer, using Levinas and Derrida, the Measure of the Human and the Human as a measure

Levinas’s reflections arose as a critique of traditional philosophy which, since it was based on presence and identity, leads to the exclusion of the other. Instead of an onto-logical thought the Lithuanian proposes that the ipseity of the human being be constituted by alterity, and that it be so ethically, because the subject is sub-ject, that is, that which upholds, responsibility. In an attempt to take the obligatory attention to the otherness of the other even further, Derrida would develop a radical critique of the Levinasian posture. Deconstruction of every trace of ipseity and sovereignty in the relationship with the other, the reading that we have done of the work of Derrida opts for a no definable understanding of the human. That is why every de-limitation of an ethical field as a properly human implies a brutal violence that the levinasian humanism of the other tried to exceed.

Psicodrama: cuerpo, espacio y tiempo hacia la libertad creadora

El Psicodrama, creado por Jacob Levy Moreno, es un método de abordaje del individuo, la familia, los grupos y la comunidad, que tuvo sus orígenes en el teatro, la sociología y la psicología. Desde su trabajo con niños y grupos marginales, su creador va gestando su teoría y su técnica. Se desarrolla en diferentes ámbitos: clínica, psicoterapia, pedagogía y comunidad. El cuerpo, el juego, el espacio y el tiempo confluyen de una manera poética y contribuyen a la libertad creadora y a la tan añorada espontaneidad. El Psicodrama se desarrolla en ese espacio transicional, que no siendo ni interno, ni externo, se transforma en ese espacio pluripotencial de infinitas posibilidades creadoras.

The visibility of the world and the invisibility of the soul. Phenomenological structure of the human perception

The essay intends to demonstrate the need to postulate an (invisible) spiritual reality in the human being as a condition of possibility of the world’s visibility. For that purpose, it employs the phenomenological method. It describes the structure of human sensitive perception. This description firstly presents the world’s structure (first distance). Secondly, it manifests the importance of the body as a border element between the soul and the world and as an organ by means of which the soul structures the world. It is the second distance the distance between the body and the world. But, thirdly, the description states that, no matter how intimately the soul interpenetrates the body and requires it to know the world, the soul is not the body. It is the third distance or the primordial distance between the soul and everything else (including the body itself).

Corporeidades negras em cena : um processo cênico : pedagógico em diálogos com a tradição e a contemporaneidade

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2015.

Actividad física e imagen corporal: conceptos y enfoques desde la equidad-inequidad en salud

Este trabajo rastrea el tratamiento dado a las categorías Actividad Física e Imagen Corporal en una selección de textos científicos del área de la salud; revisa la relación entre categorías y examina si en dichos textos son abordadas desde el enfoque de los Determinantes Sociales de la Salud o desde el enfoque de la Determinación Social de la Salud, usando la categoría de equidad como parámetro y explorando las implicaciones de ello. Su paradigma epistemológico es la construcción social del conocimiento y el eje metodológico el análisis de contenido. Los resultados muestran una construcción insipiente de las categorías, una relación diversa entre ellas y un privilegio del enfoque de los determinantes sociales de la salud en los textos académicos. Finalmente, el trabajo indaga sobre las implicaciones prácticas mediante un análisis de contenido de dos documentos de la OMS. Se concluye que en la práctica sí se reflejan las diferencias de enfoque.

Imaginarios sociales de adolescentes y docentes en torno al cuerpo, la corporalidad y la actividad física. Estudio cualitativo en un colegio de Bogotá, 2014-2015.

Problema. Esta investigación se aproxima al entorno escolar con el propósito de avanzar en la comprensión de los imaginarios de los adolescentes y docentes en torno al cuerpo, la corporalidad y la AF, como un elemento relevante en el diseño de programas y planes efectivos para fomento de la práctica de AF. Objetivo. Analizar los imaginarios sociales de docentes y adolescentes en torno a los conceptos de cuerpo, corporalidad y AF. Métodos. Investigación de corte cualitativo, descriptivo e interpretativo. Se realizaron entrevistas semi-estructuradas a docentes y a estudiantes entre los 12 y 18 años de un colegio público de Bogotá. Se realizó análisis de contenido. Se compararon los resultados de estudiantes por grupos de edades y género. Resultados. Docentes y estudiantes definen el cuerpo a partir de las características biológicas, las diferencias sexuales y las funciones vitales. La definición de corporalidad en los estudiantes se encuentra ligada con la imagen y la apariencia física; los docentes la entienden como la posibilidad de interactuar con el entorno y como la materialización de la existencia. La AF en los estudiantes se asocia con la práctica de ejercicio y deporte, en los docentes se comprende como una práctica de autocuidado que permite el mantenimiento de la salud. Conclusiones. Para promover la AF tempranamente como una experiencia vital es necesario intervenir los espacios escolares. Hay que vincular al cuerpo a los procesos formativos con el propósito de desarrollar la autonomía corporal, este aspecto implica cambios en los currículos.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.

The Worldhood of the Cinematic Image

A close analysis of the specifically cinematographic procedure in Akira Kurosawa’s ‘Dream’ Crows reveals it as an articulated and insightful philosophical statement, endowed with general relevance concerning ‘natural’ perception, phenomenological Erlebnis, mechanical image and aesthetic rapture. The antagonism between the Benjaminian lineage of a mechanical irreducibility of the cinematic image to anthropocentric categories, and the Cartesian tradition of a film-philosophy still relying on the equally irreducible structure of the intentional act, be it the one of a deeply embodied and enworlded counsciousness, in accounting for the essential structure of film and spectator (and their relation), i.e., the antagonism between the decentering primacy of the image and the self-centered primacy of perception, cannot be settled through a simple Phenomenological shift from occularcentric, intentional counsciousness to its embodyment ‘in-the-world’ as yet another carrier of intentionality. Still it remains to be explained what is it in the mechanical image that is able to so deeply affect the human flesh, and conversely, to what features in the human bodily experience is its mechanical other, the fascinating image, so successfuly adressing? It should be expected from the anti-Cartesianism of both the early and the late Merleau-Ponty the textual support for an approach to the essential condition of passivity in movie watching, that would be convergent with Benjamin. The Chapter ‘Le sentir’, in Phénoménologie de la perception, will offer us the proper guide to elucidate what we are already perceiving and conceiving in Kurosawa’s film, where the ex-static phenomenological body of the aesthetical contemplator ‘enters the frame’ like the Benjaminian surgeon enters the body and like the painter - and always already like our deepest level of ‘sensing’, previously to any act of cousciousness - ‘just looses himself in the scene before him’. The Polichinello secret of cinema watching is nonetheless too evident to be seen, and that is where Phenomenological description and reduction are still required.

Contribuição para o conhecimento da ''saúva mata pasto" Atta bisphaerica Forel, 1908

In this paper, some notes on "saúva mata pasto" (paraol ant, Atta bisphaerica Forel, 1908) are presented. This ant is very common in good soils and it is a pest of gramineous plants, mainly com, rice, sugar cane, and so son. In poor land it is too difficult or even impossible to ind it.