EXÍLIO E SENTIMENTO NA CIDADE EM “LAS VENTANAS SE HAN ESTREMECIDO”, DE CÉSAR VALLEJO

O poema “Las ventanas se han estremecido” (“As janelas estremeceram”) faz parte da obra do poeta peruano César Vallejo (1892-1938) Poemas Póstumos I, também chamados Poemas Humanos ou Los poemas de París. A análise, realizada segundo A poética do espaço, de Gaston Bachelard (1884-1962), e as próprias reflexões do poeta, registradas em artigos e crônicas, contemplam uma relação ambígua do autor com a cidade do seu exílio, Paris. É a partir desse espaço, no entanto, que o artista toma consciência de aspectos culturais e sociais da América Latina e os apresenta traduzidos sensorialmente em sua poesia.

Historicity, Historiography, and Hope

Historicity is a key epistemological component of the definition of “science” proposed by authors such as Gaston Bachelard, Georges Canguilhem and Michel Foucault, and partially accepted by the Brazilian Collective Health builders. What we call the “historicity awareness” of Collective Health is the field’s recognition that there is no knowledge of health without history and that its history interferes with its results, with the conceptualization of its objects, its cognitive and technological practices, and the feasibility of its promises of enhancing the quality of life towards an equal society. This helps explain why Humanities in general and History, in particular, are ubiquitous to Health Education, where they are known as Health and Medical Humanities or, as is more usual in Brazil, Human and Social Sciences in Health. They helped to imagine an equitable health care system of which the concrete manifestation, however imperfect, is the Brazilian Unified National Health System, the SUS. Health Humanities, Medical Humanities, and History of Science and Technology are all interdisciplinary fields that challenge historiography and theory of history to look beyond the borders of our normative understanding of the historian’s professional identity – which legitimacy is achieved through specific academic training – to properly evaluate the multiple expressions of society’s relationships and engagements with history and time.

The Hand of the Engraver

<p>The manner in which we dwell leaves scars upon the landscape. These scars are often left behind long after occupancy ceases. Countless derelict landscapes across New Zealand bear these scars left by human occupancy, but many are too advanced for remediation. Rather than removing scars, this thesis proposes allowing future generations to witness these scarred landscapes so that their intrinsic stories can provide important lessons for the future, while helping to provide unexpected new approaches to the revitalisation of these sites. Quartz Reef Point in Central Otago has been selected as the site for this design-led research investigation; it is an abandoned strip mine that appears so violated, that it has lost all apparent means of restoration or reuse. This design-led research project proposes that by building upon these scars, rather than ignoring or hiding them, these scars can be reinterpreted as lessons for the future that can help enable future generations to learn from past mistakes. The damage at Quartz Reef Point strip mine has been caused by ‘scratching’ the surface of the site so severely that natural systems have suffered inexorable damage. In the art of engraving, the surface of a copper plate is also deeply scratched––and the resulting ‘damage’ to the plate allows a story to unfold. This design research investigation looks at how the art of engraving can be applied to architectural design processes in ways that help tell the story of severely damaged sites such as Quartz Reef Point. Hans-Jörg Rheinberger’s book The Hand of the Engraver: Albert Flocon Meets Gaston Bachelard is used to establish a framework for this investigation. In this book, the architectural engraver, Albert Flocon, shares dialogues with the architectural philosopher, Gaston Bachelard––two distinct points of view about storytelling. The thesis proposes that when these two points of view are integrated with the voice of the architectural designer, the thesis author, new approaches for meaningful architectural interventions can be discovered to help bring the story of Quartz Reef Point to life for future generations. Using Hans-Jörg Rheinberger’s book The Hand of the Engraver as a generative starting point, the thesis investigation asks the research question: how can the engraver, the philosopher and the architectural designer be brought together to explore new ways of looking at scarred landscapes that not only reinvigorate them, but offer their tales as important lessons for the future? This investigation proposes that architecture can engage scars on the landscape in narrative ways that enhance visitors’ awareness about the site and its tragic history. Jerome Bruner, senior research fellow at New York University, outlines a framework that he argues is necessary to advance a successful fictional narrative. Architectural heritage theorist Jennifer Hill discusses how retaining visible scars in the built environment can offer insights into how the ongoing transformations of a site contribute actively to the narrative of place. Environmental psychologist Jonathan Sime argues that contextual elements of derelict sites, in combination with a fictional narrative, can culminate in an enhanced ‘sense of place’ through unexpected architectural responses. This thesis proposes to integrate the theoretical arguments of Jerome Bruner, Jennifer Hill, and Jonathan Sime in a design-led research approach to the reinvigoration of severely scarred landscapes. In the thesis investigation, architectural elements and environmental scars are conceptualised as overlapping, each line advising the other. In this way, the thesis looks to communicate contextual narratives in a way that not only revitalises place identity, but also enables us to fully engage a site’s heritage and learn from past mistakes.</p>

The Hand of the Engraver

<p>The manner in which we dwell leaves scars upon the landscape. These scars are often left behind long after occupancy ceases. Countless derelict landscapes across New Zealand bear these scars left by human occupancy, but many are too advanced for remediation. Rather than removing scars, this thesis proposes allowing future generations to witness these scarred landscapes so that their intrinsic stories can provide important lessons for the future, while helping to provide unexpected new approaches to the revitalisation of these sites. Quartz Reef Point in Central Otago has been selected as the site for this design-led research investigation; it is an abandoned strip mine that appears so violated, that it has lost all apparent means of restoration or reuse. This design-led research project proposes that by building upon these scars, rather than ignoring or hiding them, these scars can be reinterpreted as lessons for the future that can help enable future generations to learn from past mistakes. The damage at Quartz Reef Point strip mine has been caused by ‘scratching’ the surface of the site so severely that natural systems have suffered inexorable damage. In the art of engraving, the surface of a copper plate is also deeply scratched––and the resulting ‘damage’ to the plate allows a story to unfold. This design research investigation looks at how the art of engraving can be applied to architectural design processes in ways that help tell the story of severely damaged sites such as Quartz Reef Point. Hans-Jörg Rheinberger’s book The Hand of the Engraver: Albert Flocon Meets Gaston Bachelard is used to establish a framework for this investigation. In this book, the architectural engraver, Albert Flocon, shares dialogues with the architectural philosopher, Gaston Bachelard––two distinct points of view about storytelling. The thesis proposes that when these two points of view are integrated with the voice of the architectural designer, the thesis author, new approaches for meaningful architectural interventions can be discovered to help bring the story of Quartz Reef Point to life for future generations. Using Hans-Jörg Rheinberger’s book The Hand of the Engraver as a generative starting point, the thesis investigation asks the research question: how can the engraver, the philosopher and the architectural designer be brought together to explore new ways of looking at scarred landscapes that not only reinvigorate them, but offer their tales as important lessons for the future? This investigation proposes that architecture can engage scars on the landscape in narrative ways that enhance visitors’ awareness about the site and its tragic history. Jerome Bruner, senior research fellow at New York University, outlines a framework that he argues is necessary to advance a successful fictional narrative. Architectural heritage theorist Jennifer Hill discusses how retaining visible scars in the built environment can offer insights into how the ongoing transformations of a site contribute actively to the narrative of place. Environmental psychologist Jonathan Sime argues that contextual elements of derelict sites, in combination with a fictional narrative, can culminate in an enhanced ‘sense of place’ through unexpected architectural responses. This thesis proposes to integrate the theoretical arguments of Jerome Bruner, Jennifer Hill, and Jonathan Sime in a design-led research approach to the reinvigoration of severely scarred landscapes. In the thesis investigation, architectural elements and environmental scars are conceptualised as overlapping, each line advising the other. In this way, the thesis looks to communicate contextual narratives in a way that not only revitalises place identity, but also enables us to fully engage a site’s heritage and learn from past mistakes.</p>

Cosmic Narcissism: Self-Image and the Contemplation of Nature in Gaston Bachelard’s Thought

"The mythical image of Narcissus has served to explore, both in art and in psychoanalysis, topics such as reflection, selfishness, contemplation and autoeroticism. Gaston Bachelard had a thorough reading of this mythological being, which we propose to reflect upon with a view to exploring the question of “self-image”. Our objective will be to clarify the notion of “cosmic narcissism” that Bachelard suggests, to analyze the “self” that emerges in the aesthetic experience. Through the image of Narcissus, Bachelard highlights the active role of Nature in shaping the artist’s self-image. He proposes a “cosmic narcissism” as an “idealizing” path of the self, which we will contrast with the “neurotic narcissism” suggested by Freud."

Accessibilité à la compréhension des gestes barrières chez des personnes avec déficience intellectuelle

Cet article présente un projet de recherche qui s’inscrit dans l’actualité sanitaire et sociale de l’épidémie du Coronavirus. Ce projet s’intéresse à l’accessibilité à la compréhension des gestes barrières chez des personnes avec déficience intellectuelle (DI). Les études convergent pour montrer que les personnes avec DI sont particulièrement vulnérables du point de vue de l’accès aux soins et à la santé. Les outils pédagogiques élaborés au début et pendant le confinement (ministère des Solidarités et de la Santé, associations) en faveur de l’accessibilité aux gestes barrières des plus fragiles, sont axés sur la réussite perceptivo-motrice de ces gestes. Toutefois, l’ambition inclusive réclame que l’on s’attache, en même temps, à la concrétisation du droit à la compréhension des gestes préventifs. Dans ce sens, notre intention est d’examiner la manière dont des éducateurs exerçant en établissements spécialisés (Institut Médico-Educatif, foyer de vie) rendent accessible la compréhension des gestes barrières aux personnes avec DI, et ce dans le cadre de leur accompagnement éducatif au quotidien. Le concept de temporalité emprunté au philosophe Gaston Bachelard constitue notre fil rouge en ce qu’il nous permet de repérer des facilitateurs et des obstacles relatifs à l’accès à la compréhension des gestes barrières chez des personnes avec DI.

Psychoanalysing Technoscience

While the previous chapter discussed the shift from Hegelian dialectics to dialectical materialism, this chapter addresses the shift from dialectics to psychoanalysis, notably in France, paying due attention to the productive tensions between both approaches. After a concise exposition of Freudian psychoanalysis, focussing on Beyond the Pleasure Principle, the text in which Freud explicitly “plunged into the thickets” of modern biology (Gay, 1988, p. 401), I will extensively discuss the views of Gaston Bachelard and Jacques Lacan on technoscience. Building on a previous publication (Zwart, 2019a), where I already presented a psychoanalytic understanding of technoscience, which I don’t want to duplicate here (focussing on the oeuvres of Sigmund Freud, Carl Gustav Jung, Gaston Bachelard and Jacques Lacan), I will now emphasise the continuity between dialectic and psychoanalysis, indicating how dialectics remains an important moment in Bachelard’s and Lacan’s efforts to develop a psychoanalysis of technoscience, both as a discourse and as a practice. In addition, I will elucidate the added value of this convergence by extrapolating it to three concrete case studies, one borrowed from particle physics and two from life sciences research: the Majorana particle, the malaria mosquito and the nude mouse.

CASA, CORPO, PALAVRA: SUBVERSÃO ESPACIAL SOB PERSPECTIVA FILOSÓFICA, EM A OBSCENA SENHORA D, DE HILDA HILST

Para demonstrar a subversão no espaço da casa, corpo e palavra, a partir das imagens poéticas tecidas pela personagem Hillé, em A obscena senhora D ([1982] 2001), de Hilda Hilst (1930-2004), optou-se pela terminologia da Topoanálise de Gaston Bachelard, em A poética do espaço ([1957] 1988), cuja perspectiva privilegia a vivência do espaço para além da objetificação. Para complementar o estudo da casa, usou-se os estudos de Elódia Xavier (2012), por se tratar de uma narrativa de autoria feminina, demonstrando que a protagonista da trama reconfigura o espaço doméstico, pois não se detém às tarefas comumente atribuídas à mulher. Desta maneira, usa-se como apoio a filosofia feminista, tendo como referência Ivone Gebara (2017), para refletir sobre o modo como o corpo feminino foi privado da vida intelectual, por estar enclausurado no espaço doméstico. Nesse sentido, propõe-se que a trama não é esvaziada devido à ausência do cenário descritivo e geográfico em que habita a protagonista, mas todo corpo fala de algum lugar e está em algum lugar. Para isto, usa-se as contribuições de Michel Foucault (1986), em De outros espaços. Sendo assim, defende-se a perspectiva filosófica que compreende o reconhecimento da importância dos afetos ao lado da razão, leitura possível através das personagens no espaço.