RESUMO
Este artigo procura apontar possíveis articulações entre a psicologia cultural e a poesia a partir do enunciado "Eu é um outro" do poeta francês Arthur Rimbaud (1854-1891), extraído de suas "Cartas do Vidente" e tomado como uma perspectiva poético-visionária para a perspectiva do construtivismo semiótico-cultural em psicologia. O enunciado é endereçado às noções de dialogismo e polifonia em Mikhail Bakhtin (1895-1975), visando expressar a pluralidade das experiências de alteridade no campo das relações eu-outro-mundo. Bakhtin é um dos principais autores para esta vertente meta-teórica, metodológica e ética em psicologia, que focaliza processos relacionais envolvidos na relação eu-outro, tomando cada coparticipante da relação como singularidade ativa, construtora de sentidos e significados da experiência. Rimbaud foi um poeta-visionário, e sua perspectiva poética da alteridade constitui um campo fértil para um diálogo com a psicologia cultural. Suas Cartas do Vidente, escritas em 1871, servirão de suporte para uma reflexão sobre as noções de alteridade e dialogicidade no Self.(AU)
This paper aims to point out possible connections between cultural psychology and poetry from the utterance "I is another", extracted from Arthur Rimbaud's "Letters of the Seer" (1871) and taken as a visionary-poetic perspective for the strand of semiotic-cultural constructivism in psychology. This utterance is addressed to Mikhail Bakhtin's notions of dialogism and polyphony, in order to express the plurality of otherness experiences in the field of I-other-world relations. Bakhtin (1895-1975) is one of the chief authors for that metatheoretical, methodological and ethical strand in psychology, which focuses on relational processes involved in the I-other relations, taking each co-participant in the relation as an active singularity, constructing senses and meanings of experience. Rimbaud (1854-1891) was a visionary poet, and his poetic perspective of alterity is a fertile ground for a dialogue with the cultural psychology. His "Letters of the Seer" will give support to a reflection on the notions of otherness and dialogicity in the Self.(AU)
Assuntos
Psicologia , PoesiaRESUMO
There have been an increasing number of reports of postamputation pain and problems linked to phantom limbs over recent years, particularly in relation to war-related amputations. These problems, which are often poorly understood and considered rather mysterious, are still relevant because they are difficult to treat medically. Functional neuroimaging techniques now enable us to better understand their pathophysiology and to consider new rehabilitation techniques. Phantom limbs have often been a source of inspiration to writers, particularly in the period following the First World War, which was responsible for thousands of amputees. Some artists have suffered from postamputation complications themselves and have expressed them through their artistic works. Blaise Cendrars (1887-1961), one of the greatest authors of the twentieth century, suffered from stump pain and phantom limb phenomena for almost half a century following the amputation of his right arm during the First World War. He suffered from these phenomena until the end of his life and his literary work and personal correspondence are peppered with references to them. Arthur Rimbaud (1854-1891), one of the most famous poets in world literature, developed severe stump pain after his right leg was amputated due to a tumor. He survived for only six months after the procedure but left behind an account of the pain he experienced in correspondence to his family. The famous pianist Paul Wittgenstein (1887-1961), whose right arm was amputated during the First World War, became a famous left-handed concert pianist. The phantom movements of his right hand helped him to develop the dexterity of his left hand. The impact on the artistic life of these three men provides an original illustration of the various postamputation complications, specifically phantom limbs, stump pain, and moving phantom.
