[{"data":1,"prerenderedAt":263},["ShallowReactive",2],{"person-bf982614-dd1f-4917-8d49-df87d7149dde":3},{"success":4,"person":5,"request":259},true,{"lastName":6,"role":7,"description":8,"_id":9,"designation":7,"id":7,"email":10,"url":7,"createDate":11,"filiation":12,"updateDate":13,"name":14,"slugs":15,"articles":20},"Marçal","",{},"bf982614-dd1f-4917-8d49-df87d7149dde","introitu@hotmail.com","2025-12-17T06:38:58-03:00","UFRPE","2025-12-27T21:46:46-03:00","J. C.",[16,17,18,19],"jc-marcal","marcal-jc","j_c_marcal","marcal_j_c",[21,120],{"parent":22,"metaData":23,"updateDate":11,"data":25,"langs":34,"_id":37,"contributors":38,"contributorsIds":57,"type":58,"typeData":59,"status":116,"download":117,"slugs":118,"slug":119},"1ab1f6ea-e043-44d8-a7ab-1bd0d96c1c82",{"updateDate":7,"createDate":24,"deleteDate":7},1765964338,{"secondary":26,"primary":30},{"keywords":27,"excerpt":28,"title":29},"\u003Cp>Creative Process, Brazilian Furniture, Mihaly Csikszentmihalyi, Hermeneutics\u003C/p>","It is about presenting the relevance of the domain in the creative and creation process of the individual, in the case of this article, the furniture professional. So that we can fully understand, the Systems Perspective Model of the Hungarian psychologist Mihaly Csikszentmihalyi was used, where he demonstrates creativity in a triad in constant action, alive, confluent. Analyzing the application of Mihaly's model to the suggested outline, the importance of the three elements of the triad becomes evident: the Creative Individual, represented in this case by the furniture professional, the Field characterized by instances of legitimization of the creative product, and the Domain, this element which will be better addressed through a philosophical hermeneutics and deepened throughout this article, presenting vital elements that constitute this component of the triad.","The Hermeneutics of Domain: The Creative Process in the Development of Furniture",{"keywords":31,"excerpt":32,"title":33},"\u003Cp>Processo Criativo, Mobiliário Brasileiro, Mihaly Csikszentmihalyi, Hermenêutica\u003C/p>","Trata-se de apresentar a relevância do domínio no processo criativo e de criação do indivíduo, no caso deste artigo, o profissional de mobília. Para que possamos compreendê-lo em sua plenitude, foi utilizado o Modelo de Perspectivas de Sistemas do psicólogo húngaro Mihaly Csikszentmihalyi onde ele demonstra a criatividade numa tríade em constante atuação, viva, confluente. Analisando a aplicação do modelo de Mihaly ao recorte sugerido, fica evidente a importância dos três elementos da tríade: o Indivíduo criativo, representado nesse caso pelo profissional de mobília, o Campo caracterizado por instâncias de legitimação do produto criativo, e o Domínio, este elemento que será melhor abordado através de uma hermenêutica filosófica e aprofundado no decorrer deste artigo apresentando elementos vitais constituintes deste componente da tríade.","A Hermenêutica do Domínio: O Processo Criativo no Desenvolvimento de Mobília",[35,36],"primary","secondary","ad1fec4a-2e65-44f5-afd3-0d1bd2ebd986",[39,52],{"id":7,"name":40,"lastName":41,"email":42,"designation":7,"description":43,"role":7,"_id":44,"createDate":45,"filiation":46,"slugs":47,"url":7,"path":50,"lastmodified":51,"objectID":44},"Adailton Laporte","De Alencar","adailton.alencar@ufpe.br",{},"458dfa47-1b81-4617-b546-e9b829502531","2025-12-17T09:38:58.433Z","UFPE",[48,49],"adailton-laporte-de-alencar","de-alencar-adailton-laporte","people/458dfa47-1b81-4617-b546-e9b829502531",1765964338433,{"id":7,"name":53,"lastName":6,"email":10,"designation":7,"description":54,"role":7,"_id":9,"createDate":45,"filiation":12,"slugs":55,"url":7,"path":56,"lastmodified":51,"objectID":9},"J.c.",{},[16,17],"people/bf982614-dd1f-4917-8d49-df87d7149dde",[44,9],"article",{"startPage":60,"file":61,"references":64,"endPage":113,"track":114,"doi":115},8044,{"fullpath":62,"name":63},"https://storage.googleapis.com/memoria-ped.appspot.com/articles%2F15_pd_design_2024%2F16756_10248.pdf","16756_10248.pdf",[65,68,71,74,77,80,83,86,89,92,95,98,101,104,107,110],{"id":66,"label":67},"bc747d70-ae5b-4d94-944b-53009ed179f2","\u003Cp>ABBAGNANO, Nicola. \u003Cstrong>História da Filosofia\u003C/strong>. Vol. VI. Lisboa: Presença, 1988.\u003C/p>",{"id":69,"label":70},"2d260180-6c66-4bb3-839e-f8d15dfb9e9a","\u003Cp>BACON, Francis. \u003Cstrong>Novum Organum\u003C/strong>. Minas Gerais: Virtual Books, 2003.\u003C/p>",{"id":72,"label":73},"b59fa6f0-ec0d-4397-acff-747f8009d3ed","\u003Cp>CSIKSZENTMIHALYI, Mihaly. Does Overinclusiveness Equal Creativity?. \u003Cstrong>Taylor & Francis, Ltd\u003C/strong>, Vol. 4, No. 3 (1993), pp. 188-189.\u003C/p>",{"id":75,"label":76},"3eb4a648-5561-4429-933e-085e79d5d97c","\u003Cp>CSIKSZENTMIHALYI, Mihaly. \u003Cstrong>The systems model of creativity: the collected Works of Mihaly Csikszentmihalyi\u003C/strong>. New York: Springer, 2014.\u003C/p>",{"id":78,"label":79},"4f831018-eebc-4c5c-86eb-b354baa91f97","\u003Cp>DOS SANTOS, M. C. L. \u003Cstrong>Móvel moderno no Brasil\u003C/strong>. 2ª ed. São Paulo: Olhares, 2015.\u003C/p>",{"id":81,"label":82},"db23d7ab-ef42-4bdc-8c2b-edfc1207c19b","\u003Cp>FOUCAULT, Michel. \u003Cstrong>As Palavras e as Coisas\u003C/strong>. São Paulo: Martins Fontes, 2002.\u003C/p>",{"id":84,"label":85},"0b4d0ad7-54d6-4394-bb33-c046f6e29e8f","\u003Cp>GROPIUS, Walter. \u003Cstrong>Bauhaus: Novarquitetura\u003C/strong>. São Paulo: Perspectiva, 1972.\u003C/p>",{"id":87,"label":88},"a3785d23-f5c3-40ad-b12c-e572d973e45b","\u003Cp>HEIDEGGER, Martin. \u003Cstrong>Ensaios e Conferências\u003C/strong>.2ª ed. Rio de Janeiro: Vozes, 2002.\u003C/p>",{"id":90,"label":91},"bf145a85-8d26-4444-aab0-33567cf91806","\u003Cp>HEIDEGGER, Martin. \u003Cstrong>Ser e Tempo\u003C/strong>. 2ª ed. Petrópolis: Vozes, 1988.\u003C/p>",{"id":93,"label":94},"9314dcf1-6d56-4b73-b449-d8dc06ea8280","\u003Cp>LÉVI-STRAUSS, Claude. \u003Cstrong>As Estruturas Elementares de Parentesco\u003C/strong>. São Paulo: Vozes, 1976.\u003C/p>",{"id":96,"label":97},"a316e810-49c3-4c89-a58e-fad03a8d3878","\u003Cp>LÉVI-STRAUSS, Claude. \u003Cstrong>O Cru e o Cozido\u003C/strong>. São Paulo: Zahar, 2021.\u003C/p>",{"id":99,"label":100},"aca877c5-c492-44ae-8890-ce9f56dc18d3","\u003Cp>LUBART, Todd. \u003Cstrong>Psicologia da criatividade\u003C/strong>. Porto Alegre, Artmed, 2007.\u003C/p>",{"id":102,"label":103},"9a4f3c76-c677-421c-86cc-aa35bca9090f","\u003Cp>MCINTYRE, Phillip. Rethinking Creativity Practice in the Light of Mihaly Csikszentmihalyi ́s Systems Modelo of Creativity. \u003Cstrong>3rd Global Conference on Creative Engagements – Thinking with Children\u003C/strong>, Sidney, February. 2007.\u003C/p>",{"id":105,"label":106},"b99f07fa-6e03-48b8-8715-00e19fb2290e","\u003Cp>MARCUSE, Herbert. \u003Cstrong>Razão e Revolução\u003C/strong>. 5ª ed. São Paulo: Paz e Terra, 2004.\u003C/p>",{"id":108,"label":109},"97f7b832-11e1-4a02-bd14-6220cefca59e","\u003Cp>MORAIS, Maria de Fátima. Criatividade: desafios ao conceito. In \u003Cstrong>I Congresso Internacional de Criatividade e Inovação. 2011, Anais...\u003C/strong> Manaus: UFAM, 2011. P. 8-28.\u003C/p>",{"id":111,"label":112},"50dc7b2a-085c-4cc9-9324-f750196c7d4c","\u003Cp>OSTROWER, Fayga. \u003Cstrong>Acasos e criação artística\u003C/strong>, Campinas, Unicamp, 2013.\u003C/p>",8060,"qkadcmso","https://doi.org/10.29327/5457226.1-516","enabled",1,[119],"a-hermeneutica-do-dominio-o-processo-criativo-no-desenvolvimento-de-mobilia",{"parent":121,"metaData":122,"data":124,"langs":133,"_id":134,"type":58,"typeData":135,"status":116,"updateDate":243,"contributors":244,"contributorsIds":255,"download":256,"slugs":257,"slug":258},"308f2508-39ad-43fe-a49b-3483ee224f04",{"updateDate":7,"createDate":123,"deleteDate":7},1765945191,{"secondary":125,"primary":129},{"keywords":126,"excerpt":127,"title":128},"\u003Cp>Creativity, Phenomenology, Ontology, Furniture Design, Mihaly Csikszentmihalyi\u003C/p>","It is about elaborating a hermeneutics of creativity from the Hegelian phenomenology, the Heidegerian fundamental ontology and the Freudian approach of the psychic apparatus in the universe of design creation. The conceptual model of creativity chosen was the one used by Csikszentmihalyi, more specifically the conception of individual, domain and field. Understanding design creativity from a philosophical approach allows for a more accurate glimpse of the processes in which creativity operates and how it is recognized in the social sphere.","Hermeneutics of Creativity: The Mihaly Csikszentmihalyi Model Applied to Furniture Design.",{"keywords":130,"excerpt":131,"title":132},"\u003Cp>Criatividade, Fenomenologia, Ontologia, Design de mobiliário, Mihaly Csikszentmihalyi\u003C/p>","Trata-se de elaborar uma hermenêutica da criatividade a partir da fenomenologia hegeliana, da ontologia fundamental heideggeriana e da abordagem freudiana do aparelho psíquico no universo da criação do Design. O modelo conceitual de criatividade escolhido foi o utilizado por Csikszentmihalyi, mais especificamente a concepção de indivíduo, domínio e campo. Compreender a criatividade do Design a partir de uma abordagem filosófica permite vislumbrar com mais acuidade os processos em que se opera a criatividade e como a mesma é reconhecida no âmbito social.","Hermenêutica da Criatividade: O Modelo de Mihaly Csikszentmihalyi Aplicado ao Design de Mobiliário.",[35,36],"f4163447-cdac-4800-9d4c-68752e270478",{"startPage":136,"file":137,"references":140,"endPage":240,"track":241,"doi":242},862,{"fullpath":138,"name":139},"https://storage.googleapis.com/memoria-ped.appspot.com/articles%2F15_pd_design_2024%2Fdownload-pdf-hermenutica-da-criatividade-o-modelo-de-mihaly-csikszentmihalyi-aplicado-ao-design-de-mobilirio-37938.pdf","download-pdf-hermenutica-da-criatividade-o-modelo-de-mihaly-csikszentmihalyi-aplicado-ao-design-de-mobilirio-37938.pdf",[141,144,147,150,153,156,159,162,165,167,169,172,175,178,181,184,187,190,193,196,199,202,205,208,210,213,216,219,222,225,228,231,234,237],{"id":142,"label":143},"73b2d47b-d937-4929-afd2-0f9fffe6249f","\u003Cp>ALENCAR, Eunice Soriano de; FLEITH, Denise de Souza. \u003Cstrong>Criatividade: múltiplas perspectivas\u003C/strong>. Brasília: Ed. UnB, 2009.\u003C/p>",{"id":145,"label":146},"6d4182d8-6f3b-4302-bd16-732c1dac0609","\u003Cp>AMABILE, Teresa M. What Does a Theory of Creativity Require?, Lawrence Erlbaum Assiciates, Inc. \u003Cstrong>Psycological Inquiry\u003C/strong>, 1993, Vol.4, No.2, 179-237.\u003C/p>",{"id":148,"label":149},"212fda6b-e526-4210-aa46-2285bd2ba6df","\u003Cp>BODEN, Margareth A. \u003Cstrong>Dimensões da criatividade\u003C/strong>. Porto Alegre: Artmed, 1999.\u003C/p>",{"id":151,"label":152},"078c888a-7609-4670-a2aa-763505e83fda","\u003Cp>BORGES, A. \u003Cstrong>Claudia Moreira Salles: Designer\u003C/strong>. São Paulo: Ed. BEI, 2005.\u003C/p>",{"id":154,"label":155},"b07b63db-2d6c-401d-b23b-4833de333cc2","\u003Cp>BORGES, A. \u003Cstrong>Móvel brasileiro contemporâneo\u003C/strong>. Rio de Janeiro: Aeroplano: FGV Projetos, 2013.\u003C/p>",{"id":157,"label":158},"3d82696b-e688-4d01-9f17-f5b179901605","\u003Cp>BURDEk, Bernard E. \u003Cstrong>História, teoria e prática do design de produtos\u003C/strong>. Bernard E.Burdek; trad. Freddy Van Camp. – São Paulo: Edgard Blucher, 2006.\u003C/p>",{"id":160,"label":161},"1867d284-f2f3-4dff-a511-9d0c4b323b96","\u003Cp>CALS, Soraia. \u003Cstrong>Sérgio Rodrigues\u003C/strong>. Rio de Janeiro: Icatu, 2000.\u003C/p>",{"id":163,"label":164},"942cbb7d-2eb0-464d-bc11-f78b5696fac3","\u003Cp>CANTI, Tilde. \u003Cstrong>O móvel no Brasil: origens, evolução e características\u003C/strong>. Edição abreviada por Fernanda Castro Freire. Rio de Janeiro: Cândido Guinle de Paula Machado, 1980.\u003C/p>",{"id":166,"label":76},"eace523b-932b-419c-825f-d944b0530290",{"id":168,"label":73},"f81b75e8-4756-4aea-b046-6a65c89972af",{"id":170,"label":171},"f1ee889b-26ea-482c-ad3c-3cb7875ab5b7","\u003Cp>FREUD, Sigmund. \u003Cstrong>Esboço de Psicanálise\u003C/strong>. Edição Standard. Rio de Janeiro: Imago, 1975.\u003C/p>",{"id":173,"label":174},"3a1b11dd-38fb-4a3c-a9c5-ae7bd14fa546","\u003Cp>GARDNER, Howard. \u003Cstrong>Mentes que criam: uma anatomia da criatividade observada através das vidas de Freud, Einstein, Picasso, Stravinsky, Eliot, Graham e Gandhi\u003C/strong>. Porto Alegre: Artes Médicas, 1996.\u003C/p>",{"id":176,"label":177},"685b73eb-7212-48b9-bfd7-36ff1a9e0a0c","\u003Cp>GORDON, William J. J. \u003Cstrong>Synectics\u003C/strong> (New York: Harper and Row, 1961); paperback (Toronto: Collier - Macmillan, 1968).\u003C/p>",{"id":179,"label":180},"d8319bbf-5984-45a1-abe6-6286a8ea8eb8","\u003Cp>GUILFORD, J.P. Creativity. \u003Cstrong>University of Southern California\u003C/strong>, CA, p.444-454, june. 1950.\u003C/p>",{"id":182,"label":183},"38ce6f6d-4d08-43c3-b55c-8bbeedc456bd","\u003Cp>HEGEL, G.W.F. \u003Cstrong>Fenomenologia do Espírito\u003C/strong>. Petrópolis: Vozes, 2001.\u003C/p>",{"id":185,"label":186},"45fde2b7-3a76-45ed-8af7-05eab6a65b0a","\u003Cp>HEIDEGGER, M. \u003Cstrong>Ser e Tempo\u003C/strong>. Petrópolis: Vozes, 1988.\u003C/p>",{"id":188,"label":189},"ce70185b-59fa-4260-bab2-e7ab14ccb3a5","\u003Cp>HEIDEGGER, M. Sobre a essência do fundamento. In: ______. \u003Cstrong>Conferências e escritos filosóficos\u003C/strong>. São Paulo: Abril Cultural, 1984. (Os Pensadores).\u003C/p>",{"id":191,"label":192},"43463308-fda9-4d11-90e8-e0bbc24a3327","\u003Cp>KAUFMAN, James C.; BEGUETTO, Ronald A. Beyond big and little: the four C model of creativity. \u003Cstrong>Review of general psychology\u003C/strong> (march, 2009).\u003C/p>",{"id":194,"label":195},"19156ace-f094-4ba6-9732-c544a32d3f9b","\u003Cp>KNELLER, George Frederick. \u003Cstrong>Arte e ciência da criatividade\u003C/strong>. São Paulo: IBRASA, 1978.\u003C/p>",{"id":197,"label":198},"9e2a9239-0266-4edc-bdb4-9bfa33176fbf","\u003Cp>LAPLANCHE, J. PONTALIS, J-B. \u003Cstrong>Vocabulário de Psicanálise\u003C/strong>. 9ª ed. São Paulo: Martins Fontes, 1986.\u003C/p>",{"id":200,"label":201},"e2c19937-4327-4466-a2c1-4a1d8ec0d819","\u003Cp>LUBART, Todd. \u003Cstrong>Psicologia da criatividade\u003C/strong>. Porto Alegre: Artmed, 2007.\u003C/p>",{"id":203,"label":204},"053356eb-e3ea-42a9-bc6b-cfeccb3abadd","\u003Cp>MCINTYRE, Phillip; FULTON, Janet; PATON, Elizabeth. \u003Cstrong>The creative system in action: understanding cultural production and practice\u003C/strong>. New York, Pallgrave Macmillan, 2016.\u003C/p>",{"id":206,"label":207},"81e2f600-c02e-418c-b44d-d2a1f3076733","\u003Cp>MCINTYRE, Phillip. Paul McCartney and the Creation of 'Yesterday': The Systems Model in Operation. \u003Cstrong>Cambridge University Press\u003C/strong>, Vol. 25, No. 2, UK, (May, 2006), pp. 201-219.\u003C/p>",{"id":209,"label":103},"4d05a1a8-5fc7-4a3f-821d-08cf87272534",{"id":211,"label":212},"9b70edb8-fb00-4d37-b74f-fe4e3a468bef","\u003Cp>NEVES-PEREIRA, Mônica Souza (org.). \u003Cstrong>Teorias da Criatividade\u003C/strong>. Campinas: Alínea, 2020.\u003C/p>",{"id":214,"label":215},"52982dfc-3e13-4c70-91da-7a125ca8b947","\u003Cp>OSBORN, Alex F. \u003Cstrong>O poder criador da mente: princípios e processos do pensamento criador e do \"Brainstorming\"\u003C/strong>. São Paulo: IBRASA, 1987.\u003C/p>",{"id":217,"label":218},"d2841135-43a3-4f73-b8ea-4adc80bc91ea","\u003Cp>OSTROWER, Fayga. \u003Cstrong>Acasos e criação artística\u003C/strong>. Campinas: Unicamp, 2013.\u003C/p>",{"id":220,"label":221},"cb1b45e2-1aee-4eaa-856b-26ed8f0b1fb5","\u003Cp>PLUMMER, Gordon S. Twenty Highlights in Creativity Research. \u003Cstrong>National Art Education Association\u003C/strong>, Vol. 35, No. 1 (Jan., 1982), pp. 30-33.\u003C/p>",{"id":223,"label":224},"9577f35c-40ab-4e82-b86c-350a81aee292","\u003Cp>SIMONTON, D. K. Varieties of (Scientific) Creativity: A Hierarchical Model of Domain-Specific Disposition, Development, and Achievement. \u003Cstrong>Perspectives on Psychological Science\u003C/strong>, Vol. 4, No. 5 (September 2009), pp. 441-452\u003C/p>",{"id":226,"label":227},"656e520c-48d0-4605-b152-288a5ce3037a","\u003Cp>SOLOMON, Miriam. Standpoint and Creativity. \u003Cstrong>Wiley on behalf of Hypatia\u003C/strong>, Inc., Vol. 24, No. 4 (Fall, 2009), pp. 226-237.\u003C/p>",{"id":229,"label":230},"4cccb88e-797c-4961-9700-6ddc3470cc5b","\u003Cp>SUMMERS, Irvin; WHITE, Major David E. Creativity Techniques: Toward Improvement of the Decision Process. \u003Cstrong>The Academy of Management Review\u003C/strong>, Vol. 1, No. 2 (Apr., 1976), pp. 99-107.\u003C/p>",{"id":232,"label":233},"968262ba-216b-46b8-820c-cd5ad238efbb","\u003Cp>TORRANCE, E. Paul. Understanding Creativity: Where to start?. \u003Cstrong>Psychological Inquiry\u003C/strong>, Vol. 4, No. 3 (1993), pp. 232-234.\u003C/p>",{"id":235,"label":236},"c6194a50-dad3-40d0-91f5-8e5899d7f022","\u003Cp>WECHSLER, S. M. \u003Cstrong>Criatividade: descobrindo e encorajando\u003C/strong>. Campinas: Editora Psy, 1993.\u003C/p>",{"id":238,"label":239},"2d54fd49-bab5-440f-b965-0a0cdc8f6a4e","\u003Cp>ZARADER, Marlene. \u003Cstrong>Heidegger e as palavras de origem\u003C/strong>. Piaget: Lisboa. 2004.\u003C/p>",879,"51btsil","10.5151/ped2022-6226140","2025-12-27T21:46:28-03:00",[245,254],{"designation":7,"description":246,"name":247,"url":7,"role":7,"objectID":44,"createDate":248,"id":7,"lastmodified":249,"path":50,"_id":44,"filiation":250,"lastName":251,"email":42,"slugs":252},{},"Adailton Laporte de","2025-12-17T04:19:51.189Z",1765945191189,"UFPE / CAC / dDesign","Alencar",[48,253],"alencar-adailton-laporte-de",{"name":53,"_id":9,"filiation":12,"role":7,"email":10,"designation":7,"url":7,"lastName":6},[44,9],3,[258],"hermeneutics-of-creativity-the-mihaly-csikszentmihalyi-model-applied-to-furniture-design",{"target":260,"query":261},"people/get",{"id":9,"articles":262},"true",1780316164826]