BETWEEN
OASIS, ISLANDS, AND DESERTS: CROSSING THE WEARINESS. INTERFACES BETWEEN
FICTION, LITERATURE, AND SUBJECTIVITY IN MENTAL HEALTH

ENTRE OASIS, ILHAS E DESERTOS:
ATRAVESSANDO CANSAÇOS. INTERFACES ENTRE FICÇÃO, LITERATURA
E SUBJETIVIDADE EM SAÚDE MENTAL

ABSTRACT

This
article is a readaptation of the final paper of
residency, a fictional product that will be based on the experience lived by
the author within the two years of Grupo Hospitalar Conceição, through the art-based research
methodology. Working as a means of elaborating learning and experiences carried
out in the field and using the metaphor of crossing a desert, the paper is
articulated as an imaginative exercise based on experiences and the vision of
art as a laboratory for languages, capable of solutions for everyday
challenges, expressing silenced affections and discovering unseen elements of
the work and teaching institution through contact with its object of interest.

Keywords: Subjectivity. Art.
Psychoanalysis. Fiction. Mental Health.

RESUMO

O presente artigo trata-se de uma releitura do projeto de
conclusão da residência, um produto ficcional que será
baseado na experiência vivida pelo autor dentro dos dois anos do Grupo
Hospitalar Conceição, a partir da pesquisa baseada em arte. Funcionando
como meio de elaborativo de aprendizagens e
vivências realizadas em campo e usando-se da metáfora da travessia
de um deserto, o trabalho articula-se como um exercício imaginativo
baseado em experiências e na visão da arte como um laboratório
de linguagens, capaz de proporcionar soluções para desafios
cotidianos, exprimir afetos silenciados e descobrir elementos inssabidos da instituição de trabalho e
ensino através do contato com seu objeto de interesse.

Palavras-chave: Subjetividade. Arte.
Psicanálise. Ficção. Saúde Mental.

1
INTRODUCTION

This
work consists of a reinterpretation of the residency conclusion project, an
exercise by the author to elaborate the experience as a resident within the
mental health program at Grupo Hospitalar Conceição and express through fiction the
clinical practice of a psychologist who works with the word in Psychosocial
Care Centers. To do so, it was thought to build the final work of the residency
through a narrative method, with fictional characters, since writing, both of
the case and the transferential impressions of the
listener, is one of the main resources in clinical work, and fiction, a method
of expressing yourself very dear to the author of this project.

One of the objectives with this work will
be to test the following hypothesis: is fiction writing aid in crossing the
multidisciplinary residency? For this, we will use the fiction narrative
methodology, a qualitative approach derived from art-based research. After
writing, over this two-year journey, a reflective essay will ponder the
results. The scarcity of this type of production in the Brazilian scientific
research scenario and its originality in the health field is one of the main
justifications for the project.

This article will work mainly with the image of
crossing the desert as a metaphor for the passage through the experience in the
multiprofessional hospital residence. In the first
section, I talk a little about my personal motivations for this type of
research, and then we will work with the image of the dryness of everyday life,
linking with the main argument of the article. Next, a more refined reflection
on the world of work in the contemporary world and the health worker universe
itself will be made from the book “The Burnout Society,” by the
philosopher Byung-Chul Han, and finally, we will deal
with the relationship between islands, deserts, and style from Deleuze's
philosophy of difference. At the end of the article, questions concerning the
methodology and the general objectives of the work will also be explored more
closely, in addition to brief final considerations, since the final work
continues in its construction process.

1.1
CREATIVE WRITING AND SUBJECTIVITY

One of the personal motivations for the
final work was a remarkable experience for me in 2016, the year in which I was
accepted to participate in the creative writing workshop of Professor Luiz
Antônio Assis Brasil, after a selection process
the previous year. At the time, I was in my fifth year of graduation, and, with
some arrangements with the professors of the psychology course, I was able to
take classes taught on Thursdays at the Faculty of Letters at PUCRS for two
semesters. In this place of writing, I found a relaxed and potent space for
expression, an open field of breathing, and contact with many other aspiring
writers whose professional practices and styles intercessioned
each other, creating a green plain of exchange and learning. In this period,
the most striking thing for me was the balance between seriousness and
relaxation, experimentation and technique, leaving a record of interest in
continuing the fictional writing as a possible approach to say something
significant; a form of resistance to the weight of academia and the dryness of
life; as well as a way to continue (un)knowing the world around through
metaphors and allegories. Perhaps, like any artistic work or a writing with
pretensions of that order, the element of mystery and invention seemed
essential: there was always an encounter in the workshops that took place
between the one who reads and the text that was produced, and this encounter
one was never sure of, it was always something different that was produced
there.

Back
in 2019, it was perhaps in the first weeks inside the Hospital Nossa Senhora da Conceição,
with its strangeness and astonishment of being in a hospital environment and
the repetitive routine of the bus, that the idea to transform that experience
into literary writing took shape. There was a lot to explore and learn there,
even outside the field of my technical skills. Recalling some words from
Professor Assis Brasil, who this year released a book
based on his famous annual workshops, “the fiction writer will be a
curious being, the indiscreet one who wants to know more and more about any
subject. Knowing for knowing, at first. The time will come when,
disconcertingly, all of this will resurface in a narrative” (Assis Brasil, 2019, p.14). Not that I need to be an expert in all
areas, but perhaps a good dilettante, with this diffuse interest in anything
that seems rare, like a child who does not know the world around him. Being
part of an institution through work, inhabiting its interstices, and traversing
its strange geography, was, along with the proximity to other professional
groups, a fruitful field to produce something different as a result of two
years of learning.

As far as the profession is concerned,
there has always been a lot of interest in the psychoanalytic clinic and its
method of working on the unconscious. Although there was respect and
appreciation for the other areas of psychology, especially social psychology, I
ended up identifying myself progressively with psychoanalysis and its proximity
to other spheres, such as visual arts and creative writing. It seemed to me that
this possibility of facing the person or the user as a work to be deciphered
and admired, or a rich spectacle that unfolds before our eyes, was something
more exciting than to approach the subject in psychological suffering only as a
set of symptoms to be diagnosed as a particular disorder. There is a lot of
poetry and beauty in the way people tell themselves and their own lives, even
when they are extremely sullen. The testimony of these moments consists of a
real privilege of psychologists and mental health workers, and therefore should
not be taken lightly and understood purely as a technique to be prescribed:
there is an element of mystery and awe almost superhuman, dealing with the
meeting between two subjects. It is a meeting (one that listens and narrates)
that has the power to change both radically.

Naturally, the encounter with literary
text and art allows for a certain amount of identification that is also
therapeutic or cathartic. Making a brief parenthesis here, if we can understand
the clinical case as, in addition to a method of transmission, also a small
literary fragment, one can dimension the appeal that it is capable of providing
to which it is addressed: therapists in training, or constant learning, are
mobilized through a little fiction.

For Nasio
(2001), the report of a clinical encounter is never a faithful reflection of a
concrete fact, but its fictitious reconstruction (p.17). The author further
argues that, of the three functions that the written clinical case has, one of
them is the didactic function, transmitting the theory when addressing the
reader's imagination and emotion. The author brings this function closer to the
Aristotelian concept of catharsis, where “the spectator frees himself
from the tension of his passions when he sees the spectacle of his intimate
drama performing before him. One watches the conflict unfolding outside”
(p. 12). It is hoped, therefore, that a written work within the scope of the
residency can also provoke the reader some level of catharsis or enable him to
experience a little of the daily dilemmas of health professionals.

Still, regarding the history of this
work, we know that through the lens of the narrators, we will follow the path
of two characters, both residents, who, with their different experiences and
professions, will be able to have a unique encounter with their work object and
study: mental health users. During this, we will have the other elements that
make up the narrative: the networks, the political moment, the social tension,
etc. that help to contextualize the writing.

1.2 REAL DESERTS, INK
OASIS

Todo abismo é navegavel
à barquinhos de papel.

Every
abyss is navigable to paper boats.

Guimarães Rosa, Desenredo (1967).

One of the main justifications for thinking
about this work, based on the modality of research in fiction, was the fact
that the reality in the contemporary has presented itself very arid, and,
amazingly, art brings us a kind of breath and color unique to our daily lives,
like an unknown oasis that reveals itself through a procession through the
desert, capable of giving a new meaning to the journey. Like a stone in the
way, art in its apparent insignificance can disturb routes, creating
deviations, being insubmissive to the silencing of
subjectivities, and our conformism in the face of the apparent
“normality” of things. It is now a source of pause and
contemplative reflection, which inclines us to change, or at times a real blow,
demanding an immediate reaction by giving contours to certain discomforts and
bringing undercover restlessness to light.

Sousa (2017), from the crossing metaphor,
starts his article by listing the countless deserts that we need to cross in
Brazil: wars, massacres, conservatism, and the State's neglect regarding Brazilian
citizens. When presenting the idea of desert, in this context as an extremely
fertile and powerful allegory, it differs from the definition of common sense
that sees it as an open space, a void without contours or routes:

I think of
deserts in another sense, that is, deserts as totalitarian places where images
are presented as imperatives, where the paths are already exhaustively
indicated, full of prescriptions, regulations, where there is no space for the
unprecedented, for the out of place, for the diversion, for the drift. In other
words, I think of the desert as those spaces where we are unable to found a
place where we feel authors, subjects, recovering some role in our
history” (Sousa, 2017, p. 25 and 26).

Thus,
what seems to be at stake in the author's text is our ability to inscribe a
mark that concerns our authorship or subjectivity, even when, as it is the case
in the world of work, the protocols seem to overlap in such a way that the
working subject feels like a perfect gear, without choices or autonomy and
capable of only a single type of movement, since any deviation or opposite
direction would unconsciously threaten the entire structure of the institution,
putting him at risk. It is with this commitment to deviation and difference
that we can read the audacity of the character in Jorge Luis Borges' short
story “The desert of the Sahara” (apud Sousa 2017 p. 25) when he
picks up some sand near a pyramid and lets it fall silently a little further
while murmuring: “I am changing the Sahara.”

This
handful of sand would be another metaphor for the analytical act, the creative
act, and the poetic act. Like T.S. Elliot, who in his poem “The
Wasteland” asks us the question: Do I dare Disturb the universe? To
disturb the universe is to write a proper name in the anonymous regulations, to
make a difference in the monochrome of the prescriptions, to tear up a map to
constitute your map, to affirm a singular position.

Here,
the author stresses the importance, in the same way as the apparent
insignificant act of the character of Borges, of not giving up founding a place
of authorship, of protagonism in the face of these
deserts of history (Sousa, 2017 p. 25).

1.3
PERFORMANCE PRESSURE IN THE DESERT CROSS. HOW TO GET THERE?

I
now propose another reflection on the aridity of the contemporary, which I
started talking about in this session, as a second justification for the work.
It is possible that when crossing a desert, there is, in addition to the
feeling of lack of references and helplessness (or the totalitarian excess of
the prescribed routes), an additional feeling on the route: tiredness.

In The Burnout
Society (2017), the South Korean philosopher Byung-Chul
Han explores some important concepts in his critical production. Right in the
first chapter, we have a reading about the recent ontic or discursive paradigms
that directed modernity until recently and their respective social epidemics:
the immunological paradigm, with its nomenclature of familiar/stranger that the
author understands as being frankly military (as terms such as
“combat,” “enemy,” “intruder,”
“defense” are used, within the biomedical descriptive scope), viral
and bacterial diseases would be characteristic; the neuronal paradigm, which
emerged at the beginning of the 21st century, with the advent of interest in
mental disorders and their neurological explanations, would put psychiatric
diseases such as depression, burnout syndrome, and ADHD on the stage. He also
points out that, in the immunological paradigm, a dialectic of the negative
would be present, while in the second, the imperative of positivity is what
stands out.

.
In addition to these fundamental concepts, it is worth highlighting a valuable
concept proposed by the author that concerns the transition from disciplinary
society to another model, the performance society:

Foucault's
disciplinary society made up of hospitals, nursing homes, prisons, barracks,
and factories is no longer the society of today. In its place, a long time ago,
another society entered, namely a society of fitness centers, office buildings,
banks, airports, shopping centers, and genetics laboratories. 21st-century
society is no longer a disciplinary society, but a performance society. Its
inhabitants are no longer called 'subjects of obedience,' but subjects of
performance and production. They are entrepreneurs of themselves. In that
sense, those walls of disciplinary institutions, which delimit the spaces
between the normal and the abnormal, become archaic. (Han, 2017 p. 23-24)

Now,
these concepts seem to me completely up to date at the time we live. If this
type of employment relationship marked by positivity and performance, where the
boss expects his employees to fulfill increasingly unattainable goals and
happily, is more explicit in companies and autonomous activities, we see that
it has spread everywhere and even in a total institution like a federal
hospital, we are also able to feel the effects of this logic. Out of this
context, the “self-made man” is pandemic for our social imaginary
as a corollary of meritocratic neoliberalism, insensitive to the differences
that produce certain types of conditions of success and (in the overwhelming
majority) failure. The different models of underemployment and informal
contracts such as application drivers or delivery deliverers, as well as the
language of "start-ups" and "coaches," who intend to change
the "mindset" of their customers as if everything was a matter of
personal will, are serious symptoms of our crazy trajectory towards an
idealized and completely destructive vision of social and economic dynamics in
the labor and social sphere.

Although
I started talking about tiredness, I was not able to give my testimony about
the work process that has a workload of sixty hours a week, which does not
constitute an employment relationship and happens in a scenario of dismantling
mental health policies and the unique health system as a whole. Wear and
burnout are not foreign adjectives for other colleagues and me, running after
fulfilling all the demands prescribed by the residence, often overflowing the
countryside scene. Still: tiredness would risk being an omnipresent element in
any narrative of Brazilian workers' lives, especially in the current scenario
of labor reform, which postpones the expected “rest” for an
increasingly uncertain future.

Thus,
while personal success is prescribed as a possible ideal and shared by all, our
society is generating an increasing number of depressed and failed people.
Whereas in the past disciplinary society had as a by-product
crazy and delinquent individuals, today we have the out-of-the-curve
people who are in a state of paralyzing chronic fatigue, the over-stimulated
and the anxious. Although the subject of performance is faster than that of
control and discipline, as he believes he is an agent of his luck, he is also
more likely to fall into the extreme of exhaustion:

What causes
burnout depression is not imperative to obey yourself, but the pressure of
performance. Seen from here, the Burnout Syndrome does not express the exhausted
self, but rather the consumed soul. According to Ehrenberg, depression expands
where the mandates and prohibitions of disciplinary society give way to
self-responsibility and initiative. What makes it sick is not the excess of
responsibility and initiative, but the imperative of performance as a new
mandate of the postmodern work society.
(Han, 2017, p. 27)

Not surprisingly, many of the users who
seek the mental health service due to chemical dependency show symptoms of
extreme emotional exhaustion: often the use of substances allowed, initially,
the patient to be able to handle the runs he needed to do at dawn as a driver,
for example, or going through equally tiresome and boring workdays. And, if we
can make a provocation possible, wouldn't the medicalization of the suffering
of these patients be another artificial resource and, perhaps, perverse, for
them to continue managing to perform and meet the demands that are expected
from “healthy” individuals? Questioning this strain would fit
another article.

Although we can mostly see the control
operating on the resident bodies (the time when it enters the field, when it
leaves), and see how this logic of the hospital and state institution is still
very disciplinary (with all its hierarchies and chains of
prohibitions-permissions), something from the performance society already
crosses everyone involved in mental health: we would always like to be able to
benefit more people, when it comes to numbers, or even more effectively, with
less recidivism, concerning work performance. Rumors always circulate regarding
the fate of residents and their “usefulness” for the hospital. For
that reason, one of my bets is that fiction writing can also serve as a device
that bypasses these strenuous logics, allowing creativity, spontaneity, and
chance to find their place in a place that is arid and possibly maddening for
such a fragile bond of labor.

1.4
A LAST WORD ABOUT FICTION: EXILE, ARCHIPELAGOS, AND STYLE

Gilles
Deleuze (2004) has a brief manuscript from the 1950s, published posthumously,
where he philosophizes about the condition of desert islands. In “Causes
and Reasons of Desert Islands,” the author starts his thought by
distinguishing between continental islands (accidental, derived islands, dislocated
from the continent by an erosive process) and original or oceanic islands
(arising from the occluded land underwater, as in the form of an underwater
eruption or a coral reef) and as their condition, their nature, and symbolic
appeal, points to a battle of pure immanence and dynamism between land and sea,
father and mother or, still, civilization and nature.

Based
on the hypothesis that, philosophically, the condition of an island is always
desert, as a natural impulse to detach itself from the continent or the bottom
of the ocean, it also opens the geological senses to the binomial that presents
separation and recreation (forces intrinsic to the insular movement, the first
concerning the continental islands and the second to the original ones) and
how, even with the inhabiting of this island, it remains in its desert
condition, or deserted: man, with his occupation movement, he would not break
the desert, he would sacralize it. Deleuze understands the ideal inhabitant of
the island, the perfect savage, as this man who would be “pure
consciousness” of it, and the island, being only the dream of the man.
This primitive man, who the ancient explorers sought to know, would be “a
man separated, absolutely creator, an Idea of man, in short, a prototype, a man
who would be almost a god (…) a pure Artist” (p. 8). However, he
points out, given that men, even volunteers, are not identical to the movement
that puts them on the island, they do not resume the impulse that produces it:
it is always from outside that they find the island and the fact that its
presence is contrary, in it, the desert. The island's desert condition is due
to its surroundings: it is surrounded by an ocean, which Deleuze also reads
like a desert at a given moment in the text, inverting his reasoning.

The
author presents us with two cases of literature dealing with desert islands and
their respective beginnings, but he let us deal here with the first: Robinson
Crusoe, by Daniel Defoe. About this book, Deleuze will be in charge of
presenting the relationship between the character Friday  (savage that the protagonist
finds on the island) and Robinson, who seeks to carry out a movement of recomposition of bourgeois life in the island desert, for
that purpose using the wild character like a slave. The author tries to allude
to the mythical condition that the image of the desert islands provide,
pointing out the myths of restart that they raise in their inhabitants, as it
is the case of the myth of the flood.

Well,
I would like to take advantage of Deleuze's island philosophy as another
metaphor for thinking about deserts and their arid crossings: here, clearly, it
is an inversion of the condition of sand desert to a sea desert, or a contrary
type of situation that we find in oases in continental deserts, depending on
the perspective adopted. For this type of crossing, crossing a set of deserted
islands, you need another map and even a special navigation system. Therefore,
taking advantage of the strength of recreation pointed out by Deleuze, we can
say that it is from an island, an exile or isolation from the continent that we
can recreate worlds: just as the myths of origin of the savages isolated from
the continent, we can inaugurate a cosmogenesis from the island of editing our
memories, and this solitary island is the act of writing itself. It takes a
level of island exile to look at and reflect the world and, from this new
place, recreate it, organizing new mythologies or narratives.

Sousa
(1999) proposes that every true act of writing implies a certain condition of
exile for those who face the challenge of writing, which for the author is a
distance from the spoken language itself, a strangeness that allows it to
constitute itself as otherness. Also, the author, or subject of this new
writing, will not be the same as the one who set out to write, but another, a
stranger. And that this act is not without consequences, as it has a corporal
risk. Sousa refers to the “style blow,” a Latin word of stylus or
stylus, a tool used to split or cleave, used on marble blocks, which thus
created a mark on the surface. Furthermore, the condition of the author also
presupposes a difference, a discontinuity, a transgression, or rebellion with a
canon, as he refers us to Foucault's hypothesis. While in the past, the
condition of writing was anonymity due to its orality, due to the excess of the
importance of the collective, today, we would not be able to bear to ignore the
author of a text.

I
want to deal briefly with writing within the psychoanalytic
“island.” It is understood the importance of writing in the clinic
since its beginnings, where Freud used to transmit the experience of his cases
through literary resources, similarly to a novelist who composes his characters
based on his observations.

Porge (2009)
points out how, at the time when Freud wrote his stories, they were often read
like novels. We can say that, following the clues of Porge,
the father of psychoanalysis was a true fiction writer, bringing a character
and his conflict that was being dissected throughout the text, until the moment
of his epiphanic revelation, or intimate truth.

The
author also maintains that Freudian psychoanalysis had a role in conveying the
truth through the patients' narratives and how this subject's truth was not
limited to the accuracy of the story transcribed by the analyst, in his
retentive capacity to listen. “Freud substitutes accuracy for another
notion, that of truth or veracity, and in this respect, it will not vary”
(PORGE, 2009, p. 18). There is a substitution of accuracy in the psychiatric
tradition for the fictional truth of the analyst-writer, involved in what he
hears.

Lacan
(1995), psychiatrist and psychoanalyst, already pointed out the
“fictional” nature of the truth of man's psyche: “the truth
has a structure of fiction” (p.254). At this point in which reality and
fiction become entrenched, it is understood that transmitting an experience
through fiction will be, in addition to the previously discussed, a therapeutic
resource, capable of assisting in the crossing of this true experience, which
is the two years of multi-professional residency, full of charms, anguishes,
joys, losses, and learning, in addition to additionally presenting part of this
knowledge/act to a reader through literary means.

About the narration, we have in the text
“Experience and poverty” by Benjamin (2014), the fact that the
transmission of experience through the act of narrating would be losing its
place within the modern world of improved technique. The postwar generation,
full of trauma and with its advanced technology, would be progressively unable
to tell stories. “What dying people say words so durable that they can be
transmitted like a ring, from generation to generation? Who will even try to
deal with youth by invoking experience?” (p. 123). This, in turn, makes
men “a completely new form of misery,” that is, the inability to
tell stories as a means of transmitting knowledge.

2. OBJECTIVES

One
of the first objectives with this work is to test the following hypothesis: is
fiction writing aid in crossing the residency? For this, an artistic
exploration will be carried out through the passage of services through the
creative expression of the author. The second objective is to discover, through
fiction, elements of the real and of the institution that would normally go
unnoticed without a curious and inquiring look.

With
Wood (2011), we understand that fiction and reality feed
back, the former being a powerful tool to discern elements of reality
previously unknown through some artifice, mainly that of the poetic and
metaphorical invention. It is through this stylistic boldness combined with
technique and the writer's desire to be true that the text would come to life: “the
blue river of truth” meandering over the most solid terrain of fiction
(p. 196). Literature, in his view, is artifice and verisimilitude, the latter
element also understood from an Aristotelian perspective as mimesis, or the
process by which something written refers to something real that happened in
the world or that could have happened.

We
also see that the experience of some medical writers (Moacyr
Scliar, Tolstoy, Lobo Antunes, Celso Gutfreind) who, dedicated to both their métier and
fictional writing, were able to compose beautiful literary works while enjoying
notoriety in their medical work. We understand that part of their work drank
precisely from their observations during clinical work. One of the final
objectives, far from the pretension of a beautiful literary work, is, rather,
an artistic product with an air of philosophical questions, fruit of the
experiences and contact with the various elements of the residence in mental
health: patients, residents, tutors, fields, co-workers, friends, family, etc.

3. METHODOLOGY

The
methodology used in the work will be that of a fictional narrative; through the
point of view of two fictional residents in contact with users of mental health
services. Based on the hypothesis that writing helps in the passage from the multiprofessional residency, we will evaluate how the
author will be and his subjectivity after the conclusion of the narrative.

On
this type of qualitative research, art-based research, Ferreira (2017)
understands that fiction has always been present in the history of science,
including this, depending on a good number of fictions and myths to consolidate
itself, pointing out throughout the article the history of this interface
between fiction and science. The author will question the objectivist claim
that arose in academic research from Cartesianism and
the suspicions of any other paradigms that do not have scientific positivism as
a methodology.

To
this end, he will trace, with the help of other authors, some paths that point
to abstractions and fictionalizations in the scope of the sciences, diluting
the separation between fact and fiction. Even the most objective sciences, such
as mathematics, cannot completely give up fiction and imagination.

And it is precisely to use fiction and
imagination abundantly that in the last decades a growing movement of
researchers has emerged that uses literary text, fictional narratives, and
poetry not only as an object to be analyzed in research but as a form of own
construction of their research (Leavy, 2016; Sinner; Lego; Irwin; Gouzouasis;
Grauer, 2013 apud Ferreira 2017)

The
author also points to the popularization of artistic making as a process of
scientific investigation from the crisis of positivism and scientism, since the
19th century, where imagination was understood as confused, the source of fear
and error, in addition to presenting the truth differently and, with the heyday
of postmodern readings, it was used at the outset to challenge the ideals of
infallibility, universality, homogeneity, and certainty.             A
reference author in this type of research is Patricia Leavy (2016), who builds
a small trajectory of Arts-Based Research. This would have appeared between the
1970s and 1990s and developed until it constituted a considerable
methodological genre. ABR develops in a transdisciplinary methodological
context and involves crossing disciplinary boundaries. Artistic research
practices would be used in all phases of social research, and their varied
genres include poetry, theater, performances, dance, visual arts, films,
novels, and other fictional genres. (Ferreira 2017 p. 2808).

Diederichsen (2018), in his doctoral
thesis, also contributes to thinking about research based on art, bringing
other authors who wrote about this methodology. She gives main attention to
Jagodzinski and Wallin (2013), Canadian researchers,
who inspire their thesis and propose what is called “ethics of
betrayal”:

Jagodzinski and Wallin, understand, as we
have already mentioned, ABR as a potentializing device for an 'ethics of
betrayal' – the creation of deviant and disturbing actions that resist,
problematize, destabilize, and displace the normatizing mentality of
contemporary hegemonic cultural assumptions. (Diederichsen, 2018 p. 129)

The
author draws attention to how, in Brazil, artistic research methodologies are
still poorly studied. The discussions and debates on this theme would be, in
the Brazilian academic environment, in its initial phase. Another pair of
authors that Diederichsen presents is Elliot Eisner
and Tom Barone, with their Arts-Based Research (2011).

To collect information about the
characters, we will search the records made in a field diary, the author's
memory, his imaginative capacity, and other tools concerning literary creation.
An essential part of the methodology of this research project, writing, should
take place on a regular and constant basis, along with the exposure of the
material produced in the research group.

With
Freud (2015), we see that writers share a special characteristic with both children
and those individuals given to reverie. Of the former, he says that literary
creation would be a substitute for children's play. We never give up a pleasure
entirely. We replace it with another. The child seriously fantasizes about a
world (the adult world, of which he/she is not yet a part) in the same way that
the writer or poet builds his air castles, inhabited by heroes and the most
varied characters.

In addition to this similarity, the writer also
shares a similarity with the common, or neurotic individual: his creations, in
Freud's view, would be wish fulfillments based on daydreaming, or daytime
dream, intimate material that no subject feels excited to expose, keeping it as
an intimate secret. From these daydreams or fantasies, which Freud classifies
as ambitious or erotic, the initial material for the poetic profession arises.

We will investigate, therefore, how the gross
experience of the residence can give rise to some narrative, with its characters,
conflicts, and impasses, in a similar way that Freud investigated in his essay.
And, above all, we have in mind that every clinical listening and case study
implies a kind of character construction, both of those who are listened to, as
well as of the narrator, or health professional.

FINAL CONSIDERATIONS

The
present article was a brief attempt to convey the research purposes of the
residency work in an academic journal writing. Although the current literature
lacks this type of production and methodology, similar attempts at invention
exist within the residence of Hospital Conceição
through the methodology of experience reporting.  We still do not know what the final
product of this project will be in terms of the number of pages and fictional
genre, but this is a risk that is taken when wielding the stylus of a new
authorship.

Regarding
ethical aspects, it is important to highlight that no participant or user will
be used as a research object, which, for practical purposes, will be like a
report of the researcher-writer's own experience. Neither will formal
interviews or any other method of obtaining qualitative records be made, such
as recordings of conversations or interventions in groups to gather data on
behaviors and interactions between human beings. Only the memory, imagination,
and records of experiences in a field diary will be part of the material to
compose the writing of the work of residency completion.

It is expected that the present article
and the future conclusion work will be able to trigger new creative ways to
build closings and problematizations of intense processes such as residency in
health, both medical and multiprofessional, escaping
the bureaucratization and protocols that, sometimes, do not concern the
graduate students' experience and their desire as speakers. We also bet that,
based on the production of difference and uniqueness, often inspired by art,
something really new and important to be said about this crossing will become
present.

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