Mestrado em História (FH)
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Navegando Mestrado em História (FH) por Por Orientador "Borges, Maria Elizia"
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Item Cofos e velas: tessituras da morte em dia de finados no cemitério São José, zona rural de Pinheiro-MA(Universidade Federal de Goiás, 2022-11-22) Araújo, Julyana Cabral; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizía; Santos, Cícero Joaquim dos; Ribeiro, Dimas dos ReisThe present study aims to analyze the funeral ritual of The Day of the Dead in the rural area of the municipality of Pinheiro - MA, more specifically in the cemetery São José. For this purpose, are used the ethnographic and historical methods to analyze the collected sources during the field research in the cemetery. The study of the funerary ritual pervades the idea of social memory as proposed by James Fentress and Chris Wickham (1992), and Catroga (2015), whose memory in relation to the dead is historically shared and based on cultural relations. Based on this, the question is: what extent do the funerary rituals and objects used in this context represent the funeral culture of a given locality? For this, this study uses several sources that complement each other, such as: pages of the Cidade de Pinheiro Newspaper, relevant bibliographies, oral and visual sources. All this serves as a basis for a more critical look at the relationships experienced during the fieldwork between people and objects installed in the cemiterial space, in particular: cofos and candles, on Day of the Dead. However, added it, that such visual productions provide cemetery visitors with the practice of a memory exercise on these images, symbolic messages and contact with memories that generate affection for the dead. Therefore, such artistic productions in this context are: rural and Afro-indigenous matrix materialized in funeral artifacts emphasizing sensitivities against to the death.Item Das paisagens interioranas às urbanizadas: uma visão artística de G. Fogaça (1985-2018)(Universidade Federal de Goiás, 2019-07-22) Casanova, Bianca Cristina Barreto; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Jesus, Samuel de; Vilela, Ana LúciaThe work "From the interior landscapes to the urbanized: An artistic vision of G. Fogaça (1985-2018)" aims to interpret the work set of G. Fogaça from the understanding of his life trajectory linked to the historical dynamics in which Goiás passed through. We find in G. Fogaça’s art the testimony of an artist who started from the traditionalism of the historical landscape to denounce, starting from the year 2000, of the stressful life in the big cities with the advent of globalization, concomitantly to the moment that Goiânia became a metropolis in this world context. We will try to understand how the interior origin of G. Fogaça reflected in his production, and what were the signs used to portray the artist's new "modern" reality, once Goiânia was the first great city that the painter met, already in his transition to the adult life. To do so, we will analyze the biography of G. Fogaça, the interview with his peers in Goiânia’s art market, the interpretation of curatorial texts about him, and the study of the history of traditional and modern landscape art, whose G. Fogaça is a legatee. We conclude with the understanding that G. Fogaça's trajectory was a search for the best expression of the landscape, in an ambivalence between his critique and exaltation. With mastery over the technique of painting, the artist reflects the anxieties of society while attending to a symbolic demand by representing Goiás as a sign of modernity, always maintaining an artistic coherence in the development of the work throughout his trajectory.Item Belkiss Spenzieri: uma fotobiografia (1928-2005)(Universidade Federal de Goiás, 2018-05-10) Freire, Luciana Bueno de Alvarenga; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Fernandes, Ana Rita Vidica; Magalhães, Sônia Maria deThis study deals with the narrative of the life history of the Goianist musician Belkiss Spenzieri, through the analysis of hers photographs, correlating them with others photos of the same period. Belkiss was born in the city of Goiás-GO in 1928 and she was raised and encouraged by her grandmother, Nhanhá do Couto, in the field of music, she moved to Goiania-GO in 1940, when she gave her first public recital at the age of 12. In 1942, her grandmother and she went to Rio de Janeiro-RJ, so that Belkiss could study at the School of Music of the University of Brazil. In 1945, after graduating and the death of her grandmother, the musician returned to Goiânia to create a Conservatory of Music in Goiás, as it had always been Nhanha's dream. Thus, she married in 1946, had two children and, in 1956, created the Conservatory of Music, but the federal recognition of it only occurred in 1959, with the authorization of Juscelino Kubitschek. Belkiss was acclaimed director of the conservatory from its foundation and after its integration with the UFG, in 1960. And so she continued her career as a teacher and as a musician, always researching Brazilian music and spreading the national composers. She died in 2005, aged 77, in the city of Goiânia. Throughout her life she was photographed, in Brazil and abroad. Therefore, the parallel with this photobiography was with the photographers who photographed her, and the way of doing portraiture in this period of her existence. Several theorists were used but, during the analysis of the photographs, the methodology of Arthur Freitas (2004) was highlighted, under the biases of the social, formal and semantic perspectives proposed by him.Item A representação visual do pincel atômico em Goiás na década de 1980(Universidade Federal de Goiás, 2014-03-27) Freitas, Nathália de; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Mendonça, Paulo Knauss de; Serpa, Élio CantalícioThe work "The visual representation of Pincel Atômico in Goiás in the 1980’s" talks about the scenario of urban art in Goiás in the late 1980s . The group, which consisted of two graffiti artists, was one of the developers of graffiti art on the streets of Goiânia and neighboring towns. Their art used to leave colorful inscriptions on the walls, with much criticism, humor and joy, using spray paint for such results. The group had an active stance in the art scene in Goiás during the 1980’s, a decade in which the streets were used as a place for artistic expression , addressing controversial issues which involved political, moral and social issues of national and international scope such as AIDS, rock and radioactivity. Its performance was particularly importante, due to the fact that the state of Goiás was going through a difficult time as a result of radiological accident triggered by the rupture of a capsule of cesium -137, which occurred in Goiânia in 1987 . This unique art, which turns the city into a high potentially cognitive "urban text", allows us to investigate our relationship with it, often unconsciously. The cultural history of a city is also seen and examined by visual representations installed in its urban area.Item A suástica de João Jessl: memória e imaginário no Cemitério São Miguel da Cidade de Goiás(Universidade Federal de Goiás, 2021-09-23) Gondim, Frederico Tadeu; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Narcizo, Makchwell Coimbra; Magalhães, Sônia Maria deThis research began with the observation of a burial located at Cemitério São Miguel in Cidade de Goiás, which aroused our interest because of its accompanying headstone. The small object refers to an Austrian young man who lived in the former capital of the Brazilian state of Goiás from (at least) 1928 until 1936, and the friendly words on the headstone are followed by a swastika. Intrigued by the latter, we conducted a literature review that allowed us to understand its transformation into “nazi symbol”, starting with the a-historical treatment the swastika received at the end of the nineteenth century up to its political use by the Nazis in the early twentieth century. In addition to this, we went through documents which mention Jessl (the Austrian young man), available at the local historical archive, registry office and also online, in order to establish a dialogue between the files and the headstone, as well as reflect upon the memory built around this foreigner back in the day (POLLAK, 1989, 1992). In doing so, we do not aim for a final interpretation of this Austrian young man’s presence in Cidade de Goiás – what we propose instead is an open discussion, as we are guided by the interests of our time and the sources available at the moment. If a swastika on a headstone catches our attention today, we need first of all to place Jessl and the symbol historically, in a context that was at once different than that of Austria and outside of Nazi Germany’s control. Only then should we consider how Jessl and the swastika are interpreted today by the local imaginary (DURAND, 2004, 2012; MAFFESOLI, 2018).Item A imaginária religiosa de Goiás: o reconhecimento de Veiga Valle e o anonimato dos santeiros goianos (1820-1940)(Universidade Federal de Goiás, 2016-07-14) Machado, Raquel de Souza; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Rabelo, Danilo; Noronha, Márcio Pizarro; Borges, Maria EliziaThis Master's Thesis, entitled “The Sacred Art in Goiás: the recognition of the work of Veiga Valle and the other anonymous saint makers (1820-1940)”, presents the results of the field research and the literature review about the saint makers from the state of Goiás, Brazil, that remained under the shadow of José Joaquim da Veiga (1806-1874) during the 19th century and the beginning of the 20th century. Hence, the considered period of the artistic production starts in 1820 and ends in 1940. In spite of not including a secular historical study, this work deals with the biographies of the artists and their art works. Regarding the religious iconographic representations, only those that are relevant to the role of saint makers, related to the considered period, are analyzed. Basically, the text discuss the saint makers role as creators of either original or non-original art works that represent not only their own subjectiveness but also the collective spirit of their time. In addition, the aim is to determine the relations between history and art history in terms of saint makers art and to understand the language associated to the images and their potential for the comparative analyses of the works. Initially, the objective was to develop a comparative study between the works by Veiga Valle and his son Henrique Ernesto da Veiga Jardim (1849-1933). However, the conducted research revealed other saint makers from the state of Goiás that deserve recognition as well. Hence, the goal was slightly modified into the discoveries of their works, their location and the authorship corroborating documents. In the cities of Goiás, Pirenópolis, Goiânia, Jaraguá and Cuiabá, the empirical research and interviews were developed based on the methodology of the oral history. Among the most relevant saint makers from the state of Goiás, one can mention Antonio de Sá (1879- 1905) and Francisco Ignácio da Luz (1821-1878), both from the city of Pirenópolis, Henrique Ernesto Veiga Jardim and Sebastião da Silva Jesus, this one known as Sebastião Epifânio (1869-1937) from the city of Vilas Boas. In order to understand the sacred art in Goiás, it is important to define a group of images for the iconographic study, namely, the sculptures of God Boy, that were chosen not only due to their presence during religious celebrations, but also because they were made in significant numbers by Veiga Valle and the other studied saint makers. Only Francisco Ignácio has never carved or even there is no sign about such event. The aim of this research is to focus on some concepts related to the art history and to demonstrate the interpretation about the found discoveries, once the history itself shows distinct versions and seeks an approximation with the truth, the verisimilitude. Through the collection of documents and iconographic analysis, the research was conducted towards to reveal anonymous saint makers, to valorize their art works, a heritage of the cultural patrimony from the state of Goiás. Additionally, these sacred art works have great devotional meaning and nowadays they are also considered as artistic objects. Most of these works can be found in either private collections or even are exposed in museums and churches.Item O pecado no cotidiano medieval: as obras moralizantes e sociais de Hieronymus Bosch (1485-1516)(Universidade Federal de Goiás, 2015-09-03) Silva, Tiago Varges da; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221The present dissertationaims at analyzing the historical processes which enabled the creation of sin as a fundamental element of Christian theology and, also, at reflecting upon how the iconographic resource was determinative in those processes. Therefore, we have utilized the works of the Flemish painter Hieronymus Bosch (1450-1516) that were produced between the years 1485 and 1516.We understand that Bosch is noteworthy among the artists who tried to represent the human vices, especially because he made use of everyday life elements to represent the theme. For this reason, we have developed a dialogue between Bosch‘s work and a number of other artists‘ works which have also approached sin as an object, in an attempt to problematize those images from the iconographic method. We believe that Bosch‘s work is part of a process of intense preoccupation with sin and its consequences, which is a characteristic of the transitional period from the medievalera to the Renaissance.