Programa de Pós-graduação em Arte e Cultura Visual
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Navegando Programa de Pós-graduação em Arte e Cultura Visual por Por Orientador "Andrade, Rita Morais de"
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Item Indumentária e visualidade: modos de vestir de mulheres Kalunga sob uma perspectiva histórica (séculos XIX e XXI)(Universidade Federal de Goiás, 2019-03-15) Cabral, Alliny Maia Siqueira de Carvalho; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Sant’Anna, Mara Rúbia; Jesus, Samuel José Gilbert deThis dissertation discusses historically built meanings through the observation of black women's ways of dressing in the nineteenth century's Brazil and of Kalunga's women ways of dressing in the 21st century. We have started from the observation of photographs of women from the rural black Kalunga community, located in northeastern Goiás, that allow a perception of visual approximation between the construction of these women's clothing and that of black women portrayed in nineteenth-century images in Brazil. The adopted methodology includes photographs analysis and fieldwork, developed in the Kalunga community. To support the proposed discussion, the research comprehends an interdisciplinary approach, moving amongst the studies referring to Fashion and Clothing; Material Culture and Visual Culture. During the research, we noticed the importance of images for the study of clothing, through which it was possible to trace relations between fashion, tradition, and sociability. Based on reports from women in the Kalunga community, we could understand how their relationship with clothing is plural and heterogeneous, and should not, therefore, be simply categorized but rather problematized. The collected reports marked themes about the feeling of resistance related to historical social inequality, belonging to the community and ways of dressing as an important instrument to deal with these issues.Item Um mergulho nas imagens do corpo e dos maiôs na natação olímpica feminina brasileira (1932-2016)(Universidade Federal de Goiás, 2019-05-27) Campos, Rosângela Soares; Andrade, Rita Morais de; http://lattes.cnpq.br/065217546909301; Andrade, Rita Morais de; Badan, Rosane Costa; Jesus, Samuel José Gilbert de; Sant`Anna, Thiago Fernando; Gomes, Susana Helena AvelarThis work aimed to investigate the body and swimsuit images in Brazilian female Olympic swimming between 1932 and 2016. To do so, we analyzed the construction of social images of the female body in sport in general and then specifically in swimming (scenario as well as the representation of these social images in the visual images, which in this thesis in question were the photographs. The photographs in turn were analyzed through the proposal of Goffman (1979) and Pruitt (2013). The swimsuits were studied considering the social context in which they were made, as well as their technical description. Brazilian female swimming was divided into five periods: glamor era (1932-1952); era of scientism (1972-1976); the beginnings of professionalism (1988-1996); technological age (2000-2009); and posttechnological era (2010- to the present day). Interviews were conducted with swimmers Maria Isabel Guerra, Flávia Nadalutti, Adriana Salazar and Fabíola Molina, as well as some photographs of their personal archive and photographs available in the media. We also analyzed photographs of swimmers Maria Lenk, Piedade Coutinho, Patrícia Amorim, Rebeca Gusmão and Etiene Medeiros. After that, the images of swimmers published in Veja magazine between 1968 and 2016 were investigated. The results showed that in the national scenario, doping and sexual harassment issues were more prominent than performanceItem Encontros com a história da moda: uso de imagens em contextos de ensino e aprendizagem(Universidade Federal de Goiás, 2019-08-30) Chaves, Bárbara Lyra; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Sequeira, Rosane Preciosa; Gomes, Suzana Helena de Avelar; Silva Filho, Raimundo Martins da; Perotto, Lilian UckerThe present thesis focuses on the investigation of transits produced in the relation between image and History of Fashion and the exploration of its potentialities as a pedagogical resource for educators of the Fashion field. The assumptions that mobilize this research are based on the premise that an approximation of the images in a critical and responsible way is relevant both for educators and for the students in formation. It aims to question and denaturalize aspects concerning the production of knowledge in Fashion History from the images that compose it. I turn, then, to the traditional images of the History of Fashion as a way of interrogating positions that constitute the knowledge in this field and, consequently, to provoke other articulations, connections and experiences. The theoretical-conceptual bases that delineate this proposition find subsidies in the studies of Visual Culture from the proposals of W.J.T. Mitchell, Paul Duncum, Imanol Aguirre, Raimundo Martins. As a way of structuring these reflections and broadening the debates related to the practices of seeing in the field, three theoretical-conceptual axes - called "Steering Elements" - have been organized to address the topics: image and power, image and intertextuality, and image and subjectivity. The questions raised from these three reflexive axes proved to be useful for the deepening of themes related to the production of meaning in the field.Item A indumentária no Museu Goiano Professor Zoroastro Artiaga: visualidade e patrimônio(Universidade Federal de Goiás, 2018-02-19) Di Calaça, Indyanelle Marçal Garcia; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Cândido, Manuelina Maria Duarte; Silva, Thiago Fernando Sant'Anna eThis dissertation presents the study of the costumes and ornaments exhibited at the Museu Goiano Professor Zoroastro Artiaga (MUZA) in Goiânia, Goiás. The museum has more than one hundred artifacts of this type in its collection, which are divided into several collections. The questions that guide this research are: in relation to the Brazilian heritage in museums, how the clothing is present at MUZA? What senses are produced from the exhibition of these costumes and ornaments? What do they hide or reveal? In order to answer these questions, the study is based on the visual analysis of the objects, using the methods proposed by the researchers Jules Prown (analysis of artifacts), Heloísa S. F. Capel (image analysis) and Rita Morais de Andrade (textile artifacts analysis). As for the procedures, the study consists of a literature review, which involves the areas of Visual Culture, Material Culture, Heritage, Museology and Study about Clothing. In addition, there was the analysis of documents related to the costumes, visits to the museum and interviews with employees and former employees. Through this study, it was possible to perceive how was the creation of the museum and the formation of its first collections; to quantify and qualify the clothing and adornments belonging to its collection; identify how the collections that have this type of artifact were formed and the criterion used to acquire these items; to realize that it is possible to carry out the study of clothing not only from the textile artifact, but also through the visual analysis of paintings, photographs and sculptures; and to identify that the way the artifacts are organized in the exhibitions place contributes to the construction of specific identities of the state of Goiás.Item Trajes de festa: um estudo do figurino do Mestre de Catopês João Farias de Montes Claros – MG(Universidade Federal de Goiás, 2014-08-28) Ferreira, Suely Lopes de Queiroz; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Lima, Nei Clara de; Mendonça, Míriam da Costa Manso Moreira deThis work consists of the study of party costumes Master João Farias, group leader Catopês "Our Lady of the Rosary" from the year 1971.That group is part of the Traditional festivities August of Montes Claros /MG, festivities that fit into the context of the Brazilian Congado. The research aims to describe the costumes of the Master, aiming to identify possible relationships between culture and devotion, as well as pointing out which visual features of the costumes, the members of both groups as the participants of the reigns, may be representative of an inheritance colonial that endures today as an important cultural practice, maintaining old features while incorporating aesthetic innovations. The methodological procedure used was bibliographical and documentary research, and features as data collection of interviews, photographs and costumes analysis of Master João Farias. This investigation led us to believe that faith and devotion are manifested not only when the Master and his group use the costume party, but these religious elements permeate every moment of the cortege.Item Pencas de balangandãs: construção histórica, visual e social das "crioulas " no século XIX(Universidade Federal de Goiás, 2015-04-02) Hardman, Aline Souza; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Cidreira, Renata Pitombo; Mendonça, Míriam da Costa Manso Moreira deThe dissertation aims to understand the jewelry balangandã trinkets, used by the Brazilian African, called “crioula”, from nineteenth-century in Salvador - Bahia. The jewelry was used in a mixed slave society full of racial distinction, it was seen as an artifact, in other words, as a human production, with meanings that contributed to historical and social construction. From a qualitative study and in a cultural visual approach, the jewelry was studied through the analysis of nineteenth- century photographic images. Bibliographical research was done about balangandã trinkets, images analysis, racial constructions and visual culture. The study was designed in three stages: 1) the description of the methods of studies adopted; 2) the study of the bangles from their origins since racial issues and African Diaspora in Brazil to the description of its components and; 3) analyses of photos of XIX century Crioula wearing typical costumes and their meaning and relationship with the construction of the image of women called “crioula”.Item Produções de sentidos em um arquivo pessoal: As ilustrações de figurinos de Alceu Penna para o show Brazil Export (1972)(Universidade Federal de Goiás, 2016-04-25) Penna, Gabriela Ordones; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Bonadio, Maria Claudia; Capel, Heloísa Selma Fernandes; Sant´Anna, Thiago; Jesus, Samuel Gilbert deAlceu Penna (1915-1980), creator of the column's Girls of Alceu in The Cruzeiro magazine, became a reference in fashion and behavior by their graphics in the mid-twentieth century. Alongside this activity in the press, he developed a solid and little-known career designing costumes for various shows between the 1930s and 1970s, including the show mulatto-export type Export Brazil (1972) of Abelardo Figueiredo. Thinking illustration as a historical document, that is, as a visual image from which (and where) produces senses, the thesis is concerned with analyzing the Alceu Penna costumes graphics for this show, located in his personal archive, as visual and material evidence in which are impregnated traces of its making and circulation, in addition to visual dialogues established with its surroundings. Every detail contained in the illustration, as his paper, the technique used, the materials used, the author's signature, the wear of time, the colors, all this is treated as important indicators for an interpretation of the work's meaning production.Item Os figurinos de Flavio de Carvalho para Cangaceira (1954): da criação artística ao patrimônio cultural(Universidade Federal de Goiás, 2020-08-19) Soares, Kárita Garcia; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Jesus, Samuel José Gilbert de; Silva, Thiago Fernando Sant’Anna e; Cândido, Manuelina Maria Duarte; Rainho, Maria do Carmo TeixeiraThis is a study on the costume work produced by Flavio de Carvalho for Cangaceira, a 1954 bailado that happened during the IV Centenary of São Paulo city celebrations. This research tried to locate the bailado’s context of production, and then to figure a possible interpretation for its costume conception, specially concerning its visual references. The sources were specialized bibliography and documental research in collections. This study dialogues with patrimony discussions about scenic costumes and its theoretical-methodological issues, such as the costume seen as a document and discussions opposing imagetic analysis to artefactual analysis. Therefore, taking Cangaceira as a focus means to research costumes insertion among cultural goods. In conclusion, this work shows that the practices of institutions related to cultural patrimony and the ways they are organized are part of the key elements of art production and its historical comprehension.Item Figurino fora de cena: um estudo sobre a constituição de acervos de figurinos teatrais(Universidade Federal de Goiás, 2013-04-03) Soares, Kárita Garcia; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Oliveira, Urânia Auxiliadora Santos Maia de; Mendonça, Míriam da Costa Manso Moreira de; Cândido, Manuelina Maria Duarte; Martins , Alice FátimaCette dissertation nous présente une investigation autour de la constitution de fonds de costumes de théâtre chez Goiânia, à partir de l'analyse de la manière comme des groupes et d'autres producteurs scéniques s'organisent et se positionnent actuellement face à la thématique. La recherche veut la compréhension des possibles motivations et implications qui ont de la relation avec la formulation d'espaces dédiés au stockage de costumes de théâtre portés aux spectacles scéniques, spécialement dans le contexte de la capitale de l'État de Goiás. On voit que de tels espaces peuvent acquérir des caractéristiques diverses d'accord aux nécessités, désirs, et conditions structuraux et financiers de ceux qui se prédisposent à les organiser. Dans ce sens, à partir de la recherche bibliographique et de terrain - la deuxième comprise dans la réalisation de sept entretiens semi-directifs avec des différents professionnels et représentants du théâtre à Goiânia -, on trace des compréhensions conceptuelles et historiques du costume de théâtre et du théâtre chez Goiânia, ce qui indique une réalité dans laquelle le costume de théâtre est, de plus en plus, réfléchi avant, durant et après la scène.