Programa de Pós-graduação em História
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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 Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950)(Universidade Federal de Goiás, 2016-06-23) Carneiro, Maristela; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Chiarelli, Domingos Tadeu; Leandro, José Augusto; Jesus , Samuel José Gilbert de; Noronha, Márcio PizarroThis thesis investigates the use of nudity and seminudity and the multiple representations of masculinity in the modern funerary art at the city of São Paulo, looking at the collection of sculptures of the Consolação, Araçá and São Paulo cemeteries, situated in São Paulo State Capital, between 1920 and 1950. This work is a result of the doctorate research done for in the post-graduation program in History, at Universidade Federal de Goiás PPGH/UFG, supervised by Professor Dr. Maria Elizia Borges, furthermore by other resources obtained during the Sandwich Doctorate at Facoltà di Architettura dell'Università degli Studi di Napoli “Federico II”, under supervision of Professor Dr. Fábio Mangone. It is questioned which social and cultural aspects symbolize such male images, paying attention to the proper functions of the space of the cemetery, as an architectural object by definition. These are seen through the prism of Art History, allowing the terms – Art and History – to criticize and transform each other, opening disciplinary borders, as well as conceptual and linguistic ones, enabling for the domain of the historian to be modified by interventions of Art. Through the tabulation of male image occurrences, partially or completely naked, is observed that Italian aesthetic premises, especially those of the Novecento, have significant influence over the elaboration of São Paulo funerary art. This sculptures utilize often depictions that highlight sensibility in face of death, as well as the virility associated with work, on the other hand – in other words, there is no single, unchanging discourse on masculinity in the time period investigated. The analysis of the composition of the sculptures allow reconstructing partially the musings of the sculptors and their aesthetic expressivity as well as the meanings of their use of nudity and seminudity in the funerary art of the period. Furthermore, it is poited out that open air cemeteries allow for the exhibition of depictions of a masculinity sensitive and/or virile with greater expressive liberty. In short, these sculptures, as images, are historically localized and at the same time, bearers of a variety of temporalities and spatialities in the foundations, ever permeated by a continuous process of reconfiguration, from both, Past and Present. “Baring” them allows to find vestiges of Italian expression in the Tropical lands.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 Cemitérios rurais e rituais de morte na região de Barro Alto no sertão da Bahia – séculos XX e XXI(Universidade Federal de Goiás, 2021-02-10) Coimbra, Glayce Rocha Santos; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Ribeiro, Dimas dos Reis; Santos, Alcineia Rodrigues dos; Carneiro, Maristela; Omena, Luciane Munhoz deThe imaginary of death involves representations that give meaning to the world and are constructed from the real and internalized in the social and historically in the collective unconscious. This thesis discusses the changes and permanence that characterize the universe of death in funerary rituals and in rural cemeteries. The main objective is to investigate the symbolism of death in the social imaginary of the inhabitants of the rural region of Bahia's hinterland and the social representations of funeral rituals that are still practiced in the 21st century, investigating how religious devotion is seen by most people as a form necessary to face death. The questions permeate in relation to funeral rituals, since the 19th century, which are still present in the social imagery related to death, in the towns of the city of Barro Alto (BA) and the way in which residents deal with cemeteries designed to preserve the memory of the dead, using symbolic and religious elements of the funerary rituals present in the region. As methodological procedures, several photographic surveys were carried out, documentary sources such as: death certificates, mortuary photographs, saints, video and oral interviews. The research data show that some funerary practices from the 19th century are still present today, and others, such as the singing of inselences and blessings, are being forgotten due to the lack of interest of the current generation. Rural cemeteries are maintained and cared for by the houses themselves and are considered spaces to represent memory.Item Arte e devoção: ex-votos pictóricos do Divino Pai Eterno (Trindade/GO, séculos XX e XXI)(Universidade Federal de Goiás, 2020-03-03) Corcinio Junior, Givaldo Ferreira; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Borges, Déborah Rodrigues; Vilela, Ana Lúcia; Barros, Leda Maria de; Jesus, Samuel deThe Trindade’s exvotos are a singular objects in the devotional and artistic brazilian christianity universe. This objects are capital to devotes identity build, because they materialize the relationship lived between the faithful and the Divine Eternal Father. We understand, through the signs existing in these works, the impact of the technical transformations present in the individuals life from the central region of Brazil, an area of direct influence of the pilgrimage of Trindade. We seek to point out in our work the dialogue and the symbolic appropriations present between the popular art practices that are made there and the classic references, as well as to trace the presence of the narrative and the appropriations of memory visible in them, understanding that they are perceptible in the ways how devotees, through art, register their deliverances, challenges overcome and achievements obtained under the auspices of the Divine Eternal Father. We selected for study some pictorial ex-vows produced in the twentieth century, left and displayed in the miracle room of the Sanctuary of the Divine Eternal Father, which were selected using concepts reworked from studies developed by Bernard Cousin and reflecting on them from a Warburguian bias that deals with the survival of old elements and traits blending with new perceptions of the world.Item Tempo andante da intervenção urbana: relações temporais nas obras “Imagens posteriores”, “Giganto” e “Polaroides (in)visíveis”(Universidade Federal de Goiás, 2017-03-16) Fernandes, Ana Rita Vidica; Borges, Maria Elizia; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4788140U6; Borges , Maria Elizia; Flores , Maria Bernardete Ramos; Jesus , Samuel José Gilbert de; Silva , Valéria Cristina Pereira da; Noronha , Márcio PizarroThe research “Walking time of urban intervention: temporal relations in the works ‘Imagens Posteriores’, ‘Giganto’ and ‘Polaroids (in)visíveis’ derives from reflections on time in three urban interventions with photography, namely Patricia Gouvêa’s “Imagens Posteriores” (2000-2013), Raquel Brust’s “Giganto” (2009-2013) and Tom Lisboa’s “Polaroides (in)visíveis (2005-2011). I place myself before the images and documents-sign of the works bearing in mind the proposition of the philosopher and historian Georges Didi-Huberman (1998, 2013, 2015), out of which emerges a temporal crossing of past, present and future. This crossing is due to the perception of the lines of time proposed by the philosopher Gilles Deleuze (1987): “time wasted”; “time lost”; “time regained” and “time rediscovered”. Furthermore, it is added the concept of “walking time”, set up by the researcher, concerning the temporal structure that results from the association of “time happening” with “plain space”. The perception of theses times leads to the discussion of the temporal crossings in relation to other urbanity, photography and art images, anachronicaly seen within the works (anachronies-process, anachronies-plasticity, anachronies-form), directed towards the past. And towards the future, at the meeting with the looks in the city (looks-invisibility, looks-emancipation, looks-circulation), it brings out relationship between work, artist, spectator, either in the virtual or in the urban space.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 Grafites feministas: espaço de luta e resistência na arte urbana (2000-2018)(Universidade Federal de Goiás, 2019-06-27) Freitas, Nathália de; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Guimarães, Leda Maria de Barros; Fernandes, Ana Rita Vidica; Soares, Ana Carolina Eiras Coelho; Vilela, Ana Lúcia OliveiraSince the 1960’s the contemporary urban art has been an instrument of protest. Movements of workers, students, artists and black people of both genders used and keep using the streets to question the established order, politics and the society in general. “Feminist graphites: space of struggle and resistance in urban art (2000-2018)” aproaches the urban art scenario as a women protest space, especially in Brazil, and do it by analyzing the works made by women and men who raise topics and problems taken as relevant for women’s issues. Among those topics there are violence against women, maternity, blackness, empowerment, sorority, feminine power, racism etc. The analyzed graphites also approach legislative landmarks which contemplate women’s cause such as the laws 11.340/2006 and 13.104/2015 known as Law Maria da Penha and Law of Feminicide, respectively. The study also includes graphites which commemorate characters who made history and became references to women’s struggle such as Simone de Beauvoir, Nina Simone, Malala Yousafzai, Marielle Franco, Maria Bonita, Anne Frank and Frida Kahlo as well as super heroines from fiction such as Bat Girl and Wonder Woman. The artists’ performance is important for reflections which allow new visibilities about gender issues and contribute significantly to the formation of a women’s narrative, in other words, the graphites give voice to the feminist movement and to the women’s history itself which is often forgotten by the dominant and sexist historiography. The feminist graphite is a work of protagonism, struggle and women’s resistance in History and also a legitimate way of giving visibility to the plurality of the movement.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.