Doutorado em História (FH)

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http://200.137.215.59/tede/handle/tde/284

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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 Pizarro
This 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.
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 de
The 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.
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 de
The 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.
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 Pizarro
The 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.
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 Oliveira
Since 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.
Cemitérios Amazônicos: um estudo sobre os espaços funerários do Estado do Amapá - Séculos XXXXI
(Universidade Federal de Goiás, 2024-10-30) Silva , Tiago Varges da; Borges, Maria Elizia; http://lattes.cnpq.br/0672444382021221; Borges, Maria Elizia; Carneiro, Maristela; Reis, Marcos Vinicius de Freitas; Santos, Cícero Joaquim dos; Langaro , Jiani Fernando
The history of the cemeteries of the state of Amapá, built throughout the twentieth century and the beginning of the twenty-first century, as well as their sepulchral and tomb complex and the funeral rituals developed in these spaces, is the central theme of this thesis. Therefore, the Ritual of Castilho and the Ritual of Illumination of the Dead comprise the objects of analysis of the research. A diversity of cemetery typologies, such as public, riverside, quilombola, and Israeli cemeteries forms Amapá's cemeteries. The constitution of these funerary spaces is linked to the historical processes of colonization and occupation of the territory of Amapá. We propose to understand the origins of these cemeteries and their relations with such historical and social movements, which contributed to the formation of the state of Amapá and, consequently, its funerary culture. These Amazonian funerary spaces, except Israeli cemeteries, are formed for a plurality of tombs, characterized by their vernacular art, quite diversified in the use of materials such as wood and masonry, used in the construction of their architecture and adornment. Among the various tomb typologies found in these cemeteries, the modality of castilho tombs is the most unique and representative of the Amapá’s cemeteries. The castilhos are pre-molded tombs placed in graves, both of adults and children, amid a ritual practiced in several cemeteries in Amapá. Based on a photographic survey carried out between 2016 and 2024, we propose an analysis of the cemetery typologies and tomb categories, analyzing the history of these spaces. In this way, the construction of the Amapá’s cemeteries was analyzed from the historical perspective throughout the formation of the state of Amapá. The results of the research demonstrated that the Amapá’s cemeteries, in addition to being funerary spaces indispensable in the daily life of practice, are also fundamental historical, social, and cultural records through which it is possible to tell the story of the formation of several Amapá cities.

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