Doutorado em História (FH)
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Navegando Doutorado em História (FH) por Por Orientador "Capel, Heloísa Selma Fernandes"
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Item Teatralidade, montagem e performance na arte de Ana Maria Pacheco(Universidade Federal de Goiás, 2016-03-18) Martins, Rosilandes Cândida; Capel, Heloísa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Lopes, Lívia Flores; Torres, Marcos Antônio Cunha; Noronha, Marcio Pizarro; Cardoso, Rita Morais; Capel, Heloisa Selma FernandesTheatricality, Montage and Performance in the Art of Ana Maria Pacheco scrutinizes the visual work of the plastic artist as a main visual body analysis on the series of ten paintings entitled In Illo Tempore I-X (1994), elaborated in the 90 ́s. The approach of this work is that the art of Ana Maria Pacheco (1943) is an intervallic montage of multiple temporalities, and under this perspective, we are headed to assume that the artist reinterprets the cultural-historical universe of her environment of origin and formation relating it dynamically and diversely in her visual work. It also investigates the theatricality inherent in the artist ́s visual work, elaborated through the intervallic and anachronistic montage of the culture, from which a potential performance on images derives to the reception of viewers eyes. The methodology used in this work is a combination of bibliographical research and image analysis starting from the process “constellation and work table” (Didi- Huberman, 2013), which consists in entangling a collection of affinities and relationship between the images themselves. The main concepts approached in this work are the notions of “montage” (Didi-Huberman, 2013), “theatricality” (Féral, 2011), “geopoetics” (Lowenthal, 1982) and “performance and reception” (Zumthor, 2007).Item Entre acordes da goianidade: identidade e regionalismos na música goiana (1992-2013)(Universidade Federal de Goiás, 2021-10-14) Santos, Inglas Ferreira Neiva dos; Capel, Heloísa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloísa Selma Fernandes; Silva, Fernanda Martins da; Barbosa, Raquel Miranda; Carneiro, Gyovana de Castro; Souza, Rildo Bento deBy understanding that music has a profound relationship with its time, constituting a possible language of expression of the society with which it interacts, the work proposes to understand how a fraction of popular music from Goiás contributes to the narratives of Goianity, having contributed to the Municipal Culture Incentive Laws. For this purpose, we used as a point of reference the Movement of Goianity brought by the Goiana Press Association (AGI) in the early 1990’s, whose main expression was the publication of the magazine “Goianidade” in 1992. Such movement points, among other characteristics, cultural manifestations of a group of singers such as Maria Eugênia, Pâdua, Luiz Augusta, Fernando Perillo, João Caetano and Marcelo Barra, considered by the magazine as “singers of the land” and, by us here named singers of “popular music from Goiás”, as true identity icons. Considering the movement, and to a certain extent, the biography of such artists, we sought to relate them to the cultural dynamics of the State of Goiás and its capital, Goiânia, between the years 1992 and 2013, under the strong impact of policies aimed at this sector. From this perspective, the research sought to investigate the extent to which the songs of such artists dialogue with the identity issues of the State, that is, with the construction of of the idea of Goianity orchestrated by institutions with the support of cultural policies. Recognizing the expressive character of the musical language, it was intended to distinguish the elements of the widespread identity, identifiers of the “Goiás way of being” pointed out by the movement. It was observed in such an exercise that in the elaboration of the idea of Goianity, elements related to the foundation of Goiânia - as a modern city - were and are articulated with elements of the tradition and the peasant experience of yore, common to the state’s history. In light of the work of these artists and cultural expressions, the “Movimento da Goianidade” systematized and expanded the identity narratives present in such songs, as well as in the music scene under which they expressed themselves. Under such movement, memories were triggered in the songs as mechanisms of construction and crystallization of an identity for the State, reverberating a kind of adjustment between a backward past and a modern, propagated present.Item Em defesa de Goiânia: do projeto moderno à construção da goianidade nas imagens de Alois Feichtemberger (1933-1992)(Universidade Federal de Goiás, 2021-03-12) Silva, André Carlos Conrado Inácio da; Capel, Heloísa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloísa Selma Fernandes; Silva, Thiago Fernando Sant’Anna e; Mota, Antônia da Silva; Barbosa, Raquel Miranda; Magalhães, Sônia Maria deIn defense of Goiânia: from the modern project to the construction of goianidade in the images of Alois Feichtemberger (1933-1992), it is the result of an accurate research work that sought to elucidate issues that arose during a field investigation between the years of 2014 and 2015. During this period, we focused on the studies of cultural performances in Goiás, seeking to reveal how they were structured in the daily lives of its inhabitants. In this way, the work that now arrives in the hands of the reader, consists of a methodological and theoretical path that has covered, since the emergence of photography, its use for the construction of social representations, its use by the press and in what way and for which photography was used in Goiás soil from the 1930s. We seek to demonstrate that the representations of planned city and symbol of modernity, which were built on Goiânia and which are reaffirmed until today so that they remain alive in the Goiás imagination, were part of a project developed by the government of Goiás through the Department of Economic Disclosure and Expansion of the State and counted the fruitful performance of the Austrian photographer, Alois Feichtenberger, and his photographic production. In this way, we defend, present and substantiate, throughout the work, that photographer Alois Feichtenberger, with the support of the press, acted in the process of constructing visualities that represented and put in view the social imaginary that was built to justify the change project and the construction of the new capital of the State of Goiás, in the 1930s, and in this way contributed to the formation of goianidade, a way of being Goiás and being a Goiano anchored in the modernist and developmentalist motto that was instituted in Goiás from the construction of the city of Goiânia. Nevertheless, we emphasize that, when we speak of imaginary throughout the work, we understand it as something that is part of the construction process of the whole society and it makes use of the production and circulation of images to build representations, making it visible and present in the community.. In this way, we will demonstrate in the body of the work how photography relates to the social imaginary. The work also demonstrates how the powers that were instituted in Goiás after the 1930 revolution, how they used images to build representations about them and about the projects they led. Nevertheless, the reader realized that, images are elements that produce realities, instead of elements of thoughts. We will show that images are essential for communication and social understanding, because they do not exist without reality and do not survive without being reactivated in the collective imagination. Therefore, to think about Goiânia, Goiás and its goianidade is to think about image, and we will see that it is through the reciprocal play between imagery, representations and photography that goianidade is anchored and kept alive in the collective imagination of GoiásItem Diante de Godard: história, imagem e multiplicidade temporal(Universidade Federal de Goiás, 2019-03-28) Silva, Henrique Martins da; Capel, Heloísa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloisa Selma Fernandes; Monteiro, Paulo Roberto; Quadros, Eduardo Gusmão de; Silva, Ademir Luiz da; Nazareno, EliasThis research has as object the temporal multiplicity of the image from the cinematographic production of Jean-Luc Godard. It is a question of thinking the temporal multiplicity of history through the filmic images produced by the filmmaker to his way of making movies. This one that innovated in its time when giving protagonism and to show that it was possible to write with the camera. The moving image, the assembly and the own thinking with images in the work of Godard reveal to us multiple layers of heterogeneous times that elucidates the affirmation of the philosopher and historian of the art Georges Didi-Huberman that "when before the image, we are before the time" . Thinking about the multiple times of the image in the cinematographic field implies recognizing its discontinuities and different rhythms as the image "will survive" for the sake of holding more experience and expectation than the being who observes it. Thus, the strata of time described by the German historian Reinhart Koselleck refer not only to the past, but also to the future that opens up as a possibility / projection. In this way, both Didi-Huberman and Koselleck help us to understand Godard's complex time-frame.Item Diante da sacralidade humana: produção e apropriações do moderno em Nazareno Confaloni (1950-1977)(Universidade Federal de Goiás, 2017-05-16) Vigário, Jacqueline Siqueira; Capel, Heloísa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Ramos, Rosângela Patriota; Cavalcanti, Ana Maria Tavares; Ferreira, Joel Antônio; Souza, Julierme Sebastião MoraisThe research proposes to investigate the appropriattion of the artistic thinking of the italian painter Frei Nazareno Confaloni (1917-1977) and his proceding in the context of modernity in Goias from the 1950's, observing it's relation with the scholars linked to the cultural institutions of the state and, consequently, with the projects of renewal who were typical of the artistical environment of the early 1950's in Goias. From the understanding of how art criticism construes the work of the italian artist based in Brazil, this work investigates the appropriation of Confaloni as an icon of modernity and associates him with the founding myth of the city of Goiania. The paper deals with the issues of modernity, modernization and modernism as bridges for the understanding of the modern project of Brazil, considering as the main point the concept of conservative modernization with emphasis on cultural. To achieve this goal, it observes the context of modernization of the city of São Paulo during the first half of the twentieth century so that one can rethink how Goias assumed the demands of modernization during the 1950's and the 1960's. It analyzes the fortuity of the first decades of the construction of the city, the activities related to the creation of the Escola Goiana de Belas Artes (EGBA) and the debate of scholars and artists around a modernist campaign, in which Confaloni is a fundamental piece in the construction of the reasoning of the new, founded on cultural bases. From an idea of the sacralization of the human and the humanization of the sacred in the artistic thinking of Nazareno Confaloni, this paper makes an analytical interpretation of his works based on historical events, exploring the tensions between his religious and artistic formation, confronting them with artistic movements from Europe and Brazil, Besides the religious and socio-political thinking in Latin America. In addition to its construction as a modern inaugural artist, the research points to Confaloni's appropriations of the Brazilian and Latin American conjunctures, evaluanting them as fundamental for their constitution as a religious and as an artist.Item O bom governo de México e Michoacán: Vasco de Quiroga e a colonização utópica da Nova Espanha (1531-1565)(Universidade Federal de Goiás, 2016-04-15) Witeze Junior, Geraldo; Capel, Heloísa Selma Fernandes; Berriel, Carlos Eduardo Ornelas; Ribeiro, Ana Cláudia Romano; Carvalho, Eugênio Rezende; Nazareno, Elias; Capel, Heloísa Selma FernandesThis thesis presents the work of Vasco de Quiroga and discusses his utopian project for the colonization of New Spain. It begins with a historiographical review, recovering the main interpretative lines developed over the last century; then addresses the subjects involved in quiroguian project, namely, the Spanish settlers and the Native Americans; then comes the topics that lead to utopia: just war, slavery and evangelization; finally, examines the references to Utopia to elucidate how the Quiroga understood this book and tried to apply it among the Indians, in order to build a renewed church from that new man found in America. The focus is on a careful analysis of the texts, putting the reader in direct contact with the sources, which is very different from the usual historiography. It also highlights the Utopia of Thomas More as the main inspiration through a thorough comparison between the morian text and Quiroga’s writings. Other influences are also highlighted, such as the Bible and the Philosophia Christi of Erasmus. Anyway, it aims to show the importance of knowing Vasco de Quiroga to understand the polyphonic movement of America's colonization and the development of utopian thinking as a key to the constitution of modernity. It presents a critical view of the simplistic interpretations that have created a historiographical common sense, showing that the colonial sources still has much to reveal.