Doutorado em História (FH)

URI Permanente para esta coleção

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

Navegar

Agora exibindo 1 - 6 de 6

Muito além das telas douradas: cidade e tradição em Goiandira do Couto
(Universidade Federal de Goiás, 2017-04-12) Barbosa, Raquel Miranda; Capel, Heloisa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Moraes, Cristina de Cássia Pereira; Silva, Ademir Luiz da; Quadros , Eduardo Gusmão de; Capel, Heloisa Selma Fernandes; Magalhães , Sônia Maria de
In representing the urban landscape of the City of Goiás, Goiandira do Couto (1915-2011) privileges a pictorial narrative based on the myths and landmarks built during Portuguese colonization, along the axis that is structured between the Largo do Rosário (Rosary Square) and the Largo do Chafariz (Fountain Square). As an heiress of a cultural and family traditions, the artist establishes a relationship with Guardian-of-the-past Institutions, such as the Organization of Arts and Traditions of the City of Goiás (Organização Vilaboense de Artes e Tradições - OVAT), reinventing the city and its cultural identity. In her paintings, the valorization of the symbols of the official memory inspired the creation of an ideal city which would later become a heritage city, proclaiming the plot of officialdom, as seen in the Dossier of Goiás, the document that formalized the candidature of the City of Goiás to the title of World Heritage, homologated in 2001. Because it is a complex process, the institutional power of the Instituto do Patrimônio Histórico e Artístico Nacional – IPHAN (Institute of National Historical and Artistic Heritage) is highlighted, which was dedicated to the survey, recognition and promulgation of the cultural heritage of the City of Goiás, between the decades of 1950 and 1990. From the 1960s onwards, this process is established in a fruitful dialogue with the cultural elite (OVAT) and with the local and regional political authorities which, in turn, have glimpsed the preservation of the past as an attribute to project the City of Goias to the future. Meanwhile, the golden canvas travelled around the world, stating the existence of an ideal city in the interior of Brazil, endowed with "universal exceptional value". We hypothesized that, in delimiting the perimeter of the historical listed patrimony, in the 1980s, the IPHAN has considered the relationship of the built heritage with the list of traditions visually and immaterially constructed by Goiandira do Couto. We suspect that these approaches have converged to the delimitation and normalization of the limits, symbols and characters which would represent the birthplace of the local (State of Goiás) culture along with UNESCO. Through the specificities of this process, the traces of Goiandira do Couto were legitimized, in the advent of the 21st century, among the memory places of the heritage city with the foundation of the Cultural Space Goiandira do Couto, a place intended to the ‘musealization’ of the public and private trajectories of this remarkable artist and guardian of the memories of the City of Goiás, when she was still alive.
"O abysmo das suspeitas": as narrativas da Tragédia da Piedade (1909) e a construção do mito de Euclides da Cunha (1866- 1909)
(Universidade Federal de Goiás, 2022-04-07) Daher, Anna Paula Teixeira; Capel, Heloisa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloisa Selma Fernandes; Ramos, Rosângela Patriota; Costa, Rodrigo de Freitas; Silva, Ademir Luiz da; Soares, Ana Carolina Eiras Coelho
The writer Euclides da Cunha was killed due to a series of events involving Dilermando de Assis, the lover of his wife, Ana Emília, whom he tried to kill to recover his honor, in circumstances that were narrated in different ways, from different memories and became known as the “Tragédia da Piedade”. From this event on, we begin to understand how his narrative and the memory disputes that rise from them contribute to erect Cunha´s image as an ideal of man and intellectual, a myth - and how these constructions come from historical circumstances and the reception of his life, death and work articulated with the performance and creation of traditions of the cultural institutions of which he was part. Being a part of this groups of intellectuals at the service of the same cause (the institution of the Republic as the oficial brazilian regimen and its solidification), is what will allow the space of the myth to Cunha. This work intends to understand how Cunha's mythification become possible due to his position in this institutions (alive and after death), not only from his place in the literary canon or only from the place of literary criticism. This is possible with the analysis of the construction of narratives that affirm his place as an honorable family man, a great intellectual, culminating in his personal mythification and the inscription of his name among the greats of the country. This is due not only to the quality of his work or the circumstances of his death, but also because his peers recognized him and defended him considering that, among them, the value of the cultural traditions they protected was already determined, in a context that they also helped to build – precisely that of the Republic, in a narrative over which they held control (of information, language, vocabulary) from the same sensibilities, the same worldviews.
"O abysmo das suspeitas": as narrativas da Tragédia da piedade (1909) e a construção do mito de Euclides da Cunha (1866- 1909)
(Universidade Federal de Goiás, 2022-04-07) Daher, Anna Paula Teixeira; Capel, Heloisa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloisa Selma Fernandes; Ramos, Rosângela Patriota; Costa, Rodrigo de Freitas; Silva, Ademir Luiz da; Soares, Ana Carolina Eiras Coelho
The writer Euclides da Cunha was killed due to a series of events involving Dilermando de Assis, the lover of his wife, Ana Emília, whom he tried to kill to recover his honor, in circumstances that were narrated in different ways, from different memories and became known as the “Tragédia da Piedade”. From this event on, we begin to understand how his narrative and the memory disputes that rise from them contribute to erect Cunha´s image as an ideal of man and intellectual, a myth - and how these constructions come from historical circumstances and the reception of his life, death and work articulated with the performance and creation of traditions of the cultural institutions of which he was part. Being a part of this groups of intellectuals at the service of the same cause (the institution of the Republic as the oficial brazilian regimen and its solidification), is what will allow the space of the myth to Cunha. This work intends to understand how Cunha's mythification become possible due to his position in this institutions (alive and after death), not only from his place in the literary canon or only from the place of literary criticism. This is possible with the analysis of the construction of narratives that affirm his place as an honorable family man, a great intellectual, culminating in his personal mythification and the inscription of his name among the greats of the country. This is due not only to the quality of his work or the circumstances of his death, but also because his peers recognized him and defended him considering that, among them, the value of the cultural traditions they protected was already determined, in a context that they also helped to build – precisely that of the Republic, in a narrative over which they held control (of information, language, vocabulary) from the same sensibilities, the same worldviews.
Civilizar, higienizar, disciplinar: imagens republicanas na Escola de Aprendizes e Artífices da Cidade de Goiás (1909-1937)
(Universidade Federal de Goiás, 2024-07-03) Pires, Mauro Alves; Capel, Heloisa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloisa Selma Fernandes; Mota, Maria Antônia da Silva; Caixeta, Vera Lúcia; Borges, Mônica Veloso; Magalhães, Sônia Maria de
The research investigates the instituting images that cohere and legitimize professional education in Goiás in the first half of the twentieth century. It focuses on the formation of the institutional imaginary of modernity in the public professional education. In it, the ideals of modernity interpret the past, plan the future and legitimize themselves in specific policies in the educational field. The institutional imaginary produces representations and practices marked by rationality and the disciplining of the bodies, has marks in the school building and are reinforced by institutional rites and images. The time frame of the research goes from the creation of the Escola de Aprendizes Artífices in the city of Goiás (1910), to the period of its transfer, during the change of the capital to Goiânia (1942). The doctoral thesis intends to deepen the research and focus on the Escola de Aprendizes e Artífices da Cidade de Goiás, an institution that, due to its singularities in terms of learning, harbored sociabilities that allow us to investigate the political disputes, the social base of the students and the educational projects in dispute in Goiás at the beginning of the 20th century. The period in focus (1910-1942) is of outstanding importance and significance to unveil the origins of professional education and its evolution in Brazil, based on public policies aimed at building the foundation of a modern labor society. The creation of the Apprenticeship School of Goiás and the ones in other states of the new Republic, took place at a time when there was an effort to overcome old representations about work, about childhood and youth. The purpose of the Republic in creating a school for the children of the “underprivileged of the estate” was ordered by a rationale and by the desire to build a labor intensive and disciplined citizenry. Thus the School of Apprentice Artisans used disciplinary training as a strategy to mold the ideal worker for the Republic. "Morally and materially abandoned," these students were categorized as vagrants, beggars, delinquents, and derelicts. The thesis works with the hypothesis that the instituting imaginary of the Republic articulated the principles of the “new” with the educational perspective, considering, under the motto of civilization, hygienism and disciplinarism, the apprentice and artisan schools as privileged spaces to train and professionalize the socially excluded
Veiga Valle: recepção em estudos de identidade e tradição (1940-2001)
(Universidade Federal de Goiás, 2023-03-30) Santos, Fernando Martins dos; Capel, Heloisa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloisa Selma Fernandes; Diniz, Aldilene Marinho César; Barbosa, Raquel Miranda; Oliveira, Eliézer Cardoso de; Borges, Maria Elizia
José Joaquim da Veiga Valle (1806-1874) is the most known 19th century artist in Goiás, his works appear in countless churches and private altars. However, the artist became the synthesis of an identity (HALL), the “vilaboense” identity, which was built in two moments: with the transfer of the capital igniting a anti-change movement that evoked an identity for the old capital and, later, with the process of World Heritage Site. The artist was born in the old village of Meia Ponte (Pirenópolis), where he received his artistic training and his first political commitments. In 1841, Veiga Valle moved to the capital of the province, the city of Goiás, where he continued to act politically and produce his works. After his death, in 1874, Veiga Valle went through a period of oblivion and his rebirth took place with the transfer of the capital. In this process, Veiga Valle is linked to the Vilaboense identity, which is evidenced when analyzing his work from the aesthetics of reception (JAUSS). Newspapers, artists, intellectuals and memorialists began to place it with the aura of art pieces, more precisely with the Brazilian Baroque. Based on the assumption of the invention of traditions (HOBSBAWN), in the city of Goiás this process occurred after the transfer of the capital, a moment in which a search was made to its past to highlight the city as the cradle of Goiás culture. This process intensifies from the 60s onwards, when the Vilaboense Organization of Arts and Traditions (OVAT) places itself as the guardian of Vilaboense tradition and projects the city for tourism, in which the works of Veiga Valle are placed as one of the main attractions. When the city's patrimonialization process began in the 1940s, Veiga Valle was once again placed as a fundamental element. The National Historic and Artistic Heritage Service (SPHAN), in its project to create a national identity, hadthe colonial period and the baroque of Minas Gerais as its basis for listing. In this way, the works of Veiga Valle were placed within this context and, thus, the city obtained its first heritage sites. In 2001, the city became a World Heritage Site. For the proposition of his candidacy, the city of Goiás was shown as the last representative of a period, the golden cycle, and the place that housed the last representative of the Brazilian Baroque, Veiga Valle.
Olhos brancos sobre o sagrado nego : a construção da africanidade nas imagens de Pierre Verger
(Universidade Federal de Goiás, 2015-09-15) Torres, Marcos Antonio Cunha; Capel, Heloisa Selma Fernandes; http://lattes.cnpq.br/0202627724737454; Capel, Heloisa Selma Fernandes; Conduru, Roberto Luís Torres; Possamai, Zita Rosane; Oliveira, Eliézer Cardoso de; Noronha, Márcio Pizarro
The dialogue on religions of African origin has mobilized important sectors of the Brazilian Academy since the second half of the twentieth century and intensified in the current century. The research seeks to understand the statement of a look, Pierre Verger (1902-1996), which contributes significantly to the consolidation of an African religious matrix as Candomblé, able to nationalize and articulate how identity reference to the faithful as a reference the construction of a mythical Africa, translated into political discourse to the social movement of black people in Brazil. By analyzing the Pierre Verger's images from the cultural shift concept of the Western world, claiming new values and new looks, which are unveiled at the opening of the images. This process identifies, through the imagery construction and ownership of intellectuals around the artist, a look that says Africanity as defining the cultural and religious experience of blacks in Brazil. So intent establishes a pattern in which the black gains autonomy and appreciation from your body and its sacredness and where miscegenation and the diversity of its culture loses importance.

Navegar

Navegando Doutorado em História (FH) por Por Orientador "Capel, Heloisa Selma Fernandes"

Resultados por página

Opções de Ordenação