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Item Estéticas da existência: a moda nos Festivais de Rock (Goiânia Noise Festival e Lollapalooza Music Festival-2008/2009)(Universidade Federal de Goiás, 2010-04-13) ABDALA, Lorena Pompei; MENDONÇA, Míriam da Costa Manso Moreira de; http://lattes.cnpq.br/8573276727905431This dissertation deals about the care of the self as a mediator of the construction of identities, which legitimize the existence of the socio-cultural subjects. Through the visual narratives produced in the scenario of rock festivals, were traced the relationship of fashion as a tool for the construction of identity. The fashion, understood as a social and cultural practice operates as an existential support in the setting of the visual symbolic representation of a given culture at a given time and space history. The figures of speech created by the practices of fashion generate social archetypes that become signs of a life style. The dress becomes a whole system of meaning. The analysis is based on photographs taken of goers of the two festivals (Festival Goiânia Noise and Lollapalooza Music Festival), noting that were considered the subjects photographed and not the photograph itself, as supported by observation. The study was structured considering the symbolic systems as creators of communities of existence and fashion as a form of social practice. Thus, the work is grounded in the discourse of fashion in the form of how identities are determined by simulations made by the groups / tribes and how to establish mediated existence poetics of everyday wear.Item Brasília gravada(Universidade Federal de Goiás, 2008-03-27) AFONSO, Manoela dos Anjos; FRAGOSO, Maria Luiza Pinheiro Guimares; http://lattes.cnpq.br/6228855946764716; CLÍMACO, José César Teatini; http://lattes.cnpq.br/4105136553667901This Master dissertation is mainly composed by some reflections about the creation processes that have brought me to the beginning of a new engraving production. The graphic research showed here was made from 2003 to 2005 and is a result of my affective relation with Brasilia through several languages. As I got to know the city, initially having a foreign look over it, I came from the architecture to its history and then to the Nicolas Behr´s poetry. In that constant transit I made the Brasília Gravada engraving series, which became a thinkingthe- city graphic place.Item Narrativas de patrimônio e percepções culturais sob a ótica da cultura visual(Universidade Federal de Goiás, 2011-05-09) ALEXANDRIA, Genilda da Silva; GUIMARÃES, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819This dissertation aims to investigate the relationship between patrimony and society, and in this sense focuses on the processes related to the building of this patrimony, by seek-ing out through the so-called narratives on patrimony a mélange of senses and under-standings about this theme and linked to the field of the visual culture. In reality, this is also a research under a clear-cut pedagogical approach, so that there is herein an inten-tion to re-read, reanalyze and reinvestigate, giving rise to a speculative review, the rela-tionship between identity and culture concerning the topic patrimony.Item Caminhos cruzados artistas entre viagens, olhares e tempos: arte e ciência na expedição Langsdorff: séculos XIX e XX(Universidade Federal de Goiás, 2007-02-14) AMBRIZZI, Miguel Luiz; MONTEIRO, Rosana Horio; http://lattes.cnpq.br/9262982142956906The research CAMINHOS CRUZADOS. ARTISTAS ENTRE VIAGENS, OLHARES E TEMPOS: ARTE E CIÊNCIA NA EXPEDIÇÃO LANGSDORFF - SÉCULOS XIX E XX results from the study of a curatorial project in contemporary art ( O Brasil de hoje no espelho do século XIX Artistas alemães e brasileiros refazem a expedição Langsdorff , 1995, Dieter Strauss e Alfons Hug). This work, with a bibliographical study in Art History, History and Sociology of the Travel presents visualities readers of artworks produced by the artists of 19th and 20th centuries. The explorers / traveling artists like Rugendas, Taunay and Florence, in a context of The Langsdorff Expedition (1822-1829), and the contemporary artists Carlos Vergara, José Fujocka, Olaf Nicolai and Anatoli Juravlev, all they, development the relationship between Art and Science. The Langsdorff Expedition (1822-1829) between two ways of look, the landscape and the naturalistic view, including the representational notion of the Nature, produces a pattern of iconographic representation (scientific and documental). For this study, the travelers story in a scientific mission (Rugendas, Taunay, Florence) and their relationships with the historical and natural environmental includes and meets biographical elements and iconographic analysis and stylistic, technical and formal analysis. The representational and conceptual changes between 19th and 20th centuries are the background for the analyses artists works. This works are described and analyzed, in the project context, including the expedition and the artistic trajectory and production. In our time, Brazilians (José Fujocka and Carlos Vergara) and foreigns artists (Michael Fahres, Olaf Nicolai, Anatoli Juravlev) restores for the present The Langsdorff Expedition with multiples points of view, representations and languages with a intention to propose questions and problems to our own world. Key-words: Art History, travelers artists, Art and Science, Langsdorff Expedition.Item Entre artistas, cineastas e sujeitos desviantes, a questão do olhar educado(Universidade Federal de Goiás, 2012-06-01) ARAÚJO, Allex Rodrigo Medrado; MARTINS, Alice Fátima; http://lattes.cnpq.br/2768377569632609This paper proposes an investigative reflection and (mis)reading helical tangle of lines that seeks, in the discourses and images of dadá and the avant-garde film movement dogma95 elements for performing an artistic intervention in the Rodoviaria Plano Piloto in Brasília (DF). The focus of the text is aimed at the questions that underlie the notion of looking educated in the (mis)direction of visual culture, as epistemological basis in order to ask about the different meanings articulated by the individuals who pass in the environment of the intervention in the field. By this route, the lines of escape and overflow interpretations by those subjects who admit a multiplicity of perspectives shaped, inventive and deviants, before the cultural transgressions in insurgency movements above. The research had the (dis)methodological guid Merz in the Hand, which has theoretical and historical descriptions of the movements in question, and the bases for practices with structured interviews, structured scripts of questions by e-mail, photographs, film and artifacts produced in the field. This multiplicity of assemblages unraveled reflections on the myriad of meanings from the looks of interpretations conformed to art images and connections between the subjective and cultural space-times, as well as the practices of subject positions that constitute deviant.Item PRODUZINDO IMAGENS E DESEJOS: UMA ANÁLISE DO PAPEL DO STYLIST NA SEDUÇÃO EXERCIDA POR EDITORIAIS DE MODA PUBLICADOS PELA MÍDIA IMPRESSA BRASILEIRA(Universidade Federal de Goiás, 2008-10-06) ASMAR, Rafaela; COSTA, Luís Edegar de Oliveira; http://lattes.cnpq.br/4800838962828598; MENDONÇA, Míriam da Costa Manso Moreira de; http://lattes.cnpq.br/8573276727905431Item Outros modos de ver: imagens cinematográficas no ensino de artes visuais(Universidade Federal de Goiás, 2007-04-03) ASSIS, Henrique Lima; MARTINS, Alice Fátima; http://lattes.cnpq.br/2768377569632609Currently, School is one of those places where meaning about daily life is produced through cultural practices, concepts and values. Therefore, the aim of this investigation is the development of a number of artistic learning, amid technical images, specially the eletroeletronic ones of the origin of cinema. In this study the main motivational aspect was the possibility of learning from imagery modalities. In this regard, a number of different ways of learning, involving the visual narratives of Lumiére Brothers as well as George Méliès were planned and developed by me with a group of second grade students at a public state High School in the suburb of Goiânia. The students also produced their visual works discussing problems faced in the daily relations established among students and educators. As reflection on this educational practice, the students, the tutors and I watched and discussed the short films produced by the students of room B guided by the methodological processes of visual culture. Therefore, we discussed and reached conclusions on these narratives mediated by the following questions: What do these images allow us to think? , What relations can we establish and what do they tell about us? Among other arisen questions the students visual narratives caused a diversity of feelings and interpretations about relations of power established in the core of the field-school as well as showing the absence of dialogue, interaction and hearing in the processes of teaching and learning. Finally, for the students, the attention, dialogue and the possibility of complaining about their problems became an alternative for them to be heard. For me, dialogue, action and reflection of the same actions within the context of my pedagogical practice were some of the main concepts in which, we, the people linked to this investigation could experience in a field-school.Item A enunciação e a reflexividade no cinema documentário aproximaçoes teóricas, filmográficas e uma realização(Universidade Federal de Goiás, 2010-07-29) BARBOSA, Douglas da Silva; ROCHA, Cleomar; http://lattes.cnpq.br/5039948128955710This dissertation deals with the idea of enunciation in documentary cinema, also taking into account an aspect found within this field called reflexivity. Generally the questions of enunciation in the field of this cinema permeate the documentary undertaking from the film project to the moment of reception by the public who watch the film. In choosing this object of study it was aimed to find instigating aspects about the course of the documentary as an audiovisual product linked to the idea of enunciation about the lived world. The research joins together theoretical contributions of some authors around what we might consider typical of enunciation in documentary cinema, among them Fernão Ramos and Jean Louis Comolli, passing through the tendencies in this cinema and important film-makers with their films (among these: Eduardo Coutinho, 2005: O fim e o princípio ; João Moreira Salles, 2006 Santiago and Kiko Goifman, 2002: 33 ). Further on, a revealing discussion is made about the undertaking of the documentary Os Corrêa da Silva e Santos Reis (a short-film, 24 , the result of 12 hours of filming of raw material in the rural community of Água Limpa and with ex-inhabitants of that community). The results obtained with this dissertation point, generally, towards the notion of taking the câmera-image as a dimension of documentary enunciation which strengthens the persepective of enunciation about the lived world. At the end there is an understanding of a proposal of performance of the documentary film-maker which turns to the people, subjects of his/her action, in aiming to divide with them a cinematographic mise-en-scène capable of making emerge their singularity, as well as argumentation directed to something pre-defined. It is this aesthetic dependence on the real which strengthens a documentary film and allows one to see in it more than what is in its enunciation.Item O ativismo ambiental nas ações e instalações de Siron Franci, 1986-2008: A arte como estratégia de divulgação(Universidade Federal de Goiás, 2009-06-26) BERTAZZO, Lucia; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221Siron Franco is an artist who has, in a parallel with his pictorial work, always produced pieces that denounced social grievances and pieces of political nature which, placed in public settings, aimed at inducing the media to broadcast protests. The artist has for very long championed the environmental cause, what has led him to produce a series of pieces on the theme: paintings, demonstrations, stickers, installations, video-sculptures. This dissertation sets out to review the historical moment in which these pieces come out and presents them as postmodern art work produced in line with environmental activism. This research intends to analyze the insertion of artistic protests which have the environment as a cause, into the press and in contemporary art productionItem Registros de memória em imagens: usos e funções da fotografia mortuária em contexto familiar na cidade de Bela Vista de Goiás (1920-1960)(Universidade Federal de Goiás, 2008-04-04) BORGES, Déborah Rodrigues; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The research Registros de memória em imagens: usos e funções da fotografia mortuária em contexto familiar na cidade de Bela Vista de Goiás (1920 – 1960) proposes analysis about the ways in which bereaved families used the portraits of the deceased during the mourning period. For this, we fixed the town of Bela Vista de Goiás as the space for research, trying to establish relations between the content expressed in the photographs collected in the town and the cultural context that was around the production and use of these images. The mortuary portrait appeared practically at the same time of the photographic technique, and enjoyed a great social acceptance in Brazil and in other western societies until the middle of the twentieth century. There are certain ideas expressed in these portraits of a Christian collective mentality about death, especially the imaginary about the good and the beautiful death. In Bela Vista de Goiás we found the interference of the Catholic faith in the building and in several uses that families of the town have did with the pictures of their dead, as a way of keeping alive his memory. This study, therefore, try to contribute with discussions about the collective attitudes towards death and death rituals, and reflect about a specific type of use of the photograph in a process of building family memories.Item Representações do trabalhador no modernismo brasileiro dos anos 30 e 40: um projeto de trabalho em ensino de arte.(Universidade Federal de Goiás, 2006-12-19) BRAGA, Mônica Mitchell de Morais; COSTA, Luís Edegar de Oliveira; http://lattes.cnpq.br/4800838962828598Item Prática refllexiva e trabalho pedagógico entre contornos e sombras de um livro didático de arte(Universidade Federal de Goiás, 2009-05-06) BRISOLLA, Livia Santos; TOURINHO, Irene; http://lattes.cnpq.br/0199098726098947The recearch reflexive practive and pedagogic work: shadow and shapes of a didatic work book, develops an analisys of a pedagogic experience inspired on a didatic work book. ART AND HABILITIES , book II. The didactic book is seen, primary as a cultural workmanship that joins knowledge and works studies, in order to orient teachers pedagogic work. It is now considered to be a source of original ideas to the recearcher teacher and lately also as an experimental field of studies to the students as a reference. That investigation is built from the observation and relationship between children of 8 and 9 as to live reflexive and creatives practices. I point out here the capacity of observing and interpreteting images as essencial to educate people to have a reflexive and creative position in an intelligent and critical way with textual and visual images as the book shows. As a teacher and also as a recearcher I feel like to reflect and to work my teacher practice from the relationship and conceptions with my students to set new ways to develop the work in the classroom, sharing different pedagogic practices. That investigation shows the urgency of analizing the objective of the didactic book connected with living experiences of the students and particulary to the teacher as an important hole to interfere in that process.Item Representação da mulher na campanha pela real beleza dove: um estudo dos processos de significação em mensagens publicitárias.(Universidade Federal de Goiás, 2006-06-30) BRISOLLA, Marcia Regina Santos; MONTEIRO, Rosana Horio; http://lattes.cnpq.br/9262982142956906The present essay has as a main objective to analyze the women s representation at the printed advertisements of the campaign for the real beauty Dove, published in Brazil, between 2004 and 2005. The international campaign promoted by Dove provides the stereotype s breaks of the women s images in the media. It uses at its ads common women which are not professional models. I assume, at this essay, that the visual and verbal representation in the advertisement works as an ideological mechanism to the reproduction and construction of the gender s identities. According to this perspective, and working with the theory of the cultural and gender studies, I identified the ways the women are been represented in the Brazilian edition of the campaign for the real beauty Dove. These representation are not only produced , but either reproduced, considering the meaning that surrounds in the media culture, that are related to the forms by which the conception of gender and sexuality are built to justify characteristics , behaviors and attitudes socially attributed to the women. The analyze reveled the Dove real beauty are related to attributes considered naturally female as the sensuality, seduction and the women s body exhibition to the attractiveness. At this sense, the stereotype s breaks of the women s images weren t verified, once the analyze reveled the adds strength the status quo, through the repetition of the social and cultural standards which keep as a reference the white women with straight hair, middle class, with a visually well cared body, even over weight, and excluding those ones who don t adapt to these standards. The image of the women in the campaign follows rules of representation socially accepted. The huge difference is omitted, once it takes to naturalized images of the women s body which strengths its body exhibition related to social projections to contemplation and consume.Item Dualidades: sobre permanências e impertinências: um estudo sobre a percepção do ciberespaço(Universidade Federal de Goiás, 2009-06-29) CARVALHO, Leonardo Eloi Soares de; MARTINS, Alice Fátima; http://lattes.cnpq.br/2768377569632609; ROCHA, Cleomar; http://lattes.cnpq.br/5039948128955710This work analyses, under a phenomenological point of view, our perception of the cyberspace, since we are beings in the world. The study begins considering the hypothesis that the cyberspace is in the interface; thus it is in the natural world. Besides, this study questions how the approximation between the physical space and the cyberspace happens, and it defends the existence of a continuity between them. In order to do so, we discussed many aspects related to not only the cyberspace, but also the natural world, the own body, the perception, the computer interfaces, the real and the virtual, along the text, trying to understand how the perception works to later understand the perception itself. The research led us to some conclusions which were used in the development of a practical proposition which represents the imagetic production for this master course. The project, through a modified chess game, questions the notion of continuity between both the physical space and the cyberspace. To achieve this objective, we described the chess game elements, and we elect, among technical possibilities, a way for the poetic materialization of this project which is the modification of the game rules and of the perception that we have of it. In the end, this research made clear the phenomenical orientation of the project, highlighting the understanding of perception as a bodily act, part of a single process in which the body experience is as important as the conscience, in contrast to the positive conception.Item Paulo Fogaça: o artista e seu tempo(Universidade Federal de Goiás, 2008-09-12) CARVALHO, Rosane Andrade de; COSTA, Luís Edegar de Oliveira; http://lattes.cnpq.br/4800838962828598Paulo Fogaça: the artist and its time is the result of the study of Paulo Fogaça s artistic work, carried through between years 1969 and 1980, in which we search to understand the bonds of this production with the project of the new national vanguard of years 1960, as for its experimental and engaged character in the social and politic matters of that period. For this, we carry through the presentation of the artistic trajectory of Pablo Fogaça, followed by a general exposition of its workmanships, showing its reference images tied with the agricultural visual universe. Concomitant to this task we make an immersion in the history of the art and the Brazilian culture, of the decades of 1960 and 1970, period of validity of the military government in the country, specifically in the actions, events and artistic proposals that had been absorbed by the desire of renewal of the language and the establishment of a more effective relation between art and Brazilian reality. We choose, thus, a set of Paulo Fogaça s workmanships that point, according to our intentions of analysis, for practical, operative and ideological procedures, at the same time, experimental and compromised with the social political questions that were contemporary to them. This made possible a boarding of the essential aspects that converge and/or diverge with the principles defended and expressed in the project of national vanguard in the middle of 20th century. This route made possible to locate in the production of the artist its critical positioning in the historical panorama deeply lived by him, as well as artistic procedures considered experimental for the time. These aspects insert Paulo Fogaça s workmanship in the set of precursory proposals of the use of new technologies (photograph, super-8 audiovisual and film) in Brazilian artistic language especially in the State of Goias.Item Ulisses entre as artes visuais e a literatura. Um estudo de obras de José Roberto Aguilar e Lenir de Miranda(Universidade Federal de Goiás, 2011-09-13) CAVALCANTE, Mário Mendes; MONTEIRO, Rosana Horio; http://lattes.cnpq.br/9262982142956906The aim of this research is to investigate the possible relationships between visual arts and literature from the study of works produced by the Brazilian artists José Roberto Aguilar (1941-) and Lenir de Miranda (1945-). Both have appropriated the character Ulysses from Homer's Odyssey and produced works using painting. Based on a literature review focused on the history of art, contemporary art theory and intersemiotic translation studies, we focus our study around the concepts of appropriation and expanded field. We conclude that the literary signs are appropriated for the artists in the field expanded of contemporary art as a poetic possibility.Item Memórias do brincar e construção de subjetividades: uma experiência com alunas de um curso de magistério(Universidade Federal de Goiás, 2010-03-10) CHARTIER, Getúlio Corrêa; TOURINHO, Irene; http://lattes.cnpq.br/0199098726098947Based on the methodological approach of action-research, this study examines play and playing memories as resources for subjective manifestations that include images, actions and expression of imaginary universes. Integrated in the formal educational process of a group of future female teachers, play experiences are analyzed as inciting situations which allow and provoke socialization associated not only to entertainment but, also, to conflict and discrimination episodes. The study privileges dialogues about how play integrates and stimulates perceptions, interpretations and reactions of the students collaborators, discussing and reflecting about teaching work as a proposal constructed through playing actions. The voice and circumstances of two students are emphasized in order to put in evidence the flows between memory and subjectivity and, furthermore, to underline the importance and contribution of playing in the re-creation of daily situations. In this sense, play establishes conditions of possibilities for reflecting and collectivizing experiences lived in family, school and other spacesItem CARLOS SENA: A TRAJETÓRIA DE UM ARTISTA NA ARTE GOIANA (1980-1989)(Universidade Federal de Goiás, 2009-08-07) COELHO, Armando de Aguiar Guedes; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221This research CARLOS SENA: THE ARTIST STEPS INTO THE GOIÂNIA ART SCENE (1980-1989) focuses on Carlos Sena s professional status and productions of plastic arts in the goianiense visual arts community from the 80s. He is known for his many group expositions and private art shows, festival awards, and being an active member of the art jury at festivals. He is also well known for his intense production in painting, which was divided into two phases. The first phase being the first half of the 80s and the second being the other half of the decade. This period revealed an artist who dedicated the same posture to technician in drawing and painting as in experimental arts. During this time, it is possible to observe into the Carlos Sena´s iconography, several symbolisms which dialogue with several discussions from the period, as sexuality, mass media, and symbolic power. The analysis of Sena´s paintings of this time follows the analysis system adopted from the authors Ferreira Gullar e Gaston Bachelard. It happened to be during his painting production in the 80s, that arts career became a professional job in Goiânia, conducting the research to verify the connection between the art work and market structure. This research presents the Goiânia artistic scenario from the 80s that focuses on Carlos Sena´s presence and artist market from the period.Item A Morte Severina em Cândido Portinari e em João Cabral de Melo Neto(Universidade Federal de Goiás, 2012-06-20) COIMBRA, Glayce Rocha Santos; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The purpose of this dissertation was to study the possible dialogue between art and literature because of the literary work of João Cabral de Melo Neto, Morte e vida severina and painter production of Candido Portinari, in particular the series of 1944 called: Retirantes, Criança morte e Enterro na rede, which the content that unites them is an expression of how the northeastern refugees dealt with death, indicate that Melo Neto and Portinari the migration process and the flight of the misfortunes experienced in the northeastern backlands seems to represent the possible output. Through a literature review and analysis of the poem and the works of Portinari, we conclude that to represent the drama experienced by these refugees, Portinari used expressionist aesthetic resources and the deformation and Melo Neto sought through the Pernambuco Regionalism and folklore, elements to portray the same situation painted by Portinari. Art and literature dialogue situations in common: the desire to express the way that these Brazilians were reluctant because of the difficulties caused by droughtItem Os segredos visíveis da cidade: a efemeridade da luz e da sombra na linguagem fotográfica(Universidade Federal de Goiás, 2010-04-06) COLLANTES, Galo Raúl Yépez; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221The present work proposes a theoretical reflection around the photographic images produced by the author between the years 2001 and 2006 during the passing of certain visual effects of a transitory nature that appear in the city. The analysis of images is proceeded by a historical review on urban morphology and iconography; the image of the city; and on a selection of American and European photographers that included the city within their preferred subject matter. In the second part of the article the intention is to be explicit on some of the positions that underlie the fundamental concepts of the author's work, starting with the explanation of the language around the ephemeral and then developing aspects relating to the technical image, an unbreakable element of the photograph. Finally, the study focuses on an interpretative and descriptive analysis, looking at historical, technical, aesthetic and conceptual elements of the most representative images that form part of the author's three thematic exhibitions. At this stage it explores: the embedding in photographic aesthetics of facets of simple and routine urban daily life; the potential of reflection in water on the ground; as well as the dominance of shadows in the contemporary vision of creative photography.