Navegando por Assunto "corpo"

Agora exibindo 1 - 4 de 4
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    Educação do corpo: produção e reprodução.
    (Universidade Federal de Goiás, 2007-08-03) BAPTISTA, Tadeu João Ribeiro; RESENDE, Anita Cristina Azevedo; http://lattes.cnpq.br/9367144408359249
    The body as study object is an actual discuss. So, intends to discuss the body education in capitalism. The Question is How the body form in capitalism is determinate? The aim is the identification of how the mediations to determinate the body s form are established. The theoretical references are Marx, Adorno and Horkheimer; Lukács. This theoretical work shows that productions and consumption interests of capitalist production mode determinates the body form.
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    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/9262982142956906
    The 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.
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    O corpo-lira: etnografia das técnicas corporais em escola de circo
    (Universidade Federal de Goiás, 2023-04-27) Marcucci, Yasmim Stella Domingues; Hirano, Luis Felipe Kojima; http://lattes.cnpq.br/1424410374681201; Hirano, Luis Felipe Kojima; Mainardi, Camila; Oliveira, Alessandro Roberto de; Collaço, Janine Helfst Leicht; Magnani, José Guilherme Cantor
    In this research I will present, through ethnographies and theoretical references, the construction of the body of the circus artist. This rich and diverse field opens up possibilities for thinking about the body as a category that expresses the social markers of difference, which is articulated to narrate stories, which articulate social categories present in the world in which the circus is inserted. Thus, I explore the ethnographic field in circus schools allied by theoretical lenses, mainly Bourdieu (1983), Ingold (2010) and Csordas (2008) – and also other authors – that allow me to look not only at the body, but at the symbolic capitals, acquired skills and corporeality. Therefore, in this research I talk about symbolic borders, habitus, body hexis, symbolic and cultural capital and I discover a language of its own that the circus has, that the body also acquires. I conclude that the circus has its own way in which differentiations and classifications are created within the circus field itself.
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    Breves danças à margem - A constituição de uma história artística da dança em Goiânia (1982-1986)
    (Universidade Federal de Goiás, 2010-11-10) RIBEIRO, Luciana Gomes; NORONHA, Marcio Pizarro; http://lattes.cnpq.br/2875707762585409
    This thesis investigated theoretical and methodological possibilities on the field of study of the Arts, in order to build a history of dance in the city of Goiânia. The body in dance was considered as the place in which this history happens, while different and interconnected concepts of the body, art and dance, and their historiographies, support this statement. Understanding the unique configuration of the dance phenomenon and its attention/tension as history, a more critical and conceptual approach was chosen using theories on the field of conceptual history, and history of oblivion, and from that point to invention, uncertainty and unpredictability. This pathway proved to be a key factor on the identification of the dance events being held in Goiânia between the years of 1982 and 1986. Therefore, to better understand these events, the dance history between 1973 and 1988 was investigated. This period of time was marked by the creation of the first institutions for the practice of dance in Goiânia and the outbreak of a new dance scene on the city. It was also a time of great invention and creation on this area in Goiânia, which prompted the city to an exclusive and active dialogue with the dance scenario in Brazil and internationally. The sources and documents studied pointed out interesting occurrences on the dance aesthetics of that time, highlighting its insertions and hierarchies. Some of the people and artwork of that time were prominent and produced other significant developments, very distinct from what was admitted by them, or even expected from them. Local postures and dance movements bearing traces of audacity and singularity were being created at that time, showing that a new kind of dance was emerging. The association made with this whole new dance scene is that of a production beyond Nietzsche, that does not necessarily is a dichotomy or an act of overcoming tradition, but an explosion. Dance on the void, created via its process-operation of existence. Artistic temporality, where history exists.