Doutorado em Arte e Cultura Visual (FAV)

URI Permanente para esta coleçãohttp://200.137.215.59/tede/handle/tde/191

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De UmDon a Ser Árvore: processos de criação autobiopoéticos
(Universidade Federal de Goiás, 2025-08-11) Alves, Don Gomes; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela Dos Anjos Afonso; Rocha, Claudio Aleixo; Brandão, Cláudia Mariza Mattos; Souza, Rodrigo Matos de; Meira, Elinaldo Da Silva
In this autobiographical research in art, I experiment with approaches between creative processes in Visual Arts, autobiographical perspectives and planetary consciousness to understand the peculiar movement that emerged in my artistic research when I decided to intertwine memories, stories, archives, childhood and youthful desires with the work of the artist and teacher who today seeks to know who he is and who he wants to become amidst his critical, poetic and political processes of connection with planet Earth. In this thesis, I therefore present the concept of autobiopoetics as a possibility of thinking of the autobiographical as a work that goes beyond “graphy”, while at the same time seeking to observe the contributions of autobiographical perspectives to the creative processes of an artist who seeks critical and poetic connections between the personal and social spheres of his work in Visual Arts. In the theoretical and conceptual connection between Lejeune, Arfuch, Doubrovsky/Faedrich, Josso and Rodrigues, interspersed with creative processes, I observe how the autobiographical act shifts to the autobiopoetic gesture, proposing to contribute to the deepening of reflections on the specificities of the autobiographical in the context of research in artistic poetics and creative processes, especially in the field of Visual Arts. This interweaving establishes an artistic practice that results in the comic UmDon, in which I create an entity called Being Tree that, as it comes to life, provides an understanding of who I am and how I have inhabited the world. If autobiography can be understood as the writing of one’s own life, in this thesis I propose autobiopoetics as an art form that, in symbiosis with living, creates and recreates one’s own life. This is how, by thinking and existing as a tree in the context of an artistic project, I allow myself to draw on my history to glimpse our species as a Being Forest, in a creative process that results from the artist and teacher’s desire to activate collectivities and vital connections with Gaia.
"Chêro, chêroso!": imagens do vestir em "Vendedora de cheiro" (1947) de Antonieta Feio
(Universidade Federal de Goiás, 2025-07-04) Teixeira, Amanda Gatinho"; Andrade, Rita Morais de; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; Jesus, Samuel José Gilbert de; Rainho, Maria do Carmo Teixeira; Figueiredo, Aldrin Moura de; Soares, Fernando Augusto Hage; Andrade, Rita Morais de
The research investigates, based on the visual construction of the character Vendedora de Cheiro (1947), by Antonieta Feio, focusing on the analysis of clothing and body adornments as markers of cultural and social identity of popular women in Belém. The thesis, which is transdisciplinary in nature, articulates art history, visual culture, material culture (accessories) and fashion studies from a decolonial perspective, drawing on a corpus composed of pictorial works, photographs, travellers' narratives and literary texts produced between the 19th century and the first half of the 20th century. The analysis of the figure represented, in dialogue with documentary records and observations of contemporary erveiras, highlights the permanence and re-signification of afro-indigenous aesthetic practices, revealing an Amazonian feminine ethos that resists historical invisibility. In this way, the visuality constructed around the Vendedora de Cheiro not only records a specific social and economic practice, but also expresses ways of existing, resisting, and belonging for women from Pará. Their way of dressing and adorning themselves is not only functional or decorative, but acts as a symbolic language that communicates ancestral knowledge and ties to the land. Clothing thus becomes a field of identity affirmation, where working with herbs and scents is intertwined with the living memory of other women who, over time, have built their own ways of occupying urban spaces. By treating the character as a historical subject, the thesis contributes to constructing a history of art based on peripheral female figures, confronting eurocentric paradigms and revealing how the artist negotiates representations of the Amazon by re-inscribing black women with afro-indigenous features as protagonists of their own visuality.
Videorrelatos: um caminho audiovisual para a docência
(Universidade Federal de Goiás, 2025-06-26) Prado, Renato Naves; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Olivieri, Luiz Henrique Arantes Araujo; http://lattes.cnpq.br/9005452634631859; Meira, Elinaldo da Silva; http://lattes.cnpq.br/0816849762400016; Acosta, Adriana Marcela Moreno; Luis, Esaú Salvador Bravo
La creación del dispositivo pedagógico Videorrelatos pretende contribuir a la formación docente al ofrecer una forma de utilizar el lenguaje audiovisual en el aula con un enfoque en la realización audiovisual por parte de los estudiantes, más específicamente en el contexto de la escuela secundaria. Basada en las concepciones pedagógicas de la Educación Profesional y Tecnológica de los Institutos Federales de Educación, Ciencia y Tecnología de Brasil, esta tesis propone el desarrollo de una metodología pedagógica que tiene como principio pedagógico la investigación y observa la concepción de politecnia que subyace al trabajo como principio educativo. El estudio permea la crítica de la relación histórica entre cine y educación en Brasil y profundiza la discusión al relacionar la profesión docente con elementos de la cultura visual propios de la contemporaneidad marcada por la abundancia de dispositivos digitales conectados a internet y la consecuente y multifacética cultura digital. Se analizan aspectos del cine documental, en particular, para contribuir con métodos y técnicas de producción audiovisual que puedan ampliar la práctica pedagógica en el aula a partir del lenguaje audiovisual, pero con miras a los objetivos de aprendizaje y la relación con la investigación pedagógica, alejándose intencionadamente de la producción cinematográfica. El trabajo de campo se desarrolló en tres etapas distintas: la capacitación de un grupo de profesores en el estado de Goiás (Brasil); un proyecto de iniciación científica con duración de un año; y un taller de formación con un grupo de docentes en México. Estas experiencias generaron resultados relevantes que fundamentan estrategias para el uso del lenguaje audiovisual en el aula, sus posibilidades de aplicación y adaptación por parte de los educadores, su potencial pedagógico y sus futuros desarrollos.
Por uma trilha de fitas: apreensão dos saberes e pedagogias culturais através das manifestações apresentadas pelo Grupo Fitas de Montes Claros -MG
(Universidade Federal de Goiás, 2025-02-25) Dumont, Heloisa de Lourdes Veloso; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva , Thiago Fernando Sant’Anna; http://lattes.cnpq.br/9735682996647548; Anjos Neto, João Dantas dos; http://lattes.cnpq.br/3875621456557787; Meira , Elinaldo da Silva; http://lattes.cnpq.br/0816849762400016; Christoff, Maria Elvira Curty Romero; http://lattes.cnpq.br/0466191383275061; Santos, Welson Barbosa; http://lattes.cnpq.br/8599430884006372
The origin of traditional peoples has been undergoing hybridizations and intertwinements in contemporary society, which is shaped by diverse identities. Therefore, in this study, we reflect on the activities and performance of the Fitas de Tradições Folclóricas group from Montes Claros-MG, in light of visual culture studies, assessing its real importance in maintaining cultural diversity originating from remote times. Our goal is to understand the group as a productive component of social history, memory, visual culture, and imagination, serving as a vehicle for the dissemination of the cultural manifestations it generates. Beyond these considerations, we address the importance of preserving intangible heritage, emphasizing folk dances and respect for diversity through the renewal and appreciation of traditional knowledge and practices, which are usually passed down from generation to generation. This collective effort contributes to safeguarding the intangible expressions of our country. We engage in dialogue with authors who address the reformulation of traditions, the translation and invention of traditions, grounding the metamorphosis of artistic choreographies developed by the Fitas group. This process deconstructs the history and conception of the concept of choreographic metafiction, merging the idea of metafiction with choreography, which involves the composition and structuring of movement in dance. Within the scope of the Fitas group's activities, we have undertaken an inquiry into the contribution of international folklore festivals, both in Brazil and abroad, and their role in the group's development. This is particularly examined through the lens of cultural exchange, fostering learning and respect for diversity. Our research follows a qualitative approach, involving fieldwork to assess the group's performance and its potential contribution to the assimilation of para-folkloric knowledge, as well as its role in preserving ancestral cultural expressions. This process is carried out through non-formal education, aiming to raise awareness about intolerance and promote the acceptance of cultural differences. Additionally, we discuss the power dynamics woven within the group, emphasizing that power is not merely an explicit relationship of domination but is embedded in social structures, habits, and symbolic representations—understood as the struggle to establish certain worldviews as legitimate.
Mapa acima, rio abaixo: rastros e vestígios na construção do fotolivro Araguaia
(Universidade Federal de Goiás, 2024-12-09) Calaça, Mariana Capeletti; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Guimarães, Leda Maria de Barros; Meira, Elinaldo da Silva; Oliveira, Wolney Fernandes de; Bueno, Murilo Gabriel Berardo
This research investigates the construction of the Araguaia photobook as a way of articulating memory and visual narrative about the Araguaia Guerrilla (1972-1974), one of the most brutal and silenced chapters of the military dictatorship in Brazil. From the perspective of a/r/tography, which integrates the practices of an artist, researcher and educator, the study explores how photography can be used to revisit collective memories, especially those marked by trauma and oppression. The project is based on images captured in the field, diaries and conversations with peasants who lived through this historic period. During the pandemic, by refocusing on the material already collected, the research found a methodology inspired by Aby Warburg and Walter Benjamin, where photographs, juxtaposed with historical documents, create a dialog between past and present. The photobook thus becomes a space to give voice to silenced memories, using photography not just as a record, but as an act of resistance and re-signification. The anachronistic montage challenges the linearity of official history, proposing a critical and sensory reading that connects the viewer with the stories and scars of a territory marked by state violence. By constructing this visual narrative, the work seeks not only to recover an erased past, but also to propose new forms of engagement with historical memory through art.
Os memes da Internet e a Cultura Visual Contemporânea como elementos pedagógicos na educação do Ensino Médio
(Universidade Federal de Goiás, 2025-01-23) Silva, Iram Leandro da; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’Anna e; Olivieri, Luiz Henrique Arantes Araújo; Costa, Nivia Maria Vieira; Guimarães, Leda Maria de Barros; Parreiras, Vicente Aguimar
The rise of memes as a form of digital communication reflects a significant shift in how content is created, shared, and interpreted, especially among young people. This research contextualizes memes within contemporary visual culture, highlighting their relevance as digital artifacts that can foster new forms of engagement and learning within the educational environment. The primary aim of this study is to investigate the regimes of visuality operated by internet memes, which, in their visual constitution, contain content that contributes to the teaching and learning processes in high school. Specifically, this study seeks to analyze memes, discuss the intersections of humor, difference, and heteronormativity from the perspective of visual culture, understand how memetic discourses can enrich teaching and learning, and critically examine the field of images through Foucault's reflections on the microphysics of power. Adopting a qualitative-quantitative approach, the study employed questionnaires directed at teachers from the selected institution. The research was structured to capture the complexity of meme usage in educational contexts, addressing both the frequency and types of memes used and teachers' perceptions of their pedagogical effectiveness and associated challenges. The results demonstrate that memes, when integrated purposefully and with clear pedagogical objectives, play a significant role in engaging high school students and fostering knowledge construction. The analysis of the questionnaires administered to teachers revealed that using memes in educational practices not only captures students' attention but also facilitates initial comprehension of concepts, especially those of an abstract or complex nature. It was observed that memes, utilizing humor, irony, and contemporary cultural references, promote a more dynamic and collaborative learning environment in which students feel comfortable discussing and sharing their interpretations. Furthermore, the research identified that memes can be particularly useful in addressing issues of identity, diversity, and power, as they frequently contain implicit social and cultural commentary.
Samuel Costa – Cartografias da Memória: arquivo. corpo. homoerotismo
(Universidade Federal de Goiás, 2024-06-07) Tito, Keith Valéria; Jesus , Samuel José Gilbert de; http://lattes.cnpq. br/3589952430806659; Jesus, Samuel José Gilbert de; Anjos Neto, João Dantas dos; Oliveira, Flávio Gomes de; Vidica, Ana Rita; Mendonça , Tânia Mara Quinta Aguiar de
The objective of this research consists in the elaboration of a cartography about the photographer Samuel Costa, based on his documentary archive constituted from 1968 to 1987. The cartography as a methodological resource emphasizes the importance of portraying the paths taken during the development of a research. The practice, going into the field, looking around the object of study are also issues attributed to cartography as a method. In this sense, to understand Samuel Costa's trajectory, the investigation begins by presenting the constitution and course of his own archive, with photographic conservation being an essential element in this process. Because, in addition to preserving the materiality of the materials that compose the archive, it also preserves History and Memory, instigating reflections on temporality and the meaning of archives. To understand the context experienced by Samuel Costa, his archive highlights photographs of the male, homoerotic body and the bodies that are revealed through it: the political, social and historical bodies. The investigation also highlights the way in which archives have been used and re-signified by contemporary researchers and artists. The investigation also highlights how archives have been used and reinterpreted by contemporary researchers and artists, the portrayal of male nudity, the bodies participating in gay parades, and how bodies affected by SIDA in the 1980s and 1990s were embraced by an artistic practice centered on photography.
Sob o véu de tule: latências e metamorfoses na fotografia post mortem
(Universidade Federal de Goiás, 2024-03-22) Mendes, Marina Muniz; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; ; Jesus, Samuel José Gilbert de; Silva, Guilherme Ghisoni da; Anjos Neto, João Dantas dos; Vilela, Ana Lúcia Oliveira; Beck, Ana Lúcia
This thesis presents the post-mortem portrait as its central theme. It develops the theme through three guiding axes: death, metamorphosis and photography. It investigates processes of construction of meaning centered on artistic images and visualities articulated with culture. It creates connections based on the author's personal history with the genre of post-mortem photography, starting with the photograph of the grandmother being veiled; including photo essays on dead and metamorphosed animals carried out on trips; until arriving at the book Ultima Thule, by Danish photographer Henrik Saxgren; Along the way, this thesis puts photographs from different collections into dialogue, grouping clippings from different historical periods and artists. Bibliographic and documentary research is used. Data examination is based on content analysis. The method is understanding-oriented qualitative research. The justification for the thesis is that in the search to understand life it is important to consider death. The objective of the research is interpretative. The thesis creates a poetic and authorial narrative. It develops creative writing. It is based on authors from the arts, humanities and applied social sciences, poems and literature, including fiction. The narrative strategy of the thesis makes use of morphological, semantic and social connections of the language. It ties together images-images, images-words, words-images, words-words. It stitches the analyzes using metaphors, latent images and imagination. It brings together entries from entomology, enhanced by analogies with the vocabulary universe relating to insects and analogies with the different phases of metamorphosis. Associations and contrasts also promote imagery associations between works. It is research with images, which structure a methodological perspective, not requested solely for their illustrative purposes. It is dedicated to collecting and curating for scientific purposes. It is inspired by the Atlas Mnemosyne by the German art historian, Aby Warburg (1866-1929). It creates a photographic exhibition drawn from four lines of force: candid post-mortem; death and monstrous masks; remote landscapes; and metamorphosed bodies of animals. It considers life, its transformations, reproductions and survivals. It acknowledges that in the search to understand life it is necessary to consider death.
Caixas das verdades e as imagens de vivências trans sob o olhar da cultura visual: as imagens educam os olhares
(Universidade Federal de Goiás, 2024-08-08) Soares, Márcia Santana; Dering, Renato de Oliveira; http://lattes.cnpq.br/7891833942208165; Silva, Thiago Fernando Sant’Anna e; http://lattes.cnpq.br/9735682996647548; Silva, Thiago Fernando Sant’Anna e Silva; Dering, Renato de Oliveira; Borges, Guilherme Martins Teixeira; Parreiras, Vicente Aguimar; Guimarães, Leda Maria de Barros
The theme of this research is “"Boxes of truths" and images of trans experiences from the perspective of Visual Culture: images educate the gaze" and aims to problematize the formation of gender identity, social representation, the place of speech, the coloniality of being in Visual Culture studies, from a Foulcaultian perspective, presenting the visuality of the hegemonic discourse around sexuality and the resistance of each of the research subjects, Nádia Köller and Nicolas N. Mardem, through the image of family albums and narratives, in order to discuss contravisuality and experience decolonial literacy, associated with the object of Visual Culture. In the construction of feminine and masculine, there are power disputes, which reinforce the discourse of heteronormativity and the binary question (man/woman),while other identity categories are present in the social environment and claim the right to be visualized. A look at transsexuality based on queer theory breaks with the binary logic of sexuality, rejecting what society, culture and language aim to instill on the surface of subjects. When society dictates heteronormativity as the standard of conduct, gays, lesbians, transsexuals, asexuals andintergenders are seen as subjects who deviate from the heterosexual norm, and thus suffer discrimination. Thus, 'it is necessary for the formal/informal educational process to be able to discuss diversity, sexuality, empowerment and prejudice through portraits fromthe personal collection of transgender people and to understand how such images can educate gazes, bodies, and bring the cultural and social meaning of the subjects involved, mediating images and Visual Culture through classroom experience, through decolonial literacy with third-year high school students at Colégio CEPAE - Centro de Ensino e Pesquisa Aplicada à Educação. Thisresearch will be carried out using the inventory and descriptive research method, of an ethnological and cartographic nature, with a photomemory and photogenerominory procedure.
goyania – outubro ou nada: arquivos, imaginação, montagem, filme-ensaio
(Universidade Federal de Goiás, 2023-08-23) Alves, Uliana Duarte; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Sabrina Tenório Luna da; Borges, Rafael de Almeida Tavares; Rodrigues, Manoela dos Anjos Afonso; Jesus, Samuel José Gilbert de
The doctoral dissertation goyania – october sketches: archives, imagination, montage, essay film, is dedicated to investigate the creation process of the short film goyania – october sketches (2022), in which I performed the functions of researcher, screenwriter, producer, editor and director. During the long editing period, the work gradually molded itself to a different form than the one initially invented, requiring that the approach of its objects – my hometown, its history and its imagery – made a displacement towards my personal experience and the way I related to the archival images and sounds produced in different eras, media and with contrasting intentions. I rode among the archives inspired by a strong impulse to question these images and through them, at the same time that I was thinking over the very experience of drawing a different portrait of Goiânia than the one presented by classical historiography. The theoretical-practical nature of the research made it possible for the notions of imagination and montage, which structured the film, to be taken as starting points for its production. The theoretical and artistic references that inspired the film were also welcomed in this dissertation in a pragmatic way, to the point where it embraced an essayistic and somewhat insubordinate writing, wishing to answer both to the movement of thought that recalled the creation process, re-elaborating the concerns that constituted it and the commitment to building a knowledge in Art that contributes to the studies of essay film, found footage film, visual culture, history and image.
Cultura visual, vida digital e videoclipes do Youtube
(Universidade Federal de Goiás, 2024-03-21) Carvalho Júnior, Luiz Espíndola de; Silva, Thiago Fernando Sant Anna e; http://lattes.cnpq.br/9735682996647548; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Silva, Thiago Fernando Sant Anna e; Arslan, Luciana Mourão; Guimarães, Alexandre José; Martins, Alice Fátima
This thesis presents the methodological design and results obtained in Visual Culture and Digital Life: A Discussion from YouTube Visualities. The objective was to analyze, under the scope of Visual Culture, the most accessed video clips on YouTube Rewind Brazil, in the time frame between 2018 and 2020, combined with interviews carried out with students from State´s College Dom Pedro I. The visualities observed were perceived from Discipline and Punish in conjunction with decolonial studies, used to support ideas that can result in curricula for teaching Art in an inclusive, anti-racist manner and away from the euro centrist bias. The results obtained point to the prevalence of university country music and ostentatious funk as visualities that encourage unbridled consumerism, based on cybernetic digital platforms, such as the YouTube, with educational impacts reflecting on aesthetics, sociology, Visual Culture, art teaching and the construction of digital simulacra that emulate reality in an individual, and transparent and liquid way (Metaverse). Cyberspace has become an “artificial oasis” where all desires can materialize in a customized way.
Os modos de vestir das mulheres INỸ Karajá: origem, tradição e invenção
(Universidade Federal de Goiás, 2024-01-30) Di Calaça, Indyanelle Marçal Garcia; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Pires, Ema Cláudia Ribeiro; Jesus, Samuel José Gilbert de; Cândido, Manuelina Maria Duarte; Nazareno , Elias
This thesis presents a study about the ways of dressing of Inỹ Karajá women in contemporary times. Although women are more contemplated in the history of fashion and dress, than men and children, for example, the choice made it easier for me to reflect the similarities and differences between the ways of dressing of Inỹ Karajá women and women in the territory that was once called Brazil. The guiding questions promote several reflections, such as: do Inỹ Karajá women's ways of dressing in contemporary times result in the maintenance of a tradition? Is there a difference in the way of dressing between women from the same village Santa Isabel do Morro/TO, considering age, social position, religion, etc? Is the use of traditional clothing by Inỹ Karajá women related to the feeling of belonging/identity? The methodological procedures adopted include a systematized bibliographic review with a concern for privileging the plurality of indigenous and Latin American authors with works of a transdisciplinary aspect, without a passive focus on European references. This research initially made use of Digital Ethnography for its realization, meeting the guidelines of the World Health Organization for the containment of covid-19 and recognizing the greater vulnerability of indigenous populations. The project was assessed and approved by the Research Ethics Committee of the Universidade Federal de Goiás, and the semi-structured interviews began, using technological resources that best suited the possibilities of the indigenous women collaborating. Subsequently, the Santa Isabel do Morro/TO village applied to the Fundação Nacional do Índio (FUNAI) to carry out the field research in person. The research, in general, involved the participation of several indigenous Karajá from different villages, but mainly from the aforementioned village, based on a project approved under the REFARM CRIA call for proposals, which promoted collaborative and horizontal data collection. There was also an analysis of images and visualities of museum collections and archives, based on the contribution of authors from the field of Visual Culture. The interest in indigenous dress may contribute to the production of the history of clothing in the country in the context of discussions on coloniality and decoloniality; besides promoting a mutual reflection, both by the researcher/mediator about my own naturalized conceptions, and by the female collaborators Inỹ Karajá about the transformations in their own culture.
A poesia slam e suas des-margens
(Universidade Federal de Goiás, 2023-11-17) Boleão, Jossier Sales; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Andrade, Emile Cardoso; Santos, Michelle dos; Guimarães, Leda Maria de Barros; Meira, Elinaldo da Silva
This thesis is an exercise in looking at slam poetry, focusing on the movement in Brazil and making some reflections from the field of Visual Culture. Slam poetry emerged in the early 1980s in the United States and since then has spread to several countries. In Brazil, slam poetry arrived in 2008, the country being one of the references for the quantity and diversity of slam groups spread, in addition to other elements that make up many particularities of each group. The notes made in this text follow the trajectory that begins in the autobiographical path and expands in avenues when finding slam poetry, and understanding it as a poetic act, transfiguring itself into energy of resistance and occupation of seeing, hearing and feeling. The direction in which the thesis is constituted arose from the following questions: what visualities and countervisualities do slammers promote, summon and provoke, from the poems that overflow their bodies? Which narratives mobilize and want to propose? The consequences resulting from these inquiries originate in the investigative work that began in 2019, from the participation in poetic slam battles, in the city of Goiânia, in Goiás and, with the arrival of the covid19 pandemic, the research moved to the competitions that took place in the environment of digital platforms. Given this context, the material that drives the reflections presented here is diverse and comprises various nuances of what already exists in the systematization of slam poetry. That being said, the perspective addressed supported by visual culture covers the dimensions of the poetic act from a pedagogy of slam poetry, from its understanding as cirandas of knowledge anchored in popular education and in the politics of the word, in which the need becomes a voice and the poem becomes the terrain of revolution, since the event in the format of popular assemblies, adding the competitive element between artist poets. In addition, this thesis follows the paths of slam poetry as an insurgency through counterpoetry, in its decolonial exercise, since its aesthetics goes towards the sanación of colonial wounds, having as its power the poetic fabrication of the visual city, without losing the reflections of a pandemic poetics in a regime of denial in Brazil governed by the extreme rightwing, until the year 2022. It finally enters the conditions of this poetic work during longdistance connections by populating digital platforms with poetry and other sensitive exercises. The systematized elements are not intended to show fixed answers, but to point to other perspectives of looking at the slam poetry movement and at artists who reconfigure the scene in everyday life.
A estética do cinema nazista na produção dos sentidos na comunicação política no Brasil
(Universidade Federal de Goiás, 2023-11-30) Jimenes, Roberto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Thiago Fernando Sant’Anna e; Anjos Neto, João Dantas dos; Carneiro, Rose May; Costa, Marcelo Henrique da
There are many studies that address Nazi Cinema and this had a fundamental role in Hitler's plans, with cinema being the main means of communication used at the time. Several were the cinematographic languages used, however, studying Nazi cinema against the study of visual culture, it is possible to draw a parallel between some points: such as the relationships between visibility (what cinema provides), visuality (the new cinema: entertainment x politics) and power (Nazism), which transform the universe of symbolic understanding among the German population. Is it possible that, when analyzing the images of this cinema, we cannot propose a counter-visuality, if we consider its aesthetics associated with a new analysis of the production of meanings. The implications regarding these visual experiences in a society increasingly centered on the meaning of the gaze, and its repercussions even today in the universe of political and governmental communication in Brazil.
MekHanTropia: autoconhecimento e (re)existência em um universo transmidiático, experimental, colaborativo e autoral
(Universidade Federal de Goiás, 2023-11-17) Felipe, Frederico Carvalho; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Franco; Berardo, Rosa Maria; Franco, Edgar Silveira; Andraus, Gazy; Nunes, Fabio Oliveira; Silveira, Guilherme Lima Bruno e
Hypercompetitiveness, hyperinformation, hyperproductivity and hyperconsumption – 24/7 (hours/days) – generate new anxieties in individuals who are increasingly standardized according to the market. Thus, I think poetically about this thesis-creation about how we currently deal with telematic flows and subjectivities today, placing myself through creative processes as an object of artistic experimentation to build a transmedia dream universe that I call 'MekHanTropia'. Through poetic artistic creations using different languages, tools and platforms, I create a cosmology that represents some of my subjective experiences in times of high human dispersion due to the pandemic. I envision ways to (re)exist through countercultural artistic resistance, questioning psychopolitical standards and Manichaean binaries dictated by the market and reflect, in this process, on collaborative art, experimental and conceptual art, poetic resignifications, polysemic relationships between art and technology, dreamlike narratives, intertextualities and other practices that aim at selfknowledge and confronting institutionalized mekHanTropic psychobinary obscurantism through resignification and artistic materialization.
Mulheres que dirigem filmes em Goiás e a criação de um documentário sobre ser mulher fazendo filme: 1966 a 2022
(Universidade Federal de Goiás, 2023-06-30) Silva, Naira Rosana Dias da; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Dias, Luciene de Oliveira; Montoro, Tânia Siqueira; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Flávio Gomes de
Since 1966 women have directed films in the state of Goiás, Brazil. However, it is known that these women were erased or appeared as supporting actors in movie scripts by male authors. There are still few scholarly works that investigate cinema made in the Brazilian state Goiás, especially if the criterion consists of a thesis written on this subject and, moreover, written by a black female author who reveals her feminist view on issues involving gender and race in films depicting Brazilian region. This exploratory research, centered on personal narratives, creative processes, and the experience of being a woman working in contemporary cinema presents a descriptive table of 131 women who directed films in the state of Goiás. This number represents a total of 306 films produced from 1966 to 2022. It is important to consider that the designation director, referenced and introduced here, does not only refer to the filmmaker who has built a career over the years, recognized in important festivals, or by the production of sophisticated films; director, in this study, is the woman who exercised this function even if the film was made in a straightforward manner or simply presented in film clubs or cultural spaces. Two pioneers of cinema in Goiás ‐ Cici Pinheiro and Rosa Berardo, and the process of creating their films, respectively: the unfinished and disappeared O Ermitão do Muquém and André Louco (1990) ‐ reveal the beginning of the history of female directors in Goiás. The phenotypic issue of the multi‐artist Cici Pinheiro is examined, whether because she came to be recognized as a black woman, or whether the racial issue had never been discussed in any previous writing that addressed her. Even though Cici Pinheiro's film had not been finalized, she embarked on the direction of a feature‐length fiction film in 1966, even before the black female filmmaker Adélia Sampaio from the state of Minas Gerais in Brazil, who needs to be highlighted. Special attention is also given to women who directed animations, due to the rarity of this in Goiás, and to black and indigenous women directors for the same reason, but also due to the racial cut of the researcher, a black woman author behind the camera. Some directors were interviewed in depth, others answered a semi‐structured questionnaire, recorded for the composition of the documentary: Women who direct films in Goiás, the result of this research, in which the process of creation of their making is narrated. The following directors were featured: Ana Luíza Reis de Sá, Cris Ventura, Marta Kalunga, Silvana Beline, and Rosa Berardo. The study prioritized female authors, specifically filmmakers who have recently published collections: Holanda and Tedesco, 2017; Silva, C., 2017; Holanda, 2019; Lusvarghi and Silva, 2019; Tedesco, 2021, and Martins, R., 2021. Museum archives, catalogs printed and online, newspapers, various websites, old blogs, YouTube, Vimeo, CVs, and social networks of the directors were consulted for data collection. Therefore, this research is a contribution to studies that address women and the History of Women in Cinema in Brazil and the state of Goiás.
O livro dos meus dias: histórias de uma travessia cartográfica para corpo, desejo e divergência contadas em dança, poesia e imagem
(Universidade Federal de Goiás, 2023-07-04) Brito, Alessandra Araújo de; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Ferreira, Glauco Batista; Krischke, Ana Maria Alonso; Nascimento, Ana Reis; Rodrigues, Manoela dos Anjos Afonso; Martins, Alice Fátima
The Book of My Days is an autobiographical research that presents a cartographic route of self-production, accomplished by a neurodivergent person, in processes of seeing and moving oneself from experimentations with dance in image devices, involving photography, video and poetic writing. It approaches visual culture questioning the imperative conditioning of the images in the gaze regime, acting in the processing of subjectivation, in the construction of identities and social practices. In counterpoint, proposes active agencies of productions from other corporeities, founded on difference and singularity. Exploring relations between body, image and move, as an expression plan of a self writing, the research weaves lines of strength in becomings, dreams, shadows, memoirs and affections.
Bonecos na colônia penal: uma adaptação contemporânea de Kafka
(Universidade Federal de Goiás, 2023-07-28) Neiva, Dustan Oeven Gontijo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Oliveira, Flávio Gomes de; Machado, Fábio Purper; Oliveira, Ivan Carlo Andrade de
Storytelling is an act pertinent to human beings in all societies and cultures. The ways of telling these stories are varied. Cinema uses the resource of adaptation of literary works, since its origin. In this investigation into art, I address the issue of transposing literary works to audiovisual, particularly animation. This is a theoreticalpoetic research that led to the production of an animation film based on the novel In The penal colony, by the Czech writer, Franz Kafka. In the development of this research, I use an autobiographical work methodology to establish the relations between Kafka's text and my creative process. The film The Penal Machine brings Kafka's work to the contemporary world, under my artistic perception.
Inventar sentidos: formação docente em artes visuais na LEdoC-UFT
(Universidade Federal de Goiás, 2023-06-02) Silva, Hertha Tatiely; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Perotto, Lilian Ucker; Pimentel, Lucia Gouvêa; Silva, Thiago Fernando Sant’Anna e; Pereira, Kelci Anne
I propose, in this thesis, to explore positions that contribute to composing ways-of-being-teacher from opening gaps so that those involved in teacher training processes let-be-affected by contexts, experiences, situated knowledges and experiential territories. Contextures through which we produce our possibilities and invented meanings in relation to our own topicality (BORRIAUD, 2011, p. 27). The thesis explores the possibilities of inventing meanings in visual arts teacher training, which is related to the concepts of cognition as an inventive power (KASTRUP, 2001; 2005; 2007) and of experience as the construction of knowledge, of recognition of the potential of what has already been assimilated on the verge of stimulating inventions (LARROSA, 2010; 2016; 2018a; 2018b; 2019). It is a research on art linked to education, in which the methodology itself is a research problem: it explores the transits between the visual arts and teacher training, seeking to relate artistic components (invention and experience) with ways of composing forms-of-being-teacher. The field research was carried out at the Federal University of Tocantins, in the context of the Degree in Rural Education – Visual Arts and Music (LedoC-UFT), course that I work as a teacher. I undertake a narrative about experiences of training in action, in which the narrative in itself is a training practice, besides playing as a pedagogical intervention device. The research is divided into two parts: the first is dedicated to telling the history of field education, its principles and concepts, with emphasis on LEdoC-UFT; in the second part I dedicate myself to explore the possibilities of teaching the visual arts in the pedagogical project of field education, an education committed to the heterogeneity of knowledges, sensibilities and experiences. The thesis seeks to expand and propose possibilities to think about teacher training from an experiential and inventive orientation, aiming to contribute to teachers in forma(c)tion make senses from narratives in themselves. I consider that the research achieved its objective by approximating theory and practice, creating ways of working and assuming positions that expand and/or reposition perspectives on what the visual arts can do as scope of teacher training in field education.
Culturas de fronteiras: (auto)representações da juventude em cenários de violência urbana na cidade de Luziânia/GO
(Universidade Federal de Goiás, 2023-02-27) Matutino, Aurisberg Leite; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria De Barros; Perotto, Lilian Ucker; Abreu, Carla Luzia de; Silva, José Carlos de Paiva e; Castro, Gardene Leão de
This doctoral dissertation aims to problematize images of violence among youth that have been manufactured in contemporary society by opposing them—in different analytical layers, interdependent on each other—to several other images that help researchers to perceive a counter-image formed from a series of visualities produced by the young people of the city of Luziânia, Goiás. This counter-visuality is presented in this work, layer by layer, according to the experiences and cultural practices of these participant youth with whom I had the opportunity to be in touch throughout the doctoral research. The goal of this proposal is to think over forms of representation and self-representation triggered by black and poor youth in scenarios of urban violence, redirecting the gaze to their own ways of participation and resistance. The methodological approaches used in this work are snowball sampling (a technique used in certain types of qualitative research where personal networks and “mouth to mouth” references are created to catch up with the participants) and cartography, which ended up shaping a layer-based format, less “motionless,” rather than a structure based on chapters. The opportunity to listen to the young subjects who participated in this research especially incites us to question prevailing discourses on “young people from the unprivileged areas,” the black and impoverished people, as “delinquents” and “criminals,” contributing to bring out other perspectives on how contemporary youth that live in areas of urban violence can deconstruct stigmas and rebuild their own images.

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