Teses em Artes (Doutorado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/11380

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Agora exibindo 1 - 5 de 5

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Corpos alterados: gesto, performance e paixão entre torcedores do Paysandu
(Universidade Federal do Pará, 2023-07-03) COUTINHO, Lucienne Ellem Martins; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344; https://orcid.org/0000-0003-2662-8704
The present Thesis has as its central theme the performance of the Paysandu’s passionate supporters. In the path I took, I worked with the notion of “restored behavior”, by Richard Schechner (2003); and with the idea of “fans as a community”, by anthropologist Roberto da Matta. I begin by making a historical retrospective of football, showing its evolution, from ancient times to the present day, when it becomes governed by rules and characterized as a sport. Historical data about the arrival of football in Belém, state of Pará, were collected in the works of Gaudêncio (2007) and Costa (2007). Aquino (2002) presents the first signs of a practice similar to what is known today as 'soccer'; Zainaghi (1998) puts us in touch with the beginnings of football in Brazil; Leal (2000) tells us about the practice of Tsuchu (2nd century), considered the oldest form of game in China; Grisard (2003) talks about handling the ball in games; Brustolin (2008) looks at football as one of the most important social and cultural phenomena of the 20th century; Carioba (2017) reflects on the dark side of football as an elitist practice in the 19th century. The heart of the work – the ethnographic description of the Paysandu’s passionate fans’ performances – is found in the chapter entitled ‘Sunday of the Passion’ [‘Domingo da Payxão’]. In it, I hypothesize how the passion of “the biggest and the best” football team in the North Region – Paysandu – was born.
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Dança, Cabala, Espiritualidade: autoetnografia dançada em roda na Amazônia paraense
(Universidade Federal do Pará, 2021-10-21) COSTA, Ana Cláudia Pinto da; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
The threads that weave the writing of this Thesis are intertwined with threads of experiences lived by the artist-researcher/focuser-dancer Ana Cláudia Pinto da Costa, in the context of the collective UBUNTU, a movement of Sacred Circular Dances in the city of Belém/PA. The work is the result of an ethnographic research in the field of Arts, about the twelve Corporal Prayers, inspired by Kabbalah by dancer and choreographer Frida Zalcman. Such dances correspond to the danced “translation” of the prayers sung in the synagogue. The research is part of a broader study about the so-called bodily prayers, guided, in this specific case, by the precepts of Kabbalah, the Tree of Life, taking into account its four worlds and their energetic emanations (sefirót). These bodily prayers are a way of experiencing, through dance, the liturgical rituals of Judaism, favoring the practitioner's contact with the worlds of Kabbalah, where supposedly the encounter with the Creator takes place. The study seeks to understand the sense and meaning that the precepts of Kabbalah give to dance, as it was organized and systematized by its creator, implicit in the context of the ritual performance of Corporal Prayer Mode Ani Lefanecha, based on the dancers' cosmovision. The research falls into three theoretical-methodological fields: 1. Anthropology of Dance, a field that makes it possible to observe, experience, and understand "dance" - movements, steps, rhythms, gestures, symbolism, ritual, among other elements - in their relationship with the context in which it is transmitted and practiced; 2. Merleau-Ponty's Phenomenology of Perception, with studies focused on the aesthesiology of the body; 3. Dance Therapy by Andrea Bardawil, which constitutes the experience with dance, from the dialogue with somatic education, body awareness and improvisation
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Fandantologia: autoetnografia migrante de uma percussionista de pés
(Universidade Federal do Pará, 2023-02-08) MARTÍNEZ, Alba Olinka Huerta; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
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Puta, Pistoleira, Dona de Cabaré: a espetacularidade do corpo-cavalo-travestido de Dona Rosinha Malandra no Templo de Rainha Bárbara Soeira e Toy Azaka. Icoaraci/Pa.
(Universidade Federal do Pará, 2021-01-19) CARVALHO, Ana Claudia Moraes de; SANTA BRIGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
Through winding lines of aerial thoughts conceived by a butterfly-writer, I write about the body-horse of Dona Rosinha Malandra, Umbandist Left Entity. Dona Rosinha incorporates in Rosa Luyara, a Saint's Mother who is a transsexual from the Belém’s periphery, which is the preponderant factor for the development of libertarians and crossroads epistemologies, of immoral nature, whose poetic crossings were experienced by the actress-researcher-bacante, in the affective crossroads of the Amazonian Umbanda. Based on the poetic image of the vulgar-butterfly, the methodology developed in this thesis was configured in a process involving sweet deaths for new transformed lives. Through an ethno-affective method. Pupas, hot vulvas, cocoons, self-estrangements in the understanding of the house-cosmos perfumed with snake perfumes, which is the central force of a body-horse-transvestite. Prostitute, Gunslinger, Cabaret Owner reveals mysteries, secrets of a malandra worldview belonging to a present time, for the social empowerment of a community. As an epistemological contribution to the academy, I develop the notion of body leaning, which is configured in an epistemo-methodological proposal of a body in the process of creation. A butterfly-thesis. This study is a feminist thesis, with transformative, transgressive and deliciously imoral content. The research aims to raise ardent butterfly flights, based on ethnocenological notions of Armindo Bião e Miguel Santa Brigida, in the images of Barchelard, in the imaginary of Durand and in the sensitive thought of Maffesoli to prepare the paths to be walked in an identity construction of gender, community and artistical epistemic freedom
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Representações do corpo deficiente no cinema: uma análise dos filmes ‘Feliz Ano Velho’ e ‘Intouchables’
(Universidade Federal do Pará, 2022-12-01) SOBRAL, Maria Lizete Sampaio; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
The view built on the representations of physical disability in humanbeingshas been, throughout history, often associated with the notion of stigma, whichnormallyrelates the disabled body to someone incapable, discriminated against, possessinga sufferingcondition. As a proposal of this research , we present other approaches to this relationship,which do not dwell solely on conventional notions, but which, on the contrary, cancoverabroader and, at the same time, deeper field of investigation and debate, when confrontingmain themes such as 'body', 'disability, 'cinema', interrelated by the idea of socialrepresentations. We prioritize analyzing the disabled body when this body takes acentralplace in the cinematographic narrative. For this, this study is based on the analysis of twofilms that present similar narratives and content. The films are 'FELIZ ANOVELHO', inBrazilian cinema, and 'INTOUCHABLES', in French cinema. Both are inspiredbyliteraryproductions, more precisely by autobiographies. Its central characters, Mário, in the Brazilianfilm 'FELIZ ANO VELHO', Philippe in 'INTOUCHABLES', a French film, live similar lifeexperiences, as both suffer real situations of accidents: Mário diving into a lake andhittinghishead, Philippe when falling from a paraglider, accidents that leave themforeverinwheelchairs. The option for the analysis developed here is due to considering the possibilityof confronting symmetries, or not, between the films, that is, by the similaritiesanddifferences existing in the stories lived by their protagonists. With an emphasis ontherelationships we seek to understand, we opted for a more specific study on the disabledbodyin cinema as the basis for building the research. Thus, the process experiencedbytheprotagonists of the films and the way in which the issue of the disabled body is addressedineach film, become central themes of this debate. The research has its theoretical basisinthetheories and dialogue of the Social Sciences, regarding the idea of social representation, withArt and Cinema, as well as brings reflections from scholars such as Maria Lúcia Homem,Lacan and Freud, regarding , mainly, his particular elaboration on the notions of real body,symbolic body and imaginary body

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Navegando Teses em Artes (Doutorado) - PPGARTES/ICA por Orientadores "CAMARGO, Giselle Guilhon Antunes"