Teses em História (Doutorado) - PPHIST/IFCH

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6869

O Doutorado Acadêmico iniciou-se em 2010 e pertence ao Programa de Pós-Graduação em História (PPHIST) do Instituto de Filosofia e Ciências Humanas (IFCH) da Universidade Federal do Pará (UFPA).

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Agora exibindo 1 - 10 de 10

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Arte, Belém, do abstracionismo à visualidade Amazônica (1957-1985): transições movediças e tensões globais
(Universidade Federal do Pará, 2019-04-30) COSTA, Gil Vieira; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
This research addresses the visual arts in the artistic field specialized in Belém, especially in the period between 1957 and 1985. This period marks in the city the contact and the absorption of values and practices of the internationalist artistic currents, such as the modernist abstractionism, the postmodern vanguards and the contemporary art. The way in which the local field has established relations of openness and resistance to these currents is studied from the theories of coloniality. Usually, the 1960s and 1970s are seen as the moment when contemporary art established itself worldwide, so this thesis can be understood as a narrative of 'history of contemporary art'. In Belém, the consolidation of this artistic paradigm was experienced through shaky transitions – slow, discontinuous and hesitant – in which there was a clear dispute between global values and local practices. The tensions between 'global' and 'local', in the art produced in the city in that period, conditioned the emergence of important artistic projects, which still little known and debated. For many of these projects, the ideas and images of the Amazonia were fundamental components – a topic that can add new information and approaches to the debate about 'Brazilian art' in those decades.
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Correndo o risco: Belém do Pará na charge de Biratan Porto no ocaso da ditadura (1978-1985)
(Universidade Federal do Pará, 2024-08-26) OLIVEIRA, Walter Pinto de; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
Under what conditions did the civil-military dictatorship hand Belém do Pará over to the period of redemocratization? How did the civil society react to the violence and exclusion of dictatorial policies? These two questions permeate this study, which aims to decipher the situation of the main capital of the Amazon at the time, in the last seven years of the military government, a so-called period of openness, but which, despite suggesting a political softening, carried on with the signs of authoritarianism that characterized the 21 years of the regime. Based on Biratan Porto's cartoons, this study aims to answer those questions, using the methodological tools of the Social History of Art. Forty years after the events, the artist's critical humor offers an alternative reading to the press, which at the time was committed to the dictatorship. In its analytical framework of that period, Biratan's cartoon projects a unique perspective on popular resistance and suggests replacing an authoritarian clientelism with another, democratic, but still clientelism.
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Da névoa flamenga à claridade tropical: percursos e pinceis de Georges Wambach na Amazônia em tempos de guerra e paz (1935 – 1965)
(Universidade Federal do Pará, 2023-11-23) ALMEIDA, Tunai Rehm Costa de; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
This thesis aims to understand the position that Wambach occupied in the disputed Brazilian artistic scene and to think about life and career during his time on Brazilian soil, highlighting his stay in Belém. The time frame adopted begins with the artist's arrival in the country, in 1935, until the year of his death in 1965. Using images as the main documentation, especially the paintings painted by the artist, the work takes into account the motivations of the painter, but also of those who financed them. With the support of literature and newspapers of the time, in addition to documentation from public authorities, there is monitoring of the reception of Georges Wambach's works, his interplay of interests, his relationships and the tensions developed throughout his career in Brazil and , especially in the Amazon.
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Entre a nação e a região: os Institutos Históricos e Geográficos do Pará e do Amazonas na escrita da História do Brasil, a partir da Amazônia (1917-1953)
(Universidade Federal do Pará, 2023-12-15) BARROS, Lucilvana Ferreira dos Santos; RICCI, Magda Maria de Oliveira; http://lattes.cnpq.br/4368326880097299; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
This doctoral dissertation aims to analyze the role of the Historical Geography Institutes of the states of Pará and Amazonas, as well as their members, in the construction of the historiographical field of the Amazon and its inclusion into the history of Brazil between 1917 and 1953. The objective of this research is to understand the intentions, strategies, and historical context in which this field operated, especially in the relations between region and nation. In order to assess the activities of the institutions and their historians in the creation of the regional historiographical field, an investigation was carried out based on those institutes’ journals, charters, minutes, letters, correspondence, newspaper articles, reports and proceedings of the National History Congresses held by the Brazilian Historic and Geographic Institute (IHGB), books, book chapters, and articles. This dissertation was founded – theoretically and methodologically – on Pierre Bourdieu’s notion of Fields, especially that of Intellectual Field and its connection with the Field of Power. The initial reading of the documents, as well as the theoretical and methodological framework used in this analysis, allowed for the understanding of the construction of a regional historiographical field. This was disseminated through publications, sent and received correspondence, participation in events, among other mechanisms, that emphasized Amazonian events, characters and narratives in dialogue with the Brazilian history, especially those of founding narratives, both regional and national, the biography of the great names in the history of Brazil and the Amazon, the regional economy, the history of cities and states, the culture, the land and the man of the Amazon, among other themes. The main argument aims to demonstrate that from the formation of a regional historiographical field there was not a process of closing this field around the history of the Amazon, but, rather, a process of writing the History of Brazil starting in the Amazon. Therefore, it is argued that the History of Brazil was not written solely by the IHGB. It was also written from regional spaces, the contact zones among those institutions, in particular due to the struggles seen in historiography in the representations and negotiations of the intricate relations between region and nation.
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Os espectadores: história, sociabilidade e cinema em Belém do Pará na década de 1950
(Universidade Federal do Pará, 2016-09-15) CARNEIRO, Eva Dayna Felix; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
The sociabilities constituted by the meetings promoted by the film club, the long conversations dealing about film criticism or reference books, the living in newspapers and magazines editorial offices favored the experience of common defining moments, with potential to produce meanings, indelibly printed on their behavior and perceptions about art and life. The coexistence resulted in contact with a number of references and own models of film analysis, that will produce effects in the written production of those who shared this cinephile ritual. “Os Espectadores” dialogued with what was read and discussed in associations with similar characteristics in different regions of the country. A cinematic generation mostly derived from academy, which also was located historically. In a moment that they lived full profusion of Brazilian cinefilia, important subjects such as the existence of a national cinema, as well as concerns about a look education, editing and Italian neorealism, also aroused the interest of North fime club members. That the Belém of 1950s, suffered the ills by not having a structure that would allow greater autonomy from both the Film Library of São Paulo Museum of Modern Art, as the commercial exhibition circuit. Members of the first film club in Belém were also linked by sharing of a meanings network, which was already done before the pictures view, creating a look that received interference from a series of symbols and meanings, as well as a particular notion of art and aesthetics. Way to see which will also be influenced by elements of the cinema characteristic meanings, heading a dynamic flow in that cinema influences in writing, as well as the film looking is influenced by intellectual formation. The literature approaches , present in the first film club in Belém, lead to reflections on how its members mediated relations between cinema and the literary construction.
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Um grego agora nu: índios marajoara e identidade nacional brasileira
(Universidade Federal do Pará, 2015-06-19) LINHARES, Anna Maria Alves; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
The purpose of this thesis is to analyze the dissemination of marajoara symbolism derived from archaeological pieces found in Marajó island. The documentary basis of this research consists of sources of the nineteenth century published in the journal of the National Museum of Rio de Janeiro, as well as newspapers of the twentieth century. From science, marajoara symbolism started to be used in art, architecture, clothing, public and private spaces. In handicrafts, the redefinition of the material culture is recurring until nowadays. We conclude that, from mere pieces found in archaeological sites, marajoara ceramic was coated of ennobled values, being spectacularized as an emblem of the Brazilian national identity.
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O lápis endiabrado: adrelino cotta e a caricatura em Belém do Pará nos anos 20
(Universidade Federal do Pará, 2018-11-29) CASTRO, Raimundo Nonato de; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
The city of Belém in the 1920s carried in the imagination of its population the idea that the urbs was marked by its “modern” aspects. And the ideal stage to reinforce this imaginary was the pages of the periodicals and weeklies that circulated in the capital of Pará in the first decades of the twentieth century. It is precisely in this context that the figure of Andrelino Cotta was able to construct, through his analyzes, images that were able to question how “modern” Belém was seen in the notice of the various problems experienced in the capital of Pará. With the caricature representations, for example, the periodicals had the guns capable of conducting the interpretations in the process of symbolic formation, creating stereotypes, which look for represent the city. In newspapers and magazines, they constructed representations of the most diverse, such as those of humorous character that were marked by the brief, concise, truncated, fast and reversed aspects of meanings, demonstrating a certain familiarity. In this aspect of ideological dispute, the intellectuals were active in the editorial circuit, in special, the comedians stood out for construct by pencil the artistic production filled with double interpretation.
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O meio-tom do sensível: criação, crítica e relações artísticas na pintura de Manoel Santiago (1920-1938)
(Universidade Federal do Pará, 2023-12-07) SILVA NETO, João Augusto da; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
The thesis discusses the art of the Amazonian painter Manoel Santiago and the artistic criticism of his works. The intended approach is directly linked to the theoretical methodological developments regarding the experiences of critics and artists, as well as their different demands, appropriations and understandings about art. In these terms, an analysis is made of the conditions of Santiago’s artistic creation based on his understanding of art and his social and artistic interactions during his performanc e in Rio de Janeiro between the 1920s and 1938. Throughout his artistic journey, Manoel Santiago shaped perceptions of himself, establishing a certain artistic individuality. In light of this, I emphasize the position that the painter assumed in the artistic scene, highlighting his choices and artistic practices as deliberate strategies to assert himself as an artist, enticing an appreciation for his paintings. Several critiques published in newspapers, books, and magazines are scrutinized with the aim of comprehending the painter's interactions and the perception of his works, with a focus on the relationship between sensitivity and the utilization of color . The thesis is defended that Santiago's idea of art and the process of artistic creation developed from interests and relationships within the worlds of art, in which both the painter himself and critics collaborated to build a certain image and artistic reputation.
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A paisagem como espólio: Arthur Frazão e o Grupo do Utinga (1940-1960)
(Universidade Federal do Pará, 2018-04-19) MEIRA, Maria Angélica Almeida de; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
This work aims to analyze the creation of the "Utinga Group" and the role played by its painters in the cultural scenario of Belém during the 1940's and 1950's. A leading figure in that process, artist Arthur Frazão takes a central place in this discussion. The primary sources of this research are official documents from the archives of the State of Pará, coetaneous national newspapers and magazines and Arthur Frazão’s and Ruy Meira’s private archives. Amazonian art, identity and visual narrative are also examined through the works of this group of artists.
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Todos os caminhos partem de Roma: arte italiana e romanização entre o império e a república em Belém do Pará (1867-1892)
(Universidade Federal do Pará, 2015-12-18) RODRIGUES, Silvio Ferreira; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
This thesis is an analysis of the major reform in the decoration of the Belém of Pará See Cathedral that happened between the years 1867 and 1892, during the bishopric of Don Antônio de Macedo Costa. The purpose is to discuss the strong relationship between the ultramontane and romanizing cultural policy that was managed by the Roman Curia, and which was ultimately destined to propagate itself through the whole world in response to the secularization of society. If Catholicism observes the model centered on the eternal city, the decoration of the ecclesiastical buildings is inspired in its most famous temples. In the second half of the century XIX, Rome plays the role of the world capital of Christianity and the sacred arts. Inspired by the ambitious iconographic program of Pope Pius X, the bishop would adopt the sacred themes defined by him. The message was clear. Purify worship and the arts would be part of the broader reform process of the clergy, and Catholic culture throughout the world. Faced with the loss of influence in society due to secularization movements, the Roman Curia made a great effort to keep intact its role as the sole moral and religious authority. The effect of this policy was the placement of Church and State in opposing camps. In Brasil, the ultramontane clergy often faced against civil and secular authorities. Through this all, the Belém Cathedral presented a decorative cycle connected with the romanizing project of Dom Macedo Costa. As a result, Amazonia closened its ties with Italian culture, updating the regional art scene in fruitiful dialogue with the international aesthetic movements. A renewed art was produced- this is true- but it was in the service of Romanized religion.

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