Navegando por Orientadores "FARIAS, Edison da Silva"

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Acesso aberto (Open Access)
A capa do século XX: um estudo sobre a estética e a linguagem visual da revista Belém Nova
(Universidade Federal do Pará, 2011-06-29) MOURA JÚNIOR, Gidalti Oliveira; FARIAS, Edison da Silva; http://lattes.cnpq.br/4500138216841766
The thesis about the visual aspect of “Belém Nova” magazine, that had circulated between the 20’s and 30’s, analyses the visual syntax in this form, allowing to focus critically - based on the concepts present in studies of Dondis A. Donis (2003), Fayga Ostrower (1983) and Wassily Kandinsky (2005), among others - the aesthetic and formal patterns present on its graphic design project especially on the covers of of the editions that belong to the library collection of the Paraense Literature Academy Library.
Acesso aberto (Open Access)
O imaginário amazônico na joalheria paraense: joias do Polo joalheiro
(Universidade Federal do Pará, 2012-03-16) CHAGAS, Clarisse Fonseca; FARIAS, Edison da Silva; http://lattes.cnpq.br/4500138216841766
The collections of jewelry produced by the participants of the government program Belém’s Jewelery Pole, cataloged in printed in "Para Expojoia" from 2002 to 2010, are the object of this research. And they have the purpose of observing in which way the Amazon’s imaginary is being used in each collection, as shapes, curves, colors, gems and metals. The survey also examines items of jewelry such as: the use, production process, of inspiration and trends which reflect the use of raw materials and traditional techniques of regional handicrafts, generating new technologies and consolidating the identity of Pará in the jewelry site. After this survey, it’s possible to better analise the way that the Amazon’s culture, in the art form, is transformed into a profitable product, without mischaracterize it.
Acesso aberto (Open Access)
As transformações do panorama artístico de Belém – 1960 e as repercussões nas obras de Valdir Sarubbi e Branco de Melo
(Universidade Federal do Pará, 2011-03-03) SANTOS, Ilton Ribeiro dos; FARIAS, Edison da Silva; http://lattes.cnpq.br/4500138216841766
This research addresses the transformations occurring in the artistic panorama of the city of Belem in the 60's, to highlight both the works and the series Xumucuís Lumens, respectively of Valdir Melo Sarubbi and Branco de Melo when they were selected for XI Biennial in 1971. The objective of this research is, from this approach, categorize and analyze the processes and contradictions that occurred in the thinking of artistic subjects, in the city and the region where is located the Amazonian metropolis. Using the treadmill theoretical BERMAN (1986), BENJAMIN (1991, 1995) and CANCLINE (2003), the study demonstrates that these works had an important participation in the cultural field of visual arts, specifically in Belem, and, by extension, contribute to the understanding of the impact of modern artistic production in Latin America.
Acesso aberto (Open Access)
As voltas do tempo: as reminiscências de um projeto de identidade nacional na cerâmica “marajoara” de Icoaraci
(Universidade Federal do Pará, 2011) SANTOS, Telma Saraiva dos; FARIAS, Edison da Silva; http://lattes.cnpq.br/4500138216841766
The "marajoara" ceramic produced in the district of Icoaraci (Belém), inspired in ceramics founded in Marajó Island, is one of the symbols that define the identity of the people in Pará today. Through government incentives, this artcraft production won public recognition, contributing to a national project survival started in the Imperial period, which recommended the creation of a Brazilian identity supported in the Indigenous’s image as an outstanding referent. Reflecting about the construction of identities from a material object of a popular culture, involves asking questions and reflections about concepts such as tradition, culture, identity, multiculturalism, cultural circularity, heterogeneity or hybridization. These concepts whose theoretical informations are found in the Canclini, Ginzburg, Milton Santos, Ulpiano Meneses and Marcos Areválo’s works contribute to the development of a new understanding about the identity of the people in Pará from their material culture: the traditional ceramic from Icoaraci.