Programa de Pós-Graduação em História - PPHIST/IFCH
URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/4187
O Programa de Pós-Graduação em História (PPHIST) do Instituto de Filosofia e Ciências Humanas (IFCH) da Universidade Federal do Pará (UFPA) foi criado em 2004, em nível de Mestrado. Em 2010, teve o seu Doutorado aprovado, cuja primeira turma iniciou em meados de 2011. O objetivo do PPHIST/UFPA é o de refletir historiograficamente sobre a diversidade social, étnica e cultural da Amazônia na sua relação com a biodiversidade local. Nesse sentido, trata-se de formar e capacitar pesquisadores e professores dentro desse campo de múltiplas realidades. Por outro lado, objetiva-se também o fomento e a criação de estudos históricos que relacionem a realidade e a historicidade da Amazônia com análises de outras dinâmicas históricas brasileiras e da Pan-Amazônia. Como primeiro Doutorado em História da região amazônica, o PPHIST/UFPA quer se consolidar como uma Pós-Graduação de referência para os demais estados da região e, inclusive, para os países que compõem a Pan-Amazônia.
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Dissertação Acesso aberto (Open Access) Abrem-se as cortinas: arte, política e o teatro experimental na trajetória do grupo Cena Aberta em Belém (1976-1990)(Universidade Federal do Pará, 2023-09-12) COSTA, Maria Rosa Cunha da; PACHECO, Agenor Sarraf; http://lattes.cnpq.br/5839293025434267Tese Acesso aberto (Open Access) 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/4671233730699231This 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.Dissertação Acesso aberto (Open Access) Os Cadernos do Promotor: as ações do Tribunal do Santo Ofício no Maranhão e Grão-Pará (1640-1750)(Universidade Federal do Pará, 2018-06-25) CARVALHO, Leila Alves de; ARENZ, Karl Heinz; http://lattes.cnpq.br/4213810951901055This research aims to analyse how the actions of the Court of the Holy Office in the Portuguese Amazon – Maranhão and Grão-Pará – within the temporal space which extends from 1640 to 1750. The intention is to understand the strategies employed by the Holy Office as a way of spreading its power in a period prior to the Visitation of 1763 during Pombal’s rule within the reality of the colony market by its huge extension and its diverse populations. In this context, we search to identify its agents, as well as the forms used to implement moral and religious discipline in this space and in this society. We will base ourselves, as main source, on the manuscripts of the Promoter of the Inquisition of Lisbon, and through them, try to detect the procedures established by the inquisitorial agents; quantitatively and qualitatively, which were the most relevant complaints from the Court's point of view; and to identify, for which reason some complaints did not turn into processes.Dissertação Acesso aberto (Open Access) Cantos da floresta: temáticas indígenas na produção de canção popular de artistas da amazônia brasileira (1988-1992)(Universidade Federal do Pará, 2022-09-30) COSTA, Jessica Maria de Queiroz; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264This research investigates themes related to indigenous peoples in the production of popular songs by Nilson Chaves (PA), Raízes Caboclas (AM) and Trio Roraimeira (RR), artistas from the Amazon, between 1988 and 1992. Period in which discussions about a new Constitution were extremely important, with indigenous peoples as one of the main characters in that context. At the same time, the environmental debate took place in Brazil, due to the United Nations Conference on Environment and Development (UNCED) or popularly called “ECO-92”, held in the city of Rio de Janeiro in June 1992. The objective of this study arises due to the constant uses of these Amazonian artists to indigenous references to affirm an Amazonian identity through their musical works. It was a moment of intense environmental and sociopolitical discussion, since there was an alert to the defense and affirmation of several themes in the construction process of the new Federal Constitution, such as the protection of the environment, indigenous right and duties, labor rights and others. In this sense, there is a raise in the search for indigenuos themes due to this context. To this end, the research focused mainly on searching newspapers from the states of these mentioned artists, such as Diário do Pará (PA), Jornal do Commercio (AM) and Folha de Boa Vista (RR), between 1988 and 1992. In addition, interviews were conducted with Nilson Chaves (PA), Celdo Braga (AM) and Eliakin Rufino from Trio Roraimeira (RR) to compare information and understand their trajectories as artists and their envolvement with indigenous demands and agendas. The study of the songs and trajectories of these artists allows the understanding of approaches that reinforce and/or reconstruct conceptions about indigenous peoples in the Amazonian musical scenario, depending on sociopolitical and cultural intererests.Tese Acesso aberto (Open Access) 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/4671233730699231Under 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.Tese Acesso aberto (Open Access) 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/4671233730699231This 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.Dissertação Acesso aberto (Open Access) O dedilhar folclórico de uma alma gentil: música, folclore e negritude na obra de Gentil Puget (1938-1948)(Universidade Federal do Pará, 2024-08-28) SOARES, Ariel Silva; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264This production sought to show, through the trajectory of an artist and intellectual from Pará, the national scene of studies of popular culture between the years 1938-1948. Through Gentil Puget and his approach to the themes of folklore, folk music and blackness, a period of national history concerned with the formation of national identity was analyzed. To this end, periodicals were selected that mention his activity in radio programs, his chronicles in newspapers and interviews. We seek to understand how this musician's production helped to build a discourse of national unity in the Vargas regime, on the one hand, while, on the other hand, he assumed an activism dedicated to folklore and the black cause that clashed with the hegemonic project of cultural policies at the time. We aim to analyze how Puget's intellectual construction was developed in his production and how his personal life interfered in his work. We also work with the connections that the folklorist established for his political-ideological positioning in defense of black demonstrations, both in Belém, with Bruno de Menezes and Dalcídio Jurandir, and in the Federal Capital, Rio de Janeiro, with Abdias Nascimento and Abigail Bastos.Dissertação Acesso aberto (Open Access) O diabo na carne de Belém: o circuito exibidor de filmes pornôs durante a decadência dos cinemas de rua na capital paraense (1985-1997)(Universidade Federal do Pará, 2023-04-05) BARBOSA, Raíssa Santos; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264The movie theaters from streets were one of the main places of leisure among belenenses during the 20th century. Around this practice were fundamental elements for its realization, such as the production of films, distribution, exhibition, advertising, the commentary of the specialized critic in the newspapers and the search of the public. All these elements formed a movie show circuit that the city of Belém experienced for most of that century. Although it was always subject to change, the circuit altered significantly in the 1980s, when street’s movie theaters went through a phase of decay and some closed. The owners of Cine Ópera, Cine Nazaré, Cine Iracema, Cinema Dois and Cine Cassino, chose to show pornographic movies, material that had already been produced at an industrial pace in the US since the 1970s, but took a while to enter Brazil due to the dictatorial censorship. Therefore, the trajectory of the public interested on these films determined the dimensions of a new movie show circuit specialized in porn exhibition between 1985 and 1997. It is important to stress that the new circuit existed in parallel to the conventional and decaying display circuit. Our guiding question sought to understand what would have been the conditions that allowed and made possible the existence of this porn circuit. The results of the research in periodic and oral sources, pointed to the weakening of the institutions linked to censorship, the end of the dictatorship, the economic crisis of the 1980s, the massive entry of soft and hard core porn movies in the country, the expectation of profit of exhibitors, the public's curiosities (carnal knowledge) and sexual opportunities, in addition to a moral tolerance within society, as fundamental fact for its consolidation.Tese Acesso aberto (Open Access) Do Grão-Pará à Amazônia: a invenção da região amazônica frente à centralização do Império brasileiro(Universidade Federal do Pará, 2023-07-27) SANTOS, Roberg Januário dos; SANJAD, Nelson Rodrigues; http://lattes.cnpq.br/9110037947248805; https://orcid.org/0000-0002-6372-1185This doctoral dissertation addresses the rise of the Amazon region in the second half of the 19th century. Despite focusing on the political sphere, the exchange of ideas, images, and practices regarding local economy at the time are also discussed. Considering the theoretical contributions of conceptual history, this work reflects upon the denaturalization of names and the meanings they assume over time. A corpus composed of a range of historical sources, among which the Annals of the Brazilian Parliament stand out, is used as support. This study contributes to the knowledge of Brazilian history based on the understanding of the regional differentiation and the power relations between the Empire/Central Government and the regional political elites, especially the Amazonian ones. From the Second Reign, the political and economic weight of the court elites, as well as those of the North of Bahia and Pernambuco (agricultural), increased considerably in the Brazilian scenario, which resulted in a greater regional differentiation in the country during that period. On the other hand, in the provinces along the waterways of the Amazon River, while the local elites sought to politically reorganize the area after the Cabanagem Revolt, the rubber industry grew. The political and economic landscape created an environment that fostered political regionalism and was used by the Amazonian elites in favor of their own interests, which could channel considerably the perception of backwardness in the region to the lack of attention of the Central Government. Moreover, it allowed them to increase their political clout, seen by the northern provinces, including the Amazon ones, as centered on the interests of the southern ones. It is argued that this movement, seen from the 1870s, brought about regional reorganization and encouraged the development of a new political identity, resulting in the renaming of the former province of Grão-Pará, known from then on as Amazon. Therefore, it was concluded that the political regionalism of the riverside provinces, considering the administrative centralization of the Brazilian Empire along with the ideas of the time, contributed decisively to the rise of the Amazon as a differentiated region in terms of territory, politics, and culture.Dissertação Acesso aberto (Open Access) Entre a igreja e o estado: atribuições e atribulações de um bispo ultramontano na Amazônia (1844-1857)(Universidade Federal do Pará, 2017-02-08) ANDRADE, Allan Azevedo; NEVES, Fernando Arthur de Freitas; http://lattes.cnpq.br/1491729914353266The present dissertation proposes to analyze the religious-political position of D. José Afonso de Moraes Torres while he was at the head of the diocese of Pará between 1844 and 1857. For that, it is essential to understand his actions and mishaps to administer the spiritual and materially the bishopric , bringing with it the novelty of the ultramontane campaign, at the same time that it was in constant dialogue with the civil power in favor of the Catholic cause.Tese Acesso aberto (Open Access) 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/4671233730699231This 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.Dissertação Acesso aberto (Open Access) Entre atos: o intermezzo do ensino musical durante a extinção do Instituto Carlos Gomes em Belém (1908-1929)(Universidade Federal do Pará, 2025-01-31) SOUZA, Milena Moraes de Araújo e; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264The purpose of this dissertation is to investigate the historical trajectory of the Carlos Gomes Institute, with an emphasis on its continuity and reinterpretation during the period of its interruption, between 1908 and 1929, called by Jonas Arraes as an "intermezzo" period, and its reestablishment in 1929. To this end, it was necessary to survey documentary sources, such as newspapers, magazines, concert programs, photographs, and others. As a theoretical framework, we sought the studies of Pierre Bourdieu and Raymond Williams to understand the relationships involved in the reopening process. The study begins with an analysis of the historical context that led to the closure of the ICG, a symbol of high-quality music education that was interrupted due to economic and political factors, such as the rubber crisis and changes in government administrations. We then investigate how musicians, teachers, and students found alternatives to continue music education and promote culture through the creation of new spaces and initiatives. Finally, this research sought to examine how Antonia Rocha de Castro's music school, together with the alignment between musicians and political figures, enabled the "rebirth" of the Institute.Dissertação Acesso aberto (Open Access) Entre índios e verbetes: a política linguística na Amazônia portuguesa e a produção de dicionários em língua geral por jesuítas centro-europeus (1720-1759)(Universidade Federal do Pará, 2017-08-22) PRUDENTE, Gabriel de Cássio Pinheiro; BARROS, Maria Cândida Drumond Mendes; http://lattes.cnpq.br/1026942131180068; ARENZ, Karl Heinz; http://lattes.cnpq.br/4213810951901055The purpose of this dissertation is to analyze the linguistic policy of the Society of Jesus and the Portuguese government for the State of Grão-Pará and Maranhão and to relate it to the production process of three dictionaries in “General Language” written by Jesuits of Central European origin who worked in the Amazon Region in the context of the Pombal reforms in the 1750s. Firstly, it sought to understand the guidelines of Society of Jesus for a choice and standardization of an Indian language in Brazil for the catechization of the indians and positioning of the jesuits and Portuguese State in relation to “General Language” in Amazonia. Secondly, it was reconstituted the trajectory of a group of european center jesuits in Portuguese Amazonia in the mid eighteenth century,whose members probably wrote three dictionaries in “General Language”. Finally, using the concept of cultural mediation, the dictionaries are understood as products of a process of negotiation of meanings, constituting both translation and classification texts, as well as instruments for learning the “General Language”. Apart from the merely technical or practical aspect, the vocabularies are analyzed as texts continuously updated by the Jesuit authors based on their experiences acquired in the complex living together with the Indians inside the missions.Dissertação Acesso aberto (Open Access) Entre o cinema e a locomotiva: os documentários de Edivaldo Moura como escrituras fílmicas de um passado castanhalense (1940-1995)(Universidade Federal do Pará, 2024-02-26) OLIVEIRA, Matheus de Sousa; PETIT, Pere; http://lattes.cnpq.br/8376409779394321; https://orcid.org/0000-0002-8970-3073This research aims to analyze the process of filmic writing of part of the urban daily life of the 20th century (1940-1995) in the city of Castanhal (Pará) through two documentaries produced by the paraense filmmaker Edivaldo Moura, which are O Cinema de Seu Duca (2016), that addresses the multicultural trajectory of Cine Argus during its nearly six decades of operation in the city; and A Última Maria (2021), that focuses on some of the structural elements of the Bragança railway (EFB) in the daily life of the inhabitants of Castanhal, safeguarding the Castanhal locomotive and the railway station as protagonists. Both films are structured in similar ways by inviting residents of the city to share their past personal experiences with the main elements that the films envision – the Cine Argus and the Castanhal Locomotive. Film analysis (internal reading) was utilized in conjunction with documents sources to assert the films not as mirrors that represent a past already given by a passive social externality, but rather as producers of a historical movement proper to the Castanhal period addressed and, mainly, to its present producer. As a result, the films were understood as creators of a temporal intelligibility that anchors the present-past by formulating their own specific writings of part of the urban transformation of Castanhal, having the cinema and the locomotive, along with the social experiences developed in these spaces, as supplanted symbols – and at the same time resistant – of the policy of urban-commercial remodeling of Castanhal initiated vigorously from the second half of the 20th century in the city.Tese Acesso aberto (Open Access) Entre o TIbre e o Amazonas: a romanização serpenteia a igreja de Manaus (1916-1958)(Universidade Federal do Pará, 2023-09-11) SOARES, Elisângela Socorro Maciel; NEVES, Fernando Arthur de Freitas; http://lattes.cnpq.br/1491729914353266The thesis entitled “Between the Tiber and the Amazon: The romanization winds through the Church of Manaus (1916-1958)” presents a historical rescue of the trajectory of the Diocese/Archdiocese of Manaus, starting from the concern of the Church/State relationship, the actions of the Episcopate and the Laity during the second and third phases of the Romanization process, a project that gained more strength during the Papacy of the Pios, emphasized here in the governments of Pio XI (1922-1939) and Pio XII (1939-1958). The romanizing actions are visualized here, in three chapters, in the administration of the leading Episcopate of the Church of Manaus, in its three diocesan phases, the first being presented in an introductory form, and in the first archdiocesan phase: Dom José Lourenço da Costa Aguiar (1894- 1905) and Dom Frederico Benício de Sousa Costa (1907-1913), the first Phase of the Episcopate; Dom João Irineu Joffily and Dom Friar Basílio Manuel Olímpio Pereira (1926-1941), the second Phase of the Episcopate; Dom João da Mata Andrade e Amaral (1941-1948) and Dom Alberto Gaudêncio Ramos (1949-1952), the third Phase of the Episcopate; the latter being elevated to Archbishop by the same bull of elevation of Manaus to Archdiocese, in 1952, constituting the first archdiocesan phase, until the beginning of 1958. The last chapter brings the other ecclesiastical face of the Diocese/Archdiocese, in line with the Episcopate and with the directives of the Holy See, the laity, who assume a differentiated role in this period cut by the thesis, and, that in the case of the Church of Manaus , visibility was given to the two most active: Pia Union of the Daughters, with expressive leadership from 1913 until the 1930s; and Catholic Action, which assumed the leadership of Catholic associations from this decade onwards, and with its sectors reaching various instances of society. Thus, the two ecclesial faces that make up the Church of Manaus are presented historically, within the outline, problematization and context brought by this thesis.Dissertação Acesso aberto (Open Access) Os Jazzes de Igarapé-Mirí : dimensões culturais do entretenimento musical moderno no Baixo Tocantins (1940-1970)(Universidade Federal do Pará, 2019-02-25) SINIMBÚ, Renato Pinheiro; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361This dissertation sought to study the “Jazzes”, musical formations that existed in the municipality of Igarapé-Mirí between the 1940s and 1970s. These musical groups created for entertainment and dance were part of a broad cultural dialogue started in the United States and Central America from the 1920s on, directed by the music business. This was spread to other parts of the world. In Igarapé-Mirí, in particular, those groups were "embraced" by the elites, who used them for entertainment and to raise the economic level of their events and to embrace some festive spaces to these groups. On the other hand, the musicians, mostly black and poor, saw those formations as a way to become professional and acquire social prestige and thus try to break with economic problems and racial prejudices. The work tries to demonstrate how the Jazzes - corresponding to an innovative cultural dimension - were developed from traditional practices of musical production and enjoyment, disseminated from religious events of popular Catholicism and the festive dynamics diffused by the communities of the county. This study was carried out in large part through the production of interviews with the various dwellers of the Baixo Tocantins, based on the life history of a certain number of musicians in order to discuss the processes of musical formation, performance, agency, discrimination, resistance and subsistence. In this way, music was the means by which we sought to perceive the relations between the approached subjects.Tese Acesso aberto (Open Access) Jazzes e Banguês: um estudo sobre a música e a sociedade do Baixo Tocantins (1940 – 1970)(Universidade Federal do Pará, 2025-01-17) SINIMBÚ, Renato Pinheiro; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264The research aims to explore the interaction between music, culture and society in the region of Baixo Tocantins, Pará, between 1940 and 1970. To this end, it focuses on two local musical formations: Jazz, with a cosmopolitan influence and linked to modernity, and Banguês , marked by rural and community tradition. The study seeks to demonstrate how these musical practices coexisted and interacted in a context of social and economic transformations, including the advent of radio. Jazzes, originating from North American influences, represented modern entertainment and were associated with local elites. The Banguês incorporated artisanal instruments and rhythms, related to religious festivities and Afro-descendant tradition. However, despite having contrasting characteristics, both contributed to the construction of a unique musical identity, reflecting tensions between modernity and tradition. Using oral history, documentary and comparative analysis, this thesis also seeks to discuss the role of music in the formation of social hierarchies, in leisure spaces and in the inclusion of black musicians in local society. Finally, it emphasizes that music was a link between rural and urban areas capable of promoting cultural negotiations and identity transformations that characterized the social history of the region.Dissertação Acesso aberto (Open Access) La caricatura en Honduras: como manifestación artística y su importancia en la crítica socio/política: 1960-1980(Universidade Federal do Pará, 2017-06-12) DÍAZ, Fredy José Macías; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361The starting point of this work is to study the development of the caricature as an artistic expression in the local newspapers of the time, making an analysis of the discourse implicit in these cartoons. In a discussion about the importance that this had in the country between the 1960s and 1980s, an attempt will be made to interpret the socio-political context in which the cartoons were created, directly studying what happened in this period of history of the nation, highlighting the role played by the caricature as an element of criticism.Tese Acesso aberto (Open Access) 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/4671233730699231The 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.Tese Acesso aberto (Open Access) 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/4671233730699231The 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.
