Navegando por Assunto "Arte e cultura"

Agora exibindo 1 - 3 de 3

Acesso aberto (Open Access)
Rezando, Cantando e Dançando: na espetacularidade do estandarte da Irmandade de Carimbó de São Benedito em Santarém Novo-PA
(Universidade Federal do Pará, 2021-01-25) CRUZ, Amarildo Rodrigues da; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
Based on Ethnocenology as the ethnoscience of studies of Organized Spectacular Human Practices and Behaviors - PCHEO - (Pradier, 1996), the research has its most sensitive look at the banner of the Brotherhood of Carimbó de São Benedito in Santarém Novo – PA. Thus, the process of construction of this work goes through the universe of popular religiosity, from sacredness to the profane, as both of them sometimes move without creating borders, (Brígida. 2016), articulate and connect in the manifestations, religiosity being the guiding thread in this cultural process, revealed in the Brotherhoods of Black Saints, in their beliefs, syncretisms and cultural absorptions in the poetic and imaginary environment of the Amazonian man. In the construction of the epistemological and conceptual structure of the research, I maintained a constant dialogue with Armindo Bião (2007) and Jean-Marie Pradier (1996), observing how spectacularity, based on ethnocenology as an ethnoscience, seeks to understand the phenomenon in the face of different areas of transdisciplinarity ; with Miguel Santa Brígida (2015), I experienced the methodological practice based on the concept of the artist-researcherparticipant, and immerse myself in the universe of religious syncretism and hybridizations and cultural identities with Massimo Cavenacci, Nestor Canclinni (2003), Stuart Wall (2003 ) and Michael Pollack (1992), still connecting me to the procession of social memories, individual and collective, inserted in the phenomenon; in Jean Chevalier (1997), Mircea Elíade (1991) and Gilbert Durand (1993), I identified that images and symbols are essays of a magical-religious symbolism that crosses the hierophany of a people that preserves their African-descendant matrices and identifications, in which Vicente Salles (1971) and Célia Maria Borges (2005) and Napoleão Figueredo (1966) clearly describe the cultural heritage of the Brotherhoods of the Rosary of Blacks; with Paes Loureiro (2005), I immersed myself in the enchantments of a magical reality, which emerge to the surface of rivers and daydreams, in the Amazonian poetic imagination; Anne Cauquelin (2005), Lúcia Santaella (1983) and Luigi Pareyson (1993) helped me to understand artistic making / thinking and its aesthetic senses that reveal, sometimes in hidden ways, the interpretation of art. In this way, the research seeks to collaborate with the understanding of an Amazonian culture that is invigorated, updated in its memories and we fall in love with each new look.
Acesso aberto (Open Access)
Sob medida: tipologias estratégicas de inserção do vestuário nas artes visuais
(Universidade Federal do Pará, 2011-06-30) CIRILO NETO, João; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
According to Roland Barthes, the ordinary clothing is accepted as an object in the visual arts since the avant-garde experiments of the European modernism in the twentieth century. Thereafter, concepts and practices such as readymade and artist‟s clothing (künstlerkleid) respectively created by Marcel Duchamp (1887-1968) and Henry Van De Velde (1863-1957) will promote profound changes in art in that sense. The readymades will allow many everyday objects to enter spaces traditionally intended for works of art, which will lead as a result to the notion of artist's clothing, understood here as a subcategory of the readymade concept strictly concerning to garments. This study aims to examine the use and the relevance of the term artist's clothing as a category of or a resource for the modern and contemporary visual arts. Such an examination will explore the general aspects related to social and symbolic value of clothing, to offer typologies for the term artist's clothing based on the way tailor-made wearable items are used in a work of art or are conceived as art itself. Finally, in order to verify the validity of such a phenomenon and the proposed classifications in this study, the concept of artist's clothing is taken into account within the visual arts production in Belém, the capital of the state of Pará.
Acesso aberto (Open Access)
Tramas invisíveis: bordado e a memória do feminino no processo criativo
(Universidade Federal do Pará, 2019-06-24) SOUSA, Juliana Padilha de; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
The present work, part of reseach line “Theories and Epistemic Interfaces in Arts”, discusses the relationships between creativity and the embroiderer at the same time, in domestic and family life. Studying a technique that, lived at the border of the academic grade for so long, and has multiple functions and multiple practices, requires a calm and patient analysis. As a line of research that encourages the approach of knowledge, this master’s thesis refers to other scientific contexts such as social sciences, psychoanalysis, history, memory and design. The relationship of studies in the historiography of art and of embroidery, women, memory and identity, the study tries to understand the compIex composition of the contemporary embroiderers through interviews, building dialogues about the invisibility of being a woman in the art worlds and the questions that surrounds their creative processes. By analyzing feminist insertions in contemporary art, it is revealed embroidery as a practice fulfilled with symbology. The thesis is divided into Back and Front, highlighting the intrinsic duality that makes up the practice and its delicate and subversive nature. It is also a purpose of the work to think and create new borders, materialized in an artist's book and an album of embroidered photos, "The Album of the Yarns" and "The Invisible Album", experiments that arise from the scientific writing, to weave new spaces of memories and existence /resistance.. To recover the history of the feminine art it is required a long and extensive, however this research is only partial, within a limited space, time and pont of view.