Navegando por Assunto "Imagem"

Agora exibindo 1 - 9 de 9

Acesso aberto (Open Access)
O carimbó e a representação da imagem para a salvaguarda do patrimônio cultural imaterial
(Universidade Federal do Pará, 2022-02-22) AZEVEDO, Pierre de Aguiar; LINHARES, Anna Maria Alves; http://lattes.cnpq.br/3081434819616255; https://orcid.org/0000-0001-7548-9259
This research aims to study the cultural manifestation of Carimbó paraense, Brazilian Intangible Cultural Heritage, a title granted in 2014 by the Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN). Since before the patrimonialization process until today, they started as actions to safeguard culture, which today count on the contribution of sectors of society, independent movements, social groups and associates that collaborate for the dissemination and valorization of this heritage. In this process, the use of imagery resources is intensified - photography, video and audiovisual production - which start to serve as instruments of representation of Carimbó's heritage, both by the communities that own the property and by institutions endowed with the power of legitimation. Therefore, this dissertation intends to analyze how the carimbozeiras communities represent themselves and are represented through the use of the image, in the preservation and safeguarding of the intangible heritage of Carimbó. For this, the forms of use of imaging technologies by the holders of the heritage property were investigated, identifying the agreements and conflicts that exist between the community and institutions, regarding the definition of what Carimbó represents. The polyphonic character of the narratives was considered, the discourses of power and the notion of truth of and in the carimbó were evaluated on the representation of this heritage among communities, in relation to society and before the State. Still, observing some semantic possibilities of the image, such as materialization of cultural heritage and artifact, memorial record and place of memory, subsidy for cultural policy and market product. They are sent as narratives and speeches by members of the carimbozeiro movement, gathered in an episodic collection from informal dialogues and introduced openly that take into account the importance they give to the technological resources of the image, as memorial records to safeguard intangible heritage cultural.
Acesso aberto (Open Access)
Cidade (Re)vista : interpretação decolonial da fotografia de Naiara Jinknss em Belém do Pará
(Universidade Federal do Pará, 2022-06-14) SANTA BRÍGIDA, Juliane Oliveira; CASTRO, Marina Ramos Neves de; http://lattes.cnpq.br/6636359546031674
This research focused on the imagetic production of the documentary photographer Naiara Jinknss, focusing on the content posted on her Instagram during 2019, in order to understand from a decolonial interpretation the role of her photography as an image of resistance. Therefore, the overall aim seeks to answer the following question: "how can Naiara Jinknss's photographic production be interpreted as an image of resistance within the power relations present in the discourse on the Amazon?". Through netnographic inspirations in Kozinets (2014) and phenomenological-decolonial approach, anchored in the phenomenological sociology of Schutz (1979), the understanding that phenomena and experiences are conditioned to the social and, therefore, transmitted in society was adopted. While exploring research objects that are immersed in the context of a country built by coloniality, it is a fact that the phenomena and experiences analyzed are also involved in what Quijano (1992) calls the colonial matrix of power. Therefore, we seek to develop the articulation of the concepts of Kossoy (2001), Aumont (2002), Fairclough (2001), Bhabha (1998), Hall (2006), Quijano (1992), Mignolo (2015), Maldonado-Torres (2017), among others. The research methodology developed included a bibliographic survey on the Amazon, Power and Photography, in the area of Social Sciences, and multiple stages of online data collection. The relevance of this study is trusted in highlighting the photographic production made by a professional from Pará who identifies with several minority groups in front of a field traditionally marked by power relations that do not contemplate these groups and that is not exempt from discourses and imaginary reproduced on the Amazon.
Acesso aberto (Open Access)
Cidade (Re)vista: interpretação decolonial da fotografia de Naiara Jinknss em Belém do Pará
(Universidade Federal do Pará, 2022-06-14) SANTA BRÍGIDA, Juliane Oliveira; COSTA, Vânia Maria Torres; http://lattes.cnpq.br/7517564393392394
This research focused on the imagetic production of the documentary photographer Naiara Jinknss, focusing on the content posted on her Instagram during 2019, in order to understand from a decolonial interpretation the role of her photography as an image of resistance. Therefore, the overall aim seeks to answer the following question: "how can Naiara Jinknss's photographic production be interpreted as an image of resistance within the power relations present in the discourse on the Amazon?". Through netnographic inspirations in Kozinets (2014) and phenomenological-decolonial approach, anchored in the phenomenological sociology of Schutz (1979), the understanding that phenomena and experiences are conditioned to the social and, therefore, transmitted in society was adopted. While exploring research objects that are immersed in the context of a country built by coloniality, it is a fact that the phenomena and experiences analyzed are also involved in what Quijano (1992) calls the colonial matrix of power. Therefore, we seek to develop the articulation of the concepts of Kossoy (2001), Aumont (2002), Fairclough (2001), Bhabha (1998), Hall (2006), Quijano (1992), Mignolo (2015), Maldonado-Torres (2017), among others. The research methodology developed included a bibliographic survey on the Amazon, Power and Photography, in the area of Social Sciences, and multiple stages of online data collection. The relevance of this study is trusted in highlighting the photographic production made by a professional from Pará who identifies with several minority groups in front of a field traditionally marked by power relations that do not contemplate these groups and that is not exempt from discourses and imaginary reproduced on the Amazon.
Acesso aberto (Open Access)
Iconografia como narrativa estético-visual do sagrado na Amazônia paraense
(Universidade Federal do Pará, 2017-05) CRUZ, Marcos Murelle Azevedo; SILVEIRA, Flávio Leonel Abreu da
The research aims to present the concept of iconography as an aesthetic-visual narrative of the sacred, within the framework of a liturgical art of Eastern Catholic tradition based on imagery records present in the Amazon. It considers that the images are artistic forms of communication on some realities, that bring in themselves an overcoming of the literal language for a language interpreted of a certain scene (of somewhere) or context. The knowledge of the historical-cultural context in which the work was produced plays a decisive role, since the sacred with its rites and liturgies are constituted within a nonmetaphorical history, in the survival of its original sense because they survive through the generations to come. (BENJAMIN, 2008). In this way, the iconographic method is inscribed in intersemiology, and refers to literary analysis, in the study of languages and their meanings; In the interpretation of culture; In the decoding of their meanings; Establishes dialogue between word and image; Evidences relationships of norms that typify and systematize their symbols and meanings. In analyzing the image and the languages produced by it, iconography is intended as a method that seeks to construct theoretical perspectives of analysis of reality by a suspicious view of works, given their linkage to social reality. Present in the Amazon, these works survive throughout the ages and their permanence subsists in artistic expressions mainly in the mosaics. Through them it is possible to establish dialogue with the various territorialities of the Amazon, in their rituals and in their liturgies.
Acesso aberto (Open Access)
Imagens do corpo e da sensualidade na arte contemporanea paraense: o erotismo masculino nas fotografias de Sinval Garcia e Orlando Maneschy
(Universidade Federal do Pará, 2012) OLIVEIRA, Adelaide Oliveira de; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
The proposed theme is the study of the representation of the male body and the characteristics of eroticism in the contemporary paraense photograph. For the study were chosen works from the artists Sinval Garcia (series "Automátic Men") and Orlando Maneschy (series: "Homens de Sangue") produced in the decades of 1990 and 2000. The investigation in the research relied on bibliographic examination on contemporary art, photography, eroticism, and homoeroticism. For this, we used the tests on photograph of Susan Sontag, the study of Charlotte Cotton on photography and contemporary art, in addition of the thought of Kátia Canton on the relationship and implications of image and world, and how this relationship is demonstrated through the body. George Bataille and Afonso Medeiros are references for the study of eroticism. This work aims to contribute to the reflections on the photographic production of Para and in the construction of the national contemporary art’s panorama.
Acesso aberto (Open Access)
Instagram: entre o excesso de imagens e a fluidez da memória
(Universidade Federal do Pará, 2014-06-10) AZEVEDO, Thiago Guimarães; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This work aims to understand the relationship between image and memory in the universe of Instagram. For this, we first checked the universe image and its interaction with the individual, dialoguing with the modifications as its constitution from the development of technology, especially mobile devices like Smartphone’s and tablets, the primary means by which one can use the Instagram. With that, he stressed the relationship of individuals to network with actors who work in areas of interconnection, however, we find a referral to an individualized relationship with other social actors, where the groups are assembled self -referential form and thereby, relations become more fluid and less face. Thus, the memory from the relationship with the image, in particular, those which are derived from technological aids such as, photography is also affected, as which corresponds to a construction of collective memory, since the act recalled through the photographic image is marked by this type of relationship, the group sitting around the image to reminisce. At the present moment, when the image becomes digital and instantaneous, this relationship is lost and the group passes lead to the individual, then the posting and sharing, and instead of building a collective memory, the expectation is to be enjoyed and commented. To check this scenario presented above, we attempted to use as a methodological resource Collective Subject Discourse, prepared by Fernando Lefrèvre and Ana Maria Cavalcanti Lefrèvre and is beginning to build a personal narrative from speeches of a collectivity, extract elements anchoring and development of a central theme that permeates every speech and from that, draws up a line only, as if all became one. ABSTRACT: This work aims to understand the relationship between image and memory in the universe of Instagram. For this, we first checked the universe image and its interaction with the individual, dialoguing with the modifications as its constitution from the development of technology, especially mobile devices like Smartphone’s and tablets, the primary means by which one can use the Instagram. With that, he stressed the relationship of individuals to network with actors who work in areas of interconnection, however, we find a referral to an individualized relationship with other social actors, where the groups are assembled self -referential form and thereby, relations become more fluid and less face. Thus, the memory from the relationship with the image, in particular, those which are derived from technological aids such as, photography is also affected, as which corresponds to a construction of collective memory, since the act recalled through the photographic image is marked by this type of relationship, the group sitting around the image to reminisce. At the present moment, when the image becomes digital and instantaneous, this relationship is lost and the group passes lead to the individual, then the posting and sharing, and instead of building a collective memory, the expectation is to be enjoyed and commented. To check this scenario presented above, we attempted to use as a methodological resource Collective Subject Discourse, prepared by Fernando Lefrèvre and Ana Maria Cavalcanti Lefrèvre and is beginning to build a personal narrative from speeches of a collectivity, extract elements anchoring and development of a central theme that permeates every speech and from that, draws up a line only, as if all became one. But also research highlights the issue of the phenomenon of memory from the image, has as a methodological approach to phenomenology, in particular Merleau-Ponty, as is the construction of an imaginary from the experiences. The relevance of this work is to see that there is a relationship between individuals who transcends the issue of the device and Instagram manifests as support that assists the individual to explore their creativity in the form of images.
Acesso aberto (Open Access)
As relações entre imagem e arquitetura: um olhar sobre a catedral Diocesana de Santa Maria, Mãe de Deus, Castanhal (PA)
(Universidade Federal do Pará, 2018) CRUZ, Marcos Murelle Azevedo; FERNANDES, Daniel dos Santos
Acesso aberto (Open Access)
O traço da traça num troço chamado livro: processo de pesquisa e criação poética
(Universidade Federal do Pará, 2014-06-27) SOUZA, Bárbara Lívia Damasceno de; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184
This is the research and creation of poetic book Edge Violations, art-book of my own, designed heteronym by Livia Thysanura. The poetic core of the work discusses the book as a poetic element, addition of the word support, standardization of information and scientific truth. I do this during the whole text and the creation of a memoir of heteronym where rousing, verbally and visually, reflections on the maintenance of symbolic structures present in the life certification system and the formal school knowledge. Are drawings and words that blend the registers and regulatory signs, questioning the book space and the look of him that experience. The Draft of Silverfish of a Thing Called Book is, thus, a research and creation process that fuses reality and fiction, poetic act and scientific thought. A project inspired mainly in thoughts of Pierre Bourdieu, Michel Foucault, Gilles Deleuze, Felix Guattari, Maurice Blanchot and work Unarmed Eye Sonia Rangel.
Acesso aberto (Open Access)
Usos da imagem: juntando fragmentos nas fronteiras entre história e antropologia
(Universidade Federal do Pará, 2004-09) SARAIVA, Luis Junior Costa