Os sentidos das aparências: invenção do corpo feminino em Fortaleza (1900-1959)

• Autor(a) principal: Almeida, Luciana Andrade de
• Data de Publicação: 2016
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/12913
• topic: História do corpo; Beleza; Feiura; Body history; Beauty; Uglines; CNPQ::CIENCIAS HUMANAS::HISTORIA

In the early twentieth century, the city of Fortaleza wanted to be modern and developed, such as Rio de Janeiro or even Paris. Shops, services and people expressed this desire in a cultural, social and sensitive movement that also models the bodies. The visibility and the trial of appearances become more stringent while new freedoms, questions and speeches are invented. Fortaleza is contextualized in a circuit of practices, values and products related to the body aesthetics in the country, with its particularities, and not just general characteristics observed in other Brazilian cities at that time. A reflection about the modernity in the city necessarily requires this understanding of body condition. In the city, body patterns and appearances are articulated, as well born and well-nourished women or slaughtered sertanejos arriving in Fortaleza. In newspapers, magazines, advertisements, almanacs, albums, literature and memoir reports analyzed, the themes of beauty and ugliness become increasingly relevant and indicate concerns, feelings and tensions unknown until then. The female body gradually becomes the center of the problems - not only medical and aesthetic but linked to issues such as personality and social place. Cultural and historical production of notions of beauty and ugliness is therefore the main topic of the thesis, which seeks to historicize the specificities and complexities of the female body invention in Fortaleza, mobilizing the relationship between beauty and ugliness. It is proposed to investigate that urban dynamic forms in Fortaleza would have favored the emergence of a set of practices, products, wishes and circulation of ideas that affect the bodies and produce the notions of beauty and ugliness. A second axis which crosses the first is the assumption that beauty and ugliness were not limited to what you saw, trying to realize the construction of the sense of the appearances convening elements from the sensitive and the subjectivities