Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924
Autor(a) principal: | |
---|---|
Data de Publicação: | 2018 |
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/21766 |
Resumo: | This research investigates how photography can transform historical events into happenings, and has as its object a case study of the photographs about the 1924 Revolt, held in São Paulo. Its intention is to speculate on another possible story that the photographs try to tell about the episode, understanding them as trails capable of proposing another narrative. It seeks to transgress the traditional concept of photography as a proof of reality, understood as objective and secure in the register of its referents. Another focus of extreme relevance to the thesis is the question of the constitution of reality constructed by photography, especially when this real context takes on a dimension of historical value. When you come across the photographs, you can see how much they fail to properly register the Revolt, after all, can the photography not record what it photographs? Faced with this question, others are possible, especially the doubt about the photographic record of the historical event. This is the starting point of the research and the main hypotheses raised by this question are: a) the photographic record is not the only element of the photograph; b) photography involves ambivalences that result in powers, capable of catching unsuspected realities in the photographed context; c) from ambivalence, it is possible to review the role of photography as a record and its influence on the arrangement of realities recorded and preserved as memories of time, resulting in photographic fable. In order to arrive at the idea of photographic fable, it was necessary to interface with the field of history, especially when dealing with the event and happening, as well as the trace, so we used a bibliography to support this approach, besides working empirically with the photographs collected in several collections, making the selection of the images, analyzing their narratives and then comparing the photographs, which should be able to identify the traces of those narratives and the possible history that build the facts, from and despite of them. The research is based on concepts and reflections brought by various authors associated with different research fronts that, mainly and at various moments, are associated with each other, through concepts, areas and themes. We emphasize François Dosse and Gilles Deleuze, Mauricio Lazzarato and Muniz Sodré in the discussions around the event, Carlo Ginzburg in the concept of trace, Walter Benjamin as an author who underlies the historical approach, and so many other historians who bring accounts about the time and the city . Authors such as Joan Fontcuberta and, once again, Benjamin, and especially Vilém Flusser, permeate discussions about photography, as well as references to the event of the 1924 Revolt, present in various books and authors. The thesis presents in the first chapter the political and cultural contextualization of the event, in addition to inserting it in the city of São Paulo and in the fragments of the military thought of the time, trying to propose a wide evental arch, even if initially, of photography. In order for the proposed arc to be erected, it is necessary to deconstruct the event, proposing to recognize it in another way. In the second chapter, the object of study is evidenced, bringing to the debate, besides the general nature of photography, the specificities of the photographs in question and their analyzes, identifying them as traces that contribute to different understandings about the Revolt. In the third chapter we will address the issue of the event and the co-ordinations established between this concept and the photographs under analysis, thus proposing the idea of photographic fable |
id |
PUC_SP-1_4d4e9bb5bfb946c1d8acc1406bca2c96 |
---|---|
oai_identifier_str |
oai:repositorio.pucsp.br:handle/21766 |
network_acronym_str |
PUC_SP-1 |
network_name_str |
Biblioteca Digital de Teses e Dissertações da PUC_SP |
repository_id_str |
|
spelling |
Ferrara, Lucrecia D'Alessiohttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4777417P6Carboni, Maria Cecília Conte2018-12-17T11:52:46Z2018-11-30Carboni, Maria Cecilia Conte. Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924. 2018. 94 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018.https://tede2.pucsp.br/handle/handle/21766This research investigates how photography can transform historical events into happenings, and has as its object a case study of the photographs about the 1924 Revolt, held in São Paulo. Its intention is to speculate on another possible story that the photographs try to tell about the episode, understanding them as trails capable of proposing another narrative. It seeks to transgress the traditional concept of photography as a proof of reality, understood as objective and secure in the register of its referents. Another focus of extreme relevance to the thesis is the question of the constitution of reality constructed by photography, especially when this real context takes on a dimension of historical value. When you come across the photographs, you can see how much they fail to properly register the Revolt, after all, can the photography not record what it photographs? Faced with this question, others are possible, especially the doubt about the photographic record of the historical event. This is the starting point of the research and the main hypotheses raised by this question are: a) the photographic record is not the only element of the photograph; b) photography involves ambivalences that result in powers, capable of catching unsuspected realities in the photographed context; c) from ambivalence, it is possible to review the role of photography as a record and its influence on the arrangement of realities recorded and preserved as memories of time, resulting in photographic fable. In order to arrive at the idea of photographic fable, it was necessary to interface with the field of history, especially when dealing with the event and happening, as well as the trace, so we used a bibliography to support this approach, besides working empirically with the photographs collected in several collections, making the selection of the images, analyzing their narratives and then comparing the photographs, which should be able to identify the traces of those narratives and the possible history that build the facts, from and despite of them. The research is based on concepts and reflections brought by various authors associated with different research fronts that, mainly and at various moments, are associated with each other, through concepts, areas and themes. We emphasize François Dosse and Gilles Deleuze, Mauricio Lazzarato and Muniz Sodré in the discussions around the event, Carlo Ginzburg in the concept of trace, Walter Benjamin as an author who underlies the historical approach, and so many other historians who bring accounts about the time and the city . Authors such as Joan Fontcuberta and, once again, Benjamin, and especially Vilém Flusser, permeate discussions about photography, as well as references to the event of the 1924 Revolt, present in various books and authors. The thesis presents in the first chapter the political and cultural contextualization of the event, in addition to inserting it in the city of São Paulo and in the fragments of the military thought of the time, trying to propose a wide evental arch, even if initially, of photography. In order for the proposed arc to be erected, it is necessary to deconstruct the event, proposing to recognize it in another way. In the second chapter, the object of study is evidenced, bringing to the debate, besides the general nature of photography, the specificities of the photographs in question and their analyzes, identifying them as traces that contribute to different understandings about the Revolt. In the third chapter we will address the issue of the event and the co-ordinations established between this concept and the photographs under analysis, thus proposing the idea of photographic fableEsta pesquisa investiga como a fotografia pode acontecimentalizar eventos históricos e tem como objeto um estudo de caso das fotografias sobre a Revolta de 1924, ocorrida em São Paulo. Sua intenção é especular sobre outra possível história que as fotografias contam sobre a Revolta, entendendo-as como rastros capazes de propor diferentes narrativas. Propõe-se a transgressão ao conceito tradicional da fotografia como registro da realidade, entendida como objetiva e segura no registro de seus referentes. Outro foco de extrema relevância para a tese é a questão da constituição da realidade construída pela fotografia, sobretudo, quando esse contexto real assume dimensão de valor histórico. Ao se deparar com as fotografias, nota- se o quanto elas deixam de registrar propriamente a Revolta. Daí a pergunta: pode, afinal, a fotografia não registrar aquilo que fotografa? Diante dessa indagação, outras se impõem, em especial, a dúvida sobre o registro fotográfico do evento histórico. Esse é o ponto de partida da pesquisa e as principais hipóteses levantadas por essa questão são: a) o registro fotográfico não é o único elemento da fotografia; b) a fotografia comporta ambivalências que resultam em potências, capazes de flagrar realidades insuspeitas no contexto fotografado; c) a partir da ambivalência, é possível rever o papel da fotografia como registro e sua influência nas tessituras das realidades registradas e conservadas como lembranças do tempo, resultando em fabulações fotográficas. Para chegar à ideia de fabulação fotográfica foi necessária a interface com o campo da História, em especial para tratar da questão do evento e do acontecimento, assim como do rastro. Por isso utilizamos uma bibliografia que fundamentasse essa abordagem, além de trabalhar empiricamente com as fotografias recolhidas em diversos acervos, fazendo a seleção das imagens, a análise de suas narrativas e, em seguida, a comparação entre as fotografias, que deverá ser capaz de identificar os rastros das narrativas e a possível História que constroem os fatos, a partir e apesar deles. A pesquisa fundamenta-se em conceitos e reflexões trazidos por vários autores vinculados a distintas linhas que, sobretudo, e em vários momentos, associam-se entre si, por meio de conceitos, áreas e temas. Ressaltamos François Dosse e Gilles Deleuze, Mauricio Lazzarato e Muniz Sodré nas discussões sobre o acontecimento; Carlo Ginzburg, sobre o conceito de rastro; Walter Benjamin, sobre a abordagem histórica, entre tantos historiadores que refletem sobre a época e a cidade. Autores como Joan Fontcuberta e especialmente Vilém Flusser, incluindo, mais uma vez, Benjamin, permeiam as discussões sobre fotografia, além das referências sobre a Revolta de 1924, presentes em vários estudos. Organizada em três capítulos, a tese apresenta, no primeiro deles, a contextualização política e cultural da Revolta, inserindo-a na cidade de São Paulo e nos fragmentos do pensamento militar da época, tentando propor um amplo arco acontecimental, sem deixar de tratar, ainda que ligeiramente, da fotografia. Para que o arco proposto pudesse ser erguido, foi necessário desconstruir o evento, buscando reconhecê-lo de outra forma. No segundo capítulo, o objeto de estudo evidencia-se, trazendo ao debate, além da natureza geral da fotografia, as especificidades dos registros e suas análises, identificando-os como rastros contribuintes para diferentes entendimentos sobre a Revolta. No terceiro capítulo, abordamos a questão do acontecimento e as coordenações estabelecidas entre este conceito e as fotografias em análise, propondo a ideia de fabulação fotográficaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/47763/Maria%20Cecilia%20Conte%20Carboni.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBrasilFaculdade de Filosofia, Comunicação, Letras e ArtesFotografiaBrasil - História - Revolução Paulista, 1924FabulaçãoPhotographyBrazil - History - Revolution, 1924-1925FableCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOFotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTMaria Cecilia Conte Carboni.pdf.txtMaria Cecilia Conte Carboni.pdf.txtExtracted texttext/plain202116https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/4/Maria%20Cecilia%20Conte%20Carboni.pdf.txt73bc6af0ede07c412d101dd298297a12MD54LICENSElicense.txtlicense.txttext/plain; charset=utf-82165https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/1/license.txtbd3efa91386c1718a7f26a329fdcb468MD51ORIGINALMaria Cecilia Conte Carboni.pdfMaria Cecilia Conte Carboni.pdfapplication/pdf33470590https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/2/Maria%20Cecilia%20Conte%20Carboni.pdf1ea016e00921cb8e0fb9c8a5d4b4d48cMD52THUMBNAILMaria Cecilia Conte Carboni.pdf.jpgMaria Cecilia Conte Carboni.pdf.jpgGenerated Thumbnailimage/jpeg3184https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/3/Maria%20Cecilia%20Conte%20Carboni.pdf.jpg9ced69fc3e213b9aab8bb941ae696134MD53handle/217662023-10-25 13:05:07.248oai:repositorio.pucsp.br: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Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2023-10-25T16:05:07Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 |
title |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 |
spellingShingle |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 Carboni, Maria Cecília Conte Fotografia Brasil - História - Revolução Paulista, 1924 Fabulação Photography Brazil - History - Revolution, 1924-1925 Fable CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 |
title_full |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 |
title_fullStr |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 |
title_full_unstemmed |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 |
title_sort |
Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924 |
author |
Carboni, Maria Cecília Conte |
author_facet |
Carboni, Maria Cecília Conte |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Ferrara, Lucrecia D'Alessio |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4777417P6 |
dc.contributor.author.fl_str_mv |
Carboni, Maria Cecília Conte |
contributor_str_mv |
Ferrara, Lucrecia D'Alessio |
dc.subject.por.fl_str_mv |
Fotografia Brasil - História - Revolução Paulista, 1924 Fabulação |
topic |
Fotografia Brasil - História - Revolução Paulista, 1924 Fabulação Photography Brazil - History - Revolution, 1924-1925 Fable CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Photography Brazil - History - Revolution, 1924-1925 Fable |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
This research investigates how photography can transform historical events into happenings, and has as its object a case study of the photographs about the 1924 Revolt, held in São Paulo. Its intention is to speculate on another possible story that the photographs try to tell about the episode, understanding them as trails capable of proposing another narrative. It seeks to transgress the traditional concept of photography as a proof of reality, understood as objective and secure in the register of its referents. Another focus of extreme relevance to the thesis is the question of the constitution of reality constructed by photography, especially when this real context takes on a dimension of historical value. When you come across the photographs, you can see how much they fail to properly register the Revolt, after all, can the photography not record what it photographs? Faced with this question, others are possible, especially the doubt about the photographic record of the historical event. This is the starting point of the research and the main hypotheses raised by this question are: a) the photographic record is not the only element of the photograph; b) photography involves ambivalences that result in powers, capable of catching unsuspected realities in the photographed context; c) from ambivalence, it is possible to review the role of photography as a record and its influence on the arrangement of realities recorded and preserved as memories of time, resulting in photographic fable. In order to arrive at the idea of photographic fable, it was necessary to interface with the field of history, especially when dealing with the event and happening, as well as the trace, so we used a bibliography to support this approach, besides working empirically with the photographs collected in several collections, making the selection of the images, analyzing their narratives and then comparing the photographs, which should be able to identify the traces of those narratives and the possible history that build the facts, from and despite of them. The research is based on concepts and reflections brought by various authors associated with different research fronts that, mainly and at various moments, are associated with each other, through concepts, areas and themes. We emphasize François Dosse and Gilles Deleuze, Mauricio Lazzarato and Muniz Sodré in the discussions around the event, Carlo Ginzburg in the concept of trace, Walter Benjamin as an author who underlies the historical approach, and so many other historians who bring accounts about the time and the city . Authors such as Joan Fontcuberta and, once again, Benjamin, and especially Vilém Flusser, permeate discussions about photography, as well as references to the event of the 1924 Revolt, present in various books and authors. The thesis presents in the first chapter the political and cultural contextualization of the event, in addition to inserting it in the city of São Paulo and in the fragments of the military thought of the time, trying to propose a wide evental arch, even if initially, of photography. In order for the proposed arc to be erected, it is necessary to deconstruct the event, proposing to recognize it in another way. In the second chapter, the object of study is evidenced, bringing to the debate, besides the general nature of photography, the specificities of the photographs in question and their analyzes, identifying them as traces that contribute to different understandings about the Revolt. In the third chapter we will address the issue of the event and the co-ordinations established between this concept and the photographs under analysis, thus proposing the idea of photographic fable |
publishDate |
2018 |
dc.date.accessioned.fl_str_mv |
2018-12-17T11:52:46Z |
dc.date.issued.fl_str_mv |
2018-11-30 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
Carboni, Maria Cecilia Conte. Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924. 2018. 94 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/21766 |
identifier_str_mv |
Carboni, Maria Cecilia Conte. Fotografar, fabular: a fotografia que acontecimentaliza a Revolta de 1924. 2018. 94 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018. |
url |
https://tede2.pucsp.br/handle/handle/21766 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
dc.publisher.program.fl_str_mv |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica |
dc.publisher.initials.fl_str_mv |
PUC-SP |
dc.publisher.country.fl_str_mv |
Brasil |
dc.publisher.department.fl_str_mv |
Faculdade de Filosofia, Comunicação, Letras e Artes |
publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
dc.source.none.fl_str_mv |
reponame:Biblioteca Digital de Teses e Dissertações da PUC_SP instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Biblioteca Digital de Teses e Dissertações da PUC_SP |
collection |
Biblioteca Digital de Teses e Dissertações da PUC_SP |
bitstream.url.fl_str_mv |
https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/4/Maria%20Cecilia%20Conte%20Carboni.pdf.txt https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/1/license.txt https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/2/Maria%20Cecilia%20Conte%20Carboni.pdf https://repositorio.pucsp.br/xmlui/bitstream/handle/21766/3/Maria%20Cecilia%20Conte%20Carboni.pdf.jpg |
bitstream.checksum.fl_str_mv |
73bc6af0ede07c412d101dd298297a12 bd3efa91386c1718a7f26a329fdcb468 1ea016e00921cb8e0fb9c8a5d4b4d48c 9ced69fc3e213b9aab8bb941ae696134 |
bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 MD5 |
repository.name.fl_str_mv |
Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
bngkatende@pucsp.br||rapassi@pucsp.br |
_version_ |
1809277828108124160 |