Imagens errantes: a comunicação nos têxteis do mercado global
Autor(a) principal: | |
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Data de Publicação: | 2010 |
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/5305 |
Resumo: | The 15th and 16th centuries Great Navigations introduced new consumer habits in Europe and the Americas, for the expansion of intercontinental commercial routes allowed the entrance of rare products in these markets. Among those, there were cotton textiles adorned with flower patterns, known as chintzes, which in this study are referred to under communication optics. Considered as typical goods from certain regions, they were very much appreciated and acquired by travellers in order to manufacture clothes, multiplying their presence in various countries and allowing a large dislocation of foreign images. If commerce and use suggest the possibility of reaching cultural significations previously considered inaccessible, or even the chance of creating a bond with a distant Other, floral cottons from these countries supposedly would keep, inside image layers, a certain symbolic heritage. This research aims to decipher in which way and to which extent these souvenir-images of chintzes establish communicational bonds with consumers from various cultures, allowing images to have a post-life. In order to do so, it uses the concepts of primary and secondary media from Harry Pross Media Theory, the studies on communicational bonding and iconophagy by Norval Baitello Júnior and the postulations on Image Theory spread by Hans Belting and Aby Warburg. In the scope of textiles, an apparent evolution incentives consumption, or devouration, of one image by the other, characterizing iconophagy processes. Therefore, this study accompanies the chintzes journey in the international market, aiming to detect the presence of moving images and also to understand the symbolic migration in floral printings. The reflection focuses specially in Mexico, going from images present in textiles produced by zapotec natives, commonly chosen by painter Frida Kahlo to organize her looks. The analysis considers to which extent they mingle with other culture images, resisting and surviving, no matter if the interchange of knowledge and artisan techniques among peoples comes to produce adaptations for industrial purposes. While addressing the presence of erratic and mongrel images in the artist s wardrobe, the study investigates in which ways the public image of Frida Kahlo works as a bridge to reach significations dislocated in the moving market of souvenirs, which, in turn, would refresh itself with simulacrums of the aimed bonds. As a result, the research concludes that the textile can be considered a secondary media which adds to the body so as to expand its presence in the world in order to win the battle against death, establishing communicational bonds among cultures and favoring the post-life of the images |
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Baitello Junior, Norvalhttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4706850Y2Garcia, Maria Carolina2016-04-26T18:18:40Z2010-07-062010-04-28Garcia, Maria Carolina. Imagens errantes: a comunicação nos têxteis do mercado global. 2010. 165 f. Tese (Doutorado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2010.https://tede2.pucsp.br/handle/handle/5305The 15th and 16th centuries Great Navigations introduced new consumer habits in Europe and the Americas, for the expansion of intercontinental commercial routes allowed the entrance of rare products in these markets. Among those, there were cotton textiles adorned with flower patterns, known as chintzes, which in this study are referred to under communication optics. Considered as typical goods from certain regions, they were very much appreciated and acquired by travellers in order to manufacture clothes, multiplying their presence in various countries and allowing a large dislocation of foreign images. If commerce and use suggest the possibility of reaching cultural significations previously considered inaccessible, or even the chance of creating a bond with a distant Other, floral cottons from these countries supposedly would keep, inside image layers, a certain symbolic heritage. This research aims to decipher in which way and to which extent these souvenir-images of chintzes establish communicational bonds with consumers from various cultures, allowing images to have a post-life. In order to do so, it uses the concepts of primary and secondary media from Harry Pross Media Theory, the studies on communicational bonding and iconophagy by Norval Baitello Júnior and the postulations on Image Theory spread by Hans Belting and Aby Warburg. In the scope of textiles, an apparent evolution incentives consumption, or devouration, of one image by the other, characterizing iconophagy processes. Therefore, this study accompanies the chintzes journey in the international market, aiming to detect the presence of moving images and also to understand the symbolic migration in floral printings. The reflection focuses specially in Mexico, going from images present in textiles produced by zapotec natives, commonly chosen by painter Frida Kahlo to organize her looks. The analysis considers to which extent they mingle with other culture images, resisting and surviving, no matter if the interchange of knowledge and artisan techniques among peoples comes to produce adaptations for industrial purposes. While addressing the presence of erratic and mongrel images in the artist s wardrobe, the study investigates in which ways the public image of Frida Kahlo works as a bridge to reach significations dislocated in the moving market of souvenirs, which, in turn, would refresh itself with simulacrums of the aimed bonds. As a result, the research concludes that the textile can be considered a secondary media which adds to the body so as to expand its presence in the world in order to win the battle against death, establishing communicational bonds among cultures and favoring the post-life of the imagesCom as Grandes Navegações dos séculos XV e XVI, novos hábitos de consumo foram introduzidos na Europa e nas Américas, já que a ampliação das rotas comerciais intercontinentais permitiu a entrada de produtos raros nesses mercados. Dentre eles, destacam-se tecidos de algodão ornamentados com padrões florais, conhecidos como chitas, que neste estudo são tratados pela ótica da comunicação. Considerados bens típicos de dadas regiões, foram muito apreciados e adquiridos pelos viajantes para confecção de roupas, multiplicando sua presença em vários países e permitindo amplo deslocamento de imagens estrangeiras. Se a comercialização e o uso sugerem a possibilidade de acessar significados culturais considerados inacessíveis, ou seja, de criar um vínculo com o Outro distante, algodões florais desses países supostamente guardariam, nas camadas de imagens errantes, certo patrimônio simbólico. Esta pesquisa objetiva desvendar de que maneira e em que medida as imagens-souvenir presentes nas chitas estabelecem vínculos comunicacionais com consumidores de distintas culturas, possibilitando uma pós-vida das imagens. Para tanto, utiliza os conceitos de mídia primária e secundária advindos da Teoria da Mídia de Harry Pross, os estudos sobre vinculação comunicativa e iconofagia de Norval Baitello Júnior, e as postulações da Teoria da Imagem difundidas por Hans Belting e Aby Warburg. No âmbito dos têxteis, uma aparente evolução incentiva o consumo, ou a devoração, de uma imagem pela outra, caracterizando processos de iconofagia. Assim, o estudo acompanha a jornada das chitas no mercado internacional, com o intuito de detectar a presença de imagens em movimento e entender a migração simbólica na estamparia floral. A reflexão foca-se especialmente no México, partindo das imagens presentes nos têxteis produzidos pelos indígenas zapotecas, comumente escolhidos pela pintora Frida Kahlo para compor sua aparência. A análise considera em que medida elas se mesclam a outras imagens da cultura, resistindo e sobrevivendo, ainda que os intercâmbios de saberes e técnicas artesanais entre os povos venham gerando adaptações para a produção industrial. Ao abordar a presença de imagens errantes e mestiças no guarda-roupa da artista, o estudo investiga os modos pelos quais a imagem pública de Frida Kahlo funciona como ponte para alcançar significados deslocados no mercado movediço do comércio de souvenirs, que, por sua vez, se reabasteceria com simulacros dos vínculos almejados. A pesquisa conclui que o tecido pode ser considerado uma mídia secundária que se soma ao corpo para expandir sua presença no mundo e vencer a morte, estabelecendo vínculos comunicativos entre culturas e favorecendo a pós-vida das imagensCoordenação de Aperfeiçoamento de Pessoal de Nível Superiorapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/13796/Maria%20Carolina%20Garcia.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBRComunicaçãoMigração de símbolosIconofagiaCultura de modaMídia têxtilComunicacao visualInterpretacao de imagensModa -- Aspectos simbolicosSinais e simbolosTecidos -- EstampaMigration of symbolsIconophagyFashion cultureTextile mediaCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOImagens errantes: a comunicação nos têxteis do mercado globalinfo: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 Carolina Garcia.pdf.txtMaria Carolina Garcia.pdf.txtExtracted texttext/plain355461https://repositorio.pucsp.br/xmlui/bitstream/handle/5305/3/Maria%20Carolina%20Garcia.pdf.txtac1787377a94504485967a6d96ab69f0MD53ORIGINALMaria Carolina Garcia.pdfapplication/pdf13159973https://repositorio.pucsp.br/xmlui/bitstream/handle/5305/1/Maria%20Carolina%20Garcia.pdff6a3cc4439214df44b93ebc2df213de3MD51THUMBNAILMaria Carolina Garcia.pdf.jpgMaria Carolina Garcia.pdf.jpgGenerated Thumbnailimage/jpeg1943https://repositorio.pucsp.br/xmlui/bitstream/handle/5305/2/Maria%20Carolina%20Garcia.pdf.jpgcc73c4c239a4c332d642ba1e7c7a9fb2MD52handle/53052022-04-27 17:24:54.863oai:repositorio.pucsp.br:handle/5305Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-27T20:24:54Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Imagens errantes: a comunicação nos têxteis do mercado global |
title |
Imagens errantes: a comunicação nos têxteis do mercado global |
spellingShingle |
Imagens errantes: a comunicação nos têxteis do mercado global Garcia, Maria Carolina Migração de símbolos Iconofagia Cultura de moda Mídia têxtil Comunicacao visual Interpretacao de imagens Moda -- Aspectos simbolicos Sinais e simbolos Tecidos -- Estampa Migration of symbols Iconophagy Fashion culture Textile media CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Imagens errantes: a comunicação nos têxteis do mercado global |
title_full |
Imagens errantes: a comunicação nos têxteis do mercado global |
title_fullStr |
Imagens errantes: a comunicação nos têxteis do mercado global |
title_full_unstemmed |
Imagens errantes: a comunicação nos têxteis do mercado global |
title_sort |
Imagens errantes: a comunicação nos têxteis do mercado global |
author |
Garcia, Maria Carolina |
author_facet |
Garcia, Maria Carolina |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Baitello Junior, Norval |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4706850Y2 |
dc.contributor.author.fl_str_mv |
Garcia, Maria Carolina |
contributor_str_mv |
Baitello Junior, Norval |
dc.subject.por.fl_str_mv |
Migração de símbolos Iconofagia Cultura de moda Mídia têxtil Comunicacao visual Interpretacao de imagens Moda -- Aspectos simbolicos Sinais e simbolos Tecidos -- Estampa |
topic |
Migração de símbolos Iconofagia Cultura de moda Mídia têxtil Comunicacao visual Interpretacao de imagens Moda -- Aspectos simbolicos Sinais e simbolos Tecidos -- Estampa Migration of symbols Iconophagy Fashion culture Textile media CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Migration of symbols Iconophagy Fashion culture Textile media |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
The 15th and 16th centuries Great Navigations introduced new consumer habits in Europe and the Americas, for the expansion of intercontinental commercial routes allowed the entrance of rare products in these markets. Among those, there were cotton textiles adorned with flower patterns, known as chintzes, which in this study are referred to under communication optics. Considered as typical goods from certain regions, they were very much appreciated and acquired by travellers in order to manufacture clothes, multiplying their presence in various countries and allowing a large dislocation of foreign images. If commerce and use suggest the possibility of reaching cultural significations previously considered inaccessible, or even the chance of creating a bond with a distant Other, floral cottons from these countries supposedly would keep, inside image layers, a certain symbolic heritage. This research aims to decipher in which way and to which extent these souvenir-images of chintzes establish communicational bonds with consumers from various cultures, allowing images to have a post-life. In order to do so, it uses the concepts of primary and secondary media from Harry Pross Media Theory, the studies on communicational bonding and iconophagy by Norval Baitello Júnior and the postulations on Image Theory spread by Hans Belting and Aby Warburg. In the scope of textiles, an apparent evolution incentives consumption, or devouration, of one image by the other, characterizing iconophagy processes. Therefore, this study accompanies the chintzes journey in the international market, aiming to detect the presence of moving images and also to understand the symbolic migration in floral printings. The reflection focuses specially in Mexico, going from images present in textiles produced by zapotec natives, commonly chosen by painter Frida Kahlo to organize her looks. The analysis considers to which extent they mingle with other culture images, resisting and surviving, no matter if the interchange of knowledge and artisan techniques among peoples comes to produce adaptations for industrial purposes. While addressing the presence of erratic and mongrel images in the artist s wardrobe, the study investigates in which ways the public image of Frida Kahlo works as a bridge to reach significations dislocated in the moving market of souvenirs, which, in turn, would refresh itself with simulacrums of the aimed bonds. As a result, the research concludes that the textile can be considered a secondary media which adds to the body so as to expand its presence in the world in order to win the battle against death, establishing communicational bonds among cultures and favoring the post-life of the images |
publishDate |
2010 |
dc.date.available.fl_str_mv |
2010-07-06 |
dc.date.issued.fl_str_mv |
2010-04-28 |
dc.date.accessioned.fl_str_mv |
2016-04-26T18:18:40Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
Garcia, Maria Carolina. Imagens errantes: a comunicação nos têxteis do mercado global. 2010. 165 f. Tese (Doutorado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2010. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/5305 |
identifier_str_mv |
Garcia, Maria Carolina. Imagens errantes: a comunicação nos têxteis do mercado global. 2010. 165 f. Tese (Doutorado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2010. |
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Pontifícia Universidade Católica de São Paulo |
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