O traço e a trama dos anos 50 por Carlos Estevão
Autor(a) principal: | |
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Data de Publicação: | 2011 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/12691 |
Resumo: | Having as a starting point the trace as text, this dissertation presents, as its main objective, to bring about the social plot of the 1950s in the city of Rio de Janeiro as the federal capital, in the light of the humoristic representation of Carlos Estevão in O Cruzeiro. Through the imagetic humor of one of the most popular and representative artists of the biggest magazine in terms of circulation in that decade, the aim was to visualize experiences and ruptures in the established system, located in the structure generated inside a society which lay in an apparent territory of calmness and in a dream of modernity , projecting a hegemonic speech, which at the same time, alienated the multiple life experiences of the several social subjects inserted in the complexes of their daily lives. Conceiving culture as a polyphonic instance, in the view of Bakhtin s theoretical and methodological statements, this research sought to favor the emergence of the plural voices present in the artist s flow of imagetic plots, which appeared in Estevão s various humor series, as it contemplated and intertextuality of sources. Facing this problem, the focus was to give priority to the analysis of the imagetic production located into the city s routine, seeking to capture the various groups dynamics, resulting in the emergence of the silenced and invisible individuals, also exposing the existence of conflicts and social tensions, which underlie the social plots in the context of transformation into a cosmopolitan and urban society. Following these aspects, the problematization of the series related to the emergence of a middle class consumption society seeking to socially ascend, which would allow people a criticism towards the modernization speech and would reveal the deep distance between real life and the ideal country projected as a target. In this view, opposing Carlos Estevão de Sousa s imagetic humoristic narrative to that modernity speech, represented the confrontation related to the built memory of the period as well as the delimitation of his trace and plot critical potentiality. The broadness of the sources analyses present in o Diário da Noite and in O Jornal favored the establishment of the humor representation about the country, the nation and the people as well, completing a picture of problematizations about the historically established memory in the period, in the same manner as it enabled the visibility of the resistance and compliance of the various individuals and social groups |
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Brites, Olgahttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4442801J5Person, Eliane2016-04-27T19:30:23Z2011-09-202011-06-03Person, Eliane. O traço e a trama dos anos 50 por Carlos Estevão. 2011. 320 f. Dissertação (Mestrado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2011.https://tede2.pucsp.br/handle/handle/12691Having as a starting point the trace as text, this dissertation presents, as its main objective, to bring about the social plot of the 1950s in the city of Rio de Janeiro as the federal capital, in the light of the humoristic representation of Carlos Estevão in O Cruzeiro. Through the imagetic humor of one of the most popular and representative artists of the biggest magazine in terms of circulation in that decade, the aim was to visualize experiences and ruptures in the established system, located in the structure generated inside a society which lay in an apparent territory of calmness and in a dream of modernity , projecting a hegemonic speech, which at the same time, alienated the multiple life experiences of the several social subjects inserted in the complexes of their daily lives. Conceiving culture as a polyphonic instance, in the view of Bakhtin s theoretical and methodological statements, this research sought to favor the emergence of the plural voices present in the artist s flow of imagetic plots, which appeared in Estevão s various humor series, as it contemplated and intertextuality of sources. Facing this problem, the focus was to give priority to the analysis of the imagetic production located into the city s routine, seeking to capture the various groups dynamics, resulting in the emergence of the silenced and invisible individuals, also exposing the existence of conflicts and social tensions, which underlie the social plots in the context of transformation into a cosmopolitan and urban society. Following these aspects, the problematization of the series related to the emergence of a middle class consumption society seeking to socially ascend, which would allow people a criticism towards the modernization speech and would reveal the deep distance between real life and the ideal country projected as a target. In this view, opposing Carlos Estevão de Sousa s imagetic humoristic narrative to that modernity speech, represented the confrontation related to the built memory of the period as well as the delimitation of his trace and plot critical potentiality. The broadness of the sources analyses present in o Diário da Noite and in O Jornal favored the establishment of the humor representation about the country, the nation and the people as well, completing a picture of problematizations about the historically established memory in the period, in the same manner as it enabled the visibility of the resistance and compliance of the various individuals and social groupsTendo como ponto de partida o traço como texto, esta dissertação tem por objetivo trazer à tona a trama social dos anos 1950 na cidade do Rio de Janeiro como Capital federal, à luz da representação humorística de Carlos Estevão de Sousa, em O Cruzeiro. Através do humor imagético de um dos mais representativos e populares artistas da revista de maior circulação nacional na década de 1950, objetivou-se visualizar experiências e fissuras ao instituído na tessitura gestada no interior de uma sociedade que, repousando na placidez da aparência social e no sonho da modernidade , projetava um discurso que, hegemônico, alienava as múltiplas vivências dos diversos sujeitos sociais no complexo de sua luta cotidiana. Concebendo a cultura como instância polifônica, na ótica dos pressupostos bakhtinianos, teóricometodologicamente, a pesquisa objetivou favorecer a emergência da pluralidade de vozes existentes no fluxo das tramas imagéticas do artista, nas mais variadas séries humorísticas, assim como contemplou a intertextualidade das fontes. Frente à problemática, priorizou-se a análise da produção imagética do cotidiano na cidade, buscando captar a dinâmica dos variados grupos sociais, resultando na emergência dos silenciados ou invisibilizados, assim como na clarificação da existência de conflitos e tensões sociais subjacentes à trama do social, no contexto da transformação para uma sociedade urbano-cosmopolita. Na sequência, a problematização das séries articuladas à emergência da sociedade de consumo e ao anseio de ascensão social dos setores médios permitiria a crítica ao discurso da modernização e o estabelecimento da abissal distância entre o vivenciado e o país projetado como meta. Nesse sentido, contrapor a narrativa imagética do humor de Carlos Estevão de Sousa ao discurso do moderno representou tanto o enfrentamento da memória construída sobre o período, como a delimitação da potencialidade crítica de seu traço e trama. A ampliação da análise das fontes em o Diário da Noite e em O Jornal favoreceu o estabelecimento da representação humorística sobre o país, a nação e o povo , completando o quadro de problematizações sobre a memória consagrada historicamente no período, assim como possibilitou a visibilidade da resistência e do conformismo dos variados sujeitos e grupos sociaisCoordenação de Aperfeiçoamento de Pessoal de Nível Superiorapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/23886/Eliane%20Person.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em HistóriaPUC-SPBRHistóriaHumorCulturaRepresentaçãoImprensaMemóriaCultureRepresentationPressMemoryCNPQ::CIENCIAS HUMANAS::HISTORIAO traço e a trama dos anos 50 por Carlos Estevãoinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTEliane Person.pdf.txtEliane Person.pdf.txtExtracted texttext/plain607232https://repositorio.pucsp.br/xmlui/bitstream/handle/12691/3/Eliane%20Person.pdf.txtf28c4e5e72be782fc1451f1b98498673MD53ORIGINALEliane Person.pdfapplication/pdf53592442https://repositorio.pucsp.br/xmlui/bitstream/handle/12691/1/Eliane%20Person.pdf7ee994b5aa8d40da95bc06f79ae6a8b2MD51THUMBNAILEliane Person.pdf.jpgEliane Person.pdf.jpgGenerated Thumbnailimage/jpeg1943https://repositorio.pucsp.br/xmlui/bitstream/handle/12691/2/Eliane%20Person.pdf.jpgcc73c4c239a4c332d642ba1e7c7a9fb2MD52handle/126912022-04-28 06:52:26.308oai:repositorio.pucsp.br:handle/12691Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T09:52:26Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
O traço e a trama dos anos 50 por Carlos Estevão |
title |
O traço e a trama dos anos 50 por Carlos Estevão |
spellingShingle |
O traço e a trama dos anos 50 por Carlos Estevão Person, Eliane Humor Cultura Representação Imprensa Memória Culture Representation Press Memory CNPQ::CIENCIAS HUMANAS::HISTORIA |
title_short |
O traço e a trama dos anos 50 por Carlos Estevão |
title_full |
O traço e a trama dos anos 50 por Carlos Estevão |
title_fullStr |
O traço e a trama dos anos 50 por Carlos Estevão |
title_full_unstemmed |
O traço e a trama dos anos 50 por Carlos Estevão |
title_sort |
O traço e a trama dos anos 50 por Carlos Estevão |
author |
Person, Eliane |
author_facet |
Person, Eliane |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Brites, Olga |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4442801J5 |
dc.contributor.author.fl_str_mv |
Person, Eliane |
contributor_str_mv |
Brites, Olga |
dc.subject.por.fl_str_mv |
Humor Cultura Representação Imprensa Memória |
topic |
Humor Cultura Representação Imprensa Memória Culture Representation Press Memory CNPQ::CIENCIAS HUMANAS::HISTORIA |
dc.subject.eng.fl_str_mv |
Culture Representation Press Memory |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS HUMANAS::HISTORIA |
description |
Having as a starting point the trace as text, this dissertation presents, as its main objective, to bring about the social plot of the 1950s in the city of Rio de Janeiro as the federal capital, in the light of the humoristic representation of Carlos Estevão in O Cruzeiro. Through the imagetic humor of one of the most popular and representative artists of the biggest magazine in terms of circulation in that decade, the aim was to visualize experiences and ruptures in the established system, located in the structure generated inside a society which lay in an apparent territory of calmness and in a dream of modernity , projecting a hegemonic speech, which at the same time, alienated the multiple life experiences of the several social subjects inserted in the complexes of their daily lives. Conceiving culture as a polyphonic instance, in the view of Bakhtin s theoretical and methodological statements, this research sought to favor the emergence of the plural voices present in the artist s flow of imagetic plots, which appeared in Estevão s various humor series, as it contemplated and intertextuality of sources. Facing this problem, the focus was to give priority to the analysis of the imagetic production located into the city s routine, seeking to capture the various groups dynamics, resulting in the emergence of the silenced and invisible individuals, also exposing the existence of conflicts and social tensions, which underlie the social plots in the context of transformation into a cosmopolitan and urban society. Following these aspects, the problematization of the series related to the emergence of a middle class consumption society seeking to socially ascend, which would allow people a criticism towards the modernization speech and would reveal the deep distance between real life and the ideal country projected as a target. In this view, opposing Carlos Estevão de Sousa s imagetic humoristic narrative to that modernity speech, represented the confrontation related to the built memory of the period as well as the delimitation of his trace and plot critical potentiality. The broadness of the sources analyses present in o Diário da Noite and in O Jornal favored the establishment of the humor representation about the country, the nation and the people as well, completing a picture of problematizations about the historically established memory in the period, in the same manner as it enabled the visibility of the resistance and compliance of the various individuals and social groups |
publishDate |
2011 |
dc.date.available.fl_str_mv |
2011-09-20 |
dc.date.issued.fl_str_mv |
2011-06-03 |
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2016-04-27T19:30:23Z |
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info:eu-repo/semantics/publishedVersion |
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masterThesis |
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publishedVersion |
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Person, Eliane. O traço e a trama dos anos 50 por Carlos Estevão. 2011. 320 f. Dissertação (Mestrado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2011. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/12691 |
identifier_str_mv |
Person, Eliane. O traço e a trama dos anos 50 por Carlos Estevão. 2011. 320 f. Dissertação (Mestrado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2011. |
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