Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950)
Autor(a) principal: | |
---|---|
Data de Publicação: | 2016 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/5744 |
Resumo: | This thesis investigates the use of nudity and seminudity and the multiple representations of masculinity in the modern funerary art at the city of São Paulo, looking at the collection of sculptures of the Consolação, Araçá and São Paulo cemeteries, situated in São Paulo State Capital, between 1920 and 1950. This work is a result of the doctorate research done for in the post-graduation program in History, at Universidade Federal de Goiás PPGH/UFG, supervised by Professor Dr. Maria Elizia Borges, furthermore by other resources obtained during the Sandwich Doctorate at Facoltà di Architettura dell'Università degli Studi di Napoli “Federico II”, under supervision of Professor Dr. Fábio Mangone. It is questioned which social and cultural aspects symbolize such male images, paying attention to the proper functions of the space of the cemetery, as an architectural object by definition. These are seen through the prism of Art History, allowing the terms – Art and History – to criticize and transform each other, opening disciplinary borders, as well as conceptual and linguistic ones, enabling for the domain of the historian to be modified by interventions of Art. Through the tabulation of male image occurrences, partially or completely naked, is observed that Italian aesthetic premises, especially those of the Novecento, have significant influence over the elaboration of São Paulo funerary art. This sculptures utilize often depictions that highlight sensibility in face of death, as well as the virility associated with work, on the other hand – in other words, there is no single, unchanging discourse on masculinity in the time period investigated. The analysis of the composition of the sculptures allow reconstructing partially the musings of the sculptors and their aesthetic expressivity as well as the meanings of their use of nudity and seminudity in the funerary art of the period. Furthermore, it is poited out that open air cemeteries allow for the exhibition of depictions of a masculinity sensitive and/or virile with greater expressive liberty. In short, these sculptures, as images, are historically localized and at the same time, bearers of a variety of temporalities and spatialities in the foundations, ever permeated by a continuous process of reconfiguration, from both, Past and Present. “Baring” them allows to find vestiges of Italian expression in the Tropical lands. |
id |
UFG-2_8925062b74c428bd6bf93dea9e9b7e81 |
---|---|
oai_identifier_str |
oai:repositorio.bc.ufg.br:tede/5744 |
network_acronym_str |
UFG-2 |
network_name_str |
Repositório Institucional da UFG |
repository_id_str |
|
spelling |
Borges, Maria Eliziahttp://lattes.cnpq.br/0672444382021221Borges, Maria EliziaChiarelli, Domingos TadeuLeandro, José AugustoJesus , Samuel José Gilbert deNoronha, Márcio Pizarrohttp://lattes.cnpq.br/8461204091007488Carneiro, Maristela2016-07-27T15:20:12Z2016-06-23CARNEIRO, M. Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950). 2016. 346 f. Tese (Doutorado em Historia) - Universidade Federal de Goiás, Goiânia, 2016.http://repositorio.bc.ufg.br/tede/handle/tede/5744This thesis investigates the use of nudity and seminudity and the multiple representations of masculinity in the modern funerary art at the city of São Paulo, looking at the collection of sculptures of the Consolação, Araçá and São Paulo cemeteries, situated in São Paulo State Capital, between 1920 and 1950. This work is a result of the doctorate research done for in the post-graduation program in History, at Universidade Federal de Goiás PPGH/UFG, supervised by Professor Dr. Maria Elizia Borges, furthermore by other resources obtained during the Sandwich Doctorate at Facoltà di Architettura dell'Università degli Studi di Napoli “Federico II”, under supervision of Professor Dr. Fábio Mangone. It is questioned which social and cultural aspects symbolize such male images, paying attention to the proper functions of the space of the cemetery, as an architectural object by definition. These are seen through the prism of Art History, allowing the terms – Art and History – to criticize and transform each other, opening disciplinary borders, as well as conceptual and linguistic ones, enabling for the domain of the historian to be modified by interventions of Art. Through the tabulation of male image occurrences, partially or completely naked, is observed that Italian aesthetic premises, especially those of the Novecento, have significant influence over the elaboration of São Paulo funerary art. This sculptures utilize often depictions that highlight sensibility in face of death, as well as the virility associated with work, on the other hand – in other words, there is no single, unchanging discourse on masculinity in the time period investigated. The analysis of the composition of the sculptures allow reconstructing partially the musings of the sculptors and their aesthetic expressivity as well as the meanings of their use of nudity and seminudity in the funerary art of the period. Furthermore, it is poited out that open air cemeteries allow for the exhibition of depictions of a masculinity sensitive and/or virile with greater expressive liberty. In short, these sculptures, as images, are historically localized and at the same time, bearers of a variety of temporalities and spatialities in the foundations, ever permeated by a continuous process of reconfiguration, from both, Past and Present. “Baring” them allows to find vestiges of Italian expression in the Tropical lands.A presente tese investiga o uso da nudez e da seminudez e as múltiplas representações de masculinidade na arte funerária modernista da cidade de São Paulo, a partir do acervo escultórico dos Cemitérios da Consolação, Araçá e São Paulo, instalados na capital paulista, no período de 1920 a 1950. Resulta do doutoramento junto ao Programa de Pós-Graduação em História, da Universidade Federal de Goiás (PPGH/UFG), sob a orientação da Profª Dra. Maria Elizia Borges, outrossim dos subsídios obtidos quando da realização de período sanduíche na Facoltà di Architettura dell'Università degli Studi di Napoli “Federico II”, sob a tutela do Profº Dr. Fábio Mangone. Questiona-se que aspectos sociais e culturais tais imagens masculinas simbolizam, atentando para as funções próprias do espaço cemiterial, enquanto objeto arquitetônico por definição. As mesmas são tomadas a partir do prisma da história da arte, que permite que os vocábulos em questão – arte e história – possam se criticar e transformar reciprocamente, abrindo as fronteiras disciplinares, conceituais e linguísticas, bem como possibilitando que os domínios do historiador sejam modificados pelas clivagens da arte. A partir do inventário das ocorrências de imagens masculinas, parcial ou completamente despidas, observou-se que os pressupostos estéticos italianos, sobretudo do Novecento, influenciam de modo singular a tessitura da arte funerária paulistana. As esculturas em questão se utilizam de representações que ora destacam a sensibilidade perante a morte, ora deixam em relevo a virilidade em associação ao mundo do trabalho – em outras palavras, não constituem um discurso único e imutável sobre o ser masculino no período investigado. A análise da composição das esculturas permite recuperar parte dos devaneios dos escultores e sua expressividade estética e os significados do uso da nudez e da seminudez corporal na arte funerária. Ademais, evidencia-se que os cemitérios a céu aberto permitem a exposição de representações de uma masculinidade sensível e/ou viril com maior liberdade expressiva. Em síntese, as esculturas em questão, enquanto imagens, são historicamente localizadas e ao mesmo tempo, portadoras de diferentes temporalidades e espacialidades em seus fundamentos, sempre permeadas por um processo contínuo de reconfiguração, tanto do passado quanto do presente. “Desnudálas” permite que se encontrem vestígios da expressão italiana nas terras tropicais.Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-07-26T18:33:53Z No. of bitstreams: 2 Tese - Maristela Carneiro - 2016.pdf: 16401247 bytes, checksum: cf5205ad11c1b846300726287b386db8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-27T15:20:12Z (GMT) No. of bitstreams: 2 Tese - Maristela Carneiro - 2016.pdf: 16401247 bytes, checksum: cf5205ad11c1b846300726287b386db8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2016-07-27T15:20:12Z (GMT). No. of bitstreams: 2 Tese - Maristela Carneiro - 2016.pdf: 16401247 bytes, checksum: cf5205ad11c1b846300726287b386db8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-06-23Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfporUniversidade Federal de GoiásPrograma de Pós-graduação em Historia (FH)UFGBrasilFaculdade de História - FH (RG)http://creativecommons.org/licenses/by/4.0/info:eu-repo/semantics/openAccessEscultura funeráriaMasculinidadeNudez e seminudezCemitérios paulistanosNovecento talianoFunerary sculptureMasculinityNudity and seminuditySão Paulo cemeteriesItalian NovecentoCIENCIAS HUMANAS::HISTORIADesnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950)Baring masculinity: representations of nudity and seminudity in the funeral statuary of São Paulo (1920-1950)info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesis872832998794064114600600600600318079220827185643-38409219363320405912075167498588264571reponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGLICENSElicense.txtlicense.txttext/plain; charset=utf-82165http://repositorio.bc.ufg.br/tede/bitstreams/24dccc07-080d-4239-9952-81839d8fa318/downloadbd3efa91386c1718a7f26a329fdcb468MD51CC-LICENSElicense_urllicense_urltext/plain; charset=utf-843http://repositorio.bc.ufg.br/tede/bitstreams/d520b483-e837-47a5-b4b1-3225811af2e3/download321f3992dd3875151d8801b773ab32edMD52license_textlicense_texttext/html; charset=utf-80http://repositorio.bc.ufg.br/tede/bitstreams/f45da8a6-b02e-4620-958d-68f065ff9054/downloadd41d8cd98f00b204e9800998ecf8427eMD53license_rdflicense_rdfapplication/rdf+xml; charset=utf-80http://repositorio.bc.ufg.br/tede/bitstreams/016e0495-2c59-4359-899a-cb5f8a9ca2e4/downloadd41d8cd98f00b204e9800998ecf8427eMD54ORIGINALTese - Maristela Carneiro - 2016.pdfTese - Maristela Carneiro - 2016.pdfapplication/pdf16401247http://repositorio.bc.ufg.br/tede/bitstreams/552992b2-f14b-48c2-a2fe-1d228c834a39/downloadcf5205ad11c1b846300726287b386db8MD55tede/57442016-07-27 12:20:12.976http://creativecommons.org/licenses/by/4.0/Acesso Abertoopen.accessoai:repositorio.bc.ufg.br:tede/5744http://repositorio.bc.ufg.br/tedeRepositório InstitucionalPUBhttp://repositorio.bc.ufg.br/oai/requesttasesdissertacoes.bc@ufg.bropendoar:2016-07-27T15:20:12Repositório Institucional da UFG - Universidade Federal de Goiás (UFG)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 |
dc.title.por.fl_str_mv |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) |
dc.title.alternative.eng.fl_str_mv |
Baring masculinity: representations of nudity and seminudity in the funeral statuary of São Paulo (1920-1950) |
title |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) |
spellingShingle |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) Carneiro, Maristela Escultura funerária Masculinidade Nudez e seminudez Cemitérios paulistanos Novecento taliano Funerary sculpture Masculinity Nudity and seminudity São Paulo cemeteries Italian Novecento CIENCIAS HUMANAS::HISTORIA |
title_short |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) |
title_full |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) |
title_fullStr |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) |
title_full_unstemmed |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) |
title_sort |
Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950) |
author |
Carneiro, Maristela |
author_facet |
Carneiro, Maristela |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Borges, Maria Elizia |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/0672444382021221 |
dc.contributor.referee1.fl_str_mv |
Borges, Maria Elizia |
dc.contributor.referee2.fl_str_mv |
Chiarelli, Domingos Tadeu |
dc.contributor.referee3.fl_str_mv |
Leandro, José Augusto |
dc.contributor.referee4.fl_str_mv |
Jesus , Samuel José Gilbert de |
dc.contributor.referee5.fl_str_mv |
Noronha, Márcio Pizarro |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/8461204091007488 |
dc.contributor.author.fl_str_mv |
Carneiro, Maristela |
contributor_str_mv |
Borges, Maria Elizia Borges, Maria Elizia Chiarelli, Domingos Tadeu Leandro, José Augusto Jesus , Samuel José Gilbert de Noronha, Márcio Pizarro |
dc.subject.por.fl_str_mv |
Escultura funerária Masculinidade Nudez e seminudez Cemitérios paulistanos Novecento taliano |
topic |
Escultura funerária Masculinidade Nudez e seminudez Cemitérios paulistanos Novecento taliano Funerary sculpture Masculinity Nudity and seminudity São Paulo cemeteries Italian Novecento CIENCIAS HUMANAS::HISTORIA |
dc.subject.eng.fl_str_mv |
Funerary sculpture Masculinity Nudity and seminudity São Paulo cemeteries Italian Novecento |
dc.subject.cnpq.fl_str_mv |
CIENCIAS HUMANAS::HISTORIA |
description |
This thesis investigates the use of nudity and seminudity and the multiple representations of masculinity in the modern funerary art at the city of São Paulo, looking at the collection of sculptures of the Consolação, Araçá and São Paulo cemeteries, situated in São Paulo State Capital, between 1920 and 1950. This work is a result of the doctorate research done for in the post-graduation program in History, at Universidade Federal de Goiás PPGH/UFG, supervised by Professor Dr. Maria Elizia Borges, furthermore by other resources obtained during the Sandwich Doctorate at Facoltà di Architettura dell'Università degli Studi di Napoli “Federico II”, under supervision of Professor Dr. Fábio Mangone. It is questioned which social and cultural aspects symbolize such male images, paying attention to the proper functions of the space of the cemetery, as an architectural object by definition. These are seen through the prism of Art History, allowing the terms – Art and History – to criticize and transform each other, opening disciplinary borders, as well as conceptual and linguistic ones, enabling for the domain of the historian to be modified by interventions of Art. Through the tabulation of male image occurrences, partially or completely naked, is observed that Italian aesthetic premises, especially those of the Novecento, have significant influence over the elaboration of São Paulo funerary art. This sculptures utilize often depictions that highlight sensibility in face of death, as well as the virility associated with work, on the other hand – in other words, there is no single, unchanging discourse on masculinity in the time period investigated. The analysis of the composition of the sculptures allow reconstructing partially the musings of the sculptors and their aesthetic expressivity as well as the meanings of their use of nudity and seminudity in the funerary art of the period. Furthermore, it is poited out that open air cemeteries allow for the exhibition of depictions of a masculinity sensitive and/or virile with greater expressive liberty. In short, these sculptures, as images, are historically localized and at the same time, bearers of a variety of temporalities and spatialities in the foundations, ever permeated by a continuous process of reconfiguration, from both, Past and Present. “Baring” them allows to find vestiges of Italian expression in the Tropical lands. |
publishDate |
2016 |
dc.date.accessioned.fl_str_mv |
2016-07-27T15:20:12Z |
dc.date.issued.fl_str_mv |
2016-06-23 |
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 |
CARNEIRO, M. Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950). 2016. 346 f. Tese (Doutorado em Historia) - Universidade Federal de Goiás, Goiânia, 2016. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/5744 |
identifier_str_mv |
CARNEIRO, M. Desnudando a masculinidade: representações de nudez e seminudez na estatuária funerária paulistana (1920-1950). 2016. 346 f. Tese (Doutorado em Historia) - Universidade Federal de Goiás, Goiânia, 2016. |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/5744 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.program.fl_str_mv |
872832998794064114 |
dc.relation.confidence.fl_str_mv |
600 600 600 600 |
dc.relation.department.fl_str_mv |
318079220827185643 |
dc.relation.cnpq.fl_str_mv |
-3840921936332040591 |
dc.relation.sponsorship.fl_str_mv |
2075167498588264571 |
dc.rights.driver.fl_str_mv |
http://creativecommons.org/licenses/by/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
http://creativecommons.org/licenses/by/4.0/ |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Goiás |
dc.publisher.program.fl_str_mv |
Programa de Pós-graduação em Historia (FH) |
dc.publisher.initials.fl_str_mv |
UFG |
dc.publisher.country.fl_str_mv |
Brasil |
dc.publisher.department.fl_str_mv |
Faculdade de História - FH (RG) |
publisher.none.fl_str_mv |
Universidade Federal de Goiás |
dc.source.none.fl_str_mv |
reponame:Repositório Institucional da UFG instname:Universidade Federal de Goiás (UFG) instacron:UFG |
instname_str |
Universidade Federal de Goiás (UFG) |
instacron_str |
UFG |
institution |
UFG |
reponame_str |
Repositório Institucional da UFG |
collection |
Repositório Institucional da UFG |
bitstream.url.fl_str_mv |
http://repositorio.bc.ufg.br/tede/bitstreams/24dccc07-080d-4239-9952-81839d8fa318/download http://repositorio.bc.ufg.br/tede/bitstreams/d520b483-e837-47a5-b4b1-3225811af2e3/download http://repositorio.bc.ufg.br/tede/bitstreams/f45da8a6-b02e-4620-958d-68f065ff9054/download http://repositorio.bc.ufg.br/tede/bitstreams/016e0495-2c59-4359-899a-cb5f8a9ca2e4/download http://repositorio.bc.ufg.br/tede/bitstreams/552992b2-f14b-48c2-a2fe-1d228c834a39/download |
bitstream.checksum.fl_str_mv |
bd3efa91386c1718a7f26a329fdcb468 321f3992dd3875151d8801b773ab32ed d41d8cd98f00b204e9800998ecf8427e d41d8cd98f00b204e9800998ecf8427e cf5205ad11c1b846300726287b386db8 |
bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositório Institucional da UFG - Universidade Federal de Goiás (UFG) |
repository.mail.fl_str_mv |
tasesdissertacoes.bc@ufg.br |
_version_ |
1798044418096234496 |