The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia

Detalhes bibliográficos
Autor(a) principal: Souza, Ana Guiomar Rêgo
Data de Publicação: 2019
Tipo de documento: Artigo
Idioma: por
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/5310
Resumo: George Balandier in his work "Le pouvoir sur scènes" (1980) states that forms of power are represented by the spectacularization of rituals, becoming a "theatocracy" or performance of a set of behaviors that produces an idealized image of themselves, for themselves and for others. In the Luso-Brazilian world and in Brazil during the two imperial periods, pompous funerals were routine, becoming an ephemeris that functioned both as a fitting send-off for the deceased, but also as a representation of their power. When constructing the spectacle of death, ephemeral visual arts and music stood out. In the latter, the Requiem Masses stood out. This article examines the 1816 Requiem by Father José Maurício Nunes Garcia, composed for the funeral of Queen Dona Maria I, progenitor of Dom João VI. The objective is to situate and problematize this work as the image of death realized through sound, and its place in the performance spaces in the Johannine times.
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spelling The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes GarciaEl espectáculo de las Pompas Fúnebres: El Réquiem de 1816 de José Maurício Nunes GarcíaO Espetáculo das Pompas Fúnebres: O Réquiem de 1816 de José Maurício Nunes GarciaSpectacularization of powerFuneral pompRequiemEspetacularização do poderPompas fúnebresRéquiemEspectacularización del poderPompas FúnebresRequiemGeorge Balandier in his work "Le pouvoir sur scènes" (1980) states that forms of power are represented by the spectacularization of rituals, becoming a "theatocracy" or performance of a set of behaviors that produces an idealized image of themselves, for themselves and for others. In the Luso-Brazilian world and in Brazil during the two imperial periods, pompous funerals were routine, becoming an ephemeris that functioned both as a fitting send-off for the deceased, but also as a representation of their power. When constructing the spectacle of death, ephemeral visual arts and music stood out. In the latter, the Requiem Masses stood out. This article examines the 1816 Requiem by Father José Maurício Nunes Garcia, composed for the funeral of Queen Dona Maria I, progenitor of Dom João VI. The objective is to situate and problematize this work as the image of death realized through sound, and its place in the performance spaces in the Johannine times.George Balandier en su obra Poder em Cena (2009) afirma que las formas de poder se representan a través de la espectacularización de sus rituales configurando una "teatralidad" o conjunto performático de manifestaciones que devuelve una imagen idealizada de sí mismo y de los demás. En el mundo luso-brasileño y en Brasil, durante los dos períodos imperiales, fue recurrente la realización de la pompa funeraria, efemérides que al mismo tiempo trabajaron como pedagogía para el "buen morir" y se afirmaron como una representación del poder. En la construcción del espectáculo de la muerte destacó el efímero arte visual y sonoro. En este último destacan las Misas de Réquiem. En este artículo, el Réquiem de 1816 escrito por el Padre José Maurício Nunes García, compuesto para el funeral de la Reina Doña María I, progenitora de Dom João VI. El objetivo es situar y problematizar esta obra como imagen sonora de la muerte y su lugar en los espacios escénicos de los tiempos de Juan.George Balandier em sua obra Poder em Cena (2009) afirma que as formas de poder se representam por meio da espetacularização de seus rituais configurando uma “teatrocracia” ou conjunto performático de manifestações que lhe devolve uma imagem idealizada de si e para outrem. No mundo Luso-Brasileiro e no Brasil, durante os dois períodos imperiais, foi recorrente a realização de pompas fúnebres, efemérides que ao mesmo tempo em que funcionavam como pedagogia para o “bem morrer” e se afirmava como representação de poder. Na construção do espetáculo da morte destacava-se a arte efêmera visual e sonora. Nesta última, destaca-se as Missas de Réquiem. Em foco neste artigo, o Réquiem de 1816 de autoria do Padre José Maurício Nunes Garcia, composto para as exéquias da Rainha Dona Maria I, progenitora de Dom João VI. Objetiva-se aqui situar e problematizar essa obra como imagem sonora da morte e seu lugar nos espaços de performance nos tempos joaninos.Universidade Federal de Minas Gerais (UFMG)2019-08-26info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontextotextoinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/531010.35699/2317-6377.2019.5310Per Musi; No. 39 (2019): General Topics; 1-22Per Musi; Núm. 39 (2019): General Topics; 1-22Per Musi; n. 39 (2019): General Topics; 1-222317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/5310/12058Copyright (c) 2019 Per Musiinfo:eu-repo/semantics/openAccessSouza, Ana Guiomar Rêgo2020-10-30T19:19:41Zoai:periodicos.ufmg.br:article/5310Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2020-10-30T19:19:41Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
El espectáculo de las Pompas Fúnebres: El Réquiem de 1816 de José Maurício Nunes García
O Espetáculo das Pompas Fúnebres: O Réquiem de 1816 de José Maurício Nunes Garcia
title The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
spellingShingle The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
Souza, Ana Guiomar Rêgo
Spectacularization of power
Funeral pomp
Requiem
Espetacularização do poder
Pompas fúnebres
Réquiem
Espectacularización del poder
Pompas Fúnebres
Requiem
title_short The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_full The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_fullStr The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_full_unstemmed The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_sort The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
author Souza, Ana Guiomar Rêgo
author_facet Souza, Ana Guiomar Rêgo
author_role author
dc.contributor.author.fl_str_mv Souza, Ana Guiomar Rêgo
dc.subject.por.fl_str_mv Spectacularization of power
Funeral pomp
Requiem
Espetacularização do poder
Pompas fúnebres
Réquiem
Espectacularización del poder
Pompas Fúnebres
Requiem
topic Spectacularization of power
Funeral pomp
Requiem
Espetacularização do poder
Pompas fúnebres
Réquiem
Espectacularización del poder
Pompas Fúnebres
Requiem
description George Balandier in his work "Le pouvoir sur scènes" (1980) states that forms of power are represented by the spectacularization of rituals, becoming a "theatocracy" or performance of a set of behaviors that produces an idealized image of themselves, for themselves and for others. In the Luso-Brazilian world and in Brazil during the two imperial periods, pompous funerals were routine, becoming an ephemeris that functioned both as a fitting send-off for the deceased, but also as a representation of their power. When constructing the spectacle of death, ephemeral visual arts and music stood out. In the latter, the Requiem Masses stood out. This article examines the 1816 Requiem by Father José Maurício Nunes Garcia, composed for the funeral of Queen Dona Maria I, progenitor of Dom João VI. The objective is to situate and problematize this work as the image of death realized through sound, and its place in the performance spaces in the Johannine times.
publishDate 2019
dc.date.none.fl_str_mv 2019-08-26
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
texto
texto
info:eu-repo/semantics/other
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/5310
10.35699/2317-6377.2019.5310
url https://periodicos.ufmg.br/index.php/permusi/article/view/5310
identifier_str_mv 10.35699/2317-6377.2019.5310
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/5310/12058
dc.rights.driver.fl_str_mv Copyright (c) 2019 Per Musi
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2019 Per Musi
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
dc.source.none.fl_str_mv Per Musi; No. 39 (2019): General Topics; 1-22
Per Musi; Núm. 39 (2019): General Topics; 1-22
Per Musi; n. 39 (2019): General Topics; 1-22
2317-6377
1517-7599
reponame:Per Musi
instname:Universidade Federal de Minas Gerais (UFMG)
instacron:UFMG
instname_str Universidade Federal de Minas Gerais (UFMG)
instacron_str UFMG
institution UFMG
reponame_str Per Musi
collection Per Musi
repository.name.fl_str_mv Per Musi - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv antoniom@fgvnf.br||permusi@ufmg.br
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