Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022)
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFS |
Texto Completo: | https://ri.ufs.br/jspui/handle/riufs/18431 |
Resumo: | Currently, many battles are fought online. Through comments, viewpoints are defended, heated discussions take place anonymously, data is leaked, and, in some cases, real conflicts begin. This digital landscape serves as a stage for political issues and cultural expressions, and cyberspace becomes another place where history is reused and reinterpreted. The medieval Iberian queen Urraca I (1081-1126) is inserted into these contemporary debates as another figure brought from the past to meet current needs. Her image is presented on social media as a symbol of resistance to the medieval patriarchal society, depicted as someone who fought to rule and also as an example of a woman who faced adversity in her marriage and resisted. Thus, her image becomes an icon for contemporary debates, being reevaluated through these new perspectives, which find in her history a space to advocate for Leonese regionalism, as well as a feminist symbol used mainly by right-wing political sympathizers. Therefore, in this research that uses social media as sources, we perceive that the representation of the queen fragments into various forms depending on how the interlocutor interprets history. |
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Santos, Luísa Vilas Boas dosÁlvaro, Bruno Gonçalves2023-09-28T20:33:26Z2023-09-28T20:33:26Z2023-07-28SANTOS, Luísa Vilas Boas dos. Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022). 2023. 115 f. Dissertação (Mestrado em História) – Universidade Federal de Sergipe, São Cristóvão, 2023.https://ri.ufs.br/jspui/handle/riufs/18431Currently, many battles are fought online. Through comments, viewpoints are defended, heated discussions take place anonymously, data is leaked, and, in some cases, real conflicts begin. This digital landscape serves as a stage for political issues and cultural expressions, and cyberspace becomes another place where history is reused and reinterpreted. The medieval Iberian queen Urraca I (1081-1126) is inserted into these contemporary debates as another figure brought from the past to meet current needs. Her image is presented on social media as a symbol of resistance to the medieval patriarchal society, depicted as someone who fought to rule and also as an example of a woman who faced adversity in her marriage and resisted. Thus, her image becomes an icon for contemporary debates, being reevaluated through these new perspectives, which find in her history a space to advocate for Leonese regionalism, as well as a feminist symbol used mainly by right-wing political sympathizers. Therefore, in this research that uses social media as sources, we perceive that the representation of the queen fragments into various forms depending on how the interlocutor interprets history.Atualmente muitas batalhas são travadas online. Por meio de comentários pontos de vista são defendidos, discussões fervorosas ocorrem de forma anônima, dados são vazados e, em alguns casos, conflitos reais têm início. Essa paisagem digital serve como palco para questões políticas e manifestações culturais, e o ciberespaço se torna mais um lugar onde vemos a história ser reutilizada e reinterpretada. A rainha medieval ibérica Urraca I (1081-1126) se insere nesses embates contemporâneos como mais uma figura trazida do passado para atender às necessidades atuais. Sua imagem é apresentada nos softwares sociais como um símbolo de resistência à sociedade patriarcal medieval, sendo retratada como alguém que lutou para governar e também como um exemplo de mulher que enfrentou adversidades em seu casamento e resistiu. Assim, sua imagem torna-se um ícone para debates contemporâneos, sendo revista através desses novos olhares, que encontram em sua história um espaço para defender um regionalismo leonês, como também um símbolo feminista utilizado principalmente por simpatizantes a direita política. Portanto, nesta pesquisa que utiliza dos softwares sociais como fontes percebemos que a representação da rainha se fragmenta em diversas formas a depender de como o interlocutor interpreta a história.São CristóvãoporSoftwares sociaisUrraca IMedievalismoSocial softwaresMedievalismCIENCIAS HUMANAS::HISTORIANas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022)On contemporary canvases, the face of the past: Urraca I and hers representations on social softwares (2010-2022)info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisPós-Graduação em HistóriaUniversidade Federal de Sergipe (UFS)reponame:Repositório Institucional da UFSinstname:Universidade Federal de Sergipe (UFS)instacron:UFSinfo:eu-repo/semantics/openAccessLICENSElicense.txtlicense.txttext/plain; charset=utf-81475https://ri.ufs.br/jspui/bitstream/riufs/18431/1/license.txt098cbbf65c2c15e1fb2e49c5d306a44cMD51ORIGINALLUISA_VILAS_BOAS_SANTOS.pdfLUISA_VILAS_BOAS_SANTOS.pdfapplication/pdf4289568https://ri.ufs.br/jspui/bitstream/riufs/18431/2/LUISA_VILAS_BOAS_SANTOS.pdfba2f643c72f6f8e94bb55bf18b84e3e8MD52riufs/184312023-09-28 17:43:30.336oai:ufs.br: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Repositório InstitucionalPUBhttps://ri.ufs.br/oai/requestrepositorio@academico.ufs.bropendoar:2023-09-28T20:43:30Repositório Institucional da UFS - Universidade Federal de Sergipe (UFS)false |
dc.title.pt_BR.fl_str_mv |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) |
dc.title.alternative.por.fl_str_mv |
On contemporary canvases, the face of the past: Urraca I and hers representations on social softwares (2010-2022) |
title |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) |
spellingShingle |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) Santos, Luísa Vilas Boas dos Softwares sociais Urraca I Medievalismo Social softwares Medievalism CIENCIAS HUMANAS::HISTORIA |
title_short |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) |
title_full |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) |
title_fullStr |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) |
title_full_unstemmed |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) |
title_sort |
Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022) |
author |
Santos, Luísa Vilas Boas dos |
author_facet |
Santos, Luísa Vilas Boas dos |
author_role |
author |
dc.contributor.author.fl_str_mv |
Santos, Luísa Vilas Boas dos |
dc.contributor.advisor1.fl_str_mv |
Álvaro, Bruno Gonçalves |
contributor_str_mv |
Álvaro, Bruno Gonçalves |
dc.subject.por.fl_str_mv |
Softwares sociais Urraca I Medievalismo Social softwares Medievalism |
topic |
Softwares sociais Urraca I Medievalismo Social softwares Medievalism CIENCIAS HUMANAS::HISTORIA |
dc.subject.cnpq.fl_str_mv |
CIENCIAS HUMANAS::HISTORIA |
description |
Currently, many battles are fought online. Through comments, viewpoints are defended, heated discussions take place anonymously, data is leaked, and, in some cases, real conflicts begin. This digital landscape serves as a stage for political issues and cultural expressions, and cyberspace becomes another place where history is reused and reinterpreted. The medieval Iberian queen Urraca I (1081-1126) is inserted into these contemporary debates as another figure brought from the past to meet current needs. Her image is presented on social media as a symbol of resistance to the medieval patriarchal society, depicted as someone who fought to rule and also as an example of a woman who faced adversity in her marriage and resisted. Thus, her image becomes an icon for contemporary debates, being reevaluated through these new perspectives, which find in her history a space to advocate for Leonese regionalism, as well as a feminist symbol used mainly by right-wing political sympathizers. Therefore, in this research that uses social media as sources, we perceive that the representation of the queen fragments into various forms depending on how the interlocutor interprets history. |
publishDate |
2023 |
dc.date.accessioned.fl_str_mv |
2023-09-28T20:33:26Z |
dc.date.available.fl_str_mv |
2023-09-28T20:33:26Z |
dc.date.issued.fl_str_mv |
2023-07-28 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
SANTOS, Luísa Vilas Boas dos. Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022). 2023. 115 f. Dissertação (Mestrado em História) – Universidade Federal de Sergipe, São Cristóvão, 2023. |
dc.identifier.uri.fl_str_mv |
https://ri.ufs.br/jspui/handle/riufs/18431 |
identifier_str_mv |
SANTOS, Luísa Vilas Boas dos. Nas telas do contemporâneo, a face do passado: Urraca I e suas representações nos softwares sociais (2010-2022). 2023. 115 f. Dissertação (Mestrado em História) – Universidade Federal de Sergipe, São Cristóvão, 2023. |
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