As fronteiras do corpo proferidas na arte: uma análise dos corpos pendurados em “O juízo final” de Giotto di Bondone (1306)

• Ano de defesa: 2021
• Autor(a) principal: Freitas, Thuyla Azambuja de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; Brasil; História; UFSM; Programa de Pós-Graduação em História; Centro de Ciências Sociais e Humanas
• Palavras-chave em Português: Análise do discurso foucaultiana; Pittura infamante; Juízo final; Giotto di Bondone; Dispositivo de infâmia; Foucauldian discourse analysis; Last judgment; Infamy dispositive; CNPQ::CIENCIAS HUMANAS::HISTORIA
• Link de acesso: http://repositorio.ufsm.br/handle/1/24048

The body, ephemeral territory, is composed by a set of sociocultural elements that cross under our being, dictating and elaborating the experience, merging the fibers, even of that one thicker skin. With a plural and changeable materiality, it operates from the perspective of the period and place where it lives. This is the object which our dissertation searches, through the lens of the image, to observe the symbolic borders. We also consider the political aspects of the body. Because, in this place where we become body, the dimensions aren’t fixed or stable, and the sources are inexhaustible. From this premise, and of the body as an investigative locus, we aim to understand in this work his interdictions and regimes. Through a Foucauldian perspective, we will analyze a dispositive of control and power, in the tradition called Pittura Infamante, performed during the 14th to 16th century in north-central Italy. The performance of these bodies, since the construction of the notions considered infamous, shameful and the interpretation of a infamous by a current moral, not only contributed to the formation of meanings, but was also conditioned by rites, practices and the language that marks their existence. As persons, we become a body from the speech, the discourse. With this in mind, we observe what was being said and seen from a fragment contained in the fresco “Last Judgment” by Giotto di Bondone (1306), which was part of this tradition.