Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
SANTIAGO, Tainá Maívys da Silva |
| Orientador(a): |
AZEVEDO, Natanael Duarte de |
| Banca de defesa: |
REZENDE, Antonio Paulo de Morais,
SANTOS, Maria Emilia Vasconcelos dos |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal Rural de Pernambuco
|
| Programa de Pós-Graduação: |
Programa de Pós-Graduação em História
|
| Departamento: |
Departamento de História
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/8389
|
Resumo: |
On this research, we start with the question about the very intimate character of Francisco Brennand’s paintings, which apart from being reserved only for the gaze of a closed circle for a long time, also reveal the artist’s obsession with the body and idealization of a feminine. With a theoretical basis that has the feminist discourses of art as the main thread, we go on to the analysis of six paintings made by Francisco Brennand between the years 1995 and 2004. Griselda Pollock, Judith Butler, Peter Burker, Slavoj Zizek, Pierre Bourdieu and others make up this basis and hold a debate with the references used by Brennand to compose his imaginary. It’s from theses analyzes that we propose a discussion about the allegorization of the female body, demonstrating that there is an ideological intention in the production of these paintings, which consists in carrying forward a thought based on the heteronormative society sponsored by the emerging capital in the 20th century. That is, from the advancement of feminist guidelines, the valorization of woman artist and also from the changes in the idea of body, gender, sex and sexuality, there is an emergency in reasserting values, standards and norms. In addition to these evidences, we insist on pointing them out from a perspective that focuses on the man Francisco Brennand as an individual. It is by noticing his anxieties, obsessions, curiosities and the idea of desire that he spills over these productions that we will understand these social problems. Our methodology is based on what Panofsky (2002) called an iconological method, an analysis of allegories perceived in paintings. For these chosen paintings, we went to Francisco Brennand’s Diaries and other documents which we had access in the collection of Brennand’s Ceramic Workshop. As a result of this articulation between the paintings, the signs and the signs of that society back at that time, we can get a glimpse of how the idea of body (and all its adjacencies - gender/sex/sexuality/desire/performativity etc.) is developed in connection with several factors. We hope to contribute to a historiography that seeks the empowering of the bodies by perceiving their fluidity and importance on subjective aspects of culture and sociability. |
