História, cultura, gênero e poder: representações sociais em movimento no seriado de TV Homeland (2001-2013)

In contrast to Muslins traditions and costumes, the US government and society seems to invest in the media to forge discourses on Western way of life. In addition, it creates idealized images of the woman, the hero, the father, the family, and an everyday speech invoking repeated and widespread moral values, including “justice” and “freedom”, in opposition to the “terror”. In this research we analysed the TV series Homeland, using as theoretical support the Cultural Studies, particularly the concept of Social Representation by Denise Jodelet, the analytics tools created by Michel Foucault on power devices, and feminist studies by Teresa of Lauretis. I’ve tried to see how forces in correlations operate, and how representations of womanhood, sexuality and nationality are built and reiterated in speeches, creating patterns of behaviour for men and women. Spreading images of the “good” man, the “good” wife, and the “hero”, the audio-visual product creates and produces the family, the society and the nation considered exemplar.

Um olhar sobre “Água Suja” e o “Moleque”: tradição, fé, cultura e teatralidade

This thesis addresses two spectacles: “Moleque tão Grande Otelo” and “Água Suja”, in which both have had my participation as producer and actress. The spectacle “Moleque tão Grande Otelo” reveals the racial-ethnic questions that surrounds the play and permeates the artist’s life whose name is the same. The play deals how the actor Grande Otelo life events’ had implied in his art, the facts that marked his career and they are shown at the spectacle, the reason why to articulate: art, life, fantasy and reality. Aiming to unveil the actor, I refer it to my history as an actress and the roots’ similarity to Sebastião Bernardes de Souza Prata, who became Grande Otelo to the world. In the staging of “Água Suja”, we also expose familial and religious memories and experiences of a people that overflow faith in a real spectacle, which takes place every year, in August, in our region, more specifically in Romaria – MG. While creating “Água Suja”, we experienced the act of keeping a promise and believing in the saint’s miracle, thus this experience is told in the spectacle and investigated in this study.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.