A arte rupestre como expressão comunicativa da cultura

Along their existence, through of the millenniuns, the Man registers, one way or another, their saga. One in those registration ways is the rupestrian art. Through the rupestrian art the Prehistory is brought even us, portraying in images the daily ritualist and magic of the Man, in scenes that show, among other, their cults and also their daily hard work. The Man is imposed, while registering of their existence, starting from the moment in that he is capable to leave their marks through the transformation that attributes to the Nature; also for the produced interferences and for the cultural singularities that themselves were constituted before the period of the alphabetical writing. In an artifice of duplicating utensils and in the sense of representing animals and to himself own, he delegated us a communicative system whose contexts and details were - and it continue being - an enigma to be deciphered. Starting from this argument, the research has for objective to understand the daily and the history of cultural groups that they preceded us, taking as base the reading of the rupestrian paintings found at the located archeological ranches in the Area of Seridó, more specifically in the Complexo Xique-xique, close to the Municipal district of Carnaúba dos Dantas, distant 220 kilometers of Natal, the capital of Rio Grande do Norte State

O discurso do grotesco na mídia digital

This study presents our research on the discourse of the grotesque in digital media, specifically in two blogs. We rely on the theoretical-conceptual and methodological discourse analysis of the French School. We analyzed a set of posts in the following blogs: Eu Sou Ryca and Cleycianne, and we did it based on some propositions on the discourse of the grotesque by Mikhail Bakhtin (1999a), Muniz Sodré and Raquel Paiva (2002), Wolfgang Kayser (2003) and Mary Russo (2000). The expressions of the grotesque analyzed in the blogs Eu Sou Ryca and Cleycianne result predominantly in humorous effect, obtained by means of irony and parodization, which calls for ridicule and relegation, through a strong tension between the beautiful and the ugly, the socially acceptable and the aberration, the taste for the strange and the aesthetically striking. The grotesque appears initially as a significant feature of ornamental paintings found in Roman caves in the late fifteenth century, and today it can be seen permeating from sculptures, paintings, literary works, talk shows for television, videos hosted in cyberspace, specifically in the collective domain of weblogs. This work seeks to analyze how the discourse of the grotesque constitutes the humorous process in its insertion in cyberspace

O mundo criado pelas imagens: paisagens e espaços coloniais na obra do holandês Frans Post

The aims of this dissertation is to study formation of the Dutch view seeing the colonial scenery in screens by Frans Post, as well as, to perceive a colonial world constitution through landscape paintings by him with his natural and human representation. The artist was the first to portray South American views, after he landed in Pernambuco with retinue of Dutch governor of colony, John Maurice, Prince of Nassau-Siegen. Post, by his 24 years old, was designated to represent for Dutch people their colony. The text reflects on visual construction of natural and human aspects in landscapes by Dutchman and how that aspects were included in colonizer imaginary about the strange world of America. European (Dutch) look about their conquered possessions in the New World was charged with exoticism and imagination. In order to understand that view, it`s paramount to study imaginary pictures reared by Frans Post, on his return to the Netherlands, and notions of landscape and exotic, wild and unspoiled nature which the Dutch people had when they thought about the Dutch colony in America. Our principal (visual) sources of research are six paintings: Vista da Sé de Olinda (1662), Vista das ruínas de Olinda (undated), Engenho (undated), Engenho (1660), Vista da cidade Maurícia e do Recife (1653), e Paisagem com rio e tamanduá (1649), all these canvases were painted when Frans Post returned to Europe. We seek to work through a methodology that focuses on investigation of primary visual and textual material, because these textual and pictorial representations reflect the 17th-century colonial view of colonial history themes of the - here called - Dutch America

Evolution of representation of the hands in plastic arts

A interação entre arte e ciência foi intensa durante o Renascimento, sofrendo declínio nos anos posteriores com retomada significativa no século XX, principalmente com o uso de técnicas de identificação, datação de obras de arte e o desenvolvimento de novos materiais. O relacionamento entre artes plásticas e Cirurgia da Mão mantêm-se intenso , sendo freqüente o uso de reproduções artísticas da mão nas ilustrações de textos científicos. Objetivando compreender o papel da mão nas artes plásticas, reproduções de obras de artes (esculturas e pinturas) representativas de vários estilos ou períodos da história da arte foram analisadas com enfoque no estudo das mãos. Detalhes anatômicos, relacionamento com outras estruturas do corpo humano, papel na composição e aspectos simbólicos das mãos foram estudados no contexto histórico e artístico de obras de arte do período paleolítico (pré-história) até o século XX. A representação da mão nas artes plásticas está diretamente relacionada ao estilo ou período da obra e à capacidade individual de interpretação e execução do artista.

Historical aspects of Belly Dance and its practice in Brazil

Dance is regarded as one of the oldest art forms, which is based on evidence from prehistoric paintings found in caves; man expressed himself through body language prior to the development of spoken and written forms of communication. Dance was then used during important events, common to their era and culture, and often in religious rituals, to ensure good harvests - their economic activity. Belly-dance appeared approximately eight thousand years B. C. E. as a sacred dance firstly practiced by priestesses, and after that, it was popularized amongst women from Mesopotamia. Virtually considered an ancient form of physical exercise, it is still practiced by Bedouin women as a preparation for spontaneous delivery. In Brazil, belly-dance is widely practiced and our corporal culture enables its learning and improvement, resulting in professional dancers.

Geografia: o olhar e a imagem pictórica

Este artigo objetiva apresentar, de forma introdutória, a possibilidade e a necessidade de diálogo entre a linguagem pictórica e o discurso científico da Geografia. Para tal, apresenta alguns elementos do alfabeto das pinturas de imagens a partir tanto da semiótica quanto da gestalt, analisadas por Fayga Ostrower e Donis Dondis. O exercício interpretativo dá-se a partir do conceito de paisagem aplicado sobre as imagens elaboradas artisticamente por grandes pintores da humanidade, contextualizando-as a partir dos elementos técnicos e tecnológicos que existiam na época e no lugar, e da forma como esses interferem nos processos de elaboração e interpretação das obras. Para exemplificar isso, utilizam-se três pinturas elaboradas em diferentes períodos, a partir da Europa medieval até o mundo moderno, apresentando, assim, os aspectos gerais que levavam à mudança de leitura espacial do território produzido a partir da consolidação do mundo urbano, industrial e baseado na lógica da mercadoria.

Diálogos intertextuais no feminino: Margaret Drabble

In The Middle Ground (1980), Margaret Drabble uses an intertextual web to depict the feminine search for identity and psychological integrity in middle age. This paper attempts to identify and analyze the absorption and integration of other texts in The Middle Ground. The dialogue, both in theme and style, with Virginia Woolf's Mrs Dalloway is initially considered, mostly from the perspective of parody. Other confluences are also studied: with Russian fairy tales, with paintings by Hans Holbein, J. B.Vanmour, Van Dyck, Claude Lorrain and Peter de Hooch, and also its references to the whole of Drabble's literary work.

The problems of intellectual property in Latin America and how to address them

Includes bibliography

A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

A pintura de Jesuíno do Monte Carmelo na Igreja da Ordem Terceira do Carmo em São Paulo

Pós-graduação em Artes - IA

Arte e formação de educadores: metodologia para compreender e dizer

Pós-graduação em Artes - IA

Pintura e objeto

Pós-graduação em Artes - IA

O 'Grupo Tapir'e a pintura de casarios (1960-1980)

Pós-graduação em Artes - IA

O educador e a leitura de images

Pós-graduação em Artes - IA

As artes e as técnicas do ser e do saber/fazer em algumas atividades no cotidiano da comunidade Kalunga do Riachão

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)