http://hdl.handle.net/11422/99 Fri, 24 Jul 2026 20:25:38 GMT 2026-07-24T20:25:38Z http://hdl.handle.net/11422/29691 Title: Arte popular brasileira e a criação da Casa do Pontal: um olhar antropológico Author(s)/Inventor(s): Mascelani, Maria Angela dos Santos Advisor: Cavalcanti, Maria Laura Viveiros de Castro Abstract: Popular art, apart from the contribution of some authors, has received little attention from art scholars, generating few critique texts. Produced by people from the underprivileged economic strata of the population, this art occasionally occupies art galleries, cultural centers and museums. The reflections about this form of production generally question its condition of "art", when their option is not to propose the use of classifying scales, discussing the prevalence of their craftsmanship aspects over the artistic ones, or vice-versa. ln the period focused by this research, from the second half of this century on, only a few times was this genre substantially taken as an art, favouring its esthetic aspects. A rare example of this viewpoint, was given by the work of the French artist and collector Jacques Van de Beuque, who dedicated the last 45 years to the research, selection, classification and creation of an adequate space for the exhibition of this work, in the city of Rio de Janeiro: Casa do Pontal. Such peculiarity initially suggested that the objective of this dissertation should be to discuss this enterprise, which collection includes 4.500 objects, focusing the tridimensional production, and is considered as the largest and most complete popular art museum in the country. At first, I thought about recovering the data concerning the history of its creation, through a biographical approach, since it was a private enterprise, carried on by the initiative and the financial resources of one only person. However, as the indepth research on this theme advanced, I perceived that this work developed by Jacques Van de Beuque was based upon the cooperation amongst a number of people and events, which careful examination raised a question about the cultural encounters between social layers. This perception changed the major focus of my research, and I began to study the relatively large group of social actors, where each one, in their own way, performed an important role, and all of them contributed to shape the idea of popular art, as a form of contemporary plastic expression. For this reason and, considering that art in this century is a complex problematic, and that there is no space for unanimity or certainty, I made an option to observe from the diversity of viewpoints expressed by the participants in this network, composed of people who cooperate round the very idea of "popular art", analyzing what they think and practice: artists, shop owners, consumers, critics, scholars and collectors. ln examining this network through a sociological perspective, a fact became clear; that different social actors contribute, sometimes without knowing, to the establishment of a certain conceptual view of the Brazilian popular art. Dueto the lack of references to support the research in the field of History of Art - based on the development of stylistic schools and on the reconstitution of historical personalities - where the current popular production is, generally, not mentioned - I chose to verify which would be the concept shared by artists and consumers (the collector seen as a privileged consumar), trying to identify the coincident and the opposite points, aiming at finding the acccurate vision of art that corresponds to their ideas. When placing these cooperations into perspective, it is my interest to contribute to expand the visibility around what constitutes the Brazilian popular art, if not in its totallity - which seems to be impossible, due to the proliferation of this sort of artistic production and to their many possible interpretations - at least, a portion of the constituents of this universe, which I consider as part of one world among the many "art worlds", multiplied in Brazil and abroad, in our present time, when fragmentation is the emphasis. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação Thu, 01 Aug 1996 00:00:00 GMT http://hdl.handle.net/11422/29691 1996-08-01T00:00:00Z http://hdl.handle.net/11422/29569 Title: Constelações da Boca do Céu: poéticas de uma esquizonauta ou formas de navegar o caósmos Author(s)/Inventor(s): Spadotto, Danielle de Cassia Advisor: Nóbrega, Carlos Augusto Moreira da Abstract: This research was conducted by an artist and researcher diagnosed with schizophrenia. Grounded in self-reflexive experience and in schizophrenic modes of feel-think-being within contemporary society and culture, the study poses the following questions: if society and culture can be understood as exhibiting a schizophrenic affect or disposition, how might their processes of subjectivation be navigated? What lines of force are mobilized to mediate or stabilize processes of deterritorialization and reterritorialization? Which aesthetic elements or procedures operate within and around these dynamics? These questions structured the research, which developed in close relation to everyday life and, in turn, informed both the artistic practice and the theoretical inquiry through dialogue with artists and thinkers from the fields of art, philosophy, and psychoanalysis. Starting from the assumption that, in order to cope with the chaos established during psychotic episodes, individuals with schizophrenia develop coping strategies that take the form of a constellation - thus enabling orientation and engagement in the movement of life, allowing navigation between delirium (imagistic processes) and thought (conceptualization and abstraction) -, our hypothesis suggests that art, for the schizo subject, is not merely a therapeutic instrument that enables self-expression, but rather, and more fundamentally, an aesthetic dispositif that fosters the development of ethical and political thought in active relation to one’s historical, social, and cultural context, situating madness as a counter-colonial mode of creation, reflection, sharing, and knowledge production. Drawing on what Ken Gale has termed methodogenesis, the research both shaped and was shaped by the lived experiences encountered throughout its trajectory. The study examines key moments in Western thought that accompanied the emergence of schizophrenia as both a clinical pathology and a mode of production, while engaging in critical dialogue with theorists and artists whose work supports and expands the proposed analysis. In addition, the research considers works by both schizophrenic and non-schizophrenic artists in order to identify how constellational procedures manifest aesthetically and whether they reveal shared formal or conceptual characteristics. Finally, the project culminates in the creation of a schizophrenic poetic constellation composed of artworks that integrate and respond to the theoretical and conceptual contributions developed throughout the research. Publisher: Universidade Federal do Rio de Janeiro Type: Tese Mon, 30 Mar 2026 00:00:00 GMT http://hdl.handle.net/11422/29569 2026-03-30T00:00:00Z http://hdl.handle.net/11422/29481 Title: Linguagens, sínteses: temporalidade construtiva Author(s)/Inventor(s): Castro, Rosana Costa Ramalho de Advisor: Houayek, Paulo Guilherme Schmidt Ortiz Abstract: This study refers to the analysis of ornamental patterns of the braided work made by Brasilian lndigene, observing their structures of constructions where an abstract language is used, with the porpose to understand their esthetics. Studies have been realized about the structure of construction of the figure, since the Egyptian Art, the observation of the characteristics of the Theories of the Proportions, from the Midle Age to the Renassaince, the observation about the structure of the composition in Cézanne's work of art, the characteristics of investigation about the form of Cubism and, finally, the Construtivism of Paul Klee, with the purpose to understand the evolution of the construction of human figure and of the composition. This work uses as methodology the investigation of the cited pattern observing, by a formal study, their main characteristics of abstraction. syntesis, and temporality; as well it observes the similarities between the lndigene braided work and the written musical with the purpose of proceeding to the correlation with the Paul Klee's pictorial work of art. in order to understand the Construtivism character from the lndigene esthetic. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação Sun, 01 Jan 1995 00:00:00 GMT http://hdl.handle.net/11422/29481 1995-01-01T00:00:00Z http://hdl.handle.net/11422/29280 Title: Nova visão de arquitetura e urbanismo do período inca no continente pré-americano Author(s)/Inventor(s): Paz, Carmen Nilda Mena Advisor: Alcântara, Dora Monteiro e Silva de Abstract: During the Inca Era, the spacial planning at different scales respected and followed closely to the millenium tradition, in which science, technology profession of faith and art were generated from the cosmic relations. From these relations, it was created a mathematic system of measurig, which was based on the constellation that ruled the continent “The Cruzeiro do Sul”, of wich orignated the square cross, whose ratio of proportionality give the value of "pi." This proportion made it possible that the Andean space be structured dimensionally through thousands of years of history. The mathematic and geometric system of measurement gave a valuable instrument of analysis of the materials structure, as they were based on different forms of thought, in wich the essence of culture was developed. The Inca urbanism and architecture established a standardization, wich was made modules and models in differents and implanted in the space according to the specific needs and characteristics of the territory. Owing to this, it is taken into consideration the orderly concepts planning instead of similitude in morpholoy. The "Amautas" or urban architeture, with their important cosmic vision, showed us global solutions of the whole set, where nature, science, technology, art, and culture expressed themselves in total harmony. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação Tue, 01 Mar 1994 00:00:00 GMT http://hdl.handle.net/11422/29280 1994-03-01T00:00:00Z