http://www.bdtd.uerj.br/handle/1/3635 2026-03-14T22:19:50Z 2026-03-14T22:19:50Z Schreiner, Beatriz Carvalho http://www.bdtd.uerj.br/handle/1/25301 2026-02-20T16:50:19Z 2026-01-09T00:00:00Z

Título: Na terra do maxixe: um espetáculo ilustrado de Roberto Rodrigues (1928) Autor: Schreiner, Beatriz Carvalho Primeiro orientador: Denis, Rafael Cardoso Abstract: This thesis aims to analyse the illustrated series intitled Na Terra do Maxixe, by artist Roberto Rodrigues (1906-1929), published from March to October 1928 in the magazine Para Todos. Drawing on the polysemy of the term “maxixe” in the title – which may refer to a type of party, music or dance –, the work examines the series’ eight illustrations as fragments of the author’s own narrative about the Brazilian territory and its inhabitants. The construction of this contradictory “land of the maxixe”, both familiar and exotic, is shaped by Roberto Rodrigues’ peculiar role in Rio de Janeiro’s journalistic domain and his involvement in the early twentieth-century theatrical universe, especially by the aesthetics of the so-called “teatro de revista” (revue) Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação

2026-01-09T00:00:00Z Mesquita, André Mauricio Guimarães http://www.bdtd.uerj.br/handle/1/24498 2025-08-21T14:29:59Z 2025-07-16T00:00:00Z

Título: Uma visita às profundezas: iconografias da Descida de Cristo ao limbo e a invenzione de Andrea Mantegna (c. 1431–1506) Autor: Mesquita, André Mauricio Guimarães Primeiro orientador: Quírico, Tamara Abstract: This research investigates the representations of Christ’s Descent into Limbo by the renowned Paduan painter Andrea Mantegna (c. 1431–1506), with particular focus on the period during which he served as a court artist in Mantua. Beginning with a survey of the origins and early formulations of the Descent into Limbo theme, the study outlines the main iconographic traditions of this motif, emphasizing its development throughout the Middle Ages in both the Western and Eastern Christian spheres, and its subsequent reconfiguration within the humanist context of the Quattrocento. It then offers an in-depth analysis of Mantegna’s compositions on the subject, which are distinguished by their innovative solutions — such as the dramaturgical use of perspective and the striking portrayal of Christ seen from behind, a device that not only challenges prior visual conventions but also redirects the viewer’s gaze, assigning them an active role in the reception of the image. In this sense, particular attention is given to the originality of Mantegna’s invenzione, which reshapes the codes of religious imagery by pushing the expressive boundaries of the theme. These images, created within the erudite and classicizing environment of the Gonzaga court, reveal a deep assimilation of humanist values, manifested in the interplay between Christian doctrine, contemporary references, and visual repertoires from Antiquity. Over the centuries, Mantegna’s compositions have been studied, copied, and admired by artists, intellectuals, and collectors alike, attesting to their enduring impact on Western artistic practice and visual culture. The central hypothesis of this research holds that, by reinterpreting the scene of Christ’s Descent into Limbo through unprecedented technical and narrative strategies, Andrea Mantegna played a decisive role in redefining the ways of seeing and representing the image of Salvation in the fifteenth century Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação

2025-07-16T00:00:00Z Silva, Julio Ricardo Menezes http://www.bdtd.uerj.br/handle/1/24411 2025-08-11T12:44:16Z 2024-07-04T00:00:00Z

Título: Museu de Arte Negra: passado, presente, ancestral Autor: Silva, Julio Ricardo Menezes Primeiro orientador: Castro, Maurício Barros de Abstract: The research investigates the trajectory of the Museu de Arte Negra (MAN) from the 1950s to its contemporary manifestations. Created by the Teatro Experimental do Negro under the leadership of Abdias Nascimento, the Museu de Arte Negra was a revolutionary project aimed at combating racism in its aesthetic and institutional dimensions. Two actions are fundamentally symbolic in its construction: the Art Contest on the theme of the Black Christ (1955) and the 1st Exhibition of the Museu de Arte Negra at the Museu da Imagem e do Som in Rio de Janeiro (1968). In both cases, the discussions provoked by these initiatives made headlines and filled newspapers and magazines with events explored throughout this research. After AI-5 was enacted by the dictatorship at the end of 1968, Abdias Nascimento, the museum’s organizer, went into exile in the United States, and the MAN entered a sort of limbo that lasted fifty years, from 1970 to 2020. However, the MAN experienced a kind of rebirth through a series of actions surrounding the Abdias Nascimento Program and the Museu de Arte Negra at Instituto Inhotim. Between 2021 and 2024, these actions resulted in fourteen artistic initiatives (exhibitions, commissioned works, among others) that received extensive coverage from national and international media, sparking significant discussions and debates for the construction of non-hegemonic narratives in art history Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação

2024-07-04T00:00:00Z Santos, Carolina Nunes http://www.bdtd.uerj.br/handle/1/24052 2025-06-03T13:04:31Z 2024-08-06T00:00:00Z

Título: A imagem do feminino e suas representações a partir da retratística da Imperatriz Teresa Cristina Autor: Santos, Carolina Nunes Primeiro orientador: Azevedo, Evelyne Abstract: Le texte ci présent explore les photografies réalisées de l’Impératrice Teresa Cristina à partir d’une voie féministe, en les examinant pas uniquement comme des registres visuels mais aussi comme des documents qui exercent un rôle essentiel dans la construction d’un récit [national] pendant le Seconde Empire. Ces images ne sont pas limitées seulement à la représentation de la vie de la Famille Impériale; au contraire, elles ont été stratégiquement utilisées avec le but de renforcer l’image de la souveraineté et de la stabilité de l’État brésilien pendant le règne de Pedro II. En outre, les photographies de l’impératrice et de sa famille fonctionnent comme un moyen de connexion émotionnelle avec ses sujets, le peuple. Ces portraits offrent une représentation humanisée de l’impératrice. Basé sur la perspective féministe, ces images sont analysées comme des instruments de pouvoir et résistance aux normes de genre de l’époque. Teresa Cristina, un personnage central dans ce contexte, ne s’est pas seulement adaptée aux perspectives culturelles du Brésil au XIXème siècle mais les a aussi contestées à travers son influence significative dans la promotion des arts et de la culture - dans les domaines locaux et internationaux-. Son goût pour l’art et son rôle comme mécène ont été capturés par les objectifs des premières photographies du Brésil. Cela met en évidence non seulement la personnalité polyvalente de l’impératrice mais aussi son impact concernant les sphères sociales et culturelles de l’époque. À partir des portraits de l’impératrice dans des situations et contextes différents, ces images ont documenté sa vie et ont aussi façonné des perceptions publiques quant à son leadership et à ses contributions à la société brésilienne de l'époque. La proposition de ce projet, au-delà de défendre l’importance des portraits comme des sources historiques, est celle d’offrir une perspective renouvelée sur la représentation féminine dans l’histoire du Brésil, en mettant en lumière la complexité de Teresa Cristina en tant que personnage historique et culturellement significatif Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Dissertação

2024-08-06T00:00:00Z