Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2013-12-04T16:37:14Z No. of bitstreams: 2 Lima, Renata-Dissert-2013.pdf: 7079373 bytes, checksum: 76c26b000231cdb7b67d687686cf299e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2013-12-04T16:37:14Z (GMT). No. of bitstreams: 2 Lima, Renata-Dissert-2013.pdf: 7079373 bytes, checksum: 76c26b000231cdb7b67d687686cf299e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013 / Esta pesquisa aborda conflitos de terra que configuraram a ocupação territorial fluminense submetida ao projeto colonizador português. O objeto de destaque nestas disputas é uma localidade denominada Quilombo, atualmente situada no município de Casimiro de Abreu (RJ). A presença deste nome em mapas contemporâneos como designação oficial de uma região onde não há negros, mas descendentes de colonos suíços, foi o indício primordial para uma investigação acerca da resistência escrava naquela localidade. Em cartas, ofícios e declarações produzidos durante a década de 1820, colonos suíços afirmaram que prenderam quilombolas e destruíram quilombos, se apossando de suas terras. Notícias de jornal e mapas das três primeiras décadas do século XIX também forneceram informações sobre qui8lombolas e suas instalações nesta região. No âmago das relações de trabalho que constituíram o escravismo colonial brasileiro, o marco cronológico de limiar desta pesquisa é a implantação da família real e corte portuguesa no Rio de Janeiro, em 1808, quando mudanças demográficas expressivas ocorreram, expandindo a colonização antes concentrada no litoral para o interior, com a ocupação da Serra do Mar onde se localizavam quilombos. O marco que finaliza o período desta pesquisa é o término do reinado de D. Pedro I, em 1831, quando foi promulgada a lei Feijó, que garantia liberdade aos escravos chegados ao país a partir desta data, e ano de suspensão oficial das imigrações européias. / This research approach land conflicts that shaped the territorial occupation of Rio de Janeiro submitted to the Portuguese colonizing project. The object highlighted in these disputes is a place called Quilombo (Maroon settlement on runaway slave settlement), currently located in the municipality of Casimiro de Abreu (RJ). The presence of this name in contemporary maps as the official denomination of a region where there are no blacks, but descendants of Swiss colonists, was the primary indication for an investigation into the slave resistance in the locality. In letters, crafts and statements produced during the 1820s, Swiss colonists said they arrested Maroons and destroyed the Maroons settlements, seizing their lands. Newspaper reports and maps of the first three decades of the nineteenth century also provide information about Maroons and their settlement in this region. At the core of labor relations that constituted the Brazilian colonial slavery, the chronological milestone threshold of this research in the transference of the Portuguese royal family and court to Rio de Janeiro, in 1808, where significant demographic changes occurred, before expanding colonization concentrated on the coast to the interior, the occupation of the Serra do Mar (Sea’s Mountain) where was located Maroon settlements. The milestone that ends the period of this research is the conclusion of D. Pedro I’s reign in 1831, when the Act Feijó was enacted, which garanteed freedom to slaves arrived in Brazil as from this date, and year of official suspension of European immigration.

Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA. Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators. Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA. Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators. Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)