Texte remanié de : thèse de doctorat : Histoire de l'art : Hebrew University of Jerusalem : 1994. / Bibliogr. p.[ 257]-272. Index.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-07-03T13:23:29Z No. of bitstreams: 1 Tese de Maria Auxiliadora_versão final para entrega na ufba.pdf: 42124871 bytes, checksum: 79aa6ae54092113c0c29125057e5f412 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-07-03T17:27:10Z (GMT) No. of bitstreams: 1 Tese de Maria Auxiliadora_versão final para entrega na ufba.pdf: 42124871 bytes, checksum: 79aa6ae54092113c0c29125057e5f412 (MD5) / Made available in DSpace on 2018-07-03T17:27:10Z (GMT). No. of bitstreams: 1 Tese de Maria Auxiliadora_versão final para entrega na ufba.pdf: 42124871 bytes, checksum: 79aa6ae54092113c0c29125057e5f412 (MD5) / Esta pesquisa pretende analisar a produção artística e pessoal da pintora Frida Kahlo sob a perspectiva dos Estudos de Tradução, com maior ênfase nos Estudo de Tradução Intersemiótica. Muito se comenta que a obra da mexicana reflete, em grande parte, o que foi a sua vida, fortemente marcada por acontecimentos de diversas ordens: sérios problemas de saúde causados, sobretudo, por um grave acidente deônibus sofrido ainda na juventude, além de um relacionamento amoroso bastante conturbado com o muralista Diego Rivera. Não por acaso, esses são os temas mais representados pela artista em seus autorretratos. Partindo dessa constatação, a pesquisa objetiva, primeiramente, comprovar essa possível e estreita relação entre a vida e os autorretratos produzidos pela pintora, e, em seguida, a partir da leitura e análise das anotações do seu diário e das cartas escritas por ela e as recebidas – considerados, aqui, como textos de partida – identificar, nos autorretratos – os textos de chegada – a tradução desses documentos escritos e neles o registro feito pela artista dos sentimentos e emoções por ela experimentados em decorrência dos acontecimentos. Os fundamentos teóricos que sustentam o trabalho são, sobretudo, aTeoria do Polissistema, de Itamar EvenZohar, o conceito e a aplicação dos Estudos de Tradução Intersemiótica proposto por Julio Plaza, além das contribuições no campo da análise semiótica feitas por Lúcia Santaella. A pesquisa contempla, ainda, algumas reflexões acercado crescente número de admiradores de Frida Kahlo. / Esta investigación pretende analizar la producción artística y personal de la pintora Frida Kahlo sobre la perspectiva de los Estudios de Traducción, con mayor énfasis en los Estudios de Traducción Intersemiótica. Mucho se ha comentadoque la obra de la mexicana refleja, en gran parte, lo que fue su vida, fuertemente marcadapor acontecimientos de diversos órdenes: serios problemas de salud causados, sobre todo, por un grave accidente de tranvía sufrido cuando aún era joven, además de un relacionamiento amoroso conturbado con el muralista Diego Rivera. No es casual, que esos sean los temasmás representados por la artista en sus autorretratos. Partiendo de esa constatación, la investigación se centra, primeramente, en comprobar esa posible y estrecha relación entre la vida y los autorretratos producidos por la pintora, y, en seguida, a partir de la lectura y elanálisis de las anotaciones de su diario y de las cartas escritas por ella y las recibidas – considerados aquí como textos de partida – identificar, en los autorretratos – los textos de llegada – la traducción de esos documentos escritos y en ellos el registro hecho por la artista de los sentimientos y emociones por ella experimentados en el transcurso de los acontecimientos. Los fundamentos teóricos que sustentan el trabajo son, sobre todo, la Teoría del Polisistema, de Itamar Even-Zohar, el concepto y la aplicación de los Estudios de Traducción Intersemiótica propuesto por Julio Plaza, además de las contribuciones en el campo del análisis semiótico hechas por Lúcia Santaella. La investigación contempla, además, algunas reflexiones acerca del creciente número de admiradores de Frida Kahlo.

Notre travail analyse la peinture et le journal intime de Frida Kahlo comme les terrains d'une rencontre entre l'artiste et son identité. Sa production porte les traces d'un processus identitaire dynamique, conditionné par son parcours individuel mais aussi par le contexte historique, politique et culturel dans lequel elle évolue. Ainsi, après avoir fait le point sur la biographie de l'artiste, défini son univers esthétique et cerné ses influences intellectuelles et culturelles, nous déterminerons le rôle de sa production dans la recherche et l'affirmation de son identité. Aussi analyserons-nous comment se lisent, dans ses autoportraits, les éléments constitutifs de son identité personnelle. Puis, en élargissant notre corpus à l'ensemble des genres de sa production, nous verrons comment ses préoccupations intimes et personnelles rejoignent le questionnement identitaire national qui domine le panorama culturel mexicain post-révolutionnaire. Nous constaterons alors que cette quête identitaire débouche chez l'artiste sur une réflexion quant à la place de chaque individu, dans la société et dans le monde. / This study will analyse the painting and diary of Frida Kahlo as areas where the artist explores her identity. Her output betrays signs of a dynamic process of identity creation, influenced not only by her life but also by the historic, political and cultural context in which she lived. Thus, after having taken stock of her life, defined her aesthetic universe and ascertained her intellectual influences, we will identify the role played by her art in the search for and assertion of her identity. We will thus analyse how the elements making up her personal identity can be read through her self portraits. Then, by expanding the scope of the study to all the genres encompassed in her output, we shall see how her intimate, personal preoccupations fit into the questioning of national identity which dominated the Mexican post-revolutionary landscape. We will then see that the artist's search for an identity culminates in a reflection on the place occupied by each individual in society and the world as a whole.

The research is characterized as a study that combines theoretical and visual referential, signing up in Formação, Saberes e Desenvolvimento Profissional line of Programa de Pós-Graduação em Educação (PPGE) of Universidade Federal de Santa Maria/RS (UFSM). I seek to build a relationship between one who writes and his writing, recognizing certain closeness that life and writing should take when converge to the art of living and (trans) form. The content is developed actively, establishing a relationship in theoretical and visual, material that is moved by the Diary and other works of Frida Kahlo. In conducting research, Frida serves as a device; her Diary, and the presence of the trait in his autobiographical works, allow me to find elements connected with the imaginary. Immersed in this universe, and from it, I see another emerging state of affairs, an invention of writing. Regarding the imaginary, writing, provoked by images, triggers questions that point out to creative capacity as vital, for this reason my imaginary, and reflection on, is present since the beginning of the text. I explicit the connection between the constructed object as symbolic form, and the method, that end up blending and complementing how web. The training authors interlocution with autobiographical and fictional studies materializes by the intertwining of different inputs, in a way that the identity of all is not diluted but enhanced. Provided hermeneut, investigator or detective, I invest in clues that invest in fields of meaning, symbols, signs, interpretations, trying to understand issues and make possible connections. I rush to the pictorial works of Kahlo, what they do emerge, as in the letters, his personal life, however, I intend to concentrate on the Diary of a painter. Only then I could think of this research as an epistemological exercise with other logics, in which different forms of understanding were driven from different theoretical lenses. I emphasize the contribution of a device such as the Diary to teacher education a mediator to (trans) formation processes. / A pesquisa caracteriza-se como um estudo que combina referenciais teóricos e visuais, inscrevendo-se na linha de Formação, Saberes e Desenvolvimento Profissional do Programa de Pós-Graduação em Educação (PPGE) da Universidade Federal de Santa Maria/RS (UFSM). Busco construir uma relação entre aquele que escreve e sua escrita, reconhecendo certa proximidade que a vida e a escrita devem assumir quando convergem para a arte de viver e (trans) formar-se. O conteúdo desenvolve-se de forma ativa, estabelecendo uma relação na reflexão teórica e visual, movimentado pelo material que está no Diário e em outras obras de Frida Kahlo. No exercício da pesquisa, Frida funciona como um dispositivo; seu Diário, e a presença do traço autobiográfico em suas obras, possibilitam-me encontrar elementos conectados com o imaginário. Imerso nesse universo, e a partir dele, vejo surgir outro estado de coisas, numa invenção de escrita. No que tange ao imaginário, a escrita, provocada pelas imagens, aciona questões que apontam à capacidade criadora como algo vital; é por isto que meu imaginário, e a reflexão sobre, encontra-se presente desde o início do texto. Explicito, assim, a ligação construída entre o objeto, enquanto forma simbólica, e o método, que acabam se mesclando e complementando como teia. A interlocução de autores da formação com os estudos autobiográficos e do imaginário materializa-se pelo entrelaçamento dos diferentes aportes, de tal modo que a identidade de todos não é diluída, mas realçada. Na condição de hermeneuta, investigador ou detetive, invisto em pistas que juntam campos de significação, símbolos, sinais, interpretações, na tentativa de entender aspectos e fazer conexões possíveis. Lanço-me às obras pictóricas de Kahlo, naquilo que fazem emergir, como nas cartas, sua vida pessoal; contudo, pretendo concentrar-me no Diário da pintora. Só assim pude pensar esta pesquisa como um exercício epistemológico com outras lógicas, em que distintas formas de entendimento foram acionadas a partir de diferentes lentes teóricas. Ressalto a contribuição de um dispositivo como o Diário à formação dos professores - um mediador a processos (trans) formativos.

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Master of Letters (with Merit) / The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.

Med denna uppsats har jag ämnat att undersöka det skifte i popularitet och berömmelse som har skett mellan Diego Rivera och Frida Kahlo, vilka var ett par under stora delar av sina respektive liv. Vid tiden då de verkade var Rivera den mest erkände av de båda, men med 1900-talets senare hälft har Kahlos berömmelse kommit att bli vidsträckt. Detta skifte har jag undersökt genom att studera konstnärernas liv och konstnärskap i ljuset av såväl nationella som internationella omständigheter vid tiden för konstnärernas verkande, och därefter studerat åren som följer deras död. Då har jag återigen tagit hänsyn till internationella såväl som nationella perspektiv, och faktorer såsom stil, politik och kulturella företeelser har undersökts för att klarlägga hur, när och varför detta popularitetsskifte sker.

Master of Letters (with Merit) / The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.

At her death in 1954, Frida Kahlo was known as little more than the wife of muralist Diego Rivera. Since then her art and personae have taken on a cult-like following and she has become an icon of popular culture. Thus far Frida's repute has stretched across three decades, from the 1970s, 1980s, and into the 1990s. Frida's popularity is viewed as primarily emerging from the Women's Movement of the 1970s. However, interest from many other groups have carried her image into the 1980s and 1990s. Aside from the Women’s Movement, Frida’s popularity reflects a growing interest in Mexico, specifically the “romanticized” image of Mexico, in the wake of rising international relations between Mexico and the United States. Each subsequent exhibit of Frida’s work brought with it a plethora of articles and exhibition catalogues. By the late 1980s books on Frida’s biography and her paintings began flooding the market along with articles from various periodicals, from fashion, to medical, to women's studies journals. Numerous other publications on Frida have included calendars, postcards, and a cookbook. A book of Frida's letters and her diary were published in 1995. The associations around Frida’s name have created the legend of her personality. She is viewed as a genius painter, one who expressed her emotions and life on canvas, who spoke from her heart and who has become remembered as a martyred saint. Scholars and the general public alike have latched onto Frida’s image, making her into more than a mere artist, rather into a remarkably insightful and brave individual. This popular myth has been supported by Frida's own lifestyle, by her flamboyant attire, scandalous relationships, and internationally recognized friendships. Frida was, however, an individual who suffered from the same insecurities that much of the population does: insecure in love and acceptance. Frida had the ability to mask her emotions of insecurity with her physical pain, which she then exercised on the canvas. It is this ability to deal with her emotional pain that has brought her life and work to the cult-like status that her memory now enjoys.

Focusing on artists Frida Kahlo and Guillermo Gomez-Pefia, my thesis concerns borders of all kinds: between nations and cultures, between varying artworks, context, and audiences, and between myth and reality. These border relationships are subject to constant evolution and negotiation, and I chose Kahlo's paintings and Gomez-Pefia's performance work to illustrate how two artists have portrayed border relationships across the twentieth and twenty-first centuries in Mexico and the United States, because both artists draw upon borders to hash out shifting personal, political, and cultural identities. Frida Kahlo's nationalist politics led her to portray the Mexican-U.S. border as a force of antagonism. In her modern context, this border starkly indicated a divide between colonial ambitions and domination, between the First and Third world paradigms of her time. Kahlo's consistent technique of self-portraiture led Germaine Greer to declare her "the first ever true performance artist," and in many ways Kahlo's work and life foreshadows contemporary questions of hybridity and pluralism brought to light by Guillermo Gomez-Pefia decades later. Gomez-Pefia's more direct performance pieces question dualistic borders by breaking boundaries and envisioning a borderless world, where boundaries are created and blurred organically rather than dictated by social or political elites. Like Kahlo, Gomez-Pefia's work is highly political, and his indictment of America's negative and dangerous images of Mexico and Mexican immigrants is particularly fierce. Both artists have produced impressive, controversial work that is dense and often difficult to understand, but it is also work that forces audiences to question the status quo and the boundaries we frequently take for granted.