Made available in DSpace on 2016-12-08T16:18:54Z (GMT). No. of bitstreams: 1 120345.pdf: 1877151 bytes, checksum: 78e7e779cce4f234a12d9d945db6091f (MD5) Previous issue date: 2014-07-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is part of the "Observatory of Arts Teacher Education: comparative studies between Brazil and Argentina" and was developed in the line of research Teaching of Visual Arts (PPGAV / UDESC), on the subject of initial teacher training in arts, which usually precedes the work as teachers. The object of this research is the proposed curriculum of graduate s courses. We intend to identify how the contents on Latin America are included in the initial training of teachers in terms of curriculum matrices. We develop a case study that includes two neighboring realities: the Brazilian and Argentine, and results in a comparative study that parts from the question: "How content on Latin America are included in the undergraduate curriculum of visual arts in Brazil and Argentina?". The courses were analyzed are the three Brazilian state universities: the University of the State of Santa Catarina (UDESC), University of São Paulo (USP) and the State University of Rio de Janeiro (UERJ), and two Argentine federal universities: the National Institute of Arts (IUNA) and the National University of La Plata (UNLP), in order to deepen our reflections on a Brazilian and an Argentine reality, respectively, USP and UNLP. The selection of the five courses refers to universities whose teachers participate in the Observatory. Two hypotheses follow the first steps of this research: the first is that the content related to Latin American context rather appear in the curriculum of undergraduate education in visual arts, and when this occurs is through curriculum adaptations, since they were not planned to meet this demand; the latter is that the Argentine reality inserting content about Latin America is higher than in the Brazilian reality. Among the results, we emphasize that authors and Latin American artists permeate the initial training of arts teachers in both countries, but in both cases, insertion of such content constitutes a small portion of the curriculum. / A presente investigação é parte integrante do Observatório da Formação de Professores de Artes: estudos comparados entre Brasil e Argentina e foi desenvolvida na linha de pesquisa Ensino das Artes Visuais do PPGAV/UDESC, tendo como tema a formação inicial de professores de artes, a qual antecede, a princípio, a atuação destes sujeitos como educadores. O objeto de estudo desta pesquisa é a proposta curricular dos cursos de licenciatura. Objetivamos, aqui, identificar de que maneira os conteúdos sobre a América Latina estão inseridos na formação inicial dos professores no tocante às matrizes curriculares. Desenvolvemos um estudo de caso que engloba duas realidades vizinhas: a brasileira e a argentina, e resulta num estudo comparado que parte da seguinte questão: Como os conteúdos sobre a América Latina estão inseridos no currículo das licenciaturas em artes visuais no Brasil e na Argentina? . Os cursos analisados correspondem a três universidades estaduais brasileiras: a Universidade do Estado de Santa Catarina (UDESC), a Universidade de São Paulo (USP) e a Universidade Estadual do Rio de Janeiro (UERJ), e duas instituições federais argentinas: o Instituto Nacional de Artes (IUNA) e a Universidade Nacional de La Plata (UNLP), de modo a aprofundarmos nossas reflexões sobre uma realidade brasileira e uma argentina, respectivamente, a USP e a UNLP. A seleção dos cinco cursos refere-se às universidades cujos professores participam do Observatório. Duas hipóteses acompanham os primeiros passos dessa investigação: a primeira é que os conteúdos referentes ao contexto latino-americano pouco aparecem nos currículos das licenciaturas em artes visuais e, quando isto ocorre, é por meio de adaptações curriculares, uma vez que eles não foram planejados para atender a essa demanda; a última é que, na realidade argentina, a inserção de conteúdos sobre a América Latina seja maior do que na realidade brasileira. Dentre os resultados obtidos, destacamos que autores e artistas latino-americanos permeiam a formação inicial dos professores de artes dos dois países, mas, em ambos os casos, tal inserção de conteúdos constitui uma pequena parcela do currículo.

Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T09:20:23Z (GMT). No. of bitstreams: 1 Lodo_GabrielaCristina_M.pdf: 3456860 bytes, checksum: 053cf872db2ed3a411b9c455b81a5d5e (MD5) Previous issue date: 2014 / Resumo: A presente pesquisa tem como objetivo estudar a realização de uma exposição de arte específica na história da arte brasileira, a I Bienal Latino-Americana de São Paulo, ocorrida no ano de 1978. A mostra pensada como um espaço de apresentação e discussão dedicado exclusivamente à produção artística da América Latina ocorreu paralelamente às edições internacionais da Bienal de São Paulo. Originalmente, a I Bienal Latino-Americana fora criada com o intuito de substituir as edições das Pré-Bienais, mostras de arte brasileira, que também ocorreram entre os certames internacionais a partir de 1970. As exposições organizadas pela Fundação Bienal de São Paulo na década de 1970 foram consideradas por parte da crítica de arte brasileira de qualidade inferior quando comparadas às edições anteriores. Em parte, a crise enfrentada pela Fundação decorre do difícil período político e social vivido pelo Brasil no momento, com a Ditadura Militar, o cerceamento cultural e boicote às Bienais de São Paulo. Tanto as mostras nacionais quanto a latino-americana exerceram a função de renovar as discussões no cenário artístico nacional e reaver o prestígio das Bienais de São Paulo, abalado com a crise enfrentada pela instituição no período. No entanto, o projeto de valorização da cultura e da arte latino-americana foi prematuramente finalizado no ano de 1980, mesma data em que deveria ocorrer a segunda edição da mostra. A pesquisa se concentrou em estudar o projeto que envolveu a I Bienal Latino-Americana de São Paulo e sua não continuidade, levando em consideração os principais fatores que possibilitaram sua criação, sua organização e realização no ano de 1978 e o seu consequentemente fim no ano de 1980 / Abstract: This research project aims at studying the hosting of an specific art exhibition in the Brazilian Art History, the I Latin American Biennial of São Paulo, which happened in 1978. The exhibition was conceived as a space for presentation and discussion exclusively dedicated to Latin American artistic production, and it took place simultaneously to the international editions of Biennial of São Paulo. Originally, the I Latin American Biennial was created to replace the "Pré-Bienais" editions, national art exhibitions that had occurred since 1970 between the international editions. The art exhibitions organized by the Biennial Foundation of São Paulo in 1970s were considered of low quality by Brazilian art critics when compared to previous editions. Partly, the crisis faced by the Foundation derives from the difficult political and social period that Brazil faces at the moment, like the military dictatorship, the cultural curtailment and the boycott of Biennial of São Paulo. Both national exhibitions and Latin American exhibitions had the function of renewing discussions in the national artistic scene and retrieving prestige for Biennial of São Paulo, which had been hard-hit by the institution crisis at that moment. However, the project of valorization of Latin American culture and art was early terminated in 1980, at the same time the second edition of the exhibition would take place. The research focused on studying the project that involved the I Latin American Biennial of São Paulo and its non-continuation, taking into consideration the main factors that enabled its creation, its organization and hosting in 1978, and its consequently end in 1980 / Mestrado / Historia da Arte / Mestra em História

In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today. / text

Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre recherche doctorale porte sur la critique d’art latino-américaniste. Cette génération de critiques d’art est née à la fin des années 1960. Elle a atteint son apogée dans la seconde moitié de la décennie suivante et a connu un déclin progressif au cours des années 1980 et de la première moitié des années 1990. Le latino-américanisme est un type de continentalisme, c’est-à-dire un mouvement de promotion de l’identité historique, politique et culturelle des pays d’Amérique latine en vue de la protection d’intérêts communs dans le cadre des relations internationales. Dans la seconde moitié du 20e siècle, il est d’ailleurs indissociable de la guerre froide, des mouvements anticolonialistes et anti-impérialistes et des utopies révolutionnaires largement disséminées dans les milieux artistiques et intellectuels d’Amérique latine. En effet, la critique d’art latino-américaniste s’est caractérisée principalement par son engagement dans le débat sur la spécificité de l’art latino-américain, son histoire et ses aspirations théoriques, esthétiques et politiques pour l’avenir. Nous éloignant de l’histoire des idées au profit du cadre plus large de l’histoire sociale, dans cette thèse doctorale nous nous intéressons particulièrement à la constitution et à la progressive consolidation des réseaux de sociabilité intellectuelle qui ont créé les conditions de possibilité pour le développement de ce projet critique. Il s’agit de la multiplication des espaces de rencontre et de débat en Amérique latine, ainsi qu’au sein d’institutions culturelles internationales et d’organisations multilatérales, avec notamment la réalisation de projets éditoriaux et muséologiques collectifs ayant fortement favorisé l’intégration culturelle latino-américaine. L’analyse de ces espaces et de ces projets est au cœur de nos réflexions. / This doctoral research focuses on the Latin Americanist art criticism. This generation of art critics originated in the late 1960s. It peaked in the second half of the following decade and experienced a gradual decline during the 1980s and first half of the 1990s. Latin Americanism is a type of continentalism, a movement for the promotion of the historical, political and cultural identity of the countries of Latin America with the aim of protecting common interests within international relations. In the second half of the 20th century, it was strongly linked to the Cold War, anti-colonialist and anti-imperialist movements and revolutionary utopias widely disseminated in artistic and intellectual circles in Latin America. Furthermore, Latin American art criticism was characterized mainly by its engagement in the debate on the specificity of Latin American art, its history and its theoretical, aesthetic and political aspirations for the future. Moving away from the history of ideas in favour of the broader framework of social history, this doctoral thesis is particularly interested in the constitution and the progressive consolidation of the networks of intellectual sociability which created the conditions of possibility for the development of this critical project. This involves the multiplication of meeting and debate spaces in Latin America, as well as within international cultural institutions and multilateral organizations, with the realization of collective editorial and museological projects that have strongly favoured the integration of Latin American cultures. The analysis of these spaces and these projects is at the heart of our reflections.

O ESPAÇO COMO OBRA: Ações, Coletivos Artísticos e Cidade é uma reflexão a respeito dos processos de criação e impacto social das ações dos coletivos artísticos Contrafilé, Frente 3 de Fevereiro e Política do Impossível de São Paulo e GAC de Buenos Aires, que começaram a atuar em meados dos anos 1990. A dissertação foi desenvolvida a partir de diversas vozes, que se complementam e entrecruzam: uma voz narrativa, que vai apresentando descobertas feitas em minha atuação como artista no espaço urbano e que surge de uma dimensão local, inclusive íntima, chegando a uma voz mais \"reflexiva e acadêmica\"; vozes da grande mídia; as vozes dos próprios trabalhos artísticos apresentados; vozes dos coletivos, quando são utilizados como referências teóricas; e, por último, vozes de pensadores que de alguma forma influenciam o meu pensamento e o do movimento cultural do qual fazem parte as práticas urbanas aqui analisadas. O intuito é compreender como as intervenções urbanas, ao mesmo tempo, resultam e geram uma rede de afetos e significados e evidenciam a emergência de uma subjetividade política contemporânea que passa, necessariamente, por discutir e concretizar políticas de representação, relação, subjetivação e modos de vida alternativos aos impostos pelo neoliberalismo. Interessa, portanto, pensar como acontece e toma corpo a potência crítica situada deste tipo de resistência, configurando formas atuais do fazer político no contexto específico e complexo da cidade como escala e espaço referencial. O estudo se desenvolve como uma investigação ativa e participante de diversos trabalhos realizados pelos coletivos e através da qual me interessa observar essas ações/intervenções em seu poder disruptivo, ou seja, em sua capacidade de presentificar acontecimentos que de alguma forma desestabilizem representações sociais e sensações prévias. E que, ao evidenciar a possibilidade de fazê-lo, trazem à tona um saber circulatório que difunde a imagem produzida em situação representação direta e a experiência do \"público\" como obra. / The Space as theWork:Actions, Art Collectives and City is a reflection on creation processes and social impact of actions carried out by art collectives Contrafilé, Frente 3 de Fevereiro and Política do Impossível dfrom São Pauloe, as well as GAC Buenos Aires. These collectives have began work in the 1990\'s. The dissertation stems from multiple voices, which cross over and complement each other: a narrative voice that unravel discoveries made in my work as an artist in the urban space, emerging from a local and also intimate dimension, arriving at a \"more reflexive and academic\" voice; voices of the mainstream media; voices of the works studied; voices of the collectives, when they are mobilised as theoretical refeb rences and, lastly, voices of the thinkers who somehow influenced my thinking and voices of the cultural movement of which the urban practices under scrutiny are part of. The aim is to understand how the urban interventions at once result from and generate a network of affects and meanings, as they render evident the emergence of a contemporary political subjectivity. This subjectivity necessarily involves discussing and carrying out a politics of representation, relation, subjectivation and modes of life alternative to those imposed by neoliberalism. Under this light, the dissertation seeks to think how the critical potency situated in this kind of resistance can be embodied and takes place at all, configuring current forms of political making, in the specific and complex context of the city as scale and as referential space. This study developed as an active and participating investigation of several works carried out by the collectives. I seek to observe the actions/interventions in their disruptive power, i.e., in their capacity to render present events that somehow destabilise social representations and previous sensations. And which, as they evidence the possibility of being carried out, they bring to the surface a circulatory knowledge that diffuses the image produced in situation direct representation and the experience of the \"public\" as work.

Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictions. / Marta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions.

O ESPAÇO COMO OBRA: Ações, Coletivos Artísticos e Cidade é uma reflexão a respeito dos processos de criação e impacto social das ações dos coletivos artísticos Contrafilé, Frente 3 de Fevereiro e Política do Impossível de São Paulo e GAC de Buenos Aires, que começaram a atuar em meados dos anos 1990. A dissertação foi desenvolvida a partir de diversas vozes, que se complementam e entrecruzam: uma voz narrativa, que vai apresentando descobertas feitas em minha atuação como artista no espaço urbano e que surge de uma dimensão local, inclusive íntima, chegando a uma voz mais \"reflexiva e acadêmica\"; vozes da grande mídia; as vozes dos próprios trabalhos artísticos apresentados; vozes dos coletivos, quando são utilizados como referências teóricas; e, por último, vozes de pensadores que de alguma forma influenciam o meu pensamento e o do movimento cultural do qual fazem parte as práticas urbanas aqui analisadas. O intuito é compreender como as intervenções urbanas, ao mesmo tempo, resultam e geram uma rede de afetos e significados e evidenciam a emergência de uma subjetividade política contemporânea que passa, necessariamente, por discutir e concretizar políticas de representação, relação, subjetivação e modos de vida alternativos aos impostos pelo neoliberalismo. Interessa, portanto, pensar como acontece e toma corpo a potência crítica situada deste tipo de resistência, configurando formas atuais do fazer político no contexto específico e complexo da cidade como escala e espaço referencial. O estudo se desenvolve como uma investigação ativa e participante de diversos trabalhos realizados pelos coletivos e através da qual me interessa observar essas ações/intervenções em seu poder disruptivo, ou seja, em sua capacidade de presentificar acontecimentos que de alguma forma desestabilizem representações sociais e sensações prévias. E que, ao evidenciar a possibilidade de fazê-lo, trazem à tona um saber circulatório que difunde a imagem produzida em situação representação direta e a experiência do \"público\" como obra. / The Space as theWork:Actions, Art Collectives and City is a reflection on creation processes and social impact of actions carried out by art collectives Contrafilé, Frente 3 de Fevereiro and Política do Impossível dfrom São Pauloe, as well as GAC Buenos Aires. These collectives have began work in the 1990\'s. The dissertation stems from multiple voices, which cross over and complement each other: a narrative voice that unravel discoveries made in my work as an artist in the urban space, emerging from a local and also intimate dimension, arriving at a \"more reflexive and academic\" voice; voices of the mainstream media; voices of the works studied; voices of the collectives, when they are mobilised as theoretical refeb rences and, lastly, voices of the thinkers who somehow influenced my thinking and voices of the cultural movement of which the urban practices under scrutiny are part of. The aim is to understand how the urban interventions at once result from and generate a network of affects and meanings, as they render evident the emergence of a contemporary political subjectivity. This subjectivity necessarily involves discussing and carrying out a politics of representation, relation, subjectivation and modes of life alternative to those imposed by neoliberalism. Under this light, the dissertation seeks to think how the critical potency situated in this kind of resistance can be embodied and takes place at all, configuring current forms of political making, in the specific and complex context of the city as scale and as referential space. This study developed as an active and participating investigation of several works carried out by the collectives. I seek to observe the actions/interventions in their disruptive power, i.e., in their capacity to render present events that somehow destabilise social representations and previous sensations. And which, as they evidence the possibility of being carried out, they bring to the surface a circulatory knowledge that diffuses the image produced in situation direct representation and the experience of the \"public\" as work.