Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-09-28T11:31:07Z No. of bitstreams: 1 475265 - Texto Completo.pdf: 16634258 bytes, checksum: 88cf78796806542f98e580b06d05ab78 (MD5) / Made available in DSpace on 2015-09-28T11:31:07Z (GMT). No. of bitstreams: 1 475265 - Texto Completo.pdf: 16634258 bytes, checksum: 88cf78796806542f98e580b06d05ab78 (MD5) Previous issue date: 2015-08-31 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The present work deals with the relationship between the artistic production of French painter Jean Antoine Watteau (1684 ? 1721) and the universe of fashion. Fashion is here presented as a new perpsective to analyze Watteau?s works. The proposed study has a multidisciplinary character, which helps to adress the production of a very complex artist, whose work shows several connections and analogies to other kinds of artistic productions. During her reaearch period in Paris, the author had access to new sources and bibliography, which helped to better understand the way Watteau?s work relates not only to French fashion in the XVIIIth century, but with fashion history as a whole. The work?s mains source is a set of etchings done by different artists, called Figures de Diff?rents Caract?res; those images were based on a series of drawings originally done by Watteau. The Figures make up the two first volumes of the Recueil Julienne, a compendium of the artist?s work. Besides the etching, some oil paintings were also studied. Relationships between images produced in the XVIIIth century and images from other temporalities were taken into consideration. The researcher sook to understand the ways clothe and/or fashion impact on the constitution of the artist?s visuality; besides, the work has analysed the construction of memories pertaining clothes and clothings as shown in Watteau?s etchings and paintings; therefore, through the selected images, the researcher has explored the territory occupied by clothes and fashion in te artist?s work. Another element taken into account was the role performed by clothes in the construction of movement and gesture within the selected images. The researcher has investigated which connections can be estabilished between the selected images and the period?s social forms and dress codes. Fashion is a phenomenon characterized by speedy changes and capable of great impact on individuals. Most scholars who adressed that question have pointed the XVIIIth century as the turning point when fashion started to show those characteristics. Watteau?s artistic path has been re-traced here through some biographic data, and his insertion in French culture and society of the XVIIIth century has been investigated; the ?survival? of his works in diferent times has also been pondered. The works deals extensively with Watteau?s relationship with theatre and with a genre of painting known as f?tes galantes. The relationship between the selected etchings and French fashion plates has also been examined. / A presente pesquisa trata sobre a rela??o existente entre a obra do pintor franc?s Jean Antoine Watteau (1684 ? 1721) e o universo da moda, analisando-se a obra do artista pelo vi?s da moda como tentativa de propor uma nova abordagem. O estudo aqui proposto possui um car?ter multidisciplinar, que auxilia a refletir sobre a produ??o de um pintor complexo, cuja obra estabelece v?rias rela??es com outras express?es art?sticas. Realizou-se um per?odo de estudos em Paris, que ampliou fontes e bibliografia, definindo melhor de que maneira a obra de Watteau se relaciona com a moda n?o apenas da Fran?a de seu tempo, mas com a hist?ria da moda como um todo. A fonte principal da pesquisa ? um conjunto de gravuras em ?gua-forte feitas por diferentes artistas a partir de desenhos de Watteau, que receberam o nome de Figures de Diff?rents Caract?res. Ele comp?e os dois primeiros tomos do chamado Recueil Julienne, um comp?ndio com a obra completa do artista. Utilizou-se tamb?m algumas pinturas ? ?leo. Levou-se em considera??o algumas rela??es entre as imagens produzidas no s?culo XVIII com imagens de outras temporalidades. Buscou-se refletir sobre a maneira com que o traje e/ou a moda participaram na constitui??o da visualidade do artista, al?m de analisar a constru??o da mem?ria em torno dos trajes presentes nas obras de Watteau, percorrendo, atrav?s das imagens selecionadas, o territ?rio que os trajes e a moda ocuparam na obra do artista. Verificou-se o papel desempenhado pela roupa na constru??o da gestualidade e do movimento das figuras analisadas. Investigou-se quais rela??es as imagens selecionadas estabelecem com as sociabilidades e as formas de vestir da ?poca em que foram produzidas. A moda ? um fen?meno caracterizado por mudan?as r?pidas, exercendo grande impacto sobre os indiv?duos. A maioria daqueles que se dedicaram a responder essa quest?o apontam o s?culo XVIII como o momento de virada em que a moda passou a apresentar essas caracter?sticas. Tra?ou-se a trajet?ria art?stica de Watteau atrav?s de alguns dados biogr?ficos, bem como a sua inser??o no s?culo XVIII franc?s e algumas quest?es ? respeito das ?sobreviv?ncias? de sua obra em diferentes tempos. Destacou-se a rela??o do artista com o teatro e suas obras classificadas como f?tes galantes. Observou-se tamb?m a rela??o entre as gravuras da fonte principal e a tradi??o das gravuras de moda francesas.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-12-06T16:12:13Z No. of bitstreams: 1 DIS_NATALIA_DE_NORONHA_SANTUCCI_COMPLETO.pdf: 14106537 bytes, checksum: b53ba76ae9543230359e848e0d2a1164 (MD5) / Made available in DSpace on 2016-12-06T16:12:13Z (GMT). No. of bitstreams: 1 DIS_NATALIA_DE_NORONHA_SANTUCCI_COMPLETO.pdf: 14106537 bytes, checksum: b53ba76ae9543230359e848e0d2a1164 (MD5) Previous issue date: 2016-08-26 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This thesis covers the beginning of the cycling practice in Porto Alegre (1895-1905) and the clothes used by its adepts, both under the perspective of fashion. Fashion, understood here like a social phenomenon without specific content, is present in many fields of the social life. Even though personal looks are its clearer expression, fashion also covers behaviors. It seeks to contextualize the called "cycling fashion", which spreaded along the occident at the end of the XIX century, from the big European centers to the small provinces. In this time the development of new types of bikes made it possible for more people to use it - like older men and women. The new practice diffusion demanded appropriate clothing, since it wasn?t possible to ride these bikes using the suitable clothes of the time. Because of this many proposals of new clothes were presented, causing different reactions - the female clothing, for instance, created controversy for being close to a symbolic challenge to the gender roles, strongly set by that time. The cyclists unions encouraged the adoption of uniforms. In Porto Alegre, on the selected 10 years timeframe, there were two important associations - the Uni?o Velocipedica de Amadores and the Radfahrer Verein Blitz - from where fashion will be considered on its two aspects - the habits and the clothing. This paper will analyze speeches about the cycling clothes present on Brazilian newspapers in that time and how it was used by the people from Porto Alegre that shared the love for bikes, from evidences provided by the press and photography. In short, it?ll be discussed the connections between fashion, modernity and cycling in Porto Alegre. / Esta disserta??o aborda os prim?rdios da pr?tica do ciclismo em Porto Alegre (1895-1905) e o vestu?rio utilizado por seus adeptos, ambos sob a perspectiva de processos de moda. A moda, entendida como um fen?meno social sem conte?do espec?fico, se insere em diversos campos da vida coletiva. Embora as apar?ncias pessoais sejam sua express?o mais clara, a moda contempla tamb?m os comportamentos. Busca-se contextualizar a chamada moda do ciclismo , que se espalhou pelo Ocidente no final do s?culo XIX, desde os grandes centros europeus at? as prov?ncias. Nessa ?poca, o desenvolvimento de novos modelos de bicicleta viabilizou o uso do ve?culo por indiv?duos com perfis variados como homens mais velhos e mulheres. A difus?o da nova pr?tica demandou roupas adequadas, uma vez que n?o era poss?vel pedalar utilizando os trajes adequados para mostrar-se em p?blico na ?poca. Desta maneira, diversas propostas de vestu?rio foram apresentadas, causando rea??es diversas o traje feminino composto por cal?as, por exemplo, gerou pol?mica por aproximar-se de um desafio simb?lico aos pap?is de g?nero, determinados rigidamente no per?odo. A uni?o de ciclistas em clubes estimulou, por sua vez, a ado??o de uniformes. Em Porto Alegre, no dec?nio selecionado, houve duas associa??es importantes a Uni?o Velocipedica de Amadores e a Radfahrer Verein Blitz a partir das quais a moda ser? considerada em seu duplo aspecto nos h?bitos e na indument?ria. Ser?o analisados os discursos sobre as roupas de ciclista presentes em peri?dicos brasileiros da ?poca e seu uso pelos porto-alegrenses que partilhavam o gosto pela bicicleta, a partir de ind?cios fornecidos pela imprensa e pela fotografia. Em s?ntese, ser?o discutidas as conex?es entre a moda, a modernidade e o ciclismo em Porto Alegre.