Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-03-11T16:48:34Z No. of bitstreams: 2 Fernanda Binotti Pereira.pdf: 12947970 bytes, checksum: 0dc31682e0d19315964da21bea4ae126 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-03-31T14:02:22Z (GMT) No. of bitstreams: 2 Fernanda Binotti Pereira.pdf: 12947970 bytes, checksum: 0dc31682e0d19315964da21bea4ae126 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-03-31T14:02:22Z (GMT). No. of bitstreams: 2 Fernanda Binotti Pereira.pdf: 12947970 bytes, checksum: 0dc31682e0d19315964da21bea4ae126 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-16 / This research is based on the interpretive analysis of the wardrobe of Frida Kahlo from images of the book El Ropero de Frida 2007. The Mexican artist had a strong visual identity and she was able to communicate through her clothing. The clothes allow the formation of a non-verbal language and when we analyze the body dressed we find personal speeches. Within a society the language is subject to cultural and esthetic values, but questions of political interests, patterns of decorum and artistic movements influence the choice of colors, proportions, volumes and accessories. Frida Kahlo's life was troubled and her body was formed and transformed by diseases and accidents. As a counterpoint to a history of frailty, the artist became a strong woman. His personality, his political engagement and mainly his artistic career reflect how she lived. Analyzing her wardrobe we recognize three models of speeches in different panels. The daily panel shows the Frida´s clothes daily routine. Casual pieces, adapted to the customs and weather of her country. The pieces that the artist wore with strong Mexican influence are gathered in the cultural panel. Wheel dresses, embroidered gowns, with striking references of the Tehuan tribes and pieces that allow the symbolic reading of the strong Mexican culture. And the protest panel features the clothes Frida Kahlo used with the intention of clearly exposing her political intentions or personal dissatisfaction. Men's pieces, black clothes and corsets with communist symbols were able to shock the moment it was proposed. Common to all three panels is Frida's strong personality, her willingness to hide her physical disability with skirts and dresses, her passion for accessories and colors, and her fascinating personal history. / A pesquisa tem como base a análise interpretativa do guarda roupa de Frida Kahlo a partir das imagens do livro El Ropero de Frida de 2007. A artista mexicana possuía uma forte identidade visual e conseguia se comunicar por meio de seu vestuário. As roupas permitem a formação de uma linguagem não verbal e quando analisamos o corpo vestido encontramos discursos pessoais. Dentro de uma sociedade a linguagem está sujeita aos valores culturais e estéticos, mas questões de interesses políticos, padrões de decoro e movimentos artísticos influenciam na escolha de cores, proporções, volumes e acessórios. A vida de Frida Kahlo foi conturbada e seu corpo foi marcado e transformado por doenças e acidentes. Como contraponto de uma história de fragilização, a artista se tornou uma mulher forte. Sua personalidade, seu engajamento político e principalmente sua carreira artística refletem o que viveu. Analisando seu guarda roupa reconhecemos três modelos de discursos que dividimos em painéis. O painel cotidiano apresenta as roupas que Frida usava em seu dia a dia. Peças casuais, adaptadas aos costumes e clima de seu país. As peças que a artista vestia com forte influência mexicana estão reunidas no painel cultural. Vestidos rodados, batas bordadas, com referências marcantes das tribos tehuanas e peças que permitem a leitura simbólica de uma forte cultura mexicana. E o painel protesto apresenta as roupas que Frida Kahlo usou com intenção de expor claramente suas intenções políticas ou insatisfações pessoais. Peças masculinas, roupas pretas e corpetes com símbolos comunistas conseguiram chocar no momento que se propôs. Comum nos três painéis está a forte personalidade de Frida, sua vontade em esconder sua deficiência física com saias e vestidos rodados, sua paixão por acessórios e cores, e sua fascinante história pessoal.

The aim of this study is to explore the patterns of emotion recognition in Mexican bilin-guals using the JACFEE (Matsumoto & Ekman, 1988). Previous cross cultural research has documented high agreement in judgments of facial expressions of emotion, however, none of the previous studies has included data from Mexican culture. Participants were 229 Mexican college students (mean age 21.79). Results indicate that each of the seven universal emotions: anger, contempt, disgust, fear, happiness, sadness and surprise was recognized by the participants above chance levels (p < .001), regardless of the gender or ethnicity of the posers. These findings replicate reported data on the high cross cultural agreement in emotion recognition (Ekman, 1994) and contribute to the increasing body of evidence regardingthe universality of emotions. / Este estudio explora el reconocimiento de la expresión facial de las emociones en bilingües mexicanos mediante el JACFEE (Matsumoto & Ekman, 1988). Investigaciones previas evidencian el alto nivel de acuerdo transcultural en el reconocimiento emocional, sin embargo no se reportan estudios en la cultura mexicana. Participaron 229 estudiantes universitarios, edad promedio 21.79 años. Los resultados indican que las emociones universales: enojo, desprecio, disgusto, temor, felicidad, tristeza y sorpresa fueron reconocidas más allá del azar (p < .01), independientemente del sexo o nacionalidad del modelo. Estos hallazgos coincidencompletamente con los datos transculturales que se tienen sobre el alto nivel de acuerdo en el reconocimiento emocional (Ekman, 1994), contribuyendo así al creciente cuerpo de evidencia sobre la universalidad de las emociones.