Nadia Ochoa Rodrigues | Universidade de Coimbra (original) (raw)
Papers by Nadia Ochoa Rodrigues
Memoria del 56.º Congreso Internacional de Americanistas. Volumen III. Arte y patrimonio cultural, 2018
Nagini, Quesintuu e Umantuu: apropriações iconográficas do "barroco colonizador". Nagin é o nome ... more Nagini, Quesintuu e Umantuu: apropriações iconográficas do "barroco colonizador". Nagin é o nome dado às figuras híbridas-parte mulher, parte cobra-que, segundo as mitologias hindu e budista, habitam o mundo submarino. Quesintuu e Umantuu são sereias-com cauda pisciforme-do lago Titicaca. Apesar de geograficamente distantes, ambos os seres mitológicos têm a particularidade de terem sido apropriados pelos Jesuítas e utilizados nas suas igrejas. No caso das nagini, mais concretamente na antiga colónia portuguesa de Goa estas surgem esculpidas em madeira, nos púlpitos, adoptando por vezes uma cauda de peixe. Por sua vez, naquele que foi outrora território espanhol, as sereias andinas surgem esculpidas em pedra, nomeadamente nas fachadas das igrejas. É precisamente esta similaridade improvável, que tem lugar em geografias tão distantes-unidas pela Companhia de Jesus e pelos colonizadores ibéricos-, que a apresentação visa tratar. Introdução. A ideia de comparar dois mundos aparentemente tão distantes, como são o subcontinente indiano e a América do Sul, surgiu de uma conversa inesperada num hotel de Coimbra. Foi aí que conheci a Professora Doutora Renata Martins e descobrimos que entre as sereias andinas e as nagini indianas haveriam semelhanças acima do espectável, merecedoras de estudo. É, portanto, com este tópico improvável «Nagini, Quesintuu e Umantuu: apropriações iconográficas do "barroco colonizador"» que me apresento nesta conferência. Espero, essencialmente, contribuir para a construção de pontes de conhecimento entre os dois continentes. Este artigo visa dar um pequeno passo no ambicioso caminho das histórias conectadas. Seguindo a pisada de dois grandes investigadores que dedicaram parte dos seus trabalhos à análise das acções europeias tidas durante os períodos de ocupação, na América e na Ásia, assim como a sua relação com as comunidades locais-Gruzinski, Subramanyam 1. É proposta uma análise conjunta de geografias apartadas. Por esta razão, o artigo visa simplesmente comparar as já mencionadas figuras híbridas femininas, entre si, ao mesmo tempo que são lançados pontos de discussão, se colocam hipóteses e se abre espaço para debate de ideias. Ao mesmo tempo, a tecnologia existente, potencia este tipo de trabalhos dinâmicos, baseados nas trocas e relações, sobre os vários aspectos de um mesmo tema a nível global, que anteriormente apresentariam maior dificuldade.
Cities are changing and so are their brand marks. For instance, in the city of Porto the number o... more Cities are changing and so are their brand marks. For instance, in the city of Porto the number one
attraction is Casa da Música, a contemporary building, and this fact reflects not only a different
aesthetic approach to the elements that are part of a place but also the image of a city. Therefore
tourism should include these modern components into traditional itineraries, recognizing it as part
of their heritage and identity. This paper aims to present the elements contemporary sculpture in
Porto and its potential as touristic attraction for every-type of visitors, once it is integrated in the
same space as the other monuments. The itinerary proposal was planned bearing in mind the city
break, or short-break, typology of traveling.
Contemporary art aspects are usual quite controversial and public sculpture is no exception. Neve... more Contemporary art aspects are usual quite controversial and public sculpture is no exception. Nevertheless divergent opinions, the presence of the art object is indubitably an engine of cultural identity; once directed to a certain community, the object of art confront people with their own distinctiveness. For decades public sculpture was merely recognized as statues built in squares to celebrate an event or glorify heroes, (Beatrice and Bolge, 2001), these sculptures were ordered by the political power and local institutions of the time and do not necessarily had a high aesthetic propose (Calado, 2011). Nowadays sculptures are created by artists who, usually, are invited to conceive a piece of art with a certain purpose (e.g.: a symposium or just to add value to a degraded area) and these elements have tendentiously a symbolic meaning. This deeper essence is commonly ignored by the pedestrians, who do not feel an immediate emotional connection with the contemporary art, maybe because these pieces are likely to explore the public intelligence rather than their feelings (Stalker and Clark, 1982) or just because they did not took the time to stop and observe it properly. One of the most controversial
objects of contemporary public art in Porto is certainly the O Cubo, by José Rodrigues, in Ribeira. When this piece of art was inaugurated, in 1984, some of the inhabitants did not appreciated the initiative and understood it as a subtle way of calling them “squares”. Nevertheless this first impact O Cubo is nowadays an emblematic land mark in Porto and the people from Ribeira beside adopting it as “our Cubo” added to the sculpture their own symbolic meaning such as “compact” (i.e. like their families and neighbourhood) or that it represents the way their small homes are organised (i.e. it is necessary to close their pullout bed in order to open the door). This paper aims to propose a new view over the contemporary public sculpture in Porto, not only because it is part of the city history, but especially because it could provide a better understanding about certain areas and elements of the urban mesh.
Teaching Documents by Nadia Ochoa Rodrigues
Some similarities between the poems of of Qu Yuan 屈原, Lí Sāo 离骚, and Luís Vaz de Camões, Os Lusí... more Some similarities between the poems of of Qu Yuan 屈原, Lí Sāo 离骚, and Luís Vaz de Camões, Os Lusíadas
Thesis Chapters by Nadia Ochoa Rodrigues
Dissertação de Mestrado apresentada à Faculdade de Letras da Universidade de Coimbra, 2017
The nowadays district of Tiswadi in Goa (India) was part of the Portuguese overseas territory for... more The nowadays district of Tiswadi in Goa (India) was part of the Portuguese overseas territory for more than 400 years. Fifty years after its aggregation to the unified Indian nation there are still some reflexes of that European presence. This statement can be easily confirmed when observing the large amount of catholic churches that still exist in this Indian ground. The title of this dissertation Echoes of Conversion: Iconographic Analysis of the Goan Carving in Tiswadi churches (17th - 18th centuries) somehow suggests the conclusion of this study: the existence of a strict connection between the chosen themes (of the carved images) and the doctrinal pursuits, videlicet Catechism and Evangelization. Therefore, there is a constant inquiry in finding the connexion between Christian and Hindu cultures, based on the formal, or symbolic, forms of the wood carving images...
Conference Presentations by Nadia Ochoa Rodrigues
Oceans and Shores: Heritage, People and Environmen, 2017
Nagas (masculine) and naginis (feminine) are hybrid figures - half human, half cobra -, genius an... more Nagas (masculine) and naginis (feminine) are hybrid figures - half human, half cobra -, genius and royals of the underwater world, who are present in both Hindu and Buddhist mythologies. In Goa, namely in Tiswadi, they became popular along the 17th and 18th centuries. Inflamed by the baroque aesthetics, with voluptuous lines and covered by gold these figures were positioned under the pulpits - as part of the narrative scene carved in these structures. Deeply symbolic, their existence has been questioned along the times and the interpretation that sees it as partly naga, partly mermaid, - once in most of the cases the tail end as a flipper - due to the influence of Portuguese seamen. A closer regard into these figures offers different hypothesis and perspectives. Some of them are related to the modification of the appearance: tails that show profound scars, which suggest that, for some reason, they have been intervened and probably modified; or an unnatural aspect of their upper body that make they look like male entities with female faces. Others are related to their attributes and ornaments, videlicet the wide range of fruits, leafage, pearls and shells that either fell from their mouths or cover their bodies. This apotheosis of a luxuriant nature - marine and earthly - will find parallels in other exquisite pieces which, though apparently detached from those, share the same symbolic meaning.
1ª Oficina do Ciclo "Paisagens de Influência portuguesa" - cidade e religião , 2018
A cidade de Goa, agora Velha-, foi chamada, durante o século XVI, de «Roma do Oriente» pelos euro... more A cidade de Goa, agora Velha-, foi chamada, durante o século XVI, de «Roma do Oriente» pelos europeus que a visitaram. Esta denominação deveu-se ao elevado número existente de igrejas, colégios, mosteiros e conventos - pertença de várias ordens. Durante a época áurea a cidade chegou a ter dezenas de edifícios clericais, numa área de poucos quilómetros, onde se concentrava o seu núcleo urbano. Apesar de ter sentido um crescimento exponencial, também em termos demográficos, o burgo sofreu um abandono precoce, havendo relatos da sua decadência ainda no primeiro quartel do século XVII. Esta apresentação visa questionar quais as razões que estiveram na base da organização, num primeiro momento, deste espaço sagrado, as suas mutações e a posterior influência da sua queda no crescimento dos territórios circundantes.
Memoria del 56.º Congreso Internacional de Americanistas. Volumen III. Arte y patrimonio cultural, 2018
Nagini, Quesintuu e Umantuu: apropriações iconográficas do "barroco colonizador". Nagin é o nome ... more Nagini, Quesintuu e Umantuu: apropriações iconográficas do "barroco colonizador". Nagin é o nome dado às figuras híbridas-parte mulher, parte cobra-que, segundo as mitologias hindu e budista, habitam o mundo submarino. Quesintuu e Umantuu são sereias-com cauda pisciforme-do lago Titicaca. Apesar de geograficamente distantes, ambos os seres mitológicos têm a particularidade de terem sido apropriados pelos Jesuítas e utilizados nas suas igrejas. No caso das nagini, mais concretamente na antiga colónia portuguesa de Goa estas surgem esculpidas em madeira, nos púlpitos, adoptando por vezes uma cauda de peixe. Por sua vez, naquele que foi outrora território espanhol, as sereias andinas surgem esculpidas em pedra, nomeadamente nas fachadas das igrejas. É precisamente esta similaridade improvável, que tem lugar em geografias tão distantes-unidas pela Companhia de Jesus e pelos colonizadores ibéricos-, que a apresentação visa tratar. Introdução. A ideia de comparar dois mundos aparentemente tão distantes, como são o subcontinente indiano e a América do Sul, surgiu de uma conversa inesperada num hotel de Coimbra. Foi aí que conheci a Professora Doutora Renata Martins e descobrimos que entre as sereias andinas e as nagini indianas haveriam semelhanças acima do espectável, merecedoras de estudo. É, portanto, com este tópico improvável «Nagini, Quesintuu e Umantuu: apropriações iconográficas do "barroco colonizador"» que me apresento nesta conferência. Espero, essencialmente, contribuir para a construção de pontes de conhecimento entre os dois continentes. Este artigo visa dar um pequeno passo no ambicioso caminho das histórias conectadas. Seguindo a pisada de dois grandes investigadores que dedicaram parte dos seus trabalhos à análise das acções europeias tidas durante os períodos de ocupação, na América e na Ásia, assim como a sua relação com as comunidades locais-Gruzinski, Subramanyam 1. É proposta uma análise conjunta de geografias apartadas. Por esta razão, o artigo visa simplesmente comparar as já mencionadas figuras híbridas femininas, entre si, ao mesmo tempo que são lançados pontos de discussão, se colocam hipóteses e se abre espaço para debate de ideias. Ao mesmo tempo, a tecnologia existente, potencia este tipo de trabalhos dinâmicos, baseados nas trocas e relações, sobre os vários aspectos de um mesmo tema a nível global, que anteriormente apresentariam maior dificuldade.
Cities are changing and so are their brand marks. For instance, in the city of Porto the number o... more Cities are changing and so are their brand marks. For instance, in the city of Porto the number one
attraction is Casa da Música, a contemporary building, and this fact reflects not only a different
aesthetic approach to the elements that are part of a place but also the image of a city. Therefore
tourism should include these modern components into traditional itineraries, recognizing it as part
of their heritage and identity. This paper aims to present the elements contemporary sculpture in
Porto and its potential as touristic attraction for every-type of visitors, once it is integrated in the
same space as the other monuments. The itinerary proposal was planned bearing in mind the city
break, or short-break, typology of traveling.
Contemporary art aspects are usual quite controversial and public sculpture is no exception. Neve... more Contemporary art aspects are usual quite controversial and public sculpture is no exception. Nevertheless divergent opinions, the presence of the art object is indubitably an engine of cultural identity; once directed to a certain community, the object of art confront people with their own distinctiveness. For decades public sculpture was merely recognized as statues built in squares to celebrate an event or glorify heroes, (Beatrice and Bolge, 2001), these sculptures were ordered by the political power and local institutions of the time and do not necessarily had a high aesthetic propose (Calado, 2011). Nowadays sculptures are created by artists who, usually, are invited to conceive a piece of art with a certain purpose (e.g.: a symposium or just to add value to a degraded area) and these elements have tendentiously a symbolic meaning. This deeper essence is commonly ignored by the pedestrians, who do not feel an immediate emotional connection with the contemporary art, maybe because these pieces are likely to explore the public intelligence rather than their feelings (Stalker and Clark, 1982) or just because they did not took the time to stop and observe it properly. One of the most controversial
objects of contemporary public art in Porto is certainly the O Cubo, by José Rodrigues, in Ribeira. When this piece of art was inaugurated, in 1984, some of the inhabitants did not appreciated the initiative and understood it as a subtle way of calling them “squares”. Nevertheless this first impact O Cubo is nowadays an emblematic land mark in Porto and the people from Ribeira beside adopting it as “our Cubo” added to the sculpture their own symbolic meaning such as “compact” (i.e. like their families and neighbourhood) or that it represents the way their small homes are organised (i.e. it is necessary to close their pullout bed in order to open the door). This paper aims to propose a new view over the contemporary public sculpture in Porto, not only because it is part of the city history, but especially because it could provide a better understanding about certain areas and elements of the urban mesh.
Some similarities between the poems of of Qu Yuan 屈原, Lí Sāo 离骚, and Luís Vaz de Camões, Os Lusí... more Some similarities between the poems of of Qu Yuan 屈原, Lí Sāo 离骚, and Luís Vaz de Camões, Os Lusíadas
Dissertação de Mestrado apresentada à Faculdade de Letras da Universidade de Coimbra, 2017
The nowadays district of Tiswadi in Goa (India) was part of the Portuguese overseas territory for... more The nowadays district of Tiswadi in Goa (India) was part of the Portuguese overseas territory for more than 400 years. Fifty years after its aggregation to the unified Indian nation there are still some reflexes of that European presence. This statement can be easily confirmed when observing the large amount of catholic churches that still exist in this Indian ground. The title of this dissertation Echoes of Conversion: Iconographic Analysis of the Goan Carving in Tiswadi churches (17th - 18th centuries) somehow suggests the conclusion of this study: the existence of a strict connection between the chosen themes (of the carved images) and the doctrinal pursuits, videlicet Catechism and Evangelization. Therefore, there is a constant inquiry in finding the connexion between Christian and Hindu cultures, based on the formal, or symbolic, forms of the wood carving images...
Oceans and Shores: Heritage, People and Environmen, 2017
Nagas (masculine) and naginis (feminine) are hybrid figures - half human, half cobra -, genius an... more Nagas (masculine) and naginis (feminine) are hybrid figures - half human, half cobra -, genius and royals of the underwater world, who are present in both Hindu and Buddhist mythologies. In Goa, namely in Tiswadi, they became popular along the 17th and 18th centuries. Inflamed by the baroque aesthetics, with voluptuous lines and covered by gold these figures were positioned under the pulpits - as part of the narrative scene carved in these structures. Deeply symbolic, their existence has been questioned along the times and the interpretation that sees it as partly naga, partly mermaid, - once in most of the cases the tail end as a flipper - due to the influence of Portuguese seamen. A closer regard into these figures offers different hypothesis and perspectives. Some of them are related to the modification of the appearance: tails that show profound scars, which suggest that, for some reason, they have been intervened and probably modified; or an unnatural aspect of their upper body that make they look like male entities with female faces. Others are related to their attributes and ornaments, videlicet the wide range of fruits, leafage, pearls and shells that either fell from their mouths or cover their bodies. This apotheosis of a luxuriant nature - marine and earthly - will find parallels in other exquisite pieces which, though apparently detached from those, share the same symbolic meaning.
1ª Oficina do Ciclo "Paisagens de Influência portuguesa" - cidade e religião , 2018
A cidade de Goa, agora Velha-, foi chamada, durante o século XVI, de «Roma do Oriente» pelos euro... more A cidade de Goa, agora Velha-, foi chamada, durante o século XVI, de «Roma do Oriente» pelos europeus que a visitaram. Esta denominação deveu-se ao elevado número existente de igrejas, colégios, mosteiros e conventos - pertença de várias ordens. Durante a época áurea a cidade chegou a ter dezenas de edifícios clericais, numa área de poucos quilómetros, onde se concentrava o seu núcleo urbano. Apesar de ter sentido um crescimento exponencial, também em termos demográficos, o burgo sofreu um abandono precoce, havendo relatos da sua decadência ainda no primeiro quartel do século XVII. Esta apresentação visa questionar quais as razões que estiveram na base da organização, num primeiro momento, deste espaço sagrado, as suas mutações e a posterior influência da sua queda no crescimento dos territórios circundantes.