Leila Radic | PUC Minas (original) (raw)
Papers by Leila Radic
s saraus podem ser definidos como reunioes de pessoas que tem algum vinculo com a arte e com a cu... more s saraus podem ser definidos como reunioes de pessoas que tem algum vinculo com a arte e com a cultura, sendo essas reunioes, muitas vezes, de carater informal. O objetivo deste estudo e entender qual a importância dos saraus como espacos politicos de socializacao e como podem influenciar na construcao do pensamento politico do individuo. Para isso, tomou-se como campo de investigacao o “Sarau Luiz Estrela”, na cidade de Belo Horizonte, em outubro de 2015. Os resultados mostram que nos saraus ocorrem trocas de ideias entre os participantes, e, assim, esses eventos podem exercer uma forte influencia no pensamento politico, inclusive atraves dos dialogos que podem ser estabelecidos entre a literatura e os problemas vivenciados pela sociedade. Ainda nessa perspectiva, os individuos alimentados pelos saraus acabam rompendo com o automatismo da vivencia politica, construindo assim um pensamento mais critico sobre assuntos da sociedade. Palavras-chave: Cidadania. Democracia. Literatura. S...
Graduation Thesis Archive, PUC Minas, Belo Horizonte, MG, Brazil, 2019
The objective of this thesis is to analise the photographic studio portraits of black Brazilian s... more The objective of this thesis is to analise the photographic studio portraits of
black Brazilian slaves by photographer Christiano Junior, between 1864 and 1866 in
the city of Rio de Janeiro, in order to analise and discuss the hypothesis that AfroBrazilian slaves, when photographed, subverted the slave logics of the system,
affirming their human condition, having as theoretical reference the works of Roger
Chartier and Sandra Sofia Machado Koutsoukos. The photographer’s look was white,
but the look we perceive observing the Picture was the slave’s one. It is by this look,
that I define as “return look” to the camera and that represents the cornerstone of my
hypothesis, that the portrayed subject expressed his interiority. This “return look” was
the mean by which the slave communicated his questioning about his condition, his
life and his suffering to the photographer and to the image’s recipient, perpetuating
his denouncement as an enslaved human being.
The motivation of the research is to demonstrate that slaves were conscious of
their identity, recognized themselves as subjects of rights and exercised some
resistance against their discrimination. The photographer always tried to extract as
much expressivity as possible from his subject, so portraying implied recognizing.
This interpretation is based on a broader “clue paradigm”, including abolitionists’
activities, evidences of slaves’ revolts and escapes, their participation in artistic
activities, carnival associations, popular and religious festivals. Therefore, the
analysis starts from the images’ conceptual interpretation, by means of the cultural
historiography studies, utilizing the categories of practices, representations and
appropriations to analise images, observing a dichotomy between the white man’s
posture and the portrayed slave’s look. Photography, as a cultural object, offered two
opposite representations and slaves utilised it as one of the possible resistance
practices, making it an instrument of social transformation. A quanti-qualitative
methodology has been utilised, articulating it in two plans: bibliographic research of
available literature and access to primary sources, as original photographs, papers
and magazines.
s saraus podem ser definidos como reunioes de pessoas que tem algum vinculo com a arte e com a cu... more s saraus podem ser definidos como reunioes de pessoas que tem algum vinculo com a arte e com a cultura, sendo essas reunioes, muitas vezes, de carater informal. O objetivo deste estudo e entender qual a importância dos saraus como espacos politicos de socializacao e como podem influenciar na construcao do pensamento politico do individuo. Para isso, tomou-se como campo de investigacao o “Sarau Luiz Estrela”, na cidade de Belo Horizonte, em outubro de 2015. Os resultados mostram que nos saraus ocorrem trocas de ideias entre os participantes, e, assim, esses eventos podem exercer uma forte influencia no pensamento politico, inclusive atraves dos dialogos que podem ser estabelecidos entre a literatura e os problemas vivenciados pela sociedade. Ainda nessa perspectiva, os individuos alimentados pelos saraus acabam rompendo com o automatismo da vivencia politica, construindo assim um pensamento mais critico sobre assuntos da sociedade. Palavras-chave: Cidadania. Democracia. Literatura. S...
Graduation Thesis Archive, PUC Minas, Belo Horizonte, MG, Brazil, 2019
The objective of this thesis is to analise the photographic studio portraits of black Brazilian s... more The objective of this thesis is to analise the photographic studio portraits of
black Brazilian slaves by photographer Christiano Junior, between 1864 and 1866 in
the city of Rio de Janeiro, in order to analise and discuss the hypothesis that AfroBrazilian slaves, when photographed, subverted the slave logics of the system,
affirming their human condition, having as theoretical reference the works of Roger
Chartier and Sandra Sofia Machado Koutsoukos. The photographer’s look was white,
but the look we perceive observing the Picture was the slave’s one. It is by this look,
that I define as “return look” to the camera and that represents the cornerstone of my
hypothesis, that the portrayed subject expressed his interiority. This “return look” was
the mean by which the slave communicated his questioning about his condition, his
life and his suffering to the photographer and to the image’s recipient, perpetuating
his denouncement as an enslaved human being.
The motivation of the research is to demonstrate that slaves were conscious of
their identity, recognized themselves as subjects of rights and exercised some
resistance against their discrimination. The photographer always tried to extract as
much expressivity as possible from his subject, so portraying implied recognizing.
This interpretation is based on a broader “clue paradigm”, including abolitionists’
activities, evidences of slaves’ revolts and escapes, their participation in artistic
activities, carnival associations, popular and religious festivals. Therefore, the
analysis starts from the images’ conceptual interpretation, by means of the cultural
historiography studies, utilizing the categories of practices, representations and
appropriations to analise images, observing a dichotomy between the white man’s
posture and the portrayed slave’s look. Photography, as a cultural object, offered two
opposite representations and slaves utilised it as one of the possible resistance
practices, making it an instrument of social transformation. A quanti-qualitative
methodology has been utilised, articulating it in two plans: bibliographic research of
available literature and access to primary sources, as original photographs, papers
and magazines.