Título: | THE BODY UNFRAMES THE BODY: VISUALITIES IN FOUR ACTS | ||||||||||||
Autor: |
RAFAELA LINS TRAVASSOS SARINHO |
||||||||||||
Colaborador(es): |
CARLOS EDUARDO FELIX DA COSTA - Orientador |
||||||||||||
Catalogação: | 03/DEZ/2024 | Língua(s): | PORTUGUESE - BRAZIL |
||||||||||
Tipo: | TEXT | Subtipo: | THESIS | ||||||||||
Notas: |
[pt] Todos os dados constantes dos documentos são de inteira responsabilidade de seus autores. Os dados utilizados nas descrições dos documentos estão em conformidade com os sistemas da administração da PUC-Rio. [en] All data contained in the documents are the sole responsibility of the authors. The data used in the descriptions of the documents are in conformity with the systems of the administration of PUC-Rio. |
||||||||||||
Referência(s): |
[pt] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=68693&idi=1 [en] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=68693&idi=2 |
||||||||||||
DOI: | https://doi.org/10.17771/PUCRio.acad.68693 | ||||||||||||
Resumo: | |||||||||||||
This research looks at the ways in which the body is framed and unframed
from the epistemological and genealogical lenses outlined by Foucault. The body
gains a controversial dimension here, in that it absorbs two simultaneous
movements. In the first, it is constantly framed by certain forces that find in certain
historical soils – epistemes – a place to unfold. In the second, it is un-framed,
breaking with the framing experiences present in the first movement. In this
dynamic, certain efforts are observed that act by breaking, blurring, and
reformulating its mode of appearance in the epistemic spaces. In this way, the thesis
is divided into two parts. In the first part, based on the metaphors of the Bodyframework, we dive into the historical conformations of the body in the classical
and modern epochs, observing how singular ways of taking it are organized. The
visualities produced in these historical clippings serve as tools to observe how these
efforts are consolidated, instilling in the bodies and subjects specific orders,
categories, ways of seeing and understanding the world. In the second part of the
thesis, we set out to observe visualities that act by breaking with the framing
assumptions observed in the first part of the thesis. These are contemporary
artworks that promote other senses, measures, and narratives for the bodies
involved in such historical plots. We observe, in this way, that the body un-frames
the body, to the extent that it escapes, produces fissures and resists the modes of
framing that act constantly constituting it, defining it, normalizing it.
|
|||||||||||||
|