Mestrado em Artes
URI Permanente para esta coleção
Nível: Mestrado Acadêmico
Ano de início: 2006
Conceito atual na CAPES: 4
Ato normativo:Portaria MEC nº 2.000, publicada no D.O.U. de 21/12/2006, Seção 1, pág. 35
Periodicidade de seleção: Anual
Área(s) de concentração:Arte e Cultura
Url do curso: https://artes.ufes.br/pt-br/pos-graduacao/PPGA/detalhes-do-curso?id=1396
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- ItemA importância da concept art para animação contemporânea : análise da animação digital em curta metragem 'Torre' (2017) de Nádia Mangolini através dos processos de criação(Universidade Federal do Espírito Santo, 2025-03-28) Souza, Natacha de; Ruiz Torres, David ; https://orcid.org/0000-0003-2458-2992; http://lattes.cnpq.br/0455058699179367; https://orcid.org/0009-0008-2898-8272; http://lattes.cnpq.br/9632018305326219; Cirilo, Aparecido José; https://orcid.org/0000-0001-6864-3553; http://lattes.cnpq.br/6252535690546666; Brethé, Simon Pedro ; https://orcid.org/0000-0002-9621-0760; http://lattes.cnpq.br/1196202412632869The purpose of this dissertation is to study Concept Arts in digital animation to justify the analysis of the creative process to produce the Brazilian documentary short film in digital animation format “Torre” (2017) by Nádia Mangolini. Based on these objectives, the research is structured in three chapters. The first explores the concepts and particularities of Concept Art, addressing the points that constitute its foundations and already presenting it as the focus of this research. The second chapter explores the methodology of Genetic Criticism in analyzing the visual development of animations, discussing how Concept Art reveals the dynamics of the creative process through preparatory documents. In the third chapter, there is a detailed analysis of the short documentary animation “Tower” (2017), examining the creative process of the artists involved and applying Genetic Criticism to follow the evolution of visual choices, highlighting the crucial role of Concept Art in the development of animation
- ItemTerezinha Dora Abreu de Carvalho (1936-2017): aproximações entre vida e obra(Universidade Federal do Espírito Santo, 2025-03-25) Azevedo, Gabriel Guerra de; Freitas, Alexandre Siqueira de; https://orcid.org/0000-0002-4989-352X; http://lattes.cnpq.br/4616788871589192; https://orcid.org/; http://lattes.cnpq.br/; Tápia, Daniel; https://orcid.org/0000-0002-3649-6197; http://lattes.cnpq.br/4936501035003683; Basbaum, Sérgio Roclaw; https://orcid.org/0000-0001-5433-2578; http://lattes.cnpq.br/0777127477216804; Barros, Guilherme Antonio Sauerbronn de; https://orcid.org/0000-0001-7887-8807; http://lattes.cnpq.br/0928911541407685This study investigates possible relationships between the life and work of the composer from Espírito Santo, Terezinha Dora Abreu de Carvalho (1936-2017). In order to provide elements that help us better understand her trajectory, we highlight aspects we consider significantly representative, which assist us in constructing an accurate biography. Noting that her work was never published and is only available in manuscript form, we deemed it pertinent to create compositional output. In this process, we identified 50 works attributed to Terezinha Dora, which we described and categorized. As part of the practical research, we carried out the editing of the scores, recording, and analysis of the pieces Felicidade, Infância, and Ponteio, understanding that these provide potential clues about her compositional approach. By carrying out these steps together, we believe we not only enabled a coherent approximation to her musical thought but also fostered the emergence of new layers of aesthetic enjoyment and interpretative intentionality in the examined pieces.
- ItemPresença e representação dos povos indígenas na arte pública capixaba(Universidade Federal do Espírito Santo, 2025-04-09) Oliveira, Jaqueline Torquatro de; Cirillo, Aparecido José; https://orcid.org/0000-0001-6864-3553; http://lattes.cnpq.br/6252535690546666; https://orcid.org/0009-0002-3914-1911; http://lattes.cnpq.br/2601386393048834; Frade, Isabela Nascimento; https://orcid.org/0000-0001-5224-6633; http://lattes.cnpq.br/0576968930348730; Araújo, Oriana Maria Duarte de; https://orcid.org/0009-0002-4957-0007; http://lattes.cnpq.br/7982763946400047This dissertation, presented to the Graduate Program in Arts at UFES, aims to analyze the presence and modes of representation of various Indigenous ethnic groups in public art in Espírito Santo. The research investigates the arrival of Europeans in Latin America and the impacts of colonization and the actions of the Catholic Church, highlighting the processes of transculturation resulting from memoricide, genocide, and ethnocide. These factors contributed to the modification of cultural identity and the erasure of pre-Columbian Indigenous traditions. Furthermore, the study discusses how the development of art in Brazil, shaped by European influences, has affected society’s perception of Indigenous peoples. Since colonization, Indigenous individuals have been represented according to the imagination of European settlers and clergy, which has influenced how their identities have been constructed and disseminated in the public sphere. The research analyzed artworks present in public spaces in Espírito Santo, classifying them into categories such as Indianist, pre-Indigenist, Indigenist, and others, with the latter suggested for future investigations. The study covers Indigenous representations from the artistic period dominated by the Jesuits (1557–1759) to the presence of mythologized figures and allegories in neoclassical-style monuments that began to be incorporated into public spaces from 1868 onward. Finally, this dissertation proposes an in-depth analysis of these categories, seeking to break away from the hegemonic perspective that has dominated Brazilian art since colonization and to contribute to a critical reading of Indigenous representation in public art in Espírito Santo.
- ItemTatuagem: uma linguagem corporal/visual(Universidade Federal do Espírito Santo, 2024-10-31) Soares, Luan Daniel Coelho; Silva, Claudia Maria França da; https://orcid.org/0000-0001-6971-6363; http://lattes.cnpq.br/3462886315780014; https://orcid.org/0000-0001-8247-1313; http://lattes.cnpq.br/4812825240136075; Pfützenreuter, Edson do Prado; https://orcid.org/0000-0002-3331-3420; http://lattes.cnpq.br/2012558187992063; Mello, Júlia Almeida de; https://orcid.org/0000-0001-8454-2453; http://lattes.cnpq.br/2648924540669238The presented research offers a comprehensive analysis of tattooing, exploring its evolution from an ancestral cultural expression to its incorporation into contemporary art and individual artistic practice. Tattooing is examined as a multifaceted phenomenon that reflects identity, history, and social transformations over time. Initially, tattooing is contextualized in its traditional role across various cultures, where it serves as a rite of passage, a status symbol, and a form of healing. The influence of European sailors and the subsequent marginalization of tattooing are discussed, as well as its forced and dehumanizing use during the Holocaust. The transition to contemporary art is marked by the redefinition of tattooing as a form of artistic expression, with artists exploring its possibilities in contexts of Body Art and bodily modifications. Wim Delvoye’s work “Tim” and Santiago Sierra’s interventions exemplify this phase, challenging notions of commercialization and objectification of the body. Finally, the research culminates with a personal reflection on the practice of tattooing as an artist and tattooist, highlighting the creation of works that utilize the aesthetics of tattooing to express individual memories and experiences. The project “192 Needles: Transversal Narratives” symbolizes this approach, transforming used tattoo needles into elements of an artistic installation that narrates personal and collective stories.
- ItemThat's what she said (1978): uma análise audiotátil do scat singing de Flora Purim(Universidade Federal do Espírito Santo, 2024-11-29) Nogueira, Jennifer Soares; Costa, Fabiano Araújo; https://orcid.org/0000-0002-7386-3320; http://lattes.cnpq.br/7101979822731454; https://orcid.org/0009-0008-0992-6981 ; http://lattes.cnpq.br/0448605139195861; Freitas, Alexandre Siqueira de; https://orcid.org/0000-0002-4989-352X; http://lattes.cnpq.br/4616788871589192; Reis, Doriana Mendes; https://orcid.org/0000-0002-5107-9156; http://lattes.cnpq.br/9430461924452717This dissertation analyzes Scat singing in the work of Flora Purim, with an emphasis on the uniqueness, aesthetics, and technique of her improvisation and extemporization between the years 1964 and 1978. To this end, historical, aesthetic, and technical factors of Jazz singing in the Swing, Bebop, and Fusion eras were demonstrated. Subsequently, the interpretative keys of the Theory of Audiotactile Music (TMA) were incorporated to understand the phenomena of improvisation, evaluating the aesthetic-cultural musical value in the analyzed works, focusing on audiotactile aspects such as groove, swing, improvisation, and extemporization. From this perspective, Flora Purim's works were analyzed based on TMA concepts, which provided the creation of Scat singing models in the Fusion period, highlighting the structuring forms of her composition and execution present in her artistic practice