Carla Mary S Oliveira
Carla Mary S. Oliveira received her PhD in Sociology from Universidade Federal da Paraíba in 2003, where she lectures as Full Professor in Modern History, Art History, Cultural History and History Methodology since 2004. She developed post-doctoral studies at Universidade Federal de Minas Gerais in 2009 with a Brazilian Government grant and wrote several papers & chapters, three books, and edited five books with other researchers. Her research treats on Brazilian Baroque, Franciscan colonial iconography and the role of Franciscans in History of Education in Brazilian Northeast coastline, between 1700 and 1900. Member of History of Education Brazilian Society since January 2016, she works in the field of History, with emphasis on Art Social History, Cultural History and History of Education.
Supervisors: Ariosvaldo da Silva Diniz, Simone Carneiro Maldonado, and Adalgisa Arantes Campos
Phone: + 55 (83) 3216-7339/ 3216-7915 (UFPB)
Address: Profª Dra. Carla Mary S. Oliveira
Universidade Federal da Paraíba - UFPB
Departamento de História - Centro de Ciências Humanas, Letras e Artes
Cidade Universitária - Conjunto Humanístico - Bloco V
Castelo Branco
João Pessoa - PB - CEP 58.051-970
Brasil
Supervisors: Ariosvaldo da Silva Diniz, Simone Carneiro Maldonado, and Adalgisa Arantes Campos
Phone: + 55 (83) 3216-7339/ 3216-7915 (UFPB)
Address: Profª Dra. Carla Mary S. Oliveira
Universidade Federal da Paraíba - UFPB
Departamento de História - Centro de Ciências Humanas, Letras e Artes
Cidade Universitária - Conjunto Humanístico - Bloco V
Castelo Branco
João Pessoa - PB - CEP 58.051-970
Brasil
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Papers & Books by Carla Mary S Oliveira
Keywords: Franciscans; Learning; Emblems; Novices; 18th Century; Portuguese America.
by its commissioners and their public. Th e image is polysemic and brings to the observer a certain discourse allowing, through the fog that covers its past, the glimpse of what its author or the contractor wanted or not to register. In this sense, Franciscan images and monuments, like any historical document, bring information filtered by their producers, in this case using a symbolic and also allegorical visual language, typical of the Baroque. Th e choice of characters to decorate ceilings, panels and other paintings of the convents was part of a historical and teleological culture practiced by the friars and used outside New World matrices to engender representations and inculcate them, like a visual catechism, to the Gentiles, faithful in general and to the members of their own order. Th is chapter discusses the center / periphery relationship in the Franciscan artistic production of the coast between the Bahian Recôncavo and Paraíba in the 18th century, including the historical culture involved in its elaboration.
Keywords: Franciscan Iconography; Portuguese America; 18th Century; North Captaincies; Alegory; Historical Culture.
Keywords: franciscans, education, monastic libraries, 18th and 19th centuries, Paraíba.
RESUMO: O artigo analisa a atuação dos frades franciscanos da Província de Santo Antônio do Brasil, no campo da Instrução intra e extramuros, com foco especial sobre a Paraíba entre os séculos XVIII e XIX. Pretende-se, por meio da documentação consultada, compreender como eram designadas as funções de mestre e lente entre os franciscanos, bem como identificar, a partir de duas Relações elaboradas pelo superior provincial em 1779 e remetidas à rainha D. Maria I, quais dentre os frades professos da província as exerciam. Analisa-se também a importância das livrarias conventuais para as atividades de docência dos franciscanos, bem como o acervo da livraria da casa paraibana, por meio de inventário elaborado pela Ordem em 1852.
Palavras-chave: franciscanos, instrução, livrarias conventuais, séculos XVIII e XIX, Paraíba.
Keywords: Franciscans; Pernambuco; Education; Libraries; 18th and 19th Centuries.
RESUMO: O artigo pretende apresentar e analisar a relação intrínseca existente entre a atuação dos franciscanos no campo da Instrução em Pernambuco e a formação de suas livrarias conventuais no Setecentos, tendo como consequência o legado destes acervos riquíssimos ao século XIX mas que, infelizmente, devido às desventuras que enfrentaram com a extinção da Província de Santo Antônio do Brasil, foram inteiramente destruídos ou irremediavelmente dispersos. A intenção, por meio das discussões apresentadas, é contribuir para a expansão dos estudos sobre a História da Educação em sua interface com a História dos Livros e da Leitura, no contexto pernambucano, entre os séculos XVIII e XIX.
Palavras Chave: Franciscanos; Pernambuco; Instrução; Bibliotecas; Séculos XVIII e XIX.
ABSTRACT
Jean-Paul Sartre, a French structuralist philosopher and intellectual who died in 1980, had a special appreciation for Italy, and on his travels to that country, especially when visiting Venice, he always let himself be carried away by the enchantment caused by the work of Tintoretto, on whom a day he meant to write an extensive work which, however, never got to finish. This article treats precisely the fragmentary writings of Sartre on the Venetian painter, understood it as an aesthetic and phenomenological analysis that approximates Sartre to the writings of Merleau-Ponty on Paul Cézanne and Deleuze on Francis Bacon.
Jean-Baptiste Debret was an extremely known 19th century artist in Brazil, because of the engravings of his 3 volumes book, Voyage Pittoresque et Historique au Brésil, issued in Paris between 1834 and 1839. These images, based upon drawings that he made when lived in Rio de Janeiro, between 1816 and 1831, were popularized in Brazilian lands even in 19th century, and during 20th century several of these scenes were turned in compulsory illustrations of school books or all text referring to 19th century Brazil. However, the trivialization of these engravings hides the so rich human types and day-by-day practices captured by the artist during the 16 years accurate observation of Rio de Janeiro streets, that can be percept in more of a thousand drawings, sketches and watercolours produced in his Brazilian sojourn. This paper show some ways to research over these sources, focusing leisure and reading sociabilities registered in his watercolours, inside a Cultural History perspective.
ROSSI, Paolo. Comer: necessidade, desejo, obsessão. Tradução de Ivan Esperança Rocha. São Paulo: Editora da UNESP, 2014 [2011], 192 p.
Une caractéristique frappante de la biographie de D. Pedro II (Empéreur du Brésil 1840-1889) était son goût pour les voyages, dans ses domaines ainsi que dans des pays étrangers. Ses visites aux provinces brésiliennes, surtou à celles les plus périphériques, pourtant, instauraient toujours une situation d’exception pour ses sujets. La visite impériale produisait une suspension de la vie ordinaire et était toujours l’occacion pour de solenneles célébrations de Sa Majesté, en renforçant, didactiquement, les lieux de pouvoir et le leur symbolisme dans les relations sociales locales. Ce n’était pas différent quand l’empereur était venu à Parahyba du Nord, du 24 au 30 Décembre1859, après deux mois partagés entre Bahia et Pernambuco, avant de retourner à la Cour en passant par les provinces de Alagoas, Sergipe et Espírito Santo. Nous nous proposons d’analyser les célébrations réalisées au cours de la visite de D. Pedro II et de son entourage à Parahyba, en essayant de comprendre leur pouvoir symbolique et leur rôle dans les stratégies engendrées par les élites locales pour renforcer leur position face aux classes subalternes.
intrinsically on the sublimation of the flesh by the spirit, seeming as something unreal, taking the observer in a disturbance which deserved be investigate, in opposition to the appeal of passive and harmonious admiration raised by Antiquity and Renaissance Art. Riegl was motivated to understand this strangeness, and dedicated himself to lead three lectures on Baroque Art at the Vienna University between 1894 and 1902, trying to challenge the dominant canon of “good taste”, which he considered as a boring litany that pervaded the curriculum of academic Art History and represented nothing less than a predilection for monumental approach that he abhorred. This paper is specifically intended to give an briefly introduction to the emergence of these Riegl’s ideas and his influence in the field of study of Baroque art.
Keywords: Franciscans; Learning; Emblems; Novices; 18th Century; Portuguese America.
by its commissioners and their public. Th e image is polysemic and brings to the observer a certain discourse allowing, through the fog that covers its past, the glimpse of what its author or the contractor wanted or not to register. In this sense, Franciscan images and monuments, like any historical document, bring information filtered by their producers, in this case using a symbolic and also allegorical visual language, typical of the Baroque. Th e choice of characters to decorate ceilings, panels and other paintings of the convents was part of a historical and teleological culture practiced by the friars and used outside New World matrices to engender representations and inculcate them, like a visual catechism, to the Gentiles, faithful in general and to the members of their own order. Th is chapter discusses the center / periphery relationship in the Franciscan artistic production of the coast between the Bahian Recôncavo and Paraíba in the 18th century, including the historical culture involved in its elaboration.
Keywords: Franciscan Iconography; Portuguese America; 18th Century; North Captaincies; Alegory; Historical Culture.
Keywords: franciscans, education, monastic libraries, 18th and 19th centuries, Paraíba.
RESUMO: O artigo analisa a atuação dos frades franciscanos da Província de Santo Antônio do Brasil, no campo da Instrução intra e extramuros, com foco especial sobre a Paraíba entre os séculos XVIII e XIX. Pretende-se, por meio da documentação consultada, compreender como eram designadas as funções de mestre e lente entre os franciscanos, bem como identificar, a partir de duas Relações elaboradas pelo superior provincial em 1779 e remetidas à rainha D. Maria I, quais dentre os frades professos da província as exerciam. Analisa-se também a importância das livrarias conventuais para as atividades de docência dos franciscanos, bem como o acervo da livraria da casa paraibana, por meio de inventário elaborado pela Ordem em 1852.
Palavras-chave: franciscanos, instrução, livrarias conventuais, séculos XVIII e XIX, Paraíba.
Keywords: Franciscans; Pernambuco; Education; Libraries; 18th and 19th Centuries.
RESUMO: O artigo pretende apresentar e analisar a relação intrínseca existente entre a atuação dos franciscanos no campo da Instrução em Pernambuco e a formação de suas livrarias conventuais no Setecentos, tendo como consequência o legado destes acervos riquíssimos ao século XIX mas que, infelizmente, devido às desventuras que enfrentaram com a extinção da Província de Santo Antônio do Brasil, foram inteiramente destruídos ou irremediavelmente dispersos. A intenção, por meio das discussões apresentadas, é contribuir para a expansão dos estudos sobre a História da Educação em sua interface com a História dos Livros e da Leitura, no contexto pernambucano, entre os séculos XVIII e XIX.
Palavras Chave: Franciscanos; Pernambuco; Instrução; Bibliotecas; Séculos XVIII e XIX.
ABSTRACT
Jean-Paul Sartre, a French structuralist philosopher and intellectual who died in 1980, had a special appreciation for Italy, and on his travels to that country, especially when visiting Venice, he always let himself be carried away by the enchantment caused by the work of Tintoretto, on whom a day he meant to write an extensive work which, however, never got to finish. This article treats precisely the fragmentary writings of Sartre on the Venetian painter, understood it as an aesthetic and phenomenological analysis that approximates Sartre to the writings of Merleau-Ponty on Paul Cézanne and Deleuze on Francis Bacon.
Jean-Baptiste Debret was an extremely known 19th century artist in Brazil, because of the engravings of his 3 volumes book, Voyage Pittoresque et Historique au Brésil, issued in Paris between 1834 and 1839. These images, based upon drawings that he made when lived in Rio de Janeiro, between 1816 and 1831, were popularized in Brazilian lands even in 19th century, and during 20th century several of these scenes were turned in compulsory illustrations of school books or all text referring to 19th century Brazil. However, the trivialization of these engravings hides the so rich human types and day-by-day practices captured by the artist during the 16 years accurate observation of Rio de Janeiro streets, that can be percept in more of a thousand drawings, sketches and watercolours produced in his Brazilian sojourn. This paper show some ways to research over these sources, focusing leisure and reading sociabilities registered in his watercolours, inside a Cultural History perspective.
ROSSI, Paolo. Comer: necessidade, desejo, obsessão. Tradução de Ivan Esperança Rocha. São Paulo: Editora da UNESP, 2014 [2011], 192 p.
Une caractéristique frappante de la biographie de D. Pedro II (Empéreur du Brésil 1840-1889) était son goût pour les voyages, dans ses domaines ainsi que dans des pays étrangers. Ses visites aux provinces brésiliennes, surtou à celles les plus périphériques, pourtant, instauraient toujours une situation d’exception pour ses sujets. La visite impériale produisait une suspension de la vie ordinaire et était toujours l’occacion pour de solenneles célébrations de Sa Majesté, en renforçant, didactiquement, les lieux de pouvoir et le leur symbolisme dans les relations sociales locales. Ce n’était pas différent quand l’empereur était venu à Parahyba du Nord, du 24 au 30 Décembre1859, après deux mois partagés entre Bahia et Pernambuco, avant de retourner à la Cour en passant par les provinces de Alagoas, Sergipe et Espírito Santo. Nous nous proposons d’analyser les célébrations réalisées au cours de la visite de D. Pedro II et de son entourage à Parahyba, en essayant de comprendre leur pouvoir symbolique et leur rôle dans les stratégies engendrées par les élites locales pour renforcer leur position face aux classes subalternes.
intrinsically on the sublimation of the flesh by the spirit, seeming as something unreal, taking the observer in a disturbance which deserved be investigate, in opposition to the appeal of passive and harmonious admiration raised by Antiquity and Renaissance Art. Riegl was motivated to understand this strangeness, and dedicated himself to lead three lectures on Baroque Art at the Vienna University between 1894 and 1902, trying to challenge the dominant canon of “good taste”, which he considered as a boring litany that pervaded the curriculum of academic Art History and represented nothing less than a predilection for monumental approach that he abhorred. This paper is specifically intended to give an briefly introduction to the emergence of these Riegl’s ideas and his influence in the field of study of Baroque art.