Navegando por Autor "Santos, Andresa Maria dos"

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    A série césio 137 - Goiânia, rua 57, de Siron Franco: o uso da imagem na compreensão histórica
    (Universidade Federal de Goiás, 2017-08-09) Santos, Andresa Maria dos; Borges, Valdeci Rezende; http://lattes.cnpq.br/0857773389440773; Borges, Valdeci Rezende; Duarte, Ana Helena da Silva Delfino; Santos, Márcia Pereira dos; Santos, Regma Maria dos; Pereira, Kênia Maria de Almeida
    This dissertation, inserted in the context of Cultural History, aims to have, in an interdisciplinary perspective between Art and History, a historical understanding of the radioactive accident, or rather, the disaster that occurred in Goiânia, in 1987, through the imaging representations of the Cesium 137 Series, by Siron Franco. Having the images as a source of study allows some considerations on the practices and representations that human beings build from their perceptions and conceptions of the world and arts about the most diverse events in time and space. To understand the accident, we analyzed the historical process of atomic energy development and its implication in the nuclear technology industry in Brazil, the social behavior in the face of tragedies and disasters, and in the face of the relationship between arts, the artist and the society. In the construction of our interpretation of selected images that make up the Cesium 137 Series and its relation with the historical context of Goiás, we see the artist as a social subject that shows, in his works, his views of the world. We also consider the role of the producer of such symbolic assets as the main actor of his time and society, as well as his works, aesthetics and languages he employs, which allow us the contact with historical events, by seeing in arts a possibility of social engagement, beyond simple observation. Therefore, we discuss the use of works of art in the classroom, starting with its historical and social contextualization and a set of problems for the construction of historical knowledge. Artistic images, such as social, cultural and aesthetic constructs, human signs and vestiges in time, are historical documents and sources of endless possibilities of interpretation; they are narratives and places that hold memories of different human practices, of their insertion in time and space of the relations that are developed in and with them, and of the sensations and emotions that they produce and experience, like those related to the Cesium 137 Series, of which we selected some screens in an attempt to address the historical accident, based on the representations of space and its constituent elements and of the human figures that flow in such representations, with their traces and marks.