The use of passenger bus terminals has developed over the years and they are no longer just places for boarding, connecting between points and disembarking users. The passenger bus terminals represent an aid to the transport infrastructure and, in addition to contributing to mobility, they constitute an integration factor, generators of jobs and taxes (SOARES, 2006). The growth of cities and territorial occupation intensifies the dependence on the use of road equipment, which has become indispensable in daily commuting. Thus, bus terminals have a fundamental role in the development of small cities, as they expand the possibilities of municipal and intercity commuting. Anchieta, a small municipality, is located in a tourist, agricultural and port area on the southern coast of Espírito Santo. The city has approximately 29,263 inhabitants (IBGE, 2020) and does not have a location with adequate infrastructure for passengers to embark and disembark. Thus, the objective is to discuss the importance of implementing road terminals in small cities for the construction of urban mobility. Thus, we seek to analyze the case of Anchieta in terms of its historical and geographical context and the infrastructure associated with the public transport offered.
O presente artigo traz uma interseção entre o projeto poético das artistas brasileiras Elisa Queiroz e Fernanda Magalhães. Ambas possuem produções autorreferenciais que permitem reflexões acerca da corpulência. As artistas provocam os espectadores através de trabalhos feitos em diferentes suportes e superfícies e parecem tensionar as normas e padrões estéticos vigentes na sociedade contemporânea. Para a leitura dos projetos, são considerados os escritos de autores como Donna Haraway (2009), Chantal Mouffe (2007), Whitney Chadwick (2001) e André Rouillé (2005), que tratam de gênero, política e práticas artísticas como política. Os resultados revelam a possibilidade em realizar uma conversa entre as obras das artistas, partindo dos seus corpos para alinhavar discursos concernentes a identidade, gênero e poder. ABSTRACT This article provides an intersection between the poetic project from Brazilian artists Elisa Queiroz and Fernanda Magalhães. Both have self-referential productions that allow reflections about corpulence and seem to tighten standards and aesthetic standards prevailing in contemporary society. For the reading of the projects are considered the writings of authors such as Donna Haraway (2009), Chantal Mouffe (2007), Whitney Chadwick (2001) and Andre Rouillé (2005), dealing with gender, political and artistic practices as politics. The results reveal the possibility to hold a conversation between the artists works starting from their bodies to tack speeches concerning identity, gender and power. KEYWORDS Art, Elisa Queiroz, Fernanda Magalhães, body, gender.
Este artigo apresenta uma análise da construção do corpo nu como categoria estética na cultura ocidental e da subversão da sua associação com o belo, proporcional e harmônico feita através da valorização do corpo “cru”e despido da arte contemporânea. O estudo de Kenneth Clark (1956) tem grande relevância para a manutenção da concepção do nu como elemento central da arte europeia, da idealização do maior grau de sofisticação da arte. Algo totalmente diferente do despido que, segundo o autor, implica em constrangimento e vulnerabilidade. A partir de elementos da metodologia visual crítica e da sua articulação com o feminismo, exploramos o significado de “nu”e “despido”considerando autores como John Berger (1999), Lynda Nead (1992) e Frances Borzello (2012). Os resultados revelam que o nu descamado, o corpo despido e “obsceno”no cenário da arte contemporânea, mostra-se como um importante objeto de práticas culturais que questionam convenções pré-estabelecidas.
This article presents an analysis of the grotesque as a transgressive element of artistic canons, norms and dominant discourses, considering different periods in the art history(ies). From its manifestation as an aesthetic category in descriptions of Domus Aurea in fifteenth century to the disordered bodies that confront categorizations in contemporary art, the grotesque is constantly in motion and although it cannot be classified it is immediately identified as provocative. Approaches linking Visual Culture to gender issues and political identities are made by emphasizing works that incorporate the excess, the “abnormal”, the “uncanny”, the ambiguity and other grotesques’ manifestations to break boundaries. The results reveal that the grotesque can be seen as a political strategy in different contexts, including its dialogue with the current proposals of provocation of the dissent in contemporary art.
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