O espelho de Frida Kahlo: reflexos e refrações de um corpo grotesco
Frida Kahlo's pictorial work is world-renowned. Her paintings have already been the object of investigation in some areas of knowledge in the academic world. However, nowadays, the pictures are used as a corpus of research, developed in the most diverse fields of knowledge. Our work is, in a...
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| Formato: | doctoralThesis |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
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| Assuntos: | |
| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/57349 |
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| Resumo: | Frida Kahlo's pictorial work is world-renowned. Her paintings have already
been the object of investigation in some areas of knowledge in the academic world.
However, nowadays, the pictures are used as a corpus of research, developed in the
most diverse fields of knowledge. Our work is, in a way, inaugural in the world of the
humanities, in this sense, as it crosses the border of the artistic sphere and is also
established in the space of the painter's intimate and private sphere. The possibility
of carrying out such a task was realized only because her private production became
public. Her intimate diary was published, her private epistolary collection became a
book, her personal photos were gathered and also published in a book. Therefore,
we can say that this thesis aims to investigate the elements of the Bakhtinian
grotesque (Bakhtin, 2013) present in the female body that is portrayed in
self-portraits and in some pages of the intimate diary of the world-famous Mexican
painter Frida Kahlo. This research was provoked and exists by the desire to
scrutinize and answer, among others, the following questions: What elements of the
grotesque are found in the corpus presented here? Are these characteristics enough
to give the female body, represented by Frida, the status quo of a grotesque body, in
the Bakhtinian perspective? To ensure the effectiveness of this work, it was
necessary to confront ideas on the borders that unite them and assume a theoretical
and methodological position. Thus, our thesis is based on the foundations of the
transgressive and transdisciplinary Applied Linguistics (Lopes, 2019) and Bakhtinian
theory (Bakhtin, 2010; 2013; 2015; 2016; 2018). Moreover, we also chose, as a
more pragmatic methodological path, to imbue ourselves with a
qualitative-interpretivist nature for our research, which implies saying that we believe
in the socio-historical and ethically engaged answers given by Frida Kahlo's body,
portrayed in the self-portraits we have chosen, to the questions raised during our
journey. We also believe that the motto and tools used by the painter and woman
Frida, in their most varied faces, took on grotesque characteristics to reach her horizons of interest. |
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