O guarda cultura Franklin Joaquim Cascaes: o outsider/estabelecido

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dc.contributor.advisorFeijó, Martin Cezarpt_BR
dc.contributor.advisor1Latteshttp://lattes.cnpq.br/5027900632073057por
dc.contributor.authorMeira, Denise Araujopt_BR
dc.creator.Latteshttp://lattes.cnpq.br/5029281417091076por
dc.date.accessioned2016-03-15T19:44:12Z
dc.date.accessioned2020-05-28T18:09:46Z
dc.date.available2013-12-14pt_BR
dc.date.available2020-05-28T18:09:46Z
dc.date.issued2013-08-26pt_BR
dc.description.abstractTaking into account that researchers who study Franklin Cascaes work and life dissociate the artist from the professor, I have chosen his life trajectory, as an artist and as a professor, the object of analysis. The importance of such choice lies on the fact that his work as an artist/professor is almost unexplored in the academic literature, especially, from the point of view of his lack of traditional formal education. So, the aim was to show that there was a Franklin before and after his own autobiographical narratives, where he portrays himself as an outsider. Thus, the research was carried out through the examination of his academic works, autobiographical fragments, notes on his academic daily life, letters sent to journalists and politicians, interviews, photos, magazines, as well as his drawings, sculptures, and stories. All of these documents have provided hints of who Franklin Joaquim Cascaes was. This thesis departs from the common principle of the Elisian studies about the relationship between the individual and the society (especially in the case of Mozart, which prompted Nobert Elias to observe the possible forms of relationship, while studying the man), in order to understand Franklin Cascaes within the limits and possibilities of his own time. The opposition between the concepts of outsider and established were crucial in the analysis of Franklin s trajectory. These concepts are seen within an approach that embraces him as a deviant artist and professor. Thus, this work is divided into three sections, which one aiming at answering the following working question: how social tensions work on individual trajectories? In the first section, that covers Franklin s trajectory up to 1948, I analyses different factors in the experience of the man that have contributed to the construction of his mission: to keep up the culture of the inhabitants of the Isle of Santa Catarina. In the second section I try to understand the limits and the possibilities for him to carry out his project, taking 10 into consideration the determinants from the environment over his trajectory. Furthermore, I try to understand the strategies used by Franklin to face the rules and the attitudes that were imposed on him in the Escola Industrial as a professor and as an artist in the city of Florianópolis. In the last part I question how it was possible for the Museum Oswaldo Rodrigues Cabral of Archeology and Ethnology to keep up with Franklin s work of art. I also analyses the creation of other places devotes to his memory. In both cases, I have identified the strategies used for the recognition of the importance of Franklin as a catarinense artist. If the condition of established/outsider illuminates the power relations of a social dimension, defined by values, such as recognition, belonging, and exclusion, in the 1970s Franklin Cascaes begins to participate of spaces in the past open only to those who had an academic degree or a privileged social condition, the established. It is in the local political and social context of those years that the açoriana identity turned into a strategy for the invention of a city , which desired to become a tourist site. In 1977, the researcher and paranaense arts critic, Adalice Maria de Araujo, in her thesis Franklin Cascaes, The Myth of an Island: myth and magic , turned the artist in the big wizard of the island of Santa Catarina. Franklin, appearing frequently at the pages newspapers, especially, the O Jornal, the main local paper, and with the help from the students of the Industrial at the town hall and at the Federal University of Santa Catarina (UFSC), was able to secure the keep up of his works by the Museum Oswaldo Rodrigues Cabral. It is in this atmosphere that Franklin goes from the condition of an outsider to the established one, although, in the following years, in different autobiographic narratives, he had never seen himself as such.eng
dc.description.sponsorshipUniversidade Presbiteriana Mackenziept_BR
dc.formatapplication/pdfpor
dc.identifier.citationMEIRA, Denise Araujo. O guarda cultura Franklin Joaquim Cascaes: o outsider/estabelecido. 2013. 148 f. Tese (Doutorado em Educação, Arte e História) - Universidade Presbiteriana Mackenzie, São Paulo, 2013.por
dc.identifier.urihttp://dspace.mackenzie.br/handle/10899/24587
dc.languageporpor
dc.publisherUniversidade Presbiteriana Mackenziepor
dc.rightsAcesso Abertopor
dc.subjectFranklin Cascaespor
dc.subjecttrajetóriapor
dc.subjectprofessor/artistapor
dc.subjectoutsider/estabelecidopor
dc.subjectFranklin Cascaeseng
dc.subjecttrajectoryeng
dc.subjectprofessor/artisteng
dc.subjectoutsider/establishedeng
dc.subject.cnpqCNPQ::CIENCIAS HUMANAS::EDUCACAOpor
dc.thumbnail.urlhttp://tede.mackenzie.br/jspui/retrieve/3890/Denise%20Araujo%20Meira.pdf.jpg*
dc.titleO guarda cultura Franklin Joaquim Cascaes: o outsider/estabelecidopor
dc.typeTesepor
local.contributor.board1Ambrogi, Ingrid Höttept_BR
local.contributor.board1Latteshttp://lattes.cnpq.br/6330995631263989por
local.contributor.board2Stori, Norbertopt_BR
local.contributor.board2Latteshttp://lattes.cnpq.br/9008340653385020por
local.contributor.board3Simioni, Ana Paula Cavalcantipt_BR
local.contributor.board3Latteshttp://lattes.cnpq.br/5430939216902056por
local.contributor.board4Sielski, Isabela Mendespt_BR
local.contributor.board4Latteshttp://lattes.cnpq.br/9794500896704341por
local.publisher.countryBRpor
local.publisher.departmentEducação, Arte e Históriapor
local.publisher.initialsUPMpor
local.publisher.programEducação, Arte e História da Culturapor
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