ALÉM DA IMAGEM: UMA CRÍTICA SOBRE AS IMAGENS FEMININAS NA OBRA DE BORIS KOSSOY
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2025/09/12
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Universidade Estadual do Paraná
Resumo
This dissertation investigates the representation of female figures in the photographic work of Boris Kossoy, with a special focus on the photobook Viagem pelo Fantástico. The study offers a critical analysis of visual representations through the lens of image studies, art history, and feminist critical theory, contextualized within Brazil's sociocultural and political landscape. Kossoy's artistic and theoretical trajectory is examined as a core axis linking his photographic practices to conceptual reflections, particularly regarding the symbolic construction of femininity, the theatricality of images, and the intersection between document and fiction. Concepts such as surrealism, magical realism, and estrangement guide the aesthetic and political interpretation of his imagery, highlighting the recurrence of female figures— mannequins, brides, and nudes—that challenge the boundaries between poetic representation and objectification. Through a qualitative and interpretative approach, based on authors like Barthes, Dubois, Kossoy, Chanady, and Mulvey, the dissertation reveals how the photographer's work transcends documentary records and functions as a discursive field that reconfigures meanings attributed to the female body and urban visuality. The research concludes that Kossoy’s photography mobilizes a hybrid visual poetics, marked by ambiguity and estrangement, emerging as a language of resistance, memory, and invention.
Descrição
Esta dissertação investiga as imagens femininas na obra fotográfica de Boris Kossoy, com ênfase no fotolivro Viagem pelo Fantástico. A pesquisa propõe uma análise crítica das representações visuais sob a ótica dos estudos da imagem, da história da arte e da teoria crítica feminista, articulando-as ao contexto sociocultural e político brasileiro. A trajetória artística e teórica de Kossoy é explorada como um eixo articulador entre suas práticas fotográficas e reflexões conceituais, especialmente no que tange à construção simbólica do feminino, à teatralidade imagética e à interseção entre documento e ficção. Os conceitos de surrealismo, realismo fantástico e estranhamento orientam a leitura estética e política das imagens analisadas, destacando a presença de figuras femininas como manequins, noivas e nus, que tensionam os limites entre a representação poética e a objetificação. Por meio de uma abordagem qualitativa e interpretativa, fundamentada em autores como Barthes, Dubois, Kossoy, Chanady e Mulvey, a dissertação evidencia como a obra do fotógrafo transcende o registro documental e opera como campo discursivo que reconfigura sentidos atribuídos ao corpo feminino e à visualidade urbana. A pesquisa conclui que a fotografia de Kossoy mobiliza uma poética visual híbrida, marcada por ambiguidades e estranhamentos, revelando-se como uma linguagem de resistência, memória e invenção.
This dissertation investigates the representation of female figures in the photographic work of Boris Kossoy, with a special focus on the photobook Viagem pelo Fantástico. The study offers a critical analysis of visual representations through the lens of image studies, art history, and feminist critical theory, contextualized within Brazil's sociocultural and political landscape. Kossoy's artistic and theoretical trajectory is examined as a core axis linking his photographic practices to conceptual reflections, particularly regarding the symbolic construction of femininity, the theatricality of images, and the intersection between document and fiction. Concepts such as surrealism, magical realism, and estrangement guide the aesthetic and political interpretation of his imagery, highlighting the recurrence of female figures— mannequins, brides, and nudes—that challenge the boundaries between poetic representation and objectification. Through a qualitative and interpretative approach, based on authors like Barthes, Dubois, Kossoy, Chanady, and Mulvey, the dissertation reveals how the photographer's work transcends documentary records and functions as a discursive field that reconfigures meanings attributed to the female body and urban visuality. The research concludes that Kossoy’s photography mobilizes a hybrid visual poetics, marked by ambiguity and estrangement, emerging as a language of resistance, memory, and invention.
This dissertation investigates the representation of female figures in the photographic work of Boris Kossoy, with a special focus on the photobook Viagem pelo Fantástico. The study offers a critical analysis of visual representations through the lens of image studies, art history, and feminist critical theory, contextualized within Brazil's sociocultural and political landscape. Kossoy's artistic and theoretical trajectory is examined as a core axis linking his photographic practices to conceptual reflections, particularly regarding the symbolic construction of femininity, the theatricality of images, and the intersection between document and fiction. Concepts such as surrealism, magical realism, and estrangement guide the aesthetic and political interpretation of his imagery, highlighting the recurrence of female figures— mannequins, brides, and nudes—that challenge the boundaries between poetic representation and objectification. Through a qualitative and interpretative approach, based on authors like Barthes, Dubois, Kossoy, Chanady, and Mulvey, the dissertation reveals how the photographer's work transcends documentary records and functions as a discursive field that reconfigures meanings attributed to the female body and urban visuality. The research concludes that Kossoy’s photography mobilizes a hybrid visual poetics, marked by ambiguity and estrangement, emerging as a language of resistance, memory, and invention.
Palavras-chave
Boris Kossoy. Fotografia. Representação feminina. Realismo fantástico. Surrealismo. História da arte.