dc.contributor.advisor |
Bell, L |
en |
dc.contributor.advisor |
Lehman, K |
en |
dc.contributor.author |
de Oliveira, GVM |
en |
dc.date.accessioned |
2013-03-13T21:56:26Z |
en |
dc.date.issued |
2013 |
en |
dc.identifier.uri |
http://hdl.handle.net/2292/20240 |
en |
dc.description.abstract |
Contrary to romantic-teleological narratives disseminated from the nineteenth-century onwards, the emergence of modern nation-states in this period, not only in the Americas but also in Europe, was by no means a natural, predestined or linear process. Unlike the idea that nation-states originated spontaneously from pre-existing traditional cultural and historical bonds, contemporary historical studies emphasise that the emergence of nation-states is a relatively recent phenomenon. This is nowhere more true than in Brazil, a collection of regionally disparate and autonomous Indigenous peoples colonised by a small European minority residing in a few cities on the coast, which introduced a large African slave population and built its wealth on this colonial system. When independence was declared in 1822, this European and European-descendant minority represented a mere 24.4% of the population (SKIDMORE, 1995). However, in just a few decades, the former Portuguese colony achieved one of the greatest transformations in modern history: the widely disseminated self-image of the sovereign nationstate of Brazil as a cohesive and civilised people who made the transition from colony to nationstate almost entirely peacefully. How did this new nation-state manage to establish a national project in such a relatively short period, while inheriting the basic structures of colonial society? To investigate these and related questions, this thesis focuses on the central place of nineteenth-century painters and historians in the invention of the history of Brazil. Specifically, it shows how painters of the Imperial Academy of Fine Arts (AIBA) and historians at the Brazilian Historical and Geographical Institute (IHGB), with shared epistemological and political agendas, played an important complementary role in inaugurating visual and written interpretations of Brazilian history that actively contributed to the nation-building process during the postindependence era. It details the place of these two institutions inside the Brazilian nationalromantic movement of the time, as well as their complex relationship with (and financial dependency on) the Brazilian Imperial state’s national project, especially during Dom Pedro II’s reign. The thesis also investigates how the works of pioneering historians and painters contributed to the consolidation of an influential narrative model of the history of Brazil that has informed the production of books and paintings since the nineteenth-century until today. This model is based on a subtle – yet effective – formula that hierarchises the representation of European, Indigenous and Afro-descendant populations in Brazil. |
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dc.publisher |
ResearchSpace@Auckland |
en |
dc.relation.ispartof |
PhD Thesis - University of Auckland |
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dc.rights |
Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. |
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dc.rights.uri |
https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm |
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dc.title |
Word Imagery and Painted Rhetoric: Historians, Artists and the Invention of the History of Brazil |
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dc.type |
Thesis |
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thesis.degree.grantor |
The University of Auckland |
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thesis.degree.level |
Doctoral |
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thesis.degree.name |
PhD |
en |
dc.rights.holder |
Copyright: The Author |
en |
dc.rights.accessrights |
http://purl.org/eprint/accessRights/OpenAccess |
en |
pubs.elements-id |
374310 |
en |
pubs.record-created-at-source-date |
2013-03-14 |
en |
dc.identifier.wikidata |
Q112903292 |
|