Name: MARIA APARECIDA STELZER LOZÓRIO
Publication date: 10/09/2024
Examining board:
Name |
Role |
|---|---|
| ALEXANDRE DE SÁ AVELAR | Examinador Externo |
| JULIO CESAR BENTIVOGLIO | Examinador Interno |
| PATRICIA MARIA DA SILVA MERLO | Presidente |
| SEBASTIAO PIMENTEL FRANCO | Examinador Interno |
Summary: Portugal still has in the first half of the 18th century a capital that was among the richest, cosmopolitan and luxurious in Europe. D. João V had invested systematically in the arts, and with the influence of D. Maria Ana, sought to redesign the Portuguese artistic and cultural panorama. The architectural changes that marked the Joanine period continued in the city of Lisbon in the early years of the reign of D. José I, the capital should represent the prestige of the royal house of Bragança. The Tagus Opera built in the Josephine reign, remodels the capital, being the main work of the first years of the reign of D. José I. Destroyed in the great earthquake that shook Lisbon in 1755, the opera house, did not destroy its emblematic presence, its memory as one of the best and most beautiful opera houses in all of Europe and staging place of royal power. We will seek in this dissertation to reflect on the transformations experienced in Portugal during the eighteenth century, especially in the cultural and aesthetic aspects, set in motion by D. João V and continued in the Josephine reign in the remodeling of Lisbon. We believe that the Tagus Opera is in the midst of this effervescence that marked the modern light. In the light of Bourdieu (1989) we will analyze the construction of the Tagus Opera and its symbolic uses, in communication and production of reality, as a form of power, serving ideologies and royal, political or private interests. For the treatment of sources we will start from the indicial method, as defined by Carlo Ginzburg (2003), this approach consists of a set of principles that pays attention to details, marginal data, residues, clues, signs, traces. In order to collect as much evidence as possible about our object. The construction of this musical house, seems to us a clear indication of social and structural changes in Lisbon of the eighteenth century.
