O Corpo de Fernanda Magalhães perante a experiência trágica - DOI 10.5216/vis.v7i2.18192
DOI:
https://doi.org/10.5216/vis.v7i2.18192Abstract
O presente artigo propõe-se a compreender a obra de arte por uma perspectiva Nietzschiana voltando-se os olhares para as artes visuais, onde o corpo é o principal meio de expressão artística e foco da experiência trágica, buscando-se neste ensaio um alicerce teórico na relação apolíneo-dionisíaca como chave para a transfiguração poética. As palavras aqui subscritas demonstram a mudança de atitude poética de Fernanda Magalhães após o seu enfrentamento com a experiência trágica pela qual foi possível alcançar novos horizontes onde a arte sempre é a ferramenta fundamental da vida e da alma.Palavras-Chave: Corpo, Fernanda Magalhães, experiência trágica
Downloads
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License .
Authors who publish in this journal agree to the following terms:
a. Authors retain the copyright and grant the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution 4.0 License which allows the sharing of work with acknowledgment of authorship and initial publication in this journal.
b. Authors are authorized to take additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg publish in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
c. Authors are allowed to publish and distribute their work online (eg in institutional repositories or on their personal page) after the initial publication in this journal, as this can generate productive changes, as well as increase the impact and citation of the published work ( See The Effect of Free Access).
Every effort has been made to identify and credit the rights holders of the published images. If you have rights to any of these images and have not been correctly identified, please contact the Visuals magazine and we will publish the correction in one of the next issues.
