A arquitetura na construção da imagem do Estado Getulista: Rio de Janeiro 1930/1945

• Ano de defesa: 2011
• Autor(a) principal: Manzo, Rafael
• Orientador(a): Alonso, Carlos Egídio
• Banca de defesa: Ferreira, João Sette Whitaker , Faggin, Carlos Augusto Mattei , Breia, Maria Teresa de Stockler e
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Presbiteriana Mackenzie
• Programa de Pós-Graduação: Arquitetura e Urbanismo
• Departamento: Arquitetura e Urbanismo
• País: BR
• Palavras-chave em Português: arquitetura; totalitarismo; arquitetura Getulista
• Palavras-chave em Inglês: architecture; totalitarism; Getulista architecture
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::ARQUITETURA E URBANISMO
• Link de acesso: http://dspace.mackenzie.br/handle/10899/25836

Europe was overrun by a wave of totalitarian regimes between the decades of 1920 and 1940, motivated by a distrust of liberal democracy and economic liberalism, which, from being considered the foundation for the progress in the nineteenth century, was later regarded as responsible for the outbreak of World War I and the economic crisis that followed, which reached its climax with the collapse of stock exchange in New York, in 1929. The Italian Fascism and German Nazism stood out among these regimes, respectively as the founder and the image of success of the totalitarian right-wing, which influenced part of Latin America, including the "Estado Novo" of Getúlio Vargas. The present thesis explores the use of architecture by such dictators as one of the most effective propaganda in the construction and propagation of the image of strength that the regime wished to convey, both national and internationally. The main style used for this propaganda was Tardo- classicism, which was seen as the perfect way to communicate the totalitarian government's power. In Brazil, there was no predominance of modernist architecture for the representation of the Vargas State (1930 1945) instead, the regime's image was not associated with an unique architectural style by internationally renowned architects, as this semiotic analysis of the buildings can confirm.