A naughty girl

dc.creatorPatrícia Gomes de Azevedo
dc.date.accessioned2023-06-06T12:22:16Z
dc.date.accessioned2025-09-08T23:53:37Z
dc.date.available2023-06-06T12:22:16Z
dc.date.issued2020
dc.format.mimetypepdf
dc.identifier.doihttps://doi.org/10.1080/17514517.2020.1762346
dc.identifier.issn1751-4525
dc.identifier.urihttps://hdl.handle.net/1843/54570
dc.languageeng
dc.publisherUniversidade Federal de Minas Gerais
dc.relation.ispartofPhotography and Culture
dc.rightsAcesso Restrito
dc.subjectFotografia de crianças
dc.subjectMemória na arte
dc.subjectArte e sociedade
dc.subject.otherFotografia
dc.subject.otherArquivo
dc.subject.otherPublicação
dc.titleA naughty girl
dc.typeArtigo de periódico
local.citation.epage432
local.citation.issue3-4
local.citation.spage431
local.citation.volume13
local.description.resumoA photograph signed by Igino Bonfioli inside a forgotten envelope. This could be a photograph like any other, but it is not, because that the girl in lace and a dress, balancing a porcelain doll, is actually my mother’s male cousin whose own mother dressed him as a girl for this photograph. The exposure of the mother’s desire is more usually excluded from society’s representation of the mother figure. By deleting the image from the family album (as my grandmother had done), it tells us that the intent of this gesture (the staging of the image), was disturbing and undigestible for the society of the time.
local.identifier.orcidhttps://orcid.org/0000-0001-6493-0694
local.publisher.countryBrasil
local.publisher.departmentEBA - DEPARTAMENTO DE FOTOGRAFIA
local.publisher.initialsUFMG
local.url.externahttps://www.tandfonline.com/doi/full/10.1080/17514517.2020.1762346

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