Maya Suemi Lemos
She holds a degree in music from the Federal University of the State of Rio de Janeiro, a master's degree and a doctorate in music history and musicology from the Université Paris-Sorbonne (Paris IV), a postdoctoral degree from the Graduate Program in Music of the Federal University of the State of Rio de Janeiro (2017). She is an associate professor at the University of the State of Rio de Janeiro, and a permanent professor at the Graduate Program in Music at UNIRIO. She works mainly in the area of the history of music, the arts and mentalities in the First Modern Period. She coordinates the Interdisciplinary Network of Modern Studies (RIdEM), which brings together scholars of the Early Modern Period from different disciplinary fields.
Research project
Title
Art, agency and mediation in the First Modernity
Area of Inquiry and Research
Art and Reception
Description
MMutation processes in the most diverse fields of human experience strongly marked the First Modernity, through which the parameters of man's relationship to the world were reconfigured, be they spiritual, epistemological, technological, geographical, social, economic, ethical or aesthetical. In this research project, we are interested in objects, phenomena and artistic processes related to the First Modernity, always considering the complexity of their operation within the scope of the human experience of the world – either as devices of assimilation and participation, or as catalysts in transformation processes, either as reactional mechanisms or as disruptive forces. We reflect, therefore, on the ways in which they were involved as triggers and mediators of this movement of mutation, situated here in a temporal arc that goes, roughly speaking, from the 15th to the 18th century, and we reflect as well as on their reception, their transit, their assimilation and its appropriation in different cultural environments and historical moments.
Intertwined and linked with each other, the processes of mutation that took place in First Modernity lend themselves poorly to a uni-disciplinary and linear reading. More than a favorable terrain for the exercise of interdisciplinarity, they seem to request, if not demand, disciplinary overflow. It is therefore from a perspective of dialogue between the different fields of knowledge that this project is proposed, not only including objects from different modalities of art and representation – music, visual arts, performing arts and literature –, but also paying attention to the transits and convergences between these different modalities and other areas of experience, thought and knowledge.