<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842025000202001</article-id>
<article-id pub-id-type="doi">10.21814/vista.6307</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[History Portraits de Cindy Sherman: Crítica à Idealização das Representações Canônicas Propostas Pela História da Arte]]></article-title>
<article-title xml:lang="en"><![CDATA[History Portraits by Cindy Sherman: A Critique of the Idealisation of Canonical Representations Proposed by Art History]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Mendes]]></surname>
<given-names><![CDATA[André Melo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Federal de Minas Gerais Departamento de Comunicação Social ]]></institution>
<addr-line><![CDATA[Belo Horizonte ]]></addr-line>
<country>Brasil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>07</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>07</month>
<year>2025</year>
</pub-date>
<numero>16</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842025000202001&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842025000202001&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842025000202001&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo analisa a série de fotografias History Portraits (Retratos Históricos), criada por Cindy Sherman nos anos 1988-1990, com o objetivo de compreender melhor as estratégias utilizadas pela artista americana para produzir imagens que podem ser entendidas como uma crítica ao sistema de representação canônico imposto por instituições consagradas, como as escolas de artes e os museus. Sherman entende que esse sistema não é formado por imagens &#8220;naturais&#8221; ou &#8220;inocentes&#8221;, mas por figuras idealizadas que têm influenciado a identidade da cultura ocidental há séculos. Nesse texto será usado como referência o conceito desenvolvido por Shearer West (2004), de que um retrato é uma importante forma de representação cultural, capaz de expressar o caráter, a personalidade, a posição social, a profissão, a idade e o gênero do modelo. Foram utilizados como ferramentas analíticas os conceitos de &#8220;retrato&#8221; (West, 2004), &#8220;grotesco&#8221; (Bakhtin, 1965/2010; Kayser, 1957/2013), &#8220;identidade&#8221; (Butler, 1990/2017; Giddens, 1999/2002; Hall, 1996/2006) e a compreensão da arte a partir da perspectiva de Danto (2003/2015a, 1986/2015b). Para analisar esses retratos, foi utilizado um método que parte dos parâmetros definidos por Erwin Panofsky (1955/2002) e define basicamente dois momentos: um em que predomina a análise comparativa e outro em que predomina uma síntese interpretativa. Por meio dessas análises, percebeu-se que Sherman utiliza o grotesco nas fotografias dessa série como um recurso retórico para questionar os estereótipos veiculados por imagens consagradas pela história da arte.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article analyses the photographic series History Portraits, created by Cindy Sherman between 1988 and 1990, with the aim of better understanding the strategies employed by the American artist to produce images that can be understood as a critique of the canonical system of representation imposed by established institutions such as art schools and museums. Sherman argues that this system is not formed by &#8220;natural&#8221; or &#8220;innocent&#8221; images, but rather by idealised figures that have influenced Western culture&#8217;s identity for centuries. This text uses as a reference the concept developed by Shearer West (2004) that a &#8220;portrait&#8221; is an essential form of cultural representation, capable of expressing the character, personality, social position, profession, age, and gender of the subject. The analytical tools used include the concepts of &#8220;portrait&#8221; (West, 2004), &#8220;grotesque&#8221; (Bakhtin, 1965/2010; Kayser, 1957/2013), &#8220;identity&#8221; (Butler, 1990/2017; Giddens, 1999/2002; Hall, 1996/2006), and an understanding of art from Danto&#8217;s (2003/2015a, 1986/2015b) perspective. To analyse these portraits, a method based on parameters defined by Erwin Panofsky (1955/2002) was employed, consisting of two stages: one dominated by comparative analysis and the other by interpretative synthesis. Through these analyses, it was observed that Sherman uses the grotesque in the photographs of this series in this series of photographs as a rhetorical device to question the stereotypes conveyed by images established in art history.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Cindy Sherman]]></kwd>
<kwd lng="pt"><![CDATA[fotografia]]></kwd>
<kwd lng="pt"><![CDATA[grotesco]]></kwd>
<kwd lng="pt"><![CDATA[identidade]]></kwd>
<kwd lng="pt"><![CDATA[retratos]]></kwd>
<kwd lng="en"><![CDATA[Cindy Sherman]]></kwd>
<kwd lng="en"><![CDATA[photography]]></kwd>
<kwd lng="en"><![CDATA[grotesque]]></kwd>
<kwd lng="en"><![CDATA[identity]]></kwd>
<kwd lng="en"><![CDATA[portraits]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Argelaguet]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Serrão]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[O retrato]]></source>
<year>2007</year>
<publisher-name><![CDATA[Ediclube]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bakhtin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Vieira]]></surname>
<given-names><![CDATA[Y. F.]]></given-names>
</name>
</person-group>
<source><![CDATA[A cultura popular na Idade Média e no Renascimento: O contexto de François Rabelais]]></source>
<year>2010</year>
<publisher-name><![CDATA[Hucitec]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Baudrillard]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Morão]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[A sociedade de consumo]]></source>
<year>2007</year>
<publisher-name><![CDATA[Edições 70]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Berger]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Olinto]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Modos de ver]]></source>
<year>1999</year>
<publisher-name><![CDATA[Rocco]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Berne]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Studio: Cindy Sherman]]></article-title>
<source><![CDATA[Tate Research Publication]]></source>
<year>2003</year>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Brown]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La monarquía espanola y el retrato de aparato de 1500 a 1800]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Argullol]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Benito]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Berger]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Bernis]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Brown]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Burke]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Diego]]></surname>
<given-names><![CDATA[E. de]]></given-names>
</name>
<name>
<surname><![CDATA[Díez]]></surname>
<given-names><![CDATA[J. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Fletcher]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Gual]]></surname>
<given-names><![CDATA[C. G.]]></given-names>
</name>
<name>
<surname><![CDATA[Llombart]]></surname>
<given-names><![CDATA[F. V. Guarín]]></given-names>
</name>
<name>
<surname><![CDATA[Entralgo]]></surname>
<given-names><![CDATA[P. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Marquês]]></surname>
<given-names><![CDATA[M. B. Mena]]></given-names>
</name>
<name>
<surname><![CDATA[Nash]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Sánchez]]></surname>
<given-names><![CDATA[A. E. Pérez]]></given-names>
</name>
<name>
<surname><![CDATA[Rosenblum]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Urrea]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Lauces]]></surname>
<given-names><![CDATA[J. Yarza]]></given-names>
</name>
</person-group>
<source><![CDATA[El retrato]]></source>
<year>2004</year>
<page-range>127-44</page-range><publisher-name><![CDATA[Fundación Amigos del Museo Prado]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Butler]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Aguiar]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Problemas de gênero: Feminismo e subversão da identidade]]></source>
<year>2017</year>
<publisher-name><![CDATA[Civilização Brasileira]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Castells]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Gerhardt]]></surname>
<given-names><![CDATA[K. B.]]></given-names>
</name>
</person-group>
<source><![CDATA[O poder da identidade]]></source>
<year>2018</year>
<publisher-name><![CDATA[Paz &amp; Terra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Coelho]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Olhar e ser visto]]></source>
<year>2008</year>
<publisher-name><![CDATA[Comunique]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cotton]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Netto]]></surname>
<given-names><![CDATA[M. S. M.]]></given-names>
</name>
</person-group>
<source><![CDATA[A fotografia como arte contemporânea]]></source>
<year>2010</year>
<publisher-name><![CDATA[Martins Fontes]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Danto]]></surname>
<given-names><![CDATA[A. C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Photography and performance. Cindy Sherman's stills]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Cindy]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cindy Sherman: Untitled Film Stills: The complete untitled film stills]]></source>
<year>1990</year>
<page-range>5-14</page-range><publisher-name><![CDATA[Rizzoli International Publications]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Danto]]></surname>
<given-names><![CDATA[A. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Süssekind]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[O abuso da beleza: A estética e o conceito de arte]]></source>
<year>2015</year>
<month>a</month>
<publisher-name><![CDATA[Martins Fontes]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Danto]]></surname>
<given-names><![CDATA[A. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Duarte]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[O descredenciamento filosófico da arte]]></source>
<year>2015</year>
<month>b</month>
<publisher-name><![CDATA[Autêntica]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Entralgo]]></surname>
<given-names><![CDATA[P. L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Antropología del retrato]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Argullol]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Benito]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Berger]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Bernis]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Brown]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Burke]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Diego]]></surname>
<given-names><![CDATA[E. de]]></given-names>
</name>
<name>
<surname><![CDATA[Díez]]></surname>
<given-names><![CDATA[J. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Fletcher]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Gual]]></surname>
<given-names><![CDATA[C. G.]]></given-names>
</name>
<name>
<surname><![CDATA[Llombart]]></surname>
<given-names><![CDATA[F. V. Guarín]]></given-names>
</name>
<name>
<surname><![CDATA[Entralgo]]></surname>
<given-names><![CDATA[P. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Marquês]]></surname>
<given-names><![CDATA[M. B. Mena]]></given-names>
</name>
<name>
<surname><![CDATA[Nash]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Sánchez]]></surname>
<given-names><![CDATA[A. E. Pérez]]></given-names>
</name>
<name>
<surname><![CDATA[Rosenblum]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Urrea]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Lauces]]></surname>
<given-names><![CDATA[J. Yarza]]></given-names>
</name>
</person-group>
<source><![CDATA[El retrato]]></source>
<year>2004</year>
<page-range>35-42</page-range><publisher-name><![CDATA[Fundación Amigos del Museo Prado]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fabris]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Identidades virtuais: Uma leitura do retrato fotográfico]]></source>
<year>2004</year>
<publisher-name><![CDATA[Editora UFMG]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Foucault]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Machado]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Microfísica do poder]]></source>
<year>2006</year>
<publisher-name><![CDATA[Graal]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Giddens]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Dentzien]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Modernidade e identidade]]></source>
<year>2002</year>
<publisher-name><![CDATA[Zahar]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ginzburg]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Carotti]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Mitos, emblemas, sinais: Morfologia e história]]></source>
<year>2003</year>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gompertz]]></surname>
<given-names><![CDATA[W.]]></given-names>
</name>
<name>
<surname><![CDATA[Borges]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Isso é arte? 150 anos de arte moderna, do impressionismo até hoje]]></source>
<year>2013</year>
<publisher-name><![CDATA[Zahar]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guarín Llombart]]></surname>
<given-names><![CDATA[F. V. G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Historia, concepto, y prototipo del retrato como género artístico]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Argullol]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Benito]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Berger]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Bernis]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Brown]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Burke]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Diego]]></surname>
<given-names><![CDATA[E. de]]></given-names>
</name>
<name>
<surname><![CDATA[Díez]]></surname>
<given-names><![CDATA[J. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Fletcher]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Gual]]></surname>
<given-names><![CDATA[C. G.]]></given-names>
</name>
<name>
<surname><![CDATA[Llombart]]></surname>
<given-names><![CDATA[F. V. Guarín]]></given-names>
</name>
<name>
<surname><![CDATA[Entralgo]]></surname>
<given-names><![CDATA[P. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Marquês]]></surname>
<given-names><![CDATA[M. B. Mena]]></given-names>
</name>
<name>
<surname><![CDATA[Nash]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Sánchez]]></surname>
<given-names><![CDATA[A. E. Pérez]]></given-names>
</name>
<name>
<surname><![CDATA[Rosenblum]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Urrea]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Lauces]]></surname>
<given-names><![CDATA[J. Yarza]]></given-names>
</name>
</person-group>
<source><![CDATA[El retrato]]></source>
<year>2004</year>
<page-range>9-20</page-range><publisher-name><![CDATA[Fundación Amigos del Museo Prado]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hall]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Silva]]></surname>
<given-names><![CDATA[T. da]]></given-names>
</name>
<name>
<surname><![CDATA[Louro]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[A identidade cultural na pós-modernidade]]></source>
<year>2006</year>
<publisher-name><![CDATA[DP&amp;A]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kanz]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[García]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Retratos]]></source>
<year>2008</year>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kayser]]></surname>
<given-names><![CDATA[W.]]></given-names>
</name>
<name>
<surname><![CDATA[Ginzburg]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[O grotesco]]></source>
<year>2013</year>
<publisher-name><![CDATA[Perspectiva]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Krauss]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Cindy Sherman: Untitled (1975-1993)]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Burton]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cindy Sherman. October files 6]]></source>
<year>2006</year>
<page-range>97-141</page-range><publisher-name><![CDATA[Massachusetts Institute of Technology]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Laneyrie-Dagen]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<source><![CDATA[Leer la pintura]]></source>
<year>2013</year>
<publisher-name><![CDATA[Larousse]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Memou]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Pós-modernismo]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Moraes]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Abreu]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Koritowsky]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
<name>
<surname><![CDATA[Hacking]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Tudo sobre fotografia]]></source>
<year>2012</year>
<page-range>422-3</page-range><publisher-name><![CDATA[Sextante]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Moorhouse]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cindy Sherman: Phaidon focus]]></source>
<year>2014</year>
<publisher-name><![CDATA[Phaidon]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mulvey]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Prazer visual e cinema narrativo]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Vieira]]></surname>
<given-names><![CDATA[J. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Xavier]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<source><![CDATA[A experiência do cinema]]></source>
<year>1983</year>
<page-range>435-53</page-range><publisher-name><![CDATA[Graal]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Newall]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Mata]]></surname>
<given-names><![CDATA[M. V.]]></given-names>
</name>
</person-group>
<source><![CDATA[Apreciar el arte: Entender, interpretar y disfrutar de las obras]]></source>
<year>2009</year>
<publisher-name><![CDATA[Blume]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Owens]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Beyond recognition: Representation, power and culture]]></source>
<year>1994</year>
<publisher-name><![CDATA[University of California Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Panofsky]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Guinsburg]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Kneese]]></surname>
<given-names><![CDATA[M. C. F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Significado nas artes visuais]]></source>
<year>2002</year>
<publisher-name><![CDATA[Perspectiva]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sodré]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Paiva]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[O império do grotesco]]></source>
<year>2002</year>
<publisher-name><![CDATA[Mauad]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sontag]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Figueiredo]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Diante da dor dos outros]]></source>
<year>2007</year>
<publisher-name><![CDATA[Companhia das Letras]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sporn]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fondation Louis Vuitton reopens with a twopart Cindy Sherman blockbuster]]></article-title>
<source><![CDATA[Galerie]]></source>
<year>2020</year>
</nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[West]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Oxford history of art: Portraiture]]></source>
<year>2004</year>
<publisher-name><![CDATA[Oxford University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Williamson]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Segal]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Imagens de &#8220;mulher&#8221;: A fotografia de Cindy Sherman]]></source>
<year>2006</year>
<publisher-name><![CDATA[Zazie Edições]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Woods-Marsden]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Cindy Sherman's reworking of Raphael's 'Fornarina' and Caravaggio's 'Bacchus']]></article-title>
<source><![CDATA[Source]]></source>
<year>2009</year>
<volume>28</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>29-39</page-range></nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wolf]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Barcelos]]></surname>
<given-names><![CDATA[W.]]></given-names>
</name>
</person-group>
<source><![CDATA[O mito da beleza: Como as imagens de beleza são usadas contra as mulheres]]></source>
<year>2018</year>
<publisher-name><![CDATA[Rosa dos Tempos]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
