[pt] A atividade da ourivesaria possui registros desde o Egito antigo e é, tradicionalmente, uma atividade familiar, passada de pai para filho e principal atividade técnica do setor joalheiro. No entanto, esta realidade está mudando e no Brasil existem, atualmente, alguns cursos técnicos para o ensinamento do ofício. Esse movimento decorre, em grande parte, da dificuldade que as empresas enfrentam em recrutar e reter esses profissionais. Diferentemente, do que acontecia em décadas anteriores, quando havia identificação e interesse dos jovens em seguir a profissão de seus pais e avós, atualmente são raros os casos em que a profissão de ourives passa de geração para geração, fazendo com que este profissional seja cada vez mais escasso no mercado. A percepção da dificuldade de atrair e reter esses profissionais motivou a realização dessa dissertação, que buscou identificar os valores desses profissionais, bem como comparar esses valores entre as diferentes gerações que exercem a profissão, atualmente. Para tanto, foi realizada uma pesquisa com um grupo de trinta profissionais do ramo com um questionário fechado e, posteriormente, entrevistas semi-estruturadas, caráter exploratório, com dezesseis profissionais de diferentes gerações e níveis técnicos, visando identificar seus valores e motivações. Uma vez identificados os valores, os mesmos foram classificados e comparados entre as diferentes gerações e analisados à luz da literatura sobre estes assuntos. Com base nos resultados obtidos foram sugeridas ações e políticas capazes de auxiliar na retenção e motivação destes profissionais. / [en] The activity of gold has records since ancient Egypt and is traditionally a family activity, passed from father to son and chief technical activity of the jewelry industry. However, this reality is changing and in Brazil there are currently some technical courses for the teaching of the craft. This movement stems largely from the difficulty that companies face in recruiting and retaining these professionals. Differently than they did in previous decades, when there was interest and identification of young people to follow the profession of their parents and grandparents, now are rare cases in which the profession of goldsmith passes from generation to generation, so that each professional is increasingly scarce in the market. The perception of difficulty in attracting and retaining these professionals led to the realization of this dissertation, which sought to identify the values of these professionals and to compare these values between different generations in the profession today. For this, a search was conducted with a group of thirty industry professionals with a closed questionnaire, and later semistructured, exploratory, with sixteen different generations of professional and technical levels, to identify their values and motivations. Once identified the values, they were classified and compared across generations and analyzed in light of the literature on these subjects. Based on the results was suggested actions and policies that can assist in retention and motivation of these professionals.

Thesis (Ph. D.)--Yale University, 1922. / With reproduction of original t.p. Bibliography: p. [180]-186.

Thesis (Ph. D.)--Yale University, 1922. / With reproduction of original t.p. Bibliography: p. [180]-186.

Building on recent scholarship in the history of art which has started to reappraise the meaning of grotesque and scatological motifs, this thesis examines how digestion was conceived of as a model of creation, and how this was translated visually. Renaissance creativity was increasingly modelled on a series of natural processes like digestion, following a trend in favour of Aristotelian psychology. However, it has been largely overlooked in comparison to the bleeding, the pneumatic, and especially the procreative natural models, which have been extensively studied. The central argument of this thesis is that digestion constituted an alternative-albeit less 'decorous'-model of creation, denoting the intervention of a more 'earthbound' ingenium. I argue that this model was used by certain classes of artists as an acknowledgement of a strong engagement with materials and of the labour of a round-the-clock imagination. Goldsmithing and printmaking are artistic professions whereby the artistic process was often considered as an act of 'soiling' oneself, both in the sense of the body and the phantasia. This thesis focuses on a period spanning c. 1530 to 1675, from Rabelais' works to the facetious printer Jacques Lagniet. It mines a corpus of little-studied textual and visual sources from the north of the Alps, examining a continuity between France and the German lands: geographical areas which both had an especially pronounced 'culture of excretion'. From a broader perspective, this research responds to a widespread scholarly call for more attention to the organic soul and the lower body, nuancing the alleged hegemony of the brain and the higher senses throughout history. It seeks to modify the perception of early modern artists and viewers as cerebral intellectuals, presenting them as individuals who also 'thought with their guts'.

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