Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-10-01T16:46:40Z No. of bitstreams: 1 Miguel de Nazaré Brito Picanço_.pdf: 14273602 bytes, checksum: cf9335e64c515c6076a8654d053e639d (MD5) / Made available in DSpace on 2018-10-01T16:46:40Z (GMT). No. of bitstreams: 1 Miguel de Nazaré Brito Picanço_.pdf: 14273602 bytes, checksum: cf9335e64c515c6076a8654d053e639d (MD5) Previous issue date: 2018-05-29 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta etnografia se inscreve nos estudos contemporâneos que tratam da cultura material e da vida coletiva, considerando as trajetórias e os movimentos de algumas espécies do mundo natural cultivadas por indivíduos. Assim, busco estudar as ressignificações que estão acontecendo na cultura material contemporânea, numa ordem de interação entre elementos, coisas e espécies da natureza que compõem essa cultura material, e suas experiências com humanos e não humanos (Ingold, 2015, 2012; Latour, 2012; Gell, 2005). Por meio de incursões etnográficas, pautadas em observações participantes, conversas formais e informais, estudei as trajetórias e os movimentos da mandioca e suas rotas e desvios (Appadurai, 2008) no e além do território brasileiro, com centralidade no estado do Pará, onde ela povoa um emaranhado de práticas comerciais, comensais e religiosas com e entre os sujeitos que a cultivam, estabelecendo-se como alimento primordial e como objeto na constituição de experiências que povoam o cotidiano dos paraenses. Portanto, nesta investigação objetivou-se analisar e descrever as experiências vivenciadas pela mandioca com os humanos que habitam no texto da pesquisa, e destes com ela. Para tanto, nesta viagem me dispus a seguir os materiais e pessoas que dão concretude às experiências supramencionadas com o intuito de: etnografar os processos que culminam com a produção, consumo e singularização (Kopytoff, 2008) dos descendentes da mandioca, assim como reconhecer como são negociadas e estabelecidas essas experiências. / This ethnography is inscribed in contemporary studies dealing with material culture and collective life, considering the trajectories and movements of some species of the natural world cultivated by individuals. Thus, I seek to study the re-significances that are taking place in contemporary material culture, in an order of interaction between the elements, things and species of nature that make up this material culture, and their experiences with humans and non-humans (Ingold, 2015, 2012; Gell, 2005). Through ethnographic incursions, based on participant observations, formal and informal conversations, I studied the trajectories and movements of cassava and its routes and deviations (Appadurai, 2008) in and beyond the Brazilian territory, with centrality in the State of Pará, where it populate a tangle of commercial, commensal, and religious practices with and among the subjects who cultivate it, establishing itself as a primordial food and as an object in the constitution of experiences that populate the daily life of the Paraense. Therefore, this research aimed to analyze and describe the experiences of cassava with the humans that inhabit the text of the research, and of these with it. To this end, I set out to follow the materials and people that give concrete expression to the above mentioned experiences in order to: ethnograph the processes that culminate with the production, consumption and singularization (Kopytoff, 2008) of the descendants of cassava, as well as recognize as these experiences are negotiated and established.

Made available in DSpace on 2016-04-27T19:30:03Z (GMT). No. of bitstreams: 1 Marcia Bomfim de Arruda.pdf: 19760086 bytes, checksum: e1411a86ddfa8a3c867ea274787b0fb2 (MD5) Previous issue date: 2010-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The title of this thesis is Turbulant Objects, unstable territories. A history of the representations of home electric appliances in the domestic household (1940-60). It deals with home automation spanning mainly the post Second World War period, when electric home appliances become accessible to the middle class in the states of Rio de Janeiro and of São Paulo. It is a study in Cultural History concerning the representation of electric appliances appearing mainly in adds and as articles in magazines such as Casa e Jardim and O Cruzeiro . The representations arose from the thoughts which reflect a means of trying to conform objects, as well as the whole household and its routines to a certain scientific rationality. Such rationality is based on the knowledge of different specialities as architecture, engineering and design. Electric appliances became a spectacle for the consumer society and which values more and more the appearance of things. In the domestic field a technological aesthetics constitutes itself during this period, characterized by furniture, equipments and appliances manufactured with new materials, as well as architecture. Through automation, the means of doing domestic work changed and the idea of producing more in less time a rule in the work industry is extended to the household / Esta tese, que tem por título: Objetos Turbulentos, Territórios Instáveis. Uma história das representações dos aparelhos elétricos no espaço doméstico (1940-60) , refere-se à automatização da casa, especialmente no período após a Segunda Guerra, quando os eletrodomésticos se tornam mais acessíveis para a classe média carioca e paulistana. Trata-se de um estudo em História Cultural sobre as representações dos aparelhos elétricos veiculadas principalmente em propagandas e matérias em revistas como Casa e Jardim e O Cruzeiro. As representações foram pensadas como um modo de tentar conformar os objetos, assim como toda a casa e as práticas que se exercem nela, a uma determinada racionalidade científica. Racionalidade essa firmada nos saberes de diferentes especialidades como arquitetura, engenharia e design. Os eletrodomésticos se tornam um espetáculo para a sociedade de consumo que valoriza cada vez mais a aparência das coisas. No âmbito doméstico uma estética da tecnologia se constitui nesse período, caracterizada por uma arquitetura, mobiliário, equipamentos e aparelhos fabricados com novos materiais. Com a automatização as formas de realizar o trabalho doméstico se alteram e a ideia de produzir mais em menor tempo - uma máxima do trabalho na indústria se estende ao espaço doméstico

Através do estudo da cerâmica dos Asuriní do Xingu e da cestaria dos Kayapó-Xikrin, desenvolvi uma reflexão sobre os diferentes significados das tecnologias. Em outras palavras, tentei evidenciar que os processos produtivos da cultura material não são, exclusivamente, um indicador da adaptabilidade ou da eficiência do homem na resolução dos problemas originado da sua relação com o mundo material, mas que ao mesmo tempo, eles são uma construção social. A partir dos dados coletados, tentei contribuir para as discussões sobre os processos de formação do registro arqueológico e mais precisamente, sobre as causas e consequências da variabilidade artefatual em sua dimensão formal, quantitativa, espacial e relacional. Acima de tudo, este trabalho é um exemplo das possibilidades que a abordagem etnoarqueológica pode oferecer para a reflexão sobre os registros arqueológicos, bem como, para os estudos de cultura material de diferentes populações. / Through the study of Asuriní of Xingus ceramic and of Kayapó-Xikrins basket, I develop a reflection on the different meanings of the technologies. In other words, I try to evidence that the productive processes of the material culture are not, exclusively, an indicator of the adaptability or of the mans efficiency in the material culture are not, exclusively, an indicator of the adaptability or of the mans efficiency in the resolution of problems originating from his relationship with the material world, but that at the same time, they are a social construction. Besides, starting from the collected data, I try to contribute for the discussions on the formation process of the archaecological record and, more precisely, on the causes and consequences of the artifact variability in its forma, quantitative, space and relational dimensions. Above all, this work is an exemple of the possibilities that the ethnoarchaeological approach can offer for the reflection on the archaeological records, as well as, for the studies of material culture of different populations.

Esta dissertação constitui-se da pesquisa e do estudo bibliográfico sobre cultura material e arte africana tradicional, aqui entendida como a arte de origem anterior ao período da colonização européia, antes do século XIX, mas também a produzida durante este período, especificamente a arte da África central. Nossa pesquisa reflete o fato de haver no Brasil uma omissão considerável de fontes bibliográficas e de informações específicas sobre arte e cultura material africana em língua portuguesa, sobretudo de natureza didático-pedagógica. Visamos também a Lei 10639/2003, que torna obrigatório o ensino de História da África e Cultura Afro-brasileira no âmbito da Educação Básica, e em especial nas áreas de Educação Artística, Literatura e História do Brasil / The main subject of this work is equally the research and the bibliographical study about material culture and traditional African art, here understood as the art previous to the period of the European colonization, before the 19th century, but also that produced during this period, specifically the art of Central Africa. Our research reflects the fact that in Brazil there is a considerable lack of bibliographical sources and specific information on art and African material culture in Portuguese language, mainly of didactic and pedagogic nature. We also aim at the governmental resolution that assures the teaching of African History and Afro- Brazilian Culture in the sphere of basic education, especially in the areas of Art Education, Literature and Brazilian History

Esta tese apresenta uma análise das relações das pessoas de camadas populares com a casa em que moram e os objetos que a compõe para compreender como se dão os processos de construção da identidade para essa camada da população tomando como objeto suas relações com a moradia e seus objetos. A hipótese do trabalho é a de que o espaço da casa expressa processos de construção da identidade. Esta pesquisa entende que os membros de uma mesma casa não se relacionam com o espaço da mesma forma. Na verdade, acredita-se que o espaço da casa seja negociado, renegociado e apreendido, de acordo com os projetos individuais. Para tanto foram pesquisadas quatorze casas cujas famílias moram numa favela da cidade de São Paulo. / This thesis intends to analyze the relationship between working classes with the place where they live as well as the role of the respective objects that make up their homes. The aim of this study is to comprehend the way that the dwellers identities are built taking into consideration their residences and also the respective objects. The main hypothesis of this work is that the space at home expresses the construction process of identity. This research understands that the members of a family have a different ways of interacting with the home. As a matter of fact, it is believed that the space occupation in the houses is subject to negotiation, re-negotiation and then assimilated according to plans of life of each individual . To write this thesis I carried out a research among 14 families that live in a slum area situated in São Paulo.

Assumindo, como base teórico-metodológica, sobretudo, os estudos da linguagem, mas também tendo os Estudos Culturais como pano de fundo, nosso objeto de estudo corresponde concretamente à intertextualidade e ao dialogismo operados em uma narrativa. Estabelecemos, então, como objetivo geral, identificar os modos como uma narrativa audiovisual contemporânea se constitui através de uma estratégia de intertextualidade (verbal e imageticamente) e, nisso, apontar os discursos com os quais dialoga. Para os recortes pertinentes à pesquisa, estudamos um texto cultural midiático em particular, a série ficcional televisiva Once upon a time, observada a partir de quatro eixos: (1) os princípios da narrativa; (2) os preceitos sobre o discurso; (3) as características do audiovisual televisual; e (4) noções da antropologia e dos estudos da cultura material. Metodologicamente, no plano verbal, distribuímos nossas exposições teóricas e observações empíricas entre os planos narrativo e discursivo a partir de inspiração metodológica de José Luiz Fiorin (2011). Por sua vez, no plano imagético, partimos de método de análise audiovisual proposto por Sarah Pink (2008), compreendendo o texto, o contexto e os significados das imagens. Desse modo, em primeiro lugar, iniciamos entendendo a estrutura narrativa do produto cultural em questão (PROPP, 2010; CAMPBELL, 2007; VOGLER, 2009). Continuando, no plano discursivo, procuramos identificar os diversos textos e discursos que compõem a narrativa em estudo para perceber os sentidos e os modos como se entrelaçam (KRISTEVA, 2012; FIORIN, 2003; BAKHTIN, 2011, 2014a, 2014b). Por fim, empreendemos esse mesmo mapeamento na dimensão imagética, espaço em que introduzimos noções da antropologia e dos estudos da cultura material (MCCRACKEN, 2003; MILLER, 2013; GELL, 1998; LATOUR, 2012). Tal inserção conceitual se apresentou pertinente, porque, entre as considerações que alcançamos, percebemos que os objetos articulam fortemente a relação intertextual imagética na narrativa e são responsáveis pela marcação de seu transcurso temporal. Ainda entre os principais resultados, localizamos que discursos de narrativas clássicas ganham contornos de valores contemporâneos e que a narrativa da série sustenta várias camadas de intertextualidade ao referenciar textos externos a ela e ao citar/aludir internamente, na textualidade de um espaçotempo de sua diegese, seu outro espaço-tempo. Enfim, não como intenção necessária, mas acreditamos ter constituído um percurso metodológico que possa ser replicado para o estudo de outras narrativas, outros objetos de estudo afins. / Assuming as a theoretical-methodological basis especially the studies of language, but also having Cultural Studies as a background, our object of study corresponds concretely to the intertextuality and dialogism operated in a narrative. We then established as a general objective to identify the ways in which a contemporary audiovisual narrative is constituted through a strategy of intertextuality (verbally and imagetically) and in this, to point out the discourses with which it dialogues. For the relevant research cuts, we study a particular media cultural text, the television series Once upon a Time, observed from four axes: (1) the principles of the narrative; (2) the precepts about discourse; (3) the characteristics of the television audiovisual; and (4) notions of anthropology and studies of material culture. Methodologically, on the verbal plane, we distribute our theoretical expositions and empirical observations between the narrative and discursive plans based on the methodological inspiration of José Luiz Fiorin (2011). In turn, on the imagetic plane, we start with the method of audiovisual analysis proposed by Sarah Pink (2008), comprehending the text, the context and the meanings of the images. Thus, in the first place, we begin by understanding the narrative structure of the cultural product in question (PROPP, 2010; CAMPBELL, 2007; VOGLER, 2009). Continuing, on the discursive plane, we try to identify the various texts and discourses that compose the narrative under study to perceive the senses and the ways in which they are intertwined (KRISTEVA, 2012; FIORIN, 2003; BAKHTIN, 2011, 2014a, 2014b). Finally, we undertake this same mapping in the imagetic dimension, where we introduce notions of anthropology and studies of material culture (MCCRACKEN, 2003; MILLER, 2013; GELL, 1998; LATOUR, 2012). Such a conceptual insertion was pertinent because, among the considerations we reach, we perceive that the objects strongly articulate the intertextual imagetic relation in the narrative and are responsible for the marking of its temporal course. Still among the main results, we find that discourses of classic narratives gain contours of contemporary values and that the narrative of the series supports several layers of intertextuality by referring to texts external to it and by citing/alluding, internally, in the textuality of one of its space-time the other space-time. Finally, not as necessary intention, but we believe we have constituted a methodological course that can be replicated for the study of other narratives, other related objects of study.

The Salem East India Marine Society Museum was one of the most influential collecting institutions in the antebellum United States. From 1799 to 1867, it was considered a model organization in the Union, and visitors were a reflection of American society. Though it continues today as the Peabody Essex Museum, which garners increasing national and international attention, the Society's museum is surprisingly unrecognized, understudied, or missing from contemporary scholarship. This dissertation is the first comprehensive work on the East India Marine Society Museum since 1949. To date, no scholar has made more than a cursory examination of the Society's substantial institutional archive and few individuals have recognized the significance of this museum to antebellum American culture. By applying critical museological, historical, art historical, and material culture analysis, this study will demonstrate how the Society used objects collected via international exchange to support an American identity tied to the sea. Visitors to the museum, therefore, could circumnavigate the globe, gaining both an understanding of the world and their place within it. Chapter 1 traces the East India Marine Society's history while contextualizing their museum within the landscape of American collecting institutions in the first half of the nineteenth century. Chapter 2 provides an understanding of the origins and evolution of maritime charitable societies and the influence of the Society's benevolent mission on the institution as a whole. Chapter 3 explores the Society's scientific accomplishments and its effect on the collection and display of curiosities. Chapter 4 takes an in-depth look at the men who built and maintained the Society in the nineteenth century and the development of the museum's collection through global trade. Chapter 5 examines the Society's exhibition strategy and the impact of outside consultants on the organization and display of objects. Chapter 6 focuses on nineteenth-century visitor accounts of the museum. This study concludes by illustrating how the Society and its mission remained visible through the museum's various incarnations to date, demonstrating that it was not simply a Salem institution but rather a symbol of the antebellum United States. / 2020-12-31T00:00:00Z

This dissertation is concerned with the role material culture played in transformation and/or retention of Maya authority, just prior to and after Spanish contact (A.D. 1100-1800s). The primary research data used to discuss this transition was derived from the author's analysis of precolumbian and colonial artifacts from the Ciudadela Structure (YUC 2) in Tíhoo/Mérida, Yucatán-an assemblage originally collected by John Goggin in 1956 and 1957 and currently housed at the University of Florida-Florida Museum of Natural History. As one of the last standing structures in the Maya site of Tíhoo, now buried beneath the Spanish capital city Mérida, the Ciudadela collection represents a rare glimpse into a significant, yet understudied, Type 1 archaeological site. Included in this project are a general examination of Maya studies in the Northwestern Yucatán Corridor and the results of my preliminary classification and viii discussion of materials represented in the YUC 2 assemblage. I t is important to note that as a part of this project, I created the first comprehensive catalogs for the YUC 2 Ciudadela collection, entitled FMNH YUC 2: Catalog of Artifacts, FMNH YUC 2: Ceramic Stylistic Catalog and FMNH YUC 2: Non-Ceramic Catalog. Results of the archaeological component of this study illustrated that there was little change in production of indigenous pottery after the fall of Mayapan (ca. A.D. 1441-1461), as inhabitants of precolumbian Tâihoo continued to use preexisting wares from their former capital, particularly those within the Mayapan Red Ware and Mayapan Unslipped Ware classifications, well into the Colonial period. In the Post-Colonial period, a significant change in wares occurred as native inhabitants incorporated foreign ceramic types into their society. / Ceramics from Spain, Italy, and England, and porcelains from China and Japan, combined with colonial Mexican Majolica and preexisting Mayapan wares, illustrate the interaction of native inhabitants with European immigrants and their import goods. Although the YUC 2 collection supported the transformation of material culture after Spanish contact, the Maya, through religious practices, militaristic resistance, and oral/written traditions, were able to retain significant aspects of their precolumbian power into the colonial era and beyond. / by Rhianna C. Rogers. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

This thesis examines the evolving gender relationships exposed by and contested through the Senegalese art of seduction, mokk pooj. The Wolof expression encompasses a set of feminine attitudes and actions (culinary prowess, docility, eroticism) that reflect values such as teraanga (hospitality), sutura (discretion), and muñ (patience, endurance). These beliefs and the discursive practices that perpetuate them are central to the reproduction of a gendered, normative, patriarchal, polygamous Senegalese sexual imaginary, but are framed within the playful and pleasurable realm of seduction and sexuality. Indeed, mokk pooj implies a satisfying sexual life based on a religiously-­‐informed sexual ethics: in a country where 95% of people identify as Muslim, marriage and procreation are divine recommendations, and sexual pleasure is said to make a married couple feel closer to Allah. In consequence, objects and strategies that enhance sexual satisfaction are an integral part of the Senegalese seduction toolkit. Each chapter pays attention to a specific element of the material culture of seduction and explores how it exposes larger gender dynamics. By taking potions and amulets, money, aphrodisiacs, food, and lingerie as the starting point of each chapter, I explore how these objects relate to concepts of social conformity and normativity, love, anxiety, complementarity and agency. In doing so, I analyse the gendered labour – the art/work of seduction – that goes into mokk pooj. David Graeber (2012) suggests that within hierarchical relationships, individuals in an inferior position (women) have to constantly imagine, understand, manage and care about the egos, perspectives and points of view of those on the top (men) while the latter rarely reciprocate. While Graeber contends that this ‘interpretive labor’ or ‘imaginative identification’ reproduces an internalised structural violence, I analyse mokk pooj as an affective economy in which women’s emotional, interpretive labour, becomes an agentive, albeit conservative, tool of negotiation and power (Mahmood 2005). In imagining and interpreting men’s needs and desires, Senegalese women uphold the Senegalese sexual imaginary that portray them as docile and submissive. However, it is through the apparent conformity and subdued demeanour that mokk pooj requires of them that Senegalese women manage to portray themselves as good women and consequently enhance their agentive power of negotiation.

Nesta tese analisamos as nuances que o conceito de leste assumiu nas fontes escritas da Escandinávia e Islândia dos séculos XIII e XIV. De início, procedemos na observação de como a historiografia referente às interações entre povos da Escandinávia e do Nordeste Europeu produziu extenso debate de implicações políticas, conhecido como a Controvérsia Normanista. Neste capítulo salientamos também os impactos que o estudo do medievo teve nos tempos contemporâneos. A seguir, efetuamos uma síntese baseada na interpretação da Cultura Material sobre os movimentos escandinavos a leste no período viking, que forneceram material para os próprios historiadores e autores na Escandinávia e Islândia dos séculos XIII e XIV. Até então demonstramos que, a despeito da Controvérsia Normanista, há evidência convincente e suficiente para demonstrar que a presença escandinava no leste foi deveras significativa. Os capítulos posteriores centralizam-se na análise das fontes primárias. Dividimo-las em fontes que apresentam material cartográfico e geográfico, obras de cunho historiográficoe sagas voltadas ao entretenimento; como seleção de obras representativas de tais grandes grupos analisamos o Mappamundi islandês Gks 1812, 4to, 5v-6r., o prólogo da Edda Menor, a Heimskringla, a Gesta Danorum e a rvar-Odds Saga. A análise dessas fontes demonstrou que entre o século XIII e o XIV ocorreu na produção escrita escandinava uma bifurcação entre o conhecimento produzido com objetivos de instrução e aquele com intuitos de entretenimento. O uso do leste na primeira vertente é livresco, inserindo muito do saber acumulado do Medievo Ocidental e ressignificando o leste segundo parâmetros das terras bíblicas e dos autores clássicos. Nas fontes de intuito de entretenimento o uso do leste é também ressignificado, mas desta feita de acordo com material mais ligado à cultura e às narrativas populares, empregando o leste na materialização de temas do fantástico e da mitologia. / In this thesis we analyze the nuances assumed by the concept of east in the primary sources of Scandinavia and Iceland in the thirteenth and fourteenth centuries.Initially, we proceeded in the observation of how the historiography related to Northern and Eastern Europe have produced extensive debate of political implications, named the Normanist Controversy. In thischapter we have stressed also the impacts that Medieval Studies may assume in Contemporary milieu.Hereafter we build a synthesis based on Material Culture -in the archaeological sense -of the Scandinavian movements in East in the Viking Age, interactions that already had provided inspiration for authors inXIII-XIVs. At this point we have showed successfully that there is enough evidence to demonstrate the relevance of the Scandinavian presence in medieval Eastern Europe.The later chapters deal with the analysis of several kindsof primary sources. We have gathered and organized it in geographical and cartographical works, writings of historiographical nature and entertainment aimed sagas.As a selection of representative works of such large groups we studied the Icelandic Mappamundi of manuscript Gks 1812, 4to, 5v-6r, the Prologue of Edda Minor, the Heimskringla,the Gesta Danorum and the rvar-Odds SagaThe analysis of these sources showed that between the thirteenth and the fourteenth century a bifurcation occurred in Scandinavian written sources between the knowledge produced for the purposes of instruction andthe one with the goal of entertainment.The use of the East in the first group is highly scholar, re-elaborating the East in the light of accumulated knowledge of the Western Middle Ages, as well as redefining it within parameters coherent with christian and classical authors.The sources aimed to entertainment, however, employed the eastern areas in connection with a different kind of knowledge. Folk narratives and popular lore gained prominence in the reshaping of eastern region, transforming it in anauspicious place to the materialization of the fantastic and the mythical.