This essay will explore the notion of mestizaje in the Republic of Argentina. Specifically, it will use the Argentine Patagonia as a point of departure for this analysis, an area in which conquest resulted in a community of mixed-race and mixed culture individuals. The juxtaposition of the struggle between white settlers and Mapuche-Tehuelche Indians of the region demonstrates a continuity in discrimination in the nation's history. For this very reason, the area represents a general pattern present throughout the country, and, hence, I use it as a prototype to draw conclusions about race relations in the nation as a whole. I will show that this is a discussion not openly explored in the historiography of the republic. The popular discourses that promoted the creation of a white population is at the core of this issue. Furthermore, the continuation of such discourses into the twenty-first century contribute to the notion of separatism within mainstream, academic, and government circles. Argentina, however, both today and over the past four hundred years, has been diverse and mixed. Because of the complexity of its population, mestizaje is a viable area of study for Argentina. The history of whites and Indians in Patagonia exemplify this analysis.

No description available.

No description available.

This study politicizes the mixed relationship in Israeli-Palestinian literature. I examine Arab-Jewish and interethnic Jewish intimacy in works by Palestinian national poet Mahmoud Darwish, canonical Israeli novelist A. B. Yehoshua, select anthologized Anglophone and translated Palestinian and Israeli poetry, and Israeli feminist writer Orly Castel-Bloom. I also examine the material cultural discourses issuing from Israel’s textile industry, in which Arabs and Jews interact. Drawing from the methodology of twentieth-century Brazilian miscegenation theorist Gilberto Freyre, I argue that mixed intimacies in the Israeli-Palestinian imaginary represent a desire to restructure a hegemonic public sphere in the same way Freyre’s Brazilian mestizo was meant to rhetorically undermine what he deemed a Western cult of uniformity. This project constitutes a threefold contribution. I offer one of the few postcolonial perspectives on Israeli literature, as it remains underrepresented in the field in comparison to its Palestinian counterparts. I also present the first sustained critique of the hetero relationship and the figure of the hybrid in Israeli-Palestinian literature, especially as I focus on its representation for political options rather than its aesthetic intrigue. Finally, I reexamine and apply Gilberto Freyre in a way that excavates him from critical interment and advocates for his global relevance.

Cette thèse se propose de faire une anthropologie socio-historique des cultes de deux saints non reconnus par l’Église, le Gaucho Gil et San la Muerte, tous deux originaires de la province de Corrientes dans le Nord-Est de l'Argentine. L’objectif est à la fois d'analyser la genèse de ces phénomènes et de définir l’apport de la religion populaire dans la construction d’identités collectives. Il s'agit d'interroger la dimension politique et l'historicité de ces systèmes symboliques et rituels en spécifiant les liens qu'ils entretiennent avec la culture guarani et avec la résistance à une situation d'oppression sociale. La réflexion débute par l’exploration socio-historique de la constitution des populations de l’intérieur de l'Argentine afin de comprendre dans quelle mesure ces cultes naissent dans un contexte de mépris social et culturel et de déni de mémoire qui a catégorisé les classes populaires rurales comme subalternes et invisibles. Dans un second temps sont présentées, dans le détail, à partir des données couplées de l’anthropologie historique et d'une analyse ethnographique locale, la fabrication aussi bien des légendes, des images que des pratiques rituelles, du Gaucho Gil puis du San la Muerte. Cette exploration contextualisée nous permet pour finir d’envisager ces dévotions non plus comme de simples résistances à l’ordre ou comme des reproductions déformées de la religion catholique, mais comme des créations culturelles autonomes, issues d’un peuple nouveau et métissé, qui produit une mémoire et des symboles aptes à rendre compte des expériences de sa condition. / This thesis offers a socio-historic anthropology of the worship of two saints not recognized by the Church, Gaucho Gil and San la Muerte, in the province of Corrientes, in the North-East of Argentina. It aims at analyzing the genesis of these phenomena and at defining the contribution of popular religion in the construction of collective identities. It means to question the political dimension and the historicity of these symbolic and ritual systems by specifying the links they maintain with the guarani culture and with the resistance to a situation of social oppression. The study begins with a socio-historic exploration of the constitution of Argentina inland populations in order to understand to what extent these cults were born in a context of social and cultural contempt and denial of memory which has categorized the rural popular classes as subordinate and invisible. Secondly, the making of the legends, images and ritual practices related to gaucho Gil and San la Muerte are explained both through historic anthropology and a local ethnographical analysis. Finally, this contextualized exploration leads to consider these worships no longer as simple means of resistance to an established order or as distorted reproductions of the Catholic religion, but as autonomous cultural creations which belong to a new and mixed people, producing a memory and symbols which accurately represent the experience of their condition.

Silvio Romero foi um importante escritor brasileiro da Geração 1870 que pensou o Brasil a partir dos preceitos científicos da Europa e do Liberalismo dos EUA. Influenciado pelos parâmetros do meio e da raça, fatores somados à idéia de evolução e à lei dos três estados (Positivismo), o polígrafo constatou o atraso do país devido à inferioridade das raças formadoras da sociedade brasileira. Nos mais variados segmentos, o atraso brasileiro era visível. Para superar esse atraso, Sílvio pensava que a mestiçagem racial (também biológica) era a singularidade do novo Brasil almejado pela elite econômica e intelectual da época. Pensando um novo Brasil, o ensaísta analisou a contribuição de índios, negros e portugueses para a formação do país, salientando a extrema importância do mestiço, a singularidade brasileira. Bacharel pela Faculdade de Direito do Recife, Romero pensou o Brasil tendo em vista os princípios da Biologia e foi muito influenciado pela idéia de evolução, pela Escola de Le Play e acima de tudo, pelos pensadores que usavam o argumento da raça. A nação brasileira seria pensada tendo por modelo um organismo vivo e a questão racial e cultural seria uma das variantes para compreender o novo Brasil republicano e liberal que estava surgindo. / Sílvio Romero was an important brazilian writer of the 1870 Generation. His theoretical references was an important brazilian writer of the 1870 Generation. His theoretical references were European scientific principles and U. S. Liberalism. This polygrafhs thought was influenced by the environment and race parameters, factors add to the concept of evolution and the law of the three stages (Positivism), and he explained the backwardness of the country due to the inferiority of races comprise Brazilian society. He said that Brazilian delay was visible at various sectors. To overcome the reason for the delay, Romero proposed that racial miscegenation (which was also organic and cultural) was the uniqueness of the new Brazil pursued by economic and intellectual elite of the time. Thinking about a new Brazil, this pursued by economic and intellectual elite of the time. Thinking about a new Brazil, this essayist analyzed Indian, African and Portuguese contribution to the formation of Brazil, stressing the utmost importance of the mestizo, the Brazilian singularity. Bachelor of Laws by 11 Recife Faculty, Romero thought in view of the principles of Biology and was much influenced by the concept of evolution, the Le Play School and foremost, by the thinkers who used the argument of race in explaining human societies. The Brazilian nation would be designed modeled as a living organism and race and culture for the bachelor would unquestionably the main variants to understand new liberal and republican Brazil that was emerging.

Esta tese é uma investigação sobre a joalheria escrava na Bahia dos séculos XVIII e XIX, retrocedendo ou avançando no tempo quando necessário à melhor compreensão do fenômeno. Contribui para o aprofundamento e ampliação dos conhecimentos relativos à história do design no Brasil, no que se refere aos objetos classificados como afro-brasileiros, que são fruto da complexa relação senhor-escravo materializada na forma, na função e no significado do seu design. Adicionalmente, colaborou-se com os estudos da historiografia da escravidão em geral, com foco na participação negra no processo de formação da cultura materialbrasileira. / This thesis consists of an investigation about slave Brazilian jewelry in Bahia, in the Eighteenth and Nineteenth centuries. In order to provide the best understanding of the phenomena, it goes back and further in time, as it turns out to be necessary. It contributes to both deepen and widen the knowledge on the history of design in Brazil, in relation to the objects classified as Afro- Brazilian, which are an outgrowth of the complex relation between masters and slaves, materialized in the shape, function and meaning of their design. Moreover, it intends to contribute to the studies of slavery historiography in general, focusing on the participation of black people in the building process of Brazilian material culture.

Made available in DSpace on 2016-04-26T18:10:51Z (GMT). No. of bitstreams: 1 Nanci Elisa Baptistella.pdf: 574389 bytes, checksum: 61f13ea0277726c7cb13b73dc4043e9a (MD5) Previous issue date: 2011-05-10 / The use of art as a communication tool is a new strategy used by corporations to affect their employees in their cognitive aspects and their interactions with the collective. The goal is to improve internal communication in order to develop new ideas and solutions for unpredictable problems that interfere with the linear planning of a business organization. The objective of this research was to investigate some corporations that included the intervention of artistic doing in their organizational disciplines, in which the employee is the main character of the experience. In order to contextualize the object of this research we worked with theoreticians of Latin-American culture (Néstor García Canclini and Severo Sarduy), miscegenation (Amálio Pinheiro), knowledge and communication sociology (Boaventura de Souza Santos, Eduardo Viveiros de Castro, and Jesús Martín-Barbero), art (Marilena Chauí and Jorge Coli) and administration (Marlene Marchiori, Antonio Cesar Amaru Maximiano and Gareth Morgan), reaching the current days with Maurizio Lazzarato. Using a specially prepared questionnaire for this work, an exploratory field research was carried out in three major companies. We considered the possibility of existence of other policies aiming the organizational structure of a company, from the corporative communication point of view, by means of using the artistic language. The presence of art in a corporative environment seems to be a paradox since the arts belong to subjective fields that are open and unrestricted and the corporate structures belong to a rigid way of thinking. It was possible to observe in our exploratory research that corporations which are receptive to the artistic doing improve working environment in aspects such as communication and sociability. We also observed that the artistic doing is easily incorporated due to our cultural miscegenation, which makes us a fast moving society. However, it was impossible to measure its reach, since art overruns any attempt of a rational approach to its results and because the reach of art is vast, once it is polissemic / O uso da arte como ferramenta de comunicação é uma nova estratégia utilizada pelas organizações corporativas para atingir seus funcionários, em seus aspectos cognitivos e em suas interações com o coletivo. Seu intuito é melhorar a comunicação interna, para gerar novas ideias e soluções para problemas inesperados que interferem no planejamento linear de uma organização empresarial. Esta pesquisa teve como objetivo investigar algumas corporações que incluíram em suas disciplinas organizacionais a intervenção do fazer artístico , aquele em que o funcionário é o próprio protagonista da experiência. Para a contextualização do objeto desta pesquisa, trabalhamos com teóricos da cultura latino-americana (Néstor García Canclini e Severo Sarduy), da mestiçagem (Amálio Pinheiro), da sociologia do conhecimento e comunicação (Boaventura de Souza Santos, Eduardo Viveiros de Castro e Jesús Martín-Barbero), da arte (Marilena Chauí e Jorge Coli) e da administração (Marlene Marchiori, Antonio Cesar Amaru Maximiano e Gareth Morgan), chegando aos dias atuais com Maurizio Lazzarato. Realizou-se, em três corporações de grande porte, uma pesquisa de campo exploratória, com a utilização de questionários elaborados exclusivamente para este trabalho. Utilizamos a possibilidade da existência de outras políticas direcionadas para a estrutura organizacional de uma corporação do ponto de vista da comunicação empresarial, por meio da linguagem artística. Parece paradoxal a existência da arte em um ambiente corporativo; a arte, por pertencer ao campo aberto e irrestrito das subjetividades, e as estruturas corporativas, por integrarem um pensamento rígido. Foi possível observar em nossa pesquisa exploratória que as corporações receptivas ao fazer artístico melhoram o ambiente de trabalho em aspectos como comunicação e sociabilidade, relação facilitada pela incorporação própria da nossa cultura mestiça, que nos faz uma sociedade veloz. No entanto, foi impossível quantificar seu alcance, pois é da natureza da arte transbordar qualquer possibilidade de racionalizar seu resultado, pois é vasta a abrangência dos seus sentidos, já que ela é polissêmica

Made available in DSpace on 2016-04-26T18:15:09Z (GMT). No. of bitstreams: 1 Hiran de Moura Possas.pdf: 3024323 bytes, checksum: 14eb1b5af30aec064dd89f69b75fa0b9 (MD5) Previous issue date: 2015-06-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research want to examine some artistic and journalistic trials of Antonio Juraci Smith, artist "marginal" Para over eighty publications. His empirical corpus shall emphasize twine, "Irmã Serafina Cinque: O Anjo da Transamazônica"; "Os Novos Versos Sacânicos" and "O Chapéu do Boto" as well as some short stories, essays and poems in newspapers memories, magazines and poetic anthologies. In his time delimitation, the research will follow the storyline of the artist narrated by print, by the poet himself and voices witnessing this trajectory. From these considerations, the extent to which cultural shifts in Amazons Juraci would "geometricable" and / or neo-baroque features? In the search for answers to the problems, the main hypothesis assumes that, when suturing multiple worldly voices to their Arts, Juraci now relies intercultural narrative tissues, sometimes edge scriptures "necrotic" by centripetal folklore. By the need to test, question and investigate (s) object (s) proposed (s), the following methodological assumptions considering conducting an ethnographic and cartographic were chosen: survey, the municipal public file of Bethlehem, newspapers, magazines and anthologies accepting information about the artist and his works; consulting the staff of the poet file; interviews with Juraci, researchers, craftsmen Pará; participant observation in cultural events in the streets, squares, markets, cemeteries and theaters, and "mining" of research in the light of Communication Theory in Latin America (Martin-Barbero), the Russian Cultural Semiotics (Lótman, Bakhtin), Baroque and miscegenation (Severo Sarduy, Haroldo de Campos, Lezama Lima, Alejo Carpentier, Jerusa Pires Ferreira and Amalio Pinheiro). Subsequently, the holdings of such information, the following analytical and empirical categories were extracted: the academic myopia marquetries Antonio Juraci; the joints micro-macro in Amazonian spacetimes these textures; rearticulations its cultural series using "satanic" representations, and the applicants becomings translation of the symbiotic interaction between Amazon men, animals, nature and culture. To settle the questions raised, it is expected, as of transcriadores voices of an unusual daily life, restore, in multiple forms, provisional and open to contributions, these social maps historically ignored, but full directions / A pesquisa examinou, em algumas experimentações artísticas e jornalísticas de Antonio Juraci Siqueira - artista marginal paraense com mais de oitenta publicações - a trajetória do verbo criativo do flâneur paraense em direção ao meio extra verbal e à palavra de outros. O corpus empírico considerou os cordéis: Irmã Serafina Cinque: O Anjo da Transamazônica ; Os Novos Versos Sacânicos e O chapéu do Boto , bem como contos, crônicas e poemas em memórias de jornais, de revistas e de antologias poéticas. Em sua delimitação temporal, a pesquisa seguiu a linha histórica do artista narrada pelas mídias impressas, pelo próprio poeta e por vozes testemunhando essa trajetória. A partir dessas ponderações, em que medida os rearranjos culturais nas Amazônias Juraci são geometrizáveis e/ou de feições neobarrocas? Na busca de respostas à problemática, a hipótese principal supõe que, ao suturar múltiplas vozes mundanas às suas Artes, Juraci ora fia tecidos narrativos interculturais, ora borda escrituras necrosadas pelos folclorismos centrípetos. Pela necessidade de se testar, questionar e investigar o(s) objeto(s) proposto(s), foram escolhidas as seguintes premissas metodológicas, considerando a realização de um fazer etnográfico e cartográfico: levantamento, no arquivo público municipal de Belém, de jornais, revistas e antologias acolhendo informações sobre o artista e suas obras; consulta do arquivo pessoal do poeta; realização de entrevistas com Juraci, pesquisadores e artífices paraenses; observação participante em eventos culturais nas ruas, praças, feiras, cemitérios e teatros, e garimpagem de pesquisas sob a luz da Teoria da Comunicação na América Latina (Martín-Barbero), da Semiótica Cultural Russa (Lótman, Bakhtin), do barroco e da mestiçagem (Severo Sarduy, Haroldo de Campos, Lezama Lima, Alejo Carpentier, Jerusa Pires Ferreira e Amálio Pinheiro). Posteriormente, na exploração dessas informações, foram extraídas as seguintes categorias analítico-empíricas: miopias acadêmicas às marchetarias de Antonio Juraci; os engastes micro-macro nos tempos-espaços amazônicos dessas texturas; suas rearticulações de séries culturais usando representações satânicas , e a tradução de devires recorrentes do convívio simbiótico amazônico entre homens, animais, natureza e cultura. Ao decantar as indagações levantadas, tencionamos, a partir das vozes de transcriadores de um cotidiano insólito, reinscrever, de forma múltipla, provisória e aberta a contribuições, esses mapas sociais historicamente ignorados, mas recheados de sentidos

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-10-11T13:16:36Z No. of bitstreams: 1 Patrícia Gomes de Freitas Silva_.pdf: 6577727 bytes, checksum: ffbf132eb8d988284252c3ff3f4cdd5d (MD5) / Made available in DSpace on 2016-10-11T13:16:36Z (GMT). No. of bitstreams: 1 Patrícia Gomes de Freitas Silva_.pdf: 6577727 bytes, checksum: ffbf132eb8d988284252c3ff3f4cdd5d (MD5) Previous issue date: 2016-08-17 / Nenhuma / Este trabalho investiga o design de autor enquanto um ato coletivo e uma oportunidade para ações criativas em colaboratividade. O foco está na relação entre design, arte e artesanato conjugados à perspectiva do design estratégico, visto que visualizamos características condizentes aos construtos teóricos vigentes neste campo acadêmico. A questão problema desta pesquisa delimita-se no processo criativo, particularmente expresso na obra de Tina e Lui, assim como no trabalho de Rodrigo Almeida. Questionamos se os referidos processos criativos podem promover práticas projetuais em colaboração de designers e artesãos? Buscamos delinear como ocorre esta processualidade criativa através dos aspectos de sua brasilidade. Foi conduzida uma pesquisa exploratória com designers autorais reconhecidos no mercado e no mundo. Para análise do caso individual, foi consultada a base de dados deste estudo. Os dados foram analisados e confrontados (triangulação). Para os casos estudados foi elaborado um relatório com a estrutura definida previamente e a elaboração de um quadro de resultados, assim como uma proposta de conceituação do design autoral, visto que há uma lacuna teórica sobre este domínio. Como resultados pontuamos a base antagônica do design que pela ótica mercadológica impõe os certames da estética fundamentada pela funcionalidade e os padrões lineares de produção e a multicultural e miscigenada vertente autoral que indica uma abertura maior à interpretação de sua temporalidade e localidade, que na proximidade da arte viabiliza inovações tanto sociais e culturais, dado que o meio mais convincente de transformar algo é conhecê-lo em profundidade. Houve a comprovação que a abstenção da formalidade rígida dos projetos e desenvolvimento de produtos possibilita o “lúdico” que é um importante gerador de novos sentidos e valores. Consequentemente, acreditamos que esta pesquisa contribuiu para ilustrar alguns aspectos da relação entre design de autor e design estratégico que abarca mesmo que despropositadamente, a cultura brasileira, o território e a mestiçagem, contudo cientes de que há muito a explorar nestes campos profissionais de modo a enriquecer ainda mais estes cenários de pesquisa. / This paper investigates the possibility of the author design is a collective act and an opportunity for creative actions in colaborativity. There is interest in the relationship between design, art and crafts combined with the strategic design perspective, since we visualize characteristics consistent with theoretical constructs force in this academic field. Furthermore, we are interested in, as indicated in the question problem of this work: the creative process, as shown in the work of Tina and Lui and Rodrigo Almeida, may indicate methodological ways to promote projective practices in collaboration between designers and craftsmen? Outlining how is this creative process well demarcated by the Brazilian culture. An exploratory survey was conducted among copyright designers recognized in the market and the academic world. For individual case analysis, it was consulted database study. Data were analyzed and compared (triangulation). For the case studies was prepared a report on the structure defined previously and the development of a results framework, as well as a proposed concept of authorial design, since there is a theoretical gap on this domain. As a result we point the antagonistic basis of design for optical marketing imposes contests aesthetics founded by functionality and linear patterns of production and the multicultural and multiracial authorial aspect that indicates a breather, greater openness to interpretation of its temporality and locality, close to the art enables both social and cultural innovation, as the most convincing way to turn something is to know it in depth. There was evidence that the abstention of the rigid formality of the projects and product development enables the "playful" which is an important generator of new meanings and values. Consequently, we believe that this research has helped to illustrate some aspects of the relationship between copyright and design strategic design that even covers that pointlessly, Brazilian culture, territory and miscegenation, however aware that there is much to explore in these professional fields in order to further enrich these search scenarios.