Made available in DSpace on 2014-07-29T16:27:59Z (GMT). No. of bitstreams: 1 halima alves de lima elusta.pdf: 1141981 bytes, checksum: 3fc923943a823b53e913c3c488dc6e1b (MD5) Previous issue date: 2008-11-04 / The Saudade Cemetery, in Campinas, Brazil, is considered na open-sky museum for burial monuments that represents and materialize the relation man death in this city. The main goal of the present research is to show the transformations after the death secularization in the city, since 1881, when the cemetery was founded till the 1950 s decade. The transformations occurred during this period are here represented by statuary, tombs and monuments elaborated by Giuoseppe Tomagnini, Vélez Family, V. Lazzeri, Rosada Family, Coluccini Brothers and Camillo dos Santos. Those artist-artisans responsible for that buildings were influenced by stylistic of the European funerary art, such as neoclassic and eclectic architecture, art nouveau, art déco and modern to attend to the local citizen needs in order to preserve their memory. The burial buildings found in the Saudade Cemitery, besides a local for reflection and memory, can be considered significant part of Historical and Cultural Patrimony of Campinas / O Cemitério da Saudade é considerado um museu a céu aberto por abrigar túmulos que representam e materializam a relação do homem com a morte na cidade de Campinas. Esta dissertação tem por objetivo mostrar as transformações após a secularização da morte na cidade, que se inicia em 1881 com a fundação desse primeiro cemitério público, até a década de 1950. As transformações ocorridas durante esse período são aqui apresentadas por meio das construções de Giuoseppe Tomagnini, Família Vélez, V. Lazzeri, Família Rosada, Irmãos Coluccini, Irmão Zarattinni e Camillo dos Santos. Esses artistas-artesãos, responsáveis pelas construções, apropriaram-se de referências estilísticas da arte funerária européia como o neoclássico, eclético, art nouveau, art deco e moderno para atender as necessidades dos cidadãos campineiros de perpetuar sua memória. Essas construções fazem do Cemitério da Saudade, além de local de reflexão e memória, parte significativa do Patrimônio Histórico e Cultural da cidade de Campinas

Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-05-27T12:49:01Z No. of bitstreams: 1 Dissertação - Nilza Silvana Nogueira Teixeira.pdf: 83366721 bytes, checksum: 48bad3b8c4d6c1213d7ce87d5d4db9f4 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-05-27T17:50:55Z (GMT) No. of bitstreams: 1 Dissertação - Nilza Silvana Nogueira Teixeira.pdf: 83366721 bytes, checksum: 48bad3b8c4d6c1213d7ce87d5d4db9f4 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-05-27T18:20:32Z (GMT) No. of bitstreams: 1 Dissertação - Nilza Silvana Nogueira Teixeira.pdf: 83366721 bytes, checksum: 48bad3b8c4d6c1213d7ce87d5d4db9f4 (MD5) / Made available in DSpace on 2015-05-27T18:20:32Z (GMT). No. of bitstreams: 1 Dissertação - Nilza Silvana Nogueira Teixeira.pdf: 83366721 bytes, checksum: 48bad3b8c4d6c1213d7ce87d5d4db9f4 (MD5) Previous issue date: 2012-12-07 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / The source for this study was the practice of the Ticuna artisans women while making the pacará baskets. The ethnography presented here was produced by the Ticuna artisans women from two distinct regions in the state of Amazonas: one by the upper Solimões river, in three communities that make up the Santo Antonio Indigenous community and in the Barro Vermelho community, and, in Manaus, by some Ticuna artisans women who live in the capital. It is a record of the Ticuna women’s practice, made by monitoring the baskets making process, since the moments prior to the weaving activity (harvesting, drying, dyeing), until the connections that such activity establish in social life and in their cultural prescriptions. Along the way, I identified counting processes, forms of material selection, methods used to measure, among other features observed in the making of baskets and that are in the categories of understanding. It shows how much artisans' practice is representative and how much it highlights the place of women in their society, either because of their prestige in the way today's communities closest to the cities are organized, or due to their authority as having the knowledge of the Ticuna ritual practices. The drawings in the pacará baskets were identified and classified as a sign, and its meanings attributed by the Ticunas, considering the combination of the different manifestations that these representations appear in ritual practices and artifacts. Finally, we make an overview of the communities surveyed and the network that revolves around the practice of women, implying aspects of culture, social life and interaction with the surrounding society. / O fio condutor do presente estudo foi a prática das artesãs Ticuna na construção dos cestos pacará. A etnografia aqui apresentada foi produzida junto a mulheres artesãs Ticuna de duas regiões distintas do Amazonas: a do Alto Solimões, nas três comunidades que compõem a Terra Indígena Santo Antônio e na comunidade Barro Vermelho, e em Manaus, com algumas artesãs Ticuna residentes na capital. Trata-se de um registro da prática das mulheres, feito a partir do acompanhamento do processo de confecção dos cestos, desde os momentos que antecedem a atividade de tecer (colher, secar, tingir), até as conexões que, a partir dessa atividade, estabelecem-se na vida social e nas prescrições da cultura. Nesse percurso, identifiquei processos de contagem, formas de seleção do material, modos utilizados para medir, dentre outros aspectos observados na construção dos cestos e que são relativos às categorias de entendimento. Demonstra-se como a prática das artesãs é representativa na sua sociedade e destaca o lugar da mulher, seja por seu prestígio nas formas como hoje se organizam nas comunidades mais próximas das cidades, seja por sua autoridade como detentora de um conhecimento das práticas rituais dos Ticuna. Procedeu-se à identificação e classificação dos grafismos constituintes do cesto pacará, na sua condição de signo, verificando suas conexões com os significados atribuídos pelos Ticuna, considerando a combinação das diferentes manifestações em que essas representações aparecem, nas práticas rituais e nos artefatos. Por fim, tecemos um panorama das comunidades pesquisadas e da rede que se estende em torno da prática das mulheres, implicando aspectos da cultura, da vida social e do convívio com a sociedade envolvente.

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There has been considerable debate in the gender and development literature on income earning opportunities and their empowerment potential for women, particularly rural women, in developing countries. In this, a critical question for the empowerment of women is, does access to resources, for example, enterprise income, translate into power and its various manifestations for women within their households? This study argues that access to resources alone is not a sufficient prerequisite for empowerment. Improved access to resources will only transform into empowerment outcomes if women are able to exercise their agency to achieve desired outcomes. The study, therefore, highlights the centrality of agency in the empowerment process. Agency acts as a link between resources on the one hand and empowerment outcomes on the other. Furthermore, the relationship between agency and empowerment is dialectical as the two concepts under investigation are constitutive of each other. Put differently, enhanced agency results in empowerment, which in turn feeds back to increased agency, leading to further empowerment. Hence, empowerment is presented as both an outcome of the exercise of agency and a driver of agency. The study frames the question of agency and empowerment within feminist theory of agency - Western, African and South African. Using a case study of the Ikhowe Craft Group in rural Eshowe, the study examines the role of agency in the empowerment process for rural women crafters in two ways. Firstly, through the feminist political ecology approach, it evaluates their ability to access the natural resource, Cyperus spp. for use in craft making. Secondly, it examines their individual agency within their households and their collective agency in the Craft Group. Within the overarching feminist research paradigm, a mixed methods research methodology was used, which entailed embedding quantitative data collection and presentation within qualitative research techniques. The empirical evidence suggests that the women crafters’ agency was enacted and empowerment achieved within a context of enablement and constraints, with gender culture and traditional leadership emerging as significant variables that mediate the rural women’s agency within their households and in accessing the raw material for their craft. Gender and culture intersect to influence how the women construct their identities, roles and responsibilities within their households. Despite the constraints of social structure, the women emerge as important agents of social change in their households. In addition, the study has revealed the private sphere to be a significant site of both the women crafters’ agency and subordination. Hence, any conceptualization of women’s agency and empowerment, particularly that of rural women, needs to be context-specific to be able to adequately capture the realities of the women that impinge on their ability to act. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Essa dissertação mapeia e interpreta trajetórias de mulheres participantes do projeto de geração de renda Vitrine Social, a fim de compreender os valores, relações e conflitos envolvidos nos processos de capacitação, produção e comercialização de artefatos. A pesquisa está centrada nas trajetórias de vida de quatro mulheres que participaram do Programa Vitrine Social, na cidade de Curitiba-PR entre os anos de 2010 e 2015 e que comercializam seus produtos nas feiras de artesanato de Curitiba, mais especificamente, nas feiras do Largo da Ordem e da Praça Osório. A partir de uma perspectiva de gênero, apresentamos os embates vivenciados no processo de tornar-se uma “empreendedora-artesã”, uma vez que o programa se propõe a formar empreendedoras/es. Os procedimentos metodológicos realizados para esta pesquisa qualitativa foram observação participante nas feiras de artesanato, registros em diário de campo e entrevistas que foram guiadas a partir das materialidades confeccionadas ao longo do curso: colchas de patchwork costuradas pelos grupos, portfólios de costura e outros produtos costurados. Em diálogo com as narrativas e memórias das interlocutoras deste trabalho, procuramos produzir uma imagem de todo processo: a decisão por começar a fazer o curso, a trajetória de aprendizado da costura e de noções de gestão de negócios, a formação de um grupo produtivo (e de um “projeto” coletivo), a comercialização nas feiras de artesanato, o desenvolvimento de novos produtos e, por fim, a produção dentro dos lares. Com um olhar sensível às relações e aos espaços envolvidos em cada etapa, foi possível evidenciar a não homogeneidade do processo de aprendizado e das formas de criação e produção de artefatos costurados. / This thesis maps and interprets women’s trajectories, which participate in a social project called Vitrine Social, which goal is to generate income. The aim is to understand values, relationships and conflicts experienced during training, production and commercialization of the handcrafts. This research is centred on life trajectories of four women, who were participants of the Vitrine Social in Curitiba, Paraná, Brazil, from 2010 to 2015 and sold their products in Curitiba’s handicraft fairs, mainly at Largo da Ordem and Praça Osório Fairs. From a gender perspective, we present conflicts experienced in the process of becoming a “handcraft-businesswoman”, since this program proposes to form entrepreneurs. The methodological procedures performed on this qualitative research were participative observation of handicraft fairs, records on field diaries and life history interviews with participants from latest groups of Vitrine Social. Interviews were guided starting from handcrafts made during the course: patchwork bedspreads sewed by groups, sewing portfolios and other stitched products. In dialogue with conversationalist narratives and memories we attempted to build an image of the whole process: the decision of taking part of the course, the learning process of sewing, the business management, the formation of a productive group (and of a “Project” collective), commercialization in craft fairs, the new product development, and at last, the production at home. Looking carefully at relationships and spaces involved in each stage, it was possible to evidence inhomogeneity in the learning process, development and production of sewed handcrafts.

CAPES / A pesquisa que documento por meio deste texto tem como objetivo investigar como o trabalho e os artefatos são constituídos na fábrica Zeferino, Novo Hamburgo, Rio Grande do Sul, Brasil. Desta maneira, explorei as maneiras pelas quais os modelistas e o estilista que atuam nesta empresa constroem suas práticas em meio a embates e tensões. Para isto, percorri uma trajetória que apresenta a marca e a fábrica Zeferino, bem como os (as) interlocutores (as) que participaram do estudo. Da mesma forma apresento os artefatos e os modos particulares do fazer deste microcosmos para, enfim, discutir os embates por meio dos quais o trabalho e os artefatos ali se constituem. Os procedimentos que realizei para a elaboração desta pesquisa qualitativa foram experiências empíricas exploratórias e entrevistas narrativas ao modo da História Oral. Tomei as narrativas do processo de desenvolvimento de modelos para explorar os momentos de embates com a finalidade de interpretar os sentidos atribuídos pelos interlocutores a estas tensões e conflitos. Tive assim a intenção de montar uma imagem tanto do processo de desenvolvimento como dos interlocutores que permita perceber seus modos singulares de trabalho, seus fazeres e saberes, evidenciando a não homogeneidade das formas de produção de artefatos. / The research I have documented through this text aims at investigating on how the work and artifacts are made at the Zeferino factory, Novo Hamburgo, Rio Grande do Sul, Brasil. Thus, I have explored the ways in which both the modelers and the designer work in this company build their practices in the midst of clashes and tensions. For this, I follow a journey that presents the brand and Zeferino factory, as well as the interlocutors who participated in the study. Likewise, I present artifacts and the particular ways of doing this microcosm to, finally, discuss the struggles through which the work and the artifacts are made there. The procedures conducted for the preparation of this qualitative research were exploratory empirical experiences and narratives interviews on the model of Oral History. I took the narratives of the model development process in order to explore the moments of these conflicts, to interpret the meanings attributed by the interlocutors to these tensions and conflicts. So I intend to set up an image from the development process as well as from the interlocutors which enables individuals to realize their unique work modes, their activities and knowledge, showing the inhomogeneity of the ways of production of artifacts.

CAPES / O presente estudo realiza uma cartografia com a intenção de entender como se dão as relações entre o Programa Trinacional Ñandeva, um programa pertencente ao Parque Tecnológico de Itaipu, executado na região da Tríplice fronteira entre Brasil, Paraguai e Argentina e a COART - Cooperativa de Artesanato do Oeste e Sudoeste do Paraná. A COART busca reunir artesãos da região defendendo seus interesses e o Ñandeva objetiva o fortalecimento do setor artesanal e da identidade regional, trinacional, a partir da intervenção de designers em oficinas de capacitação e criação de iconografias destinadas a artesãos da região. Pretende-se, do ponto de vista da cultura material, perceber e apontar reflexões sobre as relações sociais, conflitos e disputas de poder que estão envolvidas no processo de produção e circulação artesanal. Para isso, a pesquisa apoia-se na circulação dos artefatos artesanais e nas narrativas dos sujeitos envolvidos, no contexto específico da cidade de Foz do Iguaçu, no período de 2012 a 2015. Para tanto, propõe-se conhecer as propostas e o funcionamento desses espaços, assim como mapear os movimentos realizados pelos artefatos a partir de narrativas das interlocutoras Dircéia Braga, Gorette Milioli e Nilse Mognol, responsáveis pelo Programa Ñandeva e Cooperativa COART. Trata-se de uma pesquisa exploratória, na qual as estratégias de desenvolvimento relacionam revisão bibliográfica, pesquisa exploratória e análise dos resultados, para buscar compreender e descrever os possíveis atravessamentos existentes entre Programa e Cooperativa. Acredita-se que este estudo possa contribuir para os estudos de cultura material demonstrando que na circulação dos artefatos artesanais estão presentes práticas, estratégias e disputas nem sempre explicitados. / This study conducts a cartography with the intent to understand the relationships inside the Programa Trinacional Ñandeva, a program belonging to the Itaipu Technological Park, performed in the region of the Triple border between Brazil, Paraguay and Argentina and belonging to' COART - Handcraft Cooperative of West and Southwestern of Paraná. The COART seeks to bring together artisans of the region defending their interests and the Ñandeva wants to improve the handcraft sector and regional, tri-national identity, starting with the intervention of designers in training workshops and creating iconography aimed at craftsmen in the region. It is intended, from the point of view of material culture, realize and point attentions on social relations, conflicts and power struggles that are involved in the production and circulation handmade process. For this, the research relies on the movement of artisanal artifacts and narratives of the subjects involved in the specific context of the city of Foz do Iguaçu, in the period 2012 to 2015. Therefore, it is proposed to understand the proposals and the working of these spaces, and how to follow the movements made by artifacts from narratives of interlocutors Dircéia Braga, Gorette Milioli and Nilse Mognol responsible for Program Ñandeva and COART Cooperative. this is an exploratory research, in which development strategies are related to literature review, exploratory research and analysis of results, seeking to understand and describe the possible existing crossings between Program and Cooperative. It is believed that this study may contribute to the material culture studies demonstrating that the movement of artisanal artifacts are present practices, strategies and disputes not always explicit.

CAPES / A pesquisa que documento por meio deste texto tem como objetivo investigar como o trabalho e os artefatos são constituídos na fábrica Zeferino, Novo Hamburgo, Rio Grande do Sul, Brasil. Desta maneira, explorei as maneiras pelas quais os modelistas e o estilista que atuam nesta empresa constroem suas práticas em meio a embates e tensões. Para isto, percorri uma trajetória que apresenta a marca e a fábrica Zeferino, bem como os (as) interlocutores (as) que participaram do estudo. Da mesma forma apresento os artefatos e os modos particulares do fazer deste microcosmos para, enfim, discutir os embates por meio dos quais o trabalho e os artefatos ali se constituem. Os procedimentos que realizei para a elaboração desta pesquisa qualitativa foram experiências empíricas exploratórias e entrevistas narrativas ao modo da História Oral. Tomei as narrativas do processo de desenvolvimento de modelos para explorar os momentos de embates com a finalidade de interpretar os sentidos atribuídos pelos interlocutores a estas tensões e conflitos. Tive assim a intenção de montar uma imagem tanto do processo de desenvolvimento como dos interlocutores que permita perceber seus modos singulares de trabalho, seus fazeres e saberes, evidenciando a não homogeneidade das formas de produção de artefatos. / The research I have documented through this text aims at investigating on how the work and artifacts are made at the Zeferino factory, Novo Hamburgo, Rio Grande do Sul, Brasil. Thus, I have explored the ways in which both the modelers and the designer work in this company build their practices in the midst of clashes and tensions. For this, I follow a journey that presents the brand and Zeferino factory, as well as the interlocutors who participated in the study. Likewise, I present artifacts and the particular ways of doing this microcosm to, finally, discuss the struggles through which the work and the artifacts are made there. The procedures conducted for the preparation of this qualitative research were exploratory empirical experiences and narratives interviews on the model of Oral History. I took the narratives of the model development process in order to explore the moments of these conflicts, to interpret the meanings attributed by the interlocutors to these tensions and conflicts. So I intend to set up an image from the development process as well as from the interlocutors which enables individuals to realize their unique work modes, their activities and knowledge, showing the inhomogeneity of the ways of production of artifacts.

La graphie des signes hiéroglyphiques représentant des travailleurs est analysée, puis confrontée aux sources iconographiques et à la sculpture, pour comprendre la façon dont le système d’écriture interprète la notion de travail et cerner ce que l’élite souhaite voir se pérenniser dans l’imagerie. S’ajoute à ces données graphiques une approche lexicographique des termes liés au travail. Une mise en perspective de nos conclusions, par l’apport de sources historiques et sociologiques variées, contribue enfin à forger une appréciation plus juste de la façon dont l’organisation professionnelle est perçue sous l’Ancien Empire, et dont l’élite lettrée se confronte au contexte professionnel. Notre analyse a tout d’abord permis de définir les procédés utilisés pour transcrire le travailleur dans l’écriture et dans l’ensemble de l’imagerie d’Ancien Empire. Les critères intervenant dans la composition de l’image du travailleur, que ce soit dans son apparence, son rapport à l’action ou sa relation à la technique, sont ainsi définis. La relation du lexique au thème du travail est aussi abordée. L’ensemble des données récoltées sert ensuite à définir la perception du travail à cette époque. Le travail est ainsi considéré comme un acte social, et le travailleur, lié à une collectivité solide, apparaît intégré au cœur d’un système hiérarchique complexe. Le travail est aussi perçu comme un acte de peine, exercé par une population modeste dépendante d’une autorité dirigeante et entièrement investie dans la charge qui lui incombe. Le travail apparaît enfin comme un acte de production, dans lequel l’homme, technicien et producteur, constitue un chaînon essentiel dans le processus de transformation de la matière, et garantit la prospérité du pays et le bien-être de son élite. / The written form of hieroglyphic signs which represent workers is studied, and compared with iconographic documents and sculpture, to understand the way in which the writing interprets the notion of work, and the elements that the elite wants to fix in the imagery. A lexicographical approach of work is also done. Historical and sociological documentation is lastly used to obtain a more complete appreciation of the perception of the professional organization in the Old Kingdom. Our analysis has come to define the processes used to transcribe the worker in writing and in whole imagery of the Old Kingdom. The parameters which play a part in the composition of the worker’s image, in his appearance, his relation to action or his connection with technique, are thus defined. The link between lexicography and work is also treated. Whole information is then used to define the ideological perception of work at this time. Work is thus considered like a social act, and the worker, linked to a solid community, appears to be integrated in a complex hierarchic system. Work is also perceived as a hard act, practised by a modest population who is dependent on a ruling authority and who put a lot of effort into carrying out his task. Work finally appears as a productive act, and worker, as technician and producer, constitutes an essential link in the process of transformation of materials, and assures the prosperity of the country and the comfort of the elite.

Cette étude analyse la place de l’artisanat et des artisans dans les villes antiques de l’Algérie en faisant le point sur la documentation disponible – archives, rapports de fouilles, plans, photos et publications. S’appuyant sur un travail de terrain, les données mises à jour ont apporté des précisions ou des éléments nouveaux sur les ateliers urbains découverts entre le XIXe s. et la seconde moitié du XXe s. : les vestiges de chaque installation sont localisés, décrits et documentés ; une datation est proposée quand cela est possible. Ce travail conduit à nuancer ou à réfuter plusieurs interprétations de nos prédécesseurs puisqu’après examen, des vestiges signalés comme des ateliers s’avèrent finalement avoir eu une autre fonction. En revanche, les installations artisanales identifiées avec certitude permettent d’étudier plus en détail les caractéristiques typologiques et techniques propres à chaque spécialité attestée : les artisanats alimentaires, la production et le traitement des textiles, la production de céramique, d’objets en verre et en métal, et les métiers de la construction. La comparaison entre les spécificités techniques des ateliers antiques algériens et celles des ateliers d’époque romaine découverts ailleurs en Méditerranée permettent de reconnaître des similitudes très fortes mais également quelques différences locales, africaines. Dans un second temps, l’étude de la répartition et de la localisation des ateliers dans le tissu urbain conduit à préciser les raisons de l’implantation des lieux de métier dans un lieu donné notamment selon leur spécialité. Il apparaît que les choix de l’implantation étaient davantage guidés par les besoins d’approvisionnement en matières premières que par les nuisances que ces activités pouvaient éventuellement occasionner : les ateliers étaient localisés aussi bien dans les quartiers périphériques que dans les quartiers résidentiels. D’autre part, l’analyse des inscriptions permet de faire le point sur les informations qu’elles transmettent au sujet des artisans et de leur statut social. / This study analyzes the place of crafts and the craftsmen in the antique cities of Algeria by reviewing the available documentation - archival, reports of excavations, plans, photos and publications. Leaning on a field work, the updated data brought precision or new elements on the urban workshops discovered between 19th and second half of 20th centuries: the remains of each installation are located, described and documented; a dating is proposed when it is possible. This work of analysis leads to qualify or to refute several interpretations of our predecessors because after consideration, vestiges indicated as workshops finally appear to have not been correctly identified. On the other hand, the craft installations identified with certainty allow studying more in detail the typological and technical characteristics of every attested speciality: the food crafts, the production and the processing of textile industries, the production of ceramic, glass and metal objects, and the crafts of building. The comparison between the technical specificities of the antique algerian workshops and those roman workshops discovered somewhere else in the Empire bring us to recognize very strong similarities but also some local, african differences. Secondly, the study of the distribution and the location of workshops in the city leads to specify the reasons of the presence of the officinae in a specific place according to their speciality. It seems that the choices of establishment were more guided by the needs for supply of raw materials and not by the nuisances which these activities could possibly cause: workshops were located as well in the suburbs as in the residential districts. To finish, the analysis of the inscriptions brings some information about craftsmen and about their social status.