Au XVIIe siècle, Dijon, capitale de la province, est le lieu où résident les membres des organes politiques, administratifs et financiers. La ville connaît alors un remarquable essor de la construction privée. Les bâtisseurs sont principalement les officiers des cours souveraines, parlementaires ou conseillers à la chambre des comptes, qui satisfont leur besoin de représentation sociale en commandant des demeures dignes de leur rang : l’hôtel est bien l’illustration de ceux qui détiennent le pouvoir, le lieu à la fois d’une démonstration sociale, architecturale et artistique.Cette étude, première synthèse sur les hôtels particuliers dijonnais de 1610 à 1715, est abordée selon trois axes de réflexion : les commanditaires, les architectes et leurs réalisations. L’analyse architecturale des hôtels, qui laisse une large part à la distribution, permet une étude comparative avec Paris et les autres grandes villes parlementaires du royaume. / In the seventeenth century, Dijon, capital of the province, was the place where proposed members of the political, administrative and financial bodies chose to live. The city therefore experienced a remarkable boom in the construction of private residences. The builders were mainly officers of the sovereign courts, members of parliament or advisors to the Board of Auditors who wanted to satisfy their need for social representation by ordering houses worthy of their rank : the private mansion was the illustration of people of power, place both a demonstration of social standing, architectural and artistic.This study, the first synthesis of the private mansions of Dijon from 1610 to 1715, is approached according to three lines of thought: the commissioners, the architects and their constructions. The architectural analysis of mansions which leaves a large part to the distribution, allows the comparison with Paris and other major cities of the parliamentary kingdom.

La finalidad de este artículo de investigación es analizar las características de los procesos de desarrollo de productos turísticos artesanales y el beneficio que se genera para los pueblos de artesanos en el mundo. La metodología empleada fue la revisión bibliográfica mediante el análisis descriptivo y evaluativo de las fuentes consultadas. Esta desea desarrollar la importancia de la artesanía y su relación con el turismo, esta relación es una oportunidad para diversificar la oferta turística ya que la artesanía es un recurso incorporable a los productos turísticos. Se analizan los productos turísticos basados en comunidades de artesanos destacando las características de los casos más exitosos en el mundo, así como las diferencias y semejanzas de los diferentes casos destacando sus virtudes y falencias, estableciendo así conocimiento acerca de las actividades que se deben replicar o no en otras comunidades de artesanos interesadas en convertirse en un producto turístico. Se establecen los beneficios de desarrollar productos turísticos en comunidades de artesanos, con el fin de promover la creación de este tipo de productos turísticos como una alternativa de crecimiento y desarrollo económico para las comunidades. Se concluye que los productos turísticos basados en comunidades de artesanos pueden resultar beneficiosos para la diversificación de la oferta turística de las regiones debido a que se consideran atractivos turísticos. Además, este tipo de turismo comunitario promueve el desarrollo de los artesanos y de la artesanía en sus diferentes modalidades, integrándose al desarrollo económico de su región. Por otro lado, recupera y promueve las manifestaciones y valores culturales, así como apoya el fortalecimiento de la identidad local y la generación de empleos sostenibles. / The purpose of this research article is to analyze the characteristics of the processes of development of artisan’s tourist products and the benefit that generated for the peoples of artisans in the world. The methodology used was the bibliographic review through the descriptive and evaluative analysis of the sources consulted. This desire to develop the importance of handicrafts and its relationship with tourism, this relationship is an opportunity to diversify the tourist offer since craftsmanship is an incorporeal resource to tourist products. Tourism products based on communities of artisans are analyzed highlighting the characteristics of the most successful cases in the world, as well as the differences and similarities of the different cases highlighting their virtues and lacks, thus establishing knowledge about the activities that must or should not be replicated in other communities of artisans interested in becoming a tourist product. The benefits of developing tourist products in artisan communities are established, in order to promote the creation of this type of tourist products as an alternative of growth and economic development for communities. It is concluded that tourist products based on artisan communities can be beneficial for diversifying the tourist offer of the regions because they are considered tourist attractions. In addition, this type of community tourism promotes the development of artisans and craftsmen in their different modalities, integrating into the economic development of their region. On the other hand, it recovers and promotes cultural manifestations and values, as well as supports the strengthening of local identity and the generation of sustainable jobs. / Trabajo de investigación

La communauté des maîtres peintres et sculpteurs parisiens a connu une importante évolution entre les XVIIe et XVIIIe siècles. La création de l’Académie royale en 1648 correspond à un temps de bouleversement : l’ancien et le nouveau corps se joignent alors, et tentent de cohabiter dans une même structure. La fin du XVIIe siècle correspond à l’essor de la population de la maîtrise, à la publication des listes de ses membres, ainsi que des statuts, dans une remise en ordre globale de la communauté. C’est donc une corporation forte d’une nombreuse population et bien organisée qui obtient en 1705 une déclaration de Louis XIV lui permettant d’ouvrir une école de dessin fondée sur le modèle vivant. La toute nouvelle Académie de Saint-Luc peut s’installer durablement dans le paysage artistique de la première moitié du XVIIIe siècle. Installée dans des nouveaux locaux dont elle se porte acquéreuse, rue du Haut-Moulin en la Cité, elle transforme considérablement ses statuts, en accordant une place importante en son sein à un corps d’artistes, chargés d’assurer l’enseignement de l’école. Les années 1750 à 1775 sont des années où les évènements se précipitent, pour l’Académie de Saint-Luc. Des expositions, suivies du public, permettent de faire connaître nombre de ses membres, et d’inscrire la petite académie dans les débats artistiques du milieu du XVIIIe siècle. Le perfectionnement de l’école d’après le modèle, permet dans les années 1765-1775 de reconnaître davantage encore un statut propre pour les artistes, au sein de la communauté. L’évolution est donc spectaculaire sur plus d’un siècle, et témoigne d’une adaptation remarquable de la vieille corporation, qui a su assimiler ainsi un fonctionnement académique à l’organisation hiérarchique d’une communauté de métier. / The community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community.

Les modes de vie (et mondes de la vie) où se déployaient les savoirs artisanaux en construction navale sont devenus minoritaires au Québec. Dans la Vallée du St-Laurent, ces savoirs d’exception sont néanmoins encore relancés selon différentes perspectives dont ils sont des constituantes primaires, impliquant des relations et préoccupations qui dépassent l’expression d’intérêts individuels au sens strict. Influencés par l’évolution du système-monde capitaliste et par des choix politiques opérés à divers niveaux, ils ont eu tendance à s’arracher de leurs mondes originaires localement : de plusieurs contextes singuliers de leur appréciation, mise en œuvre et production. Alors qu’ils s’exercent aujourd’hui surtout via les champs du loisir et du sport, plusieurs modalités et horizons anciens propres aux habitudes et aux mondes de références de ces savoirs perdurent. Ils sont même parfois investis en critique comme moyens d’expérimentation et d’affirmation de modes d’existence exprimant des affections politiques et sociales particulières en pratique. J’ai rencontré, sur un mode exploratoire, sept artisans de la Vallée du St-Laurent et procédé, entre autres, avec ceux-ci à une série d’entretiens libres et semi-dirigés afin de traduire la situation de ces savoirs chez les artisans. Dans une perspective territoriale et historique, cette recherche révèle nombre de ruptures, passages et continuités. / The ways of life and worlds in which the forms of knowledge of craftsmen were at one time primordial have become marginal or left behind in Quebec. But they are still, in the St. Laurence Valley, exceptionally incorporated into different perspectives in which they are basic components, which imply relations and attentions that overshadow individual interests. Influenced by the capitalist world system as well as constraining political choices at multiple levels, their experiments have been partially take off their natives worlds locally, as from some of the specific contexts in which they were valued, implemented and assessed. While the craftsman’s knowledge bases are now mostly applied to leisure and sport activities today, they are still valued given to the “old” methods and perspectives embedded in their worlds of reference. In some cases, they are explicitly incorporated within a critical perspective as mediators of experimentation of specific “ways of life”, expressing in practice, social and political particular affections. I met with seven craftsmen in the St. Laurence Valley in this exploratory investigation into their worlds, knowledge and traditions, and carried out “free” conversations and semi-directed interviews with them. From a territorial and historic perspective, this work reveals certain ruptures, progressions and continuities.

La presente investigación tuvo como propósito analizar y conocer el emprendimiento femenino de las mujeres artesanas del algodón nativo en la región Lambayeque, teniendo como objetivo identificar sus datos demográficos; sus antecedentes educativos, laborales y familiares; asimismo sus habilidades administrativas/gerenciales, la naturaleza de los emprendimientos y factores que las motivaron a emprender, superando diversos obstáculos. Por ello, se aplicó una entrevista a 20 mujeres con negocio propio de la región de Lambayeque, teniendo como resultado que sus características del emprendimiento se dan de acuerdo a la zona demográfica ya que en su lugar de origen las mujeres desde muy pequeñas aprender a bordar y confeccionar en base al algodón nativo que ellas siembran. Además, no cuentan con el conocimiento de habilidades gerenciales, sin embargo, sus familiares las motivaron para iniciar el negocio, el emprendimiento utiliza 5 a 8 horas diarias y como obstáculo principal es la dificultad en los préstamos bancarios. / The purpose of this research was to analyze and understand the female entrepreneurship of native cotton artisan women in the Lambayeque region, with the objective of identifying their demographic data; your educational, work and family background; Likewise, their administrative/managerial skills, the nature of the ventures and factors that motivated them to undertake, overcoming various obstacles. For this reason, an interview was applied to 20 women with their own business in the Lambayeque region, resulting in their entrepreneurial characteristics according to the demographic area since in their place of origin, women learn to embroider from a very young age. and make them based on the native cotton that they plant. In addition, they do not have the knowledge of management skills, however, their relatives motivated them to start the business, the venture takes 5 to 8 hours a day and the main obstacle is the difficulty in obtaining bank loans.

The study explored women’s underrepresentation in engineering at a Technical Vocational and Education and Training (TVET) College in Gauteng, South Africa. Research on the lack of women in engineering exists, however, the underrepresentation of women students in engineering at TVET Colleges is under-researched. Using a theoretical starting point Bandura’s concept of self-efficacy, a qualitative study explored views of selected female students on female underrepresentation in engineering at TVET Colleges, with reference to South West Gauteng College. Interviews with women in Engineering, Business Studies and Hospitality courses were undertaken. Findings indicated: engineering students' desire for equal career opportunities in engineering; recognition of the impact of gender stereotypes and differing ways of developing self-efficacy and capabilities as women to follow an engineering career; the barrier of gender stereotypes on secondary school girls’ choice of and achievement in Mathematics and Science and the information gap concerning career options in engineering; as well as benefits provided by TVET Colleges offering these courses. Some recommendations which are suggested are: TVET Colleges should ensure that more information about the engineering courses offered at these institutions be relayed to the public in a manner that is inclusive to everyone irrespective of gender. / Educational Studies / M. Ed. (Adult Education)

Building Opportunity centers on disaster response and recovery after a 7.5-magnitude earthquake destroyed the city of Antigua Guatemala, the capital of colonial Guatemala, on July 29, 1773. It also concentrates on the colonial government’s decision to relocate Antigua Guatemala and establish a new capital, New Guatemala. This dissertation examines how the cultural, economic, political, and social views of inhabitants -- bureaucrats, clerics, Indians, architects, and the poor -- shaped their reactions to the tremor. Furthermore, it contends that the migration from Antigua Guatemala to New Guatemala created socioeconomic opportunities through which individuals made strong efforts to rebuild their lives. Debates on natural catastrophe in colonial Latin America have emphasized the ability of calamity to ignite power struggles over competing ideas about emergency management. However, in addition to an analysis of such disputes, this dissertation advances new understandings of the ways in which the earthquake gave victims chances to reshape their world. How did individuals' beliefs influence their attitudes toward the cataclysm? How did the effort to create a new city forge openings for survivors to refashion their identities? This study shows that individual groups' notions of fear, hazard mitigation, history, and socioeconomics defined arguments about whether or not to move. It also demonstrates that the tragedy produced spaces in which officials, ecclesiastics, indigenous peoples, and the impoverished worked to improve their lives. In various ways, administrators and victims turned adversity into an opportunity to become disaster managers and survivors, respectively. / text

L'organització del treball artesà de les societats preindustrials en gremis o confraries d'ofici semblava reforçar les tesis que postulaven la rigidesa i la immobilitat de les societats d'Antic Règim. Però, els pocs treballs realitzats a Catalunya sobre les estratègies familiars adoptades pels menestrals han apuntat que la transmissió intergeneracional de l'ofici i les estratègies matrimonials dirigides a casar-se amb membres del mateix entorn professional potser no es donaven d'una manera tan general com la historiografia havia subratllat. Aquestes haurien estat dues de les fórmules seguides per les famílies menestrals a fi de preservar un patrimoni força eteri en un marc econòmic ple d'incerteses i serien les responsables de la imatge de societats estàtiques o poc mòbils. Respondre aquestes dues qüestions és el punt de partida d'aquest treball. Per dur-lo a terme s'han analitzat les estratègies familiars dels menestrals d'un centre urbà català, Mataró, entre els segles XVII i XIX. / La organización del trabajo artesanal de las sociedades preindustriales en gremios o cofradías de oficio parecía reforzar las tesis que postulaban la rigidez y la inmovilidad de las sociedades de Antiguo Régimen. Pero, los pocos trabajos sobre las estrategias familiares seguidas por las familias menestrales basados en Cataluña, han apuntado como la transmisión intergeneracional del oficio y las estrategias matrimoniales dirigidas a casarse con miembros del mismo entorno profesional, quizá no se daban tan extensiblemente como siempre había subrayado la historiografía. Éstas habrían estado dos de las fórmulas seguidas por las familias menestrales para preservar un patrimonio bastante etéreo en un marco económico lleno de incertidumbre y serian las responsables de la imagen de sociedades estáticas o poco móviles. Responder a estas dos preguntas es el punto de partida de este estudio. Para ello, se han analizado las estrategias familiares de los menestrales de un centro urbano catalán, Mataró, entre los siglos XVII y XIX. / The organization of the home-produced work in pre-industrial societies in guilds or brotherhoods seemed to reassert the thesis which postulates the rigidity and immovability of societies during the Old Regime. But the few jobs done in Catalonia about the familiar strategies adopted by artisans, have pointed out that the intergenerational transmission of professions and marriage strategies in order to get married to members from the same professional area was not as usual as the historiography had shown. These strategies had been two of the ways followed by families of artisans in order to preserve an ethereal patrimony in an economical setting full of uncertainties, and they would be the responsible of the static and immovable societies. The aim of this study is to answer these two questions. In order to do so, familiar strategies of artisans from Mataró, an urban Catalan settlement during the XVIIth-XIXth centuries, have been analysed.

MENDES, Francisca Raimunda Nogueira. Remodelando tradições: os processos criativos e os significados do trabalho artesenal entre as louceiras do Córrego de Areia. 2004. 120f. Dissertação (Mestrado em Sociologia). Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2004. / Submitted by GLAUBENILSON CAVALCANTE (glaubenilson@yahoo.com.br) on 2011-11-17T17:14:00Z No. of bitstreams: 1 2004_DIS_FRNMendes.pdf: 1685772 bytes, checksum: 50d5fefbb7ea80e34745d68a0177d206 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-28T13:59:19Z (GMT) No. of bitstreams: 1 2004_DIS_FRNMendes.pdf: 1685772 bytes, checksum: 50d5fefbb7ea80e34745d68a0177d206 (MD5) / Made available in DSpace on 2011-11-28T13:59:19Z (GMT). No. of bitstreams: 1 2004_DIS_FRNMendes.pdf: 1685772 bytes, checksum: 50d5fefbb7ea80e34745d68a0177d206 (MD5) Previous issue date: 2004 / This work investigates the handicraft practice of earthenware’s artisans at Corrego de Areia, a community located seven kilometers from the county of Limoeiro do Norte in the State of Ceara. The women engaged in this activity use clay as raw material which is changed into not only earthenware and sold at the region’s markets by the edges of Jaguaribe River but also decorative pieces which are sold at the Handicraft Center (Ceart) an institution kept by the State government and which has its headquarters in Fortaleza. Those objects present some characteristics that are similar to those found at other artisan centers in the State. It should be pointed that the artisans do not use lathes or other devices that they could resort to in order to increase production. Besides, the earthenware is not painted but naturally rendered in a strong red hue. Although marked by a utilitarian origin, this craftsmanship is produced today mostly for decorative purpose. In spite of this new approach, the principles that rule the art have not changed, that is, the manufacturing techniques, the earthenware baking and the tools used give expression to a creative tradition whose origin is far behind in time. The problems that are seen today are related to the intervention by the afore-mentioned institution, Ceart, which in the beginning of the 1990s started ordering pieces that should be fashioned according to designs presented to the artisans. The artisans’ creative work has thus been impaired because only trading interests are considered. Production of pieces is not, on the other hand, an activity to be regarded by its commercial value only. People involved in art develop concepts about the self and are lifted to artistic status due to their insertion into a unique cultural and symbolic context. Earthenware production includes wisdom, craftsmanship and investigation of world meaning, a knowledge that is passed along from one generation to another. The ideas developed in this fashion by those families give way to their daily lives, their common set of images and their art. While modeling their objects, the earthenware’s artisans model their own lives in an unending process that recreates and reshapes their cultural world. / O presente estudo trata da prática artesanal das louceiras do Córrego de Areia, comunidade distante sete quilômetros do município de Limoeiro do Norte-CE. O artesanato feito por tais mulheres tem como matéria-prima o barro, que é transformado tanto em louça utilitária, vendida nas feiras da região jaguaribana, como figurativa, vendida na Central de Artesanato (Ceart), instituição mantida pelo governo do estado do Ceará, com sede em Fortaleza. Tais objetos apresentam algumas especificidades, se comparados a outros centros artesanais do Estado. Dentre elas, pode ser destacada a não utilização de tornos, nem outro instrumento que possibilite um aumento da produção, além da louça possuir uma cor mais forte, mais avermelhada e não ser pintada. Embora tenha origem numa matriz utilitarista, atualmente os objetos que têm mais aceitação no mercado são aqueles usados como adornos. Entretanto, apesar do novo contexto, os princípios do trabalho continuam os mesmos, ou seja, as técnicas de produção, os processos de queima da louça e as ferramentas utilizadas são a expressão maior da manutenção de uma tradição cuja origem já se perdeu com o tempo. A problemática central do trabalho refere-se à intervenção da referida instituição na comunidade, principalmente a partir do início dos anos 90, quando começou a encomendar peças, através de desenhos e do seu setor de design, às louceiras. Nesse sentido, o processo de criação da artesã deixa de ser respeitado, passando a serem privilegiados apenas os interesses comerciais e do mercado consumidor. Em contrapartida, fazer louça de barro não é uma atividade que possa ser entendida apenas do ponto de vista comercial. Quem realiza trabalhos desse tipo cria conceitos sobre si mesmo, adquire status de artista, por estar inserido num contexto cultural e simbólico próprios. Portanto, a produção da louça envolve saberes e fazeres, significados e visões de mundo que são passados de geração a geração, pelas famílias artesãs. Desse modo, os sentidos criados por elas, a partir da prática artesanal, nos dão acesso ao seu cotidiano, ao seu imaginário, à sua arte. Enquanto modelam seus objetos, as louceiras moldam as próprias vidas, num processo constante de criação e reformulação de seu universo cultural.

This dissertation presents an anthropological research about ´´Renda Irlandesa``(Irish Lace) Sergipe´s handicraft that had its modi faciendi registered as National Intangible Cultural Heritage, in the Book of Knowledge, in November 2008 - in an approach that introduces new directions for addressing production, marketing and use, resulting from its interaction with the fashion market. The research focuses on a new approach that tends to treat consumption as a matter of culture, analyzing the emergence of new attitudes assumed by artisans in the ´´know-how Renda Irlandesa`` amid the demands of the fashion market linked to women´s clothing, which provide potential use of formulating handmade garments. It highlights the processes of the cultural heritage exerted by the female artisans in their know-how and shape the cultural heritage of handicrafts, emphasizing its role as a complementary source of income for the protagonists of the practice. Finally, we discuss the new mechanisms of representation made by social workers from the symbolic consumption of cultural heritage. / O presente trabalho apresenta uma investigação antropológica sobre a renda irlandesa artesanato sergipano que teve seu modo de fazer registrado como Patrimônio Cultural Imaterial Nacional, no Livro de Registro dos Saberes, em novembro de 2008 em suas novas instruções de produção, comercialização e uso, advindas das interações com o mercado de moda. A pesquisa privilegia uma nova abordagem sobre a Renda, tratando-a a partir de seu consumo como uma questão de cultura, para analisar o advento das novas atitudes assumidas pelas artesãs no saber fazer , em meio às demandas do mercado de moda ligadas ao vestuário feminino, que prevêem a potencialidade do uso de motivos artesanais na formulação de vestimentas. Evidencia ainda os processos de herança cultural exercidos pelas artesãs em seu ofício e que configuram a patrimonialidade do artesanato, destacando seu papel enquanto fonte complementar de ganho para as protagonistas da prática. Por fim, discute os novos mecanismos de representação assumidos pelos agentes sociais a partir do consumo simbólico da patrimonialidade.