Submitted by Irvana Coutinho (irvana@ufpa.br) on 2013-10-01T12:13:28Z No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_VidaMaterialEntre.pdf: 2482487 bytes, checksum: e7b626cdeb9527ce6cd1d9655c654b57 (MD5) / Approved for entry into archive by Irvana Coutinho(irvana@ufpa.br) on 2013-10-01T12:15:22Z (GMT) No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_VidaMaterialEntre.pdf: 2482487 bytes, checksum: e7b626cdeb9527ce6cd1d9655c654b57 (MD5) / Made available in DSpace on 2013-10-01T12:15:22Z (GMT). No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_VidaMaterialEntre.pdf: 2482487 bytes, checksum: e7b626cdeb9527ce6cd1d9655c654b57 (MD5) Previous issue date: 2009 / A vida material na cidade de Belém é o palco da análise deste trabalho ao buscar compreender as relações sociais, econômicas e culturais através do universo das casas e objetos das famílias abastadas entre 1920-1945. As mudanças e permanências na forma de morar se fazia presente no discurso do poder público que paulatinamente com o discurso pautado na higiene buscou inserir práticas no cotidiano que interferiram nos interiores das residências e nas ações dos seus moradores. Pretendemos acompanhar os moradores no interior de suas residências, observando a chegada de objetos e hábitos que estavam pautados no conceito de civilização divulgada pelo Estado republicano. Assim nos propomos a observar as notícias da economia paraense e seu crescimento no setor da produção de móveis e os sujeitos que estavam atrelados ao consumo destes objetos, conhecendo os lugares de venda e compra de utensílios domésticos e suas formas de divulgação. Tentamos analisar a uso social dos objetos nos cômodos das residências e as transformações que estes provocaram entre seus usuários ao apresentarem vínculos entre vida material e práticas culturais. / The material life in the city of Belém is the stage of the analysis of this work, that seek to understand the social, economic and cultural relations through the universe of the homes and the objects of wealthy families between 1920-1945. Changes and permanences in the manners of living was present on the public power discourse, that gradually with a speech based on the hygiene sought to enter in the daily practices of its residents, which interfered in their actions and in the interiors of homes. We intend to accompany the residents within their homes, noting the arrival of objects and habits that were lined on the concept of civilization disclosed by the Republican State. So we intend to observe the news of the economy of Pará and its growth in the furnishings production section and the subjects which were coupled with the consumption of these objects, knowing the place of sale and purchase of household utensils and their disclosure forms. We try to analyze the social use of objects in the rooms of homes and the transformations among its users to submit links between material life and cultural practices.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2013-10-10T14:55:38Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_VistoLogoExisto.pdf: 1062649 bytes, checksum: b729b04c3b561a4fbea2a702c393151e (MD5) / Approved for entry into archive by Ana Rosa Silva(arosa@ufpa.br) on 2013-10-10T15:50:20Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_VistoLogoExisto.pdf: 1062649 bytes, checksum: b729b04c3b561a4fbea2a702c393151e (MD5) / Made available in DSpace on 2013-10-10T15:50:20Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_VistoLogoExisto.pdf: 1062649 bytes, checksum: b729b04c3b561a4fbea2a702c393151e (MD5) Previous issue date: 2010 / A dissertação discute o vestuário feminino em Belém do Pará nas duas primeiras décadas do século XX, buscando compreender os múltiplos sentidos dados à roupa feminina pelas próprias mulheres e pelos cronistas de revistas e jornais que circulavam na capital paraense como A Semana, Belém Nova, A Tarde, A Palavra, a Folha do Norte dentre outros. Nesse sentido, as reflexões se voltam para as relações entre o consumo de elementos de moda e o avanço da modernidade em Belém, tendo como pano de fundo as profundas transformações urbanas por que passou a cidade nas primeiras décadas do século XX, marcadas posteriormente pela crise nos negócios da borracha. Revelam-se assim, a busca por mudanças de algumas dessas mulheres construídas a partir do corte dos cabelos, do comprimento das saias, a construção de uma nova aparência, e as preocupações em disputar espaços além da ambiência do privado. Assim, a sociabilidade construída por muitas mulheres da elite, sugere o questionamento do seu papel social, em que a moda, por vezes, funcionava como discurso não-verbal. / The dissertation discusses the women's clothing in Belém in the first two decades of the twentieth century, trying to understand the multiple meanings given to women's clothing by women themselves and by the chroniclers of magazines and newspapers that circulated in the major city of Pará as A Semana, Belém Nova, A Tarde, A Palavra, Folha do Norte among others. In this regard, the discussions turn to the relationship between the consumption of fashion elements and the advance of modernity in Belém, with the backdrop of the profound transformations undergone by the urban city in the early decades of the twentieth century, marked by the crisis in the later business of rubber. They reveal themselves so the quest for change in some of these women constructed from cutting the hair, the length of skirts, the construction of a new look, and concerns play spaces beyond the ambience of the private. Thus, sociality built by many elite women, suggests a questioning of its social role in that fashion, sometimes functioned as non-verbal speech.

Made available in DSpace on 2011-03-23T21:19:45Z (GMT). No. of bitstreams: 0 / Item created via OAI harvest from source: http://www.bdtd.ufpa.br/tde_oai/oai2.php on 2011-03-23T21:19:45Z (GMT). Item's OAI Record identifier: oai:bdtd.ufpa.br:358 / This work aims analysing the ways by which sustainable development projects were introduced and implemented in the town of Muaná and in the High Atuá Region, in the Marajó Island, considering intervention of governmental and non-governmental organizations. Organization and reorganization processes of the rural workers at the High Atuá River in unions and associations are analysed, as well as the perception and strategy of those whom the projects are addressed to. The connection between such projects and recent forms of management such as Agenda 21, which is in process, is discussed. / Este trabalho tem por objetivo analisar as formas de introdução e aplicação de projetos de desenvolvimento sustentável no município de Muaná, especificamente no alto Rio Atuá, na ilha de Marajó, por meio da intervenção de organizações governamentais e não governamentais. São explicitadas as percepções e estratégias daqueles a quem os projetos são dirigidos, tendo em vista, também, o processo de organização e reorganização dos trabalhadores rurais no rio Atua dentro de sindicatos e associações de trabalhadores rurais. Mostram-se as relações entre os projetos de desenvolvimento sustentável e formas recentes de gestão como a Agenda 21, que vem sendo implantada na região.

Made available in DSpace on 2016-04-27T19:31:36Z (GMT). No. of bitstreams: 1 Andrea Silva Domingues.pdf: 14812680 bytes, checksum: ae667537f71aca42df8493226ff7eda4 (MD5) Previous issue date: 2007-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research has as objective to study the customs, the performance, the arts of living and making, constituted in the daily one of the urban and agricultural space; from the values, trajectories of life and social fights of the historical agents who participate of the feast; I understand culture as integrant part of a field of changes and social disputes and politics; surrounded of interests and claims. The study it is developed through Verbal History reflecting on the ways to live of the participants of the feast, in the attempt to understand these experiences, values, daily and customs that will assist in the reflection in the way to think the collective one. Searching all the moment to perceive these experiences and processes related to feast, observing that history, for more distant than either, has for objective to provoke reflections on the current world / A pesquisa tem como objetivo estudar os costumes, a performance, as artes de viver e fazer, constituídos no cotidiano do espaço urbano e rural; a partir dos valores, trajetórias de vida e lutas sociais dos agentes históricos que participam da festa; entendo cultura como parte integrante de um campo de mudanças e disputas sociais e políticas; cercado de interesses e reivindicações. O estudo desenvolve-se através da História Oral refletindo sobre as maneiras de viver dos participantes da Festa, na tentativa de entender essas experiências, valores, cotidianos e costumes que auxiliarão na reflexão da maneira de pensar o coletivo. Buscando a todo o momento perceber essas experiências e processos relacionados ao festejo, observando que a história, por mais distante que seja, tem por objetivo provocar reflexões sobre o mundo atual

A presente dissertação tem como objeto o prefácio da Fundamentação da Metafísica dos Costumes (FMC). Sua investigação concentra-se na concepção aí contida da disciplina da Metafísica dos Costumes, concepção essa pouca levada em conta para a compreensão da argumentação ulterior da FMC. Inicialmente abordamos (i) o que seria essa disciplina a partir da topologia das disciplinas filosóficas oferecida por Kant. Em seguida, exploramos (ii) o conceito de vontade pura, declaradamente o objeto de uma Metafísica dos Costumes. Na sequência investigamos (iii) o conceito de boa vontade, a fim de localizar o conceito de vontade pura na FMC. Como resultado, uma série de distinções úteis são alcançadas. Em (i), introduzimos a distinção entre os dois níveis da disciplina da Metafísica dos Costumes, na falta de termos melhores, “transcendental” e “humano”, a fim de harmonizar afirmações aparentemente contraditórias de Kant na FMC e na obra Metafísica dos Costumes. Em (ii), distinguimos pelo menos três usos distintos do conceito de vontade pura por parte de Kant, a saber, como (a) capacidade de determinar/motivar a vontade de certa maneira; como (b) a vontade determinada/motivada de certa maneira e como (c) a vontade maximamente determinada/motivada de certa maneira. Já em (iii), rastreamos a distinção entre pelo menos três usos do conceito de boa vontade, a saber, como (a) capacidade universalmente difundida de um agente racional agir moralmente; como (b) o bom caráter esparsamente difundido de quem se compromete firmemente com a lei moral, e como (c) a vontade maximamente boa, universalmente ausente porquanto uma ideia. Por fim, a partir da sobreposição dos três usos de ambos os conceitos, concluimos pela identificação do conceito de vontade pura com aquele de boa vontade. / The subject of the present dissertation is the preface of the Groundwork for the Metaphysics of Morals (Groundwork). Our investigation focused on the conception of the discipline of the Metaphysics of Morals presented in the preface, whose role for the understanding of the ulterior argumentation of the Groundwork is overlooked. Initially we investigate (i) what is this discipline taking as the start point the topology of the philosophical disciplines offered by Kant. Then we explore (ii) the concept of pure will, professedly the object of a Metaphysics of Morals. Finally we investigate (iii) the concept of a good will, in order to locate the concept of a pure will in the Groundwork. As a result, a number of useful distinctions are achieved. In (i), we introduce the distinction between the two levels within the discipline of the Metaphysics of Morals, in the absence of better terms, “transcendental” and “human”, in order to make coherent the apparently contradictory statements of Kant in the Groundwork and in the Metaphysics of Morals. In (ii) we distinguish at least three uses by Kant of the concept of pure will, namely, the pure will (a) as a capacity of determining/motivating the will in a certain way; as (b) a will determined/motivated in a certain way and (c) as a will maximally determined/motivated in a certain way. In (iii) we track the distinction between at least three uses of the concept of good will, namely, the good will (a) as a universally diffused capacity of a rational agent to act morally good; (b) as a sparsely diffused good character of a person steadily commited to the moral law, and (c) as a universally absent maximally good will, since it is an idea. Lastly, we identify both concepts, since their three uses overlap.

Cette thèse propose de réévaluer nos connaissances sur le mobilier de parure daté du Premier âge du Fer (800-400 a.C.) dans une zone comprise entre le sud-ouest de la France et le nord-ouest de l'Espagne. La large emprise géographique de ce travail, à cheval sur deux pays aux traditions de recherche distinctes, est déterminée par des résultats antérieurs qui avaient pu mettre en exergue plusieurs rapprochements typologiques entre ces deux régions sans en dessiner précisément les contours. L'objectif est donc de pallier ce manque et de porter une analyse à la fois chronologique, spatiale, culturelle et sociale du mobilier d'apparat. Pour ce faire, cette thèse s'appuie sur un corpus de parures issues de fouilles anciennes et récentes rassemblées dans une base de données relationnelles. La première étape d'analyse est réservée à la mise en place de typologies. Les relations taphonomiques des objets et les comparaisons avec les vestiges similaires venant de régions extérieures à notre cadre d'étude permettent d'actualiser les chronologies connues jusqu'alors pour les parures. Lors d'une seconde étape, la synthèse typo-chronologique du corpus découvert en contexte funéraire mène à la reconnaissance d'un phasage chronologique général. Ce phasage, qui partitionne en trois horizons l'intervalle retenu, est marqué d'une part par sa proximité avec celui reconnu dans le sud-est de la France, et d'autre part par un léger décalage entre les phénomènes observés sur les sites établis au nord et au sud des Pyrénées. Fondée sur cette trame chronologique, l'analyse spatiale du corpus permet de rendre compte de l'emprise territoriale de faciès mobiliers locaux et de leurs évolutions dans le temps. L'identification d'un faciès "pyrénéen" et son expansion à la fin du Premier âge du Fer est l'un des apports majeurs de cette étude. Enfin, lors d'une troisième et dernière étape, cette thèse propose une analyse sur les porteurs de parures. L'utilisation d'analyses factorielles de correspondances (AFC) autorisent la reconnaissance de divers costumes funéraires pour lesquels les parures jouent un rôle prépondérant dans la représentation d'un système social organisé et complexe. / This thesis proposes to re-evaluate our knowledge on ornamental furniture dated to the Early Iron Age (800-400 BC) in an area between southwest France and northwest Spain. The wide geographical scope of this work, taking place between two countries with distinct research traditions, is determined by previous results that had been able to highlight several typological similarities between these two regions without precisely drawing their outlines. The objective is to fill this gap and to provide an analysis that is chronological, spatial, cultural and social of the ceremonial furniture. To do this, this thesis is based on a corpus of ornaments from ancient and recent excavations gathered in a relational database. The first stage of analysis is reserved for the implementation of typologies. The taphonomic relationships of these objects and comparisons with similar remains from regions outside our study allow us to update the chronologies known until then. During a second stage, the typo-chronological synthesis of the corpus discovered in the funeral context leads to the recognition of a general chronological phasing. This phasing, which divides the selected interval into three horizons, is marked on the one hand by its proximity to what is knows in south-eastern France, and on the other hand by a slight discrepancy between the phenomena observed on the sites established to the north and south of the Pyrenees. Based on this chronological framework, the spatial analysis of the corpus makes it possible to account for the territorial hold of local movable facies and their evolution over time. The identification of a "Pyrenean" facies and its expansion at the end of the Early Iron Age is one of the major contribution of this study. Finally, during a third and last stage, this thesis proposes an analysis on the wearers of ornamentals. The use of correspondence factor analysis (CFA) allows the recognition of various funeral costumes for which the ornamentals plays a predominant role in the representation of an organized and complex social system.

O presente estudo, de natureza qualitativa, registra, analisa e compara processos criativos, técnicas e linguagens utilizadas na produção artesanal de quatro agremiações tradicionais que se dedicam à manifestação cultural do Bumba-meu-boi no estado do Maranhão, os grupos \"Bumba-meu-boi de Morros\", \"Bumba-meu-boi da Floresta\", \"Bumba-meu-boi da Maioba\" e \"Bumba-meu-boi da Liberdade\". Buscou-se compreender a configuração de suas identidades culturais, sobretudo em relação às características visuais dos figurinos de seus participantes. Esta escolha foi motivada pela diversidade de atributos artístico-expressivos, além de sociais e culturais, entre os grupos selecionados. A pesquisa se justifica pela importância da manifestação cultural no cenário estadual e nacional, pela escassez de estudos que focalizem o fenômeno visual do Bumba-meu-boi e que evidenciem, em especial, a atuação dos artesãos na produção dos vestuários dos grupos maranhenses. Configura-se ainda como um registro de técnicas tradicionais que podem se perder ou se modificar significativamente com o passar dos anos. Inicialmente, uma pesquisa bibliográfica foi realizada para compreender a natureza do fenômeno. Após reconhecimento das especificidades destes festejos populares, foi conduzida extensa pesquisa de campo, levantando dados junto a líderes e artesãos dos grupos pré-selecionados, por meio de entrevistas semiestruturadas, registros fotográficos, observações e anotações. Entre os resultados desta pesquisa, destaca-se a constatação da existência de técnicas artesanais que passam de geração a geração, motivando artesãos de diferentes idades e gêneros a dar continuidade a este ofício e manter seu vínculo com os grupos. Evidencia-se também as discussões que revelam as diferentes escolhas que baseiam o processo de produção das indumentárias em cada um dos grupos observados, que buscam reforçar identidade cultural. Ressaltase, ainda, a compreensão de aspectos sociológicos que influenciam as reconfigurações e ressignificações relacionadas à manifestação cultural do Bumba-meu-boi, sobretudo seus desdobramentos no artesanato produzido pelas comunidades que seguem representando a identidade maranhense e perpetuam esta relevante parte da cultura popular brasileira. / This qualitative research documents, analyses and compares different creative processes, craft techniques and visual attributes present in the handmade production of each year\'s costumes for four traditional groups of performers of the well-known June-to-July cultural celebration of Bumba-meu-boi in the northern Brazilian state of Maranhão. The Bumba-meu-boi folk tradition involves music, dance, dramatic narrative, as well as visually rich costumes. The four groups of players investigated in this research are \"Bumba-meu-boi de Morros\", \"Bumba-meu-boi da Floresta\", \"Bumba-meu-boi da Maioba\" and \"Bumba-meu-boi da Liberdade\". These four groups were selected based on their diverse expressive and artistic qualities, in addition to their social and cultural exuberance. The Bumba-meu-boi artistic phenomenon has great significance in the state of Maranhão, and also in Brazil as a whole. In contrast, there is little scientific research documenting Bumba-meu-boi\'s visual language and the way the costumes are conceived and crafted by such varied groups of folk dancers in the state of Maranhão. In this regard, this research also sought to record the craft techniques in danger of being forgotten or significantly altered in the coming years. A preliminary review of the related literature was done to provide an initial, general understanding of the Bumba-meu-boi phenomenon. Once this first survey of the various specific aspects of this folk tradition was concluded, extensive fieldwork was also carried out to collect data from leaders of the four selected groups of players and their craftspeople. This was accomplished by means of semi-structured, recorded interviews, as well as photographs, direct observation and note taking. Among the results of this study is the identification of craft techniques which are passed from one generation to the next, engaging craftspeople of all ages, thus keeping their craft alive as they strive to preserve cultural ties within each particular group of players which they identify with. The process of discussing different creative and manufacturing alternatives amongst the creators and producers of each year\'s new costumes, so that such visual components can reinforce the thematic and cultural identity of each group of players of Bumba-meu-boi, is documented and analyzed as well. The study also features some key sociological aspects that determine the reconfiguration and resignification of the cultural activity of Bumba-meu-boi, in particular its costumes, each year handcrafted anew by these communities which keep on representing the cultural identity of people of the state of Maranhão and perpetuating this relevant component of Brazilian popular culture.

Os trajes de cena estudados nesta pesquisa apresentam-se como elementos potenciais para a preservação da Memória do Teatro Brasileiro, especificamente do Teatro Paulistano. Busca-se demonstrar que cada traje pode ser peça fundamental na reconstrução de um espetáculo, o que permite traçar o percurso da História do Teatro. Cada traje de cena cria elementos materiais que podem constituir formas relativamente autônomas de arte, que se apresentam como ferramentas para a preservação da arte teatral e de seu caráter reconhecidamente efêmero. O foco de pesquisa é documentar a memória dos trajes de cena que compõem o figurino teatral, enquanto parte constituinte da encenação. Busca-se discutir a potencialidade de memória e comunicação dos trajes de cena de um recorte do teatro paulistano, demonstrando como o registro documental contribui para a construção da História do Teatro Brasileiro. São abordados os seguintes acervos: o conjunto de trajes do Teatro Lírico de Equipe; amostra do conjunto de trajes do acervo CAC/EAD e o conjunto de trajes do Teatro Popular do Sesi-SP. / Costumes are presented as potential registers for the preservation of the memory of the Brazilian Theater, more specifically the Theater in the city of São Paulo. The aim of this research is to demonstrate that each costume can become a key element for the reconstruction of the course of the history of Theater. Each costume creates material which can constitute forms of art, with certain autonomy. The costumes are presented as tools for the preservation of the art of Theater and its known ephemeral aspect. The main objective of this research is to document the memories of costumes as part of the Theater process. We discuss the potential memory and communication in \'Scene costumes\', which belong to a period of the Theater in São Paulo. It demonstrates that the registry of costumes, considered as documents, contributes for the construction of the history of Brazilian. Three collections will be presented on this work: costumes from Teatro Lírico de Equipe, part of the CAC/EAD\'s collection and the collection of Teatro Popular do Sesi-SP.

<p>This thesis deals with the space for action available to women of the regional elite. The interaction of such categories as gender and class are discussed. The overall purpose is to describe and analyze the role of the county governor’s wife during the period 1900- 1940. The study takes its point of departure in the lives of Ellen Widén and Hanna Rydh, both wives of county governors, and especially treats the area of cultural heritage as the potential public arena for women. Special attention is focused on the cultural heritage as a possible public sphere of activity for women at that time. Cultural heritage has been defined as the cultural and material expressions that were regarded as possessing symbolic value and that have therefore been the focus for various kinds of preservation. Cultural heritage is associated here with a growing field for professional interest and work.</p><p>Women in general were given specific tasks within the nation. One of these was to safeguard aesthetic and cultural characteristics within the nation, the province and the home region. By working within the sphere of cultural heritage, with arts and crafts and with the preservation of the home region, women were regarded as links between the older and younger generations. The specific characteristics of the home region could be expressed through various textiles. The work of creating specific parish costumes can be seen as one of many examples of a female cultural heritage.</p><p>The study has shown that the wives of county governors could have a direct and immediate influence on activities in the area of cultural heritage. This research has established that these women formed a more independent power factor than earlier research has maintained. The county governor’s wife did not automatically gain a position of power. She had potential power, an opportunity derived from both class and gender. To transform this potential into power and influence demanded success and skill in the field.</p><p>When Hanna Rydh, the wife of a county governor, declared herself a candidate for the position of county governor in 1938, it was too much of a challenge to the prevailing gender order. Through a form of ”tyranny of difference” women were prevented from establishing themselves within public spheres that were more masculine by tradition. This could be true of specific fields or of the formal power exercised by the parliament, the government and public offices. If the female elite challenged the men of their own class, their opportunities were circumscribed. I have chosen therefore to speak of both power and “non-power.” Within certain contexts there were good opportunities for the regional female elite to obtain their own space for action. Yet, in other situations the limitations were greater than the opportunities; “non-power” also existed. </p>

This thesis deals with the space for action available to women of the regional elite. The interaction of such categories as gender and class are discussed. The overall purpose is to describe and analyze the role of the county governor’s wife during the period 1900- 1940. The study takes its point of departure in the lives of Ellen Widén and Hanna Rydh, both wives of county governors, and especially treats the area of cultural heritage as the potential public arena for women. Special attention is focused on the cultural heritage as a possible public sphere of activity for women at that time. Cultural heritage has been defined as the cultural and material expressions that were regarded as possessing symbolic value and that have therefore been the focus for various kinds of preservation. Cultural heritage is associated here with a growing field for professional interest and work. Women in general were given specific tasks within the nation. One of these was to safeguard aesthetic and cultural characteristics within the nation, the province and the home region. By working within the sphere of cultural heritage, with arts and crafts and with the preservation of the home region, women were regarded as links between the older and younger generations. The specific characteristics of the home region could be expressed through various textiles. The work of creating specific parish costumes can be seen as one of many examples of a female cultural heritage. The study has shown that the wives of county governors could have a direct and immediate influence on activities in the area of cultural heritage. This research has established that these women formed a more independent power factor than earlier research has maintained. The county governor’s wife did not automatically gain a position of power. She had potential power, an opportunity derived from both class and gender. To transform this potential into power and influence demanded success and skill in the field. When Hanna Rydh, the wife of a county governor, declared herself a candidate for the position of county governor in 1938, it was too much of a challenge to the prevailing gender order. Through a form of ”tyranny of difference” women were prevented from establishing themselves within public spheres that were more masculine by tradition. This could be true of specific fields or of the formal power exercised by the parliament, the government and public offices. If the female elite challenged the men of their own class, their opportunities were circumscribed. I have chosen therefore to speak of both power and “non-power.” Within certain contexts there were good opportunities for the regional female elite to obtain their own space for action. Yet, in other situations the limitations were greater than the opportunities; “non-power” also existed.