To gain the title of master is not an easy feat 1. Learning a particular craft takes time, attention and dedication. Recently, this type of commitment has become old fashioned, even burdensome. New commitments to production and efficiency have forced the American craftsmen and builders to change theirs as well. This shift has in many ways removed the thinking from making 2. It has removed the joy of labor and craft, in effect removing the dignity and pride of work 3. Current architectural discourse has emphasized and promoted personal value and self-worth through the buildings we build. However, the promotion of this ethical stance has gone largely unnoticed towards the builders of the American built environment. By placing the tool back into the craftsman's hands and teaching him how to think he begins to more fully know himself and know his work. He becomes dignified through his craft. The employment of these skilled craftsmen raises the standards of building. The architect can be more reliant on the skill of the craftsman while the craftsman can be more assured of employment. One ceases to be above the other but both, with complementary skills, are able to achieve the full realization of their work through the other. / 0 / SPK / specialcollections@tulane.edu

The aim of this historical study was to investigate and describe the Swedish vocational educational school system from 1918 till the 1940's. The dissertation focuses upon vocational education related to industry and craft work. Questions include; who were the actors; and who's interests did they represent; how did the quantitative development of that school system look like; and which content, according to officiai authorities, should the education have. The work has a theoretical frame that comes closest to reproduction theories and educational sociology. The empirical material comprises the official documents, periodical journals and official statistics. The results showed that there was a wide gap between official rhetoric and what took place in reality. The development of the vocational training system did not follow expectations, neither in the quantitative nor the organisational sense. The national board of education also paid little attention to the vocational school system, once it was launched. Only a handfull of men persued the question and thereby at the same time made it their careers. The vocational educational school system branched out rather quickly and became incoherent. Futhermore there were difficulties in finding pupils who wanted to join the new school-form that vocational schools represented. The benefits from joining the many branches of the vocational educational system were few. The professional staff of teachers was diffuse, they were mostly recruited from "higher" school systems while the status of working as vocational educational teacher was low. In fact, the dissertation shows, that the vocational educational system that was introduced during the first half of the 20th century, had a very low status. The educational content looked very much like the content in the compulsory school, among other things, due to the ways of recruiting teachers. Overall results show that vocational training did not become a powerful means to carry into effect the rhetoric that underpinned it, but the period had significance at a symbolic level because it linked school and the labour market more firmly in popular consciousness. / digitalisering@umu

The aim of this thesis has been to describe and analyse the students'views on the effects of constructivistic indicators in a learning environment of vocational training. The indicators concerned here were activity, authenticity, holism, context and multiple perspectives. The thesis focuses futher on the differences between traditional and constructivistic vocational training in its practice-of-skills aspect. The work consists of two sections, of which the first is a theoretical survey of cognitive constructivistic learning in which the views of various researchers are presented, analysed and compared. By designing a learning method with the highest possible number of constructivistic indicators, it has been possible to record students opinions of these in three different ways, by using questionnaires, interviews and video recordings. The pupils' experiences of various learning situations have then been described and analysed. Data have also been gathered using a fourth method, by recording spontaneous comments from the teachers concerned. The information has then been collated, and the results compared with the views of those researchers already presented. The results indicate that the effects of cognitive constructivistic indicators are felt as favourable by the pupils, who make it clear that it is of great value to be able to "think for oneself' as they put it, in the course of acquiring professional skills. Among other things, what the pupils consider specially valuable for the learning process is the personal activity and authenticity involved in creating usable products. No noticeably unfavourable pupil experiences of the constructivistic learning have emerged, while the spontaneous comments of the teachers express both advantages and disadvantages. The advantages include increased motivation on the part of pupils as a consequence of learning through creating usable products; pupils feel that what they do is more meaningful than would be the case in traditional vocational training. They also become independent learners more quickly: the teachers feel that the pupils learn more efficiently, and that the training period for some of them could be reduced by one-third. The major disadvantage is that the teacher has to learn to play a partly new role, since the teaching material does not consist of rigidly specific written instructions. Initially a greater amount of work is demanded of the teacher until pupils have become accustomed to the mainly constructivistic learning method. The learning environment that is presented in conclusion includes among other things features of business economics, product design and innovation, as well as certain conditions for the establishment of small-scale industry. Judging from the results, these components may be considered as further reinforcing the learning effect from a cognitive-constructivistic point of view. Vocational training thus acquires a new qualitative dimension when constructivistic indicators integrate instruction with the subsequent situation of working and earning a living, instead of concentrating simply on the content of the syllabus with no relation to the situation of pupils after completion of their training. / digitalisering@umu

Ce travail de recherche s'est orienté progressivement sur une investigation de plus en plus approfondie de l'univers des représentations liées à la mode, plus particulièrement à un vêtement : le bustier-corset. Se pose la question des rapports qu'entretiennent l'art et cet artisanat spécifique qu'est la couture. Nous pouvons l'étudier à travers les œuvres d'artistes telles que Natacha Lesueur, Jana Sterbak, Niki de Saint Phalle, Annette Messager et Elsa Schiaparelli. Il est à remarquer que la plupart de ces artistes étaient féministes et nous pouvons faire l'hypothèse qu'un travail esthétique de cette nature, impliquant une réflexion sur l'image de la femme, incite à une prise de conscience et de position sur la place qu'on lui donne dans la société. Un point de vue ironique, voire burlesque, a souvent été recherché pour créer une distanciation, un effet de surprise propre à déclencher une prise de conscience. Il est d'ailleurs également possible d'investiguer le corps de la femme et l'imaginaire qui l'entoure à travers l'existence et l'utilisation de symboles tels que la passementerie, le bijou, les matières brillantes et clinquantes. Bien que la représentation de la mode ait toujours existé dans les Arts, ce travail se focalisera sur les artistes des périodes modernes et contemporaines, qui accompagnent la naissance du design et son développement. Cependant il sera nécessaire de s'interroger sur ce qui s'est joué pendant la Renaissance, période pendant laquelle la notion de métiers d'art s'est développée, et sur l'historique du bustier, de son apparition jusqu'à sa déconstruction. Enfin, comment situer certaines de ces démarches en se référant aux notions d'art majeur et d'art mineur ? Faut-il dissocier des démarches artistiques de techniques différentes ? Pour figer le travail à un style correspondant à des normes dictées. / The research work gradually focused on a more and more deeper investigation of the universe related to fashion, and more particularly to a garment : the strapless corset. This raises the question of the relationships between art and the sewing craft work. We can look into it, through the work of artists such as Natacha Lesueur, Jana Sterbak, Niki de Saint 1 Phalle, Annette Messager and Elsa Schiaparelli. We can notice that most of these artists were feminists and we can make the assumption, that an esthetic work of this nature, involving a reflection on the image of women, creates an awareness on the position we confer to them in our society. Very often, an ironic attitude, even burlesque (or caricatural) was often looked for, to create a distance, and an attitude of surprise, appropriate to trigger an awareness of the situation. Moreover, it is also possible to investigate the body of the woman and the fantast around it, through the existence and the use of symbols such as trimmings, jewels, and bright and flash y materials. Although the representation of fashion has always existed in Art, this work will focus on modern and contemporary artists, who accompanied the birth and the development of the design artwork ... However it is also necessary to take into consideration, what happened during the Renaissance period, during which the notion of craftsmanship has developed, as well as the pathway of the bustier, from its creation until its deconstruction. And finally, how to position some of these works (or analysis) in conjunction with major art, and minor art, art work and artcraft ? Are they an extension of technical and symbolic practices so it leads to a combination.

No description available.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-07-05T16:46:50Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Daniel Roberto Torres.pdf: 5076151 bytes, checksum: 01ca2620ec362203257276712b740f14 (MD5) / Made available in DSpace on 2018-07-05T16:46:50Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Daniel Roberto Torres.pdf: 5076151 bytes, checksum: 01ca2620ec362203257276712b740f14 (MD5) Previous issue date: 2018-05-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo geral da pesquisa é analisar a reprodução do trabalho artesanal no processo de acumulação desigual do capital e suas formas de institucionalização política diante estudo social dos países de Brasil e França. Realiza-se a problematização do trabalho artesanal desde o debate sobre a necessidade que tem o capital de reproduzir atividades artesanais na medida em que se desloca temporal e espacialmente. No desenvolvimento desigual, o trabalho artesanal apresenta formas de organização e institucionalização diferenciada entre países e regiões, o que dificulta uma compreensão sobre o seu significado atual e sua importância na economia dos países. Nesse sentido, a importância de um estudo comparativo radica em sua melhor compreensão do desenvolvimento da relação entre o trabalho artesanal e o sistema económico e político particular, visando encontrar o estado de diferenciação e igualização que o movimento de reestruturação capitalista apresenta e as possibilidades de ação para a classe trabalhadora. Como método se utiliza o materialismo histórico na base dialética da teoria do valor, e como mecanismo metodológico a teoria de estudos comparados de forma intra-regional e inter-regional. Conforme ao desenvolvimento do trabalho no estudo dos dois países é possível definir, na forma de tese, o seguinte: O desenvolvimento desigual do processo de industrialização comprometeu a diferenciação da divisão e classificação do trabalho artesanal de cada país de estudo, especialmente pelo fortalecimento da classe media na França que permitiu a configuração do setor artesanal com maior integração vertical das atividades técnicas ao mercado nacional, e no Brasil com o desenvolvimento de práticas culturais para uma classificação do artesanato e da identidade de artesão num movimento de integração horizontal ao capital. O processo de desenvolvimento geográfico desigual permitiu demostrar que existe uma tendência para a diferenciação e igualização do trabalho artesanal. Diferenciação nos diversos níveis de relação entre a divisão do trabalho e o capital, e igualização das condições de produção globalizada do trabalho artesanal pela via artística ou cultural. Por ultimo, a maior parte das ações coletivas dos trabalhadores artesanais é de caráter local, onde as lutas reivindicativas são fundamentais na proteção dos direitos privados de produção, mas não como projeto político mais abrangente. / The aim of the research is to analyze the reproduction of craft work in the process of uneven accumulation of capital and its forms of political institutionalization in the social study of the countries of Brazil and France. The problematization of the craft work is carried out since the debate about the necessity that the capital has to reproduce artisan activities to the extent to which it moves temporally and spatially. In the uneven development, the craft work presents different forms of organization and institutionalization between countries and regions, which hinders an understanding of its current meaning and its importance in the economy of the countries. In this sense, the importance of a comparative study lies in its better understanding of the development of the relationship between craft work and the particular economic and political system, in order to find the trajectory of differentiation and equalization that capitalist restructuring movement presents and the possibilities of action for the working class. Historical materialism method is used with the dialectical basis of value theory, and as a methodological mechanism, the theory of comparative studies in an intra-regional and interregional form. According to the development of the research of the two countries it is possible to define, as a thesis, the following: The uneven development of the industrialization process compromised the differentiation of the division and classification of craft work in each country of study, especially by the strengthening of the middle class in France, which allowed the configuration of the artisanal sector with more vertical integration of technical activities into the national market, and in Brazil with the development of cultural practices for a classification of craftsmanship and artisan identity in a movement of horizontal integration to capital. The uneven geographical development processes allowed demonstrate that there is a tendency for differentiation and equalization of craftsmanship. Differentiation in the diverse levels of the relation between the division of labor and capital; and equalization of globalized production of craft work by the artistic or cultural way. Finally, most of the collective actions of artisanal workers are local, where advocacy struggles are fundamental in protecting private production rights, but not as a broader political project.

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-04-15T18:44:21Z No. of bitstreams: 1 Tese de Rebeca da Rocha Grangeiro.pdf: 2711849 bytes, checksum: d274804f02b7ec0a5f05d44dce327080 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2016-04-28T17:28:51Z (GMT) No. of bitstreams: 1 Tese de Rebeca da Rocha Grangeiro.pdf: 2711849 bytes, checksum: d274804f02b7ec0a5f05d44dce327080 (MD5) / Made available in DSpace on 2016-04-28T17:28:51Z (GMT). No. of bitstreams: 1 Tese de Rebeca da Rocha Grangeiro.pdf: 2711849 bytes, checksum: d274804f02b7ec0a5f05d44dce327080 (MD5) / CAPES / Esta tese está dividida em quatro estudos. No primeiro, as definições de artesanato abordadas estão organizadas a partir de três grandes eixos: artesanato como modelo de trabalho (ou metáfora); como produto; e como processo. O eixo que considera o artesanato como modelo de organização social do trabalho toma o artesanato como paradigma do que seja um trabalho de qualidade, considerando que ele: envolve o fim da clivagem cabeça-corpo, além da lentidão e rotinização que asseguram um trabalho reflexivo e imaginativo (Sennett, 2009). Já o eixo que analisa o artesanato como produto promove a exaltação do objeto em si e adota postura descritiva em relação a ele. Canclini (1983) esclarece que este é um posicionamento científico perigoso, pois nos remete a explicações exclusivamente folclorista ou econômica do artesanato. Assim, o autor propõe o estudo do artesanato como processo, como práticas cotidianas nas quais os objetos são elaborados, a partir de uma visão global: social, econômica e cultural. A análise da literatura científica brasileira sobre artesanato foi realizada a partir de um conjunto de 22 artigos disponibilizados pela plataforma Capes e revisados pelos pares. Estes estão organizados a partir dos três grandes eixos apresentados acima. Os 45 artigos científicos franceses sobre artesanato foram acessados através da base de dados CAIRN.INFO e são em sua maioria do domínio da administração e das ciências sociais. Considerando nesta tese o artesanato como processo, buscamos elementos históricos da atividade artesanal na região do Cariri cearense para compreender o contexto hodierno no qual investigamos práticas e significados do trabalho artesanal. Assim, o segundo estudo destaca a florescência do artesanato entre 1900 e 1960, seguida de um processo de sua fragilização engendram o contexto complexo e paradoxal do artesanato do Cariri cearense. O terceiro estudo analisa as práticas atuais da atividade de trabalho artesanal, quanto a 1) aspectos relativos à organização do trabalho e características econômicas da atividade laboral; 2) diferenças entre artesãos e artesãs, quanto à organização do trabalho; e 3) empreendemos caracterização dos artesãos em perfis que consideraram, simultaneamente, o nível de visibilidade do artesanato e as inovações nos processos de trabalho. Os principais resultados encontrados indicam a baixa escolaridade destes trabalhadores que exercem a atividade em média, há 22,18 anos e adota a própria residência é o principal local de trabalho. Quanto à renda, pouco mais da metade da amostra não chega a ganhar um salário mínimo através do trabalho artesanal. Apesar da evidente dificuldade econômica enfrentada pelos artesãos, o artesanato ainda é para a maioria dos trabalhadores a única atividade produtiva exercida. No que tange às possíveis diferenças entre artesãos e artesãs, quanto à organização do trabalho, pudemos perceber que a média de horas trabalhadas pelos homens é maior que a média de horas trabalhadas pelas mulheres e que e em geral os artesãos trabalham na oficina ou associação, enquanto a maior parte das artesãs trabalha no próprio domicílio. Em relação ao nível de visibilidade e de inovação alcançados pela amostra estudada, os resultados indicaram que 54,8% da amostra se concentra no segundo cluster, onde estão os artesãos que alcançaram baixos escores de inovação e visibilidade e são denominados artesãos tradicionais não-reconhecidos. O segundo perfil com maior quantidade de artesãos é aquele dos artesãos tradicionais-reconhecidos, seguido dos artesãos de referência cultural não reconhecidos e, por último, o perfil com menor quantidade de artesãos representa o quarto cluster e diz respeito aos artesãos de referência cultural reconhecidos. No quarto estudo, o significado do trabalho foi analisado a partir das três dimensões propostas no modelo teórico elaborado pela equipe MOW (1987). Quanto ao instrumento de coleta de dados, utilizamos uma versão reduzida do questionário criado pela mesma equipe e validado por Soares (1992). Analisamos os dados relativos a amostra total de artesãos investigados, mas também comparamos as médias dos quatro perfis de artesãos, considerando o nível de visibilidade e inovação alcançados pelo artesão. Os resultados encontrados permitem configurar a profissão de artesão como marcada por uma atribuição de alta centralidade do trabalho. Também identificamos diferenças entre artesãos dos quatro perfis quanto à centralidade relativa do trabalho e aos construtos que integram as motivações para o trabalho. This thesis is divided into four studies. In the first of one, the craft definitions discussed in this thesis are organized from three main axis: crafts like working model (or metaphor); as a product; and as a process. The axis that considers the craft as a working model takes the craft as a paradigm of what a quality job, considering he involves the end of disconnextion between head-body, also the slowness and routinization ensuring a reflective and imaginative work (Sennett, 2009). The axis that analyzes the craft as product promotes the appreciation of the object itself and adopts descriptive attitude towards it. According to Canclini (1983), this is a dangerous scientific position since it refers to the explanations exclusively folklorist or economic crafts. Thus, the author proposes the craft study as a process, as everyday practices in which the objects are drawn from a global view: social, economic and cultural. The analysis of the scientific literature on craft was carried out from a set of 22 articles provided by Capes and reviewed by peers. These are organized from the three main axis listed above. The 45 french scientific articles on crafts were accessed through CAIRN.INFO database and most of them are from the field of administration and social sciences. In this thesis we assume crafts as process, so we seek historical elements of craft activity in Cariri/ Ceará to understand the present-day context in which we investigate practices and meanings of craftswork. Thus the second study highlights the growth of the craft between 1900 and 1960, followed by a process of weakening engender a complex and paradoxical context of the crafts in Cariri. The third study analyse the current practices of craftsmanship activity as: 1) aspects related to work organization and economic characteristics of labor activity; 2) differences between craftsmen and craftswoman, as the organization of work; and 3) characterize the artisans in profiles that considered both the craft level of visibility and innovations in work processes. The main results indicate a low level of education of these workers engaged in the activity for an average of 22.18 years and adopts their home as workplace. As for income, just over half of the sample make less than a minimum wage through handmade work. Despite the economic difficulty faced by artisans, handicraft is still for most workers the only productive activity exercised. With regard to possible differences between craftsmen and artisans, as the organization of work, we realized that the average hours worked by men is greater than the average hours worked by women and that in general and the artisans in the workshop or association, while most of the artisans working in the household. Regarding the level of visibility and innovation achieved by this sample, the results indicated that 54.8% of the sample is concentrated in the second cluster, where are the craftsmen who achieved low scores for innovation and visibility and they are called non-recognized traditional craftsmen . The second profile with higher number of artisans is that of traditional-recognized artisans, followed by culture reference artisans not recognized and, finally, the profile with less artisans represents the fourth cluster, they are called recognized culture reference artisans. In the fourth study, the meaning of work was analyzed from the three dimensions proposed in the theoretical model developed by the team MOW (1987). As for the data collection instrument, we use a reduced version of the questionnaire created by the same team and validated by Soares (1992). We analyze data on the total sample of surveyed craftsmen, but also compared the average of the four profiles of artisans, considering the level of visibility and innovation achieved by the artisan. It was possible to set up artisan profession as marked by an assignment of high centrality of work. Also we identified differences between craftsmen of four profiles on the relative centrality of work and constructs that comprise the motivations for work.