Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-30T11:40:48Z No. of bitstreams: 1 José Roberto Soares Junior.pdf: 1855103 bytes, checksum: e815cbbdb97d96c7c302f12b101fd77e (MD5) / Made available in DSpace on 2016-11-30T11:40:48Z (GMT). No. of bitstreams: 1 José Roberto Soares Junior.pdf: 1855103 bytes, checksum: e815cbbdb97d96c7c302f12b101fd77e (MD5) Previous issue date: 2016-10-10 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study is focused on the life and academic work of the British historian Peter Burke, a subject historical holder of an extensive and multiple work. To understand it, we set out to look for the fundamental categories that give meaning to his work as a historian. So through the nodes that support his work, it becomes possible to understand that each specific analyzed here is part of that classify as the universality of the author's work. The method used here was to let the author speak, that is, we always start historian Peter Burke to get to our actual analysis. His career was and is always marked by the presence in academic environments, from a young age was interested in history and the arts. He studied at Oxford, taught at Sussex and later moved to Cambridge, where he is professor emeritus already retired. It was one of the first historians concerned effectively to promote interdisciplinarity between history and its sister sciences, such as sociology, anthropology, geography and others. It is an expert historian in European history; Italian Renaissance; cultural history; history of languages; history of knowledge, always concentrate these studies between "culture" and "society" specifically the fifteenth century to the eighteenth. In its original historiographical school, English, developed and could enjoy from the presence of historians like Christopher Hill, Eric Hobsbawm, E. P. Thompson and his tutor Keith Thomas. Outside his school sought innovations in Annales, was greatly influenced by Fernand Braudel, was concerned with the history of "high culture", always thought of as not devoid of circularity which Bakhtin preached. Today is the greatest exponent of the English cultural story, a polymath authentic. In Brazil, taught at USP as a visiting professor from 1994-95, is married to Brazilian Professor Maria Lucia Garcia Pallares-Burke 27 years ago, sharing with her interest in the work of the sociologist Gilberto Freyre. Currently has more than thirty books published in Portuguese, almost all in Brazil / O presente estudo está centrado na vida e obra acadêmica do historiador britânico Peter Burke, um sujeito histórico detentor de uma obra extensa e múltipla. Para compreendê-la, nos dispusemos a buscar as categorias fundamentais que dão sentido ao seu trabalho como historiador. Assim através dos nós que dão sustentação à sua obra, se torna possível entender que cada especificidade aqui analisada faz parte integrante do que classificaríamos como a universalidade da obra do autor. O método utilizado aqui foi deixar o autor falar, ou seja, partimos sempre do historiador Peter Burke para chegarmos às nossas análises efetivas. Sua trajetória foi e é marcada sempre pela presença em ambientes acadêmicos, desde muito jovem se interessava por história e pelas artes. Estudou em Oxford, lecionou em Sussex e posteriormente se transferiu para Cambridge, onde é professor emérito já aposentado. Foi um dos primeiros historiadores efetivamente preocupados em promover a interdisciplinaridade entre a história e suas ciências irmãs, como a sociologia, a antropologia, a geografia e outras. É um historiador especialista na história europeia; Renascimento italiano; história cultural; história das línguas; história do conhecimento, tendo sempre concentrado esses estudos entre a “cultura” e a “sociedade” especificamente do século XV ao XVIII. Em sua escola historiográfica original, a inglesa, se desenvolveu e pôde desfrutar-se da presença de historiadores como Christopher Hill, Eric Hobsbawm, E. P. Thompson e seu tutor Keith Thomas. Fora de sua escola buscou inovações nos Annales, sofreu grande influência de Fernand Braudel, se preocupou com a história da “alta cultura”, sempre pensada como não desprovida da circularidade a qual Bakhtin pregava. Hoje é o maior expoente da história cultural inglesa, um autêntico polímata. No Brasil, deu aulas na USP como professor visitante entre 1994-95, é casado com a professora brasileira Maria Lúcia Garcia Pallares-Burke há 27 anos, compartilhando com ela o interesse pela obra do sociólogo Gilberto Freyre. Atualmente possui mais de trinta livros publicados em português, quase todos no Brasil

O presente estudo tem por objetivo geral recuperar as imagens de uma cidade no passado, mas de uma cidade que se pode chamar de "invisível": a cidade dos becos, espaços vistos como enclaves de exclusão social e marginalização no centro de Porto Alegre. Para isso, será utilizada a História Cultural como arcabouço teórico para o entrecruzamento e composição de indícios textuais e imagéticos colhidos na documentação, culminando com a reconstrução, através de representações gráficas, de vistas perspectivas destes espaços urbanos desaparecidos. / The present study aims to recover the images and the form not only of the city of Porto Alegre in the past, but also to bring to light its “invisible” spaces: the city of the alleyways, seen as dens of poverty, criminality and disease in the heart of the city center. To this end, the data retrieved in the sources like texts, photographies, maps and municipality documents will be analysed in the light of the theory of Cultural History, basing the visual reconstruction of theses lost city spaces in the form of drawings and sketches.

Esta tese doutoral trata, por uma abordagem histórico-cultural, da Escola de Dança João Luiz Rolla (1951-1986) da cidade de Porto Alegre. Tem por objetivo descrever sua constituição e trajetória no cenário cultural da dança a partir do acervo pessoal de João Luiz Rolla (fontes documentais) e da oralidade dos sujeitos envolvidos (fontes orais). Por um período de 35 anos, a Escola de Dança João Luiz Rolla despontou como uma das maiores escolas de dança da cidade, sendo a primeira fundada por um bailarino. João Luiz Rolla realizou sua formação em dança na Escola de Bailados Clássicos Tony Seitz Petzhold e, após 10 anos de estudos, iniciou a trajetória de sua própria escola. A análise dos dados históricos revelou que a Escola, já nos primeiros anos de atuação, despontou no cenário cultural da dança da cidade, utilizando como estratégica pedagógica o ensino do ballet clássico configurado em uma metodologia própria, primando por rígida disciplina circundada pela afetividade, e a inserção de diferentes técnicas de dança. Assim, organizada por etapas, com exames, avaliações e formatura, concedia às suas alunas certificação do curso de Ballet Acadêmico e Danças com registro da Secretaria de Educação do Estado do RS. Como veículo de expressão cultural da dança, o ponto central de sua história foi sua rápida ascensão nesse cenário e manutenção desse status, pautada pela criatividade e inovação apresentada em 55 espetáculos, no decorrer de 35 anos de atividade. Coreografias como “Burlesco”, “Grand Canyon Suite”, “Assassinato na Décima Avenida”, “Estudos Sinfônicos de Schumann”, “Crime no Night Club”, “Masquerade”, “A Orquestra”, “2001 Uma experiência pelas fronteiras sem fim da dança” são obras de destaque nessa trajetória e repercutiram no espaço cultural da cidade, solidificando uma posição e uma identidade. Como resultantes da Escola, foi possível identificar e mapear mais de 20 escolas e grupos de danças, bailarinas com destaque internacional e professoras universitárias na área da dança. O acervo pessoal de João Luiz Rolla, promotor e resultante desta tese, foi disponibilizado através do acesso livre à informação no Repositório Digital do CEME/UFRGS, ligado ao Repositório Institucional LUME/UFRGS, em um total de 1.034 itens, entre documentos, fotografias, artigos de jornais, convites, programas, desenhos, objetos tridimensionais e 48 entrevistas. Conclui-se que a Escola de Dança João Luiz Rolla constituiu-se em um espaço de representação da identidade cultural da dança na cidade de Porto Alegre pautada por suas obras coreográficas inovadoras que estabeleceram um fazer próprio em dança, característico dessa escola, e que se perpetuou através de seus desdobramentos e ramificações, estando consolidada no ideário dos sujeitos em que possibilitou as experiências vividas e na história da dança na cidade de Porto Alegre. / This doctoral thesis addresses, by a historical and cultural approach, the João Luiz Rolla Dance School (1951-1986) in the city of Porto Alegre. It aims to describe its constitution and history in the cultural scene of dance from João Luiz Rolla’s personal archive (documentary sources) and testimonials of the involved subjects (oral sources). For a period of 35 years, the João Luiz Rolla Dance School emerged as one of the biggest dance schools in the city, being the first founded by a male dancer. João Luiz Rolla was trained in dance at the Tony Seitz Petzhold School of Classical Dances and, after 10 years of studies, started his own school. Analysis of historical data revealed that the school, in the first years of operation, had already emerged in the cultural scene of dance in the city, using as a pedagogical strategy classical ballet education set in its own methodology, striving for strict discipline surrounded by affection and inserting different dance techniques. Thus, organized in stages, with tests, assessments and graduation, it gave to its students an Academic Ballet and Dance course certification with registration in the Department of Education of the Rio Grande do Sul State. As a cultural vehicle of expression of dance, the centerpiece of its history was a rapid rise in this scenario and the maintenance of this status, guided by creativity and innovation presented in 55 shows over the course of 35 years of activity. Choreographies such as “Burlesco”, “Grand Canyon Suite”, “Assassinato na Décima Avenida”, “Estudos Sinfônicos de Schumann”, “Crime no Night Club”, “Masquerade”, “A Orquestra”, “2001 Uma experiência pelas fronteiras sem fim da dança” are prominent works on this path and impacted the cultural space of the city, solidifying a position and an identity. As results of the school, it was possible to identify and map more than 20 schools and dance groups, dancers with international prominence and university professors in the field of dance. João Luiz Rolla’s personal archive, promoter and a result of this thesis, was made available in the CEME/UFRGS Digital Repository, linked to the LUME/UFRGS Institutional Repository, in a total of 1,034 items, including documents, photographs, newspaper articles, invitations, programs, drawings, three-dimensional objects and 48 interviews. We conclude that the João Luiz Rolla Dance School constituted a space of representation of cultural identity of dance in the city of Porto Alegre guided by its innovative choreographic works that established its own way of doing dance, characteristic of this school, and that perpetuated through its developments and ramifications, being consolidated in the ideology of the subjects in which it enabled the experiences lived and in the history of dance in the city of Porto Alegre.

This study aims to understand how japanese corporal practices were renegotiated in Japanese Colony of Ivoti, Rio Grande do Sul, from the decades of 1980 to 2010. For that, we have used the theoretical perspectives from recognized authors of Cultural History field. Regarding the methodological procedures of this investigation, these were constructed from the collection of information in documentary and imagery sources, in addition to Oral History. The next step consisted in submitting these sources to the analysis, and for each of them a specific technique was adopted, namely: the documentary sources were submitted to documentary analysis, the imagery sources were analyzed and interpreted following the steps of iconographic analysis and the Oral sources in turn followed the technique of content analysis. In dealing with representations of corporal practices in the Japanese Colony of Ivoti, we seek both to describe their historical processes and to discuss how they were conceived and renegotiated in this social space. In the same way we seek to list some of the cultural elements present in each one of them. In according with we have exposed, based on this version of Japanese corporal practices in the Ivoti Colony, it was possible to perceive that the culture of this group of Japanese-Brazilians, although it have faced difficulties in the early days, was not lost with the migratory movement. Otherwise, this group through the cultivation of corporal practices, such as, for example, Gateball, Judo, Odori, Sumo and Undokai, sought to differentiate themselves from other ethnic groups that made up the society in which they were inserted.

A travers l'histoire culturelle de la noix et du noyer en Occident, ce sont tous les rapports des sociétés passées au monde végétal qui sont interrogés. Que savaient ces sociétés de la noix et du noyer ? Que faisaient-elles de cet arbre et de son fruit ? Enfin, que pensaient-elles de ce végétal ? Quelles croyances et quels symboles la noix et le noyer ont-ils inspiré à l'imagination des hommes ? Autant de questions auxquelles il a été possible de répondre dans ce travail grâce à l'élaboration d'une méthodologie nouvelle prenant en compte le caractère de longue durée et l'interdisciplinarité inhérente à un tel sujet. Ainsi, par l'analyse de sources nombreuses, issues de divers champs disciplinaires comme la botanique, la médecine, l'histoire de l'alimentation, l'archéobotanique, les mythologies et les religions, les littératures populaires ou encore la parémiologie, une histoire culturelle de la noix et du noyer a pu être écrite. Cette histoire propose une promenade à travers les sources et les siècles, de l'Antiquité romaine au XVIIIè siècle, qui dévoile les évolutions majeures relatives aux savoirs, aux usages, aux mentalités et aux sensibilités qui ont entouré la noix et le noyer en Occident. / Through the cultural history of the walnut and the walnut tree in the Occident, it is all the relationships between past societies and the vegetal world that are being examined. What did these societies know about the walnut and the walnut tree ? What did they do with this tree and its fruit ? What did they think about it ? How did the walnut and the walnut tree capture the human imagination ? What beliefs and symbols emerged from those conceptions ? It has been possible to answer those questions through the development of a new methodology that takes into account the long-term history and an interdisciplinary approach, inherent to such a subject. Thus, through the analysis of various primary sources from numerous disciplines such as botany, medecine, the history of food, archeobotany, mythologies and religions, popular literatures or proverbs, a cultural history of the walnut and the walnut tree has been elaborated. This history offers a walk, through sources and centuries, from roman Antiquity to the XVIIIth century, and reveals the major developments and shifts regarding knowledges, uses, mentalities and sensibilities concerning the walnut and the walnut tree in the Occident.

La thèse étudie les enjeux politiques et artistiques de la scène de bataille dans la peinture monumentale au XVIe siècle en Italie, avant que la représentation de la guerre ne présente une distinction entre peinture d’histoire pour les faits anciens et peinture historique pour les faits contemporains, selon les catégories artistiques qui s’affirment au cours du XVIIe siècle. C’est pourquoi notre étude ne propose pas une histoire de la scène de bataille mais une enquête au sujet de compositions singulières, sur les problématiques politiques, idéologiques, esthétiques et culturelles qui les traversent. Si l’hétérogénéité artistique du corpus et la fragmentation politique de la péninsule ont favorisé des approches monographiques, l’apparition de contextes historiques et thématiques, où les scènes de bataille s’inscrivent dans des ambitions analogues a conduit à adopter une perspective comparée, où les œuvres sont considérées en dialogue – deux à deux, par cycle ou par typologie – autour d’enjeux politiques et formels communs. Après 1500, plusieurs commandes majeures passées par les principales puissances italiennes donnent une monumentalité nouvelle à la bataille dans l’iconographie politique. Dans le contexte d’urgence des guerres d’Italie, la peinture de l’histoire des faits passés est investie de l’espoir d’une efficace politique, à laquelle l’évolution mimétique et expressive dans laquelle est engagée la peinture italienne peut répondre. Les batailles inachevées de Léonard et Michel-Ange adoptent un traitement rhétorique de l’histoire, qui engage le spectateur dans une narration qui se déploie autour des émotions des personnages en action. Par le traitement des figures et l’intelligence de la composition d’ensemble, les batailles de Léonard de Vinci, Michel-Ange puis celles de Raphaël et Titien deviennent des exemples paradigmatiques, qui marquent les prémices de la scène de bataille comme forme politico-artistique, mettant la noblesse et l’ambition de l’art de peindre au service de l’expression du pouvoir. Les compositions ponctuelles du début du XVIe siècle laissent place dans la seconde moitié du siècle à une extension du thème militaire dans les décors palatiaux. L’orientation du programme iconographique détermine alors les problématiques politiques et iconographiques des peintures. Dans les cycles dynastiques, la corrélation entre la généalogie et l’histoire conduit à associer étroitement le récit de l’événement à l’action du personnage ; les dispositifs d’héroïsation individuelle coexistent alors avec les procédés d’historicisation de l’épisode. Dans les décors d’État, la multiplication des scènes de bataille affiche la puissance militaire comme fondement de la souveraineté de l’État moderne. À Florence et à Venise, la représentation de la guerre prend un caractère encyclopédique, venu de l’humanisme militaire, qui témoigne de la centralité de la maîtrise de ces savoirs pour le gouvernement de l’État. Un dernier temps, consacré aux représentations monumentales de la bataille de Lépante, à Venise et à Rome, envisage l’émergence de problématiques spécifiques à la représentation de la bataille contemporaine. L’actualité de l’événement impose une exigence de documentation poussée dans la représentation historique de son déroulement. Les peintres proposent alors des expérimentations dans le langage artistique employé pour figurer la bataille et introduisent parfois un dialogue avec les formes descriptives ou schématiques de représentation de la guerre, pour répondre à cette ambition documentaire. Les scènes de batailles du XVIe siècle italien s’inscrivent ainsi au croisement de l’évolution de la culture de la guerre de la Renaissance, marquée par le début de la « Révolution militaire », et de celle de la théorie artistique, où apparaît progressivement une rationalisation de la manière de raconter l’histoire. / This thesis focuses on the political and artistic dimensions of battle scenes in 16th-century Italian monumental painting, at a time when the depiction of war had yet to develop a distinction between two forms of the depiction of history, history painting treating past events and historical painting focused on contemporary events, according to artistic categories established during the 17th century. Thus this work does not offer a history of the battle scene itself, but an enquiry on specific compositions, trying to ascertain the political, ideological, aesthetic and cultural issues that inform them. Although the artistic heterogeneity of the corpus and the political fragmentation of the Italian peninsula have encouraged previous studies to follow a monographical approach, the apparition of historically and thematically similar contexts in which various battle scenes answer analogous ambitions has led us to adopt a comparative methodology, which attempts to develop a dialogue between pairs, series or types of works, linked by common political and formal objectives. Starting from 1500, a series of major orders placed by the main political powers in Italy embued battle scenes with a new monumental dimension within political iconography. In the urgency of the context of the Italian Wars, the depiction of past historical events was invested with the hope of real political efficacy, to which the mimetic and expressive evolution of Italian painting was now able to respond. The battle scenes left unfinished by Leonardo and Michelangelo adopted a rhetorical treatment of history which involved the viewer into a narrative centred around the emotions of the characters during the action. By virtue of their treatment of figures and their complex narrative articulation, Leonardo’s and Michelangelo’s battle scenes, and later Raphaël’s and Titian’s, acquired paradigmatic status, and paved the way for the establishment of the battle scene as a political-aesthetical form, making the nobility and ambition of artistic endeavour subservient to the expression of power. Sporadic compositions of the beginning of the 16th century were followed, during the second half of that century, by an extension of military themes in palace decoration. The political and iconographic objectives of paintings was therefore determined by the orientation of the iconographic programme of the whole room. In dynastic painting cycles, the correlation between genealogy and history led the artist to closely associate the depiction of the event to the actions of the character, so that devices of individual glorification coexisted with devices historicizing the episode. In state ornamentation, the multiplication of battle scenes showcased military might as the basis for the sovereignty of the modern State. In Florence and Venice, the depiction of war received from military humanism an encyclopaedic dimension which illustrated the central role played by the mastery of these forms of knowledge in the administration of the State. The last part of this study, which focuses on the monumental representations of the Battle of Lepanto in Venice and Rome, describes the emergence of problems that are specific to the depiction of contemporary battles. The immediacy of the event demanded from the historical depiction of the unfolding of the event an advanced documentary quality. The artists had to develop new experiments in the aesthetic idiom used to represent the battle, sometimes in dialogue with more descriptive or schematic depictions of warfare. 16th-century Italian battle scenes thus find themselves at a crossroad between the evolution of warfare during the Renaissance, characterised by the beginnings of the « Military Revolution », and the evolution of aesthetic theory, defined by an increasing rationalisation in the way history is depicted.

As décadas de 1980-1990 marcam um ponto importante da história das revistas de quadrinhos de super-heróis. Mudanças no mercado, no público, na política, nos debates morais e culturais do momento ofereceram um cenário propício para novos desenvolvimentos no gênero super-herói. Esse quadro é cercado pelo pós-modernismo, a urbanização, a contracultura, mudanças nas artes e condições políticas que se desenvolvem da Guerra Fria, geograficamente centrada entre a Europa e os Estados Unidos, para a Guerra do Iraque, o que desloca atenções geopolíticas e conflitos para o Oriente Médio. Os quadrinhos de super-herói passam a oferecer maior liberdade temática para seus autores, e discussões sobre direitos autorais ganham força. Este cenário dispõe das condições para que alguns autores pudessem levar os super-heróis para discussões diferentes das décadas precedentes, permitindo o surgimento de trabalhos significativos, de autores que marcam suas obras abordando os super-heróis de forma pessoal. A presente pesquisa procura entender como o autor de histórias em quadrinhos Frank Miller se posicionou diante de uma determinada área de produção artística, utilizando-se das revistas de super-herói para discutir posicionamentos ideológicos, e reforçar seu caráter mítico e simbólico. Utilizando princípios da história cultural desenvolvidos por autores como Ginzburg, Burke, Gombrich, Schorske e Barzun, contextualiza-se a trajetória das histórias em quadrinhos até os anos 1980 e 1990, estabelecendo as condições da mídia quando do trabalho do artista. Para posicionar Miller em relação a seu mercado e suas relações de produção, são utilizadas as ferramentas analíticas de Michael Baxandall, que oferecem um modelo interpretativo das relações que se dão na produção artística. Finalmente, observam-se as abordagens temáticas e morais de sua obra, com seu contexto dentro de uma trajetória na história cultural. Para isso, traça-se um panorama que discute como a obra de Miller atualiza a jornada do herói de Joseph Campbell, utilizando-se da cultura popular para fazer um diálogo entre discussões morais, históricas e políticas, por meio de uma construção de narrativas heroicas que operam como mitos populares modernos e parâmetros civilizacionais, carregando em si princípios, valores e ideias de uma cultura. / The decades of 1980-1990 establish an important point in the history of comic books. Changes in the market, the audience, in politics and in the cultural and moral debates of the time offered a scenario which was welcoming to new developments on the super-hero genre. This moment is marked by post-modernism, urbanization, the counter-culture, changes in arts and the political conditions which develop from the Cold War, geographically centred between the United States and Europe, to the Iraq war, which moves the geopolitical attentions and conflicts to the Middle- East. Super-hero comics start offering wider thematic freedom to their authors, and discussions about creator\'s rights gain momentum. This scenario contains the conditions for some of these authors to take super-heroes to discussions which are different from the ones happening in the preceding decades, allowing the emergence of important works, made by authors which marked their work in a very personal manner. This research seeks to understand how comic-book author Frank Miller has positioned himself before an area of artistic production, using super-hero comics, and comics in general, to discuss moral positions, and to underline their mythical and symbolic character. Exercising principles of cultural history developed by authors like Ginzburg, Burke, Gombrich, Schorske and Barzun, we situate the trajectory of comics from their inception as magazines until the 1980s and 1990s, establishing which were the conditions of this medium when Miller produced the works we look at. To understand Miller in relation to his market and his production, we use the analytic tools of Michael Baxandall, which offer an interpretative model of the relationships which happen in artistic production. Finally, we observe the thematic and moral approaches of his work, with their context within a trajectory in cultural history. In order to perform this, we establish a context which discusses how Miller work updates Joseph Cambell\'s hero\'s journey, using popular culture to make connections between moral, political and historical debates, creating heroic narratives which operate as modern popular myths and as civilizational benchmarks, carrying with them the principles, values and ideas of a culture.

Cette étude analyse quatorze autobiographies d'artisans allemands qui ont relaté les expériences professionnelles et sociales qu'ils ont faites entre 1730 et1815. Outre ces textes qui constituent le support principal du travail, des ouvrages contemporains qui s'adressaient à ce public spécifique des artisans ont été pris en considération: manuels, catéchismes, guides de voyage, réponses à des questions académiques, recensions des autobiographies imprimées. Un de nos objectifs est de préciser notre connaissance de la réalité sociale des artisans et de leurs confrontations aux débats de l'époque, puis aux changements économiques induits par les guerres révolutionnaires et napoléoniennes. Un autre objectif est 'examiner la marginalité de ces quelques artisans qui, sans être des professionnels de l'écriture, ont entrepris de témoigner de leurs expériences du tour, de détailler leurs relations à leur famille ou encore les étapes de leur éducation. Une lecture diachronique des sources a permis de déceler trois générations d'artisans autobiographes, dont les enjeux idéologiques, les valeurs et les pratiques d'écriture ont nettement évolué, tout en conservant des constantes. Un texte de 1750 a été appréhendé ici comme l'idéal-type d'une première génération. La deuxième phase regroupe des artisans adeptes des Lumières tardives, fiers de leur niveau d'éducation; ayant vécu avant ou pendant la Révolution française, ils étaient directement touchés par les débats concernant l'avenir des corporations. La troisième génération est celle d'auteurs mettant l'accent sur leur compagnonnage et leur tour, et esthétisant davantage leurs relations. / This study analyses fourteen autobiographies of German craftsmen who related their professional and social experience made from 1730 to 1815. Besides these papers which are the main support of the work, contemporary works meant for this specific public of craftsmen were taken into account: handbooks, catechism, tour guides, answers to academic questions, collect of printed autobiographies. One of our aims is to make clear our knowledge of the social reality of craftsmen, their confrontation with debates of their time and the economic changes ensued from the revolutionary and Napoleonic wars. Another objective is the examination of these few craftsmen who lived on the fringe of society and, without being professionals in writing, undertook to give an account for what they experienced on the tour, and to give details on their relationship with their families or the stages in their training. When operating a diachronic lecture of the sources, we found three generations of autobiographical craftsmen whose ideological stakes, values and writing practice have distinctly developed while keeping stable traits. We apprehended a paper dating back to 1750 as the typical ideal of a first generation. The second phase contains craftsmen followers of the late Enlightenment and proud of their educational standard; living before or during the French Revolution, the debates about the future of their corporate bodies concerned them directly. The third generation consists of authors who emphasize on their guild and their tour, giving their relationships an aesthetic point of view. / Im Rahmen der vorliegenden Studie haben wir uns entschieden, uns auf eine bestimmte Form von Selbstzeugnissen (écrit du for privé) zu konzentrieren: die Autobiographien von Handwerkern. Diese Texte verbinden persönliche, berufliche und soziale Erfahrungen, die sie im Zeitraum zwischen 1731 und 1815 machten. Zwei Fragestellungen können somit miteinander verbunden werden: die Zugehörigkeit zur Welt des Handwerks einerseits, das autobiographische Schreiben andererseits. Das Auswerten der herangezogenen Quellen im Rahmen einer kulturgeschichtlichen Herangehensweise wirft zugleich die Fragen auf, welche Bilder die Handwerker von ihrer eigenen Person, ihrem unmittelbaren Umfeld, also größtenteils vom Handwerk, aber auch von der Gesellschaft im Ganzen haben und auf welche Art und Weise sie diese in ihren Autobiographien umsetzen. Wenn man solche Dokumente analysiert, ist es unerlässlich, wie Sylvie Mouysset und François-Joseph Ruggiu betonen, seine Forschung gleichzeitig am Schnittpunkt von drei Ebenen anzusetzen: die Ebene der sozialen Verhältnisse, der individuellen Erfahrungen sowie die Ebene der schriftlichen Äußerung in den Texten857. Im Kontext dieser Handwerkerautobiographien rückt zum einen die sozialgeschichtliche Perspektive bezüglich des vielseitigen Spektrums der Handwerksberufe in den Blick, andererseits eine kulturgeschichtliche Perspektive, angesichts der Bedeutung familiärer und erziehungsbedingter Variablen. Wir müssen diese beiden Dimensionen und die Tatsache, dass die Autoren ihre Zugehörigkeit zum Handwerk aufzeigen; in Betracht ziehen, um den Moment zu analysieren, an dem die Autoren zur schriftlichen Aufzeichnung übergehen.

Em nossa pesquisa analisamos os preâmbulos dos livros de história impressos em Portugal entre 1640-1680, dando atenção às práticas da escrita desses textos dedicatórias, cartas ao leitor, prólogos e licenças para a impressão. Os preâmbulos, como constatamos, têm a função retórica de exórdio da obra e, portanto, pretendem captar a benevolência, atenção e tornar o leitor dócil com relação à matéria do livro. Segundo os preceitos retóricos usados no século XVII, uma das maneiras para se atingir esses objetivos era falar sobre o assunto tratado adiante. Encontramos, então, nos prólogos dos livros de história, discursos sobre o que era a história naquele período, os quais confrontamos com o que diziam os tratados sobre esse mesmo gênero. Com isso, nos propomos a fazer uma história das práticas da escrita dos preâmbulos e dos preceitos do gênero histórico no século XVII. / In our research we analyze the preambles of the books on history printed in Portugal between 1640 and 1680, paying attention to the writing practices of these texts - dedications, letters to the reader, prologues and licenses for printing. The preambles, as we have seen, have the rhetorical function of exordium of the work and, therefore, seek to capture benevolence, attention and make the reader docile with regard to the matter of the book. According to the rhetorical precepts used in the seventeenth century, one of the ways to achieve these goals was to talk about the subject matter discussed below. We find, then, in the prologues of the history books, discourses on what history was in that period, which we confront with the treatises on the same genre. With this, we propose to make a history of the writing practices of preambles and precepts of the historical genre in the seventeenth century.

Made available in DSpace on 2016-03-15T19:42:45Z (GMT). No. of bitstreams: 1 Debora Caramaschi de Campos.pdf: 6174655 bytes, checksum: 176988c0431a4859036a2bbe8cc45d4d (MD5) Previous issue date: 2014-06-09 / The present work, named Fashion Culture: Clothes and History, a sensitive way. A creative process, an aesthetic production?, investigates an educational practice and possible asymmetries and impermanences of the contemporary subject, the Fashion graduation student, by means of fashion history knowledge production and using a pedagogic activity named memory book , as a dispositive (Foucault), a poetic experience of thought (Heidegger) and also the artistic fruition. This research discusses Yohji Yamamoto s work as well as his identity as a fashion designer in relation to the visual arts. The phenomenological-existential method is also used, as well as historical narratives, intersubjective contact and observation. It reflects the individual creator/author and reader/discoverer towards modernity and contemporaneity. I also make use of micro-history as an analyses tool considering its analytical and detailed character by establishing a wider view over the cultural history. And, with the intent of interdisciplinarity, this research introduces unfinished creation and movements from the students and their singularities, histories, and dressing inheritances. / O presente estudo, intitulado cultura de moda: roupa e história, um meio sensível. um processo criativo, uma produção estética?, investiga uma prática educacional e possíveis assimetrias e impermanências do sujeito contemporâneo, aluno de graduação de Moda, através da produção de conhecimento em história da moda ao realizar uma atividade pedagógica denominada caderno de memórias , como um dispositivo (Foucault), experiência de abertura (Heidegger) e fruição artística. A pesquisa discute o trabalho do criador Yohji Yamamoto e sua identidade como designer de moda frente às artes plásticas. Usa do método fenomenológico-existencial, narrativas históricas, contato intersubjetivo e observação. Reflete o indivíduo criador / autor e leitor / desvelador frente aos contornos da modernidade em face da contemporaneidade. Utiliza como procedimento de análise a micro-história, dado seu caráter analítico e minucioso ao estabelecer um olhar mais amplo sobre a história cultural. E, com o intuito de interdisciplinaridade, apresenta criação e gestos inacabados de estudantes e suas singularidades, subjetividades, estórias e heranças vestimentares.