A presente dissertação aponta o tratamento dado à Cultura Material nos livros didáticos de História. A amostra constitui-se de todos os livros didáticos aprovados pelo PNLD 2003, criando-se um banco de dados contendo todas as imagens neles contidas. Nesse banco de dados, as imagens são divididas em três categorias principais: vestígios arqueológicos, mediações interpretativas e fotos. A seguir, considera-se o meio (pintura a óleo, gravura, têmpera, aquarela, escultura, estruturas urbanas e rurais...) e o suporte (tela, mural, papel...) das imagens. Tabulados e quantificados os dados, comparecem quadros indicativos por culturas e por problemas. Ausências e presenças são analisadas assim como as legendas das imagens e o manual do professor, constatando-se o uso ainda meramente ilustrativo da cultura material, que se explica por sugestões referentes à formação do historiador brasileiro / The present work discusses the treatment material culture receives in history school books. The sample was constituted by all school books approved in 2003 by the PNLD program, from which a data bank was created, relating all images from the sample.In this data bank the images are divided in three main categories: archaeological data, photos and mediatic intermediate solutions. It is then considered the type(oil painting, sculpture, buildings) and the basis (canvas, paper, wall, stone) for the images. Organized and quantified the data, both cultures and problems are presented. The consideration of both presences and absences, as well as the analysis of labels and the teacher manual prompt us to suggest that the use still illustrative of material culture is much due to the background and schooling of the Brazilian historian

A presente dissertação aponta o tratamento dado à Cultura Material nos livros didáticos de História. A amostra constitui-se de todos os livros didáticos aprovados pelo PNLD 2003, criando-se um banco de dados contendo todas as imagens neles contidas. Nesse banco de dados, as imagens são divididas em três categorias principais: vestígios arqueológicos, mediações interpretativas e fotos. A seguir, considera-se o meio (pintura a óleo, gravura, têmpera, aquarela, escultura, estruturas urbanas e rurais...) e o suporte (tela, mural, papel...) das imagens. Tabulados e quantificados os dados, comparecem quadros indicativos por culturas e por problemas. Ausências e presenças são analisadas assim como as legendas das imagens e o manual do professor, constatando-se o uso ainda meramente ilustrativo da cultura material, que se explica por sugestões referentes à formação do historiador brasileiro / The present work discusses the treatment material culture receives in history school books. The sample was constituted by all school books approved in 2003 by the PNLD program, from which a data bank was created, relating all images from the sample.In this data bank the images are divided in three main categories: archaeological data, photos and mediatic intermediate solutions. It is then considered the type(oil painting, sculpture, buildings) and the basis (canvas, paper, wall, stone) for the images. Organized and quantified the data, both cultures and problems are presented. The consideration of both presences and absences, as well as the analysis of labels and the teacher manual prompt us to suggest that the use still illustrative of material culture is much due to the background and schooling of the Brazilian historian

Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2009. / Includes bibliographical references.

Orientador: Pedro Paulo Abreu Funari / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T14:45:44Z (GMT). No. of bitstreams: 1 Gralha_JulioCesarMendonca_D.pdf: 3776014 bytes, checksum: 0a5aa716bf21efe840c6f6928825b132 (MD5) Previous issue date: 2009 / Resumo: O presente trabalho visa compreender os processos que levaram a dinastia ptolomaica a estabelecer sua legitimidade no Egito por quase três séculos a partir de um projeto político-religioso que enfatizava a adoção de práticas mágico-religiosas egípcias e da adoção da monarquia divina egípcia tendo como expressão da materialidade o uso da arquitetura e da iconografia na titulatura em decretos e de forma diversa, e, sobretudo por um programa de construções de templos no Alto Egito, principalmente após a Rebelião Tebana de modo a estabelecer relações de poder, de cooperação e cooptação dos segmentos sociais afim de consolida a legitimidade dinástica. Outrossim, o presente trabalho visa desenvolver metodologias e grades de análises de modo a demonstrar o sentido da pesquisa. As fontes de caráter iconográfico e arquitetônico utilizadas em boa parte fazem parte do acervo fotográfico do autor. / Abstract: The intention of his thesis is to understand the Ptolemaic dynasty processes which allowed to establish his legitimacy almost three centuries based on politic-religious project that the main focus is the adoption of Egyptian magic-religious practices and the adoption of Egyptian divine monarch that the materiality expression is the architecture and iconography used in titles, decrees and other forms and especially developed by building program of temples in Upper Egypt, mainly after the end of Theban Rebellion, with an intention to establish power relation, cooperation and cooptation of social segments consolidating dynastic legitimacy. On the other hand this paper intend to developer methodologies and analyses grade to confirm this research. The architectural and iconographic resources were being used belong to author particular acquis. / Doutorado / Historia Cultural / Doutor em História

This thesis is an ethnography of the global belly dance community with particular reference to the transmission of dance paradigms from Cairo to the international dance community. Key words describing my topic include dance, gender, performance, group dynamics, social norms and resistance, public vs. private, tourism, and globalisation. I hypothesize that social dancing is used in many parts of the world as a space outside ordinary life in which to demonstrate compliance with or to challenge prevailing social paradigms. The examination of dance as a globalised unit of cultural capital is an emerging field. With this in mind I investigate the way this dance is employed in professional, semi-professional, and non-professional settings in Egypt and in other parts of the world, notably North America and Europe. Techniques included interviewing members of the international dance community who engage in dance tourism, travelling from their homes to Egypt or other destinations in order to take dance classes, get costumes, or in other ways seek to have an 'authentic' dance experience. I also explored connections dancers fostered with other members of the dance community both locally and in geographically distant locations by using online blogs, websites, listservs and social networking sites. I conducted the first part of my fieldwork in Cairo following this with fieldwork in belly dance communities in the United States and Britain.

While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.