No description available.

This study analyzes the travel conventions manifest in the engravings of the thirty-volume Description de l’Egypte produced as a result of the Napoleonic campaign to Egypt in 1798 and published between 1809 and 1828. The first chapter examines the discourse established on Egypt in travelogues throughout the eighteenth century prior to the invasion of the country. I argue that the perceptions developed around the country did not stem from actual experience, but from political and economic motivations that cast Egypt in a light favorable for occupation. I examine how this perception was challenged during the collapse of distance between the French and Egyptians in the process of colonial encounter. Drawing upon medical records and proclamations of the French medical team in Egypt, I examine a specific epidemic known as ophthalmia that led to swollen, irritated eyes and eventual blindness throughout the French army in Egypt. While it is actually caused by Chlamydia, in every appearance it makes in French medical records throughout the occupation, the disease was blamed on the climate, sunlight, and air specific to the land of Egypt. As a result, I argue that the Description’s hyper-real contrasts of light and dark and amplified decay in its representations of the monuments residing in Egypt’s ravaging climate are determined by the manner vision itself was altered by the epidemic of ophthalmia. I then contend that there exists a metaphorical parallel between the decaying pharaonic monuments in the Description and the perceived decay of modern Egyptian society that are linked by misconceptions of Egypt’s climate. I conclude that the effect of Egypt’s climate believed to destroy both physical monuments and physiological disposition was used as evidence to support the larger agenda of French imperialism that justified colonization of Egypt. Lastly, this study examines how Egyptians counteracted the negative discourse of their race by appropriating symbols of their country used in European representations and altering them to develop a national identity. Tracing the time period from French occupation through British colonization, Egyptians were able to galvanize resistance while still working within the confines of colonial control.

No description available.

ABSTRACT The Rock Art of southern Africa represents the single most informative surviving artifact of the social and symbolic lives of many hunter-gatherers, herders, farmers and settlers who have lived and marked our land. Unlike many other forms of archaeology, rock art has always been in the public domain and of late has become a defining element of social identity. Farmer settlement engravings based on concentric circles joined by meandering lines are particularly intriguing images in southern African Iron Age rock art tradition. This study focuses on a large engraved Iron Age site on the farm Boomplaats 29 JT in Lydenburg District, Mpumalanga province, republic of South Africa. This site contains a variety of engravings ranging from concentric circles, animal motifs, drilled holes, spread-eagle designs and a Mhele/ Morabaraba game board. Although the general characteristics and overall distribution of this art are known, the issue of authorship of this art is till unknown. This research, therefore, goes deeper into both the historical and archaeological evidence from Mpumalanga province to investigate and ascertain the authors of these engravings. This study hopes to advance our knowledge of this art by focusing on the specific issue of authorship, and examining the relationship between the engravings and settlement ruins in the area.

O objetivo desta pesquisa foi investigar os efeitos da utilização de um recurso técnico, o desenho em alto relevo, no processo de aquisição e reconhecimento de conceitos por crianças com deficiência visual em dois aspectos: (a) verificar a efetividade do recurso técnico em transformar estímulos não acessíveis aos sentidos das pessoas cegas em acessíveis; e (b) identificar mudanças significativas na percepção dos atributos definidores destes conceitos após treinamento com desenhos em relevo. Participaram da pesquisa cinco crianças e adolescentes com deficiência visual, portadores de cegueira congênita e adquirida, com idades entre 9 e 17 anos, matriculados em uma sala de recursos de uma escola estadual da cidade de São Paulo. Foram escolhidos para a investigação oito conceitos espontâneos que, apesar de serem conhecidos pelos sujeitos, não são de fácil apreensão para a pessoa cega. O procedimento foi realizado em três etapas: pré-teste, treinamento e pós-teste. No pré-teste o pesquisador realizou uma entrevista de aproximadamente 30 minutos com cada sujeito, na qual solicitou aos sujeitos que, primeiramente, definissem verbalmente os conceitos apresentados e, após as definições verbais, que desenhassem os exemplos dos conceitos. Na etapa de treinamento foram realizadas três sessões individuais com cada sujeito, nas quais o pesquisador apresentou modelos de desenhos em relevo referentes aos conceitos investigados anteriormente e os orientou na produção de desenhos que pudessem representar suas ideias a respeito destes conceitos. A etapa do pós-teste seguiu o mesmo procedimento do pré-teste. Solicitou-se ao sujeito definições verbais e desenhos de exemplos dos oito conceitos pesquisados. Todas as sessões foram realizadas na sala de recursos de uma escola estadual, durante o horário letivo. O material utilizado para a produção dos desenhos em relevo foi uma prancha de madeira revestida com uma tela de fios entrelaçados e uma caneta, sem tinta, com ponta de metal. As entrevistas foram registradas por um gravador eletrônico de áudio e filmadas com câmera digital, mediante autorização dos responsáveis legais dos sujeitos. As respostas verbais foram transcritas e os desenhos copiados digitalmente. O material foi organizado de acordo com a lista de conceitos e avaliado por três juízes convidados, que atribuíram notas de 1 a 5 às definições verbais e aos desenhos das etapas de pré e pós-teste. Os resultados foram analisados comparando-se as médias aritméticas atribuídas pelos juízes ao material produzido pelos sujeitos nas etapas de testagem. Observaram-se as mudanças na qualidade das definições verbais e dos desenhos após o período de treinamento. Em função do reduzido número de sujeitos de pesquisa, os dados foram discutidos com considerando as mudanças que cada sujeito apresentou em relação a si mesmo. Os resultados demonstraram que os sujeitos apresentaram melhorias mais significativas nas definições verbais dos conceitos do que nas representações gráficas. Assim sendo, é sugerido que a utilização dos desenhos em relevo pareceu favorecer mais o desenvolvimento da linguagem oral do que à expressão gráfica em si / The objective of this research was to investigate the effects of using a technical resource, namely embossed drawing or engraving, in the process of acquisition and recognition of concepts by visually impaired children. In this process, there are two main points: (a) verifying the effectiveness of a technical resource in transforming stimuli that are inaccessible to the senses of blind people into accessible ones; and (b) identifying significant changes in the perception of the defining attributes of such concepts after training with embossed drawings or engraving. This work had five research subjects. There were five visually impaired children and adolescents, with congenital or acquired blindness, aged 9 to 17, and enrolled in a school with a resource classroom in São Paulo city. Eight spontaneous concepts were chosen for investigation, taking into consideration that even though such concepts are known by the subjects, they are not readily comprehensible to the blind. The experimental design consisted of three phases: pre-test, training, and post-test. In the pre-test, the researcher interviewed each subject for approximately 30 minutes, asking them to first define the concepts presented verbally, and after such verbal definitions, to draw examples of the concepts. In the training stage, there were three individual sessions with each subject, in which the researcher presented models of engravings and embossed drawings referring to the concepts previously investigated, and guided them in the production of drawings that could represent their ideas on the concepts. In the post-test stage, it was carried out the same procedure as the pre-test. Subjects were asked to provide verbal definitions and drawings of examples of the eight concepts that were studied previously. All sessions were held in the resource room of the state school during school hours. The materials used for producing embossed drawings were a wooden pad covered with a fabric screen made of interwoven threads, and an inkless pen with a metal tip. With the consent of the childrens custodian, the interviews were recorded by an electronic audio device and filmed with a digital camera. Verbal responses were transcribed and drawings were scanned digitally. Materials were organized according to the list of concepts, and they were evaluated by three invited judges, who graded the verbal definitions and drawings gathered in pre- and post-test phases from 1 to 5. The results were analyzed by the arithmetic averages of the grades assigned to the materials produced in the first testing stage compared to the second testing stage. It were observed changes in the quality of verbal definitions and drawings after the training period. The low number of subjects does not allow generalizations, so that data was discussed considering the changes that each subject presented in relation to himself. The results demonstrate that subjects showed greater improvement in verbal definitions of concepts than in graphical representations. Therefore, we consider that the use of embossed drawings and engravings are of greater use to development of spoken language than to graphic expression itself

O objetivo desta pesquisa foi investigar os efeitos da utilização de um recurso técnico, o desenho em alto relevo, no processo de aquisição e reconhecimento de conceitos por crianças com deficiência visual em dois aspectos: (a) verificar a efetividade do recurso técnico em transformar estímulos não acessíveis aos sentidos das pessoas cegas em acessíveis; e (b) identificar mudanças significativas na percepção dos atributos definidores destes conceitos após treinamento com desenhos em relevo. Participaram da pesquisa cinco crianças e adolescentes com deficiência visual, portadores de cegueira congênita e adquirida, com idades entre 9 e 17 anos, matriculados em uma sala de recursos de uma escola estadual da cidade de São Paulo. Foram escolhidos para a investigação oito conceitos espontâneos que, apesar de serem conhecidos pelos sujeitos, não são de fácil apreensão para a pessoa cega. O procedimento foi realizado em três etapas: pré-teste, treinamento e pós-teste. No pré-teste o pesquisador realizou uma entrevista de aproximadamente 30 minutos com cada sujeito, na qual solicitou aos sujeitos que, primeiramente, definissem verbalmente os conceitos apresentados e, após as definições verbais, que desenhassem os exemplos dos conceitos. Na etapa de treinamento foram realizadas três sessões individuais com cada sujeito, nas quais o pesquisador apresentou modelos de desenhos em relevo referentes aos conceitos investigados anteriormente e os orientou na produção de desenhos que pudessem representar suas ideias a respeito destes conceitos. A etapa do pós-teste seguiu o mesmo procedimento do pré-teste. Solicitou-se ao sujeito definições verbais e desenhos de exemplos dos oito conceitos pesquisados. Todas as sessões foram realizadas na sala de recursos de uma escola estadual, durante o horário letivo. O material utilizado para a produção dos desenhos em relevo foi uma prancha de madeira revestida com uma tela de fios entrelaçados e uma caneta, sem tinta, com ponta de metal. As entrevistas foram registradas por um gravador eletrônico de áudio e filmadas com câmera digital, mediante autorização dos responsáveis legais dos sujeitos. As respostas verbais foram transcritas e os desenhos copiados digitalmente. O material foi organizado de acordo com a lista de conceitos e avaliado por três juízes convidados, que atribuíram notas de 1 a 5 às definições verbais e aos desenhos das etapas de pré e pós-teste. Os resultados foram analisados comparando-se as médias aritméticas atribuídas pelos juízes ao material produzido pelos sujeitos nas etapas de testagem. Observaram-se as mudanças na qualidade das definições verbais e dos desenhos após o período de treinamento. Em função do reduzido número de sujeitos de pesquisa, os dados foram discutidos com considerando as mudanças que cada sujeito apresentou em relação a si mesmo. Os resultados demonstraram que os sujeitos apresentaram melhorias mais significativas nas definições verbais dos conceitos do que nas representações gráficas. Assim sendo, é sugerido que a utilização dos desenhos em relevo pareceu favorecer mais o desenvolvimento da linguagem oral do que à expressão gráfica em si / The objective of this research was to investigate the effects of using a technical resource, namely embossed drawing or engraving, in the process of acquisition and recognition of concepts by visually impaired children. In this process, there are two main points: (a) verifying the effectiveness of a technical resource in transforming stimuli that are inaccessible to the senses of blind people into accessible ones; and (b) identifying significant changes in the perception of the defining attributes of such concepts after training with embossed drawings or engraving. This work had five research subjects. There were five visually impaired children and adolescents, with congenital or acquired blindness, aged 9 to 17, and enrolled in a school with a resource classroom in São Paulo city. Eight spontaneous concepts were chosen for investigation, taking into consideration that even though such concepts are known by the subjects, they are not readily comprehensible to the blind. The experimental design consisted of three phases: pre-test, training, and post-test. In the pre-test, the researcher interviewed each subject for approximately 30 minutes, asking them to first define the concepts presented verbally, and after such verbal definitions, to draw examples of the concepts. In the training stage, there were three individual sessions with each subject, in which the researcher presented models of engravings and embossed drawings referring to the concepts previously investigated, and guided them in the production of drawings that could represent their ideas on the concepts. In the post-test stage, it was carried out the same procedure as the pre-test. Subjects were asked to provide verbal definitions and drawings of examples of the eight concepts that were studied previously. All sessions were held in the resource room of the state school during school hours. The materials used for producing embossed drawings were a wooden pad covered with a fabric screen made of interwoven threads, and an inkless pen with a metal tip. With the consent of the childrens custodian, the interviews were recorded by an electronic audio device and filmed with a digital camera. Verbal responses were transcribed and drawings were scanned digitally. Materials were organized according to the list of concepts, and they were evaluated by three invited judges, who graded the verbal definitions and drawings gathered in pre- and post-test phases from 1 to 5. The results were analyzed by the arithmetic averages of the grades assigned to the materials produced in the first testing stage compared to the second testing stage. It were observed changes in the quality of verbal definitions and drawings after the training period. The low number of subjects does not allow generalizations, so that data was discussed considering the changes that each subject presented in relation to himself. The results demonstrate that subjects showed greater improvement in verbal definitions of concepts than in graphical representations. Therefore, we consider that the use of embossed drawings and engravings are of greater use to development of spoken language than to graphic expression itself

Historians have long claimed that the newspaper printers of the American Revolution were instrumental in bringing about Independence. By focusing solely on the written words left behind by these men, however, researchers have erroneously believed the printers belonged exclusively to either the patriot or Tory camps. The masthead symbols chosen by the printers to represent their newspapers offer a more objective measure of their partisan affiliations than a textual analysis of the content. The printers marked major changes in their political ideologies by inserting and deleting political symbols in their newspaper mastheads. This study examines the use and meanings of these engravings, arguing that the symbols best represent the personal views of the printers. The study of masthead designs will help historians better understand Colonial printers and their progress toward their ultimate political affiliation.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-05-16T19:26:44Z No. of bitstreams: 1 VERA REGIANE BRESCOVICI NUNES.pdf: 5855839 bytes, checksum: c2484c48aa1a0575b76c53359ca39651 (MD5) / Made available in DSpace on 2018-05-16T19:26:45Z (GMT). No. of bitstreams: 1 VERA REGIANE BRESCOVICI NUNES.pdf: 5855839 bytes, checksum: c2484c48aa1a0575b76c53359ca39651 (MD5) Previous issue date: 2018-04-09 / The object this research are the paintings and rock engravings present at the archaeological site, inserted in the Serra Sarapó/Tapuias, in the community of Canudos, in the Municipality of Riachão das Neves, State of Bahia. The objective of the study was to analyze and describe the traces, lines, colors and forms that are present in the paintings and in the rock engravings at the Sarapó/Tapuias site, not only from the registration perspective, but also to compare them with other Brazilian traditions in the sense of relating them to a possible tradition of the engravings, as well as in the identification, understanding and analysis, perceiving if they show characteristics of manifestations of the sacred, considering the disposition, location and support in which they were made. To reach these goals, we went from the idea that they are cultural, religious and historical representations with different reading possibilities, produced by different indigenous groups. Due to the fact that the site is located in western Bahia, there was a need to describe aspects of the historical constitution of the region near Riachão das Neves, and the great technological advance of the present. From the investigations and comparisons made in the analysis of the paintings, we find that they can be related to the graphic representations inserted in the São Francisco tradition and in the Geometric Tradition for they present similarities in the colors, lines and forms. And they are manifestations of the sacred by characteristics presented as to the disposition and location. Thus, in light of what we have analyzed, we infer that they present features present in two rupestrian traditions: São Francisco and Geometric and belong to the sacred universe. / O objeto desta pesquisa são as pinturas e gravuras rupestres presentes em um sítio arqueológico localizado na serra Sarapó/Tapuias, na comunidade de Canudos, Município de Riachão das Neves, no Estado da Bahia. O objetivo do estudo foi analisar e descrever os traços, linhas, cores, formas e suportes presentes nas pinturas e gravuras rupestres no sítio Sarapó/ Tapuias, não somente na perspectiva de registro, mas também de comparação com outras tradições brasileiras e de relação com uma possível tradição rupestre. Trabalhou-se, desse modo, a identificação, a compreensão e a análise, bem como a apresentação ou não de características de manifestações do sagrado, considerando a disposição, localização e suporte em que foram realizadas. Para atingir estes objetivos, partiu-se da ideia de que são representações inseridas no contexto da arte, cultura, religião e história por apresentar diferentes possibilidades de leitura. Pelo fato do sítio arqueológico estar localizado em terras do oeste baiano, houve a necessidade de descrever aspectos da constituição histórica da região próxima a Riachão das Neves e o grande avanço tecnológico da atualidade. A partir das investigações e comparações realizadas nas análises das pinturas, foi constatado que elas estão relacionadas com as representações gráficas inseridas na tradição São Francisco e na Tradição Geométrica por apresentar semelhanças nas cores, linhas e formas. Observou-se, também, pelas características apresentadas quanto à disposição e localização no espaço, que são manifestações do sagrado. Para essas constatações, foram utilizados aportes teóricos da arte, cultura, religião, arqueologia, antropologia e outras áreas do conhecimento.

<p>The study is about the rock engravings on the wonderstone hills just outside Ottosdal, North West province, about 70km northwest of Klerksdorp. Wonderstone is remarkable rock that is&nbsp / smooth, shiny and very easy to mark. The wonderstone occurs only on two adjacent farms, Gestoptefontein and Driekuil, and thus the rock art on the wonderstone outcrops is referred to as the Gestoptefontein- Driekuil complex (GDC). This rock art is now the only remaining trace of what must once have been a much larger complex of engravings. Sadly, much of the rock art has been destroyed in the course of mining activities, with very few records. The largest remaining outcrop is still threatened by potential mining activities. The study attempts to bring this disastrous and unacceptable situation to the attention of the public and the heritage authorities, who have so far failed to respond to applications to grant the sites protection. It therefore has two main aims: to&nbsp / locate and record as much of the rock art as possible and to understand the significance of the outcrops in the lives of the people who made them. Based on the rock art itself, as well as what little historical evidence is available, it is argued that the rock art was made by Khoe-San people during the performance of important ceremonies and other activities. The rock art has two main components: engravings of referential motifs and a gestural, or performative, element. The referential motifs depict a range of things: anthropomorphs and zoomorphs, decorative designs, items of clothing, as well as ornaments and decorations. The gestural markings were made by rubbing, cutting and hammering the soft wonderstone, probably in the course of a range of activities that people carried out on the outcrops. One of the main findings of the study is that the GDC was a place that was of particular significance to women. This is suggested by the large number of engravings of items that are closely associated with Khoe-San women &ndash / depictions of aprons, ornaments, and decorations. These play a prominent role in the initiation practices of many Khoe-San groups. Initiates emerging from ritual isolation after their first menstruation are given new clothes / they are also loaned ornaments and jewellery. This reincorporation into society as a &lsquo / new person&rsquo / has been described by some Khoe-San women as one of the high points of their lives. Oral traditions from the area indicate that the wonderstone outcrops were believed to have&nbsp / special properties / the study incorporates these traditions to argue that the wonderstone outcrops were associated with the presence of a great water snake that lay on the rocks and also lived in&nbsp / the pools of water in the nearby Driekuil Spruit. People therefore came to the outcrops to perform rites of reincorporation. One of these ceremonies may have been performing rites of association&nbsp / with the great snake / such practices may have included the use of rock dust as an ingredient for body paint.</p>

<p>The study is about the rock engravings on the wonderstone hills just outside Ottosdal, North West province, about 70km northwest of Klerksdorp. Wonderstone is remarkable rock that is&nbsp / smooth, shiny and very easy to mark. The wonderstone occurs only on two adjacent farms, Gestoptefontein and Driekuil, and thus the rock art on the wonderstone outcrops is referred to as the Gestoptefontein- Driekuil complex (GDC). This rock art is now the only remaining trace of what must once have been a much larger complex of engravings. Sadly, much of the rock art has been destroyed in the course of mining activities, with very few records. The largest remaining outcrop is still threatened by potential mining activities. The study attempts to bring this disastrous and unacceptable situation to the attention of the public and the heritage authorities, who have so far failed to respond to applications to grant the sites protection. It therefore has two main aims: to&nbsp / locate and record as much of the rock art as possible and to understand the significance of the outcrops in the lives of the people who made them. Based on the rock art itself, as well as what little historical evidence is available, it is argued that the rock art was made by Khoe-San people during the performance of important ceremonies and other activities. The rock art has two main components: engravings of referential motifs and a gestural, or performative, element. The referential motifs depict a range of things: anthropomorphs and zoomorphs, decorative designs, items of clothing, as well as ornaments and decorations. The gestural markings were made by rubbing, cutting and hammering the soft wonderstone, probably in the course of a range of activities that people carried out on the outcrops. One of the main findings of the study is that the GDC was a place that was of particular significance to women. This is suggested by the large number of engravings of items that are closely associated with Khoe-San women &ndash / depictions of aprons, ornaments, and decorations. These play a prominent role in the initiation practices of many Khoe-San groups. Initiates emerging from ritual isolation after their first menstruation are given new clothes / they are also loaned ornaments and jewellery. This reincorporation into society as a &lsquo / new person&rsquo / has been described by some Khoe-San women as one of the high points of their lives. Oral traditions from the area indicate that the wonderstone outcrops were believed to have&nbsp / special properties / the study incorporates these traditions to argue that the wonderstone outcrops were associated with the presence of a great water snake that lay on the rocks and also lived in&nbsp / the pools of water in the nearby Driekuil Spruit. People therefore came to the outcrops to perform rites of reincorporation. One of these ceremonies may have been performing rites of association&nbsp / with the great snake / such practices may have included the use of rock dust as an ingredient for body paint.</p>