O artesanato de caixeta -Tabebuia Cassinoides (LAM.) DC – existente no município de São Sebastião/SP foi criado pelos artesãos locais durante a década de 80 como resultado do turismo instalado na região, do conhecimento das técnicas de entalhe em madeira dos artesãos caiçaras e da disponibilidade do recursos natural existente no município. Com a diminuição das áreas de ocorrência da caixeta, devido à urbanização crescente, à venda da terra pelos artesãos e a legislação restritiva ao corte da caixeta, o artesanato produzido com essa matéria-prima perdeu a base de sua produção e vem desaparecendo no decorrer desses últimos anos. Esse estudo iniciou-se com objetivo de identificar e analisar os fatores de sustentabilidade da produção de artesanato local. Ao longo do processo de levantamento de dados foi observada a existência da produção de artesanato de caixeta em sistema de manufatura no município de Silveiras. Esse sistema foi organizado por produtores locais no fim dos anos 80, em decorrência do artesanato produzido em São Sebastião. A produção foi mecanizada e criaram-se estratégias de comercialização eficientes, distribuindo esse artesanato em todo o país e no exterior. Os produtos se aprimoraram, diversificaram e se transformaram, passando a influenciar os padrões e o próprio sistema de produção do artesanato de São Sebastião. Os dados para essa pesquisa foram obtidos através de fontes secundárias e pesquisa de campo, em que foram realizadas entrevistas abertas, estruturadas e semi-estruturadas, questionários e conversas informais. Os dados dos dois sistemas de produção foram comparados, possibilitando, com isso, uma análise das condições de sustentabilidade da produção em São Sebastião. As conclusões desse estudo apontaram para as condições internas de sustentabilidade da produção em São Sebastião, limitadas, principalmente, pela pequena oferta da caixeta. Por outro lado, o artesanato tradicional se transformará para alcançar o consumidor da sociedade moderna. Enquanto produto de relações sociais, econômicas e culturais específicas, o artesanato sofre, necessariamente, transformações, à medida em que passam a existir relações com o mercado. / The handcraft with "caixeta" - Tabebuia Cassinoides (Lam) DC - that exists in the city of São Sebastião, in São Paulo, Brazil, was created by the local craftsmen during the decade of the eighties as a result from the tourism started in the region, from the knowledge of the wood carving techniques of the "caiçaras" craftsmen and from the availability of the natural resources in the region. As the areas where the "caixeta" grows are diminishing due to the growing urbanization, the selling of land by the craftsmen and the restrictive legislation about the cutting of this wood, the craft produced with the "caixeta" lost the base of its production and has been disappearing in the last years. This study began with the aim of identifying and analyze the factors of sustainability of the production of the local craft. As data was being collected, it was noticed the existence of production of craft with Tabebuia cassinoides in a system of manufacture in the city of Silveiras SP. This system was organized by local producers at the end of the eighties due to handcraft produced in São Sebastião. The production was mechanized and they created efficient commercialization strategies, distributing this craft in the whole country and abroad. The products were improved, diversified and transformed, getting to influence the patterns and even the craft producing system in São Sebastião. Data for this research was obtained through secondary sources and field research, by which open, structured and halfstructured interviews; questionaries and informal talks were

(in English): This master thesis follows the history of Prague guilds from the very beginning of their system to the end in 1860. Research was focused on cities which created former Prague - Old Town, New Town, Lesser Town and Hradčany. At first, used sources and their evaluation for the above mentioned research are described. There are reflections of the most important moments in the history of guilds in the Czech Lands, especially in Prague towns at that time, in the next chapters. Main goal of this thesis is to reconstruct a picture of all historical guilds and brotherhoods in the cities of Prague. My own research reflects knowledge of previous researchers. These were thereafter compared to some new sources and revised. Unknown parts of the history of Prague guilds were elaborated, such as history of this system in modern period. Based on some particular knowledge of history of singular guilds new hypotheses of general evolution of guilds in Prague were formed. Attached are glossaries of names of professions (Latin, German and Old Czech), that were in Prague towns in the past.

Frukt-, bär- och växtviner är ett område som är svagt studerat i Sverige, i synnerhet från ett historiskt perspektiv. Denna uppsats studerar hur dessa viner utformats i handskrivna recept genom att ta reda på förekommande ingredienser, redskap, måttenheter och tillagningsmetoder från år 1735–1865, samt om en utveckling går att urskilja. 16 handskrivna recept har kategoriserats och analyserats i arkivstudien. Det framgår att måttenheterna skiljer sig helt från de måttenheterna som används i dagsläget. Lika så är det för en del av redskapen, där det även framgår att vissa av redskapen också hade en funktion som mätningsverktyg. Ingredienserna som användes till vinerna är inte främmande i dagsläget där både inhemska- och importvaror användes. Tillagningsmetoderna som förekommer i recepten är simpla och kortfattade. Resultatet visar att det finns utmärkande måttenheter, redskap, tillagningsmetoder och ingredienser för handskrivna recept men att dessa inte skiljer sig mycket åt mellan århundradena. Däremot är det intressant att se hur samhället, ekonomi, lagar och regleringar har påverkat framställningen av frukt-, bär- och växtviner. / Fruit, berry, and plant wines is an area that is poorly studied in Sweden, especially from an historical perspective. This essay studies how these wines have been constructed in handwritten recipes by finding out occurring ingredients, utensils, units of measurement and cooking methods from the years 1735-1865 and if an evolvement is possible to distinguish. 16 handwritten recipes have been categorised and analysed in the archive study. It appears that the units of measurement are not at all the same as the units of measurement that are used today. The same applies to some of the utensils, where it also appears that some of the utensils also had a function as measuring tools. The ingredients used for the wines is nothing new, where both domestic and imported goods are used in the recipes. The cooking methods that appear in the recipes are rather simple and concise. The result indicates that there are distinctive ingredients, utensils, units of measurement and cooking methods for the handwritten recipes but that these doesn’t differ much between the centuries. On the other hand, it is interesting to see how society, economy, laws, and regulations have affected the production of fruit, berry, and plant wines.

Made available in DSpace on 2015-02-24T20:17:26Z (GMT). No. of bitstreams: 1 AndreLBS_DISSERT.pdf: 2336976 bytes, checksum: 8dfd6a3f335c142b16fcc2ff38debedf (MD5) Previous issue date: 2011-10-07 / The generation of direction, sensemaking, is the process where the actors start to perceive the events around them establishing and creating meanings in their actions that they play daily. At the moment where they happen the interactions in a net business-oriented between the actors are that sensemaking is generated. A business-oriented example of a relationship net is the work developed for the Committee of Associations and Regional Cooperatives of Handcraft of Serid? - CRACAS. This organization, with headquarters in the city of Caic? - Rio Grande of North exists with the objective to manage the net of craftsmen of the region of the norteriograndense Serid?. The present inquiry had as objective generality to understand the generation of sensible of the activities carried through for the organizational, inserted actors in the CRACAS in Caic?/RN, directed toward the use of the resources in its daily business-oriented. The specific objectives had been) To identify the resources used for the organizational actors of the CRACAS; b) To apprehend the way for which the craftsmen play activities directed toward the control and use of the available resources in its environment business-oriented; c) To identify the role played for the organizational actors (craftsmen) in its business-oriented daily activities; d) To understand as the organizational actors of the CRACAS they generate sensible of its business-oriented activities and finally e) To verify the principles that guide the interactions of the craftsmen. Of this process of empirical inquiry, the methodology used in the inquiry consisted of a Study of Case in the CRACAS and the seven Associations of the Embroidering it. It was concluded that sensemaking happens during the accomplishment of the activity as during the confection of the products. In accordance with craftsman the financial resources do not come from the CRACAS. One evidenced that the seven cities of the business-oriented embroidering interact as a net of the handcraft and that it exists a lack of resources and infrastructure in the associations / A gera??o de sentido, sensemaking, ? o processo onde os atores organizacionais come?am a perceber os eventos ao seu redor estabelecendo e criando significados nas a??es que desempenham em seu cotidiano. No momento em que acontecem as intera??es em uma rede de neg?cios entre os atores ? que o sensemaking ? gerado. Um exemplo de uma rede de relacionamento de neg?cios ? o trabalho desenvolvido pelo Comit? de Associa??es e Cooperativas Regionais de Artesanato do Serid? - CRACAS. Essa organiza??o, com sede na cidade de Caic? - Rio Grande de Norte existe com o objetivo de administrar a rede de artes?os da regi?o do Serid? norteriograndense. A presente investiga??o teve como objetivo geral compreender a gera??o de sentido das atividades realizadas pelos atores organizacionais, inseridos no CRACAS em Caic?/RN, voltadas para a utiliza??o dos recursos em seu cotidiano de neg?cios. Os objetivos espec?ficos foram a) Identificar os recursos utilizados pelos atores organizacionais do CRACAS; b) Apreender a maneira pela qual os artes?os desempenham atividades voltadas para o controle e utiliza??o dos recursos dispon?veis em seu ambiente de neg?cios; c) Identificar o papel desempenhado pelos atores organizacionais (artes?os) em suas atividades cotidianas de neg?cios; d) Compreender como os atores organizacionais do CRACAS geram sentido de suas atividades de neg?cios e por fim e) Verificar os princ?pios que norteiam as intera??es dos artes?os. Nesse processo de investiga??o emp?rica, a metodologia utilizada na investiga??o consistiu-se em um Estudo de Caso no CRACAS e nas sete Associa??es das Bordadeiras filiadas a ele. Concluiu-se a gera??o de sentido acontece durante a realiza??o da atividade como a confec??o dos produtos. De acordo com as artes?s os recursos financeiros n?o prov?m do CRACAS. Constatou-se que os sete munic?pios do bordado interagem como uma rede de neg?cios do artesanato e que existe uma car?ncia de recursos e infraestrutura nas associa??es

Le sujet de ce doctorat prend comme point de départ les découvertes faites dans la nécropole romaine de la Porte Médiane de Cumes (Campanie, Italie), où les fouilles archéologiques du Centre Jean Bérard (CJB, 3133-CNRS-EfR) ont révélé des tombes monumentales d’époque antonine et sévérienne aux décors funéraires bien conservés. Ces données étaient précieuses car insérées dans un contexte archéologique parfaitement documenté, ce qui donnait l’occasion de reprendre le dossier de la peinture funéraire d’époque impériale en Campanie, méconnue, en raison notamment de sa position chronologique située entre les grandes découvertes des cités vésuviennes et l’essor des catacombes chrétiennes, qui ont attiré toutes les attentions jusqu’à une époque récente. Après avoir dressé un état de la situation de ce corpus longtemps négligé, l’étude a permis, sur la base du matériel inédit de Cumes, de préciser : le cadre chronologique, les caractéristiques iconographiques et techniques, et les liens qui unissent le décor et le contexte architectural. Des questionnements qui reflètent les aspirations des commanditaires, permettant une lecture sociale de l’époque. / This doctorate takes as its starting point the discoveries made in the roman necropolis of the Porta Mediana of Cumae (Campania, Italy), where the archaeological excavations made by the Centre Jean Bérard (CJB, 3133-CNRS-EfR) revealed monumental graves from Antonine and Severian times, whose funerary paintings well preserved.These pieces of information were really precious, as being inserted in a pretty well documented archaeological background, giving the chance to reopen the file of funeral painting from imperial ages in Campania, little known, especially because of its chronological position situated in between the vesuvian cities' great discoveries and the christian catacombs' rise, which until recent times have been focusing most of the attentions.After presenting the situation of this corpus disregarded for a long time, this study, based on the new material from Cumae, permitted to define : the chronological frame, the technical and iconographical features, and the link between the decoration and the architecture. Issues reflecting the graves owner ‘s aspirations, by offering a social reading of the age

I mitt examensarbete har jag valt att fokusera på att skapa en visuell identitet till mina föräldrarshantverksföretag och att etablera dem online. De har aldrig haft en grafisk identitet av någotslag, trots att de varit i branschen över 30 år. Den enda visuella identitet som existerat ärderas produkter, tomtarna, som fått tala för sig själva. Jag har därmed valt att bygga vidare påjust denna grund för att bibehålla deras varumärkesidentitet och genuinitet. Under arbetet harjag utvecklat en logotyp, en hemsida, skapat en närvaro på sociala medier på Facebook ochInstagram, designat ett utskick för mer åtråvärda kunder, samt gjort en kortfilm för att presenteradem och deras yrke. Som grund för arbetet har jag utgått från intervjuer, workshopsoch deltagande design i samarbete med mina föräldrar, för att få en känsla för vad just de villförmedla för framtida kunder. Företaget har även genomgått ett namnbyte för att bättre speglaverksamheten. / This is a study of a small craftwork establishment, and the balance between creating a graphicidentity and maintaining the essence and voice that has been developed through the company’s30 year history. Through close collaboration with the clients we have pinpointed thebrand personality and how they want their visual identity to be represented towards potentialfuture clients. To establish this I have used the methods of participatory design through interviews,workshop and business model canvas. For the end result I have developed a graphicidentity that contains a website, logotype, social media presence on Facebook and Instagram,and designed a sendout that will be targeted towards their more desirable clients. I have alsoproduced a short film to present both of them as creators and th eir products and will be thelarger piece of the storytelling aspect of my work. The company has also undergone a namechange to better reflect the business.

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This study investigates copies of silk-embroidered linen cloths from the 16th and 17th century, created by the Danish Handcraft Guild during the period 1928–1980. The originals are most often embroidered with stem stitches in red silk with motives generally based on contemporary graphic prints. The Danish Handcraft Guild was founded in 1928 with ambitions to bring to life national textile traditions. The aim of the study is to find out which aspects of the historical textiles that were adopted in the copies, and possible reasons for these choices. Based on this case-study, the usage of historical originals for copies in relation to general understanding and development of cultural heritage is discussed. From a theoretical viewpoint, material culture is understood as having both physical and practical properties, related to memories and identities of individuals and societies. The study consists of two parts, one explorative study and one text analysis. In the explorative study five original textiles and nine copies are documented and compared. The text analysis deals with 77 texts from the Danish Handcraft Guild journal 1934–1980. The results show that the Danish Handcraft Guild practiced two approaches to historical originals. The mayor one was to find originals suitable for adoption on present-day products, often in simplified versions. A second approach is represented by big copies of silk-embroidered linen cloths. These were made as splendor display objects, related to a fine and noble national history. The tendency in this case-study is that copies of silk-embroidered linen cloths used for exhibitions seem to be closer to the original’s motives than those made for personal use. A conclusion of the study is that copies from historical originals do have potential to gain understanding and to develop cultural heritage. Which collective memory, history and value they convey depends on the context in which they were created, and to the story they mediate.