Made available in DSpace on 2016-08-10T10:37:24Z (GMT). No. of bitstreams: 1 Einstein Almeida Ferreira Paniago.pdf: 9255401 bytes, checksum: f3901a069f83a48ed441e078a4f3affd (MD5) Previous issue date: 2006-01-01 / Lyceu de Goiânia, which reached marks of excellence during its working decades, has seen its number of students decrease year by year since the 90 s, and even had the continuity of its nightly classes threatened, besides having alarming official marks of effectiveness and efficiency. In 2003, when its oldest construction was declared as a historical patrimony, there was an opportunity for Lyceu de Goiânia to be settled again as a traditional school and a reference among the State Public Schools; however, it effectively didn t happen. Due to the apparent paradox, formed by the increasing investing in modernization since 1999, and the institutional diagnostic, Lyceu appeared as an instigating object for a Case Study which could enquire the internalization and communication technologies, as a modernizing strategy. Proceeding from the institutional diagnostic, a proposal to recover Lyceu de Goiânia was developed, by modernizing its administration and pedagogical practice, by reorganizing the locus in which the teaching/learning processes are developed, organizing and active participation of the local community in the school life mediated by the common project of an iconographic reference, as well as by establishing the patrimony as a transversal and curriculum integration of the disciplines theme. / O Lyceu de Goiânia, que chegou a ter indicadores de excelência nas suas primeiras décadas de funcionamento, presenciou seu número de alunos reduzir-se ano a ano a partir da década de 1990, chegando a ter seu turno noturno ameaçado de continuidade e indicadores oficiais de eficiência e eficácia alarmantes. Em 2003, com a declaração das instalações mais antigas da instituição como patrimônio histórico, abriu-se uma oportunidade para o Lyceu de Goiânia se reposicionar como uma unidade escolar tradicional e centro de referência na Rede Pública Estadual; entretanto, isso efetivamente não ocorreu. Em virtude do aparente paradoxo, configurado pelo crescente investimento em modernização a partir de 1999 e o diagnóstico institucional, o Lyceu apresentou-se como um objeto instigante para um Estudo de Caso que averiguasse a internalização de tecnologias gerenciais, bem como de tecnologias da informação e comunicação, como estratégia de modernização. A partir do diagnóstico institucional, desenvolveu-se uma proposta de recuperação do Lyceu de Goiânia, com a modernização de sua gestão e de suas práticas pedagógicas, através da reestruturação dos locus de desenvolvimento dos processos de ensino aprendizagem, da estruturação de uma participação ativa da comunidade local na vida escolar mediada pelo projeto comum de um centro de referência iconográfica, bem como através do alinhamento estratégico das ações pedagógicas pelo estabelecimento do patrimônio como tema transversal e integrativo das disciplinas curriculares.

Esta tese tem por objetivo verificar se a incorporação do esquema iconográfico do Lamento Fúnebre presente no repertório do Ciclo do Mahãparinirvãna do Buda Sãkyamuni, possuiu uma origem estrangeira: a representação da próthesis - a exposição do morto - grega. Essa iconografia foi desenvolvida entre os séculos I e III d.C. em Gandhãra, na fronteira noroeste do subcontinente indiano. O Corpus Documental desta pesquisa é composto por uma vertente indiano-budista e outra greco-romana, sistematizadas em um Banco de Dados e Imagens. Foram utilizadas evidências arqueológicas assim como fontes textuais. A representação formal do Lamento Fúnebre é uma expressão imagética de um momento do ritual funerário entendido como um rito de passagem. Duas estruturas de análise distintas, a Arqueologia da Imagem e a Arqueologia da Morte, foram combinadas para fundamentar a análise e a interpretação do conjunto imagético de temática funerária investigado nesta pesquisa. A análise arqueológica foi realizada sob uma perspectiva de longa duração que permitiu inferir as mudanças fundamentais à compreensão dessa gênese iconográfica. Reconstruções da práxis funerária nas diferentes sociedades que forneceram elementos iconográficos para a formação do repertório imagético de Gandhãra foram elaboradas. As fontes gregas e védico-bramânicas apresentaram paralelos na lamentação do morto. As análises esquemática e temática do Corpus Documental possibilitaram verificar a dimensão da assimilação do esquema formal da próthesis grega na gênese da representação do Mahãparinirvãna, a adaptação desse esquema à temática indiano-budista e os desdobramentos que essa representação apresentou nas demais regiões da Índia e da Ásia. Essa abordagem teórica permitiu analisar as mudanças no discurso textual e iconográfico sobre as exéquias do Buda Sãkyamuni e revelou quais os aspectos da persona social do fundador do Budismo foram favorecidos após o Mahãparinirvãna. O discurso budista de caráter proselitista, aliado à necessidade de criação de uma identidade budista, procurou desenvolver uma narrativa cada vez mais idealizada das exéquias de seu fundador. A persona social do sramana Gautama se modificou ao longo dos séculos e foi reelaborada com base na figura heroicizada do cakravartin védico-bramânico, de modo a legitimar o discurso engendrado pelas comunidades monásticas cada vez mais hierarquizadas. A iconografia de Gandhãra está inserida nesse estágio de desenvolvimento do Budismo, em que algumas das modificações doutrinárias já tinham sido incorporadas ao discurso sobre o Mahãparinirvãna do Buda Sãkyamuni. A partir desse período é observado um grande investimento dispendido com o aparato simbólico e a atenuação da ênfase iconográfica na morte e na lamentação a favor da transcendência / The purpose of this thesis is to evaluate if the iconographic scheme of the funeral lament found in the Mahãparinirvã of Buddha Sãkyamuni scenes had a foreign origin, that is the depiction of the Greek próthesis - laying in state. This theme was developed during the 1st and 3rd centuries AD in Gandhãra, the norwest frontier of South Asian subcontinent. The Documental Corpus of this research is composed of an Indo-Buddhist and a Greco-Roman portion, systematized in a Data and Image Base. Archaelogical and textual evidence is assembled. The formal depiction of the funeral lament is a visual expression of the funeral ritual, understood as a rite of passage. Two diferent theoretical structures are combined to establish the basis for an analysis of the funerary images investigated in the research: the Archaeology of Image and the Archaeology of Death. Archaeological analysis with a long duration perspective is undertaken, permitting the inference of fundamental changes in the iconographical genesis. The funeral praxis of the societies who contributed to the development of the Gandhãran repertoire is reconstructed. Both Greek and Vedic-Brahmanic sources reveal parallel mourning rites of their dead. Schematic and thematic analysis made it possible to verify the extent of assimilation of the Greek próthesis scheme in the development of the Mahãparinirvã depiction; the adaptation of this scheme to the indo-buddhist theme; and the development of this depiction in other Indian and Asian regions. Through this theoretical approach we are able to analyse changes in the textual and iconographical discourses about Buddha Sãkyamuni obsequies and to reveal which aspects of the social persona of the founder of Buddhism were favoured after the Mahãparinirvãna. Buddhist discourse, which had a proselytizing character associated with the necessity of creating a buddhist identity, developed an idealized narrative of its founder\'s obsequies. Sramana Gautama\'s social persona was modified through the centuries and reelaborated on the basis of the heroicized figure of the Vedic-Brahmanic cakravartin. This was used to legitimize the discourse engendered by monastic communities while they became more hierarchical. Gandhãran iconography is part of this stage of development of Buddhism, in which some of these doctrinal changes were already incorporated in the discourse about the Mahãparinirvã of Buddha Sãkyamuni. From this period on high expenditure in the symbolic apparatus was observed as well as a decrease in the iconographical emphasis in death and lament in favour of transcendence

A presente tese objetiva apresentar a iconografia Maxakali como expressão da vida e da concepção do universo cosmológico. Os sinais dessa expressão são em especial, os desenhos em papel elaborados pelos indivíduos do grupo, sem distinção de idade, sexo ou status sociocósmico. A finalidade é demonstrar por meio da iconografia como os Maxakali percebem o mundo por meio da percepção sensorial do corpo próprio e como constroem relações de alteridade na intersecção de concepções cosmológicas distintas. Esse movimento é importante para a composição de um diálogo em que as diferenças são pontuadas e as tensões são amplificadas, em especial quando se colocam em cena discussões e práticas de políticas públicas. A metodologia empregada na pesquisa é a mitohermenêutica simbólica de cunho antropológico cujo princípio é um cuidado investido na reflexão e na prática do conhecimento que proporciona demarcar os caminhos percorridos pelo pesquisador na inserção do contexto de sua investigação. / This present thesis aims to introduce the Maxakali iconography as life\'s expression and of the universe cosmological conception. The signs of this expression are especially the paper drawings made by the individuals pertained to the group without any discrimination of age, sex or sociocosmical status. The purpose is to demonstrate through iconography how the Maxakali people perceive the world through the sensorial perception of their own bodies and how they build up alterative relations in the intercession of distinct cosmological conceptions. This movement of ideas is very important to dialogize when differences are shown and tension is amplified chiefly when we come up to discussions and practices of public policies. The methodology used in the research is the symbolical mitohermeneutics of antropological characteristics, wich is originally based in a carefully reflection and in the practice of knowledge wich propriciates to record the ways through which the researcher in the insertion of the context of his investigation.

The Novgorod icon of Divine Wisdom is a great innovation of fifteenth-century Russian art. It represents the winged female Sophia flanked by the Theotokos and John the Baptist. Although the icon has a contemporaneous commentary and it exercised a profound influence on Russian cultural history (inspiring, among others, the sophiological theory of the turn of the twentieth century), its meaning, together with the dating and localisation of the first appearance of the iconography, has remained a great art-historical conundrum. This thesis sheds new light on this icon and explores the message, roots, function and historical context of the first, most emblematic and most enigmatic Russian allegorical iconography. In contrast to its recent interpretations as a Trinitarian image with Christ-Angel, it argues that the winged Sophia is the personification of the Orthodox Church. The Novgorod Wisdom icon represents the Church of Hagia Sophia, that is Orthodoxy, as it was perceived in fifteenth-century Rus’: the icon together with its commentary was a visual-textual response to the Florentine Union between the Catholic and Orthodox Churches, signed in 1439 but rejected by the Russians in 1441. The thesis is based on detailed interdisciplinary research, utilising simultaneously the methodologies of philology, art history, theology and history. The combined analysis reveals that the great innovation of the Novgorod Sophia icon is that it amalgamates ecclesiological and sophiological iconographies in new ways. Hence the dissertation is also an innovative attempt to survey how Orthodoxy was perceived and visualized in medieval Rus’. It identifies the theological questions that constituted the basis of Russian Orthodox identity in the Middle Ages and reveals the significance of the polemics between the Catholic and Orthodox Churches for the history of Medieval Russian art.

Notre thèse se présente en deux volumes ; le premier traite de l’étude iconographique ainsi que l’analyse des rapports texte/image dans les manuscrits hippiatriques arabes Khalīl Āghā 8 et Fatīh 3608/3609. Le premier intitulé kitāb al-baïtara de Ahmad ibn al-Hasan ibn al-Ahnaf est conservé à Dār al-kutub au Caire et date de 1209. Le second portant le même titre que le premier n’est ni signé, ni daté. Il est conservé à la Bibliothèque de la Süleymanīye, à Istanbul. Nous avons tenté d’étudier ces deux manuscrits si richement décorés afin de découvrir quels sont les caractéristiques qui les rapprochent et quels sont les aspects qui les éloignent mais aussi si ils sont l’œuvre du même auteur. Dans le second volume de cette thèse, nous avons retranscrit la copie du Caire sur support informatique afin de la rendre plus lisible et nous l’avons ensuite traduit en français pour la rendre plus accessible aux chercheurs non arabisants. / Our thesis consists in two volumes ; the first one deals with the iconographic study and the analysis of text/image relationships in the arabic hippiatric manuscripts Khalīl Āghā 8 and Fatīh 3608/3609. The first one entitled kitāb al-baïtara of Ahmad ibn al-Hasan ibn al-Ahnaf is stored at Dār al-kutub in Cairo and is dated of 1209. The second one of the same title as the first one is neither signed nor dated. It is kept in the Libary of the Süleymaniye in Istanbul. We have attempted to study these two manuscripts, so richly decorated, to discover what are the characteristics that link them together and what aspects separate them and also whether they are from the same author or not. In the second volume of this thesis, we transcribed the copy of the Cairo manuscript on computer to make it more readable and we have then translated it to French in order to make it accessible to non-Arabic researchers.

Neuf églises à déambulatoire (cinq entièrement conservées et quatre conservées en partie) ont été sélectionnées parce qu’elles constituent un ensemble cohérent et très riche en sculptures figurées. Elles sont prises comme base pour l’étude iconographique de la sculpture romane en Auvergne.Ces sculptures sont d’abord analysées à la lumière des textes (Bible, exégèses des Pères de l’Église, traités et sermons plus contemporains etc.) par secteurs localisés. Puis les sujets les plus fréquemment rencontrés sont approfondis avec l’appui des exemples rencontrés dans les autres églises de la région. Enfin, la question est posée des relations entre les sujets d’un même édifice et d’un éventuel programme d’ensembleAu cours de ces analyses, de nombreux sujets ont trouvé leur explication, un programme sur l’ensemble de l’édifice a pu être mis au jour pour l’église de Saint-Nectaire, et des concepteurs pour Notre-Dame-du-Port et Saint-Nectaire sont envisagés. Pour finir, ces propositions d’identification des concepteurs permettent de proposer une révision de la datation généralement admise. / Nine churches with ambulatories (5 completely preserved and 4 partially preserved) have been selected because they form a coherent whole, rich in figured sculptures. They are taken as the basis for this iconographic study of Romanesque sculpture in Auvergne.These sculptures are first analysed in the light of religious texts (the Bible, exegeses of Church Fathers, more contemporary treatises and sermons, etc) and groupedin localised sectors. There follows an in-depth treatment of the most frequently encountered subjects, backed up by examples from the other churches of the region. Finally, the question is raised of relations between the subjects of one given building and a possible overall programme.In the course of these analyses, an explanation has been found for many subjects, an overall programme for the church of St-Nectaire has been brought to light, and possible designers of Notre Dame du Port and St-Nectaire are envisaged. This proposed identification of the designers makes it possible to suggest a review of the generally accepted construction dates.

Percebendo o importante papel da iconografia na atualidade, tanto na sociedade como na educação, e considerando a restrição visual dos alunos com deficiência visual, esta pesquisa propõe analisar as práticas pedagógicas de professores de História da educação básica no que tange ao uso da imagem iconográfica com alunos cegos. Neste trabalho, considera-se a iconografia não só como recurso de representação do tempo passado, mas também como documentação histórica, material pedagógico fundamental para a produção do conhecimento histórico e desenvolvimento do raciocínio crítico sobre a História. A pesquisa foi desenvolvida tendo como base teóricos que se alinham às áreas de Educação Especial, Ensino de História e Artes, tais como: Amiralian (1997), Aumont (1995), Ballestero-alvarez (2002), Barbosa (1998; 1999), Barthes (1984), Benjamin (1955), Bittencourt (1993; 1998; 2001; 2004; 2011), Brun (1991), Bueno (2011), Burke (2004), Calazans (2014), Candau (2010), Cerri (2010), Chartier (1988), Couchot (1993), Dondis (2007), Fonseca (2006), Fonseca e Siman (2001), Joly (2007), Knauss (2006), Kossoy (1980; 1989), Lowenfeld (1971), Masini (1994; 2012; 2013), Maud (1996), Merleau-Ponty (1999), Molina (2007), Moreira e Câmara (2010), Nobrega (2008), Ott (1999), Panofsky (2014), Profeta (2007), Reily (2004), Rossi (2006), Saliba (1999; 2001), Sardelich (2006), Sarraf (2014), Siman (2004), Snyder (2007) e Soler (1999). Inicialmente, foi feita uma pesquisa histórica sobre o ensino de História no Imperial Instituto dos Meninos Cegos, educandário do século XIX que fundou as bases para o ensino da pessoa com deficiência visual no Brasil, com destaque para os usos da imagem no ensino. Posteriormente, houve uma reflexão sobre as possibilidades envolvendo a leitura de imagens no campo do ensino de História e as teorias que envolvem a abordagem multissensorial de ensino para cegos, sob as concepções de corpo e percepção em MerleauPonty (1999). Essa pesquisa, de abordagem qualitativa, além da revisão bibliográfica realizada, compreende também, uma pesquisa de campo que permitiu conhecer práticas pedagógicas de professores de História com uso da iconografia, com foco para alunos do 7º ano do ensino fundamental. A pesquisa de campo foi realizada com base em observações em sala de aula e entrevistas semiestruturadas com os professores de História e do Atendimento Educacional Especializado que lecionam para alunos cegos matriculados no 7º ano do ensino fundamental de duas escolas da rede pública municipal de São Paulo. Além disso, houve também uma intervenção pedagógica inclusiva, em parceria com os professores de História das escolas, que envolveu o uso e a análise da iconografia como fonte documental e recurso didático para a disciplina. Os dados coletados foram analisados seguindo o referencial teórico de Bardin (2009). Procura-se, por fim, refletir e apontar possibilidades de ensino de História pautadas em uma abordagem multissensorial e fundamentadas na fenomenologia de MerleauPonty (1999), que permitam ao aluno com deficiência visual desenvolver uma análise mais completa da iconografia. / Realizing the important role of iconography nowadays, both in society and education, and considering the visual restriction of students with visual impairment, this research aims to analyze the pedagogical practices of History teachers from elementary school regarding the use of iconographic images in blind students education. In this paper, it is considered that iconography is not only a resource for the representation of the past, but it is also a historical documentation, basic pedagogical material for the production of historical knowledge and the development of critical thinking about History. The research was based on theoretical frameworks that align to particular areas of Education, History Teaching and Arts, such as: Amiralian (1997), Aumont (1995), Ballestero-alvarez (2002), Barbosa (1998; 1999), Barthes (1984), Benjamin (1955), Bittencourt (1993; 1998; 2001; 2004; 2011), Brun (1991), Bueno (2011), Burke (2004), Calazans (2014), Candau (2010), Cerri (2010), Chartier (1988), Couchot (1993), Dondis (2007), Fonseca (2006), Fonseca e Siman (2001), Joly (2007), Knauss (2006), Kossoy (1980; 1989), Lowenfeld (1971), Masini (1994; 2012; 2013), Maud (1996), Merleau-Ponty (1999), Molina (2007), Moreira e Câmara (2010), Nobrega (2008), Ott (1999), Panofsky (2014), Profeta (2007), Reily (2004), Rossi (2006), Saliba (1999; 2001), Sardelich (2006), Sarraf (2014), Siman (2004), Snyder (2007) e Soler (1999). Initially, a historical research about the History teaching was done at the Imperial Instituto dos Meninos Cegos, a nineteenth century school that founded the bases in Brazil for teaching people with visual impairment, focusing on the use of images for teaching. Subsequently, there was a reflection about the possibilities involving the image lecture in the History teaching area and the theories that involve the multisensorial approach of teaching to blind students, under the conceptions of body and perception in Merleau-Ponty (1999). Besides the bibliographic review, this research has a qualitative approach and also includes a field research that allowed us to know pedagogical practices with the use of iconography by History teachers who teach students of the 7th year of elementary school. The field research was based on classroom observations and semi-structured interviews with History teachers and teachers from the Atendimento Educacional Especializado that give classes to blind students enrolled in the 7th year of elementary school in two public schools from São Paulo. In addition, there was also an inclusive pedagogical intervention, in partnership with the History teachers of these schools, which involved the use and analysis of iconography as a historical documentation and didactic resource for the subject. The collected data were analyzed by using the theoretical frameworks of Bardin (2009). Finally, this work aims to reflect and point out possibilities of History teaching guided in a multisensory approach and based on the phenomenology of Merleau-Ponty (1999), which allow students with visual impairments to develop a better analysis of iconography.

Par l’étude des représentations sociales, des rituels et des gestes funéraires qui entourent l’enfant dès sa naissance, cette thèse propose une réflexion sur la place des plus jeunes dans la société grecque archaïque et classique. Durant l’Antiquité, la venue au monde révèle les logiques sociales dans lesquelles elle s’inscrit : la mère est enfin reconnue comme épouse accomplie, l’homme devient père avec les implications sociales que cela entraîne, et la famille comme l’ensemble de la cité doit valider l’arrivée d’un nouveau membre. A partir de ce constat, ce travail apporte un nouveau regard sur les représentations de l’enfant en bas âge (0-3 ans) au sein des différentes strates de la cité. Longtemps considéré comme exclu des relations sociales, le tout-petit n’a en effet jamais fait l’objet d’une étude particulière. Pourtant des pratiques funéraires spécifiques, l’existence de rituels d’intégration progressifs, ainsi que des registres iconographiques distincts, sont autant de témoignages du statut particulier d’un être en devenir, mais déjà membre de la société. Ces différents thèmes sont abordés par une approche pluridisciplinaire qui confronte l’ensemble des sources disponibles sur la petite enfance : les écrits des auteurs anciens aux regards des imagiers et aux données offertes par l’archéologie funéraire. En conclusion ce travail montre que la notion de rite de passage vient s’ajouter aux représentations et aux pratiques funéraires pour former à un véritable complexe rituel faisant de la naissance et de la petite enfance, le reflet des rapports entretenus entre les Grecs et l’écoulement d’un temps inscrit dans la logique de reproduction sociale. / Through the study of social representations, rituals practices and funerary acts surrounding the young children, this thesis has offered a reflection on the infancy in the Archaic and Classical Greek world. During Antiquity, birth reveal the social mechanisms they belong to; the mother is finally considered as an accomplished wife and her role in the oikos is reaffirmed, the man becomes a father and has new social duties, and the family as well as the city has to accept the arrival of a new member. Judging from this observation, this work will shed a new light on young child (0-3 years) within the different strata of the city. For a long time, children have been considered as excluded from society because of the few mentions in literary sources. Although specific funerary practices, the existence of rituals marking the progressive integration of young ones in society, as well as a characteristic iconography, all testify of the particular status of children who already belong to the society. These themes are treated with a multidisciplinary approach that confronts all the sources on childhood: literature, iconography and funerary archaeology. In conclusion, this work proposes to show that the concept of rite of passage combined with representations and funerary practices form a ritual complex that makes birth and early childhood the true reflection of integration processes into the different circles of Greek society. This study thus aims to lead to a more general evocation of the relations between the Greeks of Antiquity and the passing of a time in the context of social reproduction.

Esta pesquisa é sobre um tipo específico de cerâmica grega, denominada \"meliana\". Tem como pano de fundo o rico período orientalizante das regiões que atualmente chamamos Grécia e Turquia. A partir de um vaso grego específico, uma ânfora monumental cicládica, a Ânfora de Apolo, elabora-se uma análise iconográfica com o que foi pintado em sua superfície. A ânfora é o eixo do trabalho e será através dela que outros vasos \"melianos\" serão analisados. Ela é da segunda metade do século VII a.C., sendo parte do acervo do Museu Nacional de Atenas. Este estudo procura as características que definem o tipo cicládico \"meliano\", assim como, observando os limites desta dissertação, faz uma análise de sua distribuição geográfica. O corpus de referência para a pesquisa é composto pela ânfora eixo citada e por outros vasos \"melianos\" cicládicos provenientes de uma fossa de purificação da ilha cicládica Renéia. A análise iconográfica busca relações e comparações dos elementos pintados nos vasos de Renéia com o vaso principal, a Ânfora de Apolo. São estudadas as ações figuradas, as personagens divinas, bestiais e humanas que fazem parte da ação, além dos outros preenchimentos da cerâmica \"meliana\". Também são importantes as fontes textuais especificadas no trabalho que segue. / This study is about a particular kind of Greek vase pottery, called -Melian?, and has the Orientalizing Greek world as background. Beginning with an special one, the -Melian? Cycladic Apollo´s Amphora, the work is supported by an iconographic view with attention to all paintings in this vase. The Apollo´s Amphora is the axle of this master dissertation. It is an amphora from the second half of 7th century B.C. that is located today in the National Museum of Athens. So, the fundamental qualities that identify the -Melian? pottery is the aim, and not just this, but also her geographical distribution. The main corpus is compound by the Apollo´s Amphora and others Cycladic´s -Melian? vases that were found in the Purification Trench on Rheneia. We are looking for contacts and relations in common with Greece and Mesopotamia that could reflect in the elaboration of paintings, elaboration of images. These images figured actions, show characters, and a kind of epithets. They are gods, heroes, animals, mans and lotus´s flowers, trees, spirals, all together sharing the same space, the same superficie. It\'s about one special vase, and a delimited corpus. We know the limits of what can be sure and what is just an exercise of interpretation. The focus is the -Melian? Apollo´s Amphora. As important as the pottery are the textual references in the Greek literature and poetry like Homer and the others that belong to the main text.

Esta pesquisa tem como foco a investigação das formas de expressão dos grupos familiares a partir dos espaços da morte da pólis ateniense no período inscrito entre aproximadamente 430 e o final do século IV a.C. Definido em função de um conjunto de mudanças significativas no conjunto arqueológico de contexto funerário no referido intervalo, o recorte cronológico adotado segue, portanto, as pistas de fenômenos da cultura material profundamente interligados e que nos sugerem uma forma peculiar dos grupos familiares se apresentarem e serem vistos nestes espaços. De fato, o desenvolvimento progressivo de novas formas de enterrar, de estruturas tumulares tipicamente clássicas e o surgimento de uma nova série de monumentos funerários com um repertório iconográfico tão original quanto padronizado, constituíram as bases para um estudo da categoria histórica ‘família’ (para aplicarmos um termo genérico, embora desconhecido na cultura clássica helênica em questão, senão como múltiplos termos e conceituações). Partindo majoritariamente de uma documentação de natureza arqueológica, procuramos, no decorrer do trabalho, identificar os principais conceitos e valores produzidos ao longo da trajetória de uso dos espaços funerários pelas famílias e como estes significados resultantes da intervenção direta em tais espaços remetem à dinâmica de reprodução dos próprios grupos e podem ser compreendidos à luz da conjuntura histórica de Atenas do século IV, principalmente. / The research that follows is focused on the investigation of the ways in which family groups expressed themselves within the funerary contexts of the Athenian polis from about 430 to the end of the fourth century. Defined by a set of remarkable changes registered in the archaeological material precisely in this period, the chronological span adopted follows thus the hints of material culture phenomena, all of them deeply interwined, suggesting that the family groups came up with a particular way of exposing themselves to social gazes. As a matter of fact, the development of new ways of burying, the equally new typical Attic tomb structures, as well as a freshly arising series of funerary monuments with new imagery (original and standardized at the same time) set the framework for the study of the historical category so-called ‘family’ by contemporary scholarship. We have chosen a set of archaeological evidences as a starting point so that it might help us to identify the main concepts and values created and performed by the families. We are interested in clarifying how the intervention of families in these spaces can lead us to the dynamic of its own reproduction and ultimately may be articulated to the fourth-century Athens and its particular historical moment.