Grasping the wooden handle of a dozukime saw with both hands, I make a rip-cut into a block of eastern white pine, leaving behind a 1/64-inch wide kerf. I am cutting a dovetail: a wood joint developed over five-thousand years ago by the hands of our ancestors. Even now, a well-fitted dovetail joint remains one of the strongest, most elegant ways to join wood. I knew nothing about traditional woodworking when I first picked up a hand-plane, but I was soon inspired by the richness of the craft: the quality of a hand-planed finish, the spirit of craftsmanship, and the nature of material. I was amazed by the wealth of knowledge embodied in craftwork. The tools and materials I encountered spoke to me; I learned to care for them and for my work. How would the things I make endure through time? How would the things I make affect others? In an era where materialism has come to represent a spiritless relationship to the things around us, traditions of craft can teach us how to imbue the human spirit in our work. After making a harvest table, four chairs, ninety-four earthenware pots, and a lamp, I reflect on the act of making as a means of discovery. Making affects our thinking and our approach to material and environment. Making can help us develop a craftsman???s capacity to listen, a great respect for material, and a desire to make better objects for posterity. Making is learning.

Submitted by Celso Magalhaes (celsomagalhaes@ufrrj.br) on 2018-03-14T14:33:47Z No. of bitstreams: 1 2017 - Geruza Valadares Souza.pdf: 1005345 bytes, checksum: 523605753069c0de09582df153affbb0 (MD5) / Made available in DSpace on 2018-03-14T14:33:47Z (GMT). No. of bitstreams: 1 2017 - Geruza Valadares Souza.pdf: 1005345 bytes, checksum: 523605753069c0de09582df153affbb0 (MD5) Previous issue date: 2017-07-19 / Avec le mouvement de la r?forme des centres psychiatriques de soins psychosociaux qui font la cr?ation d'ateliers importants dispositifs d'accueil des sujets en d?tresse mentale sont cr??s. L'objectif de ce travail est de discuter du fonctionnement de la cr?ation d'ateliers, remettant en question dans quelles conditions les actions constituent ou non un dispositif de promouvoir l'autonomie et l'inclusion sociale dans le domaine de la sant? mentale. Avec la proposition de rechercher des discours / pratiques qui guident une vision de la d?valuation des activit?s manuelles et de domination d'exploitation et la capture subjectivit?s par la production capitaliste imp?ratif, nous adoptons la m?thode g?n?alogique Foucault - qui consiste ? l'analyse historique des connaissances et pratiques - pour enqu?ter sur les conditions de possibilit? qui favorisaient la d?valuation du manuel ? la clinique et la dissociation cons?quente entre cela et faire intellectuel. Notre engagement est de proc?der ? l'analyse du travail comme ontologie, nous trouvons dans les hypoth?ses Arts and Crafts (MAO) ? penser ? d'autres rapports du sujet avec le travail et le faire manuel. Le MAO propose l'appr?ciation du m?tier de fabrication comme une alternative au travail m?canique et st?r?otyp?e de l'?re industrielle qui appauvrit les exp?riences de l'homme dans leurs actions quotidiennes. Nous croyons que la recherche sur les bateaux de fabrication, peut contribuer ? l'analyse de l'utilisation des activit?s manuelles dans la perspective historico-politique de faire manuel comme un dispositif pour favoriser l'autonomie et l'inclusion sociale. Nous comprenons que la recherche sur l'activit? artisanale du travail de conception comme ontologie permettent d'accro?tre la connaissance de la sant? mentale sur la relation de l'homme ? faire aussi bien que contribuer ? une analyse plus puissante sur les faits et gestes des ateliers de cr?ation / Com o movimento da Reforma Psiqui?trica s?o criados os Centros de Aten??o Psicossociais que tomam as oficinas de cria??o como importantes dispositivos de acolhimento dos sujeitos em sofrimento mental. O objetivo deste trabalho ? problematizar o funcionamento das oficinas cria??o, questionando em que condi??es os fazeres constituem ou n?o um dispositivo de promo??o de autonomia e inclus?o social no campo da Sa?de Mental. Com a proposta de pesquisar os discursos/pr?ticas que norteiam uma vis?o de desvaloriza??o das atividades manuais e que operam a domina??o e captura de subjetividades, atrav?s do imperativo capitalista de produ??o, adotamos a metodologia geneal?gica de Foucault ? que consiste na an?lise hist?rica de saberes e pr?ticas ? para investigar as condi??es de possibilidades que promoveram a desvaloriza??o do fazer manual na cl?nica e a consequente dissocia??o entre este e o fazer intelectual. Nossa aposta consiste em realizar a an?lise do trabalho como ontologia, encontramos no Movimento de Artes e Of?cios (MAO) pressupostos para pensar outras rela??es do sujeito com o trabalho e o fazer manual. O MAO prop?e a valoriza??o do fazer artesanal como alternativa ao trabalho mec?nico e estereotipado da ?poca industrial que empobrecia as experi?ncias do homem em suas a??es cotidianas. Acreditamos que a pesquisa sobre o fazer artesanal, possa contribuir para a an?lise do uso das atividades manuais sob a perspectiva hist?rico-pol?tica do fazer manual, como dispositivo que promova a autonomia e inclus?o social. Entendemos que a pesquisa sobre a atividade artesanal a partir da concep??o do trabalho como ontologia, permita ampliar os conhecimentos da Sa?de Mental sobre a rela??o do sujeito com o fazer, assim como contribuir para an?lises mais potentes acerca do fazeres nas oficinas de cria??o.

In recent years, urban historians have established that the period from 1560 to 1660 was a key era for London’s development from a relatively small European urban centre into a large dynamic global capital. This dissertation attempts to intervene in London scholarship by drawing attention to the economic, political, religious and – most significantly – cultural importance of clothing in the city in this period. Using material, visual, literary and archival sources, it explores the ways clothing contributed to the development of early modern London and, in turn, how London’s rapid growth changed the making, wearing, and meaning of clothing. This dissertation places material evidence at the fore using extant objects from museum collections. It also employs the new methodology of reconstruction to explore craft, ingenuity, and emotional self-expression in dress. As clothing infused economic and social life, it draws upon on a wide range of evidence, from London guild records, to portraits, travel accounts, personal letters, diaries and account books, plays, sermons and poems. With a focus on urban experience, this dissertation discusses not only elite luxury consumption, but also investigates the wardrobes of guildsmen, immigrant craftspeople, apprentices and maids – asking what they wore, what they thought about what they were wearing, and how they used clothing to navigate through the city during this time of rapid change. A chapter on the ‘London Look’ shows how inhabitants and visitors documented the visual and material styles of the city. Exploring the collaborative processes by which clothing was made, worn and appreciated by craftspeople and consumers, a chapter on making and buying clothing demonstrates how clothes were made and charts the emergence of a new consumer culture. Existing scholarship on sumptuary laws is challenged in a chapter that demonstrates how laws were enforced in the city while also integrating extant objects into the discussion for the first time. Finally, using a sample of London wills, the dissertation shows how Londoners owned, bequeathed and inherited clothing, and imbued it with emotional meaning. In sum, this dissertation aims to integrate scholarship on early modern London with material culture studies, and to promote the new methodology of reconstruction for historians. In revealing how London was conceived during a time of rapid change, clothing can be used as a lens through which to explore wider discourse about a city that by 1657 was being described as ‘Londinopolis.’ Clothing helped to make London into a wealthy, dynamic, and diverse urban centre, and these changes dramatically shaped the way clothing was made and appreciated.