This research project is concerned with workers’ narratives, specifically those who have been employed in paid work below the national minimum wage in New Zealand. As a graphic designer who has direct experience of exploitation through employment, I am interested in researching the subjective experience of underpaid workers in New Zealand. In doing this I have sought to creatively synthesize experiences into artworks that provide a deeper insight into the impact of underpaid work. Through this investigation I have attempted to contribute to a broader discussion of underpaid work than what is currently provided, through the analysis of statistical data. In undertaking this project I have also been concerned with investigating new potentials in serigraphy (a graphic medium traditionally associated with working-class politics). I have inquired into how it might be used to create a visual ‘voice’ for contemporary workers’ narratives. Accordingly, this project has employed audio recordings of three personal stories. The research has led to the production of a series of serigraphic prints that artistically interpret the journeys and experiences of the participants. These images sit in discourse with looped audio excerpts of their recorded interviews. In this approach, narratives of marginalisation that have often been muted through their presentation as written records, have been re-conceptualised as an artists' images, with which the recordings are in discussion.

This research project is concerned with workers’ narratives, specifically those who have been employed in paid work below the national minimum wage in New Zealand. As a graphic designer who has direct experience of exploitation through employment, I am interested in researching the subjective experience of underpaid workers in New Zealand. In doing this I have sought to creatively synthesize experiences into artworks that provide a deeper insight into the impact of underpaid work. Through this investigation I have attempted to contribute to a broader discussion of underpaid work than what is currently provided, through the analysis of statistical data. In undertaking this project I have also been concerned with investigating new potentials in serigraphy (a graphic medium traditionally associated with working-class politics). I have inquired into how it might be used to create a visual ‘voice’ for contemporary workers’ narratives. Accordingly, this project has employed audio recordings of three personal stories. The research has led to the production of a series of serigraphic prints that artistically interpret the journeys and experiences of the participants. These images sit in discourse with looped audio excerpts of their recorded interviews. In this approach, narratives of marginalisation that have often been muted through their presentation as written records, have been re-conceptualised as an artists' images, with which the recordings are in discussion.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2005. / Includes abstract and vita. Includes bibliographical references (leaves 241-249).

Techn. Universiẗat, Diss.--Berlin, 2003.

Thèse (M.A.)--Université du Québec, 1986. / Comprend des réf. bibliogr.: p. [195]-209.

Thesis (doctoral)--University of Helsinki, 1983. / Leaf with thesis statement and English abstract inserted. Summary in English. Includes bibliographical references (p. [410]-437).

Thesis--Uppsala University. / Bibliography: p. 142-155.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2005. / Includes abstract and vita. Includes bibliographical references (leaves 241-249).

Orientador: Teresa Maria Malatian / Banca: Marisa Saenz Leme / Banca: Fernando Teixeira da Silva / Resumo: A cidade de Franca tem na indústria calçadista sua principal atividade econômica, sendo um dos maiores centros produtores de calçados do país. A partir da década de 1950 ocorreu a intensificação do processo de industrialização do setor, com a implantação de modernas técnicas de produção, voltadas para o aumento da produtividade. Essas transformações acarretaram um significativo crescimento populacional, destacando-se a migração de mineiros, em grande parte ex-trabalhadores rurais. O parque industrial é marcado pela heterogeneidade, englobando grandes indústrias com mais de mil trabalhadores, até pequenas oficinas de conserto. Estudos recentes buscaram analisar as experiências dos trabalhadores do setor no cotidiano de trabalho e extrafábrica. Abriram novas perspectivas de análise, dentro das quais se insere o presente trabalho. Ao longo do processo de formação e consolidação da indústria calçadista no município as mulheres ocuparam posição de destaque, compondo cerca de 40% da força de trabalho empregada nesse setor produtivo. Contudo, verificou-se que a história da classe operária do município havia sido escrita sobretudo no masculino, desconsiderando-se as experiências das trabalhadoras do calçado. Assim, tivemos como principais objetivos analisar o processo de formação das mulheres enquanto operárias, as relações de trabalho e as expressões de ação política de um conjunto de sapateiras que fizeram parte do processo de industrialização entre as décadas de 1950 e 1980. Trabalhou-se com um corpus documental composto por fontes orais, documentos sindicais e outras fontes impressas. Foi possível constatar que as trabalhadoras vivenciaram um processo de sociabilização caracterizado pela divisão sexual do trabalho e subordinação aos homens desde os anos iniciais de suas vidas, características persistentes...(Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The city of Franca - Brazil has in the shoemaker industry its main economic activity, being one of the biggest producing centers of footwear of the country. From the decade of 1950 the intensification of the process of industrialization of the sector occurred with the modern implantation production techniques, guided toward the increase of the productivity. These transformations had caused a significant population growth, putting in relief the migration of "mineiros", mostly agricultural former-workers. The industrial park is marked by the heterogeneity, agglomerating great industries with more than a thousand workers, even small repair shops. Recent studies had searched to analyse the experiences of the workers of the sector in the daily of work and the extra-factory. They had opened new perspectives of analysis, inside of which it inserts the present work. Along of the process of formation and the consolidation of the shoemaker industry in the city the women had occupied distinction position, composing about 40% of the force of work used in this productive sector. However, it occurs that the history of the working class of the city had been written principally in the masculine, it ignoring the experiences of the workers-women of the footwear. Thus, we had as main objectives to analyse the process of formation of the women being workers, the relations of work and the expressions of politic actions of a set of women-shoemaker that had been party of the proceeding of industrialization between the decades of 1950 and 1980. We worked with a corpus documental composed for verbal sources, trade union documents and other sources printed. It was possible to verify that the workers had lived deeply a process of socialization characterized for the sexual division of the work and subordination to the men since the initial years of its lives, persistent characteristics in its experiences as workers...(Complete abstract click electronic access below) / Mestre

Essa dissertação mapeia e interpreta trajetórias de mulheres participantes do projeto de geração de renda Vitrine Social, a fim de compreender os valores, relações e conflitos envolvidos nos processos de capacitação, produção e comercialização de artefatos. A pesquisa está centrada nas trajetórias de vida de quatro mulheres que participaram do Programa Vitrine Social, na cidade de Curitiba-PR entre os anos de 2010 e 2015 e que comercializam seus produtos nas feiras de artesanato de Curitiba, mais especificamente, nas feiras do Largo da Ordem e da Praça Osório. A partir de uma perspectiva de gênero, apresentamos os embates vivenciados no processo de tornar-se uma “empreendedora-artesã”, uma vez que o programa se propõe a formar empreendedoras/es. Os procedimentos metodológicos realizados para esta pesquisa qualitativa foram observação participante nas feiras de artesanato, registros em diário de campo e entrevistas que foram guiadas a partir das materialidades confeccionadas ao longo do curso: colchas de patchwork costuradas pelos grupos, portfólios de costura e outros produtos costurados. Em diálogo com as narrativas e memórias das interlocutoras deste trabalho, procuramos produzir uma imagem de todo processo: a decisão por começar a fazer o curso, a trajetória de aprendizado da costura e de noções de gestão de negócios, a formação de um grupo produtivo (e de um “projeto” coletivo), a comercialização nas feiras de artesanato, o desenvolvimento de novos produtos e, por fim, a produção dentro dos lares. Com um olhar sensível às relações e aos espaços envolvidos em cada etapa, foi possível evidenciar a não homogeneidade do processo de aprendizado e das formas de criação e produção de artefatos costurados. / This thesis maps and interprets women’s trajectories, which participate in a social project called Vitrine Social, which goal is to generate income. The aim is to understand values, relationships and conflicts experienced during training, production and commercialization of the handcrafts. This research is centred on life trajectories of four women, who were participants of the Vitrine Social in Curitiba, Paraná, Brazil, from 2010 to 2015 and sold their products in Curitiba’s handicraft fairs, mainly at Largo da Ordem and Praça Osório Fairs. From a gender perspective, we present conflicts experienced in the process of becoming a “handcraft-businesswoman”, since this program proposes to form entrepreneurs. The methodological procedures performed on this qualitative research were participative observation of handicraft fairs, records on field diaries and life history interviews with participants from latest groups of Vitrine Social. Interviews were guided starting from handcrafts made during the course: patchwork bedspreads sewed by groups, sewing portfolios and other stitched products. In dialogue with conversationalist narratives and memories we attempted to build an image of the whole process: the decision of taking part of the course, the learning process of sewing, the business management, the formation of a productive group (and of a “Project” collective), commercialization in craft fairs, the new product development, and at last, the production at home. Looking carefully at relationships and spaces involved in each stage, it was possible to evidence inhomogeneity in the learning process, development and production of sewed handcrafts.