La thèse examine, à partir de la question patrimoniale, les dynamiques sociales en cours dans des villes du Maghreb et du Moyen-Orient. Sont ainsi analysés les rapports entre les mises en patrimoine et en tourisme et les pratiques artisanales et leurs évolutions dans les centres urbains anciens de Fès, Istanbul et Alep. L’analyse comparée vise à montrer comment en résulte de multiples recompositions, sociales, spatiales et identitaires. Espaces du monde artisanal, visités par les touristes, les centres urbains anciens sont pensés comme une ressource à valoriser par des acteurs locaux et internationaux. Les imaginaires patrimoniaux et touristiques contribuent ainsi à catégoriser l’artisanat, érigé en figure patrimoniale, jugé illégitime, parfois réinventé. Leur mise en acte participe d’un processus d’esthétisation, entre évincement et mise en scène des artisans. Les positions sociales des artisans peuvent alors changer tandis qu’ils développent leurs propres actions pour composer avec l’action publique patrimoniale et le tourisme. / This thesis examines the heritage question, and seeks to understand social dynamics in progress within the cities of the Maghreb and the Middle East. Thus are analyzed the relations between heritagization and touristification, as well as the artisanal practices and their evolution within the ancient urban centres of Fez, Istanbul and Aleppo. The comparative study aims at showing how multiple social, spatial, and identity reorganisation processes are resulting from it. Areas of craft world, visited by the tourists, the ancient urban centres are thought like a resource, which needs to be valorised by local and international actors. In this way, heritage and touristic imaginations are contributing to the craft industry’s categorization, which is established as a heritage figure, judged illicit, and sometime is reinvented. This setting participates to an aesthetic process, in which the craftsmen are ousted or staged as part of the scenery. The craftsmen social position can therefore be changing whereas they are developing their own actions, compromising with the public heritage action and tourism.

Submitted by Daniela Rodrigues Alves de Lima null (1304330@fclar.unesp.br) on 2016-04-22T02:03:47Z No. of bitstreams: 1 Dissertação final.pdf: 2326817 bytes, checksum: 3d0881a8e863eccd8c5386c212a8865d (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-04-26T16:49:39Z (GMT) No. of bitstreams: 1 lima_dra_me_arafc.pdf: 2326817 bytes, checksum: 3d0881a8e863eccd8c5386c212a8865d (MD5) / Made available in DSpace on 2016-04-26T16:49:39Z (GMT). No. of bitstreams: 1 lima_dra_me_arafc.pdf: 2326817 bytes, checksum: 3d0881a8e863eccd8c5386c212a8865d (MD5) Previous issue date: 2016-03-29 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O objetivo deste trabalho é entender os impactos do Slow Food a partir do estudo local com os produtores artesanais de queijo de leite cru em Minas Gerais, Serra do Salitre – Alto Paranaíba. A pesquisa visa a identificar de que forma o Slow Food atua, no sentido de preservar a cultura e a tradição local, qual a sua posição quanto à legislação específica para o queijo de leite cru e como se aplica a sua proposta para a produção de um alimento que seja ―bom, limpo e justo‖. O resultado demonstra o surgimento de novos agentes no Slow Food, que atuam politicamente para a preservação da pequena produção artesanal de queijo de leite cru, preocupados com a segurança alimentar e com a qualidade do produto, estimulando o sabor tradicional da alimentação ao aliar tradição e inovação, valorizando a história e o contexto cultural da variedade alimentar no Brasil, contribuindo, dessa forma, para o debate sobre o novo desenvolvimento rural para a produção dos alimentos. Foi, também, verificada a necessidade de uma melhor articulação e aproximação do SLow Food Brasil com os produtores, com o intuito de estabelecer um diálogo mais amplo quanto à legislação para o queijo artesanal. / The goal of this research is to understand the impact of the slow food , through the local study of artisan raw milk cheese producers in Minas Gerais, Serra do Salitre – Alto Paranaíba. The research aims to identify in which form the movement acts in the sense of preserving the culture and the local tradition, what's its position on the specific legislation for raw milk cheese and how its proposal is aplied in order to have a food production that is ―good, clean and fair‖. The result shows the appearance of new agents in the Slow Food, that act politically for the preservation of the small artisan raw milk cheese production. These new agents are mainly concerned about the food safety and the product quality: they stimulate the traditional flavor of the food by combining tradition and innovation, valuing the history and the cultural context of food variety in Brazil, contributing, in this way, for the debate about the new rural development of food production. It was also verified the need of better articulation and approach of the movement to the producers, with the aim to establish a broader dialogue about the legislation for artisan cheese. / CNPq: 130563/2014-5

Made available in DSpace on 2016-06-02T18:57:20Z (GMT). No. of bitstreams: 1 2056.pdf: 11641586 bytes, checksum: 5c98117a4dd91f552ad89d2becc2534c (MD5) Previous issue date: 2008-09-29 / The intensification concerning the multiple uses of water in the Piracicaba River Basin has led to alterations in the aquatic ecosystem, affecting the fishery supplies with a deleterious influence and causing great limitations to the survival and social reproduction of traditional communities. The way of life within Tanquã community is centered on the artisan fishery, which implies on the fabrication of their own corporal techniques, ways of production, knowledge, beliefs and habits all characterized as traditional. The deterioration of the aquatic ecosystem acts as a factor of dissolution in this way of life. On one hand, by compromising and restricting the use of natural resources and on the other hand, by demanding the modernization of such techniques so that the artisan fishery can gain additional life span. There is reluctance within the Tanquã that appears as representations of their universe, in the oral memory, and the extra-economic sociability, providing a counterview to a full commitment to the market rationality. Between the desire to resist, affirming itself as a valid way of life, and the need to adjust to the dynamics of macro social environments, the Tanquã community lives the duality of a collective identity, sometimes strengthen, and sometimes threatened. As a case study, the objective of this article presents a brief description and a sociological analysis of the process, from a qualitative approach, in which the oral account and the direct observation are blend to characterize the structure and the dynamics of social production of the community. / A intensificação nos múltiplos usos das águas na Bacia do Rio Piracicaba tem promovido alterações no ecossistema aquático com decorrente influência deletéria sobre os estoques dos recursos pesqueiros, o que implica em limitações na sobrevivência e reprodução social de comunidades tradicionais. A Comunidade Tanquã do Piracicaba têm o modo de vida centrado na pesca artesanal, afirmando-se nas práticas de trabalho que envolve a particularidade das técnicas corporais, dos meios de produção, saberes, crenças e hábitos caracterizados como tradicionais. A deterioração do ecossistema aquático age como um fator de dissolução deste modo de vida, de um lado comprometendo e restringindo o uso dos recursos naturais, e de outro exigindo a modernização de tais práticas para que a pesca artesanal alcance uma sobrevida. A resistência aparece nas representações de mundo, na memória oral, na sociabilidade extra-econômica, conferindo um contraponto a uma adesão plena à racionalidade de mercado. Entre o desejo de resistir, afirmando-se como um modo de vida válido, e a necessidade de ajustar-se à dinâmica socioambiental macro envolvente, que no caso se manifesta como deletéria à qualidade do ecossistema aquático, a comunidade do Tanquã vive na dualidade da identidade coletiva, que ora se reforça ora se sente ameaçada. Como um estudo de caso, esta dissertação objetiva apresentar uma descrição sucinta e uma análise sociológica do processo a partir de uma abordagem qualitativa de pesquisa, na qual os relatos orais e a observação direta mesclam-se para caracterizar a estrutura e a dinâmica da produção social do lugar.

Rapide et de grande ampleur, la propagation de la fonte de l’aluminium de récupération constitue un cas remarquable de diffusion culturelle. Introduite vraisemblablement à Thiès (Sénégal), au début des années 1940, la technique s’est répandue dans toute l’Afrique, jusqu’à Madagascar et aux Comores. Quelles sont les raisons de l’adoption, par les artisans africains, d’un tel système technique ?Par quels canaux et pour quelles raisons le savoir a-t-il pu se propager à travers le continent ?Comment a-t-il été approprié ?Quelles sont, en d’autres termes, les « routes de l’aluminium » en Afrique ?Voici quelques-unes des questions qui sont abordés dans cette thèse. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

In Sweden, the environmental quality goal 13 for A Varied Agricultural Landscape, that combines environment, food production and rurality and aims at keeping the agricultural landscape open, was considered as not achieved in 2016. One of the reasons for this non-achievementis the agricultural intensification and specialisation and in turn the decrease in number of pastures during the 20th century, threating thus habitats, diversity and values resulting from a continuous, traditional use of the land commonly called ‘biological heritage’. This study focuses on the traditional and sustainable animal husbandry using pastures, contributing to both the preservation of biological heritage and the production of high-quality food. It relies upon the assumption that the link between artisan food production and biological heritage is not well understood nor highlighted by the different actors taking part into the process of producing, selling, buying and consuming artisan food products in the rural areas of mid-northern Scandinavia, and therefore the study attempts to contribute with knowledge about how biological heritage is understood, described and communicated within this context. For such purposes the study takes a phenomenographic approach with biological heritage, pastures and artisan food products as the conceptions to be tested, and consists of semi-structured interviews of three agencies and surveys of artisan food producers and consumers. It adopts an environmental communication theoretical framework where a model is suggested for investigating actors’ learning process of biological heritage, from agencies to producers to consumers. The results reveal three phenomenographic categories showing that agencies and producers understand biological heritage in terms of (1) cared habitat and cared species, (2) historical and cultural know-how and (3) animals and their tasteful diet, and it is showed that the necessity of a continuous, traditional human use was less put forward than the cultural dimension of biological heritage. Also producers communicate about biological heritage to consumers through both their products and their actions. Furthermore the results show that consumers’ understandings of biological heritage are similar to the agencies’ and producers’ phenomenographic categories and that they could make a link between artisan food production and biological heritage, but only to some extent. Finally, in order to create an economic value for such products, a sense of place for pastures is argued to be a basis for people’s willingness to take care of and safeguard pastures. This study can be the starting point for further research, especially for investigating how producers actually interact with consumers about biological heritage when selling their products.

Practices of sculpture and geography have collaborated ever since Stone Age humans hoisted up rocks to point them into the air. The ephemerality of life was rendered in a circle of forms and mass that celebrated the union of sky, earth and dwelling. Through the manipulation of stone, the land became a place, it became a home, it became situated and navigable. As millennia unfolded, the land was written with the story of itself. The creativity woven into the story of place is an evolution of material collaborations. In recent decades, academic geographers have explored the realms of creativity in their work, and sculptors have critically engaged with the nature of place. I have united these disciplines in the exploration of a truth of materials. The aim of the research was to investigate the relationship between making and place. The structure of my PhD focussed on the development of a transdisciplinary research environment that could host a range of creative practices around stone-working. I developed a long-term relationship with Trenoweth Dimension Granite Quarry, working as an apprentice sawman and mason. Here, I examined the everyday practices of labour and skill development, from which emerged deeper material and human interactions, that went on to inform my sculpture and modes of making. Arguing that granite has threads of relational agency embedded within its matrix, I initiated a series of practices that made use of my emerging knowledge as a granite-quarry worker, cast within experimental sculpture, texts, performance, photography and film. By formulating my methods around the vibrancy of matter, I disclosed new materialisms and more-than-human relations. This assemblage of documentation and artwork records and reflects on a series of practices and processes in tension. This productive tension arises from a re-rendering of artisanal practice as a research method; ushering in modes of representation as loops of experience and interpretation take place across different sites, spaces and times of mediation. The objective for the PhD research was to present a critically informed practice of sculpture-as-ethnography that could not only provide a model for practice-based research in general, but also significantly expand what might be meant by stone-work. This PhD by alternative submission is presented as a Commentary with an accompanying Digital Archive website.

This thesis analyzes data from seven Swedish craft cider entrepreneurs to examine how they respond to challenges within the entrepreneurial contexts–institutional, business, social, and spatial–defined by Welter. Thematic analysis is used to identify the major challenges within each context and then Bourdieusian capital theory is employed to analyze how these artisan entrepreneurs use, convert, and combine capitals to overcome obstacles. Findings reveal that two major challenges are present within the various contexts–cider’s symbolic deficit in Sweden and the formation of a Swedish craft cider community and industry. In the face of these challenges Swedish craft cidermakers demonstrate creativity in using and converting non-economic capitals–social capital in particular.

Vermont is widely-regarded as a hub for artisan cheese production, with more cheesemakers per capita than any other US state. Despite significant local and statewide support, out-of-state markets are essential to the long-term success of these small-scale producers. In spatially extended supply chains, retailers occupy a pivotal position. This thesis aims to examine the intermediary role of retailers in building social networks between producers and consumers. Consumers appreciate Vermont artisan cheese, in part, because it is embedded in a complex network of social values and relations related to where and how it is produced. Guided by social theories of consumption, sensory experience, and exchange, a transdisciplinary, mixed-methods study was conducted in order to better understand cheese retailers' role in this network. First, participant observation and ethnographic interviews at a specialty cheese shop demonstrated how highly specialized cheese retail professionals (known as a cheesemongers) communicate social information about Vermont artisan cheese to consumers in practice. Specialized narratives are transmitted to consumers through in-store signage and social interactions. These stories also involve the cheesemonger as traveler, developing specialized knowledge of Vermont artisan cheese by traveling to the place of production. A second site of participant observation at a national conference for artisan cheese professionals added breadth to the study. While cheesemongers appear to agree that a certain level of intrinsic quality is necessary for consumer acceptance and preference, many also see the importance of, and derive pleasure from, knowing and conveying the social story, and perceive this to be an important part of their professional role and identity. Second, social network analysis provided a broader examination of relationships between Vermont artisan cheesemakers and retailers in the region. In order to collect data on these relationships, an online survey was distributed to Vermont artisan cheesemakers and follow-up phone calls were conducted. A combination of statistical and network analyses was used to visualize the social structure of the network, identify key actors, and examine qualities of the relationships. The findings suggest that the social network for Vermont artisan cheese is a multiplex system, in which a cheesemaker's relative position in the network is the result of a complex balance--and sometimes compromise--between a cheesemaker's needs, goals, and desires and their various retailers' needs, goals, and desires. Moreover, geographic proximity, time, experience, convenience, cost, history, loyalty, and regard all appear to be important factors in the type of relationship cheesemakers have with retailers, and whether a relationship is established at all.

Abstract Close to the Source is comprised of a series of nonfiction vignettes about the artisan, agricultural, and culinary methods of Italy. In Close to the Source the human relationship with nature, food, and art is reexamined while a series of rich characters help bring the material to life. Through interviews, research, and first-hand experiences, the author attempts to archive fading artisan and food-related techniques and rituals. In the process, a cultural critique about the importance of the practical arts in contemporary times emerges. The thesis contains four sections: Terra/Land; Art and Artisans; Pane/Bread; and Compagnia/Company.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-06-10T13:56:13Z No. of bitstreams: 1 Cíntia Andréa Dornelles Teixeira_.pdf: 8023575 bytes, checksum: 78e1c840911900923e47e62909e38e78 (MD5) / Made available in DSpace on 2016-06-10T13:56:13Z (GMT). No. of bitstreams: 1 Cíntia Andréa Dornelles Teixeira_.pdf: 8023575 bytes, checksum: 78e1c840911900923e47e62909e38e78 (MD5) Previous issue date: 2016-01-22 / Nenhuma / Esta Tese analisa o saber fazer do processo formador de quem trabalha com artesanato em São Borja -RS, em diálogo com o processo formador da mulher-professora no exercício de aprender a caminhar para si. O percurso metodológico foi embasado nas leituras dos estudos de gênero e de Marie Christine Josso, por meio da pesquisa-formação. A metodologia de coleta consiste na observação participante, na (auto)biografia e nas entrevistas com artesãs de três grupos de mulheres-artesãs: uma extensionista da EMATER, um instrutor do SENAR e uma consultora do SEBRAE. Foram realizadas imersões na localidade nos anos 2011 e 2012. Entre os resultados encontrados, observou-se que, por meio das leituras do reconhecimento das experiências das mulheres na história, a atividade artesanal ainda é um trabalho que não é reconhecido e visibilizado como um saber fazer, muito menos como uma atividade que promove o saber pensar. Amparadas nos argumentos de pesquisadoras que reconhecem e visibilizam o fazer artesanal como processo formador, tanto as mulheres- artesãs quanto a mulher-professora podem reler seus saberes e fazeres como novas aprendizagens que propõem um caminhar para si. A partir das experiências das mulheres artesãs, é possível tecer diálogos com o saber fazer da mulher-professora, cuja aproximação levou a uma análise do caminhar para si (auto)biográfico da mulher-professora. O estudo demonstra que, por meio da observação e análise do saber fazer das mulheres artesãs, diferentes saberes de ser mulher-professora foram identificados e reconhecidos. / This thesis analyzes the know-how of the forming process of those who work with crafts in San Borja-RS, in dialogue with the forming process of the woman-teacher in the practice of learning how to move for oneself. The methodological route was based on readings of gender studies and of Marie Christine Josso through the research-training. The collection methodology consists of participant observation in the (auto)biography and interviews with artisans of three groups of women-artisans: a she extensionist of EMATER, a he instructor of SENAR and a she consultant of SEBRAE. Immersions were held in the locality in the years of 2011 and 2012. Among the results found out, it was observed that through the readings of the recognition of women’s experiences in history, artisanal activity is still a work which is not recognized and visualized as a know-how to do, much less as an activity that promotes the know-how to think. Supported by the arguments of she researches who recognize and turn visible the artisanal know-how as a training process, both women-artisans and woman-teacher can reread their knowledge and practices as new learnings that propose a move for oneself. From the experiences of the women-artisans, it is possible to weave dialogues with the know-how to do of woman-teacher, whose approach had led to an analysis of the move to oneself (auto)biographic of the woman-teacher. The study shows that, by means of observation and analysis of the know-how to do by the women-artisans, different knowledges of being a woman-teacher were identified and recognized.