Nous définissons l’instant plasticien en céramique comme l’unité temporelle d’un processus formel – à la main - d’une pièce d’argile qui subira une cuisson. Maillon syntaxique du présent plasticien, il est geste cogito-sculpteur qui recouvre différentes modalités. Habité de multiples composantes, nous analyserons son contenu en exposant d'abord ses contraintes techniques. Nous prendrons appui sur un exemple personnel pour expliquer sa composante lest cognitif – les connaissances techniques, artistiques, scientifiques et historiques -, nous analyserons également les constituants de la culture gestuelle. Ces deux composantes distinctes modèlent plus ou moins sciemment cet instant spécifique comme l’esthétique des formes qu’il promeut. Nous préciserons la spécificité de celui personnel en puisant dans l’Histoire de l’Art céramique ; nous aborderons la culture raku du Japon médiéval d’où provient le mode de cuisson employé pour les œuvres personnelles en référence. Si depuis le début de l’Art céramique, chacun des domaines qui constituent le contexte sociétal a autant modelé ses arguments poïétiques que l’esthétique qu'il promeut, celui personnel puise ses arguments créatifs et sa posture d’apologie des beautés de la planète, d’un questionnement sur l’origine des désordres et déséquilibres environnementaux qui forment le fond de notre contemporanéité. Motivé d'une intention réceptionnelle – autre composante -, celui personnel espère susciter chez le regardeur une réflexion sur les causes probables de la dégradation des biotopes existants comme sur la gestion actuelle d’une entité qui est au fondement du faire technique céramique, à savoir le respect du temps de la nature. / We define the plastician instant in ceramic work as temporal unit of a formal process - by hand – of a work in clay, which will necessarily be subjected to firing. Syntactic link of the plastician present, it is a cogito-sculptor's gesture which covers different modalities. Filled with multiple components, we’ll analyze its content by first exposing its technical constraints. We'll refer to a personal example to explain its lest cognitive component – the technical, artistic, historical and scientific knowledges -, and we'll analyze the constituents of the gestural culture. These two distinct components model more or less knowingly this specific instant, as well as the resulting aesthetic shapes. We will identify the specificity of the personal one by exploring the History of ceramic Art ; we will address the raku culture's past, born in medieval Japan where the firing technique used for personal art works in refer comes from. If, since the beginning of Ceramic Art, each of the domains that constitute the societal context modeled its poïetic arguments as well as the aesthetic this special instant constitutes, this particular one on which we’ll base our analysis draws its creative arguments and its planet beauty's vindication posture from a questioning about the origin of disturbances and environmental imbalances which are the essence of our contemporary world. Filled with a receptional intention – another component –, this personal one intents rouse the viewer to reflect on the probable causes of the existing biotopes' degradation, as well as on the current management of an entity which is fundamental in the ceramic technical work, namely the respect of nature's time.

Ce mémoire propose d’explorer quel(s) statut(s) sont accordés aux compositeurs contemporains dans le contexte musical parisien des premières années du XXe siècle à travers une analyse de la presse musicale spécialisée de l’époque. Le corpus de notre recherche est constitué de trois revues, chacune ancrée dans des sphères de sociabilités bien distinctes : La Revue musicale (histoire et critique), une « revue savante » proche du milieu de la Schola cantorum ; Le Mercure musical, une « petite revue » d’avant-garde militant en faveur de la musique de Maurice Ravel ; et Musica, une « grande revue » destinée à un lectorat issu de la petite bourgeoisie en plein essor, essentiellement féminin et pratiquant la musique en amateur. Cette étude révèle que la traditionnelle opposition entre la conception du compositeur-artisan et celle du compositeur-génie issue de la fin du XVIIIe siècle et du XIXe siècle voit apparaître un troisième joueur à l’aube du XXe siècle : le compositeur-vedette, un statut qui était jusqu’alors généralement réservé aux interprètes. Ces trois statuts coexistent dans le panorama de la presse musicale du tournant du XXe siècle, et leur promotion par certains organes de presse spécifiques répond à une logique tantôt esthétique, tantôt économique. Il se dégage de cette étude que la presse musicale constitue non seulement un indice des variations qu’a subies la figure du compositeur dans le spectre de la grandeur en culture, mais qu’elle a également joué un rôle actif dans ces transformations. / This master thesis proposes a look of various statuses given to contemporary composers in the Parisian musical context at the beginning of the 20th century, through an analysis of the specialised press of that period. The corpus of my research consists in three different journals, each one with its own distinct sphere of sociability: La revue musicale (histoire et critique), a scholarly publication close to the Schola cantorum; Le Mercure musical, an avant-garde publication which has championed Maurice Ravel’s music; and a third, Musica, a magazine with a much larger audience, intended for the growing middle class, and which readership is mostly constituted of women and music learners. This thesis reveals that the traditional opposition between the concepts of craftman-composer and of genius-composer — a concept deriving from the end of the 18th century and the 19th century — sees the rise of a third component at the beginning of the 20th century: the star-composer, a status which was until then only limited to performers. Those three statuses coexisted throughout the musical press during the early 20th century. Their promotion by specific publications was in some cases done for aesthetic reasons and in others for economical motives. The outcome of this study reveals that the musical press is not only an indicator of the changes in the composers’ status within the array of cultural greatness, but it has also played an active role in these transformations.

Présenter Charles de Bovelles (1479-1566) au coeur de la question de l'humanisme qui préoccupe toutes les couches sociales, politiques, économiques et religieuses, c'est essayer de découvrir sa pensée sur l'homme et de l'homme qui a son socle dans l'adage socratique " Homme, connais-toi toi-même ". L'humanisme étant la célébration de la dignité de l'homme, il demeure nécessaire de connaître qui est cet homme pour en découvrir sa dignité. Et pour Bovelles, il n'y a pas meilleur lieu de connaissance de l'homme que soi-même. Se découvrir homme véritable, homme raisonnable, artisan de soi et médiateur, homme du monde ou homme-monde, homme cultivé, vertueux ou sage consentant à la divinité et résistant au néant, c'est entrer dans une lutte pour tenir bon dans cette dignité humaine. Le 'Sistere in homine' par la connaissance de soi en tant que moyen d'humanisation trouve son effectivité, au cœur de la théosophie bovillienne, dans la lutte contre le péché et l'ignorance de soi au moyen non seulement de la philautie mais aussi de la connaissance de soi en Jésus-Christ. C'est en Lui, authentique Humaniste de tous les temps, que l'homme se découvre comme vestige et indice de Dieu qui l'invite à la béatitude. / To present Charles de Bovelles (1479-1566) in the heart of the question of humanism which concerns all social strata, political, economic and religious, means to discover his thoughts about the man whose base is the Socratic saying " Man, know yourself ". Humanism is the celebration of the dignity of man, so it remains necessary to know who this man is to discover his dignity. So, for Bovelles, there is no better place for knowledge of human than oneself. To discover oneself as a real, reasonable man, a self-architect and mediator, a human of the world or human-world, as a cultured, virtuous or wise man consenting to divinity and resisting to nothingness, that means to enter into a struggle for holding in this dignity. In the heart of the bovilian Theosophy the 'Sistere in homine', self-knowledge as a way to humanizing, finds its effectiveness in the fight against sin and self- ignorance not only by means of philautie but also of self-knowing in Jesus Christ. It is in Him, genuine humanist of all time, that human reveals oneself as a relic and sign of God who invites him to bliss.

[pt] Esta pesquisa tem como objetivo realizar um estudo acerca das fronteiras entre o Campo do Design, o Campo da Arte e o Campo do Artesanato. Compreendemos que ambos se encontram por serem percebidos hegemonicamente como profissões resultantes de uma prática criativa, e desse modo analisaremos quais as semelhanças e distinções entre os produtos ou mercadorias que circulam entre n ó s e como são legitimados para o consumo. Com base no que se entende hoje por criatividade, conduziremos uma argumentação pautada na figura do artista e na construção histórica da crença do gênio criativo e autônomo. Em uma sociedade cuja a estrutura fundamental de consumo é capitalista, desejamos localizar a inserção do artista, do designer e do artesão neste cenário comercial. Analisaremos também o que é tido como cultura erudita e cultura popular, em razão de que essas noções estão intimamente conectadas com as práticas profissionais em questão. Do mesmo modo, examinaremos o valor de uso e o valor de troca simbólica do s objetos, entre o público consumidor e nos espaços destinados a venda e a exposição das obras de arte, das peças de artesanato e dos objetos de design. Esta pesquisa se desenvolve em um contexto brasileiro e apresentaremos uma investigação empírica realizada com artesãos, artistas e designers nos estados de Pernambuco, Paraíba e Alagoa. Enfim, desejamos verificar como se constituem as diferenciações simbólicas destes objetos tidos como especiais em relação aos demais, e como podemos estabelecer classificações que possam distinguir cada campo específico e os profissionais que neles atuam. / [en] This project analyzes the boundaries between the Field of Design, the Field of Art, and the Field of Handicrafts. We understand that each is hegemonically perceived as a profession resulting from a creative practice and we will analyze the similarities and differences between the products or goods circulating among us and how they are legitimized for consumption. Based on what is known today about creativity, we will lead an argument based on the role of the artist and the historical construction of the creative and autonomous genius. In a society whose fundamental structure of consumption is capitalist, we aim to locate the insertion of the artist, designer, and artisan in this commercial setting. We will also analyze what is considered erudite culture and popular culture as these concepts are closely connected to the professional practices in question. Similarly, we will examine the value of use and the value of symbolic exchange of objects within the consumer public a nd the spaces intended for selling and exhibiting the works of art, handicrafts, and design objects. The research focuses on the Brazilian context as we will present an empirical investigation conducted with artisans, artists, and designers in the states of Pernambuco, Paraíba and Alagoa. Finally, we aim to verify how the symbolic differentiation of these objects is considered special compared to others and how we can establish classifications that can distinguish each field and the professionals who work w ithin them.

Este trabalho investiga o lugar da téchne no mundo antigo por meio dos instrumentos musicais, enquanto artefatos físicos e modelos matemáticos, geométricos e mecânicos. A escassez de informações sobre as técnicas de construção dos instrumentos leva a examinar outras atividades artesanais, especialmente aquelas ligadas à carpintaria e ao trabalho com metais. O exame da natureza do poder encantatório da música e sua relação com os instrumentos será realizado por meio da abordagem de figuras como as musas e os daimónes, e também da organização concebida pelos filósofos no período clássico. Apesar do lugar de inferioridade que importantes pensadores conferiram aos artesãos, evidências mostram que a téchne dos artífices marcou profundamente o pensamento grego. No que diz respeito à música, o papel do luthier foi fundamental na medida em que proporcionou o substrato material para desenvolvimentos na linguagem musical. Além dos artefatos, os modelos matemáticos, geométricos e mecânicos da música também nasceram nas oficinas. Ao serem dominados pelos músicos, tais rtefatos e modelos serão igualmente responsáveis por grandes transformações musicais. / This work investigates the Greek notion of téchne in the ancient world through its musical instruments, in the form of physical artifacts and mathematical, geometrical and mechanical models. Because of the lack of information about ancient lutherie, it examines other forms of craftsmanship, like carpentry and metallurgy. The inquire into the nature of the musical powers of music, and its relation to musical instruments, will be done by the examination of characters like muses and daimónes, and also of the organization models of the classical philosophers. Despite the inferior place that great philosophers give to the technicians, this study sustains that they had deeply influenced the Greek thought. Regarding music, its possible to say that the luthiers role was fundamental because the material foundation conducted developments in the musical language. Besides the artifacts, the mathematical, geometrical and mechanical musical models were born in the workshops. Artifacts and models, mastered by the musicians, will be equally responsible for the musical developments.

Dans la Normandie médiévale, à partir de la fin du XIIIe siècle, le terme de métier peut désigner une catégorie d’institutions professionnelles reconnue par les contemporains. À partir de cette époque, les modalités d’application de la réglementation économique propre à ces métiers émergent dans la documentation. Elles se caractérisent notamment par le rôle de gardes désignés avec la participation du groupe professionnel régulé. Cette évolution accompagne la deuxième révolution de l’écrit, qui accentue la mise par écrit des normes. Les statuts de métiers, qui fixent le fonctionnement d’organisations professionnelles, s’intègrent dans le développement d’une réglementation plus détaillée, dont la diffusion géographique est corrélée à la hiérarchie urbaine. Le recoupement des sources normatives avec les archives judiciaires et comptables a permis de compléter le panorama des institutions de métiers normandes, qui inclut des bourgs comme Elbeuf ou Neufchâtel-en-Bray, voire des activités rurales comme la poterie ou la métallurgie. L’analyse quantitative d’un corpus couvrant 60 ressorts juridictionnels atteste sa représentativité et suggère une diversification des institutions de métiers, au-delà des biais documentaires qui ont parfois trompé l’historiographie, notamment à propos de la conflictualité. L’amélioration des sources disponibles autorise des études de cas sur Rouen, mais aussi sur la seigneurie de Louviers, sur les baronnies d’Elbeuf et de Roncheville et sur la minière de Beaumont à Saint-Rémy-sur-Orne. Les comparaisons révèlent les limites de l’autonomie des organisations de métiers dans la sanction des règles professionnelles, malgré quelques exceptions comme les juridictions corporatives du maître des férons de Normandie ou du prévôt des tanneurs de Rouen. Cependant, l’expertise sur la qualité et sur la qualification, tout comme les procédures d’entrée en apprentissage et de maîtrise, paraissent souvent échapper aux autorités jusqu’à la fin du XIVe siècle, et le recours aux juridictions supérieures reste fluctuant au XVe siècle. L’identité des organisations de métiers se polarise autour de leurs gardes, assermentés devant les autorités, plutôt que de se cristalliser dans des communautés dont les contours restent mouvants. De ce fait, l’action collective des groupes professionnels ne se formalise que très progressivement et sort souvent du cadre des institutions de métiers, même si la consultation des communautés est une étape importante dans la genèse de la réglementation professionnelle. La formalisation des institutions de métiers relève d’un développement du droit écrit, dont les usages par des associations professionnelles ou par les autorités varient en fonction des circonstances. / In medieval Normandy, from the end of the XIIIth century, the word métier (craft) could refer to a category of profession-based institutions that were clearly identified by the contemporary society. Dating from that period, the documentation also sheds a new light on the modes of enforcement of the economic rules which are particular to these craft institutions. Among their main characteristics was the role of craft officers (gardes du métier) who were appointed in agreement with the craft group. This evolution goes with the second "writing revolution" which developed the use of written norms. In this study, craft rules are therefore defined as a type of source which sets the structures of craft organisations. The development of this type of source was only part of the expansion of more detailed professional rules, whose geographic diffusion reflects the urban hierarchy. Judicial sources and accounts completed those normative sources and broadened the spectrum of craft institutions by including small towns like Elbeuf or Neufchâtel-en-Bray, as well as rural activities like pottery or metallurgy. The quantitative analysis of sources covering over 60 jurisdictions shows their representativity and a growth that does not entirely come from documentary biases. The diversity of places and activities ruled by craft institutions grew at the end of the Middle Ages. Better sources make case studies possible not only in Rouen but also in the jurisdictions of Louviers, of Elbeuf, of Roncheville and of the mine of Beaumont at Saint-Rémy-sur-Orne. The comparisons reveal how limited the autonomy of craft organisations concerning the enforcement of rules could be, despite a few exceptions like the master of the ironworkers of Normandy or the provost of the tanners of Rouen who had jurisdiction over their peers. However, until the end of the 14th century, the authorities seemed to lack control over the expertise on the quality of goods and on qualification, as well as over the formalities required for becoming an apprentice or a master. Even in the 15th century, the superior courts did not always intervene in such cases. The identity of craft organisations revolved more around their officers, who were sworn before higher authorities, than it depended on the shifting boundaries of the working communities. As a consequence, the collective action of workers very slowly took a formal aspect and often took place outside the craft institutions. Nevertheless, craft communities were consulted as a group about their rules. The development of formal craft institutions at the end of the Middle Ages can be linked to the growing use of written laws that were claimed by professional associations or by the authorities according to the context.

Made available in DSpace on 2016-12-23T14:01:47Z (GMT). No. of bitstreams: 1 Sheila Siqueira da Silva.pdf: 1307882 bytes, checksum: cda2e079ab3f243c3fd43711f914b57d (MD5) Previous issue date: 2013-04-24 / This research aimed to historically investigate the Professional Education Federal Net, having as main focus the Artisan Apprentice Schools of Espírito Santo State (EAA-ES), between 1909 and 1930, its foundation and maintenance, regarding the proposals, functions and management actions. We start from the pretext that this Net, whose the initial representatives were the Artisan Apprentice Schools of Espírito Santo State (EAA-ES) founded in 1909 under the Decree 7.566, September 23rd, by President Nilo Peçanha, was one of the projects which were inserted in a greater proposal that was the construction of Brazilian nation from the idea of current modernity from that time. This way, we tried to identify which progress, work and educational representations were suitable by the intellectuality that defended the foundation of these schools and which actions (practices) were managed from this suitable representations. Thus, we based on Roger Chartier s thought and privileged the following sources: legislations related to the EAA s; reports from Business, Agriculture, Industry and Commerce State Department; reports and messages from the Presidents of Espírito Santo State; and documents issued by EAA-ES. We conclude that the first generation of republican intellectuality idealized the Professional Education Federal Net and forged its intentionality; a second generation created the EAA s and defined their functionality in a moment of disappointment about the direction the Young Republic was bound for; and a third generation, named modernist, remodeled the EAA s aiming to render the professional teaching more efficient. Then, throughout this research other functions for the EAA s were revealed which justify their distribution to cities that had advanced a little or did not advance anyway concerning industrialization, like Vitória, the capital of Espírito Santo State, that received a unit of this institution. More than qualifying labor force for the industry, the EAA s were employed to spread a new order, whose goal was to train a mass of workers, molded into the perspective of disciplined work and maintenance of the order. In reference to the EAA-ES, we can note that, in a general way, they presented the same difficulties to execute their functions as their congeners: lack of qualified staff to work in the workshops, inappropriate buildings, a high evasion of apprentices; and difficulty of the population in arrogating the benefits of the institution. Yet, it was possible to observe the curious attempt of extinguishment of the EAA-ES, by the government of Espírito Santo State / A pesquisa objetivou investigar historicamente a Rede Federal de Educação Profissional, com foco na Escola de Aprendizes Artífices no Espírito Santo (EAAES), entre os anos de 1909 a 1930, sua criação e manutenção, considerando as intencionalidades, funcionalidades e ações gestadas. Partimos do pressuposto de que essa Rede, tendo como representantes iniciais, as Escolas de Aprendizes Artífices (EAA s), criada em 1909 por meio do Decreto 7.566, de 23 de setembro, pelo Presidente Nilo Peçanha, foi um dentre outros projetos que estavam inseridos num propósito maior que era construir a nação brasileira a partir da ideia de modernidade corrente na época. Dessa forma, procuramos identificar quais representações de progresso, de trabalho e de educação foram apropriadas pela intelectualidade que defendeu a criação dessas escolas e quais ações (práticas) foram gestadas a partir dessas representações apropriadas. Para tanto, nos baseamos no pensamento de Roger Chartier e privilegiamos as seguintes fontes: legislação referente às EAA s; relatórios do Ministério dos Negócios da Agricultura, Indústria e Comércio; relatórios e mensagens dos Presidentes do Estado do Espírito Santo; e documentos produzidos pela EAA-ES. Concluímos que uma primeira geração da intelectualidade republicana idealizou a Rede Federal de Educação Profissional e pensou suas intencionalidades; que uma segunda geração criou as EAA s e definiu suas funcionalidades num momento de desencanto com os rumos que a jovem República estava tomando; e uma terceira geração, denominada modernista, remodelou as EAA s objetivando tornar o ensino profissional mais eficiente. Dessa forma, outras funcionalidades foram reveladas para as EAA s, ao longo de nossa pesquisa, que justificam sua distribuição em cidades que pouco ou nada haviam avançado em termos de industrialização, como era o caso de Vitória, capital do estado do Espírito Santo, que também recebeu uma unidade dessa instituição. Isto é, mais do que preparar mão de obra para a indústria, as EAA s foram utilizadas para disseminação de uma nova ordem, onde o objetivo da instituição era adestrar uma massa de trabalhadores, moldá-los na perspectiva do trabalho disciplinado e da manutenção da ordem. Com relação à EAA-ES, observamos que, de maneira geral, apresentou as mesmas dificuldades na execução de suas funcionalidades que as suas congêneres: falta de pessoal capacitado para atuar nas oficinas, prédios inapropriados, grande evasão dos aprendizes; e dificuldade de apropriação pela população dos benefícios da instituição. Ainda com relação à EAA-ES, observamos curiosa tentativa de apagamento dessa por parte do governo do estado do Espírito Santo

Esta dissertação tem o objetivo de analisar as mudanças ocorridas nas condições de vida da população humana, na comunidade Canto do Mangue em Canguaretama (RN), e as possíveis relações com a introdução da carcinicultura a partir de 1980. Foram utilizadas técnicas de pesquisa qualitativa (análise documental, entrevistas e observações in loco) e quantitativa (análise de tendência central, dispersão e correlação). Constatou-se que as alterações ocorridas no espaço local estão associadas às pressões ocasionadas por fatores de ordens externa e interna, como a implantação e expansão dos projetos de carcinicultura, que levaram ao avanço da especulação imobiliária e intensificaram o desmatamento das áreas de manguezais ao longo do estuário do rio Curimataú/Cunhaú, contribuindo para o abandono da agricultura de subsistência nessa comunidade, além de estar levando também ao abandono da pesca artesanal, por conseguinte, a perda dos saberes da tradição aplicados na realização dessa atividade. Verificou-se, ainda, que as alterações no uso do território e dos recursos ameaçam a biodiversidade e têm contribuído para a redução dos estoques pesqueiros do município de Canguaretama e, conseqüentemente, do Canto do Mangue, sobretudo o estoque de caranguejo-uçá (Ucides cardatus). Os resultados obtidos permitiram concluir que a produção em larga escala numa economia de mercado, como se constitui a carcinicultura, desconsidera a busca de equilíbrio nas configurações territoriais. Assim, as perturbações ambientais decorrentes da carcinicultura têm conseqüências de dimensões sócio-culturais, afetando diretamente o modo de vida dos moradores do Canto do Mangue. As empresas de camarão têm absorvido parte dos pescadores que estão deixando a atividade pesqueira. No entanto, o baixo nível de escolaridade associado à idade são fatores que deixam muitos deles fora do quadro de funcionários dessas empresas. Portanto, há necessidade de se criar condições que possibilitem o desenvolvimento da carcinicultura sem colocar em risco a sustentabilidade da região. / The objective of this research was to analyze the changes occurred in the conditions of life in the human population, at community Canto do Mangue in Canguaretama (RN), and also their possible relationships with the introduction of the shrimp creation in captivity after 1980. Techniques of qualitative research were used (documentary analysis, interviews and observation in locus ) and quantitative (analysis of central trend, dispersion and correlation). It was evidenced that the occurred alterations in the local space are associated to the pressures caused by factors of external and internal order, such as implantation and expansion of the creation of shrimp in captivity projects. This led to the advance of the real estate speculation and intensified the deforestation of mangroves areas at the estuary of the river Curimataú/Cunhaú. It contributed to the abandon of the agriculture of subsistence in this community, as well as of handcraft fishing activity. Consequently, there was a loss of knowing traditional in the accomplishment of this activity. It was still verified that alterations in the use of territory and the resources threaten biodiversity and have contributed to the reduction of fishing supplies boats of the community of Canguaretama and consequently, the decrease of the quantity of shrimp (Ucides cardatus) at Canto do Mangue. The results allowed to conclude that the production in wide scale inside market economy, it disrespects the search of balance in the territorial configurations. Thus, the environmental disturbances caused by the shrimp creation of in captivity have social and cultural consequences, affecting directly the way of life of the Canto do Mangue inhabitants. The shrimp companies have employed part of the fishermen that are leaving the fishing activities, however the low level of scholarship and old age are factors that leave them out of team of employees of these companies. Therefore, conditions should be created to make possible to conciliate the shrimp creation in captivity and sustentability of the region.

The objective of this study was to develop a decision making tool to determine economic feasibility of artisan cheese operations. A survey of current Oregon artisan cheese companies was used to gain knowledge of the fixed and variable costs associated with cheese production and business start-up. The data from this survey was used to design a business model within Microsoft Excel 2010 that effectively describes the business environment in which an artisan cheese company could exist. Economic feasibility was determined through net present value (NPV) and Internal Rate of Return (IRR) of the investment. The model estimates size of the production and aging facilities based on production volume and cheese types produced. The application of the tool is demonstrated in this study through testing of several scenarios within each area of investigation: impact of milk pricing, cheese styles, product retail price, and geographical location of the creamery. The model also predicts the minimum product retail pricing necessary to ensure a positive NPV of the potential venture at several sizes of production and across several different styles of cheeses. / Graduation date: 2012

Este trabalho investiga o lugar da téchne no mundo antigo por meio dos instrumentos musicais, enquanto artefatos físicos e modelos matemáticos, geométricos e mecânicos. A escassez de informações sobre as técnicas de construção dos instrumentos leva a examinar outras atividades artesanais, especialmente aquelas ligadas à carpintaria e ao trabalho com metais. O exame da natureza do poder encantatório da música e sua relação com os instrumentos será realizado por meio da abordagem de figuras como as musas e os daimónes, e também da organização concebida pelos filósofos no período clássico. Apesar do lugar de inferioridade que importantes pensadores conferiram aos artesãos, evidências mostram que a téchne dos artífices marcou profundamente o pensamento grego. No que diz respeito à música, o papel do luthier foi fundamental na medida em que proporcionou o substrato material para desenvolvimentos na linguagem musical. Além dos artefatos, os modelos matemáticos, geométricos e mecânicos da música também nasceram nas oficinas. Ao serem dominados pelos músicos, tais rtefatos e modelos serão igualmente responsáveis por grandes transformações musicais. / This work investigates the Greek notion of téchne in the ancient world through its musical instruments, in the form of physical artifacts and mathematical, geometrical and mechanical models. Because of the lack of information about ancient lutherie, it examines other forms of craftsmanship, like carpentry and metallurgy. The inquire into the nature of the musical powers of music, and its relation to musical instruments, will be done by the examination of characters like muses and daimónes, and also of the organization models of the classical philosophers. Despite the inferior place that great philosophers give to the technicians, this study sustains that they had deeply influenced the Greek thought. Regarding music, its possible to say that the luthiers role was fundamental because the material foundation conducted developments in the musical language. Besides the artifacts, the mathematical, geometrical and mechanical musical models were born in the workshops. Artifacts and models, mastered by the musicians, will be equally responsible for the musical developments.