Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 174-181). Also available on the Internet.

O design aliado ao artesanato é um campo de trabalho cada vez mais explorado por designers, assim como, existem muitos artesãos reunidos em grupos a fim de profissionalizar o trabalho artesanal. Também pode ser observado que o saber empírico do artesão, ligado ao conhecimento técnico do designer, profissionaliza e refina o trabalho artesanal. Desta forma, esta pesquisa tem como objetivo analisar a gestão, as intervenções de design, o uso de materiais e técnicas em grupos de artesãos do Rio Grande do Sul. O estudo apresenta as categorias artesanais e onde cada tipo de artesanato se insere, visto que há diversas formas de produzi-lo e representá-lo. A metodologia de pesquisa utilizada foi qualitativa, onde se lançou mão de questionários, entrevistas e observações à coleta de dados, realizada com seis grupos de artesãos que tiveram e não tiveram intervenção de designers. A pesquisa foi desenvolvida em três etapas: na etapa 1 – compreensão; foi realizada uma coleta preliminar e feito um plano de ação da pesquisa; na etapa 2 – captação; foi realizada a pesquisa de campo, aplicação dos questionários, observações realizadas pela pesquisadora no convívio dos grupos de artesãos e entrevistas realizadas com os artesãos; e na etapa 3 – avaliação; ocorreu a análise dos dados coletados. Os resultados dividiram-se basicamente em: pesquisa piloto e pesquisa final indicando, principalmente, que os grupos são carentes de conhecimentos e, ainda observou-se que a atuação conjunta de designers e artesãos favorece o segmento através da otimização do uso de materiais e técnicas melhorando, assim, a qualidade dos produtos e características estético-formais do artesanato. Conclui-se que as junções de design e artesanato podem ser uma importante conexão como objeto ordenador social e de geração de renda. / The design combined with the craftwork is a work camp increasingly explored by designers, as there are many craftsmen gathered in groups in order to professionalize the craftsmanship. It can also be observed that combining the empirical knowledge of the craftsman with the technical knowledge of the designer makes the craftwork more professional and refined. Thus, this research aims to analyze the management, the interventions of design and the usage of materials and techniques among artisans in Rio Grande do Sul. The study presents craftwork categories and the places in which different kinds of craftwork are present, since there are several ways to produce it and represent it. The research approach was a qualitative one and questionnaires, interviews and observations were used to collect data among six groups of artisans who had and had no intervention of designers. The research was conducted in three steps: step 1 - understanding, it was held a preliminary data collection and a research plan; step 2 - catchment, where it was conducted the field research, the questionnaires, the interviews with the artisans and the researcher's observations of the groups of artisans and craftsmen; step 3 - evaluation, was to analyze the data collected. The results were presented in two steps, the first consisting of a pilot survey and final survey, indicating mainly that the groups are lacking in knowledge and, it was also observed that the combined efforts of designers and craftsmen improve the quality of craftwork products, the optimization of the use of materials and techniques, as well as, the aesthetic value of handicraft products. It was concluded that the connection between design and crafts can be an important tool for the social ordering and income generation.

No description available.

L’artisanat au second âge du Fer est le sujet de nombreux travaux, mais il est rarement traité d’un point de vue global. Les limites géographiques retenues pour notre étude sont larges puisqu’il s’agit d’une grande partie de l’Europe tempérée. L’espace sélectionné, l’Europe celtique de la Gaule à l’Europe centrale, pousse à un aperçu global des productions. De ce choix d’une vision d’ensemble de l’espace laténien résulte une multiplication des données : des sites diversifiés à plusieurs niveaux et dans des groupes régionaux distincts, qui forment cependant une même culture matérielle. Il s’agit de dépasser les cadres régionaux, afin d’appréhender au mieux l’artisanat celtique dans son ensemble. L’évolution des formes d’habitats, dès La Tène moyenne et qui se poursuit à La Tène finale, se produit parallèlement au développement de la production et des systèmes économiques. La période, décisive à plus d’un égard pour les innovations techniques, marque l’essor de l’artisanat spécialisé. Notre analyse apporte une vision d’ensemble de l’organisation des activités artisanales afin de percevoir leur fonction et leur implantation au sein des différents types d’habitats laténiens. A cette fin, l’échantillon de sites retenus correspond aux habitats qui possèdent des marqueurs significatifs, sélectionnés selon une approche méthodologique qui permet de traiter collectivement tous les types d’artisanats, qui sont pourtant sensiblement différents. Cette démarche consiste à caractériser les activités artisanales, déterminer leur fonction et leur distribution au sein des sites, dans l’intention de proposer une nouvelle démarche de hiérarchisation de l’habitat, par rapport à l’artisanat / Many works focus on crafts in the second Iron Age, but hardly ever deal with it from an overall point of view. The geographical boundaries chosen for our survey are large since they cover a great part of temperate Europe. The selected area, Celtic Europe from Gaul to Central Europe, leads to a global overview of productions. From this very choice of an overall view of the latenien area results a multiplication of facts : diversified sites on several levels and from distinct regional groups, however forming a single material culture. We need to overtake regional limits in order to apprehend Celtic crafts in its entirety. The evolution of housing environments, from middle La Tène through to Late La Tène, occurs in parallel with the development of production and economical systems. This period, decisive in many ways for technical innovations, shows the full expansion of specialised crafts. Our analysis brings an overview of the organisation of crafts activities in order to understand their function and their settlement within several types of housing in La Tène. For this purpose, the sample of chosen sites corresponds to those which show significant marks. They are chosen according to a methodological approach which allows the collective treatment of all types of crafts, though being slightly different. This aims at characterising crafts activities, determining their function and their distribution within the sites, in order to offer a new ranking approach of the housing environment according to crafts

O design aliado ao artesanato é um campo de trabalho cada vez mais explorado por designers, assim como, existem muitos artesãos reunidos em grupos a fim de profissionalizar o trabalho artesanal. Também pode ser observado que o saber empírico do artesão, ligado ao conhecimento técnico do designer, profissionaliza e refina o trabalho artesanal. Desta forma, esta pesquisa tem como objetivo analisar a gestão, as intervenções de design, o uso de materiais e técnicas em grupos de artesãos do Rio Grande do Sul. O estudo apresenta as categorias artesanais e onde cada tipo de artesanato se insere, visto que há diversas formas de produzi-lo e representá-lo. A metodologia de pesquisa utilizada foi qualitativa, onde se lançou mão de questionários, entrevistas e observações à coleta de dados, realizada com seis grupos de artesãos que tiveram e não tiveram intervenção de designers. A pesquisa foi desenvolvida em três etapas: na etapa 1 – compreensão; foi realizada uma coleta preliminar e feito um plano de ação da pesquisa; na etapa 2 – captação; foi realizada a pesquisa de campo, aplicação dos questionários, observações realizadas pela pesquisadora no convívio dos grupos de artesãos e entrevistas realizadas com os artesãos; e na etapa 3 – avaliação; ocorreu a análise dos dados coletados. Os resultados dividiram-se basicamente em: pesquisa piloto e pesquisa final indicando, principalmente, que os grupos são carentes de conhecimentos e, ainda observou-se que a atuação conjunta de designers e artesãos favorece o segmento através da otimização do uso de materiais e técnicas melhorando, assim, a qualidade dos produtos e características estético-formais do artesanato. Conclui-se que as junções de design e artesanato podem ser uma importante conexão como objeto ordenador social e de geração de renda. / The design combined with the craftwork is a work camp increasingly explored by designers, as there are many craftsmen gathered in groups in order to professionalize the craftsmanship. It can also be observed that combining the empirical knowledge of the craftsman with the technical knowledge of the designer makes the craftwork more professional and refined. Thus, this research aims to analyze the management, the interventions of design and the usage of materials and techniques among artisans in Rio Grande do Sul. The study presents craftwork categories and the places in which different kinds of craftwork are present, since there are several ways to produce it and represent it. The research approach was a qualitative one and questionnaires, interviews and observations were used to collect data among six groups of artisans who had and had no intervention of designers. The research was conducted in three steps: step 1 - understanding, it was held a preliminary data collection and a research plan; step 2 - catchment, where it was conducted the field research, the questionnaires, the interviews with the artisans and the researcher's observations of the groups of artisans and craftsmen; step 3 - evaluation, was to analyze the data collected. The results were presented in two steps, the first consisting of a pilot survey and final survey, indicating mainly that the groups are lacking in knowledge and, it was also observed that the combined efforts of designers and craftsmen improve the quality of craftwork products, the optimization of the use of materials and techniques, as well as, the aesthetic value of handicraft products. It was concluded that the connection between design and crafts can be an important tool for the social ordering and income generation.

O design aliado ao artesanato é um campo de trabalho cada vez mais explorado por designers, assim como, existem muitos artesãos reunidos em grupos a fim de profissionalizar o trabalho artesanal. Também pode ser observado que o saber empírico do artesão, ligado ao conhecimento técnico do designer, profissionaliza e refina o trabalho artesanal. Desta forma, esta pesquisa tem como objetivo analisar a gestão, as intervenções de design, o uso de materiais e técnicas em grupos de artesãos do Rio Grande do Sul. O estudo apresenta as categorias artesanais e onde cada tipo de artesanato se insere, visto que há diversas formas de produzi-lo e representá-lo. A metodologia de pesquisa utilizada foi qualitativa, onde se lançou mão de questionários, entrevistas e observações à coleta de dados, realizada com seis grupos de artesãos que tiveram e não tiveram intervenção de designers. A pesquisa foi desenvolvida em três etapas: na etapa 1 – compreensão; foi realizada uma coleta preliminar e feito um plano de ação da pesquisa; na etapa 2 – captação; foi realizada a pesquisa de campo, aplicação dos questionários, observações realizadas pela pesquisadora no convívio dos grupos de artesãos e entrevistas realizadas com os artesãos; e na etapa 3 – avaliação; ocorreu a análise dos dados coletados. Os resultados dividiram-se basicamente em: pesquisa piloto e pesquisa final indicando, principalmente, que os grupos são carentes de conhecimentos e, ainda observou-se que a atuação conjunta de designers e artesãos favorece o segmento através da otimização do uso de materiais e técnicas melhorando, assim, a qualidade dos produtos e características estético-formais do artesanato. Conclui-se que as junções de design e artesanato podem ser uma importante conexão como objeto ordenador social e de geração de renda. / The design combined with the craftwork is a work camp increasingly explored by designers, as there are many craftsmen gathered in groups in order to professionalize the craftsmanship. It can also be observed that combining the empirical knowledge of the craftsman with the technical knowledge of the designer makes the craftwork more professional and refined. Thus, this research aims to analyze the management, the interventions of design and the usage of materials and techniques among artisans in Rio Grande do Sul. The study presents craftwork categories and the places in which different kinds of craftwork are present, since there are several ways to produce it and represent it. The research approach was a qualitative one and questionnaires, interviews and observations were used to collect data among six groups of artisans who had and had no intervention of designers. The research was conducted in three steps: step 1 - understanding, it was held a preliminary data collection and a research plan; step 2 - catchment, where it was conducted the field research, the questionnaires, the interviews with the artisans and the researcher's observations of the groups of artisans and craftsmen; step 3 - evaluation, was to analyze the data collected. The results were presented in two steps, the first consisting of a pilot survey and final survey, indicating mainly that the groups are lacking in knowledge and, it was also observed that the combined efforts of designers and craftsmen improve the quality of craftwork products, the optimization of the use of materials and techniques, as well as, the aesthetic value of handicraft products. It was concluded that the connection between design and crafts can be an important tool for the social ordering and income generation.

CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / O presente estudo trata da prÃtica artesanal das louceiras do CÃrrego de Areia, comunidade distante sete quilÃmetros do municÃpio de Limoeiro do Norte-CE. O artesanato feito por tais mulheres tem como matÃria-prima o barro, que à transformado tanto em louÃa utilitÃria, vendida nas feiras da regiÃo jaguaribana, como figurativa, vendida na Central de Artesanato (Ceart), instituiÃÃo mantida pelo governo do estado do CearÃ, com sede em Fortaleza. Tais objetos apresentam algumas especificidades, se comparados a outros centros artesanais do Estado. Dentre elas, pode ser destacada a nÃo utilizaÃÃo de tornos, nem outro instrumento que possibilite um aumento da produÃÃo, alÃm da louÃa possuir uma cor mais forte, mais avermelhada e nÃo ser pintada. Embora tenha origem numa matriz utilitarista, atualmente os objetos que tÃm mais aceitaÃÃo no mercado sÃo aqueles usados como adornos. Entretanto, apesar do novo contexto, os princÃpios do trabalho continuam os mesmos, ou seja, as tÃcnicas de produÃÃo, os processos de queima da louÃa e as ferramentas utilizadas sÃo a expressÃo maior da manutenÃÃo de uma tradiÃÃo cuja origem jà se perdeu com o tempo. A problemÃtica central do trabalho refere-se à intervenÃÃo da referida instituiÃÃo na comunidade, principalmente a partir do inÃcio dos anos 90, quando comeÃou a encomendar peÃas, atravÃs de desenhos e do seu setor de design, Ãs louceiras. Nesse sentido, o processo de criaÃÃo da artesà deixa de ser respeitado, passando a serem privilegiados apenas os interesses comerciais e do mercado consumidor. Em contrapartida, fazer louÃa de barro nÃo à uma atividade que possa ser entendida apenas do ponto de vista comercial. Quem realiza trabalhos desse tipo cria conceitos sobre si mesmo, adquire status de artista, por estar inserido num contexto cultural e simbÃlico prÃprios. Portanto, a produÃÃo da louÃa envolve saberes e fazeres, significados e visÃes de mundo que sÃo passados de geraÃÃo a geraÃÃo, pelas famÃlias artesÃs. Desse modo, os sentidos criados por elas, a partir da prÃtica artesanal, nos dÃo acesso ao seu cotidiano, ao seu imaginÃrio, à sua arte. Enquanto modelam seus objetos, as louceiras moldam as prÃprias vidas, num processo constante de criaÃÃo e reformulaÃÃo de seu universo cultural. / ABSTRACT This work investigates the handicraft practice of earthenwareâs artisans at Corrego de Areia, a community located seven kilometers from the county of Limoeiro do Norte in the State of Ceara. The women engaged in this activity use clay as raw material which is changed into not only earthenware and sold at the regionâs markets by the edges of Jaguaribe River but also decorative pieces which are sold at the Handicraft Center (Ceart) an institution kept by the State government and which has its headquarters in Fortaleza. Those objects present some characteristics that are similar to those found at other artisan centers in the State. It should be pointed that the artisans do not use lathes or other devices that they could resort to in order to increase production. Besides, the earthenware is not painted but naturally rendered in a strong red hue. Although marked by a utilitarian origin, this craftsmanship is produced today mostly for decorative purpose. In spite of this new approach, the principles that rule the art have not changed, that is, the manufacturing techniques, the earthenware baking and the tools used give expression to a creative tradition whose origin is far behind in time. The problems that are seen today are related to the intervention by the afore-mentioned institution, Ceart, which in the beginning of the 1990s started ordering pieces that should be fashioned according to designs presented to the artisans. The artisansâ creative work has thus been impaired because only trading interests are considered. Production of pieces is not, on the other hand, an activity to be regarded by its commercial value only. People involved in art develop concepts about the self and are lifted to artistic status due to their insertion into a unique cultural and symbolic context. Earthenware production includes wisdom, craftsmanship and investigation of world meaning, a knowledge that is passed along from one generation to another. The ideas developed in this fashion by those families give way to their daily lives, their common set of images and their art. While modeling their objects, the earthenwareâs artisans model their own lives in an unending process that recreates and reshapes their cultural world.

The prevalence of tobacco use among blue-collar workers such as construction artisans is disproportionately higher than in the general population, yet very limited studies have been conducted about such workers in Nigeria, the most populous country in sub-Sahara African (SSA). Therefore, this study aims to assess the prevalence and the associated risk factors of tobacco use among construction artisans in Ekiti State, Nigeria. This cross-sectional study employed a multi-stage stratified sampling technique to select participants (carpenters and bricklayers) artisans, journeymen, and their apprentices who were working in Ekiti State. Chi-square and logistic regression were conducted to delineate factors that are associated with tobacco use in this population. The results show that the prevalence of ever-smoke amongst respondents was 19.3%, and multivariate analysis showed that artisans who were within the age range 31-40 years were four times more likely to use tobacco (aOR=3.410; CI=1.476-7.878), compared with those that are less than 20 years. Additionally, being in school (aOR 2.007; CI= 1.026-3.927) and divorced/separated (aOR4.240; CI=1.307-13.759) were associated with tobacco use, compared with the respective populations. The increased prevalence of tobacco use among construction artisans is noteworthy, and few self-reported cases of addiction amongst users demand action from communities and government at all levels. There is need to improved access of artisans to accurate information and tailored messages on dangers of tobacco use. Moreover, smoking and worksite regulations and policies would be needed to curtail the smoking tendencies of these workers

A research report submitted to the Wits School of Education, Faculty of Humanities, University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Education by combination of coursework and research Johannesburg, February 2018. / Worldwide, various governments have taken significant measures to promote vocational education in an attempt to position it as an equal alternative to academic education. The problem, however, is that in many countries neither young people nor their parents perceive vocational education as having the same value as academic education (Allais, Marock, & Molebatsi, 2014). This is in contrast to Continental European countries, such as Germany, Austria and Switzerland where approximately two thirds of youth completing general schooling each year select vocational education over university education. South Africa a country in which vocational education is extremely stigmatized, is reforming its apprenticeship system and has set itself a target of qualifying 24 000 new artisans by 2020 (DHET 2015). Technical Vocational Education and Training (TVET) colleges are viewed as key vehicles through which large numbers of artisans can be trained. However, employers do not have trust in the quality and capacity of public TVET colleges and have taken responsibility for training artisans through their own in-house training facilities and private training providers (National Treasury n.d.). The result is that TVET colleges have been side-lined in the supply chain for artisan development. It is against this background that the South African government is piloting a dual system apprenticeship project, which aims to: a) improve the quality of artisan training at public TVET colleges; b) build employer trust in the quality of the public artisan training system; and c) position TVET education as an attractive option for young people. This research is focused on apprentices training to become electricians through a dual apprenticeship model. The dual system integrates classroom theory with on-the-job instruction thus ensuring that learning is integrated and regularly reinforced. Through semi-structured interviews and a questionnaire, this study brings the voices of 95 electrical apprentices to bear in order to develop a much deeper, richer and nuanced understanding of how apprentices experience the artisan development system. It seeks to understand what motivates young people to enrol at a TVET college, and what apprentices’ experiences, perceptions and expectations are of dual system apprenticeships. The study provides insights into the merits and challenges of dual system apprenticeships within the South African context. / XL2019

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