Orientador: Emília Pietrafesa de Godoi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T08:26:49Z (GMT). No. of bitstreams: 1 DeFrancesco_AnaAlves_M.pdf: 2749915 bytes, checksum: f59b38b1415437126f845aad92d5ca22 (MD5) Previous issue date: 2012 / Resumo: Esta dissertação é resultado do trabalho de campo realizado entre os anos de 2010 e 2012 na enseada da Cajaíba, zona costeira do município de Paraty (RJ). O foco principal do trabalho é a descrição das formas de interação entre as pessoas e o ambiente e o modo como esta interação configura uma territorialidade particular, que se dá tanto na terra como no mar. Buscando dialogar com diferentes definições de território e territorialidade, definidas no âmbito da antropologia, por meio da etnografia, o estudo versou sobre a memória da ocupação da terra, a percepção do ambiente e o saber técnico envolvido nos modos de fazer do cotidiano, por acreditar serem estas dimensões intrínsecas e constituintes da territorialidade de um grupo / Abstract: This dissertation result from a fieldwork conducted between 2010 and 2012 in the harbor of Cajaíba, the coastal zone of Paraty, a municipality of Rio de Janeiro state. The main focus of research is a description of the interaction between people and the environment and how this interaction sets up a particular territoriality, which occurs both on land and sea. Seeking dialogue with different definitions of territory and territoriality in anthropology, through an ethnographic approach, the study deals with the memories of the land occupation, the perception of the environment and the technical skills involved in the daily life, believing these are intrinsic and constituents dimensions of the territoriality of a group / Mestrado / Antropologia Social / Mestra em Antropologia Social

This dissertation explores Early Modern cosmographical imagining and historical writing in the Andean region of the Americas. Following the European invasion of the Americas in the sixteenth century, prominent Western cosmographical and historical treatises like Sacro Bosco's de Sphera Mundi and the Nuremberg Liber Chronicarum became outdated regional works that lacked any information about American landmasses and indigenous people. The voids shown by these previously authoritative sources create a need for new ideas.In this dissertation, analyzing written and visual sources, I investigate how Indigenous, mestizo, and European scholars in the Early Modern Andes from the 1550s to the 1650s reinvented cosmographical and antiquarian practices to envision the world as an integrated entity in time and space. They combined non-written pre-Columbian structures, ruins, fossils, monoliths, megaliths, mythical landscapes, and indigenous narratives with ancient Biblical and Classical knowledge. By doing so, they established a new archive that became the foundation for further antiquarian and cosmographical knowledge, and revealing the that the so-called New World was full of history. I examine how innovative imaginings of historical time and cosmographical spaces were created in the Early Modern Andes. Authors demonstrated how the world was one since the very beginning of time by tracing connected world landscapes (worldscapes) to explain the geographical unity of the different continents and entangled chronological architectures (chronotectures) that linked the ancient ages of various societies, including places and people previously unthought of as part of the same world history.

Este trabalho propôs um estudo da cerâmica Anasazi/ Pueblo Antigo, Mogollon e Casas Grandes, com o intuito de averiguar a presença de um \"código pictórico\". Para tanto, foram realizadas análises quantitativas e qualitativas de um conjunto de 1.451 peças arqueológicas. Os resultados dessas análises levaram à constatação da existência de um \"código pictórico\" formado por um conjunto finito de símbolos gráficos, cuja produção e reprodução foi observada em cerâmicas dispersas tanto por uma ampla faixa territorial, como ao longo de uma considerável escala temporal (aprox. de 500 d.C. a 1500 d.C.). O conjunto artefatual estudado foi produzido por grupos humanos que habitaram uma região conhecida na arqueologia como \"Sudoeste\". Tendo como base a constatação de que este \"código pictórico\" foi amplamente expresso na cerâmica encontrada ao longo de vastos territórios, foi também aqui investigado e demonstrado que alguns de seus \"símbolos principais\" poderiam também ser encontrados na iconografia de áreas hoje consideradas como norte e centro - mesoamericanas. Nesse sentido, o trabalho buscou contribuir também para o aprofundamento do debate da natureza das trocas e dos contatos que hoje acredita-se terem sido travados ao longo destas extensas áreas. / This work aims to demonstrate the existence of a common \"pictorial code\", through a study of the Anasazi/ Ancient Pueblo, Mogollon and Casas Grandes ceramic production. The quantitative and qualitative analyses conducted in 1.451 ceramic artefacts were able to demonstrate the presence of a pictorial code, formed by an specific set of graphic symbols, expressed in the ceramics found through a vast territory, covering a substantial time lapse (from aprox. 500 d.C. to 1500 d.C.). Groups that once inhabited a region known in archeological literature by the name of \"Southwest\", produced the ceramic artifacts analyzed by this study. Considering that this \"pictorial code\" was present and seen through such extensive areas, its presence was also investigated in the material production of the surroundings areas of Mesoamerica. It was demonstrated, through such investigation, that some of its main symbols were also depicted in the iconography of north and central Mesoamerica. The analysis of such scenario contributes to a better understanding of the nature of the contacts and exchanges that it is known today to have happened through such territories.

Este trabalho propôs um estudo da cerâmica Anasazi/ Pueblo Antigo, Mogollon e Casas Grandes, com o intuito de averiguar a presença de um \"código pictórico\". Para tanto, foram realizadas análises quantitativas e qualitativas de um conjunto de 1.451 peças arqueológicas. Os resultados dessas análises levaram à constatação da existência de um \"código pictórico\" formado por um conjunto finito de símbolos gráficos, cuja produção e reprodução foi observada em cerâmicas dispersas tanto por uma ampla faixa territorial, como ao longo de uma considerável escala temporal (aprox. de 500 d.C. a 1500 d.C.). O conjunto artefatual estudado foi produzido por grupos humanos que habitaram uma região conhecida na arqueologia como \"Sudoeste\". Tendo como base a constatação de que este \"código pictórico\" foi amplamente expresso na cerâmica encontrada ao longo de vastos territórios, foi também aqui investigado e demonstrado que alguns de seus \"símbolos principais\" poderiam também ser encontrados na iconografia de áreas hoje consideradas como norte e centro - mesoamericanas. Nesse sentido, o trabalho buscou contribuir também para o aprofundamento do debate da natureza das trocas e dos contatos que hoje acredita-se terem sido travados ao longo destas extensas áreas. / This work aims to demonstrate the existence of a common \"pictorial code\", through a study of the Anasazi/ Ancient Pueblo, Mogollon and Casas Grandes ceramic production. The quantitative and qualitative analyses conducted in 1.451 ceramic artefacts were able to demonstrate the presence of a pictorial code, formed by an specific set of graphic symbols, expressed in the ceramics found through a vast territory, covering a substantial time lapse (from aprox. 500 d.C. to 1500 d.C.). Groups that once inhabited a region known in archeological literature by the name of \"Southwest\", produced the ceramic artifacts analyzed by this study. Considering that this \"pictorial code\" was present and seen through such extensive areas, its presence was also investigated in the material production of the surroundings areas of Mesoamerica. It was demonstrated, through such investigation, that some of its main symbols were also depicted in the iconography of north and central Mesoamerica. The analysis of such scenario contributes to a better understanding of the nature of the contacts and exchanges that it is known today to have happened through such territories.

Du Roland furieux de l’Arioste (1516-1532) au Songe de Kepler (1634), cette thèse propose une étude des récits de voyages aériens dans la fiction narrative de la Renaissance (romans, poèmes épiques, satires) ainsi que des discours théoriques abordant la question du vol et de l’élévation (démonologie, cosmographie, astronomie, discours sur la possibilité du vol humain ou le vol des oiseaux, etc.). Trois principaux objets sont mis en valeur : les voyages célestes écrits dans la lignée de récits comme le Songe de Scipion de Cicéron ou l’Icaroménippe de Lucien de Samosate ; les voyages aériens de la fiction chevaleresque ; le motif du transport diabolique. L’étude montre ainsi l’importance prise par l’imaginaire du vol à la Renaissance, à la croisée de la fiction et des discours savants, et dessine une « pré-histoire » des fictions d’envol avant les récits de Godwin (The Man in the Moone, 1638) et de Cyrano de Bergerac (Etats et Empires de la Lune et du Soleil, 1657 et 1662). Au cœur de cette rêverie se loge tout à la fois le désir de prendre la mesure du monde et les inquiétudes suscitées par ce même désir. / From Ariosto’s Orlando furioso (1516-1532) to Kepler’s Somnium (1634), this thesis offers a study of aerial and celestial voyages in Renaissance narrative fiction (romances, epic poems, satires) as well as of learned treatises related to the question of flying (demonology, cosmography, astronomy, learned discourses on human and bird flight, etc.). It focuses on three main subjects: cosmic voyages in the tradition of Cicero’s Dream of Scipio or Lucian of Samosata’s Icaromenippus; aerial voyages in chivalric romance; diabolical transvection (eg. fly to the sabbath). It thus shows the extent to which flight captured the Renaissance imagination, at the cross-roads between fiction and learned discourse, and it traces a « pre-history » of fictional flying before Godwin’s Man in the Moone (1638) or Cyrano de Bergerac’s Etats et Empires de la Lune et du Soleil (1657 and 1662). At the heart of this fantasy lies a desire to measure the world from above – together with the anxieties produced by the same desire.

The ability to view the world from multiple perspectives is essential for tackling complex, interconnected challenges. Yet conventional academic structures are designed to produce knowledge through ever-increasing specialization and compartmentalization. This fragmentation is often reinforced by tacit dualistic assumptions that prioritize linear thinking and abstract ways of knowing. Though the need for integrated approaches has been widely acknowledged, effective techniques for transcending disciplinary boundaries remain elusive. This thesis describes a practical strategy that uses immersive visualizations to cultivate transdisciplinary perspectives. It develops an enactive approach to cosmography, contending that processes of visualizing and interpreting the cosmos iteratively shape ‘views’ of the ‘world.’ The archetypal trope of the heavenly sphere is examined to demonstrate the significance of its interpretations in this history of ideas. Action research and mixed methods are employed to elucidate the theoretical considerations, cultural relevance, and practical consequences of this approach. The study begins with an investigation into the recurring appearance of the heavenly sphere across time, in which its embodied origins, metaphorical influence, and material embodiments are considered. Particular attention is given to how cosmographic tools and techniques have facilitated imaginary ‘flights’ through the heavens, from the ecstatic bird’s eye view of the shaman to the ‘Archimedean point’ of modern science. It then examines how these cosmographic practices have shaped cosmological beliefs and paradigmatic assumptions. Next, the practical utility of this approach is demonstrated through the development of cosmographic hermeneutics, a technique using visual heuristics to interpret cosmic models from transdisciplinary world views. Finally, the performative practice of cosmotroping is described, in which cosmographic hermeneutics are applied to re-imagine the ancient dream of the transcendent ‘cosmic journey’ within immersive vision theaters. This study concludes that the re-emergence of the heavenly sphere within the contemporary Digital Universe Atlas provides a leverage point for illuminating the complexity of knowledge production processes. It is claimed that this research has produced a practical strategy for demonstrating that the ultimate Archimedean point is the ability to recognize the limits of our own knowledge, a crucial first step in cultivating much-needed multi-perspectival and paradoxical spherical thinking.