This paper is about culture, cultural meeting in a new place or organization, and also about identity and how identity takes form with the help of culture. The information is gathered from three informants, and their information is connected to research in those areas; culture, globalization, identity, study and work. With the information that I will get through interviews with my three informants is to help explain if there are differences and similarities. I go through how these three individuals think and act in their meeting with a new place’s culture. I use that information to find ways to make it easier to go and work or study abroad, and be prepared that culture differences will occur, and hopefully this paper will give some insight into how to deal and cope with these problems. / Den här uppsatsen handlar om kultur, kulturmöten, identitet, studier och arbete. Informationen är tagen från tre informanter, och den information jag fått från dem kopplar jag ihop med undersökningar inom dessa områden (kultur, globalisering, assimilation, identitet, studier och arbete). Det är för att hjälpa mig se och visa likheter och skillnader mellan mina informanters berättelser. Jag går igenom hur mina tre informanter tänker och agerar när de möter en ny plats kultur. Det här är då för att se om det kan bli lättare att arbeta eller studera utomlands, för att vara beredd att skillnader kommer att uppstå, och med hjälp av den här forskningen hoppas jag att svaren kommer ge en insikt i hur man enklare kan hantera dessa problemsituationer.

Le roman Le Quatrième siècle, considéré comme un pilier de l’œuvre de l’écrivain martiniquais Édouard Glissant, est une réinvention du passé et de l’histoire des Antilles, tout en présentant une dimension moins étudiée : celle de l’enracinement dans le nouveau pays, de la création d’une communauté singulière et métissée. Glissant suggère que, malgré l’abolition de l’esclavage, beaucoup de chemin reste encore à faire et que la construction d’une identité passe par des ancrages solides et multiples dans le pays. Afin d’explorer ce thème, cette étude analyse la construction du parcours figuratif de l’enracinement dans Le Quatrième siècle. L’étude de divers personnages et de certains éléments du paysage, en particulier la mer, les mornes et la plaine, permettent de mieux cerner l’écriture de l’enracinement dans cette œuvre. En effet, par le biais de l’onomastique, des figures emblématiques de la colonisation, de la déconstruction des relations de pouvoir et du symbolisme de l’espace, Glissant met en scène les limites du marronnage, créant plutôt un imaginaire centré sur la définition de la collectivité à travers un lent processus d’enracinement et d’appropriation de l’espace. / The novel Le Quatrième siècle, considered as a pillar of the work of the Martinique writer Édouard Glissant, is a reinvention of the past and history of the Antilles, while presenting a less studied dimension : that of taking root in the new country, the creation of a singular and mixed-race community. Glissant suggests that, in spite of abolition, a long road still lies ahead and that the construction of an identity passes by solid and multiple anchoring in the country. In order to explore this topic, this study analyzes the construction of the figurative course of enrooting in Le Quatrième siècle. The study of various characters and certain elements of the landscape, in particular the sea, the mountains and the plain, make it possible to better determine the process of taking root in this novel. Indeed, through onomastic means, the emblematic figures of colonization, the deconstruction of the relations of power and the symbolism of space, Glissant sets the limits of marronnage, creating a universe centered on the definition of community through a slow process of enrooting and the appropriation of space.

Le présent travail se concentre sur la documentation du maloya. En effet, il est apparu que les informations disponibles à son sujet ne remplissaient pas les attentes que l'on est en droit de formuler à l'égard d'une pratique inscrite depuis octobre 2009 sur la liste représentative du patrimoine immatériel mondial définie par l'UNESCO. Après avoir résumé les connaissances disponibles à l'égard du maloya considéré, bien que sous d'autres noms, comme la « musique des Noirs » depuis le début de la colonisation bourbonnaise, nous plongeons dans l'histoire réunionnaise des années 1960-2000. Celle-ci porte la marque de l'opposition idéologique ayant tendu à cliver les insulaires de part et d'autre de la revendication autonomiste vis-à-vis de la France. Le maloya y apparaît des plus malléables et sa contribution à la définition d'une identité réunionnaise contemporaine y est interrogée au fil d'une histoire qu'il nous donne à entendre de manière unique. À partir de notre connaissance du rôle rituel du maloya, nous proposons toutefois de renverser l'approche habituelle pour l'entendre et le penser depuis l'univers sémantique des usagers d'une musique religieuse. Dégageant une typologie des répertoires du maloya ainsi que ses différentes acceptions régionales, ce sont les tendances évolutives de ce dernier qui apparaissent dans notre analyse, démontrant ainsi son rôle dans la créolisation locale. Derrière ces usages sociaux de l'art, c'est aussi la figure du « Noir » (le « Kaf ») que l'on voit ainsi évoluer dans l'île, rappelant et son association au maloya et son caractère déterminant sur le plan culturel insulaire. / Whereas a reflexive chapter, focused on the progressive immersion we realised among the actors of possessions cults from afro-malagasy origins living in Reunion Island, had been primarly thought to join this thesis, the main effort consists here in the documentation of the maloya. Effectively, an overlook to what's been said of this traditionnal music requiered such a missing work attached to an element recently inscribed on the UNESCO patrimonial list. Resuming the available knowledge about the maloya, which is considered since the early moment of the colonization as the reunionese « Black music », the purpose was to reach the modern era and then underlying the importance of this esthetical practice in the definition of what could be called, under certain conditions, this « kréol identity ». The post-colonial role that played maloya during the years 1960-1970 appears newly as we emphasize his historical implications. We've also been able to relocate the common point of vue already existing of the maloya in scientifical field as well as on the public scene from the musicians and their cultual significations. Analyzing, for example, his four distincts repertories, we open to an original understanding of the past and the present of a creolized culture that had always took music as a fundement of its existence. This work makes also possible the reflexion about the place of the « Kaf » (Reunionneses of black origins) in this cultural construction, and maybe, the one of the afro-descendents and their so-called « black music » in the invention of our new globalized world.

Situées dans le contexte pluriculturel et interculturel de l'île de La Réunion, l'éducation et la transmission familiale de l'identité culturelle réunionnaise sont complexes et menacées. Le « refus » ou l'« appropriation » s'illustrent par de multiples facteurs. Le « refus » est généralement motivé par la pression moderniste et assimilatrice républicaine et mondiale représentant un tremplin vers la promotion sociale ; ce qui entraine l’abandon de valeurs considérées comme anciennes, et les plus souvent dévalorisées. La motivation du refus se réalise de même par des influences des origines ethniques de cette communauté créole réunionnaise, à plus ou moins faible capital symbolique, et peu sensibilisée à ses « racines », c'est-à-dire à une « cohérence symbolique ». L'« appropriation » de l'identité culturelle réunionnaise se trouve, quant à elle, motivée parfois par un certain militantisme des tendances socio-politico-économiques exclusivement centrées sur La Réunion, mais aussi la prise de conscience de la richesse culturelle réunionnaise, soit naturellement, soit face aux pertes dues à la mondialisation, soit après l'expérience du manque ou encore pour sentir son appartenance à un groupe, etc. Ces deux courants se dessinent en fonction des choix d'éducation et de transmission, inscrites au sein des familles. Une troisième voie, entre « refus » et « appropriation » semble s'imposer peu à peu : une voie vers un « tissage d'un nouveau métissage » ; un travail sur une appropriation consciente et intentionnelle d'une nouvelle fibre culturelle et identitaire, où seraient conciliées la richesse de l'identité culturelle créole réunionnaise et celle de l'identité française, du modernisme et de la mondialisation. / Located in the multicultural and intercultural context of island of La Réunion, education and transmission of family about cultural identity reunion are complex and threatened. The "refusal" or "ownership" is illustrated by multiple factors. The "refusal" is usually motivated by the pressure modernist republican assimilation and global representing a springboard to social advancement which leads to an abandonment of values considered old, and most often devalued. The reasons for the refusal is realized, in the same way, by ethnic and creole reunion community influences, more or less low symbolic capital, and little aware about its "roots", that is to say a "symbolic coherence ". The "ownership" of reunion cultural identity is on it, sometimes motivated by a militant of socio-politico-economic focus exclusively on La Réunion, but also awareness of the cultural wealth of Reunion, either naturally or face losses due to globalization, after the lack of experience or to feel they belong to a group, etc. These two trends are emerging based on the choices of education and transmission, registered within families. A third way between "refusal" and "ownership" seems to gradually impose : a path to a "weaving a new mixing" work on a conscious and intentional appropriation of a new cultural fiber and identity, where be reconciled the wealth of the cultural and the réunion creole identity, french identity, modernism and globalization.

Esta pesquisa analisa a historiografia que abordou a formação das culturas afro-americanas e os intercâmbios culturais entre africanos e euro-americanos, mostrando como ela tem sido marcada por uma coexistência contraditória de premissas universalistas e particularistas a respeito da natureza da cultura. Tais contradições já podem ser observadas na antropologia culturalista de Franz Boas, que desliza entre duas definições de cultura por um lado, como um espírito orgânico e estável e, por outro, como um agregado histórico e dinâmico de costumes e ideias , apontando a permanência e a mudança como aspectos simultâneos dos contatos culturais. Melville Herskovits fundamentou-se na obra boasiana e herdou essas contradições ao realizar seu estudo sobre as culturas afro-americanas, representando-as simultaneamente como uma aculturação, na chave da descontinuidade com o passado, e como uma preservação de africanismos, na chave da continuidade com as culturas africanas. Tais dificuldades desdobram-se até o debate contemporâneo em torno do conceito de crioulização e da obra de Mintz e Price, que descreve das culturas afro-americanas ressaltando ao mesmo tempo a criatividade e a sobrevivência de estruturas africanas. Autores filiados à chamada corrente afrocêntrica tentaram resolver esses impasses minimizando a transformação e privilegiando a continuidade com o passado, no que intensificaram o dualismo implícito na vertente particularista de análises anteriores. Uma outra tradição de estudos sobre os intercâmbios culturais em sociedades coloniais incluindo autores como Gilberto Freyre, Fernando Ortiz e outros associados ao pensamento pós-colonial desenvolveu um modelo conceitual distinto, centrando-se nas ambivalências e inversões presentes na dimensão afetiva dos contatos culturais. Com isso, esses autores compreenderam o intercâmbio cultural a partir de uma lógica dialética, desconstruindo raciocínios dualistas, abraçando o caráter autocontraditório dos fenômenos e propondo, assim, uma alternativa teórica aos modelos herdados do culturalismo antropológico. / This work analyses the historiography which has studied the formation of African-American cultures and the cultural exchange between Africans and Euro-Americans, sustaining that it has been characterized by a contradictory coexistence of universalistic and particularistic presuppositions about the nature of culture. These contradictions can already be observed in Franz Boass Anthropological culturalism, which moves between two definitions of culture on the one hand, as an organic and stable spirit and, on the other hand, as a historical and dynamic aggregate of customs and ideas , indicating permanence and transformation as simultaneous aspects of cultural contact. Melville Herskovits was grounded on Boass ideas and inherited these contradictions when he studied African-American cultures, representing them simultaneously as an acculturation, focusing a discontinuous relation with the past, and as a preservation of africanisms, stressing a continuous relation with African cultures. These difficulties have unfolded themselves up to the contemporary debate about the concept of creolization and Mintz and Prices work, which describes African-American cultures focusing cultural creativity and the survival of African structures at the same time. Authors of the so-called afrocentric perspective have tried to solve this impasse by minimizing transformations and stressing continuity with the past. By doing so, they have intensified the dualism implicit on the particularistic arguments of previous analyses. Another tradition of studies about cultural exchange in colonial societies including authors such as Gilberto Freyre, Fernando Ortiz and others associated to post-colonial thought has developed a different conceptual model, which focuses on the ambivalences and inversions that can be observed on the affective dimensions of cultural contacts. These authors have interpreted cultural exchange through a dialectical logic, deconstructing dualistic thoughts, embracing the self-contradictory nature of the fenomena, and thus indicating a theorical alternative to the models inherited from anthropological culturalism.

Made available in DSpace on 2016-04-28T19:58:44Z (GMT). No. of bitstreams: 1 Telma Reboucas de Almeida.pdf: 23535215 bytes, checksum: cc2808f21d2bf6e0cdf968c0dbce224a (MD5) Previous issue date: 2012-02-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Verse and Reverse in the Cordel Literature from Bahia s Hinterland analyses three cordel samples compiled from popular literature in verse style from Bahia s hinterland. Valdivino s bravery for the love of Beatriz; The idyll of Pórcia de Castro and Leolino Canguçu and Broken Viola comprise the research corpus, focused on the tradition and recreation of the cordel. The provocative question of this study is the inventive reorganization of matrix texts of the own cordel s tradition. For this reason, we seek to understand how the fictional rearrangement of the classical form of the pamphlet in its innovative composition occurs. For this, conceptual categories are called upon as: hinterland, popular art, cordel, orality, voice, performance, movance, writing and creolization, essential to the realization of this research. The theoretical framework, in which the research relies on, mainly consists of studies on Paul Zumthor s poetics of orality, and on Édouard Glissant s aesthetic of relationship, as well as critical writings about cordel literature. The three cordel samples are analyzed separately and, afterwards, they are considered together, in a singing architecture , resulting from the unit/diversity, both in regard to the boundaries that surround the relationship orality/writing, and to the social-cultural aspects of the singingworld. We work with the hypothesis that the recreation of the cordel is possibly conceived as a composite writing of various social-cultural and aesthetic-literary elements. In the circular path between oral-written, it occurs an interweaving of ideas, denouncing a rhizomatic movement, which supports the rise of a Creole cordel . This feature can be confirmed by the apparent unpredictability of the poetic discourse, situated at the intersection of the traditional verse and the recreated reverse / Verso e Reverso na Literatura de Cordel do Sertão da Bahia analisa três cordéis compilados da literatura popular em verso do sertão baiano. As bravuras de Valdivino pelo amor de Beatriz; O idílio de Pórcia de Castro e Leolino Canguçu e Viola Quebrada compõem o corpus da pesquisa, voltada para a tradição e recriação do cordel. A questão provocadora desse estudo é a reorganização inventiva de textos matriciais da tradição do próprio cordel. Por esse motivo, busca-se compreender como acontece o rearranjo ficcional da forma clássica do folheto em sua composição inovadora. Para isso, são convocadas categorias conceituais como: sertão, arte popular, cordel, oralidade, voz, performance, movência, escritura e crioulização, fundamentais para a concretização dessa pesquisa. O suporte teórico em que a investigação se apoia compõe-se, basicamente, de estudos relativos à poética da oralidade de Paul Zumthor e à estética da relação de Édouard Glissant, além de textos críticos sobre a literatura de cordel. Os três cordéis são analisados separadamente e, em seguida, são considerados conjuntamente, numa arquitetura cantante , resultante da unidade/diversidade, tanto no que tange às fronteiras que cercam a relação oralidade/escritura quanto aos aspectos sócio-culturais de um mundocantante. Trabalha-se com a hipótese de que a recriação do cordel, possivelmente, seja concebida como uma escritura compósita de variados elementos sócio-culturais e estético-literários. No percurso circular entre oral-escrito dá-se um entrecruzamento de ideias denunciadoras de um movimento rizomático, que sustenta o surgimento de um cordel crioulo . Essa característica pode ser confirmada pela evidente imprevisibilidade do discurso poético, situado na intersecção do verso tradicional e do reverso recriado

La musique, moyen d’expression commun à toutes les civilisations, est au centre de l’explosion des productions culturelles et sociétales actuelles. Dans les Amériques, les années 1960 furent marquées par d’importantes luttes pour la conquête de l’égalité, la reconnaissance des cultures jusque-là considérées comme mineures, et par d’importantes migrations transrégionales et transcontinentales. Parmi ces luttes, celles des Noir-e-s ont retenu particulièrement mon attention, notamment les figures emblématiques comme Martin Luther King, Malcom X, Angela Davis, etc. mais aussi des organisations politiques et culturelles, comme les Black Panthers. Cependant dans la Caraïbe, ces luttes étaient déjà bien présentes, dans les années 1930, avec Marcus Garvey et son mouvement (UNIA). D’une manière générale, il a permis de mettre l’accent sur la disqualification sociale des Noir-e-s, des cultures dont elles/ils sont porteurs, leur « citoyenneté différée » (V. Lavou). Dans les sociétés caribéennes, hybrides par excellence, d’après les chercheur-e-s reconnu-e-s, le mouvement noir a, sans conteste, eu de fortes répercussions, déterminant par là même toutes les expressions folkloriques puis culturelles. Il en est de même du Reggaeton. Bien qu’identifié comme « latino », le Reggaeton reste, pour beaucoup, un avatar commercial, un « produit manufacturé » de l’industrie du spectacle. Mais, on remarquera néanmoins, l’adhésion collective à cette musique de la part de nombreux « latinos », tout comme les effets d’identification qu’elle suscite. Cette musique, c’est l’une des hypothèses que je partage, « reflète » les révoltes contre les injustices, la domination sociale, raciale, la pauvreté. En ce sens, le Reggaeton concentre toutes les caractéristiques de la musique populaire urbaine afro-latino-américaine, à l’instar des musiques populaires urbaines afro-américaines (USA). De ce point de vue, le « Reggaeton» constitue tout à la fois un «exutoire», un espace de « négociations identitaires » contradictoires (sexisme, machisme, homophobie, culte de la réussite individuelle, de la violence, etc.), un moyen permettant d’exister socialement à travers des codes spécifiques. En posant le Reggaeton comme un « analyseur » des contradictions socio-politiques de l’archipel caribéen et de ses diasporas, cette thèse vise à en restituer la complexité, au-delà des considérations purement moralisatrices. À l’aide d’outils conceptuels comme, l’Atlantique noir de Paul Gilroy l’interculturalité de Claude Clanet, et la créolisation d’Edouard Glissant, entre autres, j’analyse les dynamiques migratoires et sociales à l’origine de l’émergence du Reggaeton et par conséquent des tensions identitaires qu’il recèle. / Music, as a common means of expression to all civilizations, is at the center of the explosion of current societal and cultural productions. In the Americas, the 1960s were marked by important struggles for the conquest of equality, the recognition of cultures previously considered minor, and major trans-regional and transcontinental migrations. Among these struggles, those of the Black communities have caught my attention, including major figures like Martin Luther King, Malcolm X, Angela Davis, as well as political and cultural organizations, such as the Black Panthers. However, in the Caribbean, these truggles were already present in the 1930s with Marcus Garvey and his movement (UNIA). In general, it has led to focus on social disqualification of Black peoples, the cultures they carry, their "diferred citizenship" (V. Lavou). In Caribbean societies, ultimately hybrid , according to acknowledged scholars, the black movement has undoubtedly had a major impact, thereby determining all folklore and cultural expressions. It is the same with Reggaeton. Although identified as "Latin" Reggaeton, it remains for many a commercial avatar, a "manufactured product" of the entertainment industry. But, nevertheless it will be noted as the collective adherence to this music from many "Latino" as the identification effects it causes. One of the assumptions that I share is that this music "reflects" the revolt against injustice, social domination, racial, poverty. In this sense, Reggaeton gathers all urban African-Latin American popular music's features, like African-American urban popular music (USA). From this point of view, the "Reggaeton" is at at the same time an "outlet", a space of contradictory "identity negotiations" (sexism, homophobia, cult of individual success, violence, etc.), as a means to exist socially through specific codes. By questionning Reggaeton as a "analyser” of socio-political contradictions of the Caribbean archipelago and its diasporas, this thesis aims to restore its complexity, beyond purely moralistic considerations. Using conceptual tools like Paul Gilroy's "Black Atlantic", Claude Clanet's interculturality and the creolization concept of Edouard Glissant, among others, I analyze migration and social dynamics behind the emergence of Reggaeton and therefore identity tensions it contains.

Esta pesquisa analisa a historiografia que abordou a formação das culturas afro-americanas e os intercâmbios culturais entre africanos e euro-americanos, mostrando como ela tem sido marcada por uma coexistência contraditória de premissas universalistas e particularistas a respeito da natureza da cultura. Tais contradições já podem ser observadas na antropologia culturalista de Franz Boas, que desliza entre duas definições de cultura por um lado, como um espírito orgânico e estável e, por outro, como um agregado histórico e dinâmico de costumes e ideias , apontando a permanência e a mudança como aspectos simultâneos dos contatos culturais. Melville Herskovits fundamentou-se na obra boasiana e herdou essas contradições ao realizar seu estudo sobre as culturas afro-americanas, representando-as simultaneamente como uma aculturação, na chave da descontinuidade com o passado, e como uma preservação de africanismos, na chave da continuidade com as culturas africanas. Tais dificuldades desdobram-se até o debate contemporâneo em torno do conceito de crioulização e da obra de Mintz e Price, que descreve das culturas afro-americanas ressaltando ao mesmo tempo a criatividade e a sobrevivência de estruturas africanas. Autores filiados à chamada corrente afrocêntrica tentaram resolver esses impasses minimizando a transformação e privilegiando a continuidade com o passado, no que intensificaram o dualismo implícito na vertente particularista de análises anteriores. Uma outra tradição de estudos sobre os intercâmbios culturais em sociedades coloniais incluindo autores como Gilberto Freyre, Fernando Ortiz e outros associados ao pensamento pós-colonial desenvolveu um modelo conceitual distinto, centrando-se nas ambivalências e inversões presentes na dimensão afetiva dos contatos culturais. Com isso, esses autores compreenderam o intercâmbio cultural a partir de uma lógica dialética, desconstruindo raciocínios dualistas, abraçando o caráter autocontraditório dos fenômenos e propondo, assim, uma alternativa teórica aos modelos herdados do culturalismo antropológico. / This work analyses the historiography which has studied the formation of African-American cultures and the cultural exchange between Africans and Euro-Americans, sustaining that it has been characterized by a contradictory coexistence of universalistic and particularistic presuppositions about the nature of culture. These contradictions can already be observed in Franz Boass Anthropological culturalism, which moves between two definitions of culture on the one hand, as an organic and stable spirit and, on the other hand, as a historical and dynamic aggregate of customs and ideas , indicating permanence and transformation as simultaneous aspects of cultural contact. Melville Herskovits was grounded on Boass ideas and inherited these contradictions when he studied African-American cultures, representing them simultaneously as an acculturation, focusing a discontinuous relation with the past, and as a preservation of africanisms, stressing a continuous relation with African cultures. These difficulties have unfolded themselves up to the contemporary debate about the concept of creolization and Mintz and Prices work, which describes African-American cultures focusing cultural creativity and the survival of African structures at the same time. Authors of the so-called afrocentric perspective have tried to solve this impasse by minimizing transformations and stressing continuity with the past. By doing so, they have intensified the dualism implicit on the particularistic arguments of previous analyses. Another tradition of studies about cultural exchange in colonial societies including authors such as Gilberto Freyre, Fernando Ortiz and others associated to post-colonial thought has developed a different conceptual model, which focuses on the ambivalences and inversions that can be observed on the affective dimensions of cultural contacts. These authors have interpreted cultural exchange through a dialectical logic, deconstructing dualistic thoughts, embracing the self-contradictory nature of the fenomena, and thus indicating a theorical alternative to the models inherited from anthropological culturalism.

Submitted by Luis Ricardo Andrade da Silva (lrasilva@uefs.br) on 2015-08-01T01:31:17Z No. of bitstreams: 1 Disserta??oFelipeAugusto.pdf: 2956690 bytes, checksum: 71e1c61962c9df878c520bf6ffadddf9 (MD5) / Made available in DSpace on 2015-08-01T01:31:17Z (GMT). No. of bitstreams: 1 Disserta??oFelipeAugusto.pdf: 2956690 bytes, checksum: 71e1c61962c9df878c520bf6ffadddf9 (MD5) Previous issue date: 2015-02-12 / Funda??o de Amparo ? Pesquisa do Estado da Bahia - FAPEB / Studies of magical practices and popular religiosities have revealed important facets of modern miscegenation. The bolsas de mandinga, one of the numerous magic instruments of protection, congregated elements and experiences of social and cultural universes disparate, fruit of religious atlantic dynamics. The processes of comprehension, elaboration and commercialization of these amulets were not as directs and revealed, because of the repressor activities of religious instances, which scoured the Portuguese overseas in search of the devil affronts to Catholic Christianity, made through the variable heterodoxies that drew in overseas. In this sense, we trace as objective to undertake a micro analysis of what we treat, while production of development processes, through documentary information, focusing on the predilection by the insertion of consecrated hosts inside the bolsas de mandinga, attentive, yet, to the motivations, contexts, experiences and understandings of involved subjects. We use a large body of documents, with a clear qualitative option, especially the inquisitorial files. We elected the written narrative in Dilig?ncias sobre o caso do desacato e sacril?gio cometido na igreja paroquial de S?o Pedro do Monte Moritiba, na Ba?a, concerning the Bahian Reconcavo, in the first half of 18th century, as the backbone of our proposal. Crossed the information present in our sources, through the evidentiary framework proposed by Carlo Ginzburg, and soaked by theoretical proposals of micro studies and trajectories, we seek to understand the religious creolization processes in Bahian Reconcavo eighteenth century. The small fragments collected through the coppery documentary lines show us how the everyday life of investigated subjects measured their spiritual universe, allowing the elaborations, called here Feituras de Prote??o. / Os estudos das pr?ticas m?gicas e religiosidades populares t?m revelado importantes facetas das mesti?agens modernas. As bolsas de mandinga, um dos in?meros instrumentos m?gicos de prote??o, congregavam elementos e experi?ncias de universos sociais e culturais d?spares, fruto das din?micas religiosas atl?nticas. Os processos de compreens?o, elabora??o e comercializa??o destes amuletos n?o eram t?o diretos e revelados, por contadas atividades repressoras das inst?ncias religiosas, que vasculhavam o ultramar luso em busca das ?afrontas do dem?nio? ao cristianismo cat?lico, feitas atrav?s das vari?veis heterodoxias que se desenhavam no al?m mar.Neste sentido, tra?amos enquanto objetivo empreenderuma micro an?lise do que tratamos enquanto processos de feituras de prote??o, atrav?s das informa??es documentais, ao enfocarmos a predile??o pela inser??o de h?stias consagradas no interior das bolsas de mandinga, atentos, ainda, ?s motiva??es, contextos, experi?ncias e entendimentos dos sujeitos envolvidos.Utilizamos um vasto corpo documental, com clara op??o qualitativa, especialmente dos arquivos inquisitoriais. Elegemos a narrativa grafada nas Dilig?ncias sobre o caso do desacato e sacril?gio cometido na igreja paroquial de S?o Pedro do Monte de Moritiba, na Ba?a, referente ao Rec?ncavo baiano, na primeira metade do s?culo XVIII, como espinha dorsal de nossa proposta. Ao cruzarmos informa??es presentes em nossas fontes, atrav?s do referencial indici?rio proposto por Carlo Ginzburg, e embebidos pelas propostas te?ricas de estudos micros e trajet?rias, buscamos entender os processos de criouliza??o religiosa no Rec?ncavo baiano setecentista. Os pequenos fragmentos coletados por entre as acobreadas linhas documentais nos revelaram como a vida cotidiana dos sujeitos investigados dimensionava o universo espiritual dos mesmos, permitindo as elabora??es que chamamos aqui de feituras de prote??o.

Spanish Indian is a generic term that has been used repeatedly in written documents over the past three centuries to describe a range of different social, ethnic, and economic groups in the southeastern United States. In this thesis, a comparative analysis of the material culture from Cuban fishing ranchos of the eighteenth and nineteenth centuries on the west coast of Florida addresses the ways in which specific Spanish Indian artifact assemblages fit into the archaeological record. Three archaeological assemblages from known Rancho sites are detailed and analyzed. In addition, this thesis details a public archaeology project undertaken in conjunction with the Florida Public Archaeology Network, which led to the development of a traveling exhibit and public presentation on the origins of local place names. The thesis also provides suggestions for how historical archaeologists might contend with difficulties in determining and documenting identity at early historical sites in coastal Florida. The research undertaken for this thesis demonstrates a pressing need for additional data collection and research in the field. As it currently stands, however, the preliminary analysis conducted in this thesis indicates an economic basis for cultural interaction and intermarriage rather than an actual cultural synthesis, creolization, or ethnogenesis, which would imply shared cultural systems of belief and meaning. This thesis is also a proposal for a typology of ranchos. Through a cross-comparison of the similarities and differences in subsistence strategies and labor practices, a research design for rancho archaeology is outlined.