Jules Laforgue (1860-1887) envisage les nouvelles des "Moralités légendaires" comme de « vieux canevas brodés d’âmes à la mode ». Il inscrit ainsi son œuvre au cœur même de la Bibliothèque. Toutefois, contrairement à ce que sa formule pourrait laisser penser, il ne se contente pas d’y écrire des variantes parodiques de "Hamlet", de l’"Histoire de sainte Élisabeth de Hongrie", de "Lohengrin", d’« Hérodias » et des "Métamorphoses" : non seulement il puise la matière de ses récits dans plusieurs dizaines de textes – et pas uniquement dans ces hypotextes –, mais ceux-ci, pour la plupart, ne font pas l’objet d’une mise à distance critique à visée comique. L’impression première qui se dégage du volume, celle d’un ouvrage léger dans lequel les héros sont ridiculisés, les références mêlées et les traditions soumises à un relativisme généralisé, n’est qu’une façade destinée à duper un certain type de lecteur et à dissimuler le sens profond du texte. Ce dernier ne se révèle qu’à l’issue d’une lecture intertextuelle érudite qui, en acquérant une connaissance précise des livres lus par Jules Laforgue, met au jour un principe de réécriture reposant sur la reconnaissance préalable d’analogies entre les différentes œuvres. L’auteur pratique une lecture imaginative – au sens où l’imagination est, pour Charles Baudelaire, l’art de saisir les rapports – et retient des textes-sources les éléments qui résonnent en lui. Leur mise en présence dans les "Moralités" s’avère alors cohérente et le volume apparaît comme une véritable broderie intertextuelle ; chaque fil – chaque œuvre – conserve sa singularité mais tous participent à l’élaboration d’un motif unique : l’expression, par le truchement de la fiction et de la voix des autres, du questionnement existentiel de Jules Laforgue. / Jules Laforgue (1860-1887) said that the novellas of "Moralités légendaires" were « old canvasses embroidered with fashionable souls », thus placing his work at the heart of the Library. But, contrary to what we may think when reading his definition, he does not merely write parodies of "Hamlet", of the "Histoire de sainte Élisabeth de Hongrie", "Lohengrin", « Hérodias » and the "Metamorphoses" : the tales’ material comes not exclusively from these hypotexts, but from dozens of other texts, which are seldom rewritten from a critical and comical point of view. The reader’s first impression of a light work where heroes are ridiculed, references blended and traditions relativized is that of a mere charade intended to dupe a certain kind of reader and to prevent him from understanding the text thoroughly. However, the true meaning of such works only reveals itself through an intertextual reading, which requires precise knowledge of the books that Jules Laforgue read. Only then does one realise that he is rewriting texts amongst which he has seen various links. His own reading is an imaginative one – insofar as, according to Charles Baudelaire, imagination is the art of detecting connections that are not obvious – and he borrows from the intertexts the elements that call forth echoes in his mind. He then assembles them in the "Moralités" in a coherent way. Thus, the book can be seen as a true intertextual embroidery ; each thread – each work – retains its idiosyncrasy but they all contribute to a single design : the expression, through the art of fiction and the voices of others, of Jules Laforgue’s existential questioning.

Cette recherche propose de rendre compte de l'usage de la broderie en art contemporain dans les oeuvres deTracey Emin, première artiste à avoir exposé le récit des trente-deux premières années de sa vie dans une tentebrodée intitulée Everyone I Have Ever Slept With 1963-1995. Une analyse de réception de type sémio-anthropologiquede cette oeuvre monumentale met en évidence, dřune part, que la broderie est une écriture contemporaine incluant un geste manuel, une loi textile et une jouissance filaire et, d'autre part, que son effet de présence et son pouvoir narratif en font un art de l'intime.En tant qu'écriture filaire, la broderie est singulière. Ecriture universelle, elle est première chez les peuples sans écriture, elle est sésame social en tant que sampler, elle est historiographique par son potentiel narratif, son statut d'objet de prestige ou de mémorandum. Elle est encore écriture monumentale dans la Tapisserie de Bayeux, autre broderie phénoménale, simultanément manuscrit, témoignage documentaire et oeuvre d'art plastique reconnue.La broderie se fait art de l'intime dans d'autres oeuvres de Tracey Emin, telles ses couvertures, dont la première, Hotel International, incarne le curriculum vitae de l'artiste. Mais l'intime peut s'envisager de plusieurs manières. Or, comme en Angleterre la broderie a été considérée comme un art national dès le VIIe siècle, elle se conçoit aussi comme art de l'intime dans le rapport que les oeuvres brodées d'Emin entretiennent avec celles du passé. Si l'intime est un lien puissant entre le public et l'artiste, en brodant sa vie et son intimité, Tracey Emin a transformé le « personnel est politique » des années 1970 en universel. / This research proposes to account for the use of contemporary art embroidery in the works of Tracey Emin, the first artist to have exhibited the story of the first thirty-two years of her life in an embroidered tent entitled Everyone I Have Ever Slept With 1963-1995. A semio-anthropological reception analysis of this monumental work highlights, on the one hand, that embroidery is a contemporary writing that includes a manual gesture, a textile law and a thread jouissance and, on the other hand, that its effect of presence and its narrative power make it an art of intimacy.As thread writing, embroidery is a singular one. As universal writing, it is first among people without written language, it is a social open sesame as sampler, it is historiographical thanks to its narrative power, its status as an object of prestige or as a memorandum. It is also a monumental writing in the Bayeux Tapestry, another phenomenal embroidery, simultaneously manuscript, documentary testimony and recognized visual work of art. Embroidery is also an art of intimacy in other works of Tracey Emin, such as her blankets, whose first, Hotel International, embodies the curriculum vitae of the artist. However, intimacy can be considered in many ways.And, as in England embroidery was regarded as a national art from the seventh century onwards, it can thus be conceived as an art of intimacy in the relationship that the embroidered works of Emin maintain with those of the past. If intimacy is a powerful bond between the public and the artist, by embroidering her life and her intimacy, Tracey Emin has transformed the "personal is political" of the 1970s into a universal one

My work revolves around exploring identity of the in-between, occupying the Venn diagram middle of two cultures. As a Romanian-born, American-raised artist, I want to preserve and broadcast links to the cultures of my upbringing and birthplace. In attempts to ground and define my own “in-between” identity, I look to my parents and grandparents for cues on how they made home for themselves wherever they went, reflecting their experiences with voluntary and involuntary displacement. This text connects the research and influential family practices that shaped its companion exhibition, ranging from the role of portability in emotional transnationalism to the lasting mythology the soap opera “Dallas” holds in Romania.

På vilka sätt kan kartor hjälpa oss i dagens samhälle? De flesta av oss har tillgång till en karta med GPS när som helst, i våra telefoner. Behöver vi kartan i vårt dagliga liv på andra sätt än genom denna (ganska) exakta positionering? Det är några av frågorna som ställs i detta examensarbete, där kartan undersöks som metod och byggare av kunskap. I detta arbete har mitt intresse för kartor slagits samman med ett hantverksnära arbetssätt. Undersökningarna präglas också av nyfikenhet och formexperimenten genomförs i material som textil, sand och papper. Genom dessa experiment försöker jag vidga vår bild av hur en karta ska se ut. Kartornas språk och teorier undersöks för att kunna befästa kartan som en relevant metod. Under processen ligger själva byggandet av kunskap i fokus, så väl som att visa på att vi alla kan göra våra egna kartor. Undersökningen avslutas med en gestaltning där jag ger mottagaren en chans att ta del i och medverka i arbetet i form av en kartografisk verkstad. Genom kartor kan vi skaffa oss en ökad kunskap och förståelse om vår omvärld och oss själva, som kan leda till ett mer hållbart samhälle. / In this project my interest in maps has merged with a craftsmanlike approach. I try to broaden our view of what a map should look like and to confirm the methodological relevance of maps. The study includes form experiments in materials like textiles, sand and paper. Knowledge building is in focus during the process, as well as demonstrating that we can all make our own maps. The project concludes with a visualization where the recipient is given the chance of contributing to the work in the form of a cartography workshop. It is my belief that maps can increase our knowledge and understanding of the surrounding world as well as of ourselves, which may lead towards a more sustainable society.

L’étude propose une vue d’ensemble de la création textile à travers différents prismes puisque nous abordons les pratiques artistiques utilisant les costumes d’époque, la broderie, l’assemblage textile, les cheveux, les tissus traditionnels, la tapisserie ou encore l’art du quilting. Qu’il s’agisse des oeuvres de Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja ou Tracey Emin, chacun des artistes sélectionnés pour notre étude, propose une recherche visant une pertinence culturelle grâce à l’élaboration d’une pratique plastique où expériences personnelles et collectives s’entremêlent. La pertinence culturelle étant entendue ici comme une reconstruction critique et théorique d’une histoire par l’appropriation de matériaux et/ou de techniques textiles spécifiques. Nous avons opté pour un travail thématique afin d’analyser au mieux ce que nous appelons la scène textile globale. Une première partie propose l’analyse des travaux d’artistes réfléchissant sur l’histoire et la culture noire. Nous étudierons une sélection d’oeuvres mettant en lumière deux traumas : l’esclavage et le colonialisme, ainsi que leurs répercussions actuelles sur la culture et la société. Ainsi les travaux de Faith Ringgold, Yinka Shonibare, Hassan Musa et Maria Magdalena Campos-Pons seront analysés afin de parler de problématiques comme « l’hybridité culturelle », la créolisation, la situation de l’art contemporain africain ou encore la représentation du corps noir dans l’art. Une seconde partie est axée sur les notions d’exil, de diaspora et de l’inconfort induit par le nomadisme, le statut « entre-deux ». Les pratiques de Mona Hatoum, de femmes artistes arabes comme Lalla Essaydi, Shadi Ghadirian ou Ghazel, ainsi que les travaux de Kimsooja, Janine Antoni et Ana de la Cueva nous permettrons d’entrer au coeur d’une scène artistique dont les enjeux critiques nous portent à réfléchir sur la mondialité, dans ses aspects positifs (enrichissement, échange, dialogue) comme négatifs (uniformisation, standardisation, perte des spécificités locales). Grâce au vecteur textile, chacun de ces artistes appréhende le monde et la société d’une manière à la fois poétique, critique et politique. Une troisième partie est dédiée aux artistes (majoritairement des femmes) ayant choisi l’utilisation de techniques textiles traditionnelles comme la broderie, le tissage ou la tapisserie. Avec l’explosion de la scène féministe depuis les années 1970 jusqu’aux travaux actuels, la broderie n’est désormais plus considérée comme un loisir typiquement féminin, mais comme une véritable arme politique. Une arme dirigée vers le machisme, le patriarcat ou encore les inégalités liées au genre. Dans ce cadre, les pratiques d’artistes comme Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, permettront d’aborder la broderie dans l’art contemporain de manière diversifiée et hétérogène. À travers ces différentes analyses, nous observons la déconstruction de la hiérarchie des arts et le fait que l’art textile contemporain apparaît comme un art engagé et pertinent, proposant des perspectives de réflexions riches en lien avec les problématiques du monde actuel. / The study advises an overview of the textile creation in the widest sense because we approach the artistic practices using period costumes, embroidery, textile assembly, hair, traditional fabrics, tapestry or quilting art. That it is about works of Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja or Tracey Emin, each of the artists chosen for the study, is in search of a cultural relevance within his artistic practice where personal and collective experiences are interwoven. The cultural relevance being understood here as a critical and theoretical reconstruction of a (his)story by the mean of appropriation of specific textile materials and techniques. We opted for a thematic work to analyze at best what we call the global textile scene. A first part proposes the analysis of works from artists who think about Black culture and history. We will study works that shade light on two traumas: Slavery and colonialism, as well as their echoes on nowadays culture and society. So the works of Faith Ringgold, Yinka Shonibare, Hassan Musa and Maria Magdalena Campos-Pons will be revealed to speak about issues such as “cultural hybridity”, creolization and the situation of the African contemporary art or also the representation of the Black body in art. A second part is centred on the notions of exile, Diaspora, discomfort caused by nomadism and the “in-between” status. The practices of Mona Hatoum, Arab women artists such as Lalla Essaydi, Shadi Ghadirian or Ghazel, and the works of Kimsooja, Janine Antoni and Ana de la Cueva will allow us to enter the heart of an artistic scene the critical stakes of which carry us to think about the globalisation, within its positive (enrichment, exchanges, dialog) as negatives aspects (standardisation, losing of local specificities). Each of these artists dreads the world and the society in a poetic and political way. The third part is finally dedicated to the women artists who chose the use of traditional techniques as embroidery, weaving or tapestry. Since the explosion of the feminist scene during the 1970s until current works, embroidery is henceforth no more considered as a typically feminine leisure, but as a real political weapon. A weapon steered towards the male chauvinism, patriarchy or gendered disparities. In this frame, the practices of such artists as Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, will allow to approach the embroidery in contemporary art in a diversified and heterogeneous way. Through these various analyses, we observe the deconstruction of art hierarchy and that contemporary textile art appears as a committed and relevant art, proposing perspectives of rich reflections in connection with the actual issues of our world.

Submitted by Mario BC (mario@bc.ufrpe.br) on 2016-08-05T12:22:06Z No. of bitstreams: 1 Isabella Karim Morais Ferreira de Vasconcelos.pdf: 6904868 bytes, checksum: 342184ff5d5bf6f3fc3e2a35bf15b52d (MD5) / Made available in DSpace on 2016-08-05T12:22:06Z (GMT). No. of bitstreams: 1 Isabella Karim Morais Ferreira de Vasconcelos.pdf: 6904868 bytes, checksum: 342184ff5d5bf6f3fc3e2a35bf15b52d (MD5) Previous issue date: 2016-02-29 / This research is presented as a history narrative of manual embroidery practice in Passira, a city locaded in rural zone from Pernambuco. A tradition, an art, a heritage, an economic product, a knowing / doing that, from the 1980s was widespread as identity symbol, making this city be recognized - and recognize - as the "Land Embroidery Manual". First the reader is located on the city's history, from the time when it was a village, through his fame as the "land of corn," to be known strong production manual embroidery. The main objective is to examine events that caused the manual embroidery were to be cultural heritage Passira. From then on, the tone becomes embroidery, their meanings and some of its approaches. There is talk about the Fair Embroidery Passira Manual, annual event that takes place for more than 20 years, a place of marketing and dissemination of this embroidery. There is talk about the women said space and the performance of those women who are artisans, but they are also entrepreneurs, and the performance of some cooperatives and associations to score together these embroiderers. Finally, the issue of manual embroidery as cultural heritage is again discussed, this time from the perspective of the absence of a formal heritage education. The final considerations concludes what we could discuss during the narrative and ensures that there is still a lot to learn about this practice and its historical background. / Essa pesquisa se apresenta como uma narrativa da história da prática do bordado manual em Passira, cidade localizada no agreste pernambucano. Uma tradição, uma arte, um patrimônio, um produto econômico, um saber/fazer que, a partir década de 1980 foi disseminado como símbolo indentitário, fazendo essa cidade ser reconhecida – e se reconhecer – como a “Terra do Bordado Manual”. Primeiro situa-se o leitor sobre a história da cidade, desde a época em que era um povoado, passando por sua fama como a “terra do milho”, até ser conhecida pela forte produção de bordado manual. O objetivo principal é examinar que acontecimentos fizeram com que o bordado manual viesse a ser patrimônio cultural em Passira. A partir de então, o mote passa a ser o bordado, seus significados e algumas de suas abordagens. Fala-se sobre a Feira do Bordado Manual de Passira, evento anual que acontece há mais de 20 anos, um lugar de comercialização e difusão desse bordado. Fala-se sobre o dito espaço feminino e a atuação dessas mulheres que são artesãs, mas também são empresárias, e pontua-se o desempenho de algumas cooperativas e associações junto a essas bordadeiras. Por fim, a questão do bordado manual como patrimônio cultural volta a ser discutida, dessa vez, pela perspectiva da ausência de uma educação patrimonial formalizada. As considerações finais arremata o que foi possível discutir durante a narrativa e assegura que ainda há muito que se estudar a respeito dessa prática e seu percurso histórico.

The aim of this study was to analyze the territorialization of the manufacturing of embroidery in Sergipe, focusing on its relations to the labour networks, flows and subordination processes. To investigate the territorialization of embroidery in Sergipe involves analyzing the behaviors of the communities that are settled in the territories in which the embroidery is manufactured. Geography is used in this context as a scientific tool for understanding the differentiation of places, territories, and regions as products of the relationships among men themselves and between men and nature. Procedures of this study, based on the hypotheticaldeductive method, were divided into three stages: 1) desk job, 2) fieldwork, and 3) synthesis. The first step included a literature review, consulting companies related to embroidery (SEBRAE, SEDETEC, and Associations) and mapping. The second step included the use of questionnaires, interviews and photo records. The third stage corresponded to the data analysis. Results confirmed the hypothesis that the territorialization of the manufacturing of embroidery in the state of Sergipe, in the way it has been established over the years, favors the development of |territories of exploitation|. In these territories, socially and economically less favorable actors are dominated and exploited as abundant and cheap labour by actors who somehow stand out for having the economic, social and political means to the appropriation of the territory, using it for satisfying their needs. / O objetivo deste estudo foi analisar a territorialização da confecção de bordados em Sergipe, relacionando-a com as redes, fluxos e a subordinação do trabalho. Investigar a territorialização do bordado sergipano envolve analisar o comportamento das comunidades assentadas nos territórios em que o bordado se processa. A Geografia é utilizada nesse contexto como ferramenta científica para o entendimento da diferenciação de lugares, territórios e regiões como produto das relações travadas entre os homens e destes com a própria natureza. Os procedimentos deste estudo, sob a orientação do método hipotético dedutivo, foram divididos em três etapas: 1) trabalho de gabinete, 2) trabalho de campo e 3) síntese. A primeira etapa incluiu a revisão de literatura, a consulta a instituições relacionadas ao bordado (SEBRAE, SEDETEC e Associações) e o levantamento cartográfico. A segunda etapa incluiu a aplicação de questionários, a realização de entrevistas e o registro fotográfico. A terceira etapa correspondeu à análise dos dados coletados. Os resultados alcançados confirmaram a hipótese de que a territorialização da confecção de bordados no estado de Sergipe, da forma como tem se estabelecido ao longo dos anos, favorece a construção de territórios de exploração . Nestes territórios, os atores menos favorecidos econômica e socialmente são dominados e explorados como mão de obra farta e barata pelos atores que de alguma forma se destacam por deterem meios econômicos, sociais e políticos que lhes conferem os mecanismos necessários à apropriação do território, usando-o para a satisfação de suas necessidades.

O objetivo desta pesquisa é analisar o ensino de bordados e outros trabalhos em suportes têxteis dentro do sistema educacional desenvolvido a partir da segunda metade do século XIX e início do XX, dando particular atenção ao ensino confessional das escolas da Congregação São José de Chambéry. A presente pesquisa analisa como os trabalhos manuais de agulha possuem uma larga identificação com a mulher. Estes trabalhos ajudaram na construção de uma imagem de feminilidade, participando ativamente na formação da identidade de gênero. O século XIX reconheceu a escola como um espaço privilegiado de difusão dessas tradições femininas. Para as mulheres, a escolaridade surge com a importante missão de formar a esposa, a mãe e, com isso, sedimentar os ideais da nação. Neste projeto educacional, o currículo reserva uma particularidade, o ensino exclusivo de trabalhos de agulha para as escolas do sexo feminino. Acreditamos que este particularismo seja revelador de como os trabalhos de agulha eram vistos como o instrumento perfeito para a construção desta feminilidade, e, nas escolas confessionais, como veículo de inculcação dos valores cristãos reformadores do ultramontanismo. / The objective of this research is to analyse the teaching of embroidery and other works in textile production inside the educational system developed from the second half of the 19th and beginning of the 20th centuries, directing particular attention to the confessional education of the schools of the Congregation Saint-Joseph of Chambéry. The present research analyses how needle crafts have a wide identificiation with women. These works have helped on the construction of an image of femininity, taking active part on the formation of the gender identity. The 19th century recognized the school as a privileged space for diffusion of these female traditions. To women, scholarity emerges with the important mission of forming the wife, the mother and, with it, found the ideals of the nation. On this educational project, the curriculum reserves one particularity, the exclusive education of needle works to schools of the female sex. We believe this particularity to be revealing proof of how needleworks were seen as the perfect instrument for the constructing of femininity, and, in confessional schools, as an inculcation vehicle for the reformative Christian values of ultramontanism.

This diploma thesis deals with techniques and history of traditional women's court clothes' decorating during the Choseon dynasty, and at the same time it deals with symbolism of motifs portrayed on these clothes with the use of these techniques. Simultaneously, it's aim is to analyze selected preserved garments of that time and illustrate the mentioned techniques and motifs on them.

The diploma thesis deals with the form and function of folk costume in the Tabor area, with emphasis on the present, the period of the 20th and the 21st century. The thesis follows the research of Doc. Štěpánová and partly applies the author's knowledge gained by the research executed in the bachelor thesis. Qualitative research, carried out mainly among members of folklore ensemble Kovářovan, used anthropological methods, semi-structured interview and attended observations, supplemented by an analysis of material from the collections of the Blata's museum in Soběslav (mainly the inheritance of Marie Prunerová and her family). The focal point of the research was description of current form of costume. The author focused on the particular parts of the costume, how to wear it properly, how to take care of it and furthermore what materials and patterns are used for sewing. As part of the costume's function, the motivation of members of the ensemble was investigated. The author analysed what encouraged them to wear the costume, for how long and what occasions they dressed for. In addition to the members of the ensemble, several teachers of local elementary schools were approached and their knowledge of the ethnographic area itself, the traditional Kozácko's folk costume and the possible influence of...