The issue of a sceptre for the newly founded Faculty of Science was first discussed on the meeting of Faculty professors on the 25th November 1921, more than a year after the separation of the Faculty of Science from the Faculty of Arts. The commission elected from among the professors proposed a motion that the new Faculty sceptre should resemble the sceptre of the parental Faculty of Arts. Through a mediation of the Ministry of Education and National Enlightment the design of the new sceptre was ordered from the Academy of Arts, Architecture and Design and it was elaborated by prof. Jaroslav Horejc. However, in January 1923, his design was rejected, because it didn't meet the requirements of the professors' conservative approach. When prof. Horejc refused to make a modified copy of the sceptre of the Faculty of Arts, the professors addressed Tengler, the goldsmith who had made the sceptres of other faculties and of the rector in previous years. Alois Tengler was willing to make a modified copy of the sceptre of Faculty of Arts, but he also proposed a new design (with estimated price of 20 000 K), which the professors found more suitable and subsequently this design was adopted. Tengler committed himself to manufacture the sceptre by the 15th November 1924 and to incorporate any additional design...

Submitted by Raniere Barreto (raniere.barros@ufvjm.edu.br) on 2018-04-16T18:26:05Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) cariana_alves_paula_queiroz.pdf: 3375279 bytes, checksum: c3e34207da53a34b3c52da720e82a478 (MD5) / Rejected by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br), reason: verificar keywords . UFVJM n?o ? ag?ncia financiadora. on 2018-04-20T15:07:19Z (GMT) / Submitted by Raniere Barreto (raniere.barros@ufvjm.edu.br) on 2018-05-15T19:11:05Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) cariana_alves_paula_queiroz.pdf: 3375279 bytes, checksum: c3e34207da53a34b3c52da720e82a478 (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2018-05-15T19:52:50Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) cariana_alves_paula_queiroz.pdf: 3375279 bytes, checksum: c3e34207da53a34b3c52da720e82a478 (MD5) / Made available in DSpace on 2018-05-15T19:52:50Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) cariana_alves_paula_queiroz.pdf: 3375279 bytes, checksum: c3e34207da53a34b3c52da720e82a478 (MD5) Previous issue date: 2016 / Desde o s?culo XIX as pedras preciosas encontradas na regi?o do Arranjo Produtivo Local (APL) de Te?filo Otoni, MG, Brasil, ganharam o reconhecimento nacional e internacional, consagrando a cidade com o t?tulo de Capital Mundial das Pedras Preciosas. Essa pesquisa tem por objetivo caracterizar os atores envolvidos nas Micro e pequenas empresas que comp?em a cadeia produtiva do APL de gemas e joias de Te?filo Otoni-MG, identificando as possibilidades de coopera??o no arranjo. Para atingir este objetivo, a pesquisa est? estruturada em m?todos distintos quanto ? natureza, objetivos e delineamento. Relata os aglomerados locais, dando enfoque ao APL, bem como as MPEs e a cadeia produtiva de gemas e joias. Para a consecu??o da pesquisa de campo foram utilizados dois instrumentos para coleta de dados, o question?rio e a entrevista, ambos adaptados da Redesist. Totalizando 160 question?rios aplicados e 3 entrevistas com os representantes do APL e das entidades de classe estabelecidas dentro do arranjo. Com base na an?lise dos dados, podemos afirmar que o APL de gemas e joias de Te?filo Otoni-MG, est? na fase embrion?ria. Caracterizada, pela coopera??o de car?ter mais informal, com a competi??o baseada inicialmente no custo, com baixo n?vel de tecnologia, lideran?a, capacidade inovativa, confian?a interna e introdu??o de novos produtos, processos e design. / Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Tecnologia, Sa?de e Sociedade, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2016. / Since the nineteenth century the precious stones found in the Local Productive Arrangement region (APL) Teofilo Otoni, MG, Brazil, won national and international recognition, consecrating the city with the title of World Capital Gemstones. This research aims to characterize the actors involved in micro and small businesses that make up the APL production chain of gems and jewelry Te?filo Otoni-MG, identifying possibilities for cooperation in the arrangement. To achieve this goal, research is structured in different methods as to the nature, objectives and design. Reports local clusters, giving focus to the APL and the MSBs and the production chain of gems and jewelry. For the achievement of field research Two instruments were used for data collection, the questionnaire and interview, both adapted from RedeSist. Totaling 160 questionnaires and 3 interviews with representatives of APL and class entities established within the arrangement. Based on data analysis, we can say that the cluster of gems and jewelry Te?filo Otoni-MG is in the embryonic stage. Characterized by a more informal nature of cooperation with the competition initially based on cost, low level of technology leadership, innovative capacity, inner confidence and introduction of new products, processes and design.

L'étude des bijoux - notion complexe pour la période prise en examen - et de leurs représentations, s'appuie sur l'analyse des images en deux dimensions de la Vallée d'Aoste, du Piémont, de Ligurie et de Lombardie aux XIVe et XVe siècle. Elle vise à observer les contextes et les types de support permettant d'observer des détails comme les objets précieux, ainsi qu'à déterminer les grands groupes de commanditaires des images mettant en scène ces objets. Elle vise ensuite à analyser la fréquence d'apparition des différents bijoux et accessoires de parure, ainsi qu'à déterminer les catégories de personnages les plus ornées, tout en confrontant ces résultats avec les autres sources à notre disposition: mobilier archéologique, objets d'orfèvrerie, documentation comptable, inventaires après décès, lois somptuaires, récits de chroniqueurs, sermons, correspondance, poésie, ainsi que les Lapidaires dédiés aux gemmes. Sont abordées les particularités mises en avant par les images, qui insistent sur les différentes valeurs morales attachées à chaque type d'objet de parure, à l'endroit du corps auquel il était destiné ainsi qu'au rang de celui qui les portait.Le recours à plusieurs études relevant du domaine de l'anthropologie historique permet d'observer le rôle important des occasions qui requéraient le port de ces objets ou qui en commandaient les échanges, découlant des nécessités imposées par un cérémonial très ritualisé, lors duquel les objets de parure jouaient un rôle de représentation et de protection.L'analyse s'oriente sur la « stratégie » déployée par les images et leurs commanditaires, au sein d'une logique des apparences visant à légitimer leur position. / The study about jewels and adornment accessories - a complex notion for the period in examination - and their representations, leans on the analysis of the two-dimensions images produced in Aosta Valley, Piedmont, Liguria and Lombardy in the 14th and 15th century.It aims at observing contexts and types of medium allowing images to show such details as jewels and adornment accessories, when still visible, and to determine the different groups of people who subscribed the images where these objects appear.It aims at analyzing the frequency of appearance of the various jewels and dress adornments, as well as determining which are the most decorated categories of characters, while confronting these results with the other sources at our disposal: archeological and goldsmiths' work finds, account books, inventories, sumptuary laws, chroniclers narratives, sermons, correspondence, poetry, and a particular genre of literature dedicated to gemstones: Lapidaries.The particularities advanced by images insist on the various moral values attached to every type of jewel and adornment object, their location on the body, as well as the rank of their owner.The recourse to several studies belonging to the historic anthropology domain allows focusing on the important role played by the occasions which required the bearing of these objects or which commanded their exchanges, ensuing from a ritualized ceremonial, during which the finery objects played a role of representation as well as protection.Finally, the analysis turns on the "strategy" displayed by images and, especially by those who ordered them, joining within logic of appearances, in order to legitimize their position. / Lo studio dei gioielli – nozione complessa per il periodo preso in esame – e delle loro rappresentazioni, si basa sull’analisi delle immagini a due dimensioni prodotte nella Valle d’Aosta, in Piemonte, Liguria e Lombardia ne Trecento e Quattrocento. Mira innanzitutto ad osservare quali sono i contesti ed i tipi di produzione che permettono di osservare dettagli come gli accessori ornamentali, quando questi sono ancora reperibili, così come a determinare i grandi gruppi di promotori delle immagini raffiguranti questi oggetti. Mira poi ad analizzare in modo quantitativo la frequenza delle apparizione di quei differenti tipi di gioielli ed accessori preziosi, nonchè a determinare quali sono le categorie di personaggi più ornati, pure confrontando questi risultati con le altre fonti a disposizione. Tra queste si annoverano reperti archeologici e oggetti di oreficeria, ma anche fonti scritte : documentazione archivistica contabile, inventari, leggi suntuarie, opere di cronisti, sermoni, corrispondenza, poesia, così come une tipo particolare dedicato alle gemme : i Lapidari. Sono così evidenziate le particolarità messe in luce dalle immagini, che insistono sulle differenti caratteristiche morali legate ad ogni tipo di oggetti presi in conto, alla parte del corpo alla quale era destinato, così come al rango sociale di chi lo portava. Il ricorso a parecchi studi che rientrano nel campo dell’antropologia storica permette di osservare il ruolo importante delle occasioni che richiedevano di ornarsi con questi oggetti o che ne determinavano gli scambi, il che dérivava dalle necessità imposte da un cerimoniale molto ritualizzato, nel quale quegli oggetti preziosi assumevano nello stesso tempo una funzione di rappresentazione et di protezione. Infine, l’analisi si orienta sulla « strategia » sviluppata dalle immagini, e sopratutto dai loro donatori, iscrivendosi in una logica delle apparenze che tendeva a legittimare la loro posizione.