This dissertation considers the place in anthropology of ‘production’ generally, and ‘engineering’ specifically, by asking the simple question: How do people make things? Scholars of material culture have until recently focused on issues of consumption, especially the consumption of commodities (Miller), and considered production only in the abstract. Other theoretical approaches are therefore drawn upon to act as a framework for the thesis, including network theory (Law and Latour), and environmental relationism (Ingold). A methodology of ‘parallel fieldwork’ was developed (from Bourdieu), to situate myself as an experienced engineer carrying out anthropological fieldwork. Work in a ‘familiar’ environment (the Didcot Railway Centre, UK) was used to provoke thoughts about engineering in my primary fieldsite (the Kelabit highlands, Borneo). Data from the UK thus helped frame my analysis of Kelabit engineering, presented here in four parts. First, using the construction of two bridges as a case study, I suggest that a design can be seen as the revelation of a potential future, rather than a complete plan, as is suggested by design researchers such as Lawson and Norman. Then, by looking at changing traditions of house-building, I demonstrate the intimate relationship between materials and environment, even as the environment becomes more industrialised (Tsing), and consider this example in the light of debates about materiality (Miller; Ingold). Personal involvement in the conception and building of a new suspension bridge allowed me to investigate in some depth the act of construction. As a communal project, this incorporated aspects of individual skill, in the way that Ingold has described, but also the organization of people, tools and materials, akin to Law’s ‘heterogenous engineering’. This leads me to conclude that a theory of engineering might come from due consideration of both these approaches to relational thinking. Finally, I describe an abandoned longhouse and trace its deconstruction, suggesting that this is an example of creative destruction (Colloredo-Mansfeld), and re-materialization (Gregson). The dissipation of the material parts of the building shows that engineered objects should be seen as an ongoing process of material creation and disposal, and not a unified whole. In conclusion, my hope is that this dissertation contributes to ideas about the place and nature of material culture, and advocates a more prominent place for ‘production’ within anthropology.

Le judo, fruit de la sportification du jūdō* (la méthode élaborée en 1882 par J. Kanō), est un sport institutionnalisé et non un art martial. En offrant le jūdō* au Partage, Kanō a créé une pratique vouée à être diffusée mondialement. Inscrit dans le cadre de l’analyse dynamique de la globalisation (Appadurai, 2001) le judo est étudié à l'échelle globale (faire du judo), locale (faire un judo) et corporelle (faire judo). Faire du judo représente la matrice commune à tous les judokas de la planète, qui permet à ses membres de s’identifier, et aussi de se distinguer. La problématique du Partage abordée sous l’angle anthropologique (Candau, 2000) met en évidence la façon dont les collectifs s’approprient le judo de façon spécifique. Faire un judo désigne le judo approprié par un groupe en fonction du contexte socioculturel d’accueil qui agit tel un filtre permettant d’adapter la matrice pour l’adopter. La comparaison du judo orléanais et du judo « à la Tenri » illustre l’élaboration contextuelle de cultures motrices par des cultures matérielles spécifiques. Le dōjō* conçu comme un réseau d’actions sur les actions des autres éclaire la façon dont les judokas incorporent les objets et se construisent dans le rapport à la matière et aux autres. Faire judo représente la synthèse corporelle et personnalisée de la pratique. Au contact des autres, le judoka se construit en apprenant à faire du judo : il incorpore la matière, s’approprie des techniques de la matrice et les combines pour créer son système d’attaque-défense. Une ethnographie du sensible décrit comment les objets incorporés dans l’action sont à la fois supports et effecteurs de la construction du judoka en tant que sujet. Enfin, une réflexion ergonomique sur la formation des judokas et la transmission de savoir-faire et de savoir-être est proposée. Le but est d’ouvrir l’enseignement du judo à une pédagogie sensori-télécinétique favorisant l’apprentissage par et dans l’interaction. / Judo, the result of the sportification of jūdō* (a method developed in 1882 by J. Kano), is an institutionalized sport, not a martial art. By offering jūdō* to Sharing, Kano established a practice which was to be broadcasted worldwide. When referring to the dynamic analysis of globalization (Appadurai, 2001), judo is studied on a global (doing judo), local (doing a judo) and physical scale (making judo). Do judo is a matrix, common to all judokas around the world, which enables its members to identify each other, and also to distinguish themselves. The anthropological problematic of Sharing (Candau, 2000) shows how groups appropriate the judo specifically. Do a judo refers to the judo appropriated by a group, based on the socio-cultural context that acts as a filter, which enables them to adapt the matrix in order to adopt it. The comparison between judo practice in Orleans and "the Tenri" style illustrates how motor cultures are contextually built through specific material cultures. The dōjō* is designed as a network of actions in response to other people's actions and highlights the way judokas incorporate objects and shape themselves (as they are shaped by) through their relation to material and people. Make judo is the physical and personalized synthesis of the practice. Through contact with others, the judoka learns how to do judo: he integrates the material, masters matrix techniques and combines them in order to create his own system of attack and defence. A sensitive ethnography describes how objects that are integrated in an action are both substrates and effectors of the self-construction of the judoka. Finally, an ergonomic study of the training of the judokas and of the transmission of skills and expertise has been conducted. The aim is to introduce a sensory praxeological pedagogy into the teaching of judo in order to enhance interaction in the learning process.

On the 4th of October 1562, the Polish princess Catherine Jagiellon married the Swedish prince and duke of Finland Johan Vasa. Leaving Poland, Catherine Jagiellon was equipped with a very rich dowry and followed by an entourage of nearly 50 people. The objective of this study is to investigate the objects and people surrounding the newly wedded 16th century princess and asses if the document mirrors the complex cultural interactions of the early modern world. The analysis of the inventory is carried out using two theoretical approaches: material culture and culture transfer. The study is constructed in two parts. The first part focuses on the analysis of the sections of the inventory following the order of the document. If possible, the objects are mapped, their history is traced through the sources, their appearance and function are discussed. The examination of the members of the court is also carried out. With the deepened analysis of the inventory as a basis, the second part of the study is dedicated to the search of culture hybridization markers in described artefacts, people, practices as well as the language of the document itself. With the result of this investigation, the author is able to pinpoint the complex international cultural processes that were occurring in an early modern world.

O presente estudo, desenvolvido no Programa de Pós-Graduação em História Social da Universidade de São Paulo, vincula-se, também, por seus objetivos e condição de sua orientadora, ao Programa de Pesquisas em História da Cultura Material do Museu Paulista da USP, que vem se configurando, nas últimas duas décadas, como centro emergente neste campo. Constitui, outrossim, aprofundamento de pesquisa em torno do comércio e fabricação de brinquedos na cidade de São Paulo nas primeiras décadas do século XX, na qual, das 77 fábricas e fabriquetas de brinquedos mapeadas, ativas entre 1901 e 1937, sobressaiu-se a Seção de Brinquedos da Metalúrgica Matarazzo METALMA, que por uma conjunção de características relativas a porte, duração, tipologia fabril e, sobretudo, por participar de momento histórico marcado por um pensamento industrial de ideologia nacionalista e anseio de modernização, mostra-se como objeto de pesquisas de interesse, até então não realizado. É objetivo da pesquisa esmiuçar e concretizar os modos como os ideais do nacionalismo e modernização puderam se desenvolver nos meandros da fabricação de brinquedos voltados ao mercado consumidor brasileiro de objetos de uso doméstico, desde os materiais e métodos fabris utilizados até o produto final brinquedos de lata com temáticas variadas, que são recuperados e analisados enquanto parte do corpus documental (seja no plano da informação textual e iconográfica, seja no exame de exemplares ainda existentes), tornando-se o objeto como documento, na perspectiva da História da Cultura Material. / The present study, developed at the Post-Degree Program at the São Paulo University (USP), is also related, due to its goals and supervisors status, to the History of Material Culture Research Program at the Paulista Museum, from the same university, a center which, in the last two decades, has become an emerging center of research in the field. Therefore, the present study is a deeper research on toys trade and manufacturing in the city of Sao Paulo during the first decades of the 20th century. From the 77 plants and small factories which have been mapped, actives between 1901 and 1937, the Seção de Brinquedos da Metalúrgica Matarazzo METALMA (Matarazzo Metallurgical Section of Toys) is of special interest. Owing to a group of traits related to size, activity period, factoring type and, especially, for taking part of a historical moment of a nationalistic industrial mindset and an urge for modernization, this company is the object of this research. The goal of this research is to scrutinize and actualize the way in which the ideology of nationalism and modernization could develop at the core of toy manufacturing targeted to the Brazilian end consumer, from materials and factoring procedures adopted to the final product differently themed tin toys which have been retrieved and analyzed as part of the documental corpus (both as textual and iconographical information and as analyses of remaining objects), and have become the documents for this research on perspective to the History of Material Culture.

Jornais criados e veiculados no início do século XX por imigrantes japoneses no Brasil são um registro de sua comunidade e cultura. Um aspecto pouco explorado na literatura, porém, pode apontar influências de diferentes culturas e movimentos artísticos nessa comunidade. Sendo assim, a presente pesquisa propõe analisar os primeiros jornais desses imigrantes para constatar se o estilo gráfico do movimento artístico Art Nouveau atuou como fonte de inspiração para a criação dos elementos gráficos que compõem tais jornais, uma vez que ambos foram contemporâneos. A análise investiga detalhadamente os elementos desses jornais no período entre os anos de 1916 e 1923. Por meio do estudo do contexto histórico dos jornais e da descrição de seus elementos gráficos, juntamente com a suscitação do contexto histórico e descrição do estilo gráfico do Art Nouveau, identificaram-se evidências da influência do movimento nos periódicos nipo-brasileiros. Verifica-se, dessa forma, que diversas culturas estão interligadas entre si e que seu encontro catalisa o desenvolvimento de novos significados, que resultam no enriquecimento geral. / Newspapers created and distributed at the beginning of the 20th century by Japanese immigrants in Brazil are a record of their community and culture. An aspect rarely explored in literature may, however, point out to influences of different cultures and artistic movements in this community. Thus, the present research proposes to analyse the first newspapers of these immigrants to verify if the graphic style of the Art Nouveau movement acted as a source of inspiration for the creation of the graphic elements that compose such newspapers, since both were contemporaries. The analysis investigates in detail the elements of these newspapers in the period between 1916 and 1923. Through the study of the historical context of the newspapers and the description of their graphic elements, together with the investigation of the historical context and description of the graphic style of Art Nouveau, it was possible to identify evidences of the influence of such movement in these newspapers. In this way, verified that diverse cultures are interconnected and that their encounter catalyzes the development of new meanings, which result in general enrichment.

A capela foi construída em 1742, pelo comerciante de escravos Manoel da Costa Negreiros em devoção a Nossa Senhora da Saúde, no alto de um morro junto à faixa litorânea com destaque na paisagem da região atuando como ponto de referência para viajantes e navegadores da baía da Guanabara. O nome Saúde passou a nominar o morro e depois o bairro, e a capela a agir como um vetor na expansão urbana da cidade do Rio de Janeiro juntamente com o novo porto. A partir do século XVIII, a paisagem da região sofreu um processo radical de transformação: de área alagada, de rocio da cidade o qual apresentava um litoral recortado por várias baías e ilhas, transformou-se em área seca, composta por sucessivos aterros e faixa litorânea retilínea, uma área totalmente introduzida no núcleo urbano. Passando por várias transformações e proprietários estes vestígios nos chegaram ao século XXI quando encontramos com uma igreja abandonada, descaracterizada, inserida em uma área degradada, \"sufocada\" pela malha urbana atual, necessitando de restauro e de revitalização. O projeto de restauração da igreja contou com uma equipe multidisciplinar composta por historiadores, restauradores, arquitetos e arqueólogos. Através da análise dos resultados destas pesquisas foi possível a construção de diferentes \"passados\" os quais que se interpenetram e permanecem nesta que foi declarada patrimônio nacional a partir do seu tombamento (Processo nº 0036-T-38 de 02 de agosto de 1938). A partir da análise de uma massa de evidências e informações sobre a igreja, os arredores e sobre a cidade do Rio de Janeiro e seus habitantes, levantamos alguns indícios da presença e perpetuação de uma tradição judaica e da participação de múltiplos agentes, dentre eles, o judeu na formação de nossa sociedade. Utilizamos os conceitos teórico-metodológicos da \"arqueologia simétrica\", a partir dos quais a materialidade compreende uma \"rede\" encadeada por múltiplos agentes, o que possibilita mapear suas conexões no tempo e no espaço, ao invés de encerrá-la apenas em cronologias vazias e homogêneas. Estas conexões permitiram visualizar as redes de relações necessárias na formação e transformação do sítio, identificando os múltiplos agentes envolvidos na construção e manutenção do mesmo, percebendo ampliação destas redes de relações e comércio a partir das \"coisas\" recuperadas pela pesquisa. O vestígio produzido pelo ator ao ser abordado pelo arqueólogo passa a representar o ,,nó\" ideal para compreender as conexões que formam a rede e, a partir de uma análise simétrica ser capaz de (re) caracterizar nossa relação com a materialidade que sobreviveu ao passado e a materialidade contemporânea. Ao se associarem a uma rede de ações duradouras, todas as \"coisas\" se transformam em atores e estas \"coisas\" representam o \"nó\" ideal para \"receber\" e \"distribuir\" as conexões que formam a rede (OLSEN, 2003, p.98). O nosso \"nó\" ideal é a materialidade recuperada pela pesquisa arqueológica dentro da qual destacamos a própria edificação e os azulejos que revestem suas paredes trazendo-nos indícios de uma memória \"escondida\". / The chapel was built in 1742 by the slaves dealer Manoel da Costa Negreiros in devotion to Our Lady of Health, situated on a high hill together to the sea with prominence to the landscape of the region acting as a reference point for travellers and navegadores of bay of Guanabara.The Health\"s name became to nominate the hill, than the neighbourhood, and the chapel to act as a vector in urban expansion of the city of Rio de Janeiro together with the new port. From the XVIII century, the landscape of the region has suffered a radical process of transformation: from a soaked area, area peripheral of city, that represented a littoral zone with many bays and islands, becoming a dry area with successive earthwork and, a rectilinear sea zone, completely introduced in the urban zone. After many modifications and different owners the vestiges that got on the XXI century resulted in an abandoned church that urgently needs repair and reinvigoration.The church\"s reinvigoration project counted with a multi-disciplinary crew composed by historians, restorers, architectures and archaeologists. Through the researches analysis results was possible to build different \"pasts\" that represents the national patrimony since its recording as a historical site (Process nº 0036-T-38 August, 02 of 1938). Since all the churche\"s evidences and informations, surroundings of the city of Rio de Janeiro and their habitants, it shows indiction of a jewish tradition and the participation of multiples agents, between them, the jewish in the beginning of our society. We use the theorical-methodology concept\"s of a \"symmetric archaeology\", that includes a chain \"net\" with multiples agents, that maps the connection on time and space, instead of ending in an empty and homogenous chronologies. These connections permit to identify the relation nets necessary to build and transform the archaeological site, identifying the multiples agents involved to build and to maintain it, these nets contribute to the extension and business since the recovered \"stuff\" by the researches. The produced vestige by the actor and issued by the archaeologist represents the great \"tie\" to understand the connections that make the net and, a symmetrical analysis capable to make our relation with the materiality that left from the past and the contemporaneous materiality. Gathering in a supportable action, all the \"stuff\" become in actors and this \"stuff\" represent the ideal \"tie\" to \"receive\" and \"distribute\" the connections that make the net (OLSEN, 2003, p.98). The great \"tie\" and the recovered materiality by the archaeological research within point the own edification and the tiles that fill their walls bring the vestiges of a \"secret\" memory.

Esta pesquisa analisa, do ponto de vista etnográfico, os visitantes da Pinacoteca do Estado, em São Paulo. Embora seja o museu de arte mais antigo da cidade, a Pinacoteca se encontra, junto a outras instituições culturais da região da Luz, no meio de processos de revitalização por meio da cultura. Tais processos fazem parte de fenômenos urbanos globais que vêm redefinindo o papel dos museus no contexto urbano e relacionando-os com processos econômicos mais abrangentes. No entanto, a presente pesquisa busca um afastamento das análises que entendem os museus como parte de uma cultura de consumo e vê seus frequentadores apenas como consumidores. Contudo, não se propõe aqui uma antropologia do consumo, que em que pese a notável superação de uma abordagem moral do tema se baseia numa ruptura entre sujeito e objeto e compreende as relações materiais apenas como formas de representação de classificações e divisões culturais mais profundas de grupos sociais. Tenta-se, na verdade, compreender o comportamento dos visitantes da Pinacoteca em suas formas de sociabilidade, bem como a relação desses visitantes com os objetos de arte tendo como base uma perspectiva antropológica da arte e da cultura material. Tal perspectiva permite conceber as obras de arte como pessoas, o que dinamiza e complexifica as relações com objetos materiais. Assim, analisa-se, situacionalmente, as relações dos visitantes da Pinacoteca de modo que, por meio das obras de arte e dos laços de sociabilidade, as interações sociais possam ser ampliadas e, em vez de ocasião para distinção simbólica e social, a visita possa ser entendida como oportunidade de construção pessoal. / This research analyzes, from an ethnographic point of view, the visitors of Pinacoteca do Estado, in São Paulo. Although it is the oldest art museum in the city, the Pinacoteca is, along with other cultural institutions in the region of Luz, amid processes of revitalization through culture. These processes are part of global urban phenomena that come redefining the role of museums in the urban context and relating them to broader economic processes. However, this research seeks a departure from the analyses that understand museums as part of a culture of consumption and see their visitors only as consumers. Nevertheless, it is not proposed here an anthropology of consumption in spite of the remarkable overcoming of a moral approach to the subject which is based on a split between subject and object and understands the material relations only as forms of representation of deeper classifications and cultural divisions of social groups. Actually, we try to understand the behavior of Pinacotecas visitors in their forms of sociability, as well as the relationship of these visitors with the objects of art based on an anthropological perspective of art and material culture. This perspective allows conceiving artworks as people, which dynamizes and complexifies relations with material objects. Thus, we analyze, situationally, the relationship of the Pinacotecas visitors so that by works of art and the bonds of sociability, social interactions can be expanded and instead of occasion for symbolic and social distinction, the visit can be understood as an opportunity for personal construction.

Entre 1894 e 1916, período em que esteve sob a gestão do zoólogo Hermann von Ihering, o Museu Paulista conseguiu reunir coleções de dimensão considerável, que englobavam objetos pertinentes às diferentes disciplinas às quais a instituição se dedicava. Por meio dessas coleções, o Museu pôde produzir e veicular conhecimentos sobre a natureza e o homem sul-americano. Embora intrínsecos à prática da História Natural, a reunião e uso de coleções podem ser problematizados e investigados com algum grau de profundidade, trazendo à tona dimensões insuspeitas da história dos museus e das ciências naturais. Sendo assim, objetiva-se, nesta dissertação, investigar aspectos de processos de aquisição e uso de coleções de História Natural praticados no Museu Paulista de Ihering. Pretende-se, dessa forma, contribuir para a compreensão do que foram a implantação e o desenvolvimento do primeiro museu público do estado de São Paulo. Mais do que isso, almeja-se entender o papel central reservado aos espécimes científicos na produção e veiculação de conhecimentos sobre a natureza sul-americana. Para tanto, examinaremos as principais etapas envolvidas na curadoria das coleções: a aquisição de objetos, sua mobilização para produção de conhecimento e sua exibição no âmbito das exposições públicas / Between 1894 and 1916, the Museu Paulista was under the management of the zoologist Hermann von Ihering. During this period, the museum gathered collections of considerable size, which encompassed objects concerning to different disciplines. Through these collections, the Museum was able to produce and communicate knowledge about the nature and the man of South America. Gather and use collections are procedures intrinsic to the practice of Natural History. However, they may be deeply investigated, bringing out unsuspected dimensions of the history of museums and natural sciences. This dissertation aims to investigate the acquisition and use of collections of Natural History in the Museu Paulista of Ihering. We intend, therefore, to contribute to the understanding of the development of the first public museum in the state of São Paulo. More than that, we aim to understand the central role of scientific specimens in the production and communication of knowledge about the South American nature. To do so, we will examine the major steps involved in curating the collections: the acquisition of objects, its mobilization for the production of knowledge and its display in the public exhibitions. Keywords: material culture; collections; scientific specimens; Museu Paulista; Hermann von Ihering

O trabalho apresentado busca discutir as ideias de identidade latino americana e de cultura popular, presentes no Pavilhão da Criatividade, espaço de exposição permanente do Memorial da América Latina, tendo em vista a seleção e o modo como os objetos são expostos ao público. A partir da apreensão, pela observação e análise, dos discursos especializados presentes no Pavilhão, somados à documentação levantada sobre o lugar, busca-se compreender como foi pensada a construção e relações entre latino-americanidade e a noção de cultura popular no local. Evidencia-se a percepção de uma ênfase pela busca, no Pavilhão da Criatividade, pelo tipicamente latino-americano por meio do artesanato, em detrimento da apresentação das dinâmicas e contradições vividas pelas culturas que constroem os objetos, do mesmo modo percebe-se a construção discursiva por meio da expografia de uma noção específica de cultura popular pensada a partir das mudanças, políticas, econômica e culturais dos anos oitenta.Trata-se de um trabalho interdisciplinar, empenhado em articular noções da museologia, história e dos estudos culturais / The present work seeks to discuss the ideas of Latin American identity and popular culture present in the Pavilhão da Criatividade, permanent exhibition space of the Memorial da América Latina, in view of the selection and the way objects are exposed to the public. From the apprehension, through the observation and analysis, of the specialized speeches present in the Pavilion, added to the documentation raised about the place, it is sought to understand how was thought the construction and relations between Latin American and the notion of popular culture in the place. Is evidenced a perception of an emphasis on the search, in the Pavilhão da Criatividade, for the \"typically\" Latin American by the handicraft, to the detriment of the presentation of the dynamics and contradicitions lived by the cultures that construct the objects, in the same way is perceived the discursive construction by In the midst of the expography of a specific notion of popular culture thought out of the changes, political, economic and cultural of the eighties. Is is an interdisciplinary work, committed to articulate notions of museology, history and cultural studies

A presente dissertação aponta o tratamento dado à Cultura Material nos livros didáticos de História. A amostra constitui-se de todos os livros didáticos aprovados pelo PNLD 2003, criando-se um banco de dados contendo todas as imagens neles contidas. Nesse banco de dados, as imagens são divididas em três categorias principais: vestígios arqueológicos, mediações interpretativas e fotos. A seguir, considera-se o meio (pintura a óleo, gravura, têmpera, aquarela, escultura, estruturas urbanas e rurais...) e o suporte (tela, mural, papel...) das imagens. Tabulados e quantificados os dados, comparecem quadros indicativos por culturas e por problemas. Ausências e presenças são analisadas assim como as legendas das imagens e o manual do professor, constatando-se o uso ainda meramente ilustrativo da cultura material, que se explica por sugestões referentes à formação do historiador brasileiro / The present work discusses the treatment material culture receives in history school books. The sample was constituted by all school books approved in 2003 by the PNLD program, from which a data bank was created, relating all images from the sample.In this data bank the images are divided in three main categories: archaeological data, photos and mediatic intermediate solutions. It is then considered the type(oil painting, sculpture, buildings) and the basis (canvas, paper, wall, stone) for the images. Organized and quantified the data, both cultures and problems are presented. The consideration of both presences and absences, as well as the analysis of labels and the teacher manual prompt us to suggest that the use still illustrative of material culture is much due to the background and schooling of the Brazilian historian