L'épanouissement économique des manufactures de céramiques françaises tout au long du XIXe siècle et au début du XXe siècle est propice à la revalorisation des valeurs industrielles au sein des arts décoratifs. Les industriels s’appliquent à fournir des produits de qualité à moindre coût, à toutes les classes, grâce aux améliorations techniques et à l'abaissement des coûts des techniques décoratives. À partir des années 1860, les productions japonisantes participant à ce phénomène se diffusent dans les intérieurs bourgeois et entrent dans un cadre plus général : celui des productions céramiques reproduites à grande échelle, mises en œuvre par des fabriques à Paris et en province tout au long de la période concernée, y compris durant l'entre deux-guerres. En privilégiant dans un même mouvement collectif tel style, telle forme et tel décor, les différents milieux fournissaient aux fabricants et aux créateurs de modèles une direction à suivre dans la production du japonisme en céramique. Les artistes industriels ont dès lors cherché à surmonter la fracture entre art d'élite et goût populaire. Ces nouveaux objets peu coûteux devaient correspondre à des critères esthétiques et pratiques très hétérogènes. La stratégie commerciale des manufactures de céramiques et des centres de distribution a de fait été façonnée en conséquence. Le bibelot en céramique, facilement manipulable, illustre par ailleurs les représentations d’un pays imaginé et appréhendé de manière collective grâce aux expositions, au cinéma, au théâtre et à la littérature. Ces images contribuent à l’émergence d’une culture populaire urbaine dont le caractère commercial est assumé ; en ce sens, cette céramique fait partie de l’univers du « kitsch » en tant que communication de masse utilisée par la classe moyenne. / The economic growth of manufacturing earthenware and porcelain in the province triggered a flourishing industrial standard in the decorative arts. The Beautiful and Industry are the two new values inseparable, celebrated by the production of French ceramics until the end of the first half of the twentieth century. Manufacturers want to provide quality products at lower costs to all classes. Improvements in ceramic materials and technical casting, as well as lowering the cost of decorative techniques, have encouraged the opening up the hierarchy of decorative arts. These new technical processes took part in the improvement of living conditions of the bourgeoisie and smaller classes. Japanese style productions were large-scale diffused in bourgeois interiors since 1860’s. These works fall into a broader context: the large-scale pottery production, implemented by factories in Paris and the provinces throughout the period, including during the interwar period. Industrialization brings to market products that must seek the attention of all classes. These inexpensive items had to correspond to aesthetic and practical heterogeneous criterion. By focusing on the same style as collective motion, such as shape and decoration, the different environments provided producers a direction to follow in models making. Business strategy of manufacturing has been designed accordingly. The ceramics “curio”, easy to handle, illustrates the representations of an imagined and apprehended country in a collective way thanks to exhibitions, movies, plays and literature. These representations contribute to the emergence of an urban popular culture whose commercial character is clearly assumed. This ceramics is part of the universe of “kitsch” as mass communications used by the middle class.

The aim of the work is to broaden the knowledge of historical bourgeois material culture in the centre of České Budějovice. The analysis focuses on pottery wares and other material obtained during the rescue archaeological excavation on the plot of house no. 23. The morphological as well as technological characteristics of the assemblage under study are observed and provide a better understanding of the evolution and transformation of the material culture of the medieval city.

Despite the dynamic portrayal of clothes in the Hebrew Bible scholars continue to interpret them as flat and inert objects. They are often overlooked or reduced to background details in the biblical texts. However, this thesis will demonstrate that the biblical writers’ depictions of clothes are not incidental and should not be reduced to such depictions. This thesis employs a multidisciplinary approach to develop and challenge existing approaches to the clothing imagery in the Hebrew Bible. It will fall into two main parts. In the first part, I draw insights from material-cultural theories to reconfigure ways of thinking about clothing as material objects, and reassessing the relationships between people and objects. Having challenged some of the broader conceptions of clothing, I will turn to interrogate the material and visual evidence for clothing and textiles from ancient Syro- Palestinian and ancient West Asian cultures to construct a perspective of the social and material impact of clothing in the culture in which the biblical texts were constructed and formed. In the second part, I will examine the biblical writers’ depiction of clothing through two case studies: Joseph’s ketonet passim (Genesis 37) and Elijah’s adderet (1 Kings 19 and 2 Kings 2). These analyses will draw from the insights made in the first part of this thesis to reassess and challenge the conventional scholarly interpretations of clothing in these texts. In this thesis, I argue that clothes are employed in powerful ways as material objects which construct and develop the social, religious and material dimensions of the text. They are also intimately entangled in relationships with the characters portrayed by the biblical writers and can even be considered as extensions of the people with whom they are engaged. Clothes manifest their own agency and power, which can transform other persons and objects through their performance and movement in a biblical text.

Animals were given a preponderant position in Egyptian art, symbolism, and cultual practices. This thesis centres on the relationship between humans and animals during the predynastic period in Upper Egypt (Naqada I-IIIB, 4th millennium BCE), focusing on hippopotamus and crocodile as representatives of the Nile environment and antelope species as representatives of the desert environment. Depictions of these animals are analysed and compared with contemporary faunal remains derived from activities such as cult, funerary, or every day consumption. The material analysed covers several centuries: temporal evolutions and changes have been identified. The animals studied in this thesis were first used by the Naqada I-IIB elites as means to visually and practically express their power, which they envisioned in two contrasting and complementary ways. The responsibilities of the leaders were symbolised by the annihilation of negative wild forces primarily embodied by antelope species. In contrast, they symbolically appropriated positive wild forces, chief among them being the hippopotamus, from which they symbolically derived their power. Faunal remains from after mid-Naqada II are few, depictions of hippopotamus disappeared and those of crocodile became rare. Antelope species became preponderant, especially on D-ware vessels, which were accessible to non-elite people. However, toward the end of the predynastic period, antelope species came to be depicted almost exclusively on high elite material; they lost their individuality and became generic representatives of chaotic forces that the leaders and early rulers had to annihilate in order to maintain control and order.

My research is on the significance of building practice at sites that are known as chambered monuments or long cairns and long mounds. In particular, this work focuses on the long cairn sites of Gwernvale, Powys and Hazleton North, Gloucestershire; and the long mound sites of Easton Down, Beckhampton Road, Horslip, and South Street in the Avebury region of Wiltshire, and Gussage Cow Down 78 and 294 in Dorset. These sites are considered to be among the first 'architectures' in Britain. These architectures have been considered by archaeologists to characterise part of what we know about the neolithic in southern Britain. There are features and material culture associated with the mesolithic at these sites but this evidence has previously been understood as having made a 'place' for architecture, or as having created a 'setting' for later architectural constructions. I am writing to challenge our architectural understandings of these sites. In the following chapters trees, the processing of wood, hearth settings, the working of flint, grassland, worked earth, the processing of animal bone are recognised as having been a part of the connective dynamics of architectural construction. I will argue that material culture that was a part of these activities was left in these areas. These small things were parted, re-assembled and entwined together into assemblages that blur archaeologists distinctions between fifth and fourth millennia B.C. lives and that blur distinctions between hunter-gatherer and pastoralist (and partly agriculturalist) practices. Practices of making did not remain the same; neither did practices of connecting, parting, re-assembling and entwining materials. Material culture, as a media for making and understanding connections between people and things, did not remain constant. However, through encounters with the material and historical conditions of others lives, people made something of living and dying during the fifth and fourth millennia.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T18:27:47Z No. of bitstreams: 1 451193.pdf: 8839149 bytes, checksum: c4960d309023fcbe4572bc77936a4507 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:28:02Z (GMT) No. of bitstreams: 1 451193.pdf: 8839149 bytes, checksum: c4960d309023fcbe4572bc77936a4507 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-21T14:02:01Z (GMT) No. of bitstreams: 1 451193.pdf: 8839149 bytes, checksum: c4960d309023fcbe4572bc77936a4507 (MD5) / Made available in DSpace on 2018-08-21T14:02:14Z (GMT). No. of bitstreams: 1 451193.pdf: 8839149 bytes, checksum: c4960d309023fcbe4572bc77936a4507 (MD5) Previous issue date: 2017-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The religious images used by Umbanda, a Brazilian religion characterized by the presence of elements of indigenous, African and European cultures, are generally represented by semi-industrial three- bimensionaI reprobgctions in pIaster. AIthoggh we finb in the imagery of umbanda representations of idealized types of national identity, adoptions and adaptations of foreign iconographic models are evident. Understanding these images as a material culture, this dissertation proposes an analysis of this iconography considering its sociaI contexts anb the inflgence of besign, throggh images of mass consumption, in the construction of its particular imaginary. / As imagens religiosas utilizadas pela Umbanda, religião brasileira caracterizada pela presença de elementos das culturas indígena, africana e europeia, configuram-se de maneira geral em reproduções tridimensionais em gesso de fatura semi-industrial. Apesar de encontrarmos na imaginária de umbanda representações de tipos idealizados da identidade nacional, adoções e adaptações de modelos iconográficos estrangeiros são evidentes. Compreendendo essas imagens enquanto cultura material, a presente dissertação de mestrado propões uma análise dessa iconografia considerando seus contextos sociais e a influência do design, por meio de imagens de consumo de massa, na construção de seu imaginário particular.

[pt] Este trabalho é resultado de minha experiência como integrante de equipe de Design de Produção da TV Globo e de minha participação no grupo de estudo sobre Design & Envelhecimento do Laboratório de Pesquisa Aplicada de Design, Memória e Emoção da PUC-Rio. Ele está fundamentado em premissas da Antropologia do Consumo e na ideia de que nosso universo material é a expressão de nossa cultura, crenças, valores, estilos de vida e personalidades e traz o registro de visitas a casas de idosos fictícios e idosos reais. As visitas a idosos da ficção foram realizadas nas casas das personagens Nenê (interpretada pela atriz Marieta Severo), Darlene (interpretada pela atriz Marília Pera), Violeta (interpretada pela atriz Glória Menezes) e Picucha (interpretada pela atriz Fernanda Montenegro). Essas visitas tiveram como base os procedimentos da atividade do Design de Produção que, junto com Cenografia e Figurino, monta a casa e as coisas das personagens a partir de seus respectivos perfis e sinopses. As visitas a idosos reais, por sua vez, foram realizadas na casa de nove moradores na Gávea, bairro da zona sul do Rio de Janeiro, e incluíram técnicas de observação participante e entrevistas etnográficas. Elas tiveram como base o caminho inverso percorrido pela atividade do Design de Produção e buscaram montar os perfis dos idosos reais a partir de suas casas e coisas. Este trabalho foi motivado pelo crescente e irreversível fenômeno do envelhecimento e longevidade populacional e pela constatação de que, apesar de numeroso e diverso o público com mais de 60 anos ainda é tratado como homogêneo. A imagem do velho frágil, doente e dependente e associada a asilos, bengalas, cadeiras de roda e fraldas geriátricas está em processo de mudança, mas ainda é recorrente em conversas, telas e páginas. Neste sentido, este trabalho pretende propor um método para conhecer as pessoas para quem se projeta em geral, e os idosos em particular, a partir de suas casas e coisas. Ele tem como missão contribuir com a construção de uma visão mais positiva, ampla e plural sobre a velhice e seu universo material. / [en] This work is the result of my experience as a member of TV Globo s Production Design team of and my participation in the study group focused on Design & Aging in the Applied Research Laboratory of Design - Memory and Emotion of PUC-Rio. It brings reflections based on assumptions of the Anthropology of Consumption and on the idea that our material universe is the expression of our identity and our culture, beliefs, values, lifestyles and personalities. It also documents visits to homes of fictional elders and real elders. The fiction elders visits were held in the homes of the following characters: Nenê (played by Marieta Severo), Darlene (played by Marilia Pera), Violeta (played by Gloria Menezes) and Picucha (played by Fernanda Montenegro). They were based on Production Design procedures , that together with Set Design and Costume Design, build the house and characters things based on their respective profiles and synopses. The visits to the real elders homeswere conducted in nine residences in Gávea, neighborhood of Rio de Janeiro, and included participant observation techniques and ethnographic interviews. They were based on the reverse path taken by the activity of the Production Design and sought assemble profiles of real elders from their homes and things. This work was motivated by the growing and irreversible phenomenon of populational aging and longevity and by the fact that, despite numerous and diverse the audience over 60 years old is still treated as homogeneous. The image of the frail elder, sick and dependent is associated with nursing homes, canes, wheelchairs and adult diapers is in process of change, but it is still recurring in conversations, screens and pages. This work aims to propose a method to know the people for whom projects in general and the elderly in particular, from their homes and things. It s mission is to contribute to build a positive view, broad and plural about elderly and its material universe.

The presented thesis deals with material culture of residencies of the Krakovský z Kolovrat family (Kolowrat-Krakowsky) between 1750 and 1850. Its goal is to describe inner space and material equipment of a few castle buildings which were owned by the Brezno branch of Krakovský z Kolovrat family in the given time. The author used a number of preserved inventories and bills from the second half of 18th and first half of 19th century. She tried to identify a purpose of particular buildings and their role in a resident network of the Krakovský z Kolovrat family. The thesis analyses changing fashion trends in the field of furniture, dining and lifestyle. A subject of interest is not only description of particular spaces but also a symbolic meaning of decoration and objects of everyday and non-everyday need which had surrounded privileged individuals in their residencies. Based on that the author aims to penetrate a thought world of noblemen and outline their value charts.

Ce travail prend pour objet la culture matérielle – c'est-à-dire « l'ensemble des phénomènes de co-construction des sujets, du social et de la culture dans le rapport aux objets matériels » (M. Roustan) – des aristocrates de la Renaissance française. Le cas de la maison de Guise permet de dresser un panorama des possessions indispensables à une grande famille du XVIe siècle pour tenir son rang dans la société de cour ; il autorise aussi l'étude de l'impact d'une exigence accrue de paraître sur les finances aristocratiques, et laisse apercevoir les pratiques sociales de consommation. Au-delà de la simple description, ce travail met en évidence les valeurs qui sous-tendaient l'environnement matériel aristocratique ; il révèle aussi la façon dont les objets participèrent à la transformation identitaire de l'élite courtisane de la Renaissance. / This work deals with the material culture – understood as a comprehensive phenomenon which both fashions and is fashioned by society, culture and individuals – of French Renaissance aristocrats. The House of Guise case study unveils the variety of goods a 16th-century great household needed in order to stay in keeping with its rank in the court society. It further reveals the financial consequences for noble houses of the ever-increasing obligation to appear splendidly. The social practices that lay behind shopping are also examined. Beyond a mere description, this work underlines the values embodied in the noble material environment and stresses the part objects took in the redefining of Renaissance elite identity.

This project covers the development of a model framework intended to allow researchers of the archaeology of the Cold War to recognise a range of behaviours played out on military sites. The order and chaos model developed and utilised in this thesis introduces a heterotopian landscape populated by the Royal Observer Corps. Through a process of archaeological fieldwork a number of behavioural traits are recognised and discussed here for the first time. The group in question is fully researched, providing a historiography of the practice played out during the groups life-cycle. The landscape archaeology is discussed and contextualised by narration from the volunteers who once operated the posts. A range of case studies are introduced confirming the validity of the order and chaos model and potential for application elsewhere. Finally, the findings are discussed in detail and a proposal for the next step in the research are revealed.