This thesis is an anthropological exploration of the envy of Aguabuena people, a small rural community of potters in the village of Ráquira, in the Boyacá region of Andean Colombia. Based on long-term ethnographic fieldwork among these potters, I propose an understanding of envy in Aguabuena as an existential experience, shaping relationships between the self and others in the world, crosscutting metaphysical and physical spheres, and balancing between corrosive and more empathetic ways of co-existence. Disclosing the multipresence of envy in Aguabuena's world, its effects on people (including the ethnographer), and the way envy is embodied, performed, reciprocated and circumvented by the potters, I locate envy in various contexts where it is said to be manifested. Furthermore, I discuss the complex spectrum of envy and its multivalent meanings, or oscillations, in the life of Aguabuena people. I also present interactions with people surrounding potters, such as Augustinian monks, crafts middlemen, and municipal authorities, all of whom recount the envy of potters. My research challenges previous anthropological interpretations on envy and provides an alternative reading of this phenomenon. Moving away from labelling and regulatory explanations of envy, performative models, or pathological interpretations of the subject, I analyse the lived experience of envy and how it encompasses different realms of experience as well as flows of social relations. While focusing on the tensions and entanglements that envy brings to potters, as it constrains social life but also activates and reinforces social bonds, I examine the channels through which envy circulates and how it is put into motion by potters. Additionally, my thesis intends to contribute to anthropological studies of rural pottery communities in Andean Colombia. I present my unfolding understanding of envy by using both the potters' concept and material detail, punto, location, referring to a spot from where Aguabuena people enter different vistas of the world, or denoting a precise time when things or materials change their physical qualities. Through this device, I disclose realms of envy, while seeking to immerse the reader in the lived experience of envy.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Department of Fine Art and Jewelry Design, Durban University of Technology, Durban. South Africa, 2015. / This dissertation documents and evaluates the subversion of traditional porcelain in the work of the selected artists from 2000-2012. The artists selected for research are Edmund de Waal (1964), Paul Scott (1953), Katharine Morling (1972), Rachel Kneebone (1973) and Clare Twomey (1968). They are British ceramists who work in porcelain in diverse ways, thus providing evidence of a wide range of the subversion of traditional porcelain. An explanation of the research methodology used is provided. The research begins by providing a history of porcelain from the earliest times to the present, documenting the shift of porcelain from the East to the West, as well as the history and properties of porcelain (white china clay). The position of porcelain in the discipline of ceramics is discussed. This includes a thorough investigation and analysis of the physical properties of porcelain and its functional application through history. The meaning of the term subversion, in the context of ceramics, is clarified and evidence of the subversion of traditional porcelain is provided through a discussion of the selected artists’ work. Conclusions are drawn and analysed. My art practice in the form of an exhibition entitled Entwined is discussed in the context of the subversion of traditional porcelain. This includes a discussion of my working method, an explanation of the body of work and an analysis of similarities and differences between my work and that of the selected artists. The dissertation concludes with a discussion of the research findings and provides suggestions for further research.

Made available in DSpace on 2016-04-27T18:47:12Z (GMT). No. of bitstreams: 1 Karen Harari.pdf: 498345 bytes, checksum: e73f8f4d03fa82a702a8500e4e6149f6 (MD5) Previous issue date: 2013-03-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Nowadays, many of us are getting old and living as elderly for a long time, a fact evidenced in the academic environment, media, public in general and various statistics. This perception is accompanied by the production of discourses on many areas concerning good aging and a good elderliness. These discourses permeate themselves and some of them gain hegemony over others. But which meanings we find on the discourse about aging in the modernity? Do they respond to what? Would there be an equation that leads us unequivocally to the results preconized by this good old-age? Using the psychoanalysis theorical framework in the subject's constitution and exercise of singularities and mainly, D.W.Winnicottt's concept of creativity, we listen to potters and their meanings of growing old, their perception of time, their cravings, and their changes. From these testimonials, we reflected on the contemporary aging and the possibility of exercise the subjectivities in the elderliness. There were conducted three in-depth interviews besides a pilot. The reports were analyzed into the perspective presented by C. Geertz. It means, interviewers discourse was taken as first interpretation and from which I sought the underlying meanings, those are not necessarily expressed by the action narration but through the personal readings, traversed by the culture which a person belongs. Bringing these artists discourses to light, it was possible to find perspectives, not about good or bad old-age, but an elderliness that pertains to the individual who lives it and an elderliness that produces belonging to life, society and culture, in which is inserted the elderly / Atualmente, somos muitos a envelhecer e vive-se velho por muito tempo. Sendo um fato constatado, no meio acadêmico, na mídia, pela população em geral e em várias estatísticas, tal percepção vem acompanhada pela produção de discursos, em várias áreas, sobre o bom envelhecer e uma boa velhice. Estes discursos se permeiam e alguns ganham hegemonia sobre outros. Mas que significados encontramos no discurso sobre o envelhecer na modernidade? A que respondem? Existe uma equação que nos leve inequivocamente aos resultados preconizados por tal boa velhice? Usando o arcabouço teórico da psicanálise na constituição do sujeito e exercício de singularidades e, principalmente, o conceito de criatividade do psicanalista D.W.Winnicottt, procuramos ouvir os significados do envelhecer para artistas ceramistas, o que eles têm a dizer de sua percepção do tempo, sobre seus anseios e mudanças. Com base nestes depoimentos, refletimos sobre o envelhecer contemporâneo e a possibilidade do exercício das subjetividades na velhice. Foram realizadas três entrevistas em profundidade, além de uma piloto. Os relatos foram analisados dentro da perspectiva apresentada por C.Geertz, ou seja, o discurso dos entrevistados foi tomado como a primeira interpretação a partir da qual busquei os significados subjacentes, aquilo que não necessariamente se explicita pelo relato da ação, mas pelas leituras pessoais, atravessadas pela cultura à qual pertence. Ao trazer à luz os discursos dos artistas, foi possível encontrar perspectivas, não de uma má ou boa velhice, mas de uma velhice que pertence àquele que a vive e que gera pertencimento à vida, à sociedade, e à cultura, na qual está inserido o velho

Thesis (M.A. in anthropology)--Washington State University, December 2007. / Includes bibliographical references (p. 184-202).

L’alabastre attique est une forme de vase à parfum en céramique produite à Athènes entre le milieu du VIe s. av. J.-C. et le début du IVe s. av. J.-C. L’objet de cette thèse est de présenter une étude globale, inexistante à ce jour, sur l’alabastre attique. En plus d’un examen typologique de la forme, généralement mené dans le cadre de ce type de recherche, nous avons voulu proposer une lecture économique, culturelle et sociale de l’alabastre. La première partie de cette thèse est consacrée à l’identification de l’origine de l’alabastre et à sa diffusion en Méditerranée orientale. L’alabastre est originaire d’Egypte, où les premiers exemplaires en albâtre se développent à partir du VIIIe s. av. J.-C. Après avoir tracé son évolution morphologique, la thèse met en évidence les diverses régions de la Méditerranée orientale telles que le Levant, la Mésopotamie ou la Perse, où la forme est exportée et copiée, le plus souvent par des ateliers qui produisent des vases en pierre. Cette première partie met également l’accent sur le statut particulier de l’alabastre en pierre en Orient et en Égypte, où il restera longtemps associé au pouvoir royal ou aristocratique. Elle traite enfin de l’apparition de l’alabastre et de son statut dans le monde grec oriental. Ces importations déclenchent une réaction presque immédiate chez les artisans de ces régions qui produisent des alabastres en argent, en verre, en faïence, en ivoire, en bois et en céramique. La seconde partie de cette étude aborde la production de l’alabastre attique en céramique qui s’étend du VIe s. av. J.-C. au début du IVe s. av. J.-C. Un premier chapitre est consacré à l’étude de son introduction dans le répertoire formel au milieu du VIe s. av. J.-C. par l’atelier d’Amasis et aux inspirations probables de cet artisan. Cette section s’est également penchée sur le difficile problème des phases de la production et de l’organisation interne des différents ateliers. Pour ce faire, nous avons élaboré une méthode d’analyse basée à la fois sur l’examen minutieux du travail du potier grâce aux variations dans les profils des vases et sur les données obtenues par les études ethno-archéologiques pour tenter de différencier les alabastres produits au sein d’ateliers différents et d’identifier, quand cela s’avérait possible, différents potiers au sein d’un même atelier. Cette étude formelle a distingué trois phases différentes de production qui présentent des caractéristiques typologiques distinctes. L’examen de l’organisation interne des ateliers a également mis en évidence les caractéristiques morphologiques des vases et a identifié les potiers les plus importants. L’examen attentif des pièces céramiques a permis de regrouper au sein d’un même atelier des artisans dont les liens étaient jusqu’alors insoupçonnés. Enfin, la deuxième partie se clôture par une analyse de la carte de distribution des alabastres attiques La troisième partie de ce travail porte sur la fonction et les différents usages de l’alabastre sur base des sources littéraires, épigraphiques, iconographiques et archéologiques. Cette section se penche plus particulièrement sur l’identification des utilisateurs privilégiés des alabastres. En effet, de nombreuses études lient, de manière presque systématique, l’alabastre au monde féminin. Ce propos mérite d’être nuancé car, si le vase apparaît à maintes reprises dans des contextes féminins tels que ceux de la toilette et de la parure, il ne constitue pas exclusivement un symbole du monde des femmes. Cette troisième partie met en évidence le fait que l’alabastre est également utilisé dans un grand nombre d’autres contextes, notamment rituels, et représente souvent un symbole de luxe et de raffinement à l’orientale.

This dissertation comprises the documentation and theoretical component of a practice-led Master of Arts in Fine Art. The illustrated text focuses in four chapters on a critical explication of contemporary South African ceramists namely, Juliet Armstrong, Betsy Nield, Liza Firer and Leanne Frisinger. The dissertation includes significant discoveries about the creative use of paperclay in contemporary South African ceramics and provides documentary record of the candidate’s materials and processes. A conclusion briefly compares productions referred to in the text. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

Thesis (M.A.I.S.)--Oregon State University, 2009. / Printout. Includes bibliographical references (leaves 199-206). Also available on the World Wide Web.

abstract: The Maricopa produce one of the most recognizable types of pottery made in Arizona. Since the late nineteenth century, the ware has been manufactured for sale, and a small number of individuals continue to produce the pottery today. Over the past forty years, the amount of pottery in museum and private collections has increased dramatically. Studying these new collections changes the way in which developments in the pottery are understood. Previous scholarship identified three phases of development, including a pottery revival in the late 1930s during which the involvement of government and museum personnel resulted in the improvement of the ware and a change in style. An analysis of expanded pottery collections shows that this period was not a revival, but rather part of a more gradual continuum. Hindsight shows that the activities of the 1930s served to publicize Maricopa potters, resulting in an increasingly collectible pottery. One collector, Adele Cheatham of Laveen, Arizona, compiled a collection that helps to shed light on developments in the 1960s and 1970s demonstrating that there were relationships between the potters' community and residents of Laveen. This indicates that for women in these settlements the manufacture and sale of Maricopa pottery was a common interest and created deeper bonds, some of which developed into close friendships. The eight different potters represented in the Cheatham Collection highlight a shift in generations within the potter community, showing the importance of teaching and family relationships in transmitting the knowledge of the craft to the next generation. These relationships have continued to change as the number of potters has dwindled, and instruction of the craft has transitioned from one that was learned in a home setting to one that is increasingly introduced in a classroom. At the same time, this historically female associated craft has shifted to one where men are actively producing pottery. Changes in teaching style, the people producing the pottery and decorative techniques indicate that Maricopa pottery is an art in transition. / Dissertation/Thesis / M.A. History 2010

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished