Essa dissertação visa investigar a formação e difusão de um repertório visual associado à imagem da Bahia durante a década de 1940 e que ainda hoje é reiterado nas representações visuais associados a esse estado. Para isso serão analisadas as fotorreportagens realizadas por Pierre Verger e Odorico Tavares, publicadas entre 1946 e 1951, na revista O Cruzeiro. Os esforços de Tavares em implementar os valores do modernismo nas artes visuais na Bahia podem ser considerados complementares à vasta experiência de Verger na imprensa de massa dos grandes centros europeus, que já havia incorporado plenamente o sentido de modernidade. Através das fotorreportagens produzidas pela dupla é possível identificar diferentes estratégias visuais e textuais utilizadas para vincular a idéia de tradição às culturas populares negras baianas. A pesquisa demonstra, por fim, que o repertório visual em questão vincula-se, em vários aspectos, às teorias raciais difundidas na época, à literatura do folclore e a filiações visuais associadas às práticas do modernismo internacional, atendendo os interesses das elites e da intelectualidade locais. / This thesis aims to investigate the formation and diffusion of a visual repertory associated with Bahias image during the 1940s and which is still repeated in the visual representations associated with that state. It will be analyzed here the Photo Reports made by Verger and Odorico Tavares and published between 1946 and 1951 in the magazine O Cruzeiro. Tavares efforts to implement the values of modernism in the visual arts in Bahia can be considered complementary to the vast Verger experience in mass media of the major European centers, which had already fully incorporated the sense of modernity. Through the Photo Reports produced by the duo, it can be identified different visual and textual strategies used to link the idea of tradition to Bahias black popular cultures. At the end, this research shows that the visual repertoire in question is linked to, in many ways, to the racial thesis disseminated at the time, the folklore literature and the visual affiliations associated with the practices of international modernism, serving to the interests of the elites and the local intelligentsia.

Este estudo investiga a atuação do fotógrafo francês Pierre Verger (1902-1996) com o propósito de compreender a relação entre suas fotografias da Bahia e as tentativas de definir, por meados do século XX, uma identidade baiana. Vista muitas vezes como calcada na herança iorubá, mas quase sempre tratada quase como uma essência mística por escritores, músicos, artistas, cronistas e cientistas sociais, esta imagem foi mais tarde apropriada pela política, economia (incluído o turismo), mídia e indústria cultural. No entanto, a singularidade da Bahia revela-se, nas lentes de Verger, como concreta, territorialmente encarnada, expressando-se no corpo e na corporalidade dos próprios lugares, de herança africana sim, mas sem traços explícitos iorubá. / This dissertation intends to understand the role played by the French photographer turned into an ethnographer Pierre Verger (2002-1996) as a contributor to the efforts of artists, writers and scholars in mid-20th century Bahia aiming at creating and circulating a local Afro-brazilian identity ethnically understood as of Yoruba origin. Vergers photographs, instead of abstract and desimbodied features, offer a deeply territorialized vision of Bahias identity,

Essa dissertação visa investigar a formação e difusão de um repertório visual associado à imagem da Bahia durante a década de 1940 e que ainda hoje é reiterado nas representações visuais associados a esse estado. Para isso serão analisadas as fotorreportagens realizadas por Pierre Verger e Odorico Tavares, publicadas entre 1946 e 1951, na revista O Cruzeiro. Os esforços de Tavares em implementar os valores do modernismo nas artes visuais na Bahia podem ser considerados complementares à vasta experiência de Verger na imprensa de massa dos grandes centros europeus, que já havia incorporado plenamente o sentido de modernidade. Através das fotorreportagens produzidas pela dupla é possível identificar diferentes estratégias visuais e textuais utilizadas para vincular a idéia de tradição às culturas populares negras baianas. A pesquisa demonstra, por fim, que o repertório visual em questão vincula-se, em vários aspectos, às teorias raciais difundidas na época, à literatura do folclore e a filiações visuais associadas às práticas do modernismo internacional, atendendo os interesses das elites e da intelectualidade locais. / This thesis aims to investigate the formation and diffusion of a visual repertory associated with Bahias image during the 1940s and which is still repeated in the visual representations associated with that state. It will be analyzed here the Photo Reports made by Verger and Odorico Tavares and published between 1946 and 1951 in the magazine O Cruzeiro. Tavares efforts to implement the values of modernism in the visual arts in Bahia can be considered complementary to the vast Verger experience in mass media of the major European centers, which had already fully incorporated the sense of modernity. Through the Photo Reports produced by the duo, it can be identified different visual and textual strategies used to link the idea of tradition to Bahias black popular cultures. At the end, this research shows that the visual repertoire in question is linked to, in many ways, to the racial thesis disseminated at the time, the folklore literature and the visual affiliations associated with the practices of international modernism, serving to the interests of the elites and the local intelligentsia.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-09-16T22:37:44Z No. of bitstreams: 1 Disserta??oKarine_costa_oliveira.pdf: 13682070 bytes, checksum: 853376e57cc7afb14063f5fe1367dd70 (MD5) / Made available in DSpace on 2015-09-16T22:37:44Z (GMT). No. of bitstreams: 1 Disserta??oKarine_costa_oliveira.pdf: 13682070 bytes, checksum: 853376e57cc7afb14063f5fe1367dd70 (MD5) Previous issue date: 2013-07-13 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This study aims to analyze images and representation widespread on Africa and on the African Bahia in the magazine O Cruzeiro. Therefore, we selected two sets of Photo Reports: Series consists of photographs of Pierre Verger and texts by Gilberto Freyre, entitled "turns that are Bahia" and the group Photo Reports produced in Bahia, but that reference a universe African constituted again photographs by Pierre Verger and texts Odorico Tavares. The temporal boundaries between 1946-1960 refer to the entry of Pierre Verger in that magazine as a photographer and focus that gave the elements of the African continent in its work. We take as a theoretical two notions: the shooting, according to Sontag, Kossoy and Muad, and the triad of Cultural History representation, practice ownership. / Este estudo tem por objetivo analisar imagens e representa??es difundidas sobre a ?frica e sobre uma Bahia africana na revista O Cruzeiro. Para tanto, foram selecionados dois conjuntos de fotorreportagens: a s?rie constitu?da por fotografias de Pierre Verger e textos de Gilberto Freyre, intitulada ?Acontece que s?o baianos? e o grupo de fotorreportagens produzidas na Bahia, mas que fazem refer?ncia a um universo africano, constitu?das novamente por fotografias de Pierre Verger e textos de Odorico Tavares. As balizas temporais entre 1946-1960 fazem refer?ncia ? entrada de Pierre Verger na referida revista como fot?grafo e o enfoque que deu a elementos do continente africano nos seus trabalhos. Tomamos como aporte te?rico duas no??es: a de fotografia, segundo Sontag, Kossoy e Mauad; e a tr?ade da Hist?ria Cultural representa??o, pr?tica, apropria??o.

Made available in DSpace on 2015-04-30T14:05:48Z (GMT). No. of bitstreams: 1 000467369-Texto+Completo-0.pdf: 3713968 bytes, checksum: f8d55d7e63cc45049ddcd335c6805d0c (MD5) Previous issue date: 2015 / This research aims to identify another respective regarding the sertanejo figure in the magazine called O Cruzeiro (1946-1951) through Pierre Verger´s photo reports. We intend to analyze Verger´s angle in the pages of O Cruzeiro, whose works compound the moment of formation of this journal´s new visual identity, also analyzing different connected visual languages as well as considering mainstream ideas at that time in a vast context. It hasn´t been given importance to his participation in this magazine, what makes it significant to be recovered by us: the historical dimension of his work in the Brazilian photojournalism formation. The Brazilian photojournalism formation has been seen as a formulator of speeches concerning our culture, being able to attribute meanings to the construction of Northeast identity and its population. This study was made of qualitative analysis of photo reports, where we tried to understand how the construction of different viewpoints on sertanejo´s representation was done in the magazine O Cruzeiro. We believe that Verger has given other prospect at this "national stereotype", composing unusual imagery narratives in the context of visual culture proposed by the journal, along with differing in relation to the recurrence of other stigmatizing discourses, although he´s also contributed to the association between the categories "Northeast "and" past". / A presente pesquisa tem como objetivo identificar por meio das fotorreportagens de Pierre Verger um outro olhar acerca da figura do sertanejo na revista O Cruzeiro (1946-1951). Pretendemos analisar o olhar de Verger nas páginas de O Cruzeiro, buscando inseri-lo no momento de formação da nova identidade visual do periódico, analisando as diferentes linguagens visuais em diálogo, bem como as ideias em circulação no contexto mais amplo. Ainda não se deu devida importância a sua intervenção junto à revista, fazendo-se necessário recuperarmos a dimensão histórica desta trajetória tão importante na formação do fotojornalismo brasileiro, sendo este último visto como formulador de discursos sobre nossa cultura, capaz de atribuir sentidos à construção da região Nordeste e, por conseguinte, a sua população. Por meio de uma análise qualitativa de fotorreportagens, procuramos compreender como se deu a composição dos diferentes olhares acerca da representação do sertanejo na revista O Cruzeiro. Acreditamos que Verger compôs um outro olhar sobre este “tipo nacional”, tecendo narrativas imagéticas não usuais no contexto da cultura visual proposta pelo periódico, diferenciando-se em relação à recorrência de outros discursos estigmatizantes, embora também contribuindo para a associação entre as categorias “Nordeste” e “passado”.

L'agroforesterie consiste à mélanger sur la même surface des arbres et des cultures et nécessite que des relations de complémentarité s'établissent entre les deux espèces pour diminuer la compétition pour les ressources, notamment au niveau des interactions racinaires. L'objectif du travail de cette thèse était de tester et d'évaluer la possibilité de piloter l'enracinement de jeunes pêchers sous les racines de la culture associée (enherbement) afin d'établir une complémentarité dans l'utilisation des ressources du sol et en utilisant deux leviers: (i) un déficit hydrique modéré pour changer le patron d'allocation du carbone entre les compartiments aérien et souterrain en faveur des racines et (ii) la compétition interspécifique pour l'eau pour exclure les racines de l'arbre des horizons de sol superficiels et le contraindre à pousser en profondeur. Pour cela, un verger de pêchers composé de trois traitements (témoin bien irrigué, déficit modéré, déficit modéré + enherbement) a été installé en janvier 2013 et suivi pendant deux ans. La croissance du compartiment aérien a été suivie de manière dynamique sur la saison de croissance et des excavations racinaires ont été effectuées chaque année à la fin de la saison de croissance. Nos résultats montrent que tous les composants de la croissance ont été significativement réduit par le déficit hydrique très modéré. La combinaison d'un déficit hydrique modéré et d'un enherbement total ont réduit par quatre la taille des arbres au bout de deux années de croissance, réduction causée par deux mécanismes probablement additifs: (i) la compétition de l'herbe pour l'espace, réduisant le volume de sol prospectable par les racines de l'arbre et par répercussion le volume de l'appareil aérien et (ii) la compétition de l'herbe pour l'eau, qui en créant un dessèchement du sol, amène probablement le pêcher à générer des signaux racinaires à destination des parties aériennes pour réduire la transpiration par fermeture des stomates. Nos résultats sur les racines montrent que le développement du système racinaire du pêcher dans les conditions de notre étude pendant les deux premières années après la plantation est essentiellement plagiotrope. Le rapport racines/branches n'a pas été significativement modifié en faveur des racines sous l'effet du déficit hydrique mais la combinaison du déficit hydrique et de la compétition avec l'enherbement a diminué par trois la biomasse racinaire des arbres et exclu totalement les racines de l'horizon de surface (0-10 cm) au bout de deux ans. Cependant, la croissance racinaire se concentre majoritairement dans les 30 premiers cm de sol pour tous les traitements, mais une faible proportion du système racinaire totale (5%) des pêchers en condition hydrique non limitante dépasse les 70 premiers cm de sol (profondeur d'excavation maximale de l'étude) et est capable de prélever de l'eau jusqu'à 2 m de profondeur. Ainsi, nos résultats amène à penser que la séparation des systèmes racinaires entre l'arbre et la culture est très certainement une propriété émergente pilotable, à conditions de caractériser l'architecture racinaire de l'arbre et notamment sa plasticité chez des arbres jeunes. Des pratiques innovantes telles que l'installation des arbres par semis puis greffage au champ de la variété de production pourraient permettre de s'affranchir des traumatismes racinaires inhérents au mode de production des plants en pépinière. Il est également possible de moduler l'effet de la culture associée en sélectionnant des espèces et variétés dont la capacité compétitive souterraine est adaptée au stade de développement de l'arbre, en associant par exemple des espèces à faible capacité compétitive au début de son développement et à capacité compétitive graduellement plus importante au fur et à mesure qu'il grandit. / Agroforestry consists of association trees and crop in the same plot and requires that complementarity relationships be established between the two species in order to reduce competition, especially at the root level. The aim of this work was to test and evaluate the possibility of driving young peach tree roots under the roots of the associated crop (grass) in order to establish complementarity in resources uptake using two levers: (i) e moderate water deficit to change the carbon allocation pattern between shoots and roots in favour of roots and (ii) interspecific water competition to exclude tree roots from the first soil horizons and force them to grow at depth. To do so, we planted in January 2013 a peach tree orchard composed of three treatments (well-watered control, moderate water deficit and moderate water deficit + grass groundcover) which was monitored for two years. Shoot growth was dynamically monitored over the growing season and root excavations were performed each year at the end of the growing season. Our results show that all components of aerial growth were significantly reduced by the very moderate water deficit applied. The combination of a moderate water deficit and a grass groundcover led to a fourfold reduction in tree size after two years due to (i) grass competition for space, which reduced soil volume for the tree roots and consequently reduced shoot size and (ii) grass competition for water which by drying the soil led the tree to send root to shoot signals in order to reduce transpiration by stomatal closure. Our results on roots show that peach tree roots in the first two years of growth are mainly plagiotropic in the conditions of our study. The root/shoot ratio was not significantly modified in favour of roots under a moderate water deficit but combination of water deficit with grass competition led to a threefold reduction in root biomass et excluded tree roots from the topsoil horizon (0-10 cm) after two years. However, root growth mainly concentrated in the first 30 cm of soil in all treatments, but a small fraction of the root system (5%) in the control treatment was growing below the first 70 cm of soil (maximal excavation depth in our study) and was able to take up water up to 2 m depth. Thus, our results suggest that root system separation between trees and crop is a manageable emerging property, given that tree root architecture is characterized, and especially its plasticity in young trees. Innovating practices such as sowing trees and grafting them in the field could alleviate root injuries inherent to nursery practices. It is also possible to adjust the effect of the associated crop by selecting species and cultivars whose competitive ability is adapted to the tree age, by associating species with low competitive ability at the beginning of the tree development and with gradually more important competitive ability as the tree ages.

The purpose of this study was to investigate how the church verger relates to the cultural heritage in their churches and how the churches are affected by their cultural heritage. I also wanted to investigate the problem in preserving a heritage that doubles as a living religious room. Finally, I wanted to know how the verger's work is influenced by the dual responsibility towards the parish and county government. In the study the vergers were interviewed about their workplace and work situation. I also interviewed the antiquarian in Växjö diocese. I then analyzed the results by using Svante Beckman’s concept categories and value typology of cultural heritage. I drew the conclusion that the church instills a feeling based on historical values. I also concluded that the verger’s knowledge and care of the church protects the cultural heritage values. This knowledge is in itself a cultural heritage that needs to be nurtured and protected. Finally, my study found that the county government and the heritage law do not cater to the needs of parishes today. The requirements demanded by the county government have become yet another stress factor in the verger’s everyday.

Orientador: Mariza Correa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-31T22:46:25Z (GMT). No. of bitstreams: 1 Rolim_IaraCeciliaPimentel_M.pdf: 13604389 bytes, checksum: 73db6a332918cff02d616525b5feb294 (MD5) Previous issue date: 2002 / Resumo: o tema central desta dissertação é o entendimento do olhar de Pierre Verger e a objetivação deste através da fotografia, como estando atrelado, no decorrer de sua trajetória de vida, à sua interação com um contexto específico. O trabalho se desenvolve com a junção de problemas relativos à representação imagética, como uma linguagemprópria, com questões referentes ao contexto, como base possível de levantamento de possibilidades do direcionamento do olhar de Pierre Verger. Partindo da análise de sua trajetória de vida que prioriza na França (lugar onde Pierre Verger nasceu e viveu até os 30 anos) o grupo dos surrealistas aliado ao grupo do Museu de Etnografia do Trocadero, chegamos até a Bahia, lugar onde passou mais da metade de sua vida. Esta trajetória de vida gerou muitas experiências, livros, artigos, conferências e um arquivo fotográfico de mais de 62 000 negativos. Considerando a extensão da obra de Verger e a impossibilidadede uma análise mais profunda sem uma primeira leitura como este trabalho, optou-se por direcionar o foco da pesquisa para sua obra publicada no Brasil. Este recorte nos leva a observar como seu olhar, de início difuso, foi se tornando cada vez mais preciso e centrado nas questões que se referem ao papel da preservação das "raízes africanas"para os negros no "Novo Mundo", em especial para os da Bahia. Desta forma, dentro de um contexto que valorizava a presença da África na região, suas fotografias passaram a indicar e comprovar que a Bahia e a Africa, tudo é um, o que teve uma influência direta na construção da identidade dos negros do local / Abstract: The theme of this dissertation is a study on the look of Pierre Verger in his photography and the objective pursued throughout his life: photography conceived through his interaction with specific contexts. The study is developed with the discussion of issues related to the imagerial representation, given it as a specific type of language, and issues related to the context, given it as a basic source for Verger's different possibilities oflook. The study starts with an analysis of Verger's life in France (where he was bom and lived until his thirties) particuIarly viewing his experience with the surrealist group and the sympathetic group of the Museum of Ethnography of Trocadero. It then reaches his life in Brazil's State ofBahia, where he lived for more than half of his life. These specific periods caused Verger to produce a vast number of books, articles, conferences and a photographic archive constituted of more than 62.000 negatives. Given the enormous amount of his complete work and the impossibility of a deeper analysis of it without a first approach as the present study, the focus of research here is the anthropologist's work published in Brazil only. The analysis of such particular data provides a clear view on how his look, at first diffused, turned to be more and more precise and focused on the preservation of the "African roots" for the black people of the "New World", specially to the ones who lived in Bahia. Verger's photographs have thus become icons and a proof that Bahia e a Africa, tudo é um ("Bahia and Africa are one thing only") and that this uniqueness has had direct influence in the constitution ofthe identity ofthis black community / Mestrado / Mestre em Antropologia

Esta tese de doutorado está centrada na trajetória de vida de Pierre Verger e procura analisar sua inserção no mundo da fotografia. Focalizando o início da carreira, o trabalho dá ênfase a um período pouco conhecido da vida do fotógrafo e, para tanto, a pesquisa privilegiou, a compreensão das ligações de Pierre Verger com o núcleo familiar, dos laços desenvolvidos no grupo de amigos artistas e das demandas do mercado de trabalho. A família proporcionou-lhe o primeiro mergulho no mundo das imagens através dos negócios do pai, mas Verger guardava restrições em relação às obrigações sociais que a posição familiar na sociedade burguesa lhe exigia. Com a adesão ao grupo dos amigos infreqüentáveis, cujos integrantes viviam de maneira muito diferente da qual estava acostumado, Verger estabeleceu uma rede de contatos, formou grupos de trabalho e viagens, dos quais resultaram, a sua iniciação como fotógrafo. O mercado foi cenário tanto de concorrências e disputas quanto também impôs e sofreu a imposição do gosto predominante do período e, desta forma, as imagens que circulavam publicamente provinham dos projetos individuais dos fotógrafos e das encomendas, sendo destinadas às demandas da imprensa, da publicidade, da moda, dos editores de livros e das exposições. Entre o desejo de se livrar dos moldes da família burguesa, a adesão ao grupo de amigos livres e as exigências do mercado, Verger encontrou um caminho para firmar-se como profissional através da produção fotografia de caráter documental e humanista, 14 anos antes de sua chegada ao Brasil. / This doctoral (PhD) thesis is focused on Pierre Vergers life trajectory and searchs to analyse his integration in the photography world. Standing out the beginning of his career this work puts emphasis on a time not much knowing of the photographer life and for this the reasearch has privileged the understanding of Pierre Vergers relations with the core family, with the relations among the group of artists who were his friends and with the market demands. The family provides him the first entrance in the images world throughout his father business. Verger had some restrictions referring to the social obligations that the family status demanded from him in the bourgeoisie society. Verger had settled several contacts when he joined to the not recommended friends who lived in a different way which Verger was accostumed. He settled work groups and travels which had as result his initiation as a photographer. Photography market was in great increase in the between-wars period and had imposed so much competitions and disputes as also the wishing for some subjects which became photographal and, in this way, the images when didnt come from individual projetcs were, more often, produced according to some orders from customers: press, publicity, fashion and book publishers. Among the wish of releasing from the bourgeoisie family, his participation to the not recommended groups of friends and the market demands, Verger had found a path to stand out as profissional throughout the documental and humanist photography production, 14 years before his arrival to Brazil.

Esta tese de doutorado está centrada na trajetória de vida de Pierre Verger e procura analisar sua inserção no mundo da fotografia. Focalizando o início da carreira, o trabalho dá ênfase a um período pouco conhecido da vida do fotógrafo e, para tanto, a pesquisa privilegiou, a compreensão das ligações de Pierre Verger com o núcleo familiar, dos laços desenvolvidos no grupo de amigos artistas e das demandas do mercado de trabalho. A família proporcionou-lhe o primeiro mergulho no mundo das imagens através dos negócios do pai, mas Verger guardava restrições em relação às obrigações sociais que a posição familiar na sociedade burguesa lhe exigia. Com a adesão ao grupo dos amigos infreqüentáveis, cujos integrantes viviam de maneira muito diferente da qual estava acostumado, Verger estabeleceu uma rede de contatos, formou grupos de trabalho e viagens, dos quais resultaram, a sua iniciação como fotógrafo. O mercado foi cenário tanto de concorrências e disputas quanto também impôs e sofreu a imposição do gosto predominante do período e, desta forma, as imagens que circulavam publicamente provinham dos projetos individuais dos fotógrafos e das encomendas, sendo destinadas às demandas da imprensa, da publicidade, da moda, dos editores de livros e das exposições. Entre o desejo de se livrar dos moldes da família burguesa, a adesão ao grupo de amigos livres e as exigências do mercado, Verger encontrou um caminho para firmar-se como profissional através da produção fotografia de caráter documental e humanista, 14 anos antes de sua chegada ao Brasil. / This doctoral (PhD) thesis is focused on Pierre Vergers life trajectory and searchs to analyse his integration in the photography world. Standing out the beginning of his career this work puts emphasis on a time not much knowing of the photographer life and for this the reasearch has privileged the understanding of Pierre Vergers relations with the core family, with the relations among the group of artists who were his friends and with the market demands. The family provides him the first entrance in the images world throughout his father business. Verger had some restrictions referring to the social obligations that the family status demanded from him in the bourgeoisie society. Verger had settled several contacts when he joined to the not recommended friends who lived in a different way which Verger was accostumed. He settled work groups and travels which had as result his initiation as a photographer. Photography market was in great increase in the between-wars period and had imposed so much competitions and disputes as also the wishing for some subjects which became photographal and, in this way, the images when didnt come from individual projetcs were, more often, produced according to some orders from customers: press, publicity, fashion and book publishers. Among the wish of releasing from the bourgeoisie family, his participation to the not recommended groups of friends and the market demands, Verger had found a path to stand out as profissional throughout the documental and humanist photography production, 14 years before his arrival to Brazil.