Pub Date : 2024-07-04DOI: 10.11606/1982-02672024v32e18
Erico F.L. Pereira-Silva
This study delves into the historical journey of the “Dr. João Barbosa Rodrigues” Botanical Museum, a space of memory located within the São Paulo Botanical Garden. It discusses its historical origins and material, institutional, and contextual transformations up to the present day. This space has seen advancements, setbacks, challenges, and potentialities as a small museum of natural history. It has undergone three reconfigurations of its physical and internal structures, gradually modernizing its museum concept while retaining its identity as a museum with a unified focus on botany. It reopened in early 2020 and is currently operating within a subtle boundary established between the public and private sectors due to the concession of the São Paulo Botanical Garden’ operation to private initiatives, although it remains under public control. In this renewed museum, one can observe its contribution as a space of social responsibility, imbued with meanings and functions that evoke imagery by its memory spacesrelated to the concerns of its founder, the botanist Frederico Carlos Hoehne. Over its 80 years of existence, this museum has evolved from a neutral space to one engaged in the conservation of nature and contemporary environmental issues. Its exhibition now contextualizes these themes, becoming a narrative museum that responds to everchanging local challenges. Its pedagogical role is vital in an inclusive and equitable society, promoting education and learning. The museum constitutes a contemporary space, transcending its traditional functions of preservation, conservation, and research, serving society by educational initiatives on botany, nature conservation, and environmental sustainability.
本研究深入探讨了位于圣保罗植物园内的记忆空间--"若昂-巴尔博萨-罗德里格斯博士 "植物博物馆的历史进程。文章讨论了该博物馆的历史渊源以及直至今日的物质、制度和环境变革。作为一个小型自然历史博物馆，这个空间经历了进步、挫折、挑战和潜力。它的实体结构和内部结构经历了三次重组，在保留其作为以植物学为统一重点的博物馆身份的同时，逐步实现了博物馆概念的现代化。该博物馆于 2020 年初重新开放，由于圣保罗植物园的经营权已让渡给私人机构，尽管它仍处于公共控制之下，但目前仍在公共部门和私营部门之间的微妙界限内运作。在这座焕然一新的博物馆中，人们可以看到它作为一个社会责任空间所做出的贡献，它充满了意义和功能，其记忆空间唤起了人们对其创始人、植物学家弗雷德里克-卡洛斯-胡恩（Frederico Carlos Hoehne）所关注问题的想象。在其 80 年的发展历程中，该博物馆从一个中立的空间发展成为一个致力于自然保护和当代环境问题的博物馆。现在，它的展览结合了这些主题的背景，成为一个应对当地不断变化的挑战的叙事博物馆。在一个包容和公平的社会中，博物馆在促进教育和学习方面发挥着至关重要的教学作用。博物馆构成了一个当代空间，超越了其传统的保护、保存和研究功能，通过植物学、自然保护和环境可持续性方面的教育活动服务于社会。
{"title":"Revisitando a trajetória histórica do Museu Botânico “Dr. João Barbosa Rodrigues” do Jardim Botânico de São Paulo","authors":"Erico F.L. Pereira-Silva","doi":"10.11606/1982-02672024v32e18","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e18","url":null,"abstract":"This study delves into the historical journey of the “Dr. João Barbosa Rodrigues” Botanical Museum, a space of memory located within the São Paulo Botanical Garden. It discusses its historical origins and material, institutional, and contextual transformations up to the present day. This space has seen advancements, setbacks, challenges, and potentialities as a small museum of natural history. It has undergone three reconfigurations of its physical and internal structures, gradually modernizing its museum concept while retaining its identity as a museum with a unified focus on botany. It reopened in early 2020 and is currently operating within a subtle boundary established between the public and private sectors due to the concession of the São Paulo Botanical Garden’ operation to private initiatives, although it remains under public control. In this renewed museum, one can observe its contribution as a space of social responsibility, imbued with meanings and functions that evoke imagery by its memory spacesrelated to the concerns of its founder, the botanist Frederico Carlos Hoehne. Over its 80 years of existence, this museum has evolved from a neutral space to one engaged in the conservation of nature and contemporary environmental issues. Its exhibition now contextualizes these themes, becoming a narrative museum that responds to everchanging local challenges. Its pedagogical role is vital in an inclusive and equitable society, promoting education and learning. The museum constitutes a contemporary space, transcending its traditional functions of preservation, conservation, and research, serving society by educational initiatives on botany, nature conservation, and environmental sustainability.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":"25 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141837541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-03DOI: 10.11606/1982-02672024v32e16
M. Dahmouche, José Sergio Damico, S. Mano, Sibele Cazelli, A. F. Costa
Museums are places for potentially promoting emotions and creating memories from the experiences they provide. In this regard, this article investigates why people visit science museums, intending to unveil the public’s diversity and facilitate the understanding of their interests and motivations for this cultural practice. Data were collected by means of a printed and self-applied questionnaire filled out by adult visitors over 30 years old during visits to five science museums located in the metropolitan region of Rio de Janeiro, Brazil. Based on the concepts of cultural capital, science, interest and motivation, the applied analytical approach was qualitative and quantitative aided by the Collective Subject Discourse method. The findings bring contributions to the field of public and cultural leisure studies. Processes of acquiring, expanding and transmitting these forms of capital to children, family, and friends emerge from the discourses during interaction with exhibitions and educational and dissemination activities offered by science museums. This understanding can help to develop museum strategies to attract and retain their spontaneous visiting public.
{"title":"Tecendo a rede de capitais cultural e de ciência em museus de ciência no Rio de Janeiro","authors":"M. Dahmouche, José Sergio Damico, S. Mano, Sibele Cazelli, A. F. Costa","doi":"10.11606/1982-02672024v32e16","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e16","url":null,"abstract":"Museums are places for potentially promoting emotions and creating memories from the experiences they provide. In this regard, this article investigates why people visit science museums, intending to unveil the public’s diversity and facilitate the understanding of their interests and motivations for this cultural practice. Data were collected by means of a printed and self-applied questionnaire filled out by adult visitors over 30 years old during visits to five science museums located in the metropolitan region of Rio de Janeiro, Brazil. Based on the concepts of cultural capital, science, interest and motivation, the applied analytical approach was qualitative and quantitative aided by the Collective Subject Discourse method. The findings bring contributions to the field of public and cultural leisure studies. Processes of acquiring, expanding and transmitting these forms of capital to children, family, and friends emerge from the discourses during interaction with exhibitions and educational and dissemination activities offered by science museums. This understanding can help to develop museum strategies to attract and retain their spontaneous visiting public.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":"58 28","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141838059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-02DOI: 10.11606/1982-02672024v32e13
Tiago Kramer de Oliveira
O topônimo Patos aparece em diversos mapas do século XVII para identificar uma área do litoral sul do Brasil. O estudo da bibliografia e da documentação — crônicas, correspondências, documentação administrativa, mapas — permitiu desvendar características de agentes sociais, espaços, práticas econômicas e relações de poder que podem ser analisadas atendendo às atuais demandas por abordagens que promovam pessoas e espaços locais ao centro da análise das dinâmicas globais. Patos foi local de disputas entre sacerdotes, autoridades coloniais, colonos, sertanistas, povos indígenas, comerciantes, corsários e personagens que fizeram mais de um desses papéis. Defende-se a pertinência da unidade de análise economia-mundo, de Fernand Braudel, para analisar a globalidade dessas dinâmicas locais, ao mesmo tempo que se propõe que a dinâmica espacial dessa unidade de análise seja compreendida na complexa interação entre os diversos e conflitantes espaços-tempo que constituem a natureza da economia-mundo europeia na época moderna.
{"title":"Do planisférico ao global: a espacialização da economia-mundo europeia e a Terra dos Patos (c. 1600-1650)","authors":"Tiago Kramer de Oliveira","doi":"10.11606/1982-02672024v32e13","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e13","url":null,"abstract":"O topônimo Patos aparece em diversos mapas do século XVII para identificar uma área do litoral sul do Brasil. O estudo da bibliografia e da documentação — crônicas, correspondências, documentação administrativa, mapas — permitiu desvendar características de agentes sociais, espaços, práticas econômicas e relações de poder que podem ser analisadas atendendo às atuais demandas por abordagens que promovam pessoas e espaços locais ao centro da análise das dinâmicas globais. Patos foi local de disputas entre sacerdotes, autoridades coloniais, colonos, sertanistas, povos indígenas, comerciantes, corsários e personagens que fizeram mais de um desses papéis. Defende-se a pertinência da unidade de análise economia-mundo, de Fernand Braudel, para analisar a globalidade dessas dinâmicas locais, ao mesmo tempo que se propõe que a dinâmica espacial dessa unidade de análise seja compreendida na complexa interação entre os diversos e conflitantes espaços-tempo que constituem a natureza da economia-mundo europeia na época moderna.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":"51 21","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141838158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-09DOI: 10.11606/1982-02672024v32e12
Rafael Zamorano Bezerra
Este artigo apresenta os levantamentos e conclusões da pesquisa de pós-doutorado na área da museologia sobre a Coleção Souza Lima, pertencente ao acervo do Museu Histórico Nacional. Formada por 572 imagens cristãs esculpidas em sua maioria em marfim, é considerada uma das mais significativas coleções do tipo sob a guarda de um museu público brasileiro. O nome da coleção faz referência ao colecionador José Luiz de Souza Lima, sendo comprada para o MHN nos anos 1940. Devido à pouca informação sobre as origens das peças e sobre o colecionador, a pesquisa organizou informações no sentido de: (1) apontar para as possibilidades de entrada no país das imaginárias católicas em marfim pela Carreira das Índias; (2) apontar para a possibilidade de produção, no Brasil, de imaginárias em marfim; (3) entender quais foram os argumentos de valoração que justificaram a compra da coleção; (4) apontar as semelhanças entre o colecionismo de Souza Lima e outras coleções; e (5) descrever como o elemento “oriental” foi associado à coleção no processo de musealização e como as ações de curadoria no Museu Histórico Nacional são marcadas por um discurso que reatualiza no Brasil o orientalismo português. Argumenta-se que a curadoria da Coleção Souza Lima tem sido embasada por narrativas que valorizam a experiência colonial portuguesa e reafirmam discursos com perspectivas coloniais. Esse tipo de abordagem eclipsa aspectos informacionais sobre a coleção, como suas origens e as estratégias de resistência por parte de seus produtores, além de questões éticas referentes à entrada desses objetos no circuito do colecionismo e das coleções museológicas.
本文介绍了博士后在博物馆学领域对隶属于国家历史博物馆的苏萨-利马藏品进行研究的结果和结论。该藏品由 572 幅主要用象牙雕刻的基督教图像组成，被认为是巴西公共博物馆收藏的同类藏品中最重要的藏品之一。该藏品的名字源于收藏家何塞-路易斯-德索萨-利马（José Luiz de Souza Lima），是 20 世纪 40 年代为国家历史博物馆购买的。由于有关藏品来源和收藏者的信息有限，本研究对信息进行了整理，以便(1) 指出天主教象牙图像通过 Carreira das Índias 进入巴西的可能性；(2) 指出象牙图像在巴西生产的可能性；(3) 了解购买藏品的估价依据；(4) 指出索萨-利马的收藏与其他收藏之间的相似之处；以及 (5) 描述在博物馆化过程中如何将 "东方 "元素与该收藏联系在一起，以及国家历史博物馆的策展行动如何以一种在巴西复兴葡萄牙东方主义的话语为标志。有观点认为，苏萨-利马藏品的策展工作一直以美化葡萄牙殖民经历和重申殖民视角的论述为基础。这种方法忽略了有关藏品的信息方面，如藏品的来源和藏品制作者的抵抗策略，以及有关这些藏品进入收藏圈和博物馆藏品的伦理问题。
{"title":"De mercadoria à museália: a Coleção Souza Lima de marfins católicos do Museu Histórico Nacional","authors":"Rafael Zamorano Bezerra","doi":"10.11606/1982-02672024v32e12","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e12","url":null,"abstract":"Este artigo apresenta os levantamentos e conclusões da pesquisa de pós-doutorado na área da museologia sobre a Coleção Souza Lima, pertencente ao acervo do Museu Histórico Nacional. Formada por 572 imagens cristãs esculpidas em sua maioria em marfim, é considerada uma das mais significativas coleções do tipo sob a guarda de um museu público brasileiro. O nome da coleção faz referência ao colecionador José Luiz de Souza Lima, sendo comprada para o MHN nos anos 1940. Devido à pouca informação sobre as origens das peças e sobre o colecionador, a pesquisa organizou informações no sentido de: (1) apontar para as possibilidades de entrada no país das imaginárias católicas em marfim pela Carreira das Índias; (2) apontar para a possibilidade de produção, no Brasil, de imaginárias em marfim; (3) entender quais foram os argumentos de valoração que justificaram a compra da coleção; (4) apontar as semelhanças entre o colecionismo de Souza Lima e outras coleções; e (5) descrever como o elemento “oriental” foi associado à coleção no processo de musealização e como as ações de curadoria no Museu Histórico Nacional são marcadas por um discurso que reatualiza no Brasil o orientalismo português. Argumenta-se que a curadoria da Coleção Souza Lima tem sido embasada por narrativas que valorizam a experiência colonial portuguesa e reafirmam discursos com perspectivas coloniais. Esse tipo de abordagem eclipsa aspectos informacionais sobre a coleção, como suas origens e as estratégias de resistência por parte de seus produtores, além de questões éticas referentes à entrada desses objetos no circuito do colecionismo e das coleções museológicas.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140996570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-09DOI: 10.11606/1982-02672024v32e10
Pablo Pinheiro da Costa
Since the use of built heritage is a requisite for its conservation, this article discusses the adaptation of Catholic churches, conceived for the liturgy supported by the Council of Trent (1545-1563), to that of the Second Vatican Council (1962-1965), which presuppose a symbolically and functionally different spatial layout. Issues concerning this process are presented which sometimes led to the loss of cultural assets, frequently in favor of less pertinent interventions. It presents the architectural program for celebrating the reformed liturgy in Tridentine churches, as expressed by official documents in articulation with the principles of intervention in cultural assets and illustrative examples.
{"title":"Conservation of Catholic churches after the liturgical reforms of the Second Vatican Council","authors":"Pablo Pinheiro da Costa","doi":"10.11606/1982-02672024v32e10","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e10","url":null,"abstract":"Since the use of built heritage is a requisite for its conservation, this article discusses the adaptation of Catholic churches, conceived for the liturgy supported by the Council of Trent (1545-1563), to that of the Second Vatican Council (1962-1965), which presuppose a symbolically and functionally different spatial layout. Issues concerning this process are presented which sometimes led to the loss of cultural assets, frequently in favor of less pertinent interventions. It presents the architectural program for celebrating the reformed liturgy in Tridentine churches, as expressed by official documents in articulation with the principles of intervention in cultural assets and illustrative examples.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":" 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140995284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-17DOI: 10.11606/1982-02672024v32e11e
A. F. Costa, M. Dahmouche, José Sergio Damico, S. Mano, Sibele Cazelli
{"title":"Errata “Memórias dos visitantes do Museu Nacional: lembranças que não se apagam”","authors":"A. F. Costa, M. Dahmouche, José Sergio Damico, S. Mano, Sibele Cazelli","doi":"10.11606/1982-02672024v32e11e","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e11e","url":null,"abstract":"","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":"78 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-08DOI: 10.11606/1982-02672024v32e8
A. R. Rodrigues
This article presents a relevant topic in the trajectory of Giambattista Piranesi: the proposition of the “Egyptian style” in the publication Diverse maniere d’adornare i cammini (1769), which reveals some relevant aspects of the Piranesian critical fortune for architectural debates in the 18th century. Firstly, one can gauge Giambattista’s perception of the iconographic and compositional potential of Ancient Egypt by references found in Rome and through the field of decoration, in composing fireplaces — an element of “small architecture.” Its merit lies in presenting a new assessment on the applicability of Egyptian iconography. Additionally, Piranesi attempted to show a way of conceiving the art of building based on variations learned from the lexicon of the Ancients, expressing the craftsman’s ingenuity. This article concludes that by proposing the composition of fireplaces in the “Egyptian style,” Piranesi tested his assumptions about the craftsman’s ability to distribute ornamentation according to the architecture. He thus intended to legitimize, on a theoretical and practical level, a reconciliation between the ancient precepts and the demands of the inventive procedure. Diverse maniere has established itself as a crucial work for understanding Piranesi’s artistic trajectory, consolidating arguments about inventive license based on the repertoire of Antiquity.
{"title":"Piranesi, o “estilo egípcio” e a “pequena arquitetura”: uma síntese sobre a multiplicidade inventiva do artífice","authors":"A. R. Rodrigues","doi":"10.11606/1982-02672024v32e8","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e8","url":null,"abstract":"This article presents a relevant topic in the trajectory of Giambattista Piranesi: the proposition of the “Egyptian style” in the publication Diverse maniere d’adornare i cammini (1769), which reveals some relevant aspects of the Piranesian critical fortune for architectural debates in the 18th century. Firstly, one can gauge Giambattista’s perception of the iconographic and compositional potential of Ancient Egypt by references found in Rome and through the field of decoration, in composing fireplaces — an element of “small architecture.” Its merit lies in presenting a new assessment on the applicability of Egyptian iconography. Additionally, Piranesi attempted to show a way of conceiving the art of building based on variations learned from the lexicon of the Ancients, expressing the craftsman’s ingenuity. This article concludes that by proposing the composition of fireplaces in the “Egyptian style,” Piranesi tested his assumptions about the craftsman’s ability to distribute ornamentation according to the architecture. He thus intended to legitimize, on a theoretical and practical level, a reconciliation between the ancient precepts and the demands of the inventive procedure. Diverse maniere has established itself as a crucial work for understanding Piranesi’s artistic trajectory, consolidating arguments about inventive license based on the repertoire of Antiquity.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":"128 S197","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140731240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-08DOI: 10.11606/1982-02672024v32e9
Ligia Lavielle Pullés, Diana Lisset Pompa López
The different Latin American handcraft tells us stories from any material used in the piece. Their differences have been nourished by ancient ethnic roots and they are based in the diversity of each continental region. The crafts are as mixed as Latin America itself. In Cuba, this kind of good is created by subjects who are far away from the academic sector. The empirical knowledge is transmitted from one generation to the next, within the same community and/ or family, and consequently, historical value is added to this production, rather than its use value. The present paper exposed the handcrafts made by a descendant family from Haitian immigrants, known as “The Richards” who have settled down in a rural place located in the East part of Cuba. They are heir of a long tradition proceeding from this nearby country. Their familiar social practices creating their handcraft and also music contribute to the neighbor community. Qualitative perspective used through some in-depth interviews and the ethnographic observation allow not only examine their history and the different ways to make their goods, but also to expose their creative values and the importance of this family as a traditional group within the region and the nets of institutional structure of the East part of this Caribbean island.
{"title":"The unveiled beauty of cedar and yarey palm: the handcraft of one Cuban traditional group of Haitian descent","authors":"Ligia Lavielle Pullés, Diana Lisset Pompa López","doi":"10.11606/1982-02672024v32e9","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e9","url":null,"abstract":"The different Latin American handcraft tells us stories from any material used in the piece. Their differences have been nourished by ancient ethnic roots and they are based in the diversity of each continental region. The crafts are as mixed as Latin America itself. In Cuba, this kind of good is created by subjects who are far away from the academic sector. The empirical knowledge is transmitted from one generation to the next, within the same community and/ or family, and consequently, historical value is added to this production, rather than its use value. The present paper exposed the handcrafts made by a descendant family from Haitian immigrants, known as “The Richards” who have settled down in a rural place located in the East part of Cuba. They are heir of a long tradition proceeding from this nearby country. Their familiar social practices creating their handcraft and also music contribute to the neighbor community. Qualitative perspective used through some in-depth interviews and the ethnographic observation allow not only examine their history and the different ways to make their goods, but also to expose their creative values and the importance of this family as a traditional group within the region and the nets of institutional structure of the East part of this Caribbean island.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140729445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-02DOI: 10.11606/1982-02672024v32e6
Bernardo de Pinho Tavares Dornela, Antônio Gilberto Costa
Contrapondo-se ao que ocorreu no centro-oeste do território mineiro — onde a descoberta aurífera levou à intensa ocupação e exploração, bem como à dizimação dos povos nativos —, que se consolidou como um distrito minerador nas Minas Gerais, a porção leste do território permaneceu, por considerável período de tempo, ainda mais distante das “mãos” do poder colonizador. Isso fez com que ali se concentrasse a maior parte da presença e da resistência dos povos indígenas da capitania mineira, sobreviventes daquele ímpeto. A partir da segunda metade do século XVIII, no entanto, os novos rumos da dinâmica econômica da capitania fazem esse quadro se alterar, colocando o “sertão leste” nas vistas governamentais como alternativa para a dinamização da economia. O avanço da invasão e da ocupação de terras indígenas na região, baseado em processos de guerra e suposta pacificação, é observado por meio de diversos documentos cartográficos históricos, produzidos entre a segunda metade dos Setecentos e dos Oitocentos joaninos. Analisados à luz dos acontecimentos interpretados por diversos autores, esses documentos tornam-se importantes fontes de pesquisa e entendimento do que ocorreu aos indígenas do leste mineiro.
{"title":"Cartografia da invasão, conquista e ocupação de territórios indígenas em Minas Gerais","authors":"Bernardo de Pinho Tavares Dornela, Antônio Gilberto Costa","doi":"10.11606/1982-02672024v32e6","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e6","url":null,"abstract":"Contrapondo-se ao que ocorreu no centro-oeste do território mineiro — onde a descoberta aurífera levou à intensa ocupação e exploração, bem como à dizimação dos povos nativos —, que se consolidou como um distrito minerador nas Minas Gerais, a porção leste do território permaneceu, por considerável período de tempo, ainda mais distante das “mãos” do poder colonizador. Isso fez com que ali se concentrasse a maior parte da presença e da resistência dos povos indígenas da capitania mineira, sobreviventes daquele ímpeto. A partir da segunda metade do século XVIII, no entanto, os novos rumos da dinâmica econômica da capitania fazem esse quadro se alterar, colocando o “sertão leste” nas vistas governamentais como alternativa para a dinamização da economia. O avanço da invasão e da ocupação de terras indígenas na região, baseado em processos de guerra e suposta pacificação, é observado por meio de diversos documentos cartográficos históricos, produzidos entre a segunda metade dos Setecentos e dos Oitocentos joaninos. Analisados à luz dos acontecimentos interpretados por diversos autores, esses documentos tornam-se importantes fontes de pesquisa e entendimento do que ocorreu aos indígenas do leste mineiro.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":"204 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140754985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-25DOI: 10.11606/1982-02672024v32e5
Joelmir Marques da Silva, Jônatas Souza Medeiros da Silva, Italo Cintra Ferreira, Pollyana Martins da Silva
Derby Square is a relevant public space in Recife, recognized as a historic garden and Brazilian cultural heritage due to Burle Marx’s intervention in the 1930s. However, its construction dates back to the 1920s, the period of modernization of the city, with scarce discussions, until now, about its initial design. This article aims to contribute to the historiographical process of Derby Square, focusing mainly on the 1920s and 1930s, ranging from its construction to Burle Marx’s remodeling. To this end, the technique of indirect documentation was adopted, using primary written and visual sources not yet discussed or published, allowing an investigation, recording, analysis, and interpretation of events and the formulation of a new narrative. With this research, it is understood that Derby Square can be interpreted as a palimpsest, in which the elements of the different periods that make up its history are also responsible for highlighting this garden as cultural heritage.
{"title":"Derby’s square, the picturesque garden of Recife","authors":"Joelmir Marques da Silva, Jônatas Souza Medeiros da Silva, Italo Cintra Ferreira, Pollyana Martins da Silva","doi":"10.11606/1982-02672024v32e5","DOIUrl":"https://doi.org/10.11606/1982-02672024v32e5","url":null,"abstract":"Derby Square is a relevant public space in Recife, recognized as a historic garden and Brazilian cultural heritage due to Burle Marx’s intervention in the 1930s. However, its construction dates back to the 1920s, the period of modernization of the city, with scarce discussions, until now, about its initial design. This article aims to contribute to the historiographical process of Derby Square, focusing mainly on the 1920s and 1930s, ranging from its construction to Burle Marx’s remodeling. To this end, the technique of indirect documentation was adopted, using primary written and visual sources not yet discussed or published, allowing an investigation, recording, analysis, and interpretation of events and the formulation of a new narrative. With this research, it is understood that Derby Square can be interpreted as a palimpsest, in which the elements of the different periods that make up its history are also responsible for highlighting this garden as cultural heritage.","PeriodicalId":505553,"journal":{"name":"Anais do Museu Paulista: História e Cultura Material","volume":" 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140384292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：