Dissertations / Theses on the topic 'Handicrafts'
To see the other types of publications on this topic, follow the link: Handicrafts.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Handicrafts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Szydlowski, Rachael A. "Expansion of the Vietnamese Handicraft Industry: From Local to Global." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1218497546.
Full text
2
Ribeiro, Maria Isabel da Cunha Donas Boto. "Em defesa da arte do quotidiano-a estética socialista e humanista de William Morris." Phd thesis, Instituições portuguesas -- UC-Universidade de Coimbra -- -Faculdade de Letras, 1998. http://dited.bn.pt:80/30379.
Full text
3
Lino, Maria do Carmo Pimenta de Vasconcelos e. Sousa. "As artes decorativas na obra de Raul Lino." Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1999. http://dited.bn.pt:80/29196.
Full text
4
Sá, Sérgio 1943. "Santeiros da Maia no último ciclo da escultura cristã em Portugal." Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1998. http://dited.bn.pt:80/29899.
Full text
5
Chhetri, Dinesh. "Strategic for the development of traditional handicrafts : a case study of Darjeeling Hill areas." Thesis, University of North Bengal, 2011. http://hdl.handle.net/123456789/1296.
Full text
6
Limkriengkrai, Jitsuda. "Paper, pottery and prosperity: handicrafts and rural development in Thailand." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/268/.
Full textAbstract:
The focus of this thesis is on the role of handicraft production in rural development in Northern Thailand, exploring how handicrafts evolve over time in the context of a modernising economy. This links with on-going debates on community-based development theory, including those related to rural industrialisation, rural-urban relations and biases, indigenous knowledge, rural poverty and livelihoods. The thesis seeks to return to an issue which was a popular area of investigation in the 1970s, namely the role of small-scale industries in rural development. Rural spaces have always contained an element of non-farm activities, often classified as ‘handicraft production’. Two villages in Chiang Mai province in Northern Thailand have been selected for study in order to assess the roles of handicrafts in rural development. One selected case study village is Baan Ton Pao, which is engaged in saa (mulberry) paper making. The other selected village is Baan Muang Kung, where handicraft production is based on pottery making. Through an empirical study of these two villages, Baan Ton Pao and Baan Muang Kung, this thesis shows that handicrafts have significant potential for promoting rural industrialisation and supporting rural development, especially through the One Tambon One Product programme. Handicrafts are, therefore, contributing to rural poverty alleviation through employment and income generation, and through generating economic growth rooted in the countryside, separate from efforts directed at agriculture and farming. However, it is also important to understand how this very effort is also creating new inequalities in the countryside and, arguably, new populations of poor people. The study is important because it has been argued – as noted above – that handicrafts have significant potential for promoting rural industries and supporting rural development and rural livelihoods – and yet this has rarely been studied in any great detail. The conceptual frameworks are impressive; the empirical support remains thin. This thesis contributes in a significant way to debates about rural development and particularly handicrafts in Thailand and beyond.
7
Mok, Chi-yuen Derek, and 莫智遠. "Revitalization of the 'Lower Bazaar': a new place for Chinese handicrafts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985968.
Full text
8
Lazaridis, Gabriella. "Agriculture, handicrafts and women's associations in two villages in western Crete." Thesis, University of Bristol, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318363.
Full text
9
Mok, Chi-yuen Derek. "Revitalization of the 'Lower Bazaar' : a new place for Chinese handicrafts /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953163.
Full text
10
Khan, Farah Deeba <1981>. "Preserving the heritage : a case study of handicrafts of Sindh (Pakistan)." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1046.
Full textAbstract:
Sindh is known the world over for its various handicrafts and arts. Sindh has a rich heritage of traditional handicraft that has evolved over the centuries. The work of Sindhi artisans was sold in ancient markets of Armenia, Baghdad, Basra, Istanbul, Cairo and Samarkand. The diverse Sindhi cultures, lifestyles, traditions as well as geographical conditions have influenced Sindhi art, and for over a century handicrafts have been a source of pride and a livelihood for the people of Sindh. ‘What we know of customs, beliefs and culture of man throughout centuries, has came to us from surviving works of arts and crafts which lie scattered like a crystal bowl thrown on marble. One has to collect particularly these stray pieces to study and to know how arts and crafts developed in a particular era.
Sindh has a rich heritage of traditional handicraft that has evolved over the centuries. Perhaps the most professed exposition of Sindhi culture is in the handicrafts of Hala, a town some 30 kilometres from Hyderabad. Hala’s artisans are manufacturing high quality and impressively priced wooden handicrafts, textiles, paintings, handmade paper products, blue pottery, etc. Lacquered wood works known as Jandi, painting on wood, tiles, and pottery known as Kashi, hand woven textiles including Khadi, Susi, and Ajrak are synonymous with Sindhi culture preserved in Hala’s handicraft. However, with the passage of time the quality of craftsmanship has been diminishing. The value chain has been infringed and the traditional sense of handicrafts has disappeared. This sector is in dire need o f development and promotion in order to revive the culture and art of the Pakistani heritage.
Lack of patronage, impact of modern manufactures, change in tastes, paucity of raw materials, and failure to channel the traditional forms and designs into modern tastes have been the main factors contributing to the set back suffered by the traditional arts and crafts. Conservatism of the artisan and craftsman to stick to the traditional forms and designs, however, need not be disparaged. It has been as much an asset as a liability. But for his tenacity, the traditional designs might have been entirely lost. While new designs and forms conforming to modern taste need to be introduced, the traditional design motif must be preserved. It is more important to improve the technique and method of production, rather than replace the traditional designs with the modern one.
Traditional crafts are endangered. The attention focused on craft today attests that we recognize this fact. Artisans struggle to earn wages that may not even equal those of manual labour. The social status of the artisan is still sadly low. Moreover, the social mobility of artisans is limited by chronically low levels of education; and the perceived irrelevance of the education available perpetuates the status quo. A spectrum of Government offices programmes and schemes, as well as non-government organizations are trying many ways to save traditional crafts. There are various forms of subsidy, bazaars and fairs organized for marketing, awards, and seminars to raise awareness and respect. But something is not working. To foster genuine sustainability, to restore the vitality of traditional craft, these issues must be addressed by artisans themselves.
Realising these needs of the cottage industry, Aik Hunar, Aik Nagar (AHAN) [One Village, One Product], a non-profit organization, is working towards removing barriers faced by poor artisans and craftsman in rural areas. Primary objective of this project is to alleviate poverty in rural and semi-urban areas of Pakistan by supporting rural micro and small enterprises engaged in non-farm products. Thus, AHAN aims at providing the much needed non traditional work opportunities in rural areas by adopting and indigenizing the One Village One Product concept. AHAN Project was formally initiated in July 2006 after its approval by the Planning Commission. During a short period of one year it has actively started work in all four provinces in collaboration with Provincial / District Governments, RSPs, Microfinance Institutions and other stakeholders. The project has adopted two pronged approach. On the one hand it has started pilot projects in different clusters of artisans and poor producer groups while on the other hand it has also started research and analysis exercise to discover the potential in this area and to see how a long term strategy can be developed for creating sustainable income generation opportunities to a large segment of our society living in rural, semi urban and small cities and towns of Pakistan.
Artisans are surely a country's valuable asset. They work with devotion, and they must not be forced to walk away in search of greener pastures. The government must provide their craft a flourishing market, national as well as international. Bangladesh has made a village for the artisans where 4000 of them are living, working and exporting handicrafts, and prospering. I suggest that, we need a model like Art and Craft Village or Dilli Haat (see in last chapter) in Karachi also, which can boost up the economy of the artisans and respectively for country. Fairs and exhibition on yearly basis are good for the encouragement but not enough for the artisan’s better financial condition. By having a model like Dilli Haat in a cosmopolitan city of Karachi, will provide a permanent place for the crafts persons to exhibit their masterpieces. It would be easier for the Sindhi artisans to come to Karachi to exhibit and gain profit, it may take time to establish , but sooner the better because already we are losing international market , so to revive and handicraft culture and promote our artisans locally and abroad government have to start working on this very project. The flood in 2010 has caused huge destruction to the houses and workshops of people, they are left with no money and no place to live, the only thing they have with them is there craft and with it they sure can live and built everything that, they have lost, but only if they get appropriate support and mostly financial help by the government and other organizations, which has been given at some levels but it is very small, it needed to be on big scale in order to save this intangible heritage.
11
GUIMARAES, MARIANA DE SOUZA. "THE DESIGN OF HANDICRAFTS OBJECTS PRODUCED IN THE DAILY LIFE OF ELDERLY WOMEM." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16441@1.
Full textAbstract:
Este estudo tem como tema o design de objetos artesanais produzidos por
mulheres idosas, com linhas e agulhas. O objetivo é sinalizar os pontos de
divergência e convergência entre os campos do design e do artesanato popular,
identificando relações híbridas, e compreendendo as fronteiras existentes entre os
campos e conhecendo modos distintos de produção de artefatos da cultura material
brasileira. Buscamos ainda promover uma reflexão sobre a importância das
técnicas aliadas ao ato de costurar, tecer e bordar na história da humanidade, suas
origens e eventuais consequências. Técnicas como crochê, tricô, bordado, etc.,
ligadas essencialmente ao universo feminino, mesmo nos dias atuais, frente à
industrialização, não desapareceram. Continuam a existir, em produtos e projetos
de design, moda e arte. Por meio de uma pesquisa participativa intitulada Projeto
Retalhos de Memória, realizada com aproximadamente 150 mulheres idosas,
comprovamos que estas técnicas estão presentes no imaginário e lembranças
pessoais das mulheres idosas, pelo fato de terem sido inculcadas e apreendidas na
esfera doméstica e institucional pelo habitus e estilo de vida na formação de moças
de determinada geração, hoje idosa. A falta de diálogo das gerações mais jovens
com as pessoas idosas e a conseqüente exclusão destas da sociedade faz com que
muita sabedoria seja perdida na cultura material e imaterial.This study deals with the design of handicrafts produced in the daily life of elderly women. Its goal is to establish a discussion between the design and the artifacts produced with needles and lines in the domestic daily life. Signaling points of divergence and convergence between the fields of design and artisan groups, identifying hybrid relationships between them, understanding the boundaries between the fields and getting to know different possibilities for the production of artifacts in the Brazilian material culture. We seek to further the discussion about the importance of the techniques allied to the acts of sewing, weaving and embroidering throughout the history of mankind, its origins and eventual consequences. Techniques such as crochet, knitting, embroidery, etc…, essentially linked to the feminine universe that today, facing industrialization, have not disappeared and are present in products and design projects, fashion and art. Through a participatory research named Projeto Retalhos de Memória, performed with approximately 150 elderly women, we could verify that these techniques are present in the imaginary and personal memories of elderly women because these techniques have been learned and lived in the domestic sphere and institutional environment through the habitus and lifestyle that was present in the education of girls of a certain generation, today elder. The lack of dialogue and the exclusion of older people of our society cause wisdom to be lost in our material and immaterial culture.
12
Tabaza, Khalil Nemer. "A theoretical model for preserving the Jordanian traditional folk handicrafts through art education /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487590702991244.
Full text
13
McLeod, Ellen Mary Easton Carleton University Dissertation Art History. "Enterprising women and the early history of the Canadian Handicrafts Guild, 1905-1936." Ottawa, 1994.
Find full text
14
Osorio, de Cerqueira Carlos. "Cooperation among small producers in Northeast Brazil." Thesis, University College London (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363850.
Full text
15
De, Jong Connie Jo. "Global Gallery: Revolutionary Re-Localization through fair Trade International handicrafts, Tourism and Cultural Education." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392048477.
Full text
16
Jobling, Paul. "Fashion figures : word and image in contemporary fashion photography." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4290/.
Full textAbstract:
This study explores the tension between text and image in the fashion spreads published in three magazines since 1980: The Face, Arena and Vogue. It takes as its starting part Roland Barthes' axiom that the magazine is 'a machine for making Fashion' and pursues his thesis that it is through 'represented clothing', rather than real garments themselves, that the meaning of Fashion is connoted. But it also contests his idea that the Fashion system is a vacuous or trivial form of signification, and in exploring both the verbal and pictorial elements of fashion spreads aims to uncover how they intersect with wider cultural events. The material under discussion has been arranged into three separate parts. Each one has its own discursive framework and diverse methodological perspective, yet it is also dialectically related to the others in a wider argument concerning the construction of the body in word and image in contemporary fashion photography. Part One serves to provide an overview of the evolution of the three chief titles consulted, considering the social, economic and aesthetic factors that have been instrumental in forging an identity for fashion photography since 1980. At the same time, it examines the preoccupation with a postmodern treatment of time and history in various spreads and assesses whether iconocentrism ipso facto renders fashion photography devoid of any deeper meaning. Part Two builds on this argument by analysing the ideas propounded in Roland Barthes' Systeme de la Mode, chiefly the distinction he makes between written clothing (le vetement ecrit) and image-clothing (le vetement-image), in the context of debates on logocentrism. Here I assess whether Barthes' predilection for written clothing is both viable and relevant when it comes to making sense of the symbolic content of represented clothing with particular reference to a fashion spread called 'Amoureuse' from Elle (June 1958). I also evince the same spread along with more contemporary examples to assess the way that Barthes deals with sex and gender in Systeme de la Mode. Part Three consolidates this exploration of gender and fashion by concentrating on the intense interest in sex and the body that has subtended much fashion imagery between 1980 and 1996. At this point, I deal with the objectification of female and male sexualities by mobilising the central tropes of the 'girl' and the phallic body respectively. In the process, I raise a diverse and complex intersection of related issues concerning identity formation and otherness, power, and visual pleasure. Thus I examine the investment that different producers and spectators might have in the fashion image: male and female; straight and gay; and white and non-white. In particular, I draw heavily on the psychoanalytical theories of Freud and Lacan, as well as more recent writing by Julia Kristeva, Luce Irigaray, Judith Butler and Diana Fuss.
17
Cutting, Nicola. "Children's tool making : from innovation to manufacture." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3969/.
Full textAbstract:
Through eight experiments this thesis investigated the divergence in children’s abilities in the domain of tool making. Despite being excellent tool manufacturers following full instruction, children displayed great difficulty in innovating novel tools to solve problems. Experiments 1 to 3 found four-to-seven- year-olds’ tool-innovation difficulty to be a robust phenomenon that extended to new tasks requiring different tools made by a variety of methods and materials. Experiments 3 and 4 aimed to discover whether some tool-innovation tasks are harder for children than others. Together these experiments suggested that the difficulty of tool innovation is due to the type of transformation required. Experiments 5 to 8 investigated why children find tool innovation so difficult. Experiments 5 and 6 ruled out singular executive functions as limiting factors on children’s performance. Experiments 7 and 8 found that young children have great difficulty in generating and coordinating the components of a problem even if aspects of the task are highlighted for them. Overall this thesis led to the conclusion that tool-innovation difficulty is due the ill-structured nature of the task. Additionally this thesis provides new definitions and frameworks with which to study tool-related behaviour that will benefit both the developmental and comparative literatures.
18
Young, Tamsyn. "Clothes and domestic textiles in the community of Staple and its environs : constructing the forgotten fabrics of the sixteenth century yeoman." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/364317/.
Full textAbstract:
The clothes and domestic textiles of the sixteenth century were, next to food, one of the absolute necessities for humankind to survive. This study examines the different types and constructions of textiles closely, using an historical approach, reading original documentation and viewing the scarce fragments of remaining examples. Due to the class of society being considered and the fragility of the textiles, other rare samples, from beyond the sixteenth century needed to be considered to try and assemble a true picture of the textiles available. Agriculture, demography, geography and history have all been drawn upon. The lack of actual samples and the chasm in information regarding these forgotten items of daily living have been continually assessed and evaluated. Other themes addressed include: the relationship of the yeoman in society through sumptuary law; their respect for and association with nature for raw materials; and innovation in improving their skills. Practical attempts to reveal an authentic colour palette of the yeoman world, although not conclusive, have permitted a fresh approach for further enquiry. This research includes detailed worksheets and various hand woven samples which support the practical element of this study, giving a valuable foundation for further investigation. This original work will be of educational value in portraying this sector of society, so easily overlooked because of the grandeur of the sixteenth century nobility. The samples provide tactile experiences reinforcing, the need of textiles to be 'fit for purpose'. Many skills from this period have been lost to future generations, only recreations based on balanced and empiric judgements will help evaluate the of these forgotten fabrics
19
Southwell, Mirjam. "International policy process for technology, design, women and development : a feminist perspective." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/e49bfa82-353a-4075-b854-9eb07d4d2688.
Full text
20
Ribeiro, Maria Alexandra Duque. "A tapeçaria tridimensional e os materiais têxteis-design de uma aplicação multimédia." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Escola de Engenharia -- -Departamento de Engenharia Têxtil, 2000. http://dited.bn.pt:80/29329.
Full text
21
Sahlen, E. Daniel. "Ceramic technology and technological traditions : the manufacture of metalworking ceramics in late prehistoric Scotland." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2707/.
Full textAbstract:
The goal of this thesis is to investigate the manufacture of metalworking ceramics in late prehistoric Scotland (ca 1000BC – AD800) from the perspective of ceramic technology and with the aim to reconstruct social and material trajectories. This has been implemented through the use of an integrated analytical methodology, interpreted by developing current theories on technology. Previous studies of metalworking ceramics in Scotland have rarely paid full attention to ceramic technology; research has instead focused on metallurgical issues such as metal identification and material morphology. This is central for answering questions regarding metallurgical processes, but fails to answer important questions regarding the technology and manufacture of the ceramic material. The successful production of moulds and crucibles requires that a craft specialist has expert skills in the preparation and firing of clay as well as understanding of the process and design of metal casting. This makes metalworking ceramics an important resource for investigating variation in individual skill and experience, cultural traditions, and scale of production. The main focus is on moulds and crucibles, but parallels, both in terms of method and theory, are made to other types of metalworking ceramics and pottery. The technological relationship between pottery and metalworking ceramics is therefore a vital link in the assessment of production and technological traditions. In addition, clays from a number of sites have been sampled, with the goal to monitor the utilization of clays for the production of different ceramic materials. Materials from nine primary sites, from Traprain Law (East Lothian) in the south to Mine Howe (Orkney) in the north, are central to the discussion of ceramic technologies. The context of casting and crafts from further sites in Scotland and beyond has been essential in the reconstruction of casting production in the late prehistoric period. Developing from ideas of technology as an active process, this study has investigated the collection and preparation of clays to make different ceramic materials. This investigation has employed a range of analytical techniques frequently applied to the study of archaeological ceramics, including ceramic petrography, Scanning Electron Microscopy, X-Ray Spectrometry and X-Ray Diffraction. The focus has been on technology; studies of provenance are auxiliary to the broader questions. It is a central conclusion of this work that the production of metalworking ceramics saw a development towards a more specialised function and technology during the late prehistoric period, and that this development was closely related to material traditions, to some extent transcending wider social trajectories. This research, highlighting particular and general technologies, has showed that the study of ceramic technology of moulds and crucibles can be a valuable resource for the study metallurgical production and technology.
22
Lee, Robert William. "Influences of wood-crafting on technological development in Middle to Late Bronze Age Southern England." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371704/.
Full textAbstract:
This study explores the relationship between wood-crafting activity and technological development in metal tools during the Late-Middle and Late Bronze Age in Southern England. It suggests that a number of tool types and forms can be characterised as direct responses to specific crafting processes. The study further suggests that through analysis of those tools and crafting processes, the socio-technological relationships between craftspeople and materials can be better explored. The thesis makes a case for the importance of wood-use during the British Bronze Age as a material key both to a range of craft activities and technological change. The discussion highlights the lack of a cohesive analysis of its use, potential and material relationships. It suggests that a semantic approach to craft practice can inform as to how those practices were facilitated, and that particular craft processes focussed on wood-use are manifested in surviving tools. Four tool types are examined - socketed axes, gouges, chisels and saws; their morphology and structure are analysed to discern variations in function and structural trends which are suggestive of common approaches to production and use. The results of this analysis are linked to woodcrafting practices to highlight how particular forms of each tool type were targeted to activity. The study concludes by arguing that Bronze Age tool forms, and their production, were the result of a complex network of social, technological and developmental influences. It finds that a number of forms were indeed targeted to specific wood-crafting tasks, and that tools ostensibly produced separately followed common structural trends which derived from those tasks. The study also concludes that certain tool forms such as saws manifest multi-material developmental origins, and that analysis based on crafting functions has the potential to provide a more cohesive perspective of Bronze Age tool development than has previously been developed.
23
Eastop, Dinah. "Stuff happens : a material culture approach to textile conservation." Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/169895/.
Full textAbstract:
Textile conservation, defined here as the preservation, investigation and presentation of textiles, is often viewed largely as a technical and aesthetic problem. This research develops an alternative view by understanding objects as being subject to both material and social change. The dynamic aspects of this material and social process is emphasised as ‘stuff happens’. This research proposes, and provides evidence for, a material culture approach to textile conservation, and demonstrates its development and application. An analysis of case studies shows how the material and the social interact at the point of assessment and intervention. Examination of the material aspects of textile conservation reveals that social values influence decision-making. Values held at the time of conservation are shown to depend on the categories used. Investigation of these categories demonstrates that any anomalous quality of the textile undergoing conservation allows for contestation of social values. As values change over time, analysis of each conservation assessment and intervention reveals a comparison of values held at different times viewed retrospectively. The resulting approach is centred on the interaction between things, persons and language where each mediates relations of the others. It is argued that this material culture approach enhances understanding of the dynamic material and social environment of textile conservation principles and practices.
24
Amebode, Adetoun Adedotun. "Strategies for economically sustainable resist dyeing industries in Abeokuta, Ogun State, Nigeria." Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/162155/.
Full textAbstract:
Nigerian textile and clothing industries is face with crisis under the pressure of influx of smuggled second-hand clothing and cheap and poor quality of Chinese textiles. The situation has resulted to closure of many textile industries and massive unemployment with inability of the few existing industries to compete favourably base on price. The study was carried out in Abeokuta among tie-dye/batik practitioners and consumers of tie-dye/batik products with the aim to examine the challenges facing the resist dyeing industries. The research method is divided into three: Theoretical- this involves using secondary data from books, journal, newspaper, and the web to gather background information; Statistical- this involves the use of questionnaire to gather primary data. The data collected was analysed using SPSS (Statistical Package for Social Scientist); and Visual- this entails the use of images to establish facts and make judgement on the basis of the facts discovered. The findings revealed that the challenges facing the practitioners are multi-facet ranging from poor educational status, lack of adequate training/re-training programmes, poor financial status, low customers’ patronage, poor management and marketing skill, lack of adequate and functional social amenities, low purchasing power of consumers who often buy on credit and pay on instalment (some don’t bother to pay their debt), increased competition from smugglers of second-hand clothing and imported Chinese textiles, poor/ no knowledge of information technology, low access to international/ overseas markets and minimal willingness to take risk. Consumers of tie-dye/batik are pertinent to the study. The findings from the consumers shows that about half of the consumers interviewed cannot afford to buy clothes monthly while slightly more than half buy clothes on credit and pay on instalment. The industry has being affected with change in taste of consumers, consequently one third of the consumers do not patronise tie-dye/batik fabrics. Consumers pointed out that tie-dye/batik fabrics are not colourfast and the designs are too common (frequently seen). Consumers also complained of poor customers services of the practitioners. Base on the findings, the study proposes holistic approach to the challenges. A sustainable model of five major pillars (Continuous innovation, Customer Relationship Management, Government Policy Support, Networking and Practitioners Personal Capacity Development) is proposed. Absence of any of the pillar will result to sustainability collapse of tie-dye/batik industry. Other model being proposed include establishment of an Export Centre with an effective and efficient two way communication model; EVIPI an acronym of English words to stimulate innovative entrepreneurial drive in niche marketing, a model for internal secondhand clothing to revisit the pass me down clothing culture among the Yoruba and a networking model to complement each other for development.
25
Lee, Ruth Lorna, and mikewood@deakin edu au. "Our fingers were never idle: Women and domestic craft in the Geelong region, 1900-1960." Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.122114.
Full textAbstract:
This thesis is an exploration of women's domestic crafts in the Geelong region, between 1900 and I960, Through analysing oral testimony and the women's handicraft artefacts, the nature of the domestic production of handicrafts and the meanings the makers have constructed around their creations and their lives is illuminated. The thesis is organised around the themes of work, space, the construction of femininity, memory, time and meaning.
The thesis argues that until recently, the discipline of history has privileged the experiences of men over those of women. It challenges the trivialising of womens handicrafts. It also argues that within the restrictive social structures around them and within the confined nature of their situations, the women of my study asserted themselves to transform their environments and to improve their situations through labour in the home. In making do, recycling materials and creating functional and decorative needlework items for their homes and families, the women were often finding solutions to pressing practical and economic problems. Doing handicrafts was rarely just a passive way of filling in time.
Rather, making and creating was for these women a multi-layered activity that similtaneously fulfilled a complex range of needs for themselves and their families. A multiplicity of deeply personal, aesthetic, familial, social, practical and economic needs were met in the making of domestic craft artefacts, whose symbolism reflected the values and meanings of the women's cultures, homes and families.
26
Barber, Claire. "Cloth in action : the transformative power of cloth in communites." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/29190/.
Full textAbstract:
The work submitted for the PhD by Publication is evidence of my investigation into the significance of textiles as an aesthetic experience within a socially engaged form of material practice, some of which involves other people. Social engagement has been an active and deliberate agent in the aesthetic transformation of functional material objects in two of my publications called The Sleeping Bag Project and You Are the Journey. A third publication is a co-edited book called Outside: Activating Cloth to Enhance the Way We Live. A range of essays by artists, curators and writers discloses previously unwritten commentaries on community initiatives that probe a range of empathetic modes of investigation that explore meaningful spaces for participation. I have come to recognise that a proactive attitude towards collaboration is evident in all three publications. It is exemplified by my approach to co-orchestrating the Outside book and by an eagerness to work with others to advance the concept of the transformative power of cloth within the live arena for socially engaged textile practices today. The relations between an aesthetic transformation and socially engaged practice was implicit in Rozsika Parker’s seminal text The Subversive Stitch first published in 1984 providing an analysis of textiles within social history. At the beginning of work on this PhD my relationship with the book was complex and full of tensions. My perceptions of Parker’s work changed as I discovered at the very end of my thesis connections between her work and mine that enable a deeper understanding of the need in my socially engaged textile practice today for the kind of aesthetics she describes historically as arising from social constraint. Consequently The Subversive Stitch has now re-appeared with value as a touchstone for my work in a contemporary context. The thesis then discusses examples of the outcomes of practices by other artists and considers the attention given to visual aesthetics within socially engaged practices. Ideas are developed to suggest how the aesthetic dimension of textiles may enhance principles of communal giving as an innovative strategy stretching beyond the coalition government’s Big Society agenda presented in 2010. Examples from investigations of textiles in museum archives including embroideries created by internees within Second World War prisoner-ofwar camps in the Far East are also examined. The aesthetic dimension of the embroideries carries significance through the vulnerable context in which they were created, as a potent series of statements involving cloth in action. In contemporary Britain, I have shown how such everyday objects as sleeping bags and travel tickets can capture the imagination by creating a connection with participants, when they may not have been consciously seeking an insight separate from the functionality of these objects. Nevertheless, an aesthetic gesture is surreptitiously tucked away. This has created a hybrid form of social engagement that can move fluidly between private and public spaces. The social engagement also involves processes of interaction and exchange with the object in the presentation of an active relationship with the object that is both seen and unseen.
27
Lashley, Jonathan Graham. "The internationalisation of the small-to-medium sized enterprise (SME) : a critical realist approach." Thesis, University of Northampton, 2001. http://nectar.northampton.ac.uk/2790/.
Full textAbstract:
The Small- to Medium- Sized Enterprise (SME) has attracted the attention of researchers and governments because of the increasingly important role it is playing in national and international economies. The current research is directed towards understanding the internationalisation of this important economic unit, specifically the internationalisation of SMEs in the East Midlands region of the United Kingdom. The research adopts a critical realist philosophy, used by researchers to explain the decision-making process, and applies it in a different context to provide insights into the internationalisation process of the SME. A critical realist approach is used as it enables an understanding of the roles of structures and the contingent environment in facilitating differing levels of SME internationalisation. These are factors that are believed to operate at a level below that of the observable. The study adopts a mixed methodology (a questionnaire survey and two company case studies) that identifies three main issues, including, the international orientation of the industry, previous international experience of management, and the age of the firm. The survey also identified two other issues, perceptions of competition levels, and technology. All of these factors heavily influenced the differing internationalisation levels seen. The two case study companies were used to illustrate the issues at a real level, highlighting the effect of the structures of the capitalist mode of production and the supply chain. The roles of these structures were shown as not deterministic, as the affect of structure was only exhibited under particular contingent conditions in the external and internal environments
28
Ruiz, Garcia Lorena. "The role of government intermediaries in the internationalization of low- and medium-technology SMEs from developing countries : a case study of the Foreign Trade Commission of Mexico in Europe." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/51895/.
Full textAbstract:
This thesis assesses the role of the Government (in Mexico) and the Foreign Trade Council of Mexico (BANCOMEXT) in the internationalization of Mexican small and medium-sized enterprises (SMEs) in low- and medium-technology industries (LMT), which is the main group of firms serviced by BANCOMEXT-Europe. It also sheds light on the internal and external barriers this organization has identified as affecting the internationalization of these SMEs from developing countries (Mexico) in developed and distant markets (the European Union). To achieve this, a case study was undertaken in the six offices of BANCOMEXT (now PROMEXICO) in Europe: Italy, the UK, Germany, Spain, the Netherlands and France. BANCOMEXT is the most specialized governmental organization dealing with the internationalization of SMEs. The story told by the BANCOMEXT officers is analysed from the international business (the Uppsala model and the role of government intermediaries in the internationalization of SMEs), innovation and policy perspectives (the national system of innovation (NSI) approach) and the economic perspective. After the inductive analysis of the interviews undertaken with government officers from BANCOMEXT-Europe, 220 concepts that span the policy, macro, micro and meso levels were identified. The findings suggest that BANCOMEXT-Europe has mainly contributed to the internationalization of LMT-SMEs by the provision of information and by putting these firms in contact with potential clients abroad, but there are some unattended areas in which BANCOMEXT-Europe could expand its activities to contribute to the internationalization of LMT-SMEs. This thesis also uncovered that the SMEs' performance and the scope of BANCOMEXT's activities have been negatively affected by problems of different origins. Some of them are internal to Mexican SMEs, and there are also external barriers of both domestic and foreign origin inhibiting the SMEs' internationalization and explaining their very limited participation in foreign markets. These problems are enhanced by the environmental differences (differences in institutional set-ups) between Mexico and the EU and the geographical distance. In addition, this research provides empirical evidence from a developing country (Mexico) about the pervasive consequences of the lack of governmental support and policies for the internationalization of LMT-SMEs. This research calls for more active participation from the Government and policy makers to contribute to long-term economic growth from the supply side by improving SMEs' competitiveness through interactive learning, knowledge access and knowledge creation, innovation (incremental innovation) and the provision of favourable conditions for the internationalization of LMT-SMEs. Accordingly, a series of suggestions aimed at improving the competitiveness and internationalization of Mexican LMT-SMEs in the EU is also presented.
29
Santos, Rui Afonso. "O design e a decoração em Portugal : exposições e feiras : os anos vinte e trinta." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1994. http://dited.bn.pt:80/29921.
Full textAbstract:
0 movimento das Artes Decorativas dos anos 20 e 30 teve uma
grande importncia na Europa Ocidental e nos Estados Unidos da
Amnca, prolongada nas duas Exposices pansienses de 1925 e 1937.
A cultura artstica portuguesa, nas suas manifestaces de gosto
mundano com aproveitamento poltico no segundo decnio, prestou
atenco s propostas francesas na sequncia das influncias que, desde
incios do sculo XVIII e pelo sculo XIX fora, vinha recebendo.
A participa^o nacional nesse movimento de gosto, em produco e
consumo, , sem dvida, um tema da cultura e da sociedade
porruguesas pouco conhecido e que unporta nvestigar. Isso nos
propomos fazer no seguinte trabalho, porm devemos antepor algumas
consideraces qunto ao processo da sua realizaco.
Na verdade, e ao contrrio da maiona dos pases do ocidente, a
Histna das Artes Decorativas no sculo XX em Porrugal est por
fazer. Para alm do importante contributo que Jos-Augusto Franca deu
nas suas obras fundamentais A Arte em Portugai no Sculo XIX e A
Arte em Portugal no Sculo XX, com captulos especficos dedicados a
este tema, para alm ainda do papel pioneiro desenvolvido por Manuel
Rio-Carvalho ao estudar a "Arte Nova", bem como da aten^o que,
recentemente, o azulejo contemporneo tem merecido de numerosos
investigadores, carecemos ainda de um trabalho de sntese que
aprofunde, proporcione uma viso genrica e aborde em exclusivo as
chamadas "artes menores" do nosso tempo.
30
Santos, Rui Afonso. "O design e a decoração em Portugal : exposições e feiras : os anos vinte e trinta." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1994. http://hdl.handle.net/10362/31765.
Full textAbstract:
0 movimento das Artes Decorativas dos anos 20 e 30 teve uma
grande importncia na Europa Ocidental e nos Estados Unidos da
Amnca, prolongada nas duas Exposices pansienses de 1925 e 1937.
A cultura artstica portuguesa, nas suas manifestaces de gosto
mundano com aproveitamento poltico no segundo decnio, prestou
atenco s propostas francesas na sequncia das influncias que, desde
incios do sculo XVIII e pelo sculo XIX fora, vinha recebendo.
A participa^o nacional nesse movimento de gosto, em produco e
consumo, , sem dvida, um tema da cultura e da sociedade
porruguesas pouco conhecido e que unporta nvestigar. Isso nos
propomos fazer no seguinte trabalho, porm devemos antepor algumas
consideraces qunto ao processo da sua realizaco.
Na verdade, e ao contrrio da maiona dos pases do ocidente, a
Histna das Artes Decorativas no sculo XX em Porrugal est por
fazer. Para alm do importante contributo que Jos-Augusto Franca deu
nas suas obras fundamentais A Arte em Portugai no Sculo XIX e A
Arte em Portugal no Sculo XX, com captulos especficos dedicados a
este tema, para alm ainda do papel pioneiro desenvolvido por Manuel
Rio-Carvalho ao estudar a "Arte Nova", bem como da aten^o que,
recentemente, o azulejo contemporneo tem merecido de numerosos
investigadores, carecemos ainda de um trabalho de sntese que
aprofunde, proporcione uma viso genrica e aborde em exclusivo as
chamadas "artes menores" do nosso tempo.
31
Wei, Yang. "Screen printable sacrificial and structural pastes and processes for textile printing." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/360759/.
Full textAbstract:
This thesis presents a new approach for fabricating free standing structures on flexible substrates using the screen printing technique. The research addresses electronic textile applications and is intended to provide a new method for realising sensors and complex structures on fabrics. Conventional smart fabric fabrication methods, such as weaving and knitting, are only able to achieve planar structures with limited functionality. Packaged discrete sensors can also be attached directly to fabrics but this approach is unreliable and unsuitable for mass production. The reported materials and the fabrication processes enable free standing structures to be formed by printing functional layers directly on top of the fabric. This reduces the fabrication complexity and increases wearer comfort and the flexibility of the fabric. This research details an investigation into sacrificial materials suitable for use on fabrics. A plastic crystalline material (Trimetlylolethane (TME)) was identified as an appropriate sacrificial material because it sublimates which reduces the chance of stiction occurring. A screen printable TME paste has been achieved by dissolving TME powder in a solvent mixture of cyclohexanol (CH) and propylene glycol (PG). The TME sacrificial paste can be cured at 85 oC for 5 minutes providing a solid foundation for subsequent printed layers. This sacrificial layer can be removed in 30 minutes at 150 oC leaving no residue. EFV4/4965 UV curable dielectric material was identified as an appropriate structural material for use with TME. The feasibility of the sacrificial and structural materials has been demonstrated by the fabrication of free standing cantilevers and microfluidic pumps on fabrics and flexible plastic films. Printed cantilevers, with capacitive and piezoelectric sensing mechanisms, have been demonstrated as human motion sensors. A printed microfluidic pump with a maximum pumping rate of 68 μL/min at 3 kHz has also been demonstrated. Both the cantilever and micropump have been demonstrated, for the first time, on fabrics and polyimide substrates, respectively.
32
Holt, Alexia. "Reviewing Chanel : a catalogue raisonné and critical survey of the dress designs by Chanel published in British and French Vogue, 1916-1929." Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/5391/.
Full textAbstract:
Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.
33
Malysz, Simone Cristina. "Sistemas de identidade visual como recurso para valorização de produtos artesanais do Brique da Redenção." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/96331.
Full textAbstract:
Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento.Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.
34
Unver, Tayyar Can. "Determinants Of Managerial Responses To Environmental Issues In Small And Medium Enterprises In Turkey." Thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610265/index.pdf.
Full textAbstract:
The main purpose of this study is to identify the major driving factors that determine the environmental commitments and certification ownership of small and medium sized enterprises (SMEs) in Turkey. Turkey has been undergoing major economic and environmental developments since 1990ies. SMEs play a significant role in the Turkish economy, constituting 99.8% of total enterprises in number. Even though most managers overlook their firms&rsquoparticular impacts, SMEs&rsquo
cumulative effect on natural environment is significant. According to previous research, regulations, community, competitors, suppliers, consumers and media have been found to be the main external determinants that affect a manager&rsquo
s attitudes about the environment and therefore his or her firm&rsquo
s environmental commitments
whereas managers&rsquo
beliefs about the environment, their confidence in their firm&rsquo
s abilities and resources and their environmental governance principles are the internal determinants. In line with previous research findings, this study tries to examine the effects of these factors along with the demographic characteristics of the manager&rsquo
s. As the results of the questionnaire distributed to 80 SME managers in Ankara suggest, institutional and social pressures and manager&rsquo
s confidence in him/herself and his/her firm&rsquo
s abilities showed to have significant influence on the firm&rsquo
s environmental commitments, along with the size of the company and the education level of the manager. In addition to that, external pressures and size are also major factors driving SMEs to obtain environmental certifications.
35
Gedikli, Damla. "The Role Of Design Attributes In Shaping Users." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613095/index.pdf.
Full textAbstract:
Users evaluate and assign value to products regarding several factors, one of which is design attributes. The attributes can provide certain consequences, which can, in turn, serve to users&rsquodesires or ultimate goals in life. Value is attributed regarding the desirability of the sequential chain of attributes, consequences and goals. Considering value creation for the users as designers&rsquo
main responsibility
they should focus on how these chains are shaped while designing products. This study mainly concentrates on this relation between design attributes, the consequences these attributes provide, and the ultimate goals of users these consequences satisfy. Three main types of consequence and user goals, which are together called as value types, are identified in the literature: pragmatic, experiential and symbolic. How these value types can be provided by design attributes is examined both with literature review and a research on users&rsquo
pre-purchase value assignment to portable digital audio players. The research on portable digital audio players is conducted using laddering technique. After the interviews with 30 respondents, the value types identified in the literature review as pragmatic, experiential and symbolic value are supported by the data
and and an extension is suggested within the subgroups of experiential value. The salient design attributes that are valued at pre-purchase, and outstanding relations between designed attributes, consequences and user goals are identified.
36
Betiol, Carmen Fabiana. "Ensino e aprendizagem na ceramica popular figurativa : a experiencia de Taubate." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285144.
Full textAbstract:
Orientador: João Francisco Duarte JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T00:17:57Z (GMT). No. of bitstreams: 1 Betiol_CarmenFabiana_M.pdf: 10918905 bytes, checksum: e844b9bf7e958938c646efe0cfcfd839 (MD5) Previous issue date: 2007
Resumo: Esta pesquisa se propõe a realizar um estudo dos ceramistas do município de Taubaté/SP, com enfoque na tradição de ensino que se estabelece entre as gerações, mantendo, assim, acesa a produção há mais de 150 anos. A cerâmica popular figurativa taubateana nasceu em meados do século XIX com a imigração européia, tendo sido a devoção católica decisiva para os artesãos da cidade se dedicarem à criação de presépios e imagens sacras. Muito contribuiu para esse trabalho com o barro o fato de Taubaté ser banhada pelo rio Itaim, originalmente fonte de sua matéria-prima. Outros fatores contribuíram e contribuem para essa arte existir há mais de um século, como o ensinamento de fazer essas figuras dentro das famílias. Além das relações de parentescos permearem a constituição do grupo, surgem também as relações de ensino entre os vizinhos. Atualmente, o aprendizado também é transmitido para as pessoas fora dessa comunidade, o que ocorre principalmente desde a abertura da Casa do Figureiro, local de produção e venda dessa cerâmica. A criação desse espaço ampliou as possibilidades de geração de renda, outro fator fundamental para tal prática. As figureiras, mulheres que fazem as figuras de barro, representam, hoje, um grupo significativo de manifestação da cultura popular, expressando-se, criando e ensinando às novas gerações o seu ofício. Nesse sentido, a pretensão deste projeto é: descrever e analisar os processos de ensino e aprendizagem presentes nessa tradição. O como são vivenciadas as formas de aprendizagem para essas pessoas a partir de processos (ou métodos) de ensino, criados pelas gerações anteriores, é o grande foco deste trabalho. Nessas ações estão as experiências de ser aprendiz e também de ser o mestre do ofício em fazer figuras. Este estudo procura compreender e registrar essas vivências, como são desenvolvidas e se transformam para constituir também uma tradição de ensinar e aprender. Procura-se, pois, pensar as relações existentes nesse processo, por isso o texto se intitula: ensino e aprendizagem na cerâmica, diferentemente de ensino e aprendizagem da cerâmica. Aqui, não se encontra um manual de como fazer figuras de barro, por isso não são amplamente evidenciadas as técnicas, que são somente citadas com o intuito de exemplificar as situações e relações de ensino e aprendizagem desses sujeitos. Neste trabalho de registro e discussão, enfoca-se como essas pessoas ensinam, aprendem e apreendem o ofício de ser figureiro.
Mestrado
Mestre em Artes
37
Cunha, Aline Lemos da. "“Histórias em múltiplos fios”: o ensino de manualidades entre mulheres negras em Rio Grande (RS – Brasil) e Capitán Bermúdez (Sta. Fe – Argentina) (re)inventando pedagogias da não-formalidade ou das tramas complexas." Universidade do Vale do Rio do Sinos, 2010. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2104.
Full textAbstract:
Made available in DSpace on 2015-03-04T21:16:49Z (GMT). No. of bitstreams: 0
Previous issue date: 25Universidade do Vale do Rio dos Sinos
Esta tese trata de uma pesquisa sobre o ensino e a aprendizagem de trabalhos manuais com mulheres negras em Rio Grande (RS – Brasil) e Capitán Bermúdez (Santa Fe – Argentina). Tal pesquisa foi elaborada a partir da temática “Pedagogias da não-formalidade ou das tramas complexas (re)inventadas por mulheres negras através do ensino e da aprendizagem de trabalhos manuais e a busca por emancipação”. Foram promovidos encontros, no Brasil, município de Rio Grande, com mulheres pertencentes ao grupo étnico afro possuidor de experiências em profissões destinadas historicamente às mulheres e, em particular, às mulheres negras: o trabalho doméstico (domésticas, lavadeiras, cozinheiras, etc.), o cuidado de crianças pequenas e o embelezamento capilar vinculado às tranças. Também participaram desta investigação, na Argentina, município de Capitán Bermúdez, mulheres que, mesmo não expressando o grupo étnico ao qual pertencem, apresentam fenotipicamente indícios de serem descendentes de indígenas argentinas, atuantes nas me
This thesis is a survey about the teaching and learning of Manual Works (Handicrafts) with black women in Rio Grande (RS – Brazil) and Capitán Bermúdez (Santa Fe – Argentina). Such survey was elaborated from the following theme: “Non-formalities Pedagogy or Complex plots (re)invented by black women through teaching and learning of manual works (handicrafts) and the seek for emancipation”. There were held meetings in Brazil – city of Rio Grande – with women belonging to the Afro ethnic group that have experience in professions historically destined to women and particularly to black women, being: domestic labour (housekeepers, washers, cooks …), babysitting and hair embellishment linked to hair plaits (corn rolls). Also took part in this investigation, in Argentina – city of Capitán Bermudez, women that, even not expressing the ethnic group which they are part of, demonstrate phenotypically pointers of being descendents from Argentinean Indians, acting in the same professions. At a first sight it may seem wron
38
Kirmizi, Burcu. "Material Characterization Of The Late 12th-13th Century Byzantine Ceramics From Kusadasi Kadikalesi/anaia." Phd thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614094/index.pdf.
Full textAbstract:
This study investigates the petrographical and chemical characteristics of a group of Zeuxippus Ware Related Ceramics dating to the late 12th-13th centuries from Kusadasi Kadikalesi/Anaia. Kadikalesi was a Byzantine fortress at the coast of Aegean Sea. It was also a significant commercial port and an episcopacy center during the 13th century.
In this study, visual classifications of the ceramics were carried out based on their stylistic properties. Then, ceramic samples were investigated by several methods including mineralogical, micromorphological, chemical (SEM-EDX, ICP-OES, ICP-MS) and Raman Spectrometry techniques and further evaluated by statistical analyses. Bodies are found to be rich in SiO2 and Al2O3 while relatively
high amounts of Fe2O3 measured, agree well with their reddish bodies. These
bodies mostly display micaceous matrix with a relatively low degree of
vitrification. Cluster analysis performed among thirty selected samples, points out the presence of two main groups. Observed slip layers are also found to be rich in SiO2 and Al2O3 contents and exhibit various types of crystalline and/or vitreous matrix. Glazes are found to be high lead glazes processed at or below. The glazes are found to be high lead glazes processed at or below 700°C as confirmed by SEM-EDX and Raman spectrometry investigations. Iron compounds are the major coloring agents for most of the glazes analyzed regardless of their observed colors. Presence of Raman peaks in some yellow glazes which may be assigned to a solid solution of Naples yellow type of pigment is significant since its use in the Byzantine period as a glaze pigment has been scarcely reported before.
39
Zahra, Samreen Mrs. "Virsa: The Contemporary Value Chain." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3833.
Full textAbstract:
"Handicraft" means a useful or decorative object made by a craftsman who has direct control over all stages of production. Handicrafts have always had a greater value, an identity of their own that is reflective of their place, culture and materials, as well as a sense of belonging to a particular place and time. With the ever-growing mass production that followed the Industrial Revolution, we lost those crafts to multiple reasons: one being cheaper, industrial-made products reducing the demand for handicrafts, and another being a shift in consumer tastes. Most craftspeople hardly earn enough to survive and fulfill their basic needs, and naturally seek greater economic stability. In hopes of making a better future for their children, they send them to schools to gain knowledge that could help them gain employment and be able to make better livings for themselves and their families, halting the passing of knowledge. Hence, the heritage of skills that had been passed for generations in a family comes to end. This risks the loss of a craft that once was a source of pride and joy for these artisans – and for the larger community
There are a number of efforts going on around the globe to preserve the indigenous crafts of different cultures, and to allow that knowledge to be passed down to new generations. My focus in this paper is a specific object (the charpai) from the Jandi craft, and its preservation through innovation. My work seeks to advance and preserve the skills and traditions of the artisans, while designing a new set of products inspired by the craft that hope to reconnect more artisans to the craft and empower them in terms of knowledge and finance.
40
Anwar, Nasrine. "Artisanat et sociétés en Gaule méridionale à l’âge du Fer (fin du VIIIe s.-fin du IIIe siècle avant notre ère)." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30071.
Full textAbstract:
Ce travail se veut une synthèse sur l'artisanat de Gaule méridionale entre la fin du VIIIe s. et la fin du IIIe s. av. n. è., thématique encore peu abordée dans son ensemble pour cet espace géographique. Il vise à définir les facteurs de la spécialisation des tâches et des individus et à traiter de l'évolution du travail dans les sociétés indigènes. Successivement, seront approchées les activités associées aux arts du feu la métallurgie, la céramique et le verre - et les productions dérivées du travail vivrier les textiles, le cuir et les matières dures animales -. À chaque fois, il s'agira d'identifier les procédés techniques attestés à l'âge du Fer, d'examiner les degrés de technicité associés à chaque activité et de dépeindre l'environnement dans lequel ces opérations se déroulent. Une fois ces considérations posées et à la lumière de cette documentation, les aspects économiques attachés à la production d'objets manufacturés et notamment le rôle de l'artisanat dans le processus de complexification sociale dans lequel les communautés sont alors engagées seront analysés. Enfin, compte tenu de l'importance fondamentale de la composante sociale dans le développement du travail spécialisé, les thèmes liés aux lieux dédiés à la production et à l'apparition des ateliers, au statut et à la place des artisans ou à l'apprentissage seront tour à tour abordés, parfois pour susciter plus de questions que de réponsesThis documentation presents a synthesis concerning the handicrafts of Southern Gaul between the end of the VIIIth and the end of the IIIrd century B.C., a topic that has not been overly dealt with globally with respect to that geographical area. It aims at defining the factors determining the specialization of tasks and individual people as well as discussing the evolution of activities within the indigenous societies. Subsequently the activities associated with the arts of fire will be dealt with, i.e. metallurgy, ceramics and glass as well as the products derived from cottage industry, i.e. textiles, leather and hard materials stemming from animals. There always arises the need of identifying the technical procedures bearing witness to the Iron Age, of examining the degrees of technical achievement associated with each and every activity and of depicting the environment where these operations take place. Once those considerations are established - and in the light of that documentation - we shall analyze the economic aspects underlying the production of hand-made objects and namely the role played by handicrafts in the creation of an ever more complex society made up by the individual communities. Finally, given the fundamental importance of the social component in the development of specialized activities, the topics connected with the actual place of production, with the appearance of workshops, with the status and place of the craftsmen or with the institution of apprenticeship will be alternately dealt with; sometimes giving rise to more questions than answers
41
Patchett, Merle Marshall. "Putting animals on display : geographies of taxidermy practice." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2348/.
Full textAbstract:
Taxidermy specimens and displays have become increasingly liminal features in contemporary society. Viewed variously as historical curios, obsolete relics or more malignantly as ‘monstrosities’, they can be a source of discomfort for many. Taxidermy objects have become uncomfortable reminders of past scientific and colonial practices which have sought to capture, order and control animated life and as such have become increasingly problematic items for their owners. As a result many taxidermy displays have been dismantled and mounts relegated to ‘backstores’ to gather dust. The paradox is that taxidermy as a practice is a quest for ‘liveness’, to impute life back into the dead. Much like the taxidermist, my goal in this thesis is to revive and restore: to renew interest in and reassert the value of taxidermy collections by recovering what I shall term as the ‘biogeographies’ of their making and continued maintenance. Considerable academic attention has been paid to the ‘finished’ form and display of taxidermy specimens inside cabinets, behind glass – in other words, to their representation. By way of contrast, this thesis recovers the relationships, practices and geographies that brought specimens to their state of enclosure, inertness and seeming fixity. These efforts are aligned with work in cultural geography seeking to counteract ‘deadening effects’ in an active world through a prioritisation of practice (Dewsbury and Thrift 2000), and elsewhere draw on research arguments and approaches originating in historical geography, and the history of science. The thesis firstly investigates historical developments in the scientific and craft practice of taxidermy through the close study of period manuals, combined with ethnographic observations of a practicing taxidermist. Critical attention to practice then facilitates the recovery of the lifeworlds of past taxidermy workshops and the globally sited biogeographies behind the making of individual specimens and collections. The thesis required the purposeful assemblage and rehabilitation of diffuse zoological and historical remains to form unconventional archives, enabling a series of critical reflections on the scientific, creative and political potentials of taxidermy.
42
BARROS, LUIZ ANTONIO DOS SANTOS. "DESIGN AND HANDICRAFT: THE POSSIBLE CHANGES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9596@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEssa pesquisa parte da premissa de que não é cabível questionar de se o designer deve ou não atuar junto ao segmento artesanal, mas sim, como deve se dar essa ação. A crescente participação do designer junto à cadeia produtiva do artesanato estabelece a presença deste profissional neste segmento e, configura um crescente campo para a atuação conjunta de designers e artesãos. Essa parceria busca através da comercialização dos produtos artesanais, a autosuficiência dos artesãos e das comunidades artesanais em nosso país. Nesta pesquisa é apontada a intermediação e a participação de designers no decorrer da trajetória de reconhecimento do artesanato na sociedade brasileira. O estudo apresenta as categorias artesanais, e suas particularidades, definindo parâmetros para a atuação dos designers neste segmento. A pesquisa apresenta diretrizes básicas para a atuação do designer, a partir do respeito e valorização das referências culturais de artesãos e comunidades. E determina que a atuação conjunta de designers e artesãos deve dispor como objetivo comum, agregar valor comercial aos produtos artesanais, otimizando seus processos de produção, comercialização, divulgação e manutenção, visando a auto-sustentabilidade do segmento artesanal.
This research departs from the assumption that is not appropriate to argue if the designer must or not to act attached to the handicraft segment but, indeed, how his action must take place. The increasing partnership of the designer attached to the productive chain of the handicraft establishes the presence of this professional in this segment and shapes a crescent field towards the joined operation of designers and craftsmen. This partnership aims, though the commercialization of the handicraft products, the self- sufficiency of the craftsmen and the handicraft communities in our country. In this research is pointed out the intermediation and the participation of designers in the process of recognition of the handicraft in the Brazilian society. The study presents the handicraft categories and their particularities, defining parameters for the performance of the designers in this segment. The research proposes basic directives for the performance of the designer, beginning with the respect and valorization of cultural references of craftsmen and communities. And, the research establishes that the joint performance of designers and craftsmen must envisage, as common objective, to aggregate commercial value to the handicraft products, maximizing their processes of production, commercialization, divulgation and maintenance, aiming to the self-sustaining handicraft segment.
43
Sousa, Marília de Jesus da Silva e. "Saberes e modos de fazer objetos artesanais na reserva de desenvolvimento sustentável Amanã: um estudo da cultura material ribeirinha." Universidade Federal do Amazonas, 2011. http://tede.ufam.edu.br/handle/tede/3945.
Full textAbstract:
Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-05-27T13:15:27Z
No. of bitstreams: 1
Dissertação - Marilia de Jesus da Silva e Sousa.pdf: 18208991 bytes, checksum: d927df00f7396301fd1866d47e20f8f6 (MD5)Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-05-27T17:51:58Z (GMT) No. of bitstreams: 1 Dissertação - Marilia de Jesus da Silva e Sousa.pdf: 18208991 bytes, checksum: d927df00f7396301fd1866d47e20f8f6 (MD5)
Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-05-27T17:54:11Z (GMT) No. of bitstreams: 1 Dissertação - Marilia de Jesus da Silva e Sousa.pdf: 18208991 bytes, checksum: d927df00f7396301fd1866d47e20f8f6 (MD5)
Made available in DSpace on 2015-05-27T17:54:11Z (GMT). No. of bitstreams: 1 Dissertação - Marilia de Jesus da Silva e Sousa.pdf: 18208991 bytes, checksum: d927df00f7396301fd1866d47e20f8f6 (MD5) Previous issue date: 2011-02-22
Outras
This work discusses the social context of the production of handicrafts in three riverine localities: Belo Monte, São José do Urini and Sítio Cachimbo, all of them, located in the Amanã Sustainable Development Reserve, Middle Solimões River, Amazonas State. In these three places, a set of traditional handicrafts is produced, such as different kinds of baskets (paneiros and balaios), sieves, fans, brooms, paddles, pottery and others. An ethnographic study was carried out, which identified the set of objects produced and used locally, the craftsmen engaged in this activity, the raw material used, the production strategies, the commercial arrangements and the context of teaching and learning this knowledge. Among the communities studied, handicrafts are destined to domestic use and comfort, agricultural, fisheries and extractive activities, and sold in close communities, as well as the municipalities of Tefé and Alvarães. In this context, paneiros, sieves, paddles and canoes have differentiated status among the set of objects identified. This is explained by the importance that theseobjects have on everyday riverine life and their incursion in the sphere of sales and exchanges, that gives them a wider exchange value within the local economy. By selling these objects, families can ensure an important source of income in the local domestic economy, since, depending on the period of the year, such income may represent the main source of livelihood. Furthermore, the production and commercialization of handicrafts involves a net of social relations, where in addition to objects, a set of practices and knowledge circulates. These practices and knowledge are marked by a manual tradition, transmitted through generations by the social relations of kinship. Therefore, the recognition of this knowledge not only enables the promotion and the strengthening of this cultural expression within these communities, but also the diffusion of this practice in the region.
O presente trabalho analisa o contexto social da produção de objetos artesanais em três localidades ribeirinhas: Belo Monte, São José do Urini e Sítio Cachimbo, todas situadas na Reserva de Desenvolvimento Sustentável Amanã, região do Médio Solimões, Estado do Amazonas. Nestes três lugares um conjunto de objetos artesanais (paneiro, peneira, abano, balaio, vassoura, remo, canoas, louças de barro entre outros) é produzido tradicionalmente. O estudo etnográfico identifica o conjunto de objetos produzidos e utilizados, os artesãos envolvidos nesta atividade, as matérias-primas empregadas, as estratégias produtivas, os arranjos comerciais e o contexto de ensino e aprendizagem deste saber. Assim, entre as comunidades estudadas, percebe-se que os objetos são destinados para uso e conforto doméstico, atividades agrícolas, extrativistas e pesqueiras e são comercializados em comunidades próximas e nos municípios de Tefé e Alvarães. Neste contexto, os paneiros, as peneiras, os remos e as canoas assumem status diferenciado no conjunto de objetos identificados, pois, a importância que estes possuem no uso cotidiano ribeirinho e a sua entrada no circuito de trocas e vendas, confere-lhes um valor de uso e de troca mais amplo no contexto econômico local. Com a venda desses objetos, as famílias produtoras conseguem assegurar uma fonte de renda importante na economia doméstica local já que, dependendo da época do ano, esta renda pode significar a sua principal fonte de sustento. Ademais, a produção e comercialização dos objetos artesanais envolvem uma rede de relações sociais, por meio da qual circula, além dos objetos, um conjunto de práticas e saberes de fazer objetos artesanais. Estas práticas e saberes carregam a marca de um fazer manual que está sendo repassado geracionalmente por meio das relações sociais de parentesco. Portanto, o reconhecimento destes saberes possibilita não só a promoção e o fortalecimento desta expressão cultural dentro das próprias comunidades produtoras como a difusão local desta prática.
44
Paredes, Marticorena Paola Sofia, and Balladilla Nikol Denís Quispe. "Influencia de la Asociatividad Empresarial como Estrategia de Exportación de las MYPES del Sector Artesanía de la Región Ayacucho - Perú Periodo 2014 - 2018." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652463.
Full textAbstract:
El presente trabajo de investigación busca analizar la Influencia de la Asociatividad Empresarial como Estrategia de Exportación de las micro y pequeñas empresas (MYPES) del Sector Artesanía de la Región Ayacucho - Perú periodo 2014 - 2018.
Se ha realizado una revisión bibliográfica sobre los antecedentes nacionales e internacionales, el marco conceptual y las teorías que existen acerca de la Exportación del Sector Artesanía para tener una visión global y específica sobre su relación con la Asociatividad Empresarial. Para ello, se describe la situación actual del sector, las tendencias de las exportaciones, los síntomas y causas del problema planteado. Además, se plantean los objetivos e hipótesis en base a la investigación previa. La metodología utilizada para efectos de la investigación se basa en un enfoque mixto, no experimental, descriptivo y correlacional que pretende analizar aspectos específicos de las variables: Formalidad, Acceso al Financiamiento y Capacitación.
La información fue obtenida mediante entrevistas semiestructuradas a expertos en la materia y cuestionarios a las Asociaciones de la Región Ayacucho. Los resultados de esta recolección de información primaria fueron analizados mediante el software Atlas Ti versión 7.5. y el programa estadístico SPSS, respectivamente. Con ello, se espera generar un espacio de discusión académica y de soporte para futuros trabajos de investigación que tengan como enfoque de estudio a la Asociatividad Empresarial.This research work seeks to analyze the influence of Business Associativity as an Export Strategy of the micro and small enterprises (MSEs) of the Handicrafts Sector of the Ayacucho - Peru Region period 2014-2018. A bibliographic review has been carried out on the national and international background and the theories that exist regarding the Export of the Handicrafts Sector in order to have a global and specific vision related to the Business Associativity. The current situation of the sector, the export trends, the symptoms and causes of the problem posed are described. Also, objectives and hypotheses are proposed based on previous research. The methodology used is detailed, for the purposes of the investigation, a mixed, non-experimental, descriptive and correlational approach is used, which aims to analyze specific aspects of the variables: Formality, Access to Financing and Training. The information was obtained through semi-structured interviews to experts in the field and questionnaires to related Associations of the Ayacucho Region. The results of this collection of primary information were analyzed using: Atlas Ti version 7.5 software. and the SPSS statistical program, respectively. With all this, it is hoped to generate a space for academic discussion and support for future research works that have the Business Associativity as a study focus.
Tesis
45
Hutchinson, Kelly Anne, and kellyhutchinson@gmail com. "Mapping the dynamics of social enterprise and ICTs in Cambodia: a study of perception, use and benefit of ICT in development of the social enterprise space." RMIT University. Business Information Technology, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.144134.
Full textAbstract:
As Information and Communication Technology (ICT) and social enterprises become drivers of economic growth, the nexus provides opportunities for new models of business to bring benefits to communities in developing countries. Recognising the complex dynamics and range of actors in this diverse and emerging sector, this study chooses to document the external influences, use and impact of ICT on social enterprises. The problem investigated is the potential gap between the rhetoric of the 'promise of e-business' versus the dynamics of enactment and impacts of ICT in practice in the social enterprise sector. The methodology consists of a mixed-method data collection strategy to triangulate data sources from a diverse cross-section of organisations in the social enterprise sector in Cambodia. These include a cross-sectional survey, interviews, observations, document analysis and review of artefacts. It is unclear whether the Cambodian social enterprise sector represents a unique case or is representative of other countries. Regardless, the rich dynamics of the sector and the current lack of understanding of ICT use by this sector in developing countries per se warrant such a study. It fills a significant gap in the field of ICT and development by providing an in-depth overview of the social enterprise sector in one developing country, which may also be applicable in other developing country contexts. The research maps the e-business status of Cambodian social enterprises along a continuum from precursor activity to fully integrated e-services. It finds that Cambodian social enterprises believe ICT adds value to their operation; however access to affordable and reliable local ICT resources is an important factor determining long-term uptake. It also shows that external support is seen as vital to the success of ICT uptake by social enterprises in Cambodia. Donors have the most significant influence on social enterprises' framing of ICT, whilst NGOs, associations and the private sector are also important institutional players in shaping understanding and uptake of ICT. The main contribution of the research is to identify the real development impact of ICT use by social enterprises by measuring the role of ICTs in achieving their goals. Its major finding is that social and business missions are inextricably linked within these organisations, so to measure one in isolation of the other denies the new paradigm that social enterprises present. The most active sub-sector explored that best reflects this unique value proposition is the emerging social outsourcing potential of the IT services sub-sector. The handicraft and processing sub-sectors have yet to fully engage and use ICT to their maximum benefit. The outlook for these sub-sectors is likely to require further support to best harness the potential that ICT can bring developing countries.
46
Arriola, Oliveros Byron Samir, Valencia Viviana Abigail Flores, Rondon Tracy Palomino, de la Cruz Kory Maryori Ramirez, and Salas Camila de Fátima Soto. "Plan de emprendimiento en base a venta de artesanías mediante una plataforma digital: cultural legacy." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655153.
Full textAbstract:
El presente trabajo de emprendimiento está elaborado con el propósito de solucionar una problemática, la cual es el mercado de las Artesanías peruanas, siendo este uno de los rubros que se ha visto afectado por la emergencia sanitaria vivida en el Perú y el mundo a causa del Covid -19.
Cultural Legacy es una plataforma virtual que busca poder conectar a los maestros artesanos con compradores que realmente valoran su trabajo, dedicación, detalle y sobretodo la cultura que posee cada pieza y está dirigida a los sectores A y B de Lima Metropolitana.
El propósito principal de este emprendimiento es lograr ayudar a reactivar el sector de las artesanías y a difundir la importancia y riqueza de la cultura peruana, ya que después de la pandemia vivida hay brechas económicas y culturales de las que será difícil recuperarse y más aún cuando muchos de los artesanos no saben cómo aprovechar los recursos tecnológicos para extender sus canales de venta a varias partes del país.
Para validar este modelo de negocio, se han realizado diversas entrevistas y encuestas con usuarios y expertos del mercado de artesanías los cuales se contacto vía redes sociales y correos.
Para lograr el principal objetivo del emprendimiento se ha elaborado un extenso análisis, a partir del cual se han formulado planes estratégicos que abarquen temas importantes de marketing, operaciones, recursos humanos, responsabilidad social y financiamiento para poder evaluar la empresa y el desarrollo óptimo del proyecto.The present work of entrepreneurship is elaborated with the purpose of solving a problem, which is the market of Peruvian handicrafts, being this one of the items that has been affected by the sanitary emergency experienced in Peru and the world because of the Covid -19. Cultural Legacy is a virtual platform that seeks to connect master craftsmen with buyers who really value their work, dedication, detail and above all culture that each piece has and is aimed at sectors A and B of metropolitan Lima. The main purpose of this venture is to help reactivate the handicrafts sector and to spread the importance and richness of our culture. After the pandemic there are economic and cultural gaps from which it will be difficult to recover and even more so when many of the artisans do not know how to take advantage of technological resources to extend their sales channels to various parts of the country. To validate the business model, it has been conducted several interviews and surveys with users and experts in the handicrafts market, which we contacted via Facebook, email and video calls. To achieve the main objective, it has been made an extensive analysis from which it has formulated strategic plans covering important issues of marketing, operations, human resources, social responsibility and financing to assess the company and the optimal development of the project.
Trabajo de investigación
47
RYBALOWSKI, TATIANA MESSER. "DIFFERENTIATED FASHION PRODUCT MANAGEMENT: HANDICRAFT MEETS APPAREL INDUSTRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13059@1.
Full textAbstract:
Dentre as diferentes formas que a moda tem para se manifestar, uma das mais
expressivas é a indústria de vestuário. A despeito de sua essência mutável que
busca constantemente a novidade, o produto de moda não tem conseguido ser
diferente a ponto de revelar sua identidade através de seus atributos físicos. A
partir da percepção de certa homogeneização do produto de moda, este trabalho
busca trazer subsídios ao desenvolvimento de produtos diferenciados de moda
através da criação de atributos físicos que reforcem a identidade do produto.
Dentre vários recursos que podem ser utilizados, podem-se destacar os processos
que inserem o artesanal na confecção industrial, resultando em peças únicas e
construindo um contraponto ao excesso de industrialização, impessoalidade e
repetição de modelos produzidos em escala unicamente industrial. Como uma
ferramenta estratégica para a manutenção da competitividade através da
diferenciação, a Gestão de Design utiliza as competências, conhecimentos e
experiências da empresa a fim de possibilitar a contínua reinvenção de produtos e
processos que coloquem a empresa numa posição de destaque no mercado.Apparel is one of fashion`s most expressive resources, and yet, in spite of its ever changing nature, the fashion product has not managed to achieve differentiation in a way that makes its physical attributes reveal its identity. Departing from a perception of a growing homogenization of fashion products, this study brings some insights for the development of differentiated fashion products through the use of physical attributes that reinforce a product`s identity. Among the several strategies to achieve this aim, we may emphasize the processes that promote the merging of handicraft production and apparel industry, thus yielding unique items and disrupting the pattern of excessively industrialized, repetitive and impersonal products. As a strategic tool to maintain competitive advantage through differentiation, Design Management exploits a company`s competence, knowledge and experience to continuously reinvent products and processes to achieve competitive positioning.
48
Basnet, Sandhya. "Women in handicraft production of Kathmandu city in Nepal." Thesis, University of North Bengal, 2001. http://hdl.handle.net/123456789/231.
Full text
49
SILVA, Ronaldo Cardoso da. "A arte ind?gena como instrumento para o ensino da geometria." Universidade Federal Rural do Rio de Janeiro, 2016. https://tede.ufrrj.br/jspui/handle/jspui/2146.
Full textAbstract:
Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-10-31T17:31:14Z
No. of bitstreams: 1
2016 - Ronaldo Cardoso da SIlva.pdf: 2484740 bytes, checksum: 83d6d2139c83ab0a39203dd4e6c84dfd (MD5)Made available in DSpace on 2017-10-31T17:31:14Z (GMT). No. of bitstreams: 1 2016 - Ronaldo Cardoso da SIlva.pdf: 2484740 bytes, checksum: 83d6d2139c83ab0a39203dd4e6c84dfd (MD5) Previous issue date: 2016-10-17
This dissertation portrays a research carried out with students of the Integrated Technical Course on Agropecu?ria PRO-EJA Indigenous of the Federal Institute of Amazonas - IFAM, in the Municipality of Tabatinga, located in the western part of the state of Amazonas. It has, among others, the purpose of proposing didactic strategies for the teaching and learning processes of Geometry, based on the relation of the contents of geometry with geometric patterns observed in the confection processes and handicrafts of the Ticuna indigenous peoples of the Umaria?? Indigenous Community, as well as suggest some pedagogical activities to be worked using these elements. The methodology of this work consists in the application of a questionnaire to evaluate the level of understanding and the importance of geometry for the students and for the course, in detailed observations of the student?s presentation during the seminars where the students presented results of their researches. The realization of craft workshops aiming to establish a relationship between the geometric patterns studied and those found in this process, and their possible application in problems of their daily life. During the seminars and in the confection activities it was noticed that the handicrafts facilitated the understanding of the basic contents of geometry because they are part of the socio-cultural context of the student. The satisfaction and motivation for the recognition of their culture were evidenced in the evaluation. In this way, it can be said that indigenous handicrafts can facilitate the teaching and learning processes of geometry for these students. This work also intends to make a modest contribution to the mathematics teachers of the indigenous schools with some suggestions of activities that can be developed by the students of the community with the intention of making the learning more meaningful and pleasant for the students and also to strengthen the traditional culture of the Ticunas
Esta disserta??o retrata uma pesquisa realizada com alunos do Curso T?cnico Integrado em Agropecu?ria PRO-EJA Ind?gena do Instituto Federal do Amazonas ? IFAM, situado no Munic?pio de Tabatinga, localizado no oeste do estado do Amazonas. Tem, entre outras, a finalidade de propor estrat?gias did?ticas para os processos de ensino e aprendizagem da Geometria, baseada na rela??o dos conte?dos de geometria com padr?es geom?tricos observados nos processos de confec??o e nos artesanatos dos povos ind?genas da etnia Ticuna da Comunidade ind?gena Umaria??, bem como sugerir algumas atividades pedag?gicas para serem trabalhadas utilizando esses elementos. A metodologia deste trabalho consiste na aplica??o de um question?rio para avaliar o n?vel de entendimento e a import?ncia da geometria para os alunos e para o curso, em observa??es detalhadas da apresenta??o dos alunos durante os semin?rios onde os discentes apresentaram resultados de suas pesquisas. A realiza??o de oficinas de confec??o de artesanatos visando estabelecer rela??o entre os padr?es geom?tricos estudados com os encontrados nesse processo, e sua poss?vel aplica??o em problemas do seu cotidiano. Durante os semin?rios e nas atividades de confec??o percebeu-se que os artesanatos facilitaram o entendimento dos conte?dos b?sicos de geometria por fazerem parte do contexto sociocultural do discente. A satisfa??o e motiva??o pelo reconhecimento de sua cultura foram evidenciados na avalia??o. Desta forma, pode-se afirmar que os artesanatos ind?genas, podem facilitar os processos de ensino e aprendizagem da geometria para estes discentes. Este trabalho pretende ainda dar uma modesta contribui??o aos docentes de matem?tica das escolas ind?genas com algumas sugest?es de atividades que podem ser desenvolvidas pelos alunos da comunidade com o intuito de tornar a aprendizagem mais significativa e prazerosa para os discentes e tamb?m fortalecer a cultura tradicional dos Ticunas.
50
Rankin, Carin. "Development by design - an example in the South African craft industry the Due-South travel guide /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10082008-094907.
Full text