The Aran jumper: Crafting a Transatlantic Heritage

The garment we now recognise as the Aran jumper emerged as an international symbol of Ireland from the twin twentieth century transatlantic flows of migration and tourism. Its power as a heritage object derives from: 1) the myth commonly associated with the object, in which the corpse of a drowned fisherman is identified and claimed by his family due to the stitch patterns of his jumper (Pádraig Ó Síochain 1962; Annette Lynch and Mitchell Strauss 2014); 2) the meanings attached to those stitch patterns, which have been read, for example, as genealogical records, representations of the natural landscape and references to Christian and pre-Christian ‘Celtic’ religion (Heinz Kiewe 1967; Catherine Nash 1996); and 3) booming popular interest in textile heritage on both sides of the Atlantic, fed by the reframing of domestic crafts such as knitting as privileged leisure pursuits (Rachel Maines 2009; Jo Turney 2009). The myth of the drowned fisherman plays into transatlantic migration narratives of loss and reclamation, promising a shared heritage that needs only to be decoded. The idea of the garment’s surface acting as text (or map) situates it within a preliterate idyll of romantic primitivism, while obscuring the circumstances of its manufacture. The contemporary resurgence in home textile production as recreation, mediated through transnational online networks, creates new markets for heritage textile products while attracting critical attention to the processes through which such objects, and mythologies, are produced. The Aran jumper’s associations with kinship, domesticity and national character make it a powerful tool in the promotion of ancestral (or genealogical) tourism, through marketing efforts such as The Gathering 2013. Nash’s (2010; 2014) work demonstrates the potential for such touristic encounters to disrupt and enrich public conceptions of heritage, belonging and relatedness. While the Aran jumper has been used to commodify a simplistic sense of mutuality between Ireland and north America, it carries complex transatlantic messages in both directions.

A cultura cerâmica no design da joalharia portuguesa

Este trabalho de investigação tem como objectivo contribuir para o aprofundamento de estudos vocacionados para o desenvolvimento de novos produtos, suportado pelo encontro entre duas Culturas do Fazer, a cerâmica e a joalharia, e orientado pela Cultura do Projecto, o design. A análise e a ponderação acerca dos pontos em comum entre estas duas culturas materiais, em particular no contexto português, são a base para a definição e a aplicação de um novo concept de produto, mediado por uma metodologia projectual e sustentado nas noções de Modularidade, de Arquétipo, de Tipologia, de Valor Semântico, de Valor Simbólico, de Sistema de Produto e de Design Estratégico. Esta dissertação desenvolve-se ao longo de duas partes, após uma introdução em que se define o objecto de estudo e a metodologia da investigação. A primeira parte tem quatro capítulos. O primeiro capítulo trata do enquadramento teórico da Cultura Cerâmica a partir de uma análise históricotipologica (desde a cultura mesopotâmica até ao século XXI) orientando-se para o contexto português: os lugares de produção cerâmica e o azulejo como portador de cultura. O segundo capítulo, centrando-se em Portugal como lugar de investigação, estuda a Joalharia num âmbito experimental, analisando o valor simbólico da jóia. No terceiro capítulo interpreta-se o design entre tradição e inovação, nomeadamente a sua importância como veiculador cultural, o seu relacionamento com o artesanato e a relevância do laboratório como lugar de experimentação. O quarto capítulo analisa a acção do cruzamento entre os dois sectores – cerâmica e joalharia – na definição da cultura material, na Europa e em Portugal. Clarifica-se também o conceito de Sistema de Produto quando aplicado, como projecto piloto, à Joalharia, servindo-se de estudos de caso como mediadores experimentais. A segunda parte tem três capítulos. No primeiro capítulo analisam-se e averiguam-se tipologias de jóias existentes, assim como algumas provas laboratoriais que permitem o entendimento da tecnologia cerâmica no desenvolvimento de um projecto de Joalharia. Possibilita-se, deste modo, o surgimento dos primeiros estudos tipológico-formais determinantes para a definição da tipologia de projecto jóia-azulejo. No segundo capítulo define-se uma estratégia metodológica para aplicar a um produto de jóia cerâmica, analisando a particular importância do factor emocional na tomada de decisão do cliente. O terceiro capítulo defende um projecto experimental, como momento de verificação, aplicação e materialização do estudo desenvolvido nesta dissertação, proporcionando uma ocasião projectual para avaliar as potencialidades de um produto futuro, orientado pelo design, fruto do cruzamento entre a Cultura Cerâmica e a Joalharia em Portugal.

201186

How is it possible that civilization has a global understanding of the abstraction of the human form? At a subconscious level as humans we have the ability to find the form of the body in the most minimal of shapes, objects, landscape and even natural phenomena such as clouds, it is an ability inherent in human nature. This deep-rooted facility to recognise the human form at various levels of abstraction is also developed further by our life experiences, environment and total education; specifically in the fine and applied arts. For this research I have focused on the change between realistic representations of the human form to complete abstraction. I have broken it down to its most basic elements to explore at what point our visual language allows us to recognise and define a shape or object as being influenced by, or connected to, the human form. I have concentrated on extending my own visual language relating to the human form within my own practice. A series of practical research projects has been undertaken and has been supported by a new series of investigative works, drawings and written evidence of the ways in which the figure can be represented, documenting the process via the thesis and final works. As part of my research, I have investigated the way artists working with clay have abstracted the human form focusing in particular on work from the 1950s to the present day using clay, drawing and installation. I have looked at how, over this period, artists have developed their own visual signifiers of the human form within their abstract/representational creations. The aim of this research will be falls into two parts: • To investigate how far one can push the human form in clay before it moves into abstraction • To locate the vanishing point where viewers still identify the human within ceramic abstract sculpture

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

New synthetic methodologies for the transformation of biomass derived intermediates to valuable molecules

Tese de doutoramento, Farmácia (Química Farmacêutica e Terapêutica), Universidade de Lisboa, Faculdade de Farmácia, 2014

O tempo das reformas : o papel da companhia de Jesus no enfrentamento com ideais protestantes na Europa do Sul : uma proposta pedagógica

Relatório da prática de ensino supervisionada, Mestrado em Ensino da História e da Geografia no 3º Ciclo do Ensino Básico e no Ensino Secundário, Universidade de Lisboa, 2014

Criação de uma plataforma e-commerce para a página de Facebook Handmade, nós apoiamos

Trabalho de projeto apresentado à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Publicidade e Marketing.

A Teia de Penélope : encontros e desencontros entre a arte e o artesanato na Época Contemporânea

Partindo da consciência de que o artesanato se encontra num momento de considerável vigor, apesar da aparente supremacia tecnológica, bem como de que a percepção em relação ao artesanato foi sofrendo variações ao longo do tempo, a presente dissertação pretende averiguar o estatuto e o significado do artesanato, no âmbito da prática artística contemporânea. Com o intuito de analisar alguns dos possíveis desdobramentos desta reflexão, o presente estudo divide-se em três capítulos. Após um preâmbulo, que consiste numa breve história dos ofícios com início na Antiguidade Clássica, desembocando na ruptura entre a beleza e a utilidade que surgiu no século XVIII, o primeiro capítulo constitui uma análise das disputas e diálogos entre a arte popular, as belas-artes a indústria, assumindo um balizamento cronológico que se estende desde a Revolução Industrial e do movimento Arts and Crafts de Oitocentos até à era digital que emergiu na década de 1980. O segundo capítulo dedica-se a interrogar o entrelaçamento da actividade artesanal na dicotomia entre a cultura de elite e a cultura de massas, a partir da sua formulação no século XIX e terminando na actualidade. Neste percurso, sobressai a identificação da cultura popular com o feminino e, consequentemente, com a decoração, no contexto do Modernismo, a qual foi alvo de revisão e de crítica no seio do Pós- Modernismo, assim como do feminismo dos anos 1970 e 1980. Procura-se ainda indagar de que maneira o “artesanativismo” feminista inspirou a actual revigoração da aliança entre o artesanato e o activismo. Finalmente, no terceiro e último capítulo, o nosso estudo centra-se na obra de quatro artistas-artesãos contemporâneos, em que os temas anteriormente desenvolvidos são tratados de forma sistemática. Serão problematizadas criações tão díspares e geograficamente distantes quanto as da portuguesa Cristina Rodrigues e do ganiano El Anatsui, da norte-americana Anne Wilson e da austríaca Kathrin Stumreich.

FT-IR and MAS NMR analysis of montmorillonite K10 supported MF2 reagents and their activity as catalysis /

ZnF2, CdF2, and CUF2 have been adsorbed onto the surface of montmorillonite K10, and the infrared and 19F, 27 AI, and 29Si MAS NMR spectra of the reagents over a range of loadings have been obtained. CUF2 was observed to attack the Si02 layer and form the complex CuSiF6, Zn F2 tends to attack the aluminium oxide layer, in which Zn isomorphously replaces AI, and forms AIF3 and AIF4 - complexes. All the spectroscopic evidence ruled out the formation of any AI-F and/or Si-F free species as CdF2 is adsorbed on the surface of montmorillonite K10. The reactivity of MF2-K10 reagents towards Friedel-Crafts benzylation of benzene with benzyl chloride varied from one reagent to another. ZnF2-K10 was observed to be the most reactive and CUF2 was the least reactive.

The suppression of the Haller-Bauer scission for synthetic purposes /|nby S. M. Vines. -- 260 St. Catharines, Ont. : [s. n.],

A number of 2-chlorobenzophenones, containing electron releasing groups (e.g. hydroxy, thiomethoxy and methoxy) in the 4' - position, were prepared by the Friess rearrangement, or the Friedel-Crafts reaction. These ketones, when treated with potassamide in liquid ammonia, underwent partial Haller-Bauer scission, unlike 2-chlorobenzophenone which is known to undergo complete scission. Under similar conditions 4-nitrobenzophenone also underwent partial scission, but the main reaction in this case was nucleophilic amination of the nitro containing ring. This amination reaction was shown not to be a useful general reaction for aromatic nitro compounds. 3-Methylxanthone was then prepared by treatment of 2- and 3- chloro-2'-hydroxy-5'-methylbenzophenone with . little, if any, attendant scission. The corresponding 2fluoro- compound also gave the xanthone, but as the 3-fluoro compound did not, it was concluded that the 2-fluoro compound reacted through a nucleophilic substitution mechanism, rather than the benzyne mechanism invoked for the chloro and bromo compounds. 3-Methylthioxanthone was synthesised by treatment of methyl 4-tolyl sulphide and 2-chlorobenzoyl chloride with aluminum chloride in carbon disu1phide, followed.by heating. This compound was also prepared by treatment of 3-chloro-2'thiomethoxy- 5'-methylbenzophenone with potassamide in liquid ammonia.

Chemoenzymatic Total Synthesis of Morphine alkaloids: Synthesis of Dihydrocodeine and Hydrocodone via a Double Claisen Strategy and ent-Hydromorphone via an Oxidative Dearomatization/intramolecular [4+2] Cycloaddition

This thesis describes the chemoenzymatic synthesis of three morphine alkaloids. The total synthesis of dihydrocodeine and hydrocodone was accomplished starting from bromobenzene in 16 and 17 steps, respectively. The key steps included a microbial oxidation of bromobenzene by E. coli JM109 (pDTG601A), a Kazmaier-Claisen rearrangement of glycinate ester to generate C-9 and C-14 stereo centers, a Johnson-Claisen rearrangement to set the C-13 quaternary center, and a C-10/C-11 ring closure via a Friedel-Crafts reaction. In addition, the total synthesis of ent-hydromorphone starting from β-bromoethylbenzene in 12 steps is also described. The key reactions included the enzymatic dihydroxylation of β-bromoethylbenzene to the corresponding cis-cyclohexadienediol, a Mitsunobu reaction, and an oxidative dearomatization followed by an intramolecular [4+2] cycloaddition.

Craftsmanship as a means of empowerment for the traditional population of Guaraqueçaba : a case study

Cette recherche consiste en une étude de cas sur un groupe d’artisans qui a réussi à transformer sa production artisanale en importante source de revenus. Ces artisans, de culture caiçara, ont formé une coopérative dans la municipalité de Guaraqueçaba, dans l’État du Paraná au Brésil. Caiçara est le nom de la population traditionnelle métisse qui habite dans les zones côtières du Sud et Sud-est du Brésil. La région de Guaraqueçaba abrite des écosystèmes de biodiversité extrêmement riche et précieuse, dont la conservation est une priorité à l’échelle mondiale. Afin de réguler l’utilisation des ressources naturelles de ces écosystèmes, une aire protégée a été créée en 1985. Par la suite, de sévères restrictions entourant les moyens de subsistance ont été imposées aux communautés caiçaras, ayant comme conséquences leur appauvrissement, la discontinuation de leur mode de vie et des dommages à leur culture. Cette étude de cas s’est penchée sur une population traditionnelle luttant pour améliorer ses conditions de vie par le biais du design, activité par laquelle nous créons de la culture matérielle. L’objectif de cette recherche est de comprendre comment la création d’artisanat destiné à la vente peut être un vecteur d’autonomisation et de valorisation de la culture locale. L’approche de la collecte des données sur le terrain, inspiré de l’ethnographie, a utilisé les méthodes suivant : des entrevues (non structurées et semi-dirigées), des observations (participantes et non participantes) et des photos. Ayant un caractère exploratoire, l’étude a exploré des questions liées à l’autonomisation et la culture avec le but d’encourager et de préparer le terrain pour des recherches futures.

Étude mécanistique de réarrangement de Stevens à partir de substrats de type azocine ou isopavine

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Studies on Catalysis by Vanadia Supported On Metal Oxides

Catalysis is an essential technology in manufacturing industries. The investigation based on supported vanadia catalysts and it’s sulfated analogues. Vanadia is a transition metal oxide and is used in oxidation reactions in chemical industry. It is more active and selective catalysts on suitable supports. The work deals with preparation of vanadia incorporated tin oxide and zirconia systems by wet impregnation. Physico-chemical characterization using instrumental techniques like BET etc. The surface acidic properties were determined by the ammonia TPD studies, Perylene absorption studies and Cumene conversion reaction. The catalytic activities of the prepared systems are tested by Friedel-Crafts benzylation of arenes and Bechmann rearrangement of Cyclohexanol oxime. Here the rector reactions are relatively rare. So to test the application of the catalyst systems for the selective oxidation of cyclohexanol to cyclohexanone and finally evaluate the catalytic activity of the systems for the vapour phase oxidative dehydrogenation of Ethylbenzene, which leads to the formation of Industrially important compound ‘styrene’ is another objective of this work

Studies on rubber bound antioxidants

Antioxidants were attached to hydroxy-terminated liquid natural rubber by modified Friedel-Crafts alkylation reaction using anhydrous zinc chloride as catalyst. The rubber bound antioxidants were found to be less volatile and less extractable compared to conventional antioxidants. The bound antioxidants were tried both in latex compounds and dry rubber compounds. The vulcanizates showed improved ageing resistance compared to vulcanizates based on conventional antioxidants.