Bonecas Karajá: modelando inovações, transmitindo tradições

• Ano de defesa: 2007
• Autor(a) principal: Campos, Sandra Maria Christiani de La Torre Lacerda
• Orientador(a): Passetti, Dorothea Voegeli
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Ciências Sociais
• Departamento: Ciências Sociais
• País: BR
• Palavras-chave em Português: Bonecas cerâmicas; Antropologia; Cultura de origem; Referências simbólicas; Arte; Bonecas; Ceramica brasileira; Indios da America do Sul > Brasil > Ceramicas; Indios Karaja
• Palavras-chave em Inglês: Ceramic dolls; Anthropology; Origin culture; Symbolic references; Art
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS
• Link de acesso: https://tede2.pucsp.br/handle/handle/3835

From the collections of stored ceramic dolls in museum, in this work are analysed the connections between art and society. The systematics of classification and organization of collections in ethnographic museums is reducing that category of figurative art to a toy of girl , while for the Anthropology, the object assumes the role of a proof of social practices as a product of its origin culture. The examination of Karajá dolls collections at the Museum of Archaeology and Ethnology of São Paulo University, the dialogue with the producing society where the object circulates among several spheres of the cultural life, and the incorporation of conceptual bases of an anthropology of objects, has as focus the symbolic references of the social divisions and the knowledges and making transmissions about the relation between art and social life. There is an analysis on the corporeal painting and the ornamental standards of the figures, believing that the aesthetic manifestations are characterized as insignia of tribal identification and a peculiar way of that society to make explicit its cosmological universe. The internal circulation of the dolls, differently of what occurs in the museums collections, happens in a manner of sets which are offered to the girls. Each set named of family represents the age phases, identified by ornamental attributes corresponding to each one of them. That way of circulation, subordinated to a series of internal traditional rules comes corroborating the hypothesis of that the objects surpass the toy category, leading to the understanding of Karajá familiar structure and of the dynamics of changes or permanencies of several spheres of the social life