Narrativas sobre o processo de modernizar-se - capes

AbstractThis essay has the purpose to map and to interpret the narrative strategies and devices (verbal and objectoriented) used in the biographical update processes (personal ones and those related to objects systems),for ceramic craftsmen/craftswomen; triggered in order to introduce (like author-artist) himself/herself andhis/her production (as a cultural object) in some sort of economic, political and symbolic circuit movementin the city of Florianopolis, Santa Catarina, Brazil. For this purpose, I chose two methodological strategies:a self-biographical narrative interview, also called life story, and the study case. The first strategy wasused to gather the craftsmen/craftswomen verbal narrative enunciation, their life trajectories, the technicaland aesthetic craft learning, the crafts production forms and conditions, its relation to circulation andconsumption circuits, as well as to the craft objects system. This first methodological strategy has twodevices: a (re)construction of the narratives and its interpretation through the narrative fragments. Throughthese, it was possible to (re)construct the narrative genre, to set the actuated performances by those“narrators” and to explain the strategies and devices that they adopt for biographical update, that is to say,to elaborate the narratives to modernize himself/herself. The second methodological strategy - the casestudy - was used to get access to the senses and meanings of (object oriented) narrative texts, associatedto the craft objects surface as a result of those “narrators” work (labour). I take as a privileged case, the“Boi-de-Mamão” set, as well as its dramatic performance as diacritical meanings which I want to clarify.These objects are theoretically understood as narratives (enunciations), which explain under other formsthe conflicts between hegemonic and unprivileged groups. Such conflicts, which expose the tyingstrategies, as well as those of resistance, that is, the political struggle, which outline the socio andhistorical framework of some sort of arena, that sets an economy and symbolic policy oriented tocrafts/popular culture. Through this strategy, the biographical updates, which were available andacceptable in a recent urban context, were mapped and interpreted, considering also, its circulation andconsumption in an economic and symbolic/cultural circuit, and the configuration of this objects system as asort of popular art “piecework” (cultural object), that is a constructive or even resistant part of a kind ofwestern art history and its recent criticism. Through the use of these methodological procedures I believehaving elaborated a biography updating processes overview about the craftsmen/craftswomen who workon clay, their work and the "things" resulted from this activity, exposing their acts as mediators of policy,historical, aesthetic, productive and biographical choices, which these narrators place in order to allowtheir inclusion in what is classified as traditional in the fragmented, inter-cultural, recent capitalist urbancosmos.Keywords: crafts/popular culture; modernity; material culture; cultural heritage.viii