Literatura académica sobre el tema "Guidon, Niede"

ResumoO presente artigo aborda a trajetória científica da arqueóloga Niède Guidon, brasileira nascida no interior de São Paulo e Doutora em Pré-História pela Université Paris I Pantheon-Sorbonne. Chegou na cidade de São Raimundo Nonato (Piauí) em 1970 em busca de vestígios arqueológicos provenientes daquela região. Ao deparar-se com resultados de análises enviadas à laboratórios franceses, no qual datavam através da técnica com Carbono-14 artefatos e vestígios arqueológicos com mais de 18 mil anos BP[1], Niède ampliou suas pesquisas e reuniu esforços pela preservação do local que hoje é conhecido como Parque Nacional da Serra da Capivara, patrimônio cultural da humanidade pela Unesco. Em 1986, publicou suas descobertas na prestigiada revista científica britânica Nature, dando destaque internacional para os sítios arqueológicos do nordeste brasileiro. A partir daí Guidon continuou seu trabalho e suas descobertas arqueológicas constataram artefatos com datações de 100 mil anos BP, desenvolvendo novas teorias para a origem do homem americano, refutando assim a teoria mais aceita do Estreito de Bering. Isto causou a indignação de diversos arqueólogos internacionais e nacionais que questionavam a veracidade de suas pesquisas. Mesmo com todas essas polêmicas, Niède Guidon e demais pesquisadores seguem com seus estudos nos mais de 1300 sítios arqueológicos da região do Piauí, sugerindo que mais resultados ainda estão por vir.Palavras-chave: Niède Guidon; Arqueologia; Pré-história brasileira.AbstractThis article deals with the scientific accomplishments of the archaeologist Niède Guidon, a Brazilian born in the interior of São Paulo who earned a Ph.D. in Prehistory from the Université Paris I Pantheon-Sorbonne. He arrived in the city of São Raimundo Nonato (Piauí) in 1970 in search of archaeological remains from that region. When he first received the results from French laboratories of Carbon-14 analyses, a method capable of dating artifacts that are at least eighteen thousand years old, Niède expanded his research and joined efforts to preserve the location now known such as Serra da Capivara National Park, a UNESCO World Heritage Center. In 1986, he published his findings in the prestigious British scientific journal Nature, gaining international prominence for the archeological sites of northeastern Brazil. From there Guidon continued his work and his archaeological discoveries, finding artifacts dating to 100,000 years before the present (BP), developed new theories for the origin of American humankind, thus refuting the more accepted theory of the humankind’s migration across the land bridge between Asia and North America. This caused indignation among several international and national archaeologists who questioned the veracity of his research. Even with controversies, Niède Guidon and other researchers have continued their studies in more than 1300 archaeological sites in the Piauí region, which suggests that more findings can be expected.Keywords: Niède Guidon; Archeology, Brazilian Prehistory.[1] Before the Present – Antes do Presente – escala utilizada pelas disciplinas científicas na datação de eventos do passado em relação à data presente.

O artigo coteja as pinturas rupestres piauienses com algumas interpretações das imagens pré-históricas desenvolvidas no âmbito da História da Arte. Para isso, recupera o sistema taxonômico elaborado por Niède Guidon (1985; 1989), observando aí a presença de algumas noções postas à prova pela produção artística moderna e contemporânea. O questionamento do enquadramento convencional da História da Arte motiva também uma reconsideração do conceito de arte a partir dos registros rupestres piauienses. Por fim, frente à inadequação dos pares conceituais encontrados na área – em especial, a oposição entre naturalismo e geometrismo – propõe-se uma leitura das imagens piauienses enquanto escrituras multinaturalistas, conforme a noção concebida por Eduardo Viveiros de Castro (2015). AbstractThe article contrasts Piauí’s rock paintings with some interpretations of the prehistoric images found within the context of the History of Art. To that end, it recovers the taxonomic system elaborated by Niède Guidon, observing the presence of some notions put to the test by the modern and contemporary artistic production. The questioning of History of Art conventional framework also motivates a reconsideration of the concept of art from the Piauí rupestrian records. Finally, regarding the inadequacy of conceptual pairs found in the area – especially the opposition between naturalism and geometrism – it is proposed a reading of Piauí images as multinaturalist writings, according to the notion conceived by Eduardo Viveiros de Castro (2015). ResumenEl artículo compara las pinturas rupestres piauienses con algunas interpretaciones de las imágenes prehistóricas desarrolladas en el ámbito de la historia del arte. Para eso, recupera el sistema taxonómico elaborado por Niède Guidon (1985; 1989), observando allí la presencia de algunas nociones puestas a prueba por la producción artística moderna y contemporánea. El cuestionamiento del encuadramiento convencional de la historia del arte produce también una reconsideración del concepto de arte a partir de los registros rupestres piauienses. Por último, frente a la inadecuación de los pares conceptuales encontrados en el área – en especial, la oposición entre naturalismo y geometrismo – se propone una lectura de las imágenes piauienses como escrituras multinaturalistas, según la noción concebida por Eduardo Viveiros de Castro

As primeiras pesquisas arqueológicas realizadas na área do Parque Nacional Serra da Capivara, sudeste do Piauí-Brasil, iniciaram-se na década de 70, conduzidas pela arqueóloga Niède Guidon, com o objetivo de contextualizar os sítios com grafismos rupestres, resultando em um ordenamento prévio hipotético para um reconhecimento das identidades culturais e cronologias. A definição classificatória de Tradição parte das semelhanças tipológicas que são encontradas entre os grafismos. Nas pesquisas, os grafismos rupestres são considerados como um meio de comunicação que seguem um código pré-estabelecido. O comportamento agressivo e violento pode ser identificado no registro arqueológico em aldeias destruídas, tais como esqueletos humanos com marcas de fraturas e na gestualidade representada nos grafismos rupestres. Nosso artigo se refere a uma pesquisa em andamento e tem por objetivo a identificação de padrões gráficos presentes nas cenas de guerra e, como objetivo específico, a identificação de elementos reconhecíveis, como antropomorfos, objetos de usos e outros possíveis atributos culturais. Parece-nos que entre os grupos primitivos, o comportamento agressivo e violento poderia ocorrer por diversas motivações, obedecendo a ritos culturais, conflitos entre grupos, ou ainda, a aquisição de recursos essenciais para a sobrevivência do grupo.

AbstrakArtikel ini menganalisis pola dan bentuk pewarisan serta menjelaskan kesenian talempong pacik di Nagari Bungo Tanjuang. Penelitian ini merupakan penelitian kualitatif dengan menggunakan metode deskriptif. Instrumen penelitian ini adalah peneliti sendiri dan dilengkapi dengan media audio visual serta pedoman wawancara dan observasi. Data dikumpulkan melalui wawancara, observasi dan kajian pustaka. Analisis data dilakukan dengan cara mengoleksi, menseleksi, menyajikan dan menguji data serta menyimpulkan. Hasil penelitian menunjukan bahwa, pewarisan dilakukan dengan tiga tipe, yaitu dengan pola pewarisan vertical transmission (pewarisan tegak) kepada anak, pewarisan kepada kemenakan dalam hubungan kekerabatan, pola pewarisan horizontal trasnmission (pewarisan datar) kepada orang yang sebaya dan pola pewarisan diagonal transmission (pewarisan miring) kepada murid diluar hubungan kekerabatan. Proses pembelajaran masih menggunakan oral dan demonstrasi, dimana guru akan mempraktekan cara bermain terlebih dahulu dan akan dicobakan secara langsung kepada murid.Kata Kunci: talempong pacik, pewarisan, pola, bentuk.AbstractThis article analyzes the pattern and inheritance form which explain the existence of talempong pacik art in Nagari Bungo Tanjuang. This study belongs to qualitative research with descriptive method. The main instrument in this research is the researcher himself and equipped by audio visual media and guided interview and observation. Data are gathered by using interview, observation and literature review. Data analysis was done by collecting, selecting, presenting, testing and concluding the data. The result of the research showed that inheritance is carried out in three types; first, the vertical transmission inheritance method (upright inheritance) which is inheritance to children and inheritance to nephew/niece or in kinship; second, horizontal transmission inheritance method (flat inheritance) to coeval people; third, diagonal transmission (oblique inheritance) to other people or to students outside the kinship. In teaching and learning process, oral and demonstration are still used where the teacher practice the way to play it first then followed by the student directly. Keywords: talempong pacik, inheritance, pattern, form.

While Transnational Temps were working on the Simiomobile project and also on the Safari Urbis which focuses on the visual presence of natural species in an urban environment, I noticed the minority presence (or total absence) of females in representations of the species. It is simple, if we look for "gorilla" with any search engine, we find an immense number of male specimens: the females, or rather the image of the female does not have the same presence. I couldn't help but see a parallel relationship with the "absence" or omission of women in the history of humanity. This simplification which cancels out the feminine image of a whole species is not inoffensive. It is similar to other situations referred to as discriminatory, speciesist, xenophobic and racist, the "group name", or mass name (in the meaning attributed to it by Negri and Hardt). To talk about blacks, chinese or women gives rise to a generalised discrimination. This is related, without a doubt, to the fact that the members of these groups are "faceless", they are all grouped with a global standard which identifies them. This form of allusion is what we normally use with animals, gorillas, elephants with a given number of repetitions or copies of the same pattern. In the case of the gorillas it is even more significant; all the gorillas which live in captivity are given a name and reference number for identification purposes (it was only after the studies of Jane Goodall on chimpanzees that the practise of giving a name to these and other primates began). It has been demonstrated in a great number of species that the individual specimens which make up that species are unique. Maybe humans will never be able to distinguish between the members of a shoal of dolphins, but this does not mean that they are all the same, or worse that they should be the same. Every living being on the planet is unique, a balance can not be established without the acceptance of this and other basic conditions.The anthropomorphism of the great apes plays a fundamental role in our ability to distinguish one from the other. It is only necessary to pay a little attention to see that each one of the gorillas, bonobos, chimpanzees and orangutans in a zoo are completely different from each other.In the Great Apes in Feminine project I use the portrait as a tool to individualise, emphasising that each member of a species is unique. After more than a decade of "technological" artistic production I took my pencil up again. I was not interested in making photographic or video portraits. To draw a portrait demands a profound connection between individuals, and this is what guided me. The primatologist Sabater Pi (1922-2009) famous for discovering “Copito de Nieve”, believed that drawing portraits was the best technique for representing primates. I am not sure that it is the best technique, but I believe it is a good one for getting to know them. When I draw I "tune in" to the model, this "being with them" (female gorilla-gorilla) enriches me profoundly on a spiritual level. I feel the creative process as a form of dialogue, a "morphological echo".The portrait is a form of differentiation, of individualisation, it shows the unique nature of the subject; in this way, and from an ecofeminist point of view, I find a complete coherence in this practise of "portraying" female gorillas, making their unique and unrepeatable nature evident. Drawing allows me to work in a more detailed way on certain aspects and simply sketch others. I try in this way to bring out the physiological characteristics which stand out in each of the females I draw and which make up the "feminine" image of gorillas found in spanish zoos. “Planet Earth –or Gaia– is not human, nor does it belong to humans. Humans are not the center of life; we are a recent, rapidly growing part of an enormous ancient whole. Gaia is the place for all the living beings we know. It is also the place where our dreams are born. If we feel our lives to be something more than a succession of hedonistic distractions then it is crucial that we reconnect with the biosphere.” (Perales, 2016 :352) Resumen Mientras que, como Transnational Temps, desarrollaba Simiomobile y también de Safari Urbis, que focalizan sobre la confluencia de la extinción de los Gorilas de montaña y sobre la presencia “visual” de especies naturales en nuestro entorno urbano, me percaté de la presencia minoritaria o total ausencia de hembras en la representación de especies. Es simple, si buscamos el término “Gorilla” en cualquier navegador, encontramos un número descompensado de imágenes de machos; las hembras, o mejor dicho: la imagen de las hembras, no tiene el mismo peso. No pude evitar establecer una relación de paralelismo con la “ausencia” u omisión de la mujer en la Historia de la Humanidad. Esta reducción, que anula la imagen de la entera mitad de una especie no es anodina. Caí en la cuenta de otra cuestión que se refiere al comportamiento discriminatorio, especista, xenófobo y racista, se trata del “nombre grupal”, el nombre de la masa, en el sentido que Negri y Hardt dan a este término. Hablar de negros, o chinos o mujeres, propicia la discriminación generalizada. Esto está relacionado, sin lugar a dudas, con el hecho de que estos grupos no tengan “caras” plurales, todos se sitúan bajo un patrón global que los clasifica a modo de identidad homogénea. Esta forma de alusión es la que utilizamos normalmente con los animales, los gorilas, o los elefantes, como un número dado de repeticiones o copias del mismo patrón. En el caso de los gorilas es aún más significativo; todos los ejemplares de gorila que se encuentran en cautiverio reciben un nombre y tienen un número de referencia, un número de identidad (fue a partir de los estudios de Jane Goodall sobre los chimpancés que se empieza a asignar un nombre a estos y otros primates). Se ha demostrado no obstante en un gran número de especies, la condición única de cada uno de los individuos que la componen.Tal vez el hombre nunca llegue a ser capaz de distinguir las diferencias entre los componentes de una manada de delfines, pero esto no quiere decir que todos ellos sean iguales, o peor, que todos sean el mismo. Cada ser vivo es único en este planeta, el equilibrio sostenible no surgirá sin la aceptación de esta y otras bases. El antropomorfismo de los Grandes Simios juega un papel fundamental en nuestra relativa facilidad para distinguir unos de otros. Sólo es necesario prestar un poco de atención para ver que cada uno de los gorilas, bonobos, chimpancés u orangutanes de un parque zoológico se diferencian de forma neta. Después de más de una década de producción artística alejada de las técnicas tradicionales, retomé los lápices. No me interesaba hacer retratos fotográficos, ni tampoco retratos de vídeo. Retratar a través del dibujo exige una conexión profunda del individuo, y esto es lo que me guiaba. El primatólogo Sabater Pi (1922- 2009), famoso por descubrir a Copito de Nieve, sostenía que el dibujo era la mejor técnica para captar a los primates. Yo no estoy segura de que sea la mejor técnica para representarlos, pero sí creo que es una buena técnica para conocerlos. Cuando dibujo “sintonizo” con el modelo, este “ser-con ellas” (hembra gorilla-gorilla) me enriquece profundamente a nivel espiritual. Siento el proceso creativo como una forma de diálogo, a modo de “resonancia mórfica”. El retrato es una forma de diferenciación, de individuación, subraya la unicidad de lo representado; en este sentido, y desde la perspectiva ecofeminista, encuentro una plena coherencia en este “retratar” a las hembras gorila, afirmo su carácter único e irrepetible. El dibujo me permite trabajar con más detalle ciertos detalles y simplemente esbozar otros, procuro de esta manera destacar las características fisiológicas que destacan en cada una de las hembras retratadas y que componen la imagen “femenina” plural de las gorilas que se encuentran en los zoos españoles. “El planeta Tierra –o Gaia– no es humano, ni pertenece a los humanos. Los humanos no somos el centro de la vida, tan sólo somos unos recién llegados creciendo rápidamente como parte de un todo, un todo muchísimo más antiguo. Gaia es el hogar de todos los seres vivos que conocemos. Y también es la cuna de nuestros sueños. Si consideramos que nuestras vidas son, en suma, algo más que una sucesión de distracciones hedonísticas, entonces debemos re-conectar con la biosfera.” (Perales, 2016 :352).

Orientador: Celso Luiz Figueiredo Bodstein
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem e Laboratório de Estudos Avançados em Jornalismo
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Resumo: O presente trabalho busca a construção, em audiovisual e em texto, do perfil da arqueóloga Niéde Guidon, pesquisadora premiada e condecorada internacionalmente. Atualmente com 82 anos, Niéde é neta de franceses e de um casal de militar brasileiro com índia Kaingang. Ela tem sido uma forte atuante em pesquisas e ações sociais na região do sudeste do Piauí desde 1973, quando visitou pela primeira vez sítios arqueológicos de pinturas rupestres encontrados por moradores da área, que a levaram, então, à formação da primeira missão Franco-Brasileira de pesquisas e, posteriormente, do Parque Nacional Serra da Capivara e da Fundação Museu do Homem Americano. Com a captação em vídeo de mais de dez horas de entrevistas diretas com a pesquisadora e mais de 40 horas de material audiovisual, entre imagens e entrevistas com pessoas envolvidas em sua vida, seu trabalho e na construção do Parque Nacional Serra da Capivara, apresenta-se aqui um perfil de Niéde, administrando sua expressão pública controversa e tratando também dos sentidos produzidos na entrevistadora/documentarista; frutos deste processo sem o vínculo direto com a verdade e com maior interesse na manipulação estética dos sentidos e memórias. As entrevistas são organizadas e comentadas em paralelo à polifonias de autores e participantes da vida da pesquisadora e funcionam como disparadores de reflexões sobre História, Política, Autoria e temas que perpassam os diálogos e as relações estabelecidas no processo de produção do documentário "A Mulher Original"
Abstract: This paper builds, with audiovisual and text, a profile of Niéde Guidon, an eighty two years old Brazilian archaeologist, granddaughter of french immigrants and a couple of a Brazilian army officer and a Kaingang native. After building a strong career in research in France, in 1973 Guidon first visited archaeological sites of rock paintings in the southeastern region of Piauí¿Brazil, found by residents of the area, which led her to the organization of the first French¿Brazilian mission research, and later to the foundation of the National Park Serra da Capivara, the Museum of the American Man Foundation and a path of many social works around the park.?With over ten hours of direct interviews with the researcher, captured on video, and 40 hours of images and interviews with people involved in her life, her work and the construction of the National Park Serra da Capivara; also with citations of interviews conducted by different authors and institutions in recent years, I introduce a character profile and her public controversy image, dealing with the feelings and impressions developed on me as interviewer/documentarist, without the direct link with the truth and facts, but higher interest on handling aesthetic senses and memories of the process itself. Inspired by essays and literary journalism, the interviews will be arranged and discussed in parallel to the polyphony from various authors and participants in the life of the researcher. The Original Woman intends to trigger thoughts on history, politics, authorship and themes that pervade the dialogues and the relationships established in the process of documentary production and construction of this text; assuming an establishment of exchanges and interactions between interviewer and interviewees, and also discussing the documentary production process
Mestrado
Divulgação Científica e Cultural
Mestra em Divulgação Científica e Cultural

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O presente trabalho tem como objetivo analisar o Parque Nacional Serra da Capivara desde sua criação à situação atual a fim de compreender as razões que até hoje impedem o seu pleno funcionamento. Para tanto, foram analisados aspectos anteriores à constituição do Parque, desde as primeiras expedições da Missão Franco-Brasileira no Piauí, até itens como infraestrutura, equipamentos e potencial turístico oferecidos pelo Parque atualmente. Aliado a esse estudo, foram colhidos depoimentos, entre eles, de alguns dos atores diretamente envolvidos no desenvolvimento do Parque. O resultado é um panorama histórico que explica as circunstâncias que fazem do Parque Nacional Serra da Capivara Patrimônio Cultural da Humanidade.
The scope of this work is to make an analysis of Serra da Capivara National Park, covering the period from its foundation to today aiming to understand the main issues that impact park full development. For that, different aspects were analyzed, including the situation before parks creation, since French-Brazilian first’s expeditions in Piauí, and items like infrastructure, equipments, touristic potential currently offered by the park. Combined with this study, testimonies were collected, among them, from the actors directing involved with park development. The result is a historical panorama which explains the circumstances that make Serra da Capivara National Park a UNESCO World Heritage Site.

By the end of the decade the time revolution was a done deal. Moulin-Quignon still reverberated, but in 1865 Lubbock produced the first guided tour of the Old Stone Age, in which he accused Lyell of plagiarism. In Pre-Historic Times he filled the new space of deep history with stone tools to show an evolutionary pathway from St Acheul to the Neolithic monuments of Avebury and Stonehenge. Tracing history back was matched by the anthropologist Edward Tylor, who traced it up. Both men were interested in the evolution of racial groups and accounting for the world’s hunters and gatherers. In a typically upbeat assessment, Lubbock saw the lesson of the past as providing hope for the future. Victorian ‘savages’ at the uttermost ends of the earth had not degenerated from a civilized state. They had the potential to evolve, as his ancestors in Europe had done. Unwritten history was making universal history possible. The decade saw deaths and career changes. Prestwich largely abandoned the time revolution, married Falconer’s niece, Grace McCall, and became an Oxford professor. Falconer and Boucher de Perthes died, while Lubbock entered Parliament in 1870. Prestwich’s fixed notion of a single ice age was challenged by James Croll, who painstakingly worked out the changes in the elliptical orbit of the Earth, and from these proposed multiple ice ages. As a bookend to the decade Evans published his fact-rich volume on ancient stone implements. The path of deep history was now set in stone.

With its acropolis perched on a steep hill overlooking the Aegean Sea, the city of Assos provides a spectacular view for the visitor. From the acropolis one can look down on the ruins of the ancient buildings on the slope and also see the remains of the city’s harbor in the Aegean. On a clear day the island of Lesbos is visible approximately 7 miles south across the Bay of Edremit. From this island came the first settlers of ancient Assos. The site of ancient Assos is located in the southern part of the Troad area of Turkey, on the modern highway that runs along the Aegean coast and connects the towns of Geyikli and Ayvacïk. Assos was in the ancient region of Mysia. Today the village of Behramkale occupies the site of ancient Assos. During the 7th century B.C.E. Aeolian Greeks from the town of Methymna (modern Molivos) on the island of Lesbos crossed the Edremit Bay and founded the city of Assos. During the first half of the 6th century, King Croesus of Lydia (whose capital was at Sardis) captured and controlled Assos. Lydian domination ended in 546 B.C.E., when Cyrus of Persia defeated Croesus and brought this area of Asia Minor under Persian control. During the following century Assos gained its freedom when a coalition of Greek city-states defeated the Persians. Assos then became a part of the Delian League under the leadership of Athens. One of the rulers of Assos in the 4th century was Hermias, who had been a student, along with Aristotle, of the philosopher Plato. At the invitation of Hermias, Aristotle went to Assos and lived there from 348 to 345 B.C.E., marrying Hermias’ niece. The Persians recaptured the city and killed Hermias, but their control ended with the conquests of Alexander the Great. After Alexander’s untimely death the Seleucids ruled Assos. In 241 B.C.E. the city became a part of the Pergamene kingdom and remained under the control of the kings of Pergamum until the death of Attalus III in 133 B.C.E., at which time the city passed into Roman hands.