Bordar e guardar: o imaginário feminino na Coleção Nina Sargaço

Abstract

The aim of this text is to analyze the Nina Sargaço Collection, which consists of handicrafts, especially embroidery, exploring its importance in the process of educating women in the home and school environment, from the first decades of the 20th century onwards. Understood as an ancient know-how that reveals the female imagination, artistic expressions and ways of being, the art of embroidery has been transformed over the years, which invites us to interpret some of the items that make up the respective collection, such as study methods, books, magazines, newspapers, notebooks, sample albums, among others, intertwined with testimonies from the collector. In the process of interrogating the collection, we dialogued with Pomian (1984) and Baudrillard (2004) on the formation and development of collections; Menezes (2008), Le Goff (1996) and Halbwachs (1990) on the individual and collective memories that surround embroidery as a know-how; Gonçalves (2009) from the point of view of cultural heritage; Parker (2010), Pereira (2023) and Louro (2004) on the influence of this know-how on women's lives; Durand (2010) on the female imaginary; Perrot (2010), Bourdieu (1999) and López-Pérez (2008) on social representations and gender distinctions in the public and private spheres; among other authors. The thesis structure includes three chapters in which the items of the collection, the modes of know-how, the relationship with female education, as well as the resignification of embroidery as a practice of submission and modesty are examined. The research aims to contribute to the preservation of this know-how consecrated as cultural heritage, which brings together different teaching-learning processes relevant to the history of education, ensuring the transmission of this knowledge to future generations.