Dissertations / Theses on the topic 'Collective and historical memory'

The aim of the present paper is to study the role that lived and historical memories havein the conformation of collective memory through the participant’s appraisals in the recent past of Argentina. These memories operate as sources that nurture collective memory. Lived memories are related to live experiences, while historical memories are related to indirect sources that inform about the past. 60 participants, divided in two groups (above and below 46 years of age) appraised the present and recent past, based on lived and historical memories. Results show that lived or autobiographical and historical memories contribute differently to collective memory.
Se estudia el rol que desempeñan los recuerdos vividos e históricos en la memoria colectiva por medio de la valoración del pasado reciente argentino. Estos recuerdos operan como fuentes que nutren a la memoria colectiva. Los recuerdos vividos están vinculados a la experiencia directa, mientras que los recuerdos históricos a las fuentes indirectas que informan sobre el pasado. 60 participantes, divididos en dos grupos (mayores y menores de 46 años), realizaron valoraciones sobre el presente y el pasado reciente, en base a recuerdos vividos y en recuerdos históricos. Los resultados muestran que los recuerdos vividos o autobiográficos tienen una incidencia distinta en las valoraciones que los recuerdos históricos.

How, if at all, should we remember the histories of injustice and atrocity that haunt most modern states? Since World War II, it has become commonplace to suggest that properly responding to injustices requires societies to remember them, and to remember the experiences of those they touched. But what specific value might memory in this sense constitute in or contribute to the lives and societies of those coping with troubled history? This question raises two issues. The first is ontological: what does it mean to say that a society should remember in the first place? Is it to say that the individuals who make up society should each privately remember, or is to say that the society as a whole should somehow create or maintain a collective memory that is not reducible to the sum of individual cognitive processes? The second issue is normative: what exactly can memory so conceived do to ameliorate the undesirable legacies that historical injustices leaves on the world? How might remembering help us to move forward, or help us to lessen the pains we can’t leave behind? This study takes on both of these issues. On the first, I suggest that when we speak of societies remembering, we’re speaking of irreducibly social processes, by which individual memories are translated into publicly available traces of the past, which can then inform recollection by others, perhaps at some distance from the original event. On the second, I suggest that this sort of remembering can be valuable in the wake of injustice as a way of combating the legacies of persistent harm and exclusion that sometimes follow victims long after an injustice is over, and challenge their abilities to stand, participate, and identify as full members of the political community. Memory in this sense is crucial for re-negotiating the boundaries of membership, and for rebuilding a more inclusive public world.

After World War II, every country that had been touched by or involved in the war had to come to terms with its past. In the case of Switzerland, the Swiss government, the army and some of the country’s leadership established a strong official historical memory of the war, portraying Switzerland as a neutral, benevolent and well-fortified country that remained innocent and untouched by the war. From the 1960s onwards, Swiss artists and intellectuals challenged these myths by presenting alternative views of the Swiss past in their work. Beginning in the 1970s, Swiss historians published an increasing amount of scholarly research concerning Switzerland’s World War II past, and challenging the official historical memory promoted by the government. In the 1990s, after the discovery of thousands of dormant Swiss bank accounts containing Holocaust assets, Switzerland was forced to adopt a more realistic memory of its involvement in World War II. An Independent Commission of Experts, established by the Swiss government, conducted thorough research about Switzerland’s wartime involvement and published its Final Report in 2002.

This study traces the current status of Spanish ethics as seen through the optics of historical memory. Starting from the Spanish Civil War in 1936, the thesis relates contemporary themes to their proposed origin throughout three additional distinctive eras of the 20th and 21st century in Spain: 1982-1996 (Socialist Spain), 1997-2010 (Post-modern Spain), and 2011-present (current Spain). Spanish narratives ranging from Los Abel by Matute, La magnitud de la tragedia by Monzó, "Fidelidad" of Ha dejado de llover by Barba and Las fosas de Franco by Silva are contextualized through their ethical architecture, in accordance with their socio-political context, and relationship to past historical traumas. This work proposes that the themes of anticlericalism, the pursuit of social equality, anti bureaucracy, and political distrust are trends culminating from Kohlberg's third level of morality. The thesis aims to be an exposition and legitimization of different ethical schemas that might otherwise be polarized as wrong and inferior by others.

We analyze the memory of collective events in Peru and its relationship with Peruviannational identity in a middle-class sample from Lima (N = 81). Peruvian collective self- esteem and two dimensions of the Peruvian self-concept (Peruvians as proactive-capable and negative image of Peruvians) are related moderately to valence of historic characters remembered. Nevertheless, valence of remembered historical events was not associated to Peruvian national identity. Results also suggest that characters and events from 20th century comprise the majority of remembered instances, and 20th century instances are worse evaluated than characters and events from previous periods of Peruvian history. Results confirm a recency bias and a tendency to make more positive meaning attributions to distant eventsand characters than those made to more recent events.
Se analizan las relaciones entre la memoria de hechos colectivos en el Perú y la constitución de la identidad nacional peruana en 81 habitantes de clase media de Lima Metropolitana. La valencia positiva del recuerdo colectivo de personajes históricos, más no el de eventos, se asocia moderadamente a la autoestima colectiva y a dos dimensiones del autoconcepto colectivo (peruanos proactivos-capaces e imagen negativa de los peruanos). Se encontró que personajes y eventos del siglo XX conforman el porcentaje mayoritario de recuerdos colectivos, y en promedio personajes y eventos del siglo XX son peor evaluados que personajes y eventos previos a este siglo. Esto confirma la presencia de un sesgo de recencia y la tendencia a atribuir un significado más positivo a personajes y hechos que se recuerdan a largo plazo en contraposición con aquellos más recientes.

Thesis advisor: William Stanwood
Thesis advisor: Lindsay Hogan
Never before has it been so important to investigate the way in which televised historical drama recreates and represents the past, for, as Robert Rosenstone (2003) acknowledges, “the increasing presence of the visual media in modern culture and the vast increase in TV channels seems to ensure that most people now get their knowledge of the past, once school is over, from the visual media” (p. 10). Therefore, this research uses the popular PBS Masterpiece Theatre program Downton Abbey as a case study to examine the accuracy of depictions of historical periods in contemporary television programs with the intent of discovering the impact of historical fiction on audiences’ perceptions of the past and, subsequently, on the collective memory of the public domain. Using a reception analysis approach, this research considers both producer-encoded and audience-decoded content within the four categories of (I) Setting, Details, and Design; (II) History; (III) Behavior; and (IV) Agenda, Values, and Effects outlined by Paul B. Weinstein (2001) to form conclusions concerning the relationship between the encoding and decoding of Downton Abbey, in particular, as well as the larger implications these findings have for televised historical drama and society’s collective memory, in general. Ultimately, this essay argues that through its precision of post-Edwardian detail, Downton Abbey attempts to construct a veil of accuracy behind which the series’ narrative is theoretically able to operate freely and without rigid constraint by history’s “hard and fast rules” (Fellowes, 2012a, p. 60). The findings also reveal an incongruity between this philosophy of encoding and the subsequent decoding process of Downton Abbey’s audience members. Finally, this study offers two potential functions historical drama may serve in contemporary society: as either a catalyst for historical inquiry or as a purveyor of distinctly modern, as opposed to historical, lessons
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Communication Honors Program
Discipline: Communication

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Relations between China and Japan suffer under the "history issue", an inability to reconcile these nations' relative perspectives on past wartime events. With emphasis on China's construction of the history issue, this thesis analyzes when and why China calls particular attention to Japan's past aggression and the degree to which China's actions have impacted bilateral relations from 1972 to 2016. Using elements from collective memory, national identity, and balance of power theories, this thesis makes four main arguments. First, provocative Japanese behavior revives the collective memories of past trauma and provokes criticism of Japanese politics. Second, when China perceives threats from Japan, it highlights Japan's past atrocities and lack of contrition to contain Japan's ambitions or gain relative power. Third, when collective memory is the main driver in shaping relations, balance of power plays a more supporting role and vice versa. Last, the public's collective memory and the volatile activation of the public's genuine anti-Japanese sentiments were the strongest factors in explaining the downturn of relations. As the United States implements its security strategy in East Asia, understanding historical disputes and their implications on the security status of the region is crucial, as they will affect agreements with our allies.
Major, United States Marine Corps

As the Second World War in Europe came to an end the Russians advanced from the east towards Berlin. German occupation of Poland and Czechoslovakia had been particularly brutal. Both of these countries, products of German defeat at the end of World War I contained millions of ethnic Germans, who had previously co-existed with their Slav neighbours, often for many centuries, but were now perceived by these neighbours as having encouraged and collaborated with Nazi Germany. Russians, Poles and Czechs now sought revenge triggering the largest forced expulsion in recorded history. Somewhere between 8 and 16.5 million ethnic Germans fled to the west, and between 2 and 3 million perished during flight. Expellee property was subsequently seized by the Poles and Czechs. In broad terms, until the 1990s these events were seen within Germany as part of a submerged collective memory, suppressed in part by their having lost the war. In the last 20 years with an increasingly powerful expellee organisation (the Bund der Vertriebenen, Federation of Expellees) influencing mainstream German politics, academia, and the German media, an attempt has been made to change historical memory, or rewrite what has been referred to as an 'unacceptable past'. This, in recent years has led to claims by former expellees against the Czech Republic, and Poland for restitution. This in itself has led to bitter accusations by these countries that the expellees have rewritten German history portraying themselves as victims of the Second World War. This thesis explores the methods employed by the expellee groups and their supporters in the restructuring of their historical memory by examining literature dating from the 1950s until the present day from primarily German and American sources, as well as German television documentaries from 2000. These sources are considered in relation to how collective and historical memory have evolved into a position that has allowed the expellees to create an 'acceptable past'.

In addition to proposing a survey and subsequent analysis of the French-Algerian War in French-language comics, also known as bandes dessinées, published in Algeria, France, and Belgium since the 1960s, my dissertation investigates the ways in which this medium re-appropriates textual and iconographic source materials. I argue that the integration or citation of various sources by artists functions to confer a measure of historical accuracy on their representation of history, to constitute a collective memory as well as personal postmemories of the war, and to re-contextualize problematic images so that they and the hegemonic discourses they reinforce may be deconstructed. Moreover, the bande dessinée mimics secondary schoolbook representations of the war in both Algeria and France in its recycling of problematic images such as Orientalist painting, colonial postcards, and iconic images of war. The recycling of textbook images has the double advantage of ensuring reader familiarity with these images and of inviting critical interpretations of them. By exploring how the bande dessinée reuses colonial images as well as critical histories in predominantly anti-colonialist narratives, I seek to explain how this popular medium uniquely problematizes questions of history, memory, and postcolonial identity related to French Algeria and its decolonization. It is my contention that, because historical bandes dessinées frequently include or reference authentic textual and iconographic source material documenting the repercussions of the French-Algerian war on various communities, they represent a valuable resource to middle and high school teachers looking to enrich the state-mandated history curriculum. By using the bande dessinée in this capacity, educators exploit this medium as both a historical document (whose objective is to transmit knowledge of the past) and a document of history (which allows scholars to retrace the evolution of public opinion).

Thesis (MPhil (Journalism))--University of Stellenbosch, 2009.
There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

Anthropology
Ph.D.
This dissertation focuses on mid- to late-19th-century Philadelphia immigrants, their experiences, and how their lives have been remembered or, as in this case, forgotten. During the course of this study Elfreth’s Alley in Old City Philadelphia is used as a lens through which to critically examine elements of immigrant experience and memory construction from an archaeological perspective. Designated as a National Historic Landmark, Elfreth’s Alley is credited with being one of the oldest, continuously-occupied residential streets in the nation. Formed in the early-18th century, Elfreth’s Alley became home to a large immigrant population, predominantly from Ireland and Germany, during the mid- to late-19th century. In the 20th century the narrow thoroughfare was selectively recognized as an important historic site in Philadelphia based on its colonial origin and early American architecture. Within this context, this dissertation expounds two interconnected lines of rediscovery at Elfreth’s Alley. The first is the rediscovery of the physical world in which immigrants lived; the second is the rediscovery of the abstract landscape of memory in which they were forgotten. The archaeological analysis of 124 and 126 Elfreth’s Alley in this text focuses on deconstructing the physical built environment on the street to understand the lived experience of immigrant occupants, while an examination of the public archaeology program implemented on the Alley explores how programming helped reshape memory at the historic site and fostered dialogue about the presentation of history and contemporary immigration. Through combining the results of documentary research, urban archaeological excavation, and public programing, this dissertation reveals the complexity of urban immigrant life and memory at Elfreth’s Alley specifically and Philadelphia at large.
Temple University--Theses

Un nouveau genre est apparu en bande dessinée, le récit mémoriel historique. Il retrace la mémoire d’un individu, celle de l’auteur (Marjane Satrapi- Persepolis ) ou de l’un de ses proches (Art Spiegelman- Maus ), au sein d’un événement historique majeur des XX e et XXI e siècles. Cette création artistique, en mots et en images, repose sur la nécessité de transmettre un passé le plus souvent familial. Le caractère intime et personnel de ce type d’album induit qu’un récit mémoriel historique est, sauf exception, l’oeuvre d’un unique auteur, qui en réalise le scénario, le dessin et éventuellement, la mise en couleur. L’engagement moral de ne pas trahir la mémoire invoquée conduit ce dernier à mener d’importantes recherches documentaires et à restituer, le plus objectivement possible, les faits, personnels et historiques. Le récit mémoriel historique en bande dessinée est l’expression d’une mémoire individuelle, représentative de la mémoire collective. L’apparition de ce nouveau genre est à mettre en relation avec l’intérêt croissant porté à la mémoire depuis la fin du XX e siècle. Il est, en quelque sorte, un marqueur visuel et narratif de l’« activisme mémoriel » mis en lumière par Henri Rousso. Il crée une mémoire imagée, laquelle est une mémoire traumatique où l’image est prédominante ; cette dernière, dessinée voire photographique, interagit avec le texte et impressionne durablement. Ces albums sont critiques, fidèles aux évènements et conformes à l’historiographie. Leur publication influence l’image que nous nous faisons des faits historiques. Maus , seul album au monde à avoir reçu un prix Pulitzer (1992) a ainsi contribué à un profond changement du regard porté sur la Shoah
A new genre of comics has developped, the historical graphic memoir, which is based on the author’s personal experience (Marjane Satrapi- Persepolis ) of a major historical event of the twentieth or the twenty- first century, or on one of the author's relatives (Art Spiegelman- Maus ). A graphic novel of the sort is mainly based on the need to transmit a family history. The intimate and personal nature of this type of book implies that a historical graphic memoir is, in most cases, the work of a single author, who directs the script, as well as the drawing and possibly the colour setting. The moral commitment, the involvement of the author in giving an accurate picture of the facts, both personal and historical, induces an important documentary research. The historical graphic memoir is the expression of an individual memory, that is also representative of a collective memory. The appearance of this new genre is linked with the growing interest in memory since the late twentieth century. This is, somehow, a visual and narrative marker of "memorial activism" as highlighted by Henry Rousso. This creates a pictorial memory, a traumatic memory where the picture is predominant; drawn or photographic, it interacts with the text and impresses durably. These albums are accurate and their publication influences the representation we have of historical facts. Maus, the one album ever to have been awarded a Pulitzer Prize (1992) has contributed to a profound change in people's outlook on the Holocaust

[ES] La presente tesis doctoral surge como respuesta a la problemática de la destrucción de la memoria histórica de Bosnia y Herzegovina, comenzada con la guerra de 1992 e institucionalizada a través de la legislación de los Acuerdos de Paz de Dayton. Se exponen en ella las causas históricas de esta destrucción y sus consecuencias, tanto las más inmediatas, a saber, la destrucción física del patrimonio del país, como las más remanentes, esto es, la descripción de la historia según las aspiraciones etnonacionalistas que causaron el conflicto. Sobre estos hechos, se ha hecho un estudio doble: por una parte, una investigación histórica hasta la actualidad sobre la escultura de Bosnia y Herzegovina, de la cual la figura de Alija Kucukalic destaca como máximo exponente y como prueba de que la tradición escultórica de Bosnia y Herzegovina tiene una evolución clara hacia la modernidad; por otra, un conjunto de propuestas prácticas que han permitido divulgar la obra artística y el legado cultural del escultor Alija Kucukalic, con el fin de exponer la importancia que tuvo su trabajo, tanto escultórico como pedagógico, para el desarrollo artístico de Bosnia y Herzegovina. En particular, la revisión política e histórica de Bosnia y Herzegovina realizada en esta investigación ha permitido mostrar que las ideologías etnonacionalistas que se han respetado en los Acuerdos de Paz de Dayton, según el cual Bosnia y Herzegovina ha quedado dividida en dos Entidades, una de etnia serbia, y otra de mayoría de etnia bosnia y croata, suponen un impedimento absoluto tanto en el avance de la cultura como en la misma preservación de la misma. Afirmando los Acuerdos de Paz de Dayton que los ciudadanos de Bosnia y Herzegovina forman tres pueblos constituyentes, y dejando el gobierno de las instituciones culturales a las Entidades, divididas según las etnias mayoritarias de las respectivas zonas, la cultura en Bosnia y Herzegovina depende de acuerdos entre las tres divisiones étnicas del país, cuyos desacuerdos fueron el origen del último conflicto. Sobre este contexto político, el caso particular de Alija Kucukalic se ve en una suerte de ostracismo, en tanto que es un artista al que no se puede adscribir a ninguna de las ideologías políticas vigentes en el país, sino que su obra representa a todo el pueblo bosnio por igual. Este hecho favorece el progresivo deterioro de su obra, que hasta la realización de esta tesis doctoral estaba totalmente olvidada por parte de las instituciones de Bosnia y Herzegovina. En concreto, Alija Kucukalic fue asesinado durante la guerra como parte de la estrategia de elitocidio que constaba en el asesinato individual y en masas de las élites intelectuales de Bosnia y Herzegovina, su obra fue robada y destruida durante la guerra, su atelier del escultor invadido, y en la actualidad, el vacío legal que dejaron los Acuerdos de Paz de Dayton sobre el cuidado del patrimonio cultural ha provocado que el vandalismo se apodere de la obra pública de Alija Kucukalic. Como solución a este problema, se ha demostrado con la presente tesis doctoral que es necesario llevar a cabo acciones de salvaguardia del legado cultural y artístico de Alija Kucukalic , mediante la justificación de que con su obra Bosnia y Herzegovina adquirió renombre artístico internacional y de que con su labor pedagógica como profesor de escultura en la Academia (Facultad) de Bellas Artes de Sarajevo, de la que fue fundador, la tradición artística del país renació y sigue creciendo. Esta justificación se ha reforzado con el mencionado conjunto completo de actividades prácticas, que han tenido como resultados más importantes la apertura de la Fundación Atelier Memorial Alija Kucukalic, unida a la recuperación del atelier del escultor y a la primera exposición póstuma de su obra, y el inicio del proyecto de restauración de la obra de Alija Kucukalic, que ha comenzado con la restauración del parque memorial Vra
[CA] La present tesi doctoral sorgeix com a resposta a la problemàtica de la destrucció de la memòria històrica de Bòsnia i Hercegovina, començada amb la guerra de 1992 i institucionalitzada en la legislació dels Acords de Pau de Dayton. S'exposen les causes històriques d'aquesta destrucció i les seues conseqüències, tant les més immediates, és a dir, la destrucció física del patrimoni del país, com les més romanents, això és, la descripció de la història segons les aspiracions ètnic-nacionalistes que van causar el conflicte. Sobre aquests fets, s'ha fet un estudi doble: d'una banda, una recerca històrica fins a l'actualitat sobre l'escultura de Bòsnia i Hercegovina, de la qual la figura d'Alija Kucukalic destaca com a màxim exponent i com a prova que la tradició escultòrica de Bòsnia i Hercegovina té una evolució clara cap a la modernitat; de l'altra, un conjunt de propostes pràctiques que permeten divulgar l'obra artística i el llegat cultural de l'escultor Alija Kucukalic, per tal d'exposar la importància que va tindre el seu treball, tant escultòric com pedagògic, per al desenvolupament artístic de Bòsnia i Hercegovina. Concretament, la revisió política i històrica de Bòsnia i Hercegovina realitzada en aquesta investigació mostra que les ideologies ètnic-nacionalistes que s'han respectat en els Acords de Pau de Dayton, segons els quals el país ha quedat dividit en dues Entitats, una d'ètnia sèrbia, i una altra d'ètnia bosniana i croata, suposen un impediment absolut tant en l'avanç de la cultura com en la mateixa preservació d'aquesta. Afirmant els Acords de Pau de Dayton que els ciutadans de Bòsnia i Hercegovina formen tres pobles constituents, i cedint el govern de les institucions culturals a les entitats, dividides segons les ètnies majoritàries de les respectives zones, la cultura a Bòsnia i Hercegovina depèn d'acords entre les tres divisions ètniques del país, els desacords dels quals van ser l'origen de l'últim conflicte. En aquest context polític, el cas particular d'Alija Kucukalic es veu en una mena d'ostracisme, en tant que és un artista a qui no es pot adscriure a cap de les ideologies polítiques vigents al país, sinó que la seua obra afirma a tot el poble bosnià per igual. Aquest fet afavoreix la progressiva deterioració de la seua obra, que fins a la realització d'aquesta tesi estava totalment oblidada per part de les institucions de Bòsnia i Hercegovina. En concret, Alija Kucukalic va ser assassinat durant la guerra com a part de l'estratègia d'elitocidi que constava en l'assassinat individual i en masses de les elits intel·lectuals de Bòsnia i Hercegovina, la seua obra va ser robada i destruïda durant la guerra; el seu atelier de l'escultor, envaït; i en l'actualitat, el buit legal que van deixar els Acords de Pau de Dayton sobre la cura del patrimoni cultural ha provocat que el vandalisme s'apoderi de l'obra pública d'Alija Kucukalic. Com a solució a aquest problema, s'ha demostrat amb la present tesi doctoral que cal dur a terme accions de salvaguarda del llegat cultural i artístic d'Alija Kucukalic, mitjançant la justificació que amb la seua obra Bòsnia i Hercegovina va adquirir renom artístic internacional i que amb el seu trevall pedagògic com a professor d'escultura a l'Acadèmia de Belles Arts de Sarajevo, de la qual va ser fundador, la tradició artística del país va renéixer i segueix creixent. Aquesta justificació s'ha reforçat amb l'esmentat conjunt complet d'activitats pràctiques, que han tingut com a resultats més importants l'obertura de la Fundació Atelier Memorial Alija Kucukalic, unida a la recuperació de l'atelier de l'escultor i a la primera exposició pòstuma de la seua obra, i el inici del projecte de restauració de l'obra d'Alija Kucukalic, que ha començat amb la restauració de parc memorial Vraca, a Sarajevo, símbol d'unió nacional contra el feixisme.
[EN] The following doctoral thesis arises as a response to the problem of the destruction of the historical memory of Bosnia and Herzegovina, which began with the war of 1992 and got institutionalized in the legislation of the Dayton Peace Agreement. The historical causes of this destruction and its consequences are exposed, both the most immediate, namely, the physical destruction of the country's heritage, and the most remaining: the description of history according to the ethno-nationalist aspirations that caused the conflict. On these facts, a double study has been made: on the one hand, a historical research to date on the sculpture of Bosnia and Herzegovina, of which Alija Kucukalic stands out as the greatest exponent in the second half of the 20th century and as a proof that the sculptural tradition of Bosnia and Herzegovina has a clear evolution towards modernity; on the other hand, a set of practical proposals that made possible the dissemination of the artistic work and cultural legacy of the sculptor Alija Kucukalic, in order to expose the importance that his sculptural and pedagogical work had for the artistic development of Bosnia and Herzegovina. In particular, the political and historical review of Bosnia and Herzegovina carried out in this research shows that the ethno-nationalist ideologies respected in the Dayton Peace Agreement, according to which the country has been divided into two Entities, one of Serbian ethnicity and another of Bosnian and Croatian ethnic groups, represent an absolute impediment both in the advancement of culture and in its preservation. By affirming the Dayton Peace Agreement that the citizens of Bosnia and Herzegovina form three constituent peoples and handing over the control of cultural Institutions to the Entities, which are divided according to the ethnic groups of their respective areas, culture in Bosnia and Herzegovina depends on agreements between the three ethnic divisions of the country, whose disagreements originated the last conflict. Within this political context, the case of AlijaKucukalic is found in a kind of ostracism, being he an artist who cannot be related to any of the political ideologies in force in the country, but whose work rather affirms the whole Bosnian people alike. This fact favors the progressive deterioration of his artworks, which until the completion of this thesis was totally forgotten by the Institutions of Bosnia and Herzegovina. Specifically, Alija Kucukalic was assassinated at the beginning of the siege of Sarajevo as part of the elitocide strategy that consisted of the individual and mass murder of Bosnian intellectual elites; his work was stolen and destroyed during the war; his atelier, invaded; and at present the legal loophole left by the Dayton Peace Agreement on the care of cultural heritage has caused vandalism to seize his public work. As a solution to this problem, it is shown the need to carry out actions to safeguard the cultural and artistic legacy of Alija Kucukalic, by justifying that with his work Bosnia and Herzegovina acquired international artistic renown and that with his pedagogical work as a Professor of Sculpture at the Sarajevo Academy of Fine Arts, of which he was a founder, the country's artistic tradition was reborn and continues to grow. This justification has been reinforced with the aforementioned practical work, whose most important results are the legal constitution and registration of a cultural entity in the form of the Atelier Memorial Alija Kucukalic Foundation, joined to the recovery of the sculptor's atelier and the first posthumous exhibition of his work, everything focused on the lasting safeguarding of the memory of the sculptor Alija Kucukalic and his work, as well as on the protection of his works and his copyright; and the start of the restoration project of the artwork of Alija Kucukalic, which has begun with the restoration of the Vraca memorial park in Sarajevo, symbol of national union against fascism.
Kucukalic Ibrahimovic, L. (2021). Alija Kucukalic: El legado de uno de los clásicos de la escultura moderna de Bosnia y Herzegovina [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171587
TESIS

Orientador: Antônio Roberto Esteves
Banca: Cleide Antonia Rapucci
Banca: Maria de Fátima A. de Oliveira Marcari
Banca: Maria Dolores Aybar Ramírez
Banca: Jacicarla Souza da Silva
Resumo: A trilogia de romances da escritora catalã Montserrat Roig (1946-1991) composta por Ramona, adéu (1972), El temps de les cireres (1978) e L'hora violeta (1980) (traduzidos para o espanhol como Ramona, adiós, Tiempo de cerezas e La hora violeta) pode ser compreendida como a representação de seu projeto literário, colocando em evidência sua visão sobre o papel da literatura e a importância do registro e preservação da memória. Considera-se que tais obras, que concentram suas narrativas no período que compreende o final do século XIX até os primeiros anos da transição espanhola, recuperam memórias coletivas (HALBWACHS, 1990) relacionadas a esses anos da história barcelonesa, dando visibilidade a um passado silenciado durante a ditadura e voz a grupos marginalizados, em especial as mulheres. A trilogia integra, assim, junto a um passado que havia sido emudecido, a história das mulheres, reivindicada a partir dos movimentos feministas como forma de empoderamento. Da mesma forma que a recuperação do passado permite que o povo reconheça sua própria história e se veja nela, a escrita da história das mulheres permite reconhecer a sua participação histórica, revelando protagonismos e promovendo o auto-conhecimento. Às manifestações da memória inscritas nas obras, soma-se a memória literária (SAMOYAUT, 2008), representada a partir da intertextualidade que compõe os romances... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The Catalan writer Montserrat Roig's trilogy composed by Ramona adéu (1972), El temps de les cireres (1978) and L'hora violeta (1980) (translated into Spanish as Ramona, adiós, Tiempo de cerezas and La hora violeta) can be understood as the representation of her literary project in order to highlight her vision about the role of the literature and the importance of the record and preservation of the memory. These literary works, which focus their narratives in the period that comprehends the end of the 19th century until the first years of the Spanish transition, recover collective memory (HALBWACHS, 1990) related to these years of the Barcelona's history, providing visibility to a silenced past during the dictatorship and giving voice to marginalized groups, especially the women. The trilogy integrates, thus, with a silenced past, the history of women claimed from the feminist movement as a form of empowerment. In the same way that the recovery of the past allows people to recognize their own history and see themselves in it, the writing of the women's history allows to recognize their participation in history, which reveals protagonism and promotes self-knowledge. To the manifestations of memory registered in the work is added the literary memory (SAMOYAUT, 2008) represented from the intertextuality that compounds the novels. The trilogy also discloses a process of construction which is inserted in the historiographical metafiction definition (HUTCHEON, 1991), a process of history view from the literature, which provides the self-reflection about the past and the literary work itself. Moreover, Roig inserts in the novels self-fictional elements, which evidences the literary elaboration process and the writer relation with her production. In this way, it is intended to evince that the trilogy is formed by... (Complete abstract click electronic access below)
Doutor

In Argentina, the violence of the recent past has become the central analysis of History and Collective Memory. The crimes and human rights violations that occurred during the last dictatorship (1976-1983) have been the object of dispute. The “two demons” theory that derived from the report of the “National Commission of the Disappeared” assigned equal responsibility to the two parties involved in the conflict: the dictatorship and the militant opposition. The theory positioned Argentinean society as a spectator or victim of the violence. Since the return of democracy in 1983, Argentinean social discourse has shown fluctuations in the conflictive relationship between History and Collective Memory regarding this traumatic time period. The literary discourse, as an integrated part of the social discourse, shares common arguments and topics which are inscribed and transformed in post dictatorship literary texts. This dissertation analyses the fictional representation of History and Collective Memory in four Argentinean novels published between 1995 and 2002: Dos veces junio (2002) by Martín Kohan, El secreto y las voces (2002) by Carlos Gamerro, Ni muerto has perdido tu nombre (2002) and Villa (1995) by Luis Gusmán. I argue that these novels present the necessary equilibrium between the two narrations of the past. By introducing narrating voices outside the dual format of victims and victimizers, the characters seem to extend responsibility for what had happened to other groups of individuals. These novels also introduce the children of the disappeared, who want to recover their “incomplete” family identity. I assert that these characters bring into question the theory of the “two demons”. They signal that there are other protagonists of the crimes: the witnesses who kept silent for many years. The question of social responsibility during the last dictatorship is embedded in the representation of the conflictive relationship between Collective Memory and History. Impunity for the human rights violations intertwines the four novels by highlighting the omission, silence and cowardly attitudes possessed by the characters. Those who witnessed the crimes that erased many identities, and remained silent, share part of the responsibility.

Frente à necessidade emergente de se esclarecer os obscuros períodos de ditaduras e violência de Estado na América Latina ou de construir e manter versões que os neguem surge em diversos países um novo conflito entre os diferentes setores da sociedade, que agora disputam qual versão sobre o passado ascenderá ao status de verdade. A memória coletiva, como fenômeno construído a partir de relações sociais e constituidor dessas mesmas relações, ao ser transformada em memória histórica, aquela que é legitimada institucionalmente, parece ser um meio de determinar o que deve e o que não deve ser recordado, possibilitando o reconhecimento ou o apagamento de identidades. Muitos dos processos de reconstrução e recuperação de memória desenvolvidos nos últimos anos reproduzem modelos ocidentalocêntricos de pensar e fazer, excluindo o saber de grupos historicamente marginalizados. A produção de informes e publicações com dados sobre os eventos violentos do passado, ganha mais relevância que as vidas que relataram tais eventos. Estratégias para que se rompa o silêncio são elaboradas sem que se questione como fazer falar o silêncio sem que ele fale necessariamente a língua hegemônica que o pretende fazer falar. Muitas comunidades cansadas de esperar que se cumpram seus direitos por parte do governo, decidem levar a cabo suas próprias formas de reparação do tecido social, desenvolvendo processos de recuperação e reconstrução de memória particulares, destinados à reorganização e remotivação, a partir, sobretudo, das memórias de suas resistências. A Guatemala, como país tremendamente afetado por 36 anos de conflito armado interno, tem concentrado em seu pequeno território, uma imensidão de processos de memória. Sendo a população indígena a mais atingida pela violência do conflito armado, pelo racismo e pela discriminação até os dias de hoje, muitos destes processos não visam tratar causas estruturais da violência, e as próprias comunidades terminam por desenvolver estratégias para seguir resistindo. A partir das memórias destas resistências, lidas, escutadas e vividas ao longo da presente pesquisa, pretende-se refletir sobre os efeitos das políticas de recuperação e reconstrução de memória como modos de reparar os danos causados pela violência política. Para tal, serão propostas algumas relações entre racionalidade colonial e memória histórica, a partir do recente movimento descolonial latino americano; será traçado um caminho de leitura pela história da Guatemala, para chegar-se às contribuições que podem ser feitas ao campo, a partir de um caso específico de recuperação e reconstrução de memória histórica na Guatemala.
Regarding the emerging need to clarify the hazy periods of dictatorships and State violence in Latin America or the need to build and maintain versions that deny them in many countries a new conflict emerges, between the different sectors of society, which now dispute which version about the past will earn the status of truth. Collective memory, as a phenomenon built over social relationships and something which constitutes these very relationships, when transformed in historical memory, the one which is institutionally legitimated, seems like a mean to determine what should and what should not be remembered, allowing the recognition or the erasure of identities. Many of the processes of reconstruction and recuperation of memory developed in the last years reproduce Western-centric models of thinking and doing, ruling out the knowledge of historically marginalized groups. The production of reports and publications with data regarding violent events of the past gains more relevance than the lives that reported such events. Strategies to break the silence are elaborated without questioning how to make silence speak without it speaking necessarily the hegemonic language that intends to make it speak. Many communities, tired of waiting for their rights to be fulfilled by the government, decide to perform their own ways of repairing the social tissue, developing processes of recuperation and reconstruction of particular memories, aiming to the reorganization and remotivation, from, above all, the memories of their resistances. Guatemala, as a country tremendously affected by 36 years of internal armed conflict, has been concentrating in its small territory a huge amount of memory processes. Being the indigenous population the most affected by the violence of the armed conflict, by racism and discrimination until nowadays, many of these processes do not aim to treat the structural causes of violence, and communities themselves end up developing strategies to keep resisting. From the memories of these resistances, read, listened and lived throughout the present research, it is intended to reflect upon the effects of the policies of recuperation and reconstruction of memory as means to repair the damage caused by political violence. For such, some relations will be proposed between colonial rationality and historical memory, a reading scrip will be traced through the history of Guatemala aiming to reach out to the contributions that can be made to the field, from a specific case of recuperation and reconstruction of historical memory from Guatemala.

Cette thèse a pour but d’examiner comment les individus utilisent des comparaisons entre des situations actuelles et des situations passées dans des contextes politiques. L’utilisation de telles analogies historiques a longtemps été documentée, en particulier au sein des sciences politiques, en histoire et dans les champs concernés par l’argumentation. Ces littératures ont mis en évidence la fréquence avec laquelle les responsables politiques et autres personnages publics utilisent les analogies dans des buts de délibération et de persuasion. Malgré leur omniprésence supposée, peu d’études en psychologie sociale se sont penchées sur ce processus. Les trois volets de cette thèse ont tenté de combler cette lacune en recourant à diverses méthodologies. Plusieurs études expérimentales nous ont d’abord permis d’investiguer si l’exposition à des analogies historiques influence les prédictions que posent les participants concernant des situations réelles incertaines. Les résultats montrent que l’effet, bien que de faible taille, tend à devenir plus fort à mesure que diminuent les connaissances actuelles des individus. Dans un second volet, au lieu de sélectionner a priori les analogies historiques, nous avons donné la possibilité aux répondant.e.s de générer leurs propres analogies et d’expliquer leurs choix dans des questionnaires récoltés en France, en Belgique et en Allemagne à la suite des deux attaques de 2015 en France. L’analyse des réponses ouvertes montre non seulement une grande diversité dans les manières de mettre en correspondance le présent et le passé – même lorsqu’il s’agit d’analogies avec le « même » événement (e.g. l’attaque du 11 septembre 2001) ;mais les participant.e.s utilisent de plus ces analogies pour formuler des arguments, plus ou moins implicites, par rapport à des débats actuels. Cette dimension argumentative dans l’usage des analogies historiques a été explorée plus avant dans un 3e volet. En analysant les articles du mois de mars 2014 relatifs à la crise de Crimée au sein de quatre journaux belges, nous avons relevé comment les individus s’y prennent pour établir des liens entre le passé et le présent, et comment ils procèdent pour les contester. Ensemble, les trois volets de cette thèse suggèrent que les personnes ordinaires, tout comme leurs homologues plus « experts », ne sont pas passives en utilisant les analogies historiques, mais participent activement, par leur biais, au processus éminemment politique de construction et de contestation des passé(s), présent(s) et futur(s).
Doctorat en Sciences psychologiques et de l'éducation
info:eu-repo/semantics/nonPublished

Since the 1990s, it has become almost common practice for Western states to apologizefor the injustice they committed against other states or nations. This thesis investigatesthe debate surrounding such a political apology: the (possible) apology from theNetherlands to Indonesia for the crimes committed during the war of decolonization(1945–49). It examines whether Dutch national newspapers portrayed the apology, orthe possibility thereof, positively, negatively, neutrally or both positively andnegatively in the period between 1995 and 2013. Moreover, it examines whicharguments were used to support these evaluations. Using theories on political apologies,collective memory and the media’s relationship with the public, the findings from thenewspaper analysis are linked to the Dutch collective memory of the war ofdecolonization. The findings show that the examined newspapers changed theirevaluation of the (possible) apology from a negative to a positive one between 2005and 2011. Next, it was found that Indies-veterans and the violence perpetrated by theIndonesian side played important parts in the debate in all studied years. It is arguedthat the Dutch remembrance of the Indonesian war of decolonization switched from anunapologetic remembrance in 1995 and 2005 to an apologetic remembrance in 2011and 2013, indicating a re-appraisal of Dutch history within the public debate.

Media & Communication
Ph.D.
Race riots have struck America’s cities large and small for more than a century, and the media have retold these brutal events for American audiences. The 1960s, in particular, endured years of violent rioting due to social and economic inequalities between whites and blacks, and many of these riots have received ample coverage from the media and academic scholars. However, a lesser-known riot that destroyed homes, devastated businesses, and took the lives of two individuals was the 1969 York, Pennsylvania race riots. Similar to more well-known riots, such as the 1965 Watts riot and the 1967 Detroit riot, the racial violence in York was the result of decades of inequalities and frustrations between blacks and whites. What sets this riot apart is that two murders that occurred over those twelve deadly days in 1969 would go unsolved for more than thirty years. The killing of a twenty-seven-year-old black woman, Lillie Belle Allen, and a twenty-two-year-old white rookie police officer, Henry C. Schaad, were not resolved until their killers were brought to justice in 2002 and 2003, respectively. This dissertation explores the development of journalistic approaches to covering race relations in the United States. The methods employed to cover the 1969 York race riots and subsequent murder trials differ greatly from those more recent racial protests today. First, an examination of coverage from 1968 and 1969 reveals how the newspaper and television news media dictated public opinion of these violent events and established the foundation for a historical narrative. Then, the study fast-forwards thirty years to when the local York media commemorated the thirty-year anniversary of the riots in 1999. Although the local media briefly revisited the story of the 1969 York riots after they transpired, this local story came back unexpectedly in full force in 1999. However, the local audience was not ready to remember those events. These commemorations not only broke the silence of many York citizens, but also magnified the inequalities and social issues facing York in the present while also instigating the reopening of the Allen and Schaad murder cases in 2000. In addition, the mayor of York, Charles Robertson, was arrested in 2001 for the murder of Allen, bringing the newsworthiness of this story to another level. Mayor Robertson’s involvement in the story suppressed the larger social issues that led to the riots and, instead, over-simplified the story as one, racist villain who instigated the violence. By examining the local, regional, and national media coverage of these events, I argue that the narratives used personified, dramatic style to express competing accounts of what caused the York race riots and the personas of the characters involved, as well as the larger issues or race relations and race reconciliation. By emphasizing the role of the news media as storytellers, this dissertation determines that the journalists created new, dramatic, and sometimes misleading, narratives that retold the story of the 1969 York race riots in the present.
Temple University--Theses

Målet och syftet med denna studie är att observera, tolka, och vidareutveckla förståelsen för den samtida turistens interagerande med, och omförhandlande av, det historiska rummet genom individualistisk påverkan från fiktiva narrativ – i detta fallet, Outlanders transmediala berättelsevärld. Genom ett teoretiskt ramverk uppbyggt på materialism, påverkan, tidsresande och proteser har jag analyserat och kartlagt både kulturarvsplatserna samt Outlander-fansens interaktion med dessa genom att ha deltagit själv i två guidade endagarsturer, samt genom en djupgående, om än liten, enkät. I en nutid som beskådar hur förhållandet till det förflutna och de platser som kopplas till de temporala och spatiala dimensionerna av historien förändras snabbt och omgående, är detta projekt avgörande för att vidare förstå denna minneskultur och vidareutvecklandet av ett kollektivt minne. Resultatet av mina observationer och min enkät påvisar och demonstrerar hur omfattande individuell den sensoriska upplevelsen har blivit inom Outlander-turismen i Skottland. Genom metoder såsom påverkan och lekfullhet är besökaren inbjuden till att tolka platserna i syfte att tillfredsställa deras personliga behov för autencitet i både fiktionen, historien, och sensationen. Ändock är inte vikten av, och värdet på, historien helt och hållet förlorad; majoriteten av respondenterna demonstrerar ett ökat intresse till den faktiska historien, den ’riktiga’ och autentiska, samtidigt som de återinvesterar i det ’virtuella’ och artificiella. Att bära historiens fysiska kropp som en protes, fullständigt beroende av narrativets påverkan, manifesterar den sensoriska upplevelsen och det fysiska mötet med rummet som en anpassad sammangjutning mellan historien och kroppen; besittningen av den historiska protesen stör fördelaktigt ej den egna kroppens integritet

Orientador: Maria Leandra Bizello
Banca: Icléia Thiesen
Banca: Sônia Maria Troitiño Rodriguez
Resumo: This dissertation presents a case study concerning the municipal legislation for the preservation of collective memory in the city of Jundiaí - São Paulo, perceiving the sociocultural dynamics existing in the formation of the social identity of the city and the relation of the public power and the civil society with the safeguard and diffusion of memory and historical and cultural heritage. This paper studies the importance of the integration of collective and institutional memory in the formation of individuals and society, in which they are inserted. For that, several theoretical references were used in order to understand memory, its epistemology and its importance in social and citizen formation. Through a sequence of operations that analyzed the historiography of the city of Jundiaí, mainly in the XX and XXI century, referring to laws that seek to safeguard memory and historical preservation, the research analyzes memory as one of the fundamental factors in political, Ideological and social composition of the city. In addition to taking into account that memory is selective and has a dynamic action in the experiences and experiences of individuals, this research will also show the gaps in the preservation of the collective memory of the city of Jundiaí and with that the consequences in the recognition of diverse social groups that (re)construct daily the history of the city and are important sources of information on cultural transformations.
Abstract: This dissertation presents a case study concerning the municipal legislation for the preservation of collective memory in the city of Jundiaí - São Paulo, perceiving the sociocultural dynamics existing in the formation of the social identity of the city and the relation of the public power and the civil society with the safeguard and diffusion of memory and historical and cultural heritage. This paper studies the importance of the integration of collective and institutional memory in the formation of individuals and society, in which they are inserted. For that, several theoretical references were used in order to understand memory, its epistemology and its importance in social and citizen formation. Through a sequence of operations that analyzed the historiography of the city of Jundiaí, mainly in the XX and XXI century, referring to laws that seek to safeguard memory and historical preservation, the research analyzes memory as one of the fundamental factors in political, Ideological and social composition of the city. In addition to taking into account that memory is selective and has a dynamic action in the experiences and experiences of individuals, this research will also show the gaps in the preservation of the collective memory of the city of Jundiaí and with that the consequences in the recognition of diverse social groups that (re)construct daily the history of the city and are important sources of information on cultural transformations.
Mestre

Essa pesquisa para o Mestrado Profissional em História tem como objetivo formular metodologicamente um modelo-ficha para a descrição detalhada de edificações com potencial para preservação por sua história e sua importância sociocultural nas comunidades a que pertencem. Esse registro de indicadores arquitetônicos e históricos é um modelo de ficha, que consiste no produto resultante do estudo realizado. Com o intuito de formular esse modelo-ficha, foram analisados conceitos como memória, identidade e cultura. Conceituando, também, de forma adequada, termos como patrimônio material e imaterial, e analisando os modelos existentes de fichamento foi possível desenvolver um modelo-ficha mais coerente e convincente, que auxiliará nos registros dos dados para a preservação de edificações com importância histórica. A explanação desses conceitos complementa os estudos de graduação para os arquitetos e urbanistas, que possuem uma formação superficial nessa área de conhecimento. O modelo-ficha, depois de formatado, foi apresentado a quatro Conselhos Municipais de Patrimônio Arquitetônico Histórico e Cultural (COMPAHC), onde foi validado pelos membros neles presentes. Esse material orientará os profissionais arquitetos e urbanistas e historiadores participantes dos conselhos a produzir materiais e levantamentos dimensionais e fotográficos detalhados dos imóveis e conjuntos urbanos, de forma a agregar a história imaterial às edificações inventariadas e passíveis de tombamento. Para aplicação prática e para teste dos parâmetros indicados, foi realizado o estudo de caso da Vila KM2, conjunto urbano que consiste em um local implantado pelo batalhão ferroviário de Bento Gonçalves, às margens da via férrea. O espaço foi escolhido por ter sido um pequeno núcleo social com vida própria, independente do centro de Bento Gonçalves (pertencente à linha de Veríssimo de Matos). Ali aconteceram atividades sociais, de trabalho, de comércio e onde residiu uma comunidade diferenciada que até hoje lembra com saudades períodos de muita felicidade. Assim, sob a observação direcionada a esse grupo, foi possível realizar a experimentação dos indicadores, compreendendo como é necessário investigar e tratar os outros patrimônios que, sendo desprezados pelas comunidades, acabam se deteriorando e sendo demolidos. O ato de preservar também precisa passar pelos processos educativos e, certamente, pela educação patrimonial superior para arquitetos e urbanistas, com vistas a um futuro próximo, que exigirá desses profissionais conhecer, de modo aprofundado, princípios de história, preservação e restauro. Complementam o estudo proposto para o Mestrado Profissional em História a análise reflexiva sobre a experiência obtida por meio de contatos com conselhos dos quatro municípios e, também, o levantamento obtido por meio de visitas aos conselhos de quatro municípios. O modelo-ficha a ser preenchido com imóveis de valor histórico trará novas diretrizes para que sejam contadas as histórias dos municípios, escondidas nas paredes de edificações passadas.
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This research for the Professional Masters in History aims to methodologically formulate a record model for the complete description of buildings to be preserved for its history and socio-cultural importance in the communities they belong to. This record of architectural and historical indicators is a form model that is the resulting product of the study performed. In order to formulate the model-form, concepts such as memory, identity and culture were analyzed. Conceptualizing, also, in an appropriate way, terms such as tangible and intangible heritage, and analyzing the existing report models, it was possible to develop a more coherent and convincing record model, which will assist in data records for the preservation of buildings of historical importance. The explanation of these concepts complements the undergraduate studies for architects and urban planners, who have a superficial knowledge in this area. The model-form, once formatted, was presented to four Municipal Councils of Architectural Heritage and Cultural History. Then, it was validated by the present members of the councils. This material will guide the professional architects, urban planners and historians that take part in the councils to produce dimensional and photographic materials and detailed surveys of real estate and urban centers, in order to add the immaterial history to inventoried buildings, that can be preserved. For practical application and testing of the parameters, the case study of the village KM2 was analyzed. KM2 is an urban ensemble that was deployed by the railway battalion of Bento Gonçalves, on the border of the railroad. This local was chosen because it was a small social nucleus with its own life, independent from Bento Gonçalves (belonging to the line of Matos Verissimo). There occurred social, work and trade activities – and there also lived a different community that even today remember these periods of great happiness. Thus, under the direct observation of this community, it was possible to test the indicators, understanding how necessary it is to investigate and treat other historical buildings, being despised by communities, that end up deteriorating and being demolished. The act of preserving also need to go through the educational process and certainly the superior heritage education for architects and urban planners with a view to the near future, which will require these professionals to know, in depth, early history, preservation and restoration. Complement the proposed study for the Professional Masters in History the reflective analysis on the experience gained through contacts with the four municipalities councils and also the survey obtained through visits to four municipal councils. The record model to be filled with historical value of real estate will bring new guidelines to tell the stories of the cities, hidden in the past of the walls of these buildings.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O município de Bragança Paulista/SP encontra-se em um contexto regional marcado por significativas transformações socioambientais decorrentes de períodos econômicos caracterizados por momentos sucessivos de crescimento e estagnação, destacando-se: a frustrada expectativa de riqueza através do ouro, o efêmero dinamismo do café, a tardia e atual industrialização que se contrapõe ao perfil ambiental regional, os impactos provocados pelas Rodovias Fernão Dias e Dom Pedro I, a problemática ambiental causada pela construção do Sistema Cantareira, a criação e a não regulamentação de suas unidades de conservação e o turismo desordenado. Tais transformações interferem diretamente na vida cotidiana da população, especialmente dos moradores das áreas rurais, configurando novas dinâmicas culturais. Neste sentido, o presente estudo busca investigar, por meio da história oral e da imagem, como as memórias e territorialidades dos moradores do bairro rural Boa Vista são reconstruídas mediante esse contexto de mudanças
The municipality of Bragança Paulista/SP is located in a regional context marked by significant social and environmental changes that result from economic periods characterized by successive stages of growth and stagnation, including: the frustrated expectations of wealth through gold, the ephemeral dynamics of coffee , the late and current industrialization that is opposed to the regional environmental profile, the impacts caused by the Highways Fernão Dias and Dom Pedro I, the environmental problems caused by the construction of the Cantareira Reservoir Water System , the creation, and still unregulated protected areas and unplanned tourism. These changes directly affect the daily life of the population, especially the residents of rural areas, setting up new cultural dynamics. In this sense, this study investigates, through oral history and image methodologies, how the memories and territoriality from the residents of the Boa Vista Rural District are reconstructed inside this change context

Les réformes qui affectent le système d’enseignement suédois de 1945 à 1980 ont abouti à unifier ses structures et son discours au nom de l’égalité et de l’utilité collective. Le réductionnisme instrumental propre à d’autres champs de la construction de l’État-providence investit alors la sphère de l’accès au savoir : légitimation des méthodes par la science, explication des objectifs, rationalisation des outils de programmation et de formation des agents... Le ralliement de l’école à un « modèle » suédois d’hygiène sociale est ici examiné à travers son impact sur les cadres sociaux de la mémoire culturelle. L’accent est mis sur la manière dont la codification du relativisme et la formalisation d’une approche non biaisée des sujets d’enseignement affectent l’autorité du canon pédagogique, en précipitant sa crise. À cette fin, l’évolution du cadre codifié de l’enseignement de l’histoire, l’évolution vers un programme interdisciplinaire pour les humanités et la structure des manuels scolaires d’histoire, font l’objet d’un suivi systématique.La seconde partie de l’étude est consacrée à la manière dont la subordination de la relation éducative à l’intérêt social qu’elle est censée servir se construit, paradoxalement, en tant que régime de vérité. Au nom de son statut émancipateur, l’institution scolaire est appelée à investir le terrain de la formation du sentiment individuel de responsabilité – de la vie de couple à l’éducation correcte des enfants. L’injonction de conformité et de discipline que cet enseignement véhicule, oriente la relation maître/élève vers un tiers symbolique immanent : l’actualisation de valeurs « suédoises », ou prétendues telles. Les enjeux imaginaires de l’introduction de méthodes participatives à l’école et de l’accueil des enfants d’immigrés, entre 1970 et 1980, et l’émergence ultérieure de deux impératifs sociaux – le « devoir » des adultes d’influencer les enfants, et le devoir social de « former » les parents – sont examinés dans cette optique
The reshaping of the Swedish education system from 1945 to 1980 led to a unification of its structures and discourse in the name of equality and the common good. The instrumental reductionism inherent in the construction of the welfare state was thus extended to the sphere of access to knowledge: scientific validation of the methods used, explanation of the objectives, rationalisation of planning and training tools, etc. The thesis examines the alignment of the school system with a Swedish “model” of social hygiene through its impact on the social frameworks of cultural memory. It focuses on how the codification of relativism and the formalisation of an unbiased approach to the subjects taught impact on the authority of the pedagogical canon, while accelerating its crisis. To this end, the formal framework of history teaching, the shift to a trans-disciplinary curriculum for humanities and the changing focus of history school-books are analysed systematically.The second part of the study focuses on how the subordination of the teaching relationship to the social purpose it was supposed to serve was imposed, paradoxically, as a truth regime. In the name of their emancipatory role, schools were now required to help foster an individual sense of responsibility – whether in the area of married life or with regard to the “correct” way of raising children. The requirement for conformity and discipline reflected in this teaching would shift the teacher/pupil relationship towards an immanent symbolic third: the implementation of “Swedish” (or supposedly Swedish) values. The imaginary challenges involved in introducing a participatory approach in schools and welcoming the children of immigrants between 1970 and 1980, and the subsequent emergence of two social imperatives – the “duty” of adults to influence their children, and the social duty to “train” the parents – are examined in this light

When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
What I present is an approach based on a cut-anthropological history, where the guiding theme of this study is included reflections on how it is made and felt the experience of Student Housing at (ex) students outside the Student Assistance Program at CEU, offered free of charge from the Federal University of Santa Maria - RS. We tried to interpret as symbolic boundaries are redrawn with this type of occupation of a space-time new collective that is the student housing. And as all this symbolic construction of identity and recognition reacted to the process of untying the condition of university and resident. To achieve this purpose it was indispensable to the reassembly of the historical puzzle of the social field to which this community is submerged. This provided an understanding of the types of relationships established with the equity, based on the recognition of its historical and institutional, immersed in a space-time that was and is thought and / or lived in this community as an active member constituent of memory and identity references of social representation. It was thought the history and daily life of this community as legitimate custodians of collective memories and aspirations of individuals and groups who, while sharing the same territory pluralized, collectively operate daily and reinvent their condition and its relationship with this heritage in the pursuit of perpetuating this experience in time and build an identity that particularize. The research showed that each of the subjects involved, try a different kind of adaptation, within that space assets potentially set. Leading them to a new sense of recognition, membership and socialization in the community. And so, to explore various forms of sociability. To meet a collective memory and shared extensively negotiated that legitimizes a representation and a daily academic heritage.
O que este trabalho expõe é uma abordagem fundamentada num recorte antropológico-histórico, onde o tema norteador deste estudo insere reflexões sobre como é composto e sentido a experiência de Moradia Estudantil em (ex)estudantes universitários frente ao Programa de Assistência Estudantil na CEU, ofertado de forma gratuita pela Universidade Federal de Santa Maria - RS. Buscou-se interpretar como as fronteiras simbólicas são redesenhadas junto a este tipo de ocupação de um espaço-tempo novo e coletivo que é a moradia estudantil. E de como toda esta construção simbólica de identificação e reconhecimento reagiu ao processo de desvinculação da condição de universitário e morador. Para o alcance deste intento foi indispensável o remonte do quebra-cabeça histórico do campo social ao qual esta coletividade esta submersa. Isso propiciou a compreensão dos tipos de relações estabelecidas com o patrimônio, tendo por base o reconhecimento de seu valor histórico e institucional, imerso num espaço-tempo que foi e é pensado e/ou vivido por esta coletividade como membro ativo constituinte da memória e das referências identitárias de representação social. Pensou-se a história e o cotidiano desta coletividade como depositários legítimos de memórias coletivas e de anseios de indivíduos e grupos que, ao compartilhar um mesmo território pluralizado, operam coletivamente e reinventam cotidianamente a sua condição e a sua relação com este patrimônio, na busca de eternizar essa experiência no tempo e de construir uma identidade que os particularize. A pesquisa demonstrou que cada um dos sujeitos envolvidos, experimenta um tipo de adaptação diferente, dentro desse espaço patrimonial potencialmente definido. Conduzindo-os a um novo sentimento de reconhecimento, pertencimento e de socialização em coletividade. E assim, a explorarem diversas formas de sociabilidades. Que vão ao encontro de uma memória coletiva extensivamente negociada e compartilhada que legitima uma representação e um cotidiano acadêmico patrimonial.

This essay takes its starting point in Legenda Aurea, a hagiographical compendium written in the thirteenth century by an Italian catholic friar, Jacobus de Voragine. The essay aims to find out how the Roman history in the third century is shown in Legenda Aurea, a Christian book written about a thousand years later. The purpose of this essay is to show how a part of the history of the Roman Empire is understood and remembered during the Christian hegemony that was during the thirteenth century. The main results of this essay show that the history of the Roman Empire during the reign of named emperors is remembered as a violent, brutal and authoritarian history, but also that Christianity seems to have been widespread within the Roman Empire during this time.

The present thesis offers a new perspective on Holocaust memory in Greece by examining the ways in which divergent mnemonic representations about the Greek 1940s, as evidenced in polarized public contestation, influence the position of Holocaust in contemporary Greek collective memory. Adopting a micro-level case-study approach, the thesis focuses on the process of renaming a street in Salonika (or Thessaloniki), by examining public discourses around the issue. On the basis of theoretical elaborations in the area of collective memory, and through an application of Kubik and Bernhard's conceptualization of the politics of memory, a qualitative evaluation of Holocaust memory in Salonika is presented by attempting to categorize the memory regime emerging. It is assessed that the memory regime pertaining to the Holocaust is affected by the salience of pre-established memory regimes, occupies a secondary status in the wider mnemonic field and, what is more, is not unified. In such context, a problematic tendency to actually distort the historical record of the Holocaust, in the form of downplaying the complicity of local elites in the implementation of the Nazi genocidal policy, is also detected and explained as a repercussion of the specific dynamics at play whenever political actors engage in discussions about the Greek 1940s. All things considered, the study demonstrates that the official institutionalization of Holocaust memory on a commemorative level, a phenomenon observed during the past twenty years, should not be equated to the emergence of a cosmopolitan Holocaust memory in the country.

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This is a survey about working with children's literature whose general objective is to investigate what children 5-6 years have to say from the readings of stories carried by the librarian and the teacher in Early Childhood Education class. From this, the following specific objectives were outlined: (i) investigate the influences and adult mediation contribution in the psychological development of children, working with children's literature in kindergarten; (Ii) analyze what children have to say from reading stories, identifying trends. As methodological procedures were used: semi-structured interviews with the teacher and the librarian; observation of the readings made by the librarian and teacher; collective and semi-structured interviews (with groups of two to five participants) with the children after the readings. Both the interviews and the observations were video-filmed in order to have the possibility of returning the scenes identifying gestures accompanying speech or even less clear conversations at the time of going to the field, and that the recordings preserved. In total we obtained for analysis: three moments of conversation / interview with the librarian and an interview with the teacher; nine video footage of readings taken; 18 interviews with groups of children; and 49 drawings produced by children during interviews. The empirical material was analyzed qualitatively, with basis in historical-cultural theory, focusing on the concepts of imagination and memory as psychic functions superiors in development in children and socially constituted. They were used as axes of analysis of the interviews with the children, and the observations of the readings: the narratives produced by children who retold the story; discussions in which participants put their views; experience reports; and invented narratives. At the end of the analysis we realized that the retelling of the story was not individually with each child, but rather was built by a collective memory of each group of children interviewed. We also note that post-reading moments in which the book is still holding material and imagination is instigated and allowed, are important to (re) signification and appropriation that children make the text. Moreover, one can realize that creative ideas, in which the children sought to incorporate new elements to the story, have become increasingly frequent over the interviews. We also point out that adults of mediations - the teacher, the librarian, the researcher - in each of the situations experienced by children participants, solicit, encourage and legitimize different statements and behavior of children, contributing in different ways to the children's psychological development. It was found that adult mediation, the way it handles text and leads reading can contribute more positively or less in the formation of memory and imagination of children, encouraging them to create or primarily reproduce.
Trata-se de uma pesquisa sobre o trabalho com a literatura infantil cujo objetivo geral ? investigar o que as crian?as de 5 a 6 anos t?m a dizer a partir das leituras de hist?rias realizadas pela bibliotec?ria e pela professora, numa turma de Educa??o Infantil. A partir deste, foram delineados os seguintes objetivos espec?ficos: (i) investigar as influ?ncias e contribui??o da media??o do adulto no desenvolvimento ps?quico das crian?as, no trabalho com a literatura infantil na Educa??o Infantil; (ii) analisar o que as crian?as t?m a dizer a partir das leituras de hist?rias, identificando tend?ncias. Como procedimentos metodol?gicos foram utilizados: entrevista semiestruturada com a professora e com a bibliotec?ria; observa??o das leituras realizadas pela bibliotec?ria e professora; e entrevistas semiestruturadas coletivas (com grupos de dois a cinco participantes) com as crian?as ap?s as leituras. Tanto as entrevistas quanto as observa??es foram v?deo-filmadas a fim de termos a possibilidade de retornar as cenas identificando gestos que acompanham falas ou mesmo conversas menos n?tidas no momento da ida a campo, e que as grava??es conservam. No total obtivemos para an?lise: tr?s momentos de conversa/entrevista com a bibliotec?ria e uma entrevista com a professora; nove v?deo-filmagens das leituras realizadas; 18 entrevistas com os grupos de crian?as; e 49 desenhos produzidos pelas crian?as durante as entrevistas. O material emp?rico foi analisado qualitativamente, com embasamento na teoria Hist?rico-cultural, com foco nos conceitos da imagina??o e da mem?ria como fun??es ps?quicas superiores em desenvolvimento nas crian?as e constitu?das socialmente. Foram utilizados como eixos de an?lise das entrevistas com as crian?as, bem como das observa??es das leituras: as narrativas produzidas pelas crian?as que recontavam a hist?ria; discuss?es nas quais os participantes colocavam seus pontos de vista; relatos de experi?ncia; e narrativas inventadas. Ao final das an?lises pudemos perceber que o recontar da hist?ria n?o se fazia individualmente com cada crian?a, mas sim era constru?do por uma mem?ria coletiva de cada grupo de crian?as entrevistadas. Pudemos notar tamb?m que momentos p?s-leitura, nos quais o livro ainda ? material de explora??o e a imagina??o ? instigada e permitida, s?o importantes para a (re)significa??o e apropria??o que as crian?as fazem do texto. Al?m disso, pode-se perceber que ideias criativas, nas quais as crian?as buscavam incorporar novos elementos ? hist?ria, tornaram-se cada vez mais frequentes com o decorrer das entrevistas. Destacamos ainda que as media??es dos adultos - a professora, a bibliotec?ria, a pesquisadora - em cada uma das situa??es vivenciadas pelas crian?as participantes da pesquisa, solicitam, estimulam e legitimam diferentes enunciados e comportamentos das crian?as, contribuindo de maneiras distintas para o desenvolvimento psicol?gico infantil. Foi poss?vel constatar que a media??o do adulto, o modo como ele lida com o texto e conduz a leitura pode contribuir mais positivamente ou menos na constitui??o da mem?ria e da imagina??o das crian?as, incentivando-as a criarem ou a, prioritariamente, reproduzirem.

En este trabajo vamos a analizar la representación de la memoria, individual y colectiva, en la novela Amuleto (1999) del novelista y poeta chileno Roberto Bolaño, con la finalidad de mostrar la importancia de la memoria para la construcción de la novela. La investigación está dividida principalmente en dos apartados: un análisis narratológico y un análisis sobre teorías de la memoria. En la primera parte del análisis se colocarán los diferentes actantes en un esquema actancial para evidenciar sus respectivas funciones e importancia dentro del texto. En la segunda parte se analizarán más en profundidad algunos apartados de la novela a partir del esquema actancial, con la ayuda principalmente, de las teorías e ideas sobre la memoria de Maurice Halbwachs, Paul Ricoeur y Márcio Seligmann-Silva. Hemos llegado a la conclusión de que Auxilio, la protagonista de la novela,  construye, con la ayuda de su memoria individual, una representación histórica de México de los años sesenta y setenta. A partir de ello, la novela de Bolaño se presenta como una narración importante, puesto que está en contraste con otras versiones de un hito en la historia mexicana.
In this paper we will analyse the representation of memory, individual and collective in the novel Amuleto (1999) by Chilean novelist and poet Roberto Bolaño, with the intention of showing the importance of memory for the construction of the novel. The investigation is primarily divided into two parts: a narratological analysis and an analysis of theories regarding memory. In the first part the different actants will be placed in an actancial model to evidence their function and importance in the text. In the second part we will do an in-depth analyses of some passages of the novel, according to the actancial model with the help of theories on memory presented by among others Maurice Halbwachs, Paul Ricoeur, Márcio Seligmann-Silva and Héctor Schmucler. We have come to the conclusion that Auxilio, the protagonist of the novel, constructs a representation of the history of Mexico in the sixties and the seventies. Accordingly, the novel by Bolaño is an important narration seeing that it represents a contrast to other versions of a milestone in Mexican history.

Parmi les risques naturels, le risque d’inondation est le plus fréquent et le plus dommageable en France avec près de 50 % des communes exposées. Dans le département du Haut-Rhin, c’est 80 % des communes qui sont concernées. L’absence d’étude historique approfondie sur les inondations en Alsace et plus particulièrement sur celles de la Lauch, théâtre des derniers grands évènements, a constitué la principale motivation quant au choix de ce sujet. A défaut de pouvoir éradiquer ce risque, l’Homme a, au cours de l’histoire, engagé des actions palliatives pour s’en prémunir. De quelle manière et dans quelle mesure, les évènements historiques ont-ils été pris en considération dans les politiques de gestion et de prévention du risque d’inondation mises en place dans la vallée de la Lauch, durant plus de deux siècles ? Pour répondre à cette problématique, nous avons eu recours à une approche diachronique, avec pour point de départ l’évènement funeste de février 1990, et adopté une démarche interdisciplinaire. S’appuyant sur un important corpus de sources, cette thèse met en perspective l’évolution de la gestion des inondations sur la période considérée en fonction des évènements hydrologiques restitués via une méthode régressive, des enjeux, des contextes politiques très contrastés, et des acteurs, tant au plan local, national, qu’européen. S’inscrivant dans une logique de démarche appliquée, cette étude a pour ambition d’améliorer l’information sur les phénomènes et de constituer un « socle de connaissances scientifiques » pour une meilleure maîtrise du risque. Ainsi, il paraît fondamental de connaître l’aléa afin de pouvoir l’anticiper, s’en prémunir et mieux le gérer
Among the natural hazards, the flood risk is the most frequent and the most harmful in France with about 50 % of the municipalities exposed. In the Haut-Rhin department, 80 % of the municipalities are concerned. We have chosen this subject because no historic study exists about floods in Alsace and especially about the Lauch valley, where the last big events have taken place. In front of the impossibility to eradicate the risk, the Man committed palliative actions to protect himself through history. How have the historic events been taken into consideration in policies of management and prevention of the flood risk in the Lauch valley for more than two centuries ? To answer this question, we have used a diachronic approach which begins with the disastrous event of February 1990, and adopted an interdisciplinary method. Based on an important corpus of sources, this thesis puts in perspective the evolution of the management of the floods over the period considered according to the hydrological events restored via a regressive method, the stakes, the very contrasted political contexts and the actors, over the local, national and European plans. This thesis is part of a logic of applied reasoning and has for ambition to improve the information about the phenomena and to constitute a "basis of scientific knowledge" for a better control of the risk. This way, it seems fundamental to know flood hazard to be able to anticipate it, to manage it better and to protect ourselves

The study of social memory is not purely a historical or anthropological endeavor. Archaeology can provide a considerable amount of evidence about how and why people remembered. In this case study, the Colosseum will be studied in the broader sense of being a monument of damnatio memoriae and commemorative memory; the very act of building it can be seen as a form of “recutting” the landscape to fit the image Vespasian wanted to convey of his predecessor. The Colosseum will also be studied in an even larger historical context. This will involve analyzing the manner in which it was memorialized during the Middle Ages, the Renaissance, and by British visitors during the Victorian era. I will end the case study with an analysis of Benito Mussolini’s use of antiquity and the Colosseum to propagate Fascism. Lastly, the concept of cultural heritage and the institutions that uphold it, particularly UNESCO, will be put into question. In illustrating the fluidity of interpretations of the past, in this case through material culture, I argue that the endeavor to codify them by establishing World Heritage sites is problematic because of their subjectivity to modern agendas. However, in order to understand changing attitudes and memories associated with a single monument, one must first explore the nature of social memory.

La thèse propose moins un inventaire des films du cinéma libanais que le relevé et l’analyse de formes cinématographiques et de pratiques artistiques contemporaines répondant aux drames, aux incertitudes, aux crises identitaires et aux amnésies forcées entraînées durablement par la guerre civile (1975-1990). à partir de la notion d’ « images d’après », on étudie la crise de la représentation qui affecte tant les modes de narration, les discours, la figuration que les formes individuelles et collectives de la mémoire et de l’histoire. de ce « nœud de tensions » découle un art de l’effritement du langage, de l’espace, du temps. une temporalité sismique problématise et brise la linéarité et la factualité, bouleversant les catégories du réel et de l’imaginaire, du documentaire et de la fiction. ce processus est d’abord questionné à travers le lyrisme et la distanciation critique de cinéastes comme borhane alaouié, maroun bagdadi et jocelyne saab, puis à travers le travail de la génération des joana hadjithomas et khalil joreige, lamia joreige, jayce salloum, mohamed soueid, akram zaatari : outre le recours fictionnel et figuratif à une temporalité spectrale conduisant ghassan salhab à faire surgir le fantastique, les créations artistiques libanaises d’après-guerre inventent et explorent une syntaxe et des matériaux esthétiques complexes capables de recréer et renouer des liens authentiques avec le réel. les œuvres d’après-guerre qui sont étudiées traduisent une pratique créatrice discursive et poétique caractérisée par l’utilisation de divers supports médiatiques, et dont la dynamique a pour source et pour effet de penser les événements traumatiques et de les historiciser
The thesis proposes less of an inventory of lebanese films, but more so it aims to collect and analyze the cinematographic forms and contemporary artistic practices that respond to tragedies, uncertainties, identity crises, and forced amnesia resulting from the incessant civil war (1975-1990.) using the notion of ‘images in the aftermath,’ the thesis explores the crisis of representation that impacts the modes of storytelling, addressing of speech, and figuration, as well as individual and collective forms of memory and history. from this ‘knot of tensions’ stems an art of erosion of language, space, and time. a seismic temporality problematizes and breaks the linear and factual, which shakes the core of categories that are linked to the real and the imaginary, documentary and fiction. this process is at firsthand questioned with lyricism and critical distancing by filmmakers such as borhane alaouié, maroun bagdadi, and jocelyne saab, then through the works of a generation including joana hadjithomas and khalil joreige, lamia joreige, jayce salloum, mohamed soueid, and akram zaatari. in addition to the fictional and figurative use of a spectral temporality leading artists such as ghassan salhab to exploit the fantastic, the lebanese artistic creations of the post-war era invent and explore a new syntax and complex aesthetic tools capable of recreating and renewing authentic ties with the real. the post-war works that are observed and studied transliterate a creative and discursive practice that is poetic, and characterized with the use of various media whose dynamics invoke the ability to think of, and apprehend, the traumatic events that may then be historicized

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It is proposed to research the urban permanences verified in the initial core of Goiânia, as from Goiás Avenue, its most symbolic and expressive stretch. It starts with the analysis of the political discourse disseminated by Pedro Ludovico Teixeira, in favor of moving the capital to a place better adjusted to his political interests, after the triumph of the Brazilian Revolution of 1930. Therefore, he builds powerful social representations, based on the images of the old and the new capital, in order to oppose those against this change and consolidate his government. In addition to the speech and propaganda, Ludovico uses, as a statement element, the urban plan designed by Attilio Corrêa Lima, creating a modern intentional monument to be immortalized, translated by the monumental Goiás Avenue. Then, the city experiences a vertiginous growth in its territory and population, mainly after the 1950s, resulting in the disfigurement of its pioneering core. The spatial transformations verified in Goiás Avenue are representative of this scenario, such as its verticalization process and the changes in its layout to meet the demands from the public transportation. From these losses, consequences of the progressive mentality that is rooted in the local culture, arise the first initiatives to preserve the material evidences of the beginning Goiânia, culminating with its federal preservation in 2003. From this institutionalization as a national heritage, it is focused the appropriation by the city inhabitants, through the research of the urban imaginary created since the pioneer’s city until the present day, highlighting striking points in this trajectory. For that, it is used literature in prose and verse to reach the local collective memory, focusing on the capital early years and on the current city - violent, disjointed and that is forgetting its history day by day.
Esse trabalho investiga as permanências urbanas verificadas no núcleo inicial de Goiânia, a partir da Avenida Goiás, seu mais simbólico e expressivo trecho. Parte-se da análise do discurso político difundido por Pedro Ludovico Teixeira, em defesa da transferência da capital para um local mais ajustado aos seus interesses políticos, após o triunfo da Revolução de 1930. Para isso, ele constrói poderosas representações sociais, fundamentadas nas imagens da velha e da nova capital, visando combater os antimudancistas e consolidar seu governo. Além do discurso e da propaganda, Ludovico utiliza o próprio plano urbano projetado por Attilio Corrêa Lima como elemento de afirmação, criando um monumento intencional moderno a ser eternizado, traduzido através da monumental Avenida Goiás. A partir de então, a cidade vivencia um crescimento territorial e populacional vertiginoso, sobretudo, após a década de 1950, resultando na descaracterização de seu núcleo pioneiro. As transformações espaciais verificadas na Avenida Goiás são representativas desse cenário, a exemplo de seu processo de verticalização e das modificações em seu traçado para atender às demandas do transporte coletivo. Sentidas as perdas, em consequência da mentalidade progressista que se arraiga na cultura local, surgem as primeiras iniciativas para preservação dos testemunhos materiais da Goiânia dos primórdios, que culminam com o tombamento federal em 2003. A partir de sua institucionalização como patrimônio histórico, volta-se o olhar para sua apropriação por parte dos habitantes locais, através da investigação do imaginário urbano formado desde a cidade dos pioneiros até a atualidade, destacando-se pontos marcantes nessa trajetória. Utiliza-se, para tanto, a literatura em prosa e verso para atingir a memória coletiva local, com foco nos primeiros anos da capital e na cidade atual, violenta, desarticulada e que vem se esquecendo de sua história a cada dia.

The year 2014 will mark the centennial of the outbreak of World War I in August 1914. This historic anniversary will likely provoke several discussions from all fields in the humanities concerning the Great War's significance on contemporary culture through history, visual art, and in the case of this essay: literature. In light of this event, any serious discussion among scholars should undeniably begin with how the war continues to be represented today through a thorough, contemporary analysis of its many key literary texts. This essay will examine, in this regard, how past and contemporary discourses in literary theory-primarily concerned with how an individual combatant subject attempts to construct and understand their own traumatic experiences through poetic and literary discourse-can continue to incite discussion on why literature of the Great War and its influential role in defining how it has come to be understood in our cultural memory remains relevant even today. Under the guiding influence of Paul Fussell's classic The Great War and Modern Memory, I will discuss how three important works-a poetry collection, a memoir, and a modern work of historical fiction-all contribute to how the war has become represented as a tragic rupture in history that reversed the idea of human progress and left an entire generation disillusioned in its aftermath, regardless of the historical veracity of this legacy. The texts I will be examining include: select poems of Wilfred Owen, Goodbye to All That by Robert Graves, and Regeneration by Pat Barker. In addition to this, I will conclude with an analysis of how a contemporary reading of these texts can contribute to a larger discussion of the crisis of historicity in our current post-modern cultural landscape.
B.A.
Bachelors
English
Arts and Humanities

Salão Central Eborense, o animatógrafo e cine teatro de outros tempos ocupa, como o seu nome indica, uma posição fulcral no Centro Histórico de Évora. Com o encerramento das suas portas em 1988 e com algumas tentativas, não concretizadas, de projectos para a sua reabilitação, este foi caindo aos poucos no esquecimento, deixando memórias dos seus tempos áureos. Como edifício impulsionador enquanto espaço de cultura, tornou-se o objecto de estudo desta dissertação. A presente investigação pretende abordar e analisar questões tipológicas e sociais, como o valor da memória colectiva e como a memória acompanha o tempo e a sociedade, partindo, também, de uma investigação ligada à população de Évora e às memórias deixadas pelo Salão Central Eborense. Reflectir sobre como se pensou intervir neste edificado, ao analisar, questionar e posteriormente comparar as estratégias de reabilitação propostas, aprovadas pela Câmara Municipal de Évora, ao longo dos anos, dentro dos princípios e conceitos de salvaguarda do património. Por ser algo actual devido à existência de um projecto aprovado para o SCE, cujas obras se iniciaram no decorrer desta investigação, e por fazer parte da candidatura da cidade de Évora a Capital Europeia da Cultura 2027, é um tema que merece um estudo e registo aprofundado. Surge, assim, uma reflexão de modo a contribuir para o lugar, para a sua salvaguarda e memória. Ao reflectir sobre a preservação do património cultural estamos não só a valorizar a sua importância, mas também a promover a sua defesa; SALÃO CENTRAL EBORENSE Rehabilitations of a collective memory ABSTRACT: Salão Central Eborense, the animatographer and cine theatre of other times occupies, as its name indicates, a central position in the Historic Centre of Évora. With the closure of its doors in 1988 and some, unsuccessful, attempts projects for its rehabilitation, the SCE gradually felt into oblivion, leaving just the memories of its golden days. As a booster building for a space of culture, it became the object of study of this dissertation. This research aims to address and analyze typological andsocial issues, such as the value of collective memory and how memory follows time and society, also, linked to the population of Évora and the memories left by Salão Central Eborense. To reflect about how it was thought to intervene in this building, by analysing, questioning and comparing project rehabilitation proposals, approved over the years by the city hall, within the principles and concepts of safeguarding the heritage. Because it is something current, due to the existence of a project approved for SCE, whose building works started during this investigation, and for the application of the city of Évora to European Capital of culture 2027, it’s a theme that deserves an in-depth study and registration. In this way, a reflection arises in order to contribute to the place, to its protection and memory. By reflecting on the preservation of the cultural heritage we are not only defending it, but also valuing its importance.

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Fundação para a Ciência e Tecnologia de Portugal
During the last years, collective memory has become a relevant issue in the Spanish media and politics. In particular, because of the law 52/2007 being approved in the Congress that recognizes and extends rights as well as establishes measures in favor of the victims of persecutions and violence during the civil war and dictatorship. We began this research in 2003, before that decisive moment, studying the preponderance of memories of the dictatorship and democratic transition on the political and social consciousness of Spanish citizens. Especially, we focused the attention on the role of media in the meaning reconstruction process of the past within the public sphere. This study is divided in six chapters identifying the dynamics of media construction of the collective memory(ies) in Spain. The first three chapters describe the theoretical framework, whereas the following two chapters focus on the methodological explanation and empirical analysis of the study cases. The final chapter gathers the conclusions of this thesis. The first chapter presents the theoretical bases of the collective memory, reconstructed by a certain group or community. At the same time, it sets out and discusses the main concepts, describing the state of the art and covering the main problems from different theoretical approaches. The second chapter discusses how the paradigm of modernity, within the society of information, set out new challenges to understand our past and history. In other words, we studied how new technologies created new sociabilities and an increasing fragmentation of the social industry, becoming privileged spaces of socialization and symbolic/identity meaning of the past. On the other hand, in the third chapter we noticed an increasing proliferation of collective memories within a meaning of conflictive past, seen from the canonical perspective of history. Moreover, we reflected on how critical historiography recognizes this new reality and proposes a change of paradigm, gathering all that valuable testimonial information. Beyond the mere facts, what is important here are the testimonies created by those facts. In the same way, we explained how the representation of the past created by the media, as information or fiction, constructs a representation of reality that we define as media memory. In the fourth chapter we analyzed how the media construction of history promote the public debate, creating media memories negotiated by the audience. We constructed the methodological bases in order to understand how Spanish society perceives the representations of the past about the dictatorship/transition. We choose the television series Cuéntame cómo pasó because of its popular representation of the late Franco regime and democratic transition. The series analyzed in this research was used as stimulating for 32 natural discussion groups, already socially constructed and representing a certain collective memory. These groups were the result of an initiative of the Political Communication students in the Rey Juan Carlos University (URJC). On one hand, the inclusion of the discussion groups improved the empiric level of this research; on the other hand, it permitted to verify similarities in the debate and set out, through the Weberian ideal types, eight typologies of collective memories in Spain, defined by the sociopolitical context, generation and level of politicization. In the fifth chapter we described, analyzed and interpreted nine natural discussion groups corresponding to the ideal typologies developed in this study. Thus, the debates of the groups are the result of their interpretation of the dictatorship/transition starting from the media stimulus. On the other hand, we used a comparative method connecting the different discourses in order to emphasize more precisely the differences and the similarities of the various collective memories and describe the distinctive characteristics of each one. These methodological approaches (description, analysis, interpretation and comparison) were useful to determine the most common characteristics of the Spanish collective memories, according to the ideal typology presented in the sixth chapter, as conclusions of this PhD dissertation
Nos últimos anos a memória coletiva converteu-se num tema de enorme relevância mediática e política em Espanha. Em particular pelo congresso de deputados ter aprovado a lei 52/2007, pela que se reconhecem, ampliam direitos e se estabelecem medidas a favor de quem padeceu perseguição o violência durante a Guerra Civil ou a ditadura . O presente estudo antecipou-se a este momento importante, já que desde o ano de 2003 indagamos sobre a preponderância das memórias, da ditadura e a transição, na consciência política e social da cidadania espanhola, com especial atenção ao papel que joga a mídia na reconstrução e no significado do passado na esfera publica. Estruturamos o nosso trabalho em seis capítulos centrados em identificar os mecanismos que constroem mediaticamente às memórias(s) coletivas(s) em Espanha. Os três primeiros capítulos expõem o marco teórico e os dois seguintes centram-se na explicação metodológica e na analise empírica do nosso caso de estudo. O ultimo recolhe as conclusões desta tese. O primeiro capitulo apresenta as bases teóricas para o tema da memória coletiva, ou seja, como se constroem as lembranças de um grupo o comunidade determinada. Descrevemos e detalhamos os principais conceitos, a par que elaboramos um amplio estado da questão que abarca as temáticas mais relevantes abordadas desde distintos prismas teóricos. Num segundo capitulo discutimos como o paradigma da modernidade, desde a Sociedade da informação , propôs novos desafios para entender o passado e a historia. Estudamos a forma em que o atual cenário mediático produz novas sociabilidades e uma crescente fragmentação do tecido social, constituindo-se como espaço privilegiado de socialização e de significação simbólico / identitaria do passado. Por outro lado, no capitulo três damos eco de uma crescente proliferação das memórias coletivas significadas de soslaio desde a visão canônica da disciplina histórica. Refletimos sobre como a historiografia critica reconhece esta nova realidade e propõe uma mudança de paradigma, que permita recolher toda a valiosa informação da era do testemunho como fonte para construir o relato histórico. Expomos por sua vez como a representação do passado elaborado desde a mídia, com uma intenção informativa ou de ficção, nutre os públicos de uma memória mediática. No capitulo quarto realizamos uma aproximação a forma pela que a historia mediática potencia o discurso publico sobre o passado, dando lugar as memórias midiatizadas, aquelas que os públicos podem negociar. Construímos as bases metodológicas para indagar como a sociedade espanhola assimila as representações do passado sobre a ditadura/transição. Tomamos como recurso a serie Cuéntame cómo pasó pela sua reconstrução social e política do franquismo e da transição. Esta serie foi utilizada como estimulo no trabalho desenvolvido com 32 grupos de discussão naturais, aqueles que já estão socialmente construídos e que expressam uma determinada memória coletiva. Um recordar juntos. Estes grupos foram auto-convocados por moderadores externos, os alunos de comunicação política da Universidad Rey Juan Carlos de Madrid. A inclusão de tantos grupos de discussão, neste trabalho não só o enriqueceu a nível empírico, como ainda permitiu verificar similitudes discursivas e construir através dos tipos ideais weberianos oito tipologias que corresponderam em igual numero as memórias coletivas em Espanha. Memórias estas que estavam marcadas pelo contexto geográfico, pela a geração e o grau de politização. No capitulo cinco descrevemos, analisamos e interpretamos nove grupos de discussão naturais. Que corresponderam às análises das tipologias ideais construídas neste estudo desde os 32 grupos naturais prévios. Assim os discursos produzidos nos grupos são o resultado da sua interpretação da ditadura/transição a partir do estímulo mediático. Por outro lado, para sustentar sobre uma base mais solida, tanto as diferenças como as similitudes entre as distintas memórias coletivas, traçamos os rasgos de cada uma e por via de um método comparativo relacionamos uns discursos com outros. Estes recursos metodológicos (descrição, análises, interpretação e comparação) serviram para determinar os rasgos mais comuns das memórias coletivas espanholas segundo a tipologia ideal que apresentamos no capítulo seis, como conclusão desta tese de doutoramento

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This study aims to make an incursion in the daily lives of the inhabitants of the Amapá, especially with the remnants of quilombos and riverside communities of the archipelago of Bailique. From an ethnographic research carried out since 2004, this work was inspired, mainly, on the ideas of Maurice Halbwachs, Pierre Nora and Ecléa Bosi, about collective memory and its peculiarities, hand in hand with the historical memory and local experience. As additional theories related to discursive memory, were used the thoughts about the silence of memory and the ideas of Barthes about the noise of the memory found in speech. Bringing initially an overview of Amapá, with its historical and cultural events, the study shows a kind of diary of the journey, narrating from the preparations for the interviews beyond the theoretical canonicals of methodology for its implementation. Information from the corpus, then analyzed, guided the discussion of collective memory and its role in shaping the cultural link between the real with the memories of abstractions fruit production of a speech that creates meaning and transfers knowledge. Guided the analysis of the corpus to considerations about the opportunity to collect something from the people and their memories, it establishes a place that deserves further research on the intangible right of property, land, gestures, objects, singing and speech. The analysis revealed in intangible wealth leads, indeed, a testimony of strength of associations of remnants of quilombos , at present in the fifth generation, which remain alive outlining areas, reminding rights, scheduling changes, reprinted parties and dances, without losing of the sight the past that preserved them and the way that encloses them
O presente estudo tem como objetivo fazer uma incursão no cotidiano dos habitantes do Amapá, especialmente junto aos remanescentes de quilombos e comunidades ribeirinhas do arquipélago do Bailique. A partir de uma pesquisa etnográfica desenvolvida desde 2004, este trabalho foi inspirado, principalmente, nas ideias de Maurice Halbwachs, Ecléa Bosi e Pierre Nora, sobre memória coletiva e suas particularidades, de mãos dadas com a memória histórica e da vivência local. Configuraram-se, ainda, como teorias complementares, relacionadas à memória discursiva, as que tratam do silêncio, além das ideias sobre os ruídos da memória, encontradas no discurso de Barthes. Trazendo, inicialmente, uma visão geral do Amapá, com seu histórico e manifestações culturais, o estudo apresenta, logo em seguida, uma espécie de diário da viagem, narrando desde os preparativos para a mesma até as entrevistas realizadas no local, além dos paramentos teóricos e metodológicos para a sua realização. As informações do corpus, posteriormente analisadas, orientam a discussão da memória coletiva e de seu importante papel na formação cultural entre a articulação do real e do vivido com as lembranças frutos de abstrações produtivas de um discurso que cria significados e transfere conhecimento. Encaminhando as análises do corpus para considerações sobre a oportunidade de recolher algo entre os habitantes, como suas lembranças, é estabelecido um lugar que merece aprofundamento de pesquisas sobre o direito de propriedade imaterial, a terra, os gestos, os objetos, os cantos e o discurso. A riqueza imaterial revelada na análise conduz, ainda, para um testemunho de resistência das uniões de remanescentes de quilombos, hoje na quinta geração, que permanecem vivos nos seus habitantes, delineando espaços, lembrando direitos, agendando mudanças, reeditando festas e danças, sem perder de vista o passado que os conservou e o meio que os cerca

This study examines intersectionality and identity in rapper Jermaine Lamarr Cole’s studio album 4 Your Eyez Only. Through discourse analysis, the essay studies the representation of aspects of identity in the album, with a focus on gender, race, class and sexuality. The study also examines prosthetic memory in the album, with the intention of finding correlating narratives that create a general concensus of how society is viewed from marginalised groups in the US. The findings conclude that gender, race and class are expressed as the main buildingblocks for a characters identity in the album. It is telling that sexuality remains untouched in this regard. The reader is exclusively exposed to the normative heterosexual perspective, completely ignoring any notion of varied sexual orientations. Furthermore the findings conclude that J. Cole showcases a generally negative view on the govornment, as it is percieved as one of many instances keeping marginalised groups at the bottom of a societal foodchain

This study is a qualitative interview study that examines antagonism, identity and collective memory among second generation immigrants from Bosnia & Herzegovina. The study is based on an existential history use-perspective and social constructivist socialization theory. The study shows that the Bosniak identity is seldom defined by their history and the Yugoslavian wars but rather by language and traditions. In addition, the results indicate that the Bosniak identity has been assimilated to a large extent into the Swedish majority culture. The results also show that antagonism against other ethnic groups in the Balkans mainly occurs among first-generation immigrants while the descendants do not relate to a large extent to the war crimes and atrocities that occurred against Bosnian Muslims. Instead, they express empathy and sympathy for their parents’ experiences of these traumas. The respondents also experienced a nonchalance towards their background in Swedish history teaching where their history was neglected in favor of other wars and genocides. While the respondents suspected a fear of conflict among teachers to account for the area, they also told examples when teachers failed in the relational pedagogy and homogenized the individuals by letting them represent an entire conflict and ethnic group. Overall, the study shows that the use of history is not a recurring phenomenon among second-generation Bosniak immigrants, and their attitude focuses on individuals rather than groups. In the didactic part of the study, the results emphasize that history teachers might need to self-educate based on the students' background to create a meaningful education and create a history awareness among students.