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Bavidge, Eleanor. "Heterotopias of memory : cultural memory in and around Newcastle upon Tyne." Thesis, University of Sunderland, 2009. http://sure.sunderland.ac.uk/3558/.
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The aim of the research is to examine the multiple spatial frameworks and materially manifested forms of memory by applying current memory studies theory to four areas of memorial experience: personal memory, civic memory, tourism and film. The thesis looks at memory practices based in the North East, particularly those that take place in Newcastle upon Tyne, and explores how the city is remembered in specific memory practices and institutions. Combining work in memory studies and cultural geography, the thesis highlights how memory is spatialized and is particularly concerned with the city that shapes, and is shaped by, memory and memory practices. Changes have taken place in the relationship between space, place and temporality that have affected memory and practices of memorialization. At first glance, the technologies we use and the spaces we inhabit can be interpreted as leading to a pervasive amnesia. The thesis challenges this assumption. It proposes that the concept of heterotopia provides a critical mode of reading memory spaces offering a more positive account of the way memory is currently being experienced. The thesis looks at how memory is realized in the fabric of the city and how the historical city itself is represented through the discursive practices of memorial public art, the museum and the cinema, creating a collective cultural memory. The particular contribution that this thesis makes is that it tests the explanatory power of the concept of heterotopia in relation to memorial sites and it applies memory studies to the city of Newcastle in a time of transition and renewal.
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Adkins, Christina Katherine. "Slavery and the Civil War in Cultural Memory." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070064.
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That slavery was largely excised from the cultural memory of the Civil War in the late nineteenth and early twentieth centuries, particularly by white Americans, is well documented; Slavery and the Civil War in Cultural Memory moves beyond that story of omission to ask how slavery has been represented in U.S. culture and, necessarily, how it figures into some of the twentieth century's most popular Civil War narratives. The study begins in the 1930s with the publication of Gone with the Wind--arguably the most popular Civil War novel of all time--and reads Margaret Mitchell's pervasive tale of ex-slaveholder adversity against contemporaneous narratives like Black Reconstruction in America , Absalom, Absalom!, and Black Boy/American Hunger , which contradict Mitchell's account of slavery, the war, and Reconstruction. Spanning nearly seven decades, this study tells the story of how cultural productions have continued to reinterpret slavery. Focusing primarily on novels and films but also drawing on interviews with ex-slaves, private journals, and court records, each chapter explores how slavery is represented in a particular historical epoch and highlights each narrative's contribution to the creation of cultural memory, particularly its conformity to earlier works or its revision of antecedents. In addition, Slavery and the Civil War in Cultural Memory traces representations of slavery through recurring themes such as hunger, disease, marriage, and madness and seeks to understand how the narratives in question comment directly on the concept of memory. Among the topics discussed are the Civil War centennial; how Margaret Walker's Jubilee relates slavery, the Civil War, and Reconstruction to the civil rights movement of the 1960s; the controversy over The Confessions of Nat Turner; the Roots phenomenon, and the copyright lawsuit filed against the publisher of Alice Randall's unauthorized parody, The Wind Done Gone. The study concludes in 2005, with March, Geraldine Brooks's reimagining of Little Women, and E.L. Doctorow's The March, about Sherman's campaign through Georgia and the Carolinas. A pattern emerges in the final chapters that shows recent authors conjuring, in order to revise, elements of Absalom, Absalom! and Gone With the Wind.
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Wanger, Allison Lynn. ""These honored dead": the national cemetery system and the politics of cultural memory since 1861." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6660.
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In 1861, the U.S. Congress, responding to the growing number of Civil War dead, passed legislation regulating the burial practices of the Union Army. Six years later, the legislative body established a government-administered national cemetery system (NCS) that only interred Union soldiers killed in action. Subsequent pressure, from veterans groups, families, concerned citizens, and Congress led to the expansion of the institution’s eligibility regulations and funerary landscapes. As the product of over a century and a half of political and social negotiations, the NCS now consists of nearly 200 cemeteries, on domestic and foreign soil, that inter a vast array of individuals whom the government has deemed patriots. Drawing on cultural history, memory studies, anthropology, and art history, “These Honored Dead” illustrates how the NCS evolved from necessary wartime burial grounds into a federal memorial institution whose activities defined and announced the nations’ geographic, political, and social boundaries. Through an administrative and cultural history of the institution, this dissertation considers how Americans from diverse backgrounds and within divergent historical contexts have turned to the NCS to understand their individual and national identities and ideals. I look to the institution’s funerary landscapes as physical and affective evidence of how the federal government and the U.S. citizenry negotiate social and political relations. In the process, I interrogate “whose deaths matter?” to the national democratic mission. I argue that by developing national cemeteries and maintaining exclusionary interment regulations, the federal government announced a racialized, gendered, and politicized hierarchy of national belonging. The persistence of the NCS demonstrates that the nation mourns and memorializes patriotic sacrifice, regardless of martial victory, to make sense of contemporary anxieties. This dissertation illustrates the ways that the federal government mediates cultural and social politics, alongside its own interests, to construct a politically and socially useful memorial embodiment of patriotic sacrifice.
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Fike, Lauren. "Cross-cultural normative indicators on the Wechsler Memory Scale (WMS) associate learning and visual reproduction subtests." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002484.
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A comprehensive battery of commonly used neuropsychological tests, including the WMS Associate Learning and Visual Reproduction subtests, forming the focus of this study, were administered to a southern African sample (n = 33, age range 18-40). This sample composed of black South African, IsiXhosa speakers with an educational level of Grade 11 and 12, derived through DET and former DET schooling. The gender demographics were as follows; females n = 21 and males n = 12. This sample was purposefully selected based on current cross-cultural research which suggests that individuals matching these above-mentioned demographics are significantly disadvantaged when compared to available neuropsychological norms. This is due to the fact that current norms have been created in contexts with socio-cultural influences; including culture, language and quantity and quality of education distinctly dissimilar to individuals like that composed in the sample. Hence the purpose of this study was fourfold namely; 1) Describe and consider socio-cultural factors and the influence on test performance 2) Provide descriptive and preliminary normative data on this neuropsychologically underrepresented population 3) Compare test performance between age and gender through stratification of the sample and finally to 4) Evaluate the current norms of the two WMS subtests and assess their validity for black South Africans with DET and former DET schooling with comparisons to the results found in the study. Information derived from the statistical analyses indicated that a higher performance in favour of the younger group over the older age range was consistently found for both WMS subtests. With regards to gender, some higher means were evident for the male population in the sample than was produced by the female group. Lastly, due to the fact that most scores derived from the sample were considerably lower when compared to the available norms, it is felt that socio-cultural factors prevalent to this population are a significant cause of lower test performance and thus warrant the development of appropriate normative indicators.
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Perrott, Lisa. "The New Zealand Wars Documentary Series: Discursive Struggle and Cultural Memory." The University of Waikato, 2007. http://hdl.handle.net/10289/2579.
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The 1998 television broadcast of The New Zealand Wars documentary series was a significant public event, which had a major impact on a broad range of communities and individuals in Aotearoa New Zealand. This popular television history engaged with issues of historical veracity, race, culture and nationhood and challenged previously dominant discourses associated with these concepts. In doing so, it provoked heated debate, and a re-imagining of 'nation', and also opened up spaces for alternative ways of engaging with historical narrative. Informed by post-colonialism, cultural studies and cultural memory, this thesis explores the discursive and affective role of The New Zealand Wars, as it has operated within the turbulent climate of 1990s New Zealand cultural relations. This catalytic function is described in this thesis as a phenomenon of a television series shaped by, whilst also intervening in, processes of cultural colonisation and decolonisation. While both of these processes involve the transmission of discourse via cultural forms, the act of cultural decolonisation requires, in addition, the convergence of a number of agents (people and communities, discursive and memory resources) and circumstances, within particular contextual conditions. Such a convergence provided the conditions for the discursive synthesis, which shaped the production, construction and reception of this series. The role of audio-visual media (and specifically television documentary) in transmitting cultural memory is significant as it enables the flow of memory through channels or forms (such as visual, oral and aural traditions) that can bring about new perspectives and critical reflections upon colonial discourse and dominant concepts of nation and culture. In addition to these social and intellectual processes of audience engagement, this thesis argues that experiential and affective dimensions of cultural memory can (in these specific circumstances) open up radical spaces, offering the potential for generating awareness and sparking political action. These issues are explored through a tripartite analysis of the production context, construction and reception of The New Zealand Wars series. The integration of these three phases of analysis has generated a number of insights into the potential of audio-visual forms, including their producers and audiences, to participate in the negotiation of, and resistance to, colonial discourse. Such insights serve to challenge taken-for-granted constructions of nation and history, and suggest the increasing relevance of alternative concepts such as community-building and cultural memory. Ultimately, this thesis argues that television documentary can serve as a prime site for the articulation of these concepts. The New Zealand Wars serves as a case study, which demonstrates both the potential of this site, and the significance of the social-historical and cultural context in framing this series.
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Romaguera, Lauren D. "Identification Through Movement: Dance as the Embodied Archive of Memory, History, and Cultural Identity." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3666.
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Abdul, Samad Bincy. "Civilizational Memory: The Transformation of Palmyra asa Cultural Patrimony of The West." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587149768068423.
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Padgett, Douglas M. "Religion, memory, and imagination in Vietnamese California." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3255506.
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Thesis (Ph.D.)--Indiana University, Dept. of Religious Studies, 2007.Title from PDF t.p. (viewed Nov. 19, 2008). Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 1023. Advisers: Robert A. Orsi; Jan Nattier.
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Antonić, Maja. "Yugoslav Revolutionary Legacy: Female Soldiers and Activists in Nation-Building and Cultural Memory, 1941-1989." TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3107.
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While women are often excluded and/or portrayed as victims in the historical scholarship on war, this research builds on recent scholarship that shows women as active agents in warfare. I focus on Yugoslavia’s WWII Partizankas, female soldiers and activists, who held visible positions in the war effort, public consciousness and, later memory. Using gender as a category of analysis, my thesis explores Partizankas’ legacy and their contributions in the National Liberation Movement (NLM) in WWII (1941- 1945) and post-war nation building. I argue that the organizational framework of the Anti-Fascist Women’s Front (AWF) under the guidance of the Communist Party of Yugoslavia (CPY) emphasized women’s ethnic/religious identities along with distinct social standings and geographic locations to motivate them to fight for the common cause and subsequently forge a shared South Slavic identity. This emphasis on ethnic/regional/class differences paradoxically led to the creation of a common Yugoslav national identity. Women’s involvement, therefore, becomes central to the nationbuilding in the post-war period while establishing the legacy for future feminists. I characterize NLM as a Marxist guerrilla movement with the intent to contextualize the organizational tactics and ideological efforts of CPY and showcase the commonalities and differences the Yugoslav resistance movement had vis-à-vis other revolutionary movements that actively recruited women. Furthermore, the thesis focuses on the representations of Partizankas in popular culture and official rhetoric from WWII to the demise of Yugoslavia in 1991 in order explore the fluidity of gender roles and their perceptions. This research is meaningful because NLM, as an organized Marxist guerrilla movement, stands out in its size, success and legacy. The Yugoslav experience broadens the understanding of why women go to war, how gender norms shift during and after the conflict, and how female soldiers are remembered.
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Jing, Yujuan. "Reconstructing Ancient Chinese Cultural Memory in the Context of Xianxia TV Drama." Thesis, Uppsala universitet, Institutionen för informatik och media, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446181.
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This study explores how Chinese ancient cultural memory is constructed, and specifically how it is reconstructed through Chinese Xianxia TV dramas during the past five years. Ancient Chinese culture has become a hit in Chinese popular culture today, in which Xianxia TV dramas draw the biggest audiences. This study focuses on the ways, namely the transformations between cultural memory as storage memory to cultural memory as living functional memory, in which the Xianxia genre reconstructs the past. Bringing together a ritual view of communication, cultural memory and participatory culture, it applies a cultural approach to communication, which refers to the production and the fandom reception of Xianxia TV drama. Meanwhile, the perspective of culture industry provides a critical dimension to look into this highly commercial genre. This study is based on the analysis of content and representations of the theme song lyrics, posters and the general narratives of six selected Xianxia TV dramas, as well as a virtual ethnography of fan-generated videos and their comments. The findings suggest that, the reconstruction of ancient Chinese cultural memory in Xianxia TV dramas is a complex interplay between the culture industry logics of Xianxia production and the passionate participatory fan culture. The limited representations of the past in the series are absorbed and practiced by the fan audiences. Through fan practices, the fans extend the media text with their passion and knowledge of ancient culture, attaching the cultural memory into their present real-life cultural identity and hence vigorously transforming cultural memory from storage memory into functional memory. This study speaks to the lack of bottom-up perspectives in the studies of the ancient culture revival trend in China, and it contributes to a deeper scholarly understanding of the Xianxia genre.
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Sollie, Siri Therese. "Remembrance of the Ottoman Heritage in Serbia : A Field Study at the Ethnographic Museum in Belgrade." Thesis, Uppsala universitet, Centrum för rysslandsstudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-269116.
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The thesis discusses the remembrance of the Ottoman heritage and presentation of Ottoman culture at the Ethnographic Museum in Belgrade. The study emphasizes the role and importance of memory and historical interpretation in the contemporary museum practice at the museum. The historical memories of a collection of 6 curators will be discussed and represented in order to examine the influence these recollections have on the exhibition of culture in the museum. The thesis gives the reader a further understanding of the mechanisms behind the continuous neglect and lack of appreciation of the Ottoman heritage in the Serbian society. In line with the current research within memory studies, this study focus on a museum as a site of memory, or a "lieux de mémoire" in Pierre Nora's term. The author concludes that there is a lack of awareness and emphasis in the museum on the Ottoman heritage. She also argues that the museum as a site of memory does little to provide for an arena where memories of different cultures and identities are channeled and presented in the society. Further studies should also emphasize museum presentations in other Southeast European countries in order to discuss the ways in which folk culture, cultural history and memory are presented to the public.Master program in International studies - specialization Eurasian studies
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Devlin, Erin Krutko. "Colonial Williamsburg's Slave Auction Re-Enactment: Controversy, African American History and Public Memory." W&M ScholarWorks, 2003. https://scholarworks.wm.edu/etd/1539626387.
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Lê, Espiritu Evyn. "“Who was Colonel Hồ Ngọc Cẩn?”: Theorizing the Relationship between History and Cultural Memory." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/pomona_theses/92.
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Who was Colonel Hồ Ngọc Cẩn? He was born in Rạch Giá, Việt Nam in 1938; served in the South Vietnamese army—the Army of the Republic of Vietnam (ARVN)—during the Second Indochina War; and was publicly executed by the Communist forces on August 14, 1975, after refusing to surrender. Beyond that, it depends whom you ask. To the current Communist government of Việt Nam, whose historical narrative of national unity against foreign invasion denies the legitimacy of South Vietnam, he is a political traitor. To the American state, who conceptualizes the Vietnam War as a struggle between the U.S. and the Communists, he is a forgotten subject. To patriotic South Vietnamese veterans in the diaspora, who push back against these state imposed narratives of “organized forgetting,”[1] he is hero. To Colonel Hồ Ngọc Cẩn’s family members, most of whom live in Việt Nam, he is a loved a one. To me, he is a grand-uncle. But I did not know of his fame—of his story—until I was twenty-one.
Researching Colonel Hồ Ngọc Cẩn, I grappled with the following questions: Who has the power to write history? How do stateless peoples archive their own history? What is the relationship between history and cultural memory? How is cultural memory embodied and enacted? How do cultural memory practices both challenge and constitute “official” history and nationalist discourse? What is the nature and use of a politics haunted by ghosts and oriented towards the past?
In the first body chapter, I draw from websites created by South Vietnamese veterans—what I call a “subaltern digital archive”—to recreate a biographical sketch of Colonel Hồ Ngọc Cẩn. This sketch is interwoven with a narration of the geopolitical context—the different events that were happening in the Asian Pacific during Colonel Hồ Ngọc Cẩn’s lifetime. I acknowledge that all of history is a construction—a process of editing and making sense of the past—and thus I construct a history that centers, rather than effaces, Colonel Hồ Ngọc Cẩn. The other two body chapters examine the cultural memory production surrounding Colonel Hồ Ngọc Cẩn. One chapter highlights the ways in which South Vietnamese Americans engage in cultural memory practices, carving out a space in the present for the ghost of Colonel Hồ Ngọc Cẩn. In these memory acts, Colonel Hồ Ngọc Cẩn becomes a symbol for the Republic of Vietnam—a way for veterans to resurrect the ghost of this now-defunct state. Although South Vietnamese Americans’ resistance to state imposed narratives is admirable, I acknowledge that not everyone has the privileged to be so vocal. Thus in the next chapter, I highlight the oral histories of Colonel Hồ Ngọc Cẩn’s family members, most of whom live in Việt Nam, and thus are not allowed to publicly commemorate their loved one. These are stories that exist only in the space of memory—that are absent from both official state histories as well as the online timelines created by South Vietnamese American veterans—timelines that focus of Colonel Hồ Ngọc Cẩn’s military valor. Instead, Colonel Hồ Ngọc Cẩn’s relatives offer an alternate version of heroism—a more feminine version of heroism that appreciates Colonel Cẩn’s virtues and domestic contributions as well as his masculine victories.
[1] Marita Sturken, Tangled Memories: The Vietnam War, the AIDS Epidemic, and the Politics of Remembering (Berkeley: University of California Press, 1997), 7.
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Seckiner, Vildan. "Cinematic Representation Of Gecekondu As An Urban Memory." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/2/12611382/index.pdf.
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The purpose of this study is to assess Turkish squatters, namely &lsquogecekondu&rsquo
over the image in cinema in terms of a visual urban archive. In order to analyze this representation in cinema as an urban image, both the cinematic production and urban theoretical approaches about migration and gecekonduzation process are discussed in order to find out the parallelism between the stories of gecekondu in these two fields, and to crosscheck the cinematic image of gecekondu. Therefore, the study is held in accordance with the epochs due to the break points of the history of the phenomenon. The movies are analyzed through a critical discourse analysis after the depiction of each epoch. Finally, the picture of the phenomenon is compared with the actuality of the epochs, academic framework and the cinematic image with the purpose of revealing the cinematic memory about it.
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Algers, Maria. "Museums as tools for Cultural Citizenship: Two case studies in New Zealand." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21590.
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This thesis will explore the concept of cultural citizenship by researching visitor’s responses to five exhibitions across two museums in the Lower Hutt region of New Zealand. The thesis will also examine museum management and staff’s perspectives on these exhibits, and compare these to visitor’s. The aim of the thesis is to understand how museum visitors reflect upon and use museum exhibits as tools in relation to their cultural heritage and cultural citizenship. This approach provides a focus for reflection regarding the cultural importance of museum exhibitions. Stuart Hall’s encoding/decoding model will serve as an overall framework for the study, and the theoretical concepts of memory, rhetoric, meaning making and cultural citizenship will further inform the analysis. The results indicate that museum visitors reflect upon exhibits as tools for reminding, and also indicate that exhibits are seen important for learning and representation. Furthermore, the study finds that visitors do not find exhibits particularly challenging or personal. Museum staff provide other perspectives on the importance of museum exhibits, such as their art historical, representational and community-museum relationship building potential, but the study finds that these themes are seldom explicitly recognised by visitors. The concluding discussion reflects on these results, and suggests avenues for future research.
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Smith, Andrea Lynn 1960. "Social memory and Germany's immigration crisis: A case of collective forgetting." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/291625.
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Representations of Germany's crisis of anti-foreigner violence and ambivalent government policies regarding guestworkers misrepresent this crisis and reproduce several myths: that Germany has only recently relied on foreign labor, that Germany is an unusually "homogenous" nation, has experienced little integration of foreigners, and is not and cannot become an "immigration" country. These myths hinge on a widespread "forgetting" of much of German labor history. This paper outlines this missing history. Features common to past and present "guestworker" policies are highlighted. An examination of modern German citizenship and naturalization laws suggests that guestworker crises derive from a fundamental contradiction between economic and political interests. The current crisis can be viewed as one phase of a longer unresolved conflict between economic goals and the definition of the German nation. Such a perspective is generally avoided, however, as earlier periods of conflict are erased through widespread collective forgetting.
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Guffey, Ensley F. "Fantastic Histories: War and American Memory in Selected Works of Joss Whedon." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2333.
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This thesis used theories of historical memory studies to examine the ways in which the American writer/director/showrunner Joss Whedon uses American memories, particularly those associated with American experiences in the Civil War and World War II, in his works of fictional, genre television and film. Emphasis was placed on the manner in which Whedon engages in the construction of popular memory, how his work challenges and/or reinforces existing memory narratives, and how Whedon uses historical memories to comment on and influence political, social, and cultural issues in the present. This investigation shows how at least certain productions of American popular culture are increasingly dominant forces in the construction of public memory. The major theoretical underpinnings of this examination are provided by the works of John Bodnar, Richard Slotkin, and Jeanine Basinger.
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Fernández, González Ricardo. "Survival, memory and identity : The roles of saint worship in Early Modern Castile." Thesis, Uppsala universitet, Historiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385154.
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This paper aims to explore the connections between the rural communities of Early Modern Castile and the saints they venerated through their festivities, relics and advocations and the roles that these relationships fulfilled in their societies. The Castilians of the sixteenth century seem to have used their interactions with saints not only for the purpose of the salvation of their souls, but rather, as ways to ensure the survival of their population, to cement social cohesion and identity, or to preserve the memory of their communities. Through the topographic relations of Philip II, a fantastic source that reproduces the voices of members of rural communities of Central Castile, this paper analyses the boundaries between the utilitarian and the cultural in the worship of saints, and the limits of local culture and identity.
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Germeck, Karl. "“Speaking With” the Ravine: Representation and Memory in Five Cultural Productions of Chavez Ravine, Los Angeles." DigitalCommons@USU, 2011. https://digitalcommons.usu.edu/etd/867.
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This thesis examines the rich and layered intertextual relationship between five artisticrepresentations of the razed neighborhoods of Chavez Ravine, Los Angeles, and its former residents. These works include Seattle-based photographer Don Normark’s 1999 photography collection Chávez Ravine, 1949: A Los Angeles Story; the full-length dramatic play Chavez Ravine, written and first performed by Los Angeles-based Chicano comedy troupe Culture Clash in 2003; Jordan Mechner’s 2004 short documentary film Chávez Ravine: A Los Angeles Story; Ry Cooder’s musical album Chávez Ravine: A Record by Ry Cooder; and lastly, high school history teacher Ken Aven’s 2006 debut novel, Chavez Ravine Echoes. Together, these five productions make up a case study that engages with the theoretical debate about privileged groups speaking for, or on behalf of, underrepresented groups. This analysis emphasizes a process of representation that is shared and driven by dialogue between the artists of these productions and the place and people they represent. Through the inclusion of resident involvement in the production process and the weaving of narrative elements from both Mexican American and dominant cultural traditions, these projects promote the Ravine’s cultural wealth and visibility within a popular culture dominated by the symbol of Dodger Stadium. This study, through close readings and textual analysis, demonstrates how these works, considered together, open up spaces for cross-cultural discussions about Chavez Ravine and the various roles it plays within U.S. cultural history. More importantly, these five representations of Chavez Ravine figuratively practice and promote a “speaking to and with” model of intercultural communication between dominant and minority cultures.
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Ushiyama, Rin. "Memory struggles : narrating and commemorating the Aum Affair in contemporary Japan, 1994-2015." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/267895.
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This dissertation investigates how different stakeholders have competed over the interpretation and commemoration of the Aum Affair. The Aum Affair was a series of crimes committed by new religious movement Aum Shinrikyō between 1988 and 1995, which culminated in the gassing of the Tokyo subway system using sarin in March 1995. The Tokyo attack was the largest act of terrorism in post-war Japan. I combine qualitative methods of media analysis, interviews, and participant observation to analyse how different stakeholders have narrated and commemorated the Aum Affair. I propose ‘collective trauma’ as a revised theory of ‘cultural trauma’ to describe an event which is represented as harmful and indelible to collective memory and identity. In contrast to ‘cultural trauma’, which stresses the importance of symbolic representations of traumatic events, ‘collective trauma’ considers other ‘material’ processes – such as establishing facts, collective action, state responses, and litigation – which also contribute to trauma construction. My overarching argument is that various stakeholders – including state authorities, mass media, public intellectuals, victims, and former Aum believers – have constructed the Aum Affair as a collective trauma in multiple and conflicting ways. Many media representations situated Aum as an evil ‘cult’ which ‘brainwashed’ believers and intended to take over Japan through terror. State authorities also responded by treating Aum as a dangerous terrorist group. In some instances, these binary representations of Japan locked in a struggle against an evil force led to municipal governments violating the civil rights of Aum believers. Some individuals such as public intellectuals and former believers have challenged this divisive view by treating Aum as a ‘religion’, not a ‘cult’, and locating the root causes of Aum’s growth in Japanese society. Additionally, victims and former members have pursued divergent goals such as retributive justice, financial reparations, and social reconciliation through their public actions. A key conclusion of this dissertation is that whilst confronting horrific acts of violence may require social construction of collective trauma using cultural codes of good and evil, the entrenchment of these symbolic categories can result in lasting social tension and division.
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Levitt, Linda. "Hollywood Forever: Culture, Celebrity, and the Cemetery." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002416.
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Sicilia, Maria. "REMEMBRANCE IN THE CITIZEN HUMANITIES : Co-producing memories and historical knowledge." Thesis, Umeå universitet, Sociologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-180903.
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This dissertation explores the relationship between remembrance and citizen humanities. Combining the study of three qualitative empirical sources (an explorative comparison of five citizen humanities projects, an autonetnography conducted in one of the projects and the observation and analysis of the interaction of the online community in said project) the epistemic culture in citizen humanities and how remembrance is enacted in this context are addressed. The findings indicate that the participatory epistemic culture inherent to the citizen humanities allows a limited number of participants to transcend the roles that are assigned as mere data collectors, pursuing their own independent research projects. In this context, remembrance takes place in two levels, first by creating cultural mnemonic manifestations in the form of searchable metadata, transcribed data, digitized objects, images and rerecorded stories and second, by the act of creating knowledge and sharing it with the community. Finally, it is suggested that in the context of the citizen humanities, the traditional dichotomy of history vs. memory is challenged by the figure of the citizen historian, as this subject creates historical knowledge but also enacts mnemonic practices exemplified by the creation of cultural mnemonic manifestations and by recalling, recognizing, and localizing memories, both their own and from others.
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Adolfsson, Linnea. "Genom våra ögon : En komparativ litteraturanalys av Margaret Atwoods The Handmaid’s Tale och Octavia E. Butlers Kindred, utifrån forskningsfältet kulturella minnesstudier." Thesis, Södertörns högskola, Litteraturvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37492.
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This essay’s primarily focus is on the common discourse about the persisting effects of the past in the present in Margaret Atwood’s The Handmaid’s Tale(1985)and Octavia E. Butler’s Kindred (1979).These novels are the testimonies of the protagonists Offred and Dana who shares their experience of traumatic violence and oppression. Dana, with her ability to time travel, will see her present time in clearer light as she experiences the life of a slave on an antebellum plantation. Offred, the Handmaiden owned by the totalitarian regime Gilead, portrays her contemporary life in parallel to remembering her former and thus describing Gilead’s increasing authority. Based on different theorists and concepts in the field of cultural memory studies, this essay examines the tension between memory and history, the distantness towards the past and the problematics with representations of traumatic events. As I argue that the voices of Dana and Offred calls attention to the importance of perspective and of sharing stories, they are also an act of hope, therapy and resistance; an act that also make possible a critique of the processes of the production of historical knowledge.
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Mason, Kayla M. "Vérité et Sévérité: The Politics of Memorialization and Cultural Interpretations of the Rafle du Vél d'Hiv, 1945-2012." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461535486.
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Ribeiro, Evelin Louise Pavan. "Um estudo de marcadores culturais na obra An invincible memory pelo autotradutor João Ubaldo Ribeiro /." São José do Rio Preto : [s.n.], 2006. http://hdl.handle.net/11449/93922.
Full textAbstract:
Orientador: Diva Cardoso de CamargoBanca: Antônio Manoel dos Santos Silva
Banca: Antônio Paulo Berber Sardinha
Resumo: A presente pesquisa buscou examinar a obra An Invincible Memory, que contém acentuada quantidade de marcadores culturais de determinada realidade extralingüística, com o objetivo de analisar as escolhas do autotradutor, João Ubaldo Ribeiro, ao transpor e transformar esses marcadores para o contexto da cultura de chegada, bem como identificar possíveis aspectos de normalização. Para a análise de marcadores culturais, a pesquisa apóiase na abordagem interdisciplinar proposta por Camargo (2004, 2005) envolvendo os estudos de tradução baseados em corpus de Baker (1993, 1995, 1996, 2004), os estudos de lingüística de corpus de Berber Sardinha (2000, 2004), mais a inserção dos trabalhos sobre domínios culturais de Nida (1945) e de Aubert (1981), sobre modalidades tradutórias de Aubert (1984,1998), e sobre traços de normalização de Baker (1996) e de Scott (1998). Os resultados obtidos revelam que a maioria dos marcadores culturais podem ser classificados dentro do domínio da cultura material, com 43%, seguido pelo domínio da cultura social, com 29%, pelo domínio da cultura ideológica, com 15%, e pelo domínio da cultura ecológica, com 13%, o que espelha o contexto da obra. Também foi possível observar traços de normalização que indicam o uso de estratégias, de modo consciente ou inconsciente, por parte do tradutor, para conferir fluência ao texto traduzido e facilitar a leitura para o público de língua inglesa.
Abstract:The present study aimed at investigating the work An Invincible Memory, which contains a great amount of cultural markers, in order to analyse the choices of the selftranslator, João Ubaldo Ribeiro, who transfers and transforms these cultural markers to the context of the translated text. This study also intends to identify possible normalization features. Our investigation is based on Camargo's interdisciplinary proposal (2004, 2005), which involves Baker's corpus-based translation studies (1993, 1995, 1996, 2004), and Berber Sardinha's corpus linguistics studies. Our work also includes Nida's (1945) and Aubert's (1981) works on cultural domains, Aubert's proposal (1984, 1998) for translation modalities, and Baker's (1996) and Scott's (1998) works on normalization features. The obtained results showed that great part of cultural markers can be classified as the material cultural domain, with 43%, followed by the social cultural domain, with 29%, the ideological cultural domain, with 15%, the ecological cultural domain, with 13%. The cultural domains point out the context of the source text. It was also possible to observe that normalization features tend to reveal, conscious or unconscious, the use of fluency strategies by the selftranslator, trying to make the translated text easier to read.
Mestre
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Lawson, Michael David. "Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3538.
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Using the lives of impaired individuals catalogued in the Íslendingasögur as a narrative framework, this study examines medieval Scandinavian social views regarding impairment from the ninth to the thirteenth century. Beginning with the myths and legends of the eddic poetry and prose of Iceland, it investigates impairment in Norse pre-Christian belief; demonstrating how myth and memory informed medieval conceptualizations of the body. This thesis counters scholarly assumptions that the impaired were universally marginalized across medieval Europe. It argues that bodily difference, in the Norse world, was only viewed as a limitation when it prevented an individual from fulfilling roles that contributed to their community. As Christianity’s influence spread and northern European powers became more focused on state-building aims, Scandinavian societies also slowly began to transform. Less importance was placed on the community in favor of the individual and policies regarding bodily difference likewise changed; becoming less inclusive toward the impaired.
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Biggs, Victoria Mary-Louise. "Stories on the fault lines : storytelling, community, and memory among Israeli and Palestinian youth." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/stories-on-the-fault-lines-storytelling-community-and-memory-among-israeli-and-palestinian-youth(6658280a-4c68-4fdd-906d-4c2afee21610).html.
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Storytelling holds a significant place in peace education and dialogue work with young people in Israel/Palestine, reflecting the popularity of the dual narrative approach as a framework for understanding the conflict. The approach is predicated on the assumption that there are two competing national narratives that have collided in the same geographical space, with young people only able to come to terms with the ‘other’ narrative through a process of concession and compromise, mediated by adults. Recognising the constraints and limitations of the dual narrative approach, my thesis focuses on the lives of Israeli and Palestinian youth who inhabit a border of some kind (physical, linguistic, ethnic, or intergenerational) and analyzes how stories are transmitted across and influenced by such boundaries. Special attention is given to traumatic histories that carry a social taboo, such as the Nakba in Israeli society and the Holocaust in Palestine, and how young people may develop and express their conceptions of community, belonging, and exclusion through storytelling. The research is grounded in ethnographic fieldwork and practical storytelling workshops conducted over sixteen months in Israel/Palestine (March 2014 to July 2015), with various methods of narrative inquiry forming the basis for data analysis, notably Interpretative Phenomenological Analysis (IPA). The thesis is divided into four chapters, which are based on the dominant themes that emerged through fieldwork. ‘Language and the Hidden Landscape’ is an applied linguistic analysis of how young people living in segregated communities imagine and narrate places that are off-limits to them. ‘Violence in the Narration of Self and Other’, an examination of the violence inherent in face-to-face storytelling that is grounded in the phenomenological theory, discusses how the storytellers deal with violence through narrative, their depiction of members of the ‘other’ community’, and the more disturbing and potentially violent functions of storytelling in peace education for youth. ‘Forbidden Histories in Contested Spaces’ unpicks the shadowy interweave between Holocaust and Nakba memory, while ‘Happily Ever After?’ examines how the narrators view and construct endings – both for the conflict, and in their narratives. These themes bring together time, place, and inhabitants’ interaction with place and memory, resulting in a more complex and nuanced understanding of how young people growing up with intractable conflict use storytelling to interpret their histories and make sense of their lives in the present day, as well as the ways in which stories may interact even in a highly polarized and segregated society. In conclusion, the role of storytelling with children in conflict zones is re-evaluated, with the research suggesting that there needs to be a shift in emphasis from storytelling as a means of therapy to storytelling as a social and political act, a means of enabling young people to take a more active role in community-building, rehabilitation, and ultimately reconciliation.
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Kao, Stella. "Rediscovering the House and Body: Theatre and Performance Life in Hong Kong in the 1990s." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10423.
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What the future brings for Hong Kong and its residents had been urgently debated in local and global conversations during the period leading to the 'handover,' or, Hong Kong’s 'return' to China in 1997. My dissertation examines differing attempts by theatre practitioners to respond to these questions in the 1990's, and to inscribe new 'local-ethnographies' through performance life to rearticulate what could be said about the body and how it dwells in the city that is called, 'home.' "Changes: A City in Circulation," the first chapter, considers many differing conceptions of 'time' and 'space' which have affected how dwellers experience, and imagine Hong Kong as their "house" and "home." The second chapter, "His(her)stories: Ethnographies of the House and Body," discusses the excavating and editing of perceptions, experiences and memories for performative projects, and how difficult it has been to create 'local-ethnographies' of what it means to be a dweller in Hong Kong through any single historical interpretation. The third chapter, "Stretching the Limits: Between Bodies and Language" analyzes the instrumentality of the body and voice of performers, and how the body and voice have been key to stories that are told through performance life. "Traces of the Familiar: Between the Public and Private," the fourth chapter, looks at the interrelationship between 'self' and the 'body social,' and explores through what is staged, whether what is 'familiar' as well as 'unfamiliar' have been made 'sharable' as part of the personal stories, use of found objects, and the inhabitation of urban space that are relived and exhibited through performative projects. "Working with Human Material through Performative Work," the fifth chapter, examines the challenges to art being perceived as work, and how what is worked upon through performative laboring has been affected by, but in turn, has the potential to shape the relations of production of its times. As performance life continues to bring together those from disparate parts of the city together at least for a brief moment in time, the sixth chapter, "Dwelling Places: Somewhere Between the 'Outside' and 'Inside,'" is concerned with how my own participating, observing, researching, and writing could also be points of contact, as 'stranger' and 'friend,' 'outsider' and 'insider,' to those met through the borrowed spaces of theatre. My hope is that what is written is not an ending, but a beginning too to more entrances that could be shared, and further conversations that could be held.Anthropology
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Cashion, Katherine. "The Icon Formation of Ruby Bridges Within Hegemonic Memory of the Civil Rights Movement." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1407.
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In 1960, when Ruby Bridges was six-years-old, she desegregated the formerly all white William Frantz Elementary School in New Orleans, Louisiana. This thesis traces her formation as a Civil Rights icon and how her icon narratives are influenced by, perpetuate, or challenge hegemonic memory of the Civil Rights Movement. The hegemonic narrative situates the Civil Rights Movement as a triumphant moment of the past, and is based upon the belief that it abolished institutionalized racism, leaving us in a world where lingering prejudice is the result of the failings of individuals. Analysis of narratives about Ruby Bridges by Norman Rockwell, Robert Coles, and Bridges herself show that there is a consistent shift over time in which the icon narratives conform to and reinforce the hegemonic narrative. These icon narratives situate Bridges’ story as a historical account of the past that teaches lessons of how to combat instances of interpersonal racism through kindness and tolerance, and obscures Bridges’ lived experience. These reductive stories demonstrate just how powerful the hegemonic narrative is and create a comforting morality tale that pervades dominant culture and prevents us from understanding and finding ways to combat the institutionalized racism and inequality that still exists within the United States.
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Houdek, Matthew. "Common sense racism: the rhetorical grounds for making meaning of racialized violence." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6140.
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In this dissertation, I conceptualize common sense racism as the material basis for the unconscious rhetorical processes that shape and normalize unsympathetic and uncritical public responses to racialized violence against black communities, and which thereby perpetuate racial structures of power and foment white innocence and indifference. This form of common sense is comprised of a set of deeply embedded logics and rationalities—fragmented forms of prepropositional knowledge—that have evolved over time through the shapeshifting ideologies of white supremacy and anti-blackness to partly determine how civil society understands and interprets ongoing legacies of violence. Rather than just thinking of common sense in how we discuss it in everyday talk, I conceptualize and critique it with regard to how it animates and informs some of the fundamental cultural constructs, such as language, time, and humanity, that "we" as a nation rely upon to orient ourselves to and make sense of the world around us. Through these frameworks, common sense racism structures rhetorically how civil society's institutions make meaning in moments of racial crisis, tension, and transformation, and how its dominant publics relate to ongoing histories of racial oppression and abuse, or rather, how they do not relate to them at all. Through three case studies, a theoretical chapter, and an introduction and conclusion, I offer a critical vocabulary for understanding the nation's inability to confront racialized violence while considering the means by which these systems of meaning-making can be disrupted by black vernacular rhetorical practices.
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Fidler, Rachel L. "Holocaust Memorialization: Perceptions of the Workplace, Translation of Memory, and Personal Experiences of Museum Staff and Volunteers." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/492.
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The development of Holocaust museums in the United States has created employment opportunities in Holocaust education. Paid staff and volunteers at Holocaust museums represent a distinct niche of professionals in these fields. This thesis explored personal perspectives and backgrounds of staff and volunteers, motivations for pursuing Holocaust education careers, translation of Holocaust information to visitors and student groups, and the role staff in different departments play alongside museum content. Employees and volunteers at two Holocaust museums participated in semi-structured interviews and open-ended survey questionnaires. The results from subsequently coded interviews and survey responses indicate that personal connections, through family, academic study, or other job positions, feelings of fulfillment at work, and passion for active translation and participation within the surrounding community were demonstrated by most employees and volunteers, especially those with high visitor interaction and engagement. Furthermore, perceptions of Holocaust museums as spaces of heaviness and solemnity, framed by the deaths of millions, were accepted but generally not related to the personal experience of Holocaust museum staff; thought Holocaust museums were created out of an event of mass death and destruction, the museums are spaces of life. Staff and volunteers at my research sites expressed feeling very fulfilled and inspired by the work they do as Holocaust educators.
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Evasdotter, Birath Katarina. "Att samla en pandemi : En kvalitativ intervjustudie om svenska museers samtidsdokumentation av vardagslivet under coronapandemin." Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446872.
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This thesis focuses on eight Swedish museums, who collected intangible and tangible memories of how everyday life was affected during the first year of the coronavirus pandemic in 2020-2021. These contemporary collecting projects were conducted by Eskilstuna stadsmuseum, Jönköpings läns museum, Klostret i Ystad, Nordiska museet, Skellefteå museum, Stockholms läns museum, Värmlands museum and Västerbottens museum. Through semi-structured qualitative interviews with the museum professionals responsible for the collecting process, the aim was to collect data on how the projects were organised and which collecting methods that were used. Further, the aim was to discuss and analyse the contemporary collecting projects from the theoretical perspectives of cultural memory studies and participatory memory practices. The results of the study show that the museums started the collecting projects in haste when the pandemic broke out and that the main collecting method being used was questionnaires. Other collecting methods, such as interviews, field studies and collecting of photographs, diaries, social media posts and tangible objects, were used as a complement. The museum’s purpose was to reach out as wide as possible with the collecting projects, to collect memories from different social groups in society. In conclusion, the collected materials, the intangible and tangible memories collected from participating individuals, will together take place in cultural memory side by side with documentations of historical events and be of use for future generations. Memories were collected all over Sweden, from people of different age and gender. The projects would not have been possible to conduct without the voluntary participation of people sharing their memories of how everyday life was affected during the coronavirus pandemic. This is a two years master’s thesis in Museum and Cultural Heritage Studies.
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Brandt, Nicola. "Emerging landscapes : memory, trauma and its afterimage in post-apartheid Namibia and South Africa." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:9dfe7938-670a-40fc-a063-5617c0503fcd.
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Visual records of place remain to a large degree inadequate when attempting to make visible the ephemeral states of consciousness that underlie the damage wrought by brutal regimes, let alone make visible the extraordinary histories and power structures encoded in images and views. This practice-led dissertation examines an emerging critical landscape genre in post-apartheid South Africa and Namibia, and its relationship to specific themes such as identity, belonging, trauma and memory. The landscape genre was traditionally considered inadequate to use in expressions of resistance under apartheid, particularly in the socially conscious and reformist discourse of South African documentary photography. I argue that, as a result of historical and cultural shifts after the demise of apartheid in 1994, a shift in aesthetic and subject matter has occurred, one that has led to a more rigorous and interventionist engagement with the landscape genre. I demonstrate how, after 1994, photographers of the long-established documentary tradition, which was meant to record 'what is there' in a sharp, clear, legible and impartial manner, would continue to draw on devices of the documentary aesthetic, but in a more idiosyncratic way. I show how these post-apartheid, documentary landscapes both disrupt and complicate the conventional expectations involved in converting visual fields into knowledge. I further investigate, through my own experimental documentary work, the ideologically fraught aspects of landscape representation with their links to Calvinist and German Romantic aesthetics. I appropriate and disrupt certain tropes still prevalent in popular landscape depictions. I do this in an effort to reveal the complex and troubled relationship that these traditions share with issues of willed historical amnesia and recognition in contemporary Namibia. Through my practice and the examination of other photographers' and artists' work, this project aims to further a self-reflective and critical approach to the genre of landscape and issues of identity in post-apartheid South Africa and Namibia.
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Ribeiro, Evelin Louise Pavan [UNESP]. "Um estudo de marcadores culturais na obra An invincible memory pelo autotradutor João Ubaldo Ribeiro." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/93922.
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ribeiro_elp_me_sjrp.pdf: 846544 bytes, checksum: 693d123b58bb2fea0d1a5d857f5d5f67 (MD5)A presente pesquisa buscou examinar a obra An Invincible Memory, que contém acentuada quantidade de marcadores culturais de determinada realidade extralingüística, com o objetivo de analisar as escolhas do autotradutor, João Ubaldo Ribeiro, ao transpor e transformar esses marcadores para o contexto da cultura de chegada, bem como identificar possíveis aspectos de normalização. Para a análise de marcadores culturais, a pesquisa apóiase na abordagem interdisciplinar proposta por Camargo (2004, 2005) envolvendo os estudos de tradução baseados em corpus de Baker (1993, 1995, 1996, 2004), os estudos de lingüística de corpus de Berber Sardinha (2000, 2004), mais a inserção dos trabalhos sobre domínios culturais de Nida (1945) e de Aubert (1981), sobre modalidades tradutórias de Aubert (1984,1998), e sobre traços de normalização de Baker (1996) e de Scott (1998). Os resultados obtidos revelam que a maioria dos marcadores culturais podem ser classificados dentro do domínio da cultura material, com 43%, seguido pelo domínio da cultura social, com 29%, pelo domínio da cultura ideológica, com 15%, e pelo domínio da cultura ecológica, com 13%, o que espelha o contexto da obra. Também foi possível observar traços de normalização que indicam o uso de estratégias, de modo consciente ou inconsciente, por parte do tradutor, para conferir fluência ao texto traduzido e facilitar a leitura para o público de língua inglesa.
The present study aimed at investigating the work An Invincible Memory, which contains a great amount of cultural markers, in order to analyse the choices of the selftranslator, João Ubaldo Ribeiro, who transfers and transforms these cultural markers to the context of the translated text. This study also intends to identify possible normalization features. Our investigation is based on Camargo's interdisciplinary proposal (2004, 2005), which involves Baker's corpus-based translation studies (1993, 1995, 1996, 2004), and Berber Sardinha's corpus linguistics studies. Our work also includes Nida's (1945) and Aubert's (1981) works on cultural domains, Aubert's proposal (1984, 1998) for translation modalities, and Baker's (1996) and Scott's (1998) works on normalization features. The obtained results showed that great part of cultural markers can be classified as the material cultural domain, with 43%, followed by the social cultural domain, with 29%, the ideological cultural domain, with 15%, the ecological cultural domain, with 13%. The cultural domains point out the context of the source text. It was also possible to observe that normalization features tend to reveal, conscious or unconscious, the use of fluency strategies by the selftranslator, trying to make the translated text easier to read.
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Cotter, Brianne. "Las “brujas” en las carceles clandestinas de Argentina: La prisionera politica embarazada y otra madres en la imaginaria cultural del terrorismo estatal." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589746381503724.
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Ziegler, Barbara. "Die diskursive Konstruktion nationaler Identität in dem bundeseinheitlichen Einbürgerungstest der Bundesrepublik Deutschland : Eine diskursanalytische Untersuchung." Thesis, Stockholms universitet, Humanistiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-43802.
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The essay analyses the discursive construction of national identity in the present naturalisation test of the Federal Republic of Germany. The essay includes an overview of immigration to Germany, and a survey of political measures to improve the integration of immigrants. The language and structure of representative multiple-choice questions (and answers) of the naturalisation test are analysed by using the method of critical discourse analysis (CDA). The theoretical background of this study is grounded in cultural studies. The methodological framework consists of a combination of critical discourse analysis and textual analysis. Criteria of the linguistic analysis are: the situational context of the text, thematic roles, deixis, lexical repetitions, modality, coherence (including implicit meanings and presuppositions), intertextuality and interdiscursivity, competence and performance. The analysis shows that national identity is conceptualized by the multiple-choice questions of the naturalisation test. National identity is above all constructed by the German language. One of the qualifications which the examinee has to fulfil is competence in German on the level B1 (of the Common European Framework of Reference for Languages). Linguistic competence is necessary in order to answer the questions. National identity is linguistically created by using alterity. Binary oppositions are constructed by stipulations and presumptions about migrants living in Germany. These oppositions are created by giving three alternative answers, which represent prejudices about foreigners; we is represented by an idealized construction of Germans, and the other is represented by stereotypical assumptions about foreigners. National identity is created by the content of the questions, too. Many questions deal with German laws and standards, which implies that being a German means to be law-abiding. The present study shows that German identity is constructed by language and the construction of alterity.
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Brindis, Alvarez Gabriela. "Fragments of visible absences and invisible presences: Memorializing and appropriating Tlatlelolco's urban and social space." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342889803.
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Cleland, Cassidy Meredith. "Raising Expectations and Failing to Deliver:The Effects of Collective Disappointment and Distrust within the African American Community." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524502315783214.
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Kim, Jeena. "Tea Parties, Fairy Dust, and Cultural Memory: The Maintenance and Development of Alice in Wonderland and Peter Pan Over Time." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1404780148.
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Ferdinand, Laura Jeanne. "IMAGINING CHILDHOOD: CONSTRUCTIONS OF YOUTH, GENDER, AND IDENTITY AS PARTICIPANTS IN THE CULTURAL TRANSMISSION OF J.M. BARRIE'S PETER PAN." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1407511599.
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Hultin, Bäckersten Karin. "Memories of Life and Death : Three Practices of Remembering in Post-Dictatorial Argentina." Thesis, Uppsala universitet, Institutionen för ABM, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326024.
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Syftet med denna uppsats är att diskutera några av de minnespraktiker i efterdiktaturens Argentina som behandlar det kollektiva minnet av det Smutsiga Kriget och de som blev utsatta för tvångsförsvinnande. Praktikerna som studerats är Madres de Plaza de Mayo, minnesplatser upprättade i före detta fångläger och Parque de la Memoria. Uppsatsen anknyter till ett teoretiskt ramverk för kollektivt minne och kollektivt trauma, minnesmuseer och materiell kultur. Studien har utformats som en fallstudie. Materialet består av observationer, intervjuer och fotografier insamlade under fältarbete i Argentina 2017. Madres de Plaza de Mayo analyserades genom att använda teorier om lieux de mémoire framförda av Pierre Nora och minnesceremonier framförda av Paul Connerton. Minnesplatserna studerades utifrån ett minnesmuseumsperspektiv med hjälp av teorier av Paul Williams. Parque de la Memoria studerades utifrån teorier om krigsmonument framförda av Jay Williams. Madres de Plaza de Mayo kan förstås som lieu de mémoire eftersom de i sina artikulationer och aktioner är materiella, symboliska och funktionella. Genom dem bevaras de försvunna vid liv. Minnesplatserna presenterar ett mer ambivalent narrativ som placerar de försvunna i limbo. Parque de la Memoria är en plats för sorg och för att offentligt hedra dem som föll offer under det Smutsiga Kriget. Kontexten som dessa praktiker befinner sig i är komplex och de olika praktikerna uttrycker tre olika narrativ över de försvunna, som sträcker över spektrumet från liv till död. Detta är en tvåårig mastersuppsats i ämnet musei- och kulturarvsvetenskapThe purpose of this thesis is to discuss some of the memory-practices in post-dictatorial Argentina regarding the collective memory of the Dirty War and the people who were objects of forced disappearances. The practices studied are Madres de Plaza de Mayo, sites of memory established in former centres of detention and Parque de la Memoria. The thesis draws upon the theoretical framework of collective memory and collective trauma, memorial museums and material culture. The study was formed as a case study. The materials are observations, interviews and photographs, and were gathered through field work in Argentina in 2017. The Madres de Plaza de Mayo were analysed using theories on lieux de mémoire brought forward by Pierre Nora and commemoration ceremonies brought forward by Paul Connerton. The sites of memory were studied out of the perspective on memorial museums by Paul Williams. Parque de la Memoria was studied with theories on war memorials by Jay Winter. The Madres de Plaza de Mayo can be interpreted as lieu de mémoire due to their material, symbolic and functional dimensions. Through them, the disappeared are alive. The sites of memory present an ambivalent narrative. The narrative of the disappeared is that of a state of limbo. Parque de la Memoria is a park of mourning, placing the disappeared in a narrative of death. The situation of memory-practices in post-dictatorial Argentina is complex and the practices articulates three different narratives of the disappeared, ranging from life to death. This is a two-year master’s thesis in Museum and Cultural Heritage Studies
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LeBlanc, Sofia. "Una cárcel de cultura: secuelas de la dictadura chilena en un centro de arte comunitario." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1380119674.
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Becker, Sophia Colette. ""Performance and Resilience: Performance, Storytelling, and Resilience Building in Post-Katrina New Orleans"." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1472833968.
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Sánchez, Cardona Ana Paula. "Materialización de la memoria. Escritura y fotografía como representación de la experiencia del viaje en el siglo XIX." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/32046.
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El presente estudio trata de la fotografía y escritura del viaje como formas de representación de la memoria durante el siglo XIX, específicamente entre las décadas de 1840 y 1880. Se atienden los procesos de consignación de la memoria de la experiencia del viaje desde las perspectivas de recepción y producción. Las representaciones visuales y textuales son testimonios de una experiencia extrema en la que se ponen en juego diversos filtros para la construcción cultural del otro y de sí mismo. Estas representaciones se ven materializadas en la forma arquetípica del libro. La concepción de la fotografía como una representación de la naturaleza por contacto encuentra en el libro su configuración e identidad, de manera que las primeras ediciones de libros fotográficos llevan consigo la impronta de la verdad de la naturaleza y el conocimiento del mundo desvelado al hombre. De ahí la pertinencia del dispositivo fotográfico dentro de la historia de la ciencia. La escritura del viaje será entendida no como género literario sino como formas de asimilar y representar el viaje. La fotografía será estudiada no desde la linealidad histórica sino desde los discursos culturales partiendo de nociones como identidad y otredad. Se abordará de manera detallada la experiencia de cuatro viajeros: Maxime du Camp, John Thomson, William Bradford y Arthur Rimbaud. Ellos a través de la imagen fotográfica y del texto construyeron su testimonio.This study deals with travel photography and writing as forms of memory representation in the nineteenth century, specifically between 1840’s and 1880’s. It addresses memory processes of the travel experience from the perspectives of reception and production. These visual and textual representations are witnesses to the extreme experiences which are subject to different filters according to the cultural construction of the other and the self. These representations are embodied in the archetypal form of the book. The conception of photography as a representation of nature by index finds in the book its configuration and identity. In this way, the first editions of photographically illustrated books carry the imprint of the truth of nature and world knowledge revealed to man, hence the relevance of photographic device in the history of science. In this study, travel writing is understood not as a literary genre but as a way to assimilate and represent the journey. The photograph will be studied not only through historical lineage but by cultural discourses based on notions such as identity and otherness. It will address in detail the experience of four travelers: Maxime du Camp, John Thomson, William Bradford and Arthur Rimbaud, who through photographic imagery and text built their testimony.
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Healy, Lynn Marie. "Framing the Victim: Gender, Representation and Recognition in Post-Conflict Peru." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440092938.
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Mallison, Laura. "La Tirania de la Invisibilidad: La Necesidad de Reconocer y Analizar la Violencia de Genero en la Argentina." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/462.
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This thesis examines gender violence in Argentina in the context of the historic continuum of gender inequality, with a more in-depth analysis of gender violence during the 1976-1983 dictatorship. I argue that gender violence is perpetuated and normalized by its lack of recognition as a political issue with ramifications extending to daily life. I use the construction of a collective memory of the Dictatorship as a framework for making the intricacies of gender violence more visible and provide a detailed analysis of two laws against gender violence to demonstrate its systematic nature. Ultimately, laws are not sufficient to address such a widespread issue, and society is responsible for creating a dialogue that presents gender violence in a context that adequately addresses its complexities.
Esta tesis examina la violencia de género en Argentina en el contexto del continuo histórico de la desigualdad entre los géneros, y en particular analiza la violencia de género de la Dictadura de 1976-1983 y de la actualidad. Propongo que la carencia de reconocer la violencia de género en un contexto político la perpetúa y la normaliza. Utilizo la construcción de la memoria colectiva de la Dictadura como un ejemplo de estrategias para visibilizar las complejidades de la violencia de género y analizo dos leyes contra tal violencia para demonstrar cuán sistemática es. Al fin, las leyes no son suficientes para abordar un problema tan generalizado y normalizado y la sociedad es responsable de desarrollar un diálogo sobre la violencia de género y sus complejidades.
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Paynter, Eleanor. "Witnessing Emergency: Testimonial Narratives of Precarious Migration to Italy." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1582996945730084.
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Holmes, Janel L. "The Color of Memory: Reimagining the Antebellum South in Works by James McBride Through the use of Free Indirect Discourse." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4220.
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This thesis examines the use of interior narrative techniques such as free indirect discourse and internal monologue in two of James McBride’s neo-slave narratives, Song Yet Sung (2008) and The Good Lord Bird (2013). Very limited critical attention has been given to these neo-slave narratives that illustrate McBrides attention to characterization and focalized narration. In these narratives McBride builds upon the revelations he explores in his bestselling memoir, The Color of Water (1996, 2006), where he learns to disassociate race and character. What he discovers about not only his mother, but also himself, inspires his re-imagination of the people who lived during the antebellum period. His use of interior narrative techniques deviates from his peers’ conventional approach to the neo-slave narrative. His exploration of the psyche demonstrates a focalized attention to the individual, rather than a characterization of the community, which is typically portrayed in neo-slave narratives. In conclusion, this thesis argues that James McBride’s neo-slave narratives reveal his interest in deconstructing the hierarchal positioning of whites and blacks during the antebellum period in order to communicate that although African Americans were the intended victims, slave masters and mistresses were oppressed by the ideologies of slavery as well.
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Bryson, Krista Lynn. "A Regional Rhetoric for Advocacy in Appalachia." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429196463.
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Henricksen, Richard A. "The Flux of Agency: Unsettling Objects in Contemporary Spanish Civil War Novels (1998-2008)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1470585727.
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