Dissertations / Theses on the topic 'Culture memory'

This doctoral thesis examines literary representations of the Holocaust by Saul Bellow, Thomas Pynchon and Paul Auster, and maps the relation between memory and narrative elicited from literature onto American museums, memorials and monuments. This research argues that the ramifications of the trauma originally felt by Holocaust witnesses resonate in the American collective memory, and its literary and architectural forms, that seeks to remember on behalf of those witnesses. The consequent traumatic disruption of literary and architectural narratives can be identified, using various appropriated psychoanalytical concepts, and Holocaust memory traced as it eludes, and irrupts in, the cultural forms that try to remember it. Establishing the dynamics of collective memory allows the cultural significance of Holocaust remembrance to be investigated, especially in relation to the memories and ethnic identities of survivors that are subsumed by an Americanised version of the past. By way of a conclusion, although this thesis points to the problematisation of historical representation, it also challenges notions of the Holocaust's unrepresentability common to much postmodern thought. It searches for a methodology of memorialisation or at least identifies where blocks to mourning could be removed from the American cultural landscape.

One way of remembering life as it was lived in the German Democratic Republic (GDR) is through everyday objects. This thesis looks at the Alltagsgeschichte (history of everyday life) to understand the interaction between the East German state and society through material culture. Museums have collected East German material objects and popular culture with the help of the internet and television has assisted to both preserve and re-imagine the memories of the past. The purpose of this thesis is to examine the cultural and economic significance of material culture of the German Democratic Republic both before and after 1989. It seeks to understand, how and why ex-GDR consumer objects have emerged as new historical markers of the socialist experience and collective memory. Additionally, the thesis explores whether East Germany, a socialist country that was despised for its poor quality and quantity of consumer goods can be remembered after the fall of the Berlin Wall as a genuine consumer society. While the GDR no longer exists, its legacy is still very much alive in the renewal and revival of a number of significant material objects. It has even manifested itself into what is called Ostalgie, nostalgia for all things from the former GDR, including such items as the Trabant (an East German car), the Ampelmannchen (traffic light figure) and Florena body lotion.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate

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.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
No final do século XIX e início do século XX, os bairros da Saúde, Gamboa, Santo Cristo, num prolongamento que alcançava a Praça Onze e o Estácio, ficaram conhecidos como Pequena África. O Largo de São Francisco da Prainha, na base do Morro da Conceição, Saúde, era um ponto de encontro para a população negra, ex-escravos oriundos do interior do Rio e também da Bahia, que ali reverenciavam suas divindades, cantando e dançando ao som de palmas e tambores, na manifestação da sua cultura, a qual jamais permitiram que se perdesse. Na subida do Morro da Conceição, um caminho com degraus escavados na pedra: a Pedra do Sal. Apesar do desconhecimento de muitos cariocas, hoje, reconhecida como monumento histórico, a Pedra recebe todos os dias, visitantes de vários lugares do Brasil e do exterior, por conta da história que a cerca, e para as rodas de samba que lá se realizam. Qual uma manutenção do que já era praticado há mais de cem anos ali, o samba tem naquele espaço um convite a quem busca, na palma da mão, bebê-lo na fonte. Basta, para isto, que antes se encontre o caminho da Pedra.
At the end of the 19th century and the beginning of the 20th century, the districts of Saúde, Gamboa and Santo Cristo, from Praça Onze to Estácio were well-known as Little Africa. Largo de São Francisco da Prainha in the bottom of Conceição Hill in Saúde, was a meeting point for the black people, ex-slaves from the countryside of Rio and from Bahia, where they worshipped their gods by singing and dancing to the sounds of claps and tamborins, manifesting their culture which they never allowed to disappear. The way up to Conceição Hill, a path which steps were sculpted on the stone called, Pedra do Sal. Although unknown by many cariocas, but today acknowledged as a historical monument, the place is visited every day by many people from other parts of Brazil and from abroad because of the history of the place and the circles of samba that take place there. Keeping things the way they have been done for over a hundred years, the samba is in that place, an invitation to those who seek to drink it from the very fountain of it. And for that, you have just to find the Pedra path.

Thesis advisor: James M. O'Toole
This dissertation examines the ways in which Catholics, Mormons, Pentecostals, Lutherans, and Congregationalists repositioned themselves in American life and culture during the Progressive Era. Between 1890 and 1920, the place of these religious communities in American society became less secure as faith and religious practice became increasingly individualized. In response, churches reasserted their place in American society through deliberate reconstructions of the past to recreate their religious and historical identity. Through pageants, parades, poetry, and orations, they publicly displayed and celebrated their place in America and their contributions to the making of the nation. Specifically, they argued that religion and national progress went hand in hand. Progress needed religion. As such, the clerical and lay members of these communities constructed collective religious memories that strayed from historical reality in order to reinforce present needs and concerns. Perpetuating these often times misleading memories helped them to navigate the murky waters of modernity including theological change, societal prejudice, industrialization, and war by supplying them with the space to sustain the cultural legitimacy of their community. By examining religious experience via the lens of memory this dissertation illustrates how religious communities pursued an active role in America at a time when society increasingly disregarded the relevance of religion
Thesis (PhD) — Boston College, 2009
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: History

Thesis (Ph.D.)--Indiana University, Dept. of History, 2006.
Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1490. Adviser: Jeffrey L. Gould. "Title from dissertation home page (viewed May 7, 2007)."

In 1991, a diplomatic controversy arose between Greece and the newly independent Republic of Macedonia, regarding naming, minority rights and the use of historical symbols. The claims of the new state to the name Macedonia and the historical heritage associated with it were perceived as a threat against Greek national identity and history itself. Within months, the so-called Macedonian question came to dominate the Greek domestic and foreign policy agenda. In Greek public debate, the conflict blended with concerns about the nation’s past, present and future, which played into the challenges brought about by the end of the Cold War. The Macedonian conflict can thus be understood as symptomatic of a crisis in Greek historical culture, as well as a catalyst for broader concerns about the role of history in contemporary society. This study explores the contexts in which the conflict evolved and how history was perceived, narrated and used by institutions, communities and individuals who sought to influence public opinion and policy-makers. The theoretical point of departure is the concept of historical culture, defined as the totality of discourses through which a society makes sense of itself, the present and the future through the interpretation of the past. In the study of historical culture, the notions of narratives and uses of history have been employed, with the notion of boundary-work as a supplementing analytical tool. The material of the study is primarily drawn from mainstream press, but also includes historiography. The study shows how the Macedonian controversy was intertwined with the identity- and memory-political demands of substate actors. Particular attention is paid to the emergence of a narrative on genocide among Greeks of Pontian origins. This happened in an age when traditional notions of national pride were being challenged by transnational history-cultural concerns about human rights and the notion of national guilt. The study also sheds light on how academic historians dealt with issues brought about by demands for politically committed scholarship, objectivity, legitimacy and the need to adjust in a transnational setting.
Denna studie har sin utgångspunkt i de utmaningar som det grekiska samhället och nationalstaten stod inför vid kalla krigets slut. I fokus står den diplomatiska konflikten mellan Grekland och republiken Makedonien, gällande den senare partens namn och bruk av historiskt laddade symboler samt minoritetsrättigheter. Denna makedonska konflikt som seglade upp i samband med Jugoslaviens sammanbrott kom att dominera den in- och utrikespolitiska dagordningen i Grekland under det tidiga 1990-talet, och förde tidvis in landet på kollisionskurs med dess västeuropeiska och amerikanska partners. Avhandlingens syfte har bestått i att spåra de sammanhang som denna konflikt växte fram i. Jag hävdar att den makedonska konflikten inte endast skall förstås som en kris i grekisk inrikespolitik, eller i landets relationer med omvärlden, utan fastmer som en kris i den grekiska historiekulturen. I det offentliga samtalet i Grekland smälte konflikten samman med en oro gällande nationens förflutna, nutid och framtid. Den diplomatiska fejden med den nya grannstaten i norr uppmärksammades av en bred allmänhet och åtföljdes av en diskurs som utmålade den egna nationens historia och arv som hotade. Studiet av denna diskurs, eller rättare sagt diskurser, om historia är ett viktigt mål i denna avhandling, eftersom det belyser uppfattningar om det förflutna jämte farhågor rörande nuet och nationens framtid, uppfattningar och farhågor som ytterst präglade den politiska krisen. Den teoretiska utgångspunkten för studien återfinns i begreppet historiekultur. Med detta avses de samtliga diskurser genom vilka ett samhälle begripliggör sig självt, nuet och framtiden genom att tolka det förflutna. Sålunda definierad skall historiekultur förstås som både struktur och process. Det innebär att historiekulturen är både ramverket av kunskap, attityder och värderingar som ger den enskilde mening och sammanhang, och samhällen deras sammanhållning, och själva handlingen genom vilka ovansagda skapas och förmedlas. Som redskap för att studera historiekultur har begreppen berättelser och historiebruk använts. Eftersom studien särskilt uppmärksammar fackhistorikers roll i konflikten – viktiga i egenskap av aktörer som skapar och sprider den kunskap och de värderingar som utgör historiekultur – har även ett vetenskapssociologiskt perspektiv infogats. Offentliga kontroverser rörande det förflutna inbegriper kamp om trovärdigheten i vissa tolkningar liksom hos dem som framför dem. Som kompletterande analysredskap brukas begreppet gränsdragning (boundary-work), utifrån uppfattningen att vetenskapen bör studeras i det sociala sammanhang i vilket den bibringas mening och auktoritet. Historiekultur studeras genom dess lämningar. I föreliggande avhandling utgörs källmaterialet främst av artiklar i grekisk dagspress, men även historieskrivning (akademisk såväl som icke-akademisk) i bokform, vetenskapliga tidskrifter och andra relevanta trycksaker där historia debatteras, berättas, sätts in i sammanhang och brukas, har studerats. Materialet täcker ingalunda grekisk historiekultur i hela dess vidd men utgör likväl ett representativt urval av de arenor där såväl allmänhet som specialister mötte diskurser och debatter om det förflutna. 324 Studien har kartlagt de sätt på vilka historia brukades med särskilt avseende på de intressen som kan skönjas däri. Själva upplevelsen av kris tog sig uttryck i ett existentiellt historiebruk, kopplats till ett sökande efter rötter och kontinuitet som närdes av fruktan för krig, rotlöshet och kulturell minnesförlust. Det upplevda yttre hotet mot Grekland beskrevs ofta i termer av en hotande utmaning gentemot den nationella identiteten och nationens överlevnad, men också som en möjlighet att återupprätta en samlande nationell berättelse. Samtidigt brukades historia med både kommersiella och politiska mål i sikte, eftersom det nationella förflutna sågs som en moralisk, politisk och ekonomisk tillgång. Ett framträdande drag i debatten var ett politiskt historiebruk som syftade till att utmana en upplevd vänsterhegemoni som utmålades som ett hinder för nationell enighet och främjandet av Greklands utrikespolitiska målsättningar i utlandet. Men historia kunde även brukas politiskt för att visa på nationalismens avarter. Särskild uppmärksamhet har ägnats åt det moraliska historiebruket. Detta är ett bruk som utmanar vad som utpekas som förhärskande föreställningar och därför är ett medel för historiekulturens förändring. Historieproducenter längs med den politiska skalan tenderade att utforma sina berättelser i kritisk och moralistisk anda, även om syftet ofta var att bevara en traditionell förståelse av nationell historia och identitet. Emellertid är det berättelser som utmanar den nationella tolkningsramen som undersökts särskilt noggrant. Det moraliska historiebruket hänger samman med hur den makedonska frågan nyttjades till att främja minnespolitiska krav. I detta sammanhang har särskild uppmärksamhet riktats mot den slaviskmakedonska minoritetsaktivismen som prisade etnisk särart och anklagade den grekiska staten för diskriminering. Dess historiebruk underblåste föreställningar om ett överhängande hot mot den grekiska nationalstaten och tilltalade som sådant också grupperingar inom den grekiska vänstern, som i den slaviskmakedonska kritiska berättelsen såg ett medel till förändring av rådande samhällsordning och den nationella historiekulturen, genom att blottlägga statens ”ideologiska historiebruk”. En grupp som brukade historien moraliskt och som i viss utsträckning även länkade sin minnespolitiska dagordning till den makedonska frågan återfanns bland de pontiska grekerna. Studien har belyst hur en pontisk identitet knuten till en berättelse om folkmord i Turkiet och en historia av diskriminering i Grekland växte fram i senare delen av 1980-talet och erkändes av staten 1994. Medan kapitel 3 utforskar det lokala historiekulturella landskapet i det grekiska Makedonien, belyser kapitel 4 även de förbindelser som pontiska aktivister sökte upprätta med historiska berättelser utanför den nationella historiens ramverk, huvudsakligen det armeniska folkmordet och förintelsen. Förhållandet mellan politik och historia, mellan kritiska berättelser som utmanade förhärskande uppfattningar i nationella frågor och dem som försvarade den förda politikens legitimitet och den officiella historieskrivningen, står i fokus för kapitel 5. Den makedonska konflikten medförde kolliderande anspråk på expertis inom vetenskapssamhället – mellan ämnesdiscipliner och enskilda forskare – såväl som mellan fackmän och lekmän, vilket tog sig uttryck i retoriska 325 uteslutningsmekanismer. För somliga bar den allmänna betoningen av nationell historia ett löfte med sig om finansiering och förstärkt prestige åt dem som hade denna inriktning. Andra uppfattade den makedonska krisen och historieskrivning med nationella och politiska förtecken som ett direkt hot mot den fria forskningen och Greklands överlevnad som ett demokratiskt samhälle. Den akademiska autonomin som föreföll hotad skyddades genom att insistera på en skiljelinje mellan historia som vetenskap respektive som ”ideologiskt bruk” för politiska ändamål. Detta försök att återupprätta konsensus inom vetenskapssamhället genom att vädja till professionens etiska principer blev också en utväg för historiker som med tiden sökte distansera sig från en förd politik som uppfattades som skamfilad och nationalistisk. Analysen har visat på de sammanhang i vilka den makedonska krisen växte fram och hur farhågorna för och bruket av historia kan förstås. Den första av dessa kontexter är den inrikespolitiska, närmare bestämt det grekiska samhällets demokratisering efter 1974. I det nya pluralistiska klimatet införlivades delar av den tidigare förföljda vänsterns kritiska berättelse om det nära förflutna i statens historieskrivning. Övergången från ett auktoritärt samhälle och historiekultur till en ökad öppenhet banade även väg för missnöjda gruppers identitetspolitik (slaviska makedoner, pontiska och andra anatoliska greker), grupper vars historiebruk naggade de gamla nationella och ideologiska stora berättelserna i kanten. Vid tiden för kalla krigets slut 1989 hade en allmänt spridd besvikelse gentemot de politiska ideologierna, i synnerhet socialismen, medfört en motreaktion till förmån för en mer traditionell nationalism. Det andra betydelsefulla sammanhanget återfinns i den europeiska integrationen som följde på Greklands EG-inträde 1981. Denna medförde inte endast hopp om ekonomisk vinning utan även behovet att bearbeta förlusten av nationellt självbestämmande och traditionella former av självförståelse. Grekland stod inför uppgiften att finna sin plats i det nya Europa, samtidigt som landet måste hantera den nya verklighet som 1990-talets krig på Balkan medförde. Särskilt historiker betonade att denna process gjorde det nödvändigt att europeisera nationens värderingar och uppfattningar kring historia, en uppgift som försvårades av Greklands hållning i den makedonska frågan och det sätt på vilket man slog vakt om ”historiska rättigheter”. Även aktivister som, huvudsakligen i den grekiska diasporan, var sysselsatta med att marknadsföra denna fråga pekade på behovet av att modernisera aspekter av den nationella historiekulturen i en tid av europeiskt enande och konvergerande historieutbildningar. Det som ovan beskrivits har ett nära samband med det tredje stora sammanhanget, som även det är av transnationell art. Den nationella historiekulturen är inte avskild från omvärlden; föreställningar om det förflutna rör sig över nationella gränser. På global nivå sammanföll den makedonska konflikten med de s.k. history wars, historiekrig som rasade vid samma tid runtom i världen. Dessa återspeglar i sin tur urholkandet av de stora nationella och ideologiska berättelserna i västerländska samhällen, de identitets- och minnespolitiska kraven hos under- och ickestatliga aktörer, de mänskliga rättigheternas paradigm och 326 beklagandets politik (the politics of regret), som anammar nationell skuld som ny princip för politisk legitimitet. Trenden inom transnationell historiekultur mot en mer universell moral, symboliserad av den ”amerikaniserade” (och ”europeiserade”) förintelsens moral innebar en ytterligare utmaning mot de nationella historiekulturerna. Den pontiska folkmordsberättelsen (och dess nationaliserade förlängning) analyseras som svarande till kravet på en ”amerikanisering” av grekisk historiekultur. I detta sammanhang lyfts den grekiska diasporans roll fram, inte endast som instrumentell i utformningen av Greklands utrikespolitiska dagordning, men även i egenskap av förmedlare av historiekulturella angelägenheter och behovet av anpassning till transnationell omgivning. Konsekvenser av denna ”amerikaniserade” folkmordsberättelse diskuteras. Ett fjärde sammanhang, med en både nationell och transnationell dimension, är det akademiska, inom vilket forskare debatter och formar historiens representation. Identitetspolitikens ankomst och den makedonska konflikten stod även i samband med den objektivistiska historieskrivningens legitimitetskris och den postmoderna utmaningen. Urholkningen av staters bärande historieberättelse och tolkningsföreträde motsvarades i viss utsträckning av ett undergrävt förtroende för den traditionella historieskrivningens trovärdighet och auktoritet. Denna urholkning kunde tolkas som ett hot mot själva historievetenskapen och professionen. Ett annat sätt att bemöta detta hot var att betrakta såväl det som den makedonska krisen som en uppfordran till perspektivskifte inom forskning och historieskrivning. Samspelet mellan politik och historia, mellan förståelsen av svunna realiteter, nutida bekymmer och förväntningar inför framtiden formade sålunda den politiska krisen och banade väg för den grekiska historiekulturens förändring.

This intergenerational study within Liverpool communities employed embodied memory as an analytical tool to explore the changing nature of food practices and the consequent implications for diet and health. The methodology had a qualitative focus using a phenomenological approach that employed the ethnographic methods of participant/nonparticipant observation, natural conversations, document analysis and in-depth interviews with eight families that comprised three and four generations of mixed gender and socioeconomic backgrounds spanning almost one hundred years. Memory is a multi-faceted phenomenon through which I have explored a range of concepts in relation to food and familial practices; history, inter-generational transmission, identity, tradition, community and health. The notion of embodied memory involving the senses and emotions, revealed the cultural and social meanings my participants afforded to traditional, ritual and everyday foods and food practices and the extent to which these organised and embodied their relationship with the past bound up in life experiences that included transitions, turning points and significant events and relationships. Within particular temporal, social, economic and historical contexts such memories moulded food and eating practices that in turn, intersected with the major influences on food choice including available resources, corporate marketing, personal attributes and knowledge, family values and health concerns. The study produced evidence that health and illness are not independent variables that can be tested and measured, but rather are subjective experiences embodied in everyday life attention to which can help us develop a better understanding of why the relationship between food and health has become problematic. Food stories across time revealed that people draw on, and respond to, different knowledges that may, or may not, lead them to improvise or make adjustments to their food practices. A common sense stock of knowledge bound up in the notion of tradition once embedded in the community and family has, to a large extent, been superseded by 'expert' knowledge derived from surveys that provide evidence base for government advice on healthy eating from which, despite inconsistencies, the individual is expected to make rational, informed choices. My study challenges this ethos of individualism wrapped up in the aphorism 'you are what you eat', arguing that we need to focus our attention on the social and cultural ways in which food 'gets done', food as it is valued and practiced, that in turn may lead to more effective health promotion strategies.

This thesis examines three key moments in the intersecting histories of Scotland, Ireland and England, and their impact on literature. Chapter one Robert Bruce and the Last King of Ireland: Writing the Irish Invasion, 1315- 1826‘, is split into two parts. Part one, Barbour‘s (other) Bruce‘ focuses on John Barbour‘s The Bruce (1375) and its depiction of the Bruce‘s Irish campaign (1315-1318). It first examines the invasion material from the perspective of the existing Irish and Scottish relationship and their opposition to English authority. It highlights possible political and ideological motivations behind Barbour‘s negative portrait of Edward Bruce - whom Barbour presents as the catalyst for the invasion and the source of its carnage and ultimate failure - and his partisan comparison between Edward and his brother Robert I. It also probes the socio-polticial and ideological background to the Bruce and its depiction of the Irish campaign, in addition to Edward and Robert. It peers behind some of the Bruce‘s most lauded themes such as chivalry, heroism, loyalty, and patriotism, and exposes its militaristic feudal ideology, its propaganda rich rhetoric, and its illusions of freedom‘. Part one concludes with an examination of two of the Irish section‘s most marginalised figures, the Irish and a laundry woman. Part two, Cultural Memories of the Bruce Invasion of Ireland, 1375-1826‘, examines the cultural memory of the Bruce invasion in three literary works from the Medieval, Early Modern and Romantic periods. The first, and by far the most significant memorialisation of the invasion is Barbour‘s Bruce, which is positioned for the first time within the tradition of ars memoriae (art of memory) and present-day cultural memory theories. The Bruce is evaluated as a site of memory and Barbour‘s methods are compared with Icelandic literature of the same period. The recall of the invasion in late sixteenth century Anglo-Irish literature is then considered, specifically Edmund Spenser‘s A View of the State of Ireland, which is viewed in the context of contemporary Ulster politics. The final text to be considered is William Hamilton Drummond‘s Bruce’s Invasion of Ireland (1826). It is argued that Drummond‘s poem offers an alternative Irish version of the invasion; a counter-memory that responds to nineteenth-century British politics, in addition to the controversy surrounding the publication of the Ossian fragments. Chapter two, The Scots in Ulster: Policies, Proposals and Projects, 1551-1575‘, examines the struggle between Irish and Scottish Gaels and the English for dominance in north Ulster, and its impact on England‘s wider colonial ideology, strategy, literature and life writing. Part one entitled Noisy neighbours, 1551-1567‘ covers the deputyships of Sir James Croft, Sir Thomas Radcliffe, and Sir Henry Sidney, and examines English colonial writing during a crucial period when the Scots provoked an increase in militarisation in the region. Part two Devices, Advices, and Descriptions, 1567-1575‘, deals with the relationship between the Scots and Turlough O‘Neill, the influence of the 5th Earl of Argyll, and the rise of Sorley Boy MacDonnell. It proposes that a renewed Gaelic alliance hindered England‘s conquest of Ireland and generated numerous plantation proposals and projects for Ulster. Many of which exhibit a blurring‘ between the documentary and the literary; while all attest to the considerable impact of the Gaelic Scots in both motivating and frustrating various projects for that province, the most prominent of which were undertaken by Sir Thomas Smith in 1571 and Walter Devereux, 1st Earl of Essex in 1573.

The thesis looks at the origin and development of Lancashire dialect literature between the publication of John Collier's ('Tim Bobbin') A View of the Lancashire Dialect in 1746, and the death of Allen Clarke ('Teddy Ashton') in 1935. The thesis is partly chronological, paying particular attention to the largely unexplored period of dialect writing between the 1890s and the 1930s, which suggests that earlier assessments of dialect literature need revision. The period before the First World War witnessed the development of a dialect literature closely linked to the labour movement in Lancashire, and contributed to the development of a distinctive socialist culture. For a time at least, dialect literature escaped from the middle class patronage which characterised it in the 1850s and 1860s, aided by the existence of an independent, Lancashire-based, press. Dialect literature was never a pure, unadulterated 'voice of the people', and it was used both by middle and working class social forces to support rival value systems. An argument in dialect suggested a practical, common sense, wisdom, regardless of the actual message. Dialect poetry was used by different writers to support imperialist adventures, Irish home rule, left-wing socialism, and to oppose strikes, women's suffrage, and restrictions on access to the countryside. The literature represented divisions within the working class, as well as attempts from the middle class to influence it. Differing class and political standpoints were, on occasions, transcended by a wider regional consciousness in which dialect had a prominent place. Particular themes within dialect literature are explored, contributing to current debates on class, identity, and gender. The treatment of women, war and imperialism, work, and the 'Cotton Famine' of 1861-4 are examined in separate chapters. Selfcriticism, and defences of dialect writing, are looked at in Chapter 6 on "Defending Dialect".

Khwaam Jam is an introspective installation of works that explore the perceptions of identity based on memory. Created through the exploration of my past and present, the works of Khwaam Jam utilize the principles and techniques of textile design and production while involving mixed media and new materials in a site-specific installation. This installation is intended to represent my memory on a large scale. The hanging pieces are the focal point of the exhibition and are the physical manifestation of my perception of the categorization and storage of my memories. Memories are the vessels through which we create our identity. An individual’s identity is not only created from the personal experiences of the individual, but also from the experiences of those linked to the individual, whether on an intimate or social level. This overlap of memories is what connects us and helps create both individual and social identities through a series of shared memories.

The text of the dissertation includes the effort to dialogue with the historiography about the History of the Chilean Dictatorship, also with historical theorists who deal with the paths of memory, relating it with reports made by survivors and characters of the dictatorships in the Southern Cone and in the case Of this dissertation, the Chilean Civil-Military Dictatorship (set./1973 to march/1990). And it ends with the audio-visual and biographical production already existing of the testimonies of several organizations, to explain how the clandestine happened in the country. The analysis was based on the questioning of the writing of the report, asking what and for whom it is addressed, as well as on the role of memory and its collaboration in clarifying the facts that occurred in a period of strong repression. Some survivors of human rights violations narrated their experiences from their understandings and emotions. Within this approach, the role of the State is also analyzed as a fundamental part in this process of reflection on dictatorial processes. For it is through the use and abuse of power that repression and violence are unleashed, knowing that such acts have become publicly known, when democracy is restored, and even before it, by the collaboration of those who have survived and prepared to recall the moments of clandestinity. This dissertation ends the activities carried out in the Post-Graduate Program in History of the Federal University of Santa Maria. This research focused on the area "History, Power and Culture". The research line "Culture, Migrations and Labor" collaborated in the discussion about the transformations of a society, with radical changes in its daily life, due to the Armed Forces' takeover of power, when a group of people came to live, from the coup, into the clandestinity. The objective was to interpret the works of memory in a sense of recognition and construction of the multiple Chilean identities, from the moment they arise, at the beginning of the 21st century, analyzing its documentary character for historiography. Thus, an analysis of the performance of human rights was made, starting in the 1990s, and how they became fundamental to achieve the objectives of these memories, a theme that circulates in the justification of the work, guaranteeing the prevalence of human rights in Societies that experienced great ruptures.
O texto da dissertação compreende o esforço de dialogar com a historiografia acerca da História da Ditadura Chilena, também com teóricos da História que tratam sobre os caminhos da memória, relacionando-a com relatos feitos por sobreviventes e personagens das ditaduras no Cone Sul e no caso desta dissertação, a Ditadura Civil-Militar Chilena (set./1973 a março/1990). E se encerra com a produção áudio-visual e biográfica já existente dos testemunhos de diversas organizações, para explicar como se deu a clandestinidade no país. A análise foi feita a partir do questionamento da escrita do relato, indagando para que e para quem ele se dirige, assim como sobre o papel da memória e sua colaboração no esclarecimento dos fatos ocorridos em um período de forte repressão. Alguns sobreviventes das violações dos direitos humanos narraram suas experiências, a partir dos seus entendimentos e emoções. Dentro deste enfoque, também é analisado o papel do Estado como parte fundamental neste processo de reflexão sobre processos ditatoriais. Pois é através do uso e abuso de poder que se desencadeia a repressão e a violência, sabendo que tais atos tornaram-se conhecidos publicamente, quando se restaura a democracia, e até antes dela, pela colaboração daqueles que sobreviveram e se dispuseram a relembrar os momentos de clandestinidade. Esta dissertação encerra as atividades desempenhadas no Programa de Pós-Graduação em História da Universidade Federal de Santa Maria. Esta pesquisa ficou centrada na área “História, Poder e Cultura”. A linha de pesquisa “Cultura, Migrações e Trabalho” colaborou para a discussão sobre as transformações de uma sociedade, com mudanças radicais em seu cotidiano, em virtude da tomada de Poder por parte das Forças Armadas, quando um grupo de pessoas passou a viver, a partir do Golpe, na clandestinidade. O objetivo foi o de interpretar as obras de memória em um sentido de reconhecimento e construção das múltiplas identidades chilenas, a partir do momento em que elas surgem, no início do século XXI, analisando seu caráter documental para a historiografia. Assim, foi feita uma análise da atuação dos direitos humanos, a partir dos anos de 1990, e como eles tornaram-se fundamentais para se alcançar os objetivos destas memórias, tema este que circula na justificativa do trabalho, garantindo a prevalência dos direitos humanos em sociedades que vivenciaram grandes rupturas.

My thesis is intended as an intellectual opportunity to take what, I argue, are the "dead ends" of work on the history film in a new direction. I examine cinematic representations of the Vietnam War-era America (1964-1974) produced during the "hot" culture wars (1987-1995). I argue that disagreements among historians and commentators concerning the (mis)representation of history on screen are stymied by either an over-emphasis on factual infidelity, or by dismissal of such concerns as irrelevant. In contradistinction to such approaches, I analyse this group of films in the context of a fluid and negotiated cultural memory. I argue that the consumption of popular films becomes part of a vast intertextual mosaic of remembering and forgetting that is constantly redefining, and reimagining, the past. Representations of history in popular film affect the industrial construction of cultural memory, but Hollywood's intertextual relay of promotion and accompanying wider media discourses also contributes to a climate in which film impacts upon collective memory. I analyse the films firmly within the discursive moment of their production (the culture wars), the circulating promotional discourses that accompany them, and the always already circulating notions of their subjects. The introduction outlines my methodological approach and provides an overview of the relationship between the twinned discursive moments. Subsequent chapters focus on representations of returning veterans; representations of the counterculture and the anti-war protest movement; and the subjects foregrounded in the biopics of the period. The fourth chapter examines Forrest Gump as a meta-sixties film and as the fulcrum of my thesis. The final chapter posits that an uplifting version of the sixties has begun to dominate as the most successful type of production in the post-Gump marketplace.

Orientador: Marcia Maria Strazzacappa Hernandez
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: O presente trabalho tem como objetivo apresentar a dança como arte da memória e expressa em corpos que dançam. Reconstruímos danças populares de Goiás quase que 'esquecidas', presentes apenas na memória de antigos moradores da região de Santa Cruz, cidade do Estado de Goiás. Temos como foco a perspectiva da história oral, priorizando a utilização de fontes orais, bem como, o registro de imagens. A inter-relação com a comunidade manifesta-se como condição fundamental para se apreender os modos, as histórias, os movimentos, as dramaturgias que marcam estes cotidianos e sua arte. Estas danças resistem como fragmentos, na memória de antigos moradores e sem registros ofi ciais. Continuam vivas na tradição da oralidade, mais particularmente, na memória do corpo, já que não são mais dançadas. Foram danças aprendidas em festas rurais locais, realizadas nos salões das fazendas da região. Entre os mutirões e pagodes, estas danças e cantos tinham intuito de agregar, coletivizar experiências, ancorando-se nas trocas e nas relações afetivas, sociais e culturais. Ao longo dos anos foram proibidas e/ou desprezadas pela modernidade capitalista. A metodologia desenvolvida envolveu o registro pela escrita, pela imagem e pela experiência vivida, formando uma rede de significações. Nossa intenção foi olhar para o corpo como um texto múltiplo e constituído de história, memória, cultura e arte. São tiranias e poesias inscritas no cotidiano e na dança. É a presença de uma multiplicidade de diálogos e uma dança apresentada como campo de conhecimento polissêmico. Nosso referencial teórico dialoga com diversos autores, entre eles Portelli, Olga Von Simson, Walter Benjamin, entre outros
Abstract: The present work has as an objective to present the dance as art memory, memory held within the bodies that dance, and for this purpose the folk popular dances of Goiás were reconstructed; these popular â?¿forgottenâ?? dances take place only in the memory of the dwellers of Santa Cruz, a small town in the state of Goiás. The focus is the perspective of the oral history, with prior use of oral sources and the images records. The interrelation with the community fl ourishes as a mandatory condition to apprehend the manners, the stories, the movements, the drama that mark their daily routine and its art. These dances linger in the memory of the elders; there are no systematic records, they are kept alive in their oral tradition, more particularly in the bodiesâ?¿ memory, since they havenâ?¿t danced them for ages. Were dances learned in the local parties, carried through in the farms of the region. Between the mutirões and pagodes, these dances and chanting had the intention of creating a collectivizing experiences, anchoring themselves in the exchanges and the affective, social and cultural relations. Throughout the years they had been forbidden and/or rejected by capitalist modernity. Our methodology involves registering the long lived lore experience by the images and the language written, building a network of meaningful information. The intention is to look to the body as a multiple text made of history, lore, memory, culture and art; it is the various dialogs and dances in the fi eld of polissitemic knowledge that matters. They are tyrannies and poetry inscribed in the daily routine and in dance. The theory referential points of this work dialogs with various authors such as Portelli, Olga Von Simson, Walter Benjamin, among others
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação

Orientador: Leandro Karnal
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: As expressões de cultura de tradição oral têm sido estudadas sob perspectivas distintas, desde as que estabelecem uma relação de inferioridade frente às expressões de tradição escrita ou as que lhe atribui uma autonomia e pureza de sentido. Nesse estudo, Os contos populares, os folhetos e os sermões de frei Damião, como exemplos dessas expressões de cultura de tradição oral, constituem-se em textos que informam sobre uma história de religiosidade popular na Paraíba do século XX. Busco, ao longo desse estudo, contextualizar esses textos na época e na realidade sócio-cultural e religiosa da Paraíba. O foco central desse trabalho, portanto, é o que e como essas expressões contam sobre a religiosidade de leitores e ouvintes de contos populares, de folhetos e de sermões. O objetivo é analisar a perspectiva de composição dessa religiosidade, caracterizá-la, rastreando o conjunto das crenças que a constituem, a tradição oral em que se apresenta, explicitando seus vieses, sua natureza. Assim, tomadas como corpus documental, essas expressões nos possibilitam um corte temático subscrito ao mundo das práticas culturais e sociais expressivas pela questão da oralidade. A religiosidade popular como temática é um recorte dentre outras possibilidades que essas expressões culturais apresentam. A leitura que faço dessas expressões tomadas em um conjunto define desde já o que elas apresentam em comum: contam histórias com valores religiosos morais e com propósitos pedagógicos. Os modos de contar essas histórias também se assemelham: constituem-se a partir do uso de um mesmo quadro de situações e atitudes. Nesse sentido, sonhos, visões aparições, visitas ao Céu ou ao Inferno compõem seu estoque. Enfim, são expressões que na vivencia social e cultural da Paraíba do século XX revelam o que caracterizo como religiosidade popular. Elas expressam crenças carregadas de angustias materiais e espirituais. Estão inseridas e são elas próprias testemunhas de um combate espiritual que envolve práticas de fé cristã católica desejada e almejada pela oficialidade da Igreja e práticas de fé de outras tradições religiosas. Assim, nesse contexto de vivência e combate, essa religiosidade se caracteriza pelo que mais expressa dessa realidade e dessa tensão social e espiritual
Abstract: The expressions of the oral-tradition culture have been studied out under different perspectives, starting with those that establish a relationship of inferiority in opposition to the expressions of the written tradition, or the ones that attribute autonomy and meaning pureness to the latter. To exemplify these expressions of the oral-tradition culture in this study, the popular short stories, the booklets and friar Damião's sermons end up being texts which inform on a popular religiousness history in the 20th century Paraíba. In this study, I pursue the contextualization of these texts within the socio-cultural and religious reality of Paraíba at that time. The main focus of this paper is therefore what and how these expressions tell about the religiousness of readers and listeners of popular short stories, booklets and sermons. The target is to check out the perspective of this religiousness composition, to characterize it, while tracing the set of beliefs that constitute it, the oral tradition under which it occurs, also explicating its obliquities, its nature. So, taken as documental corpus, these expressions allow us to bring in a thematic cut subscribed to the world of the expressive cultural and social practices throughout the oral means. As a theme, popular religiousness is a cutting amidst other possibilities, which these cultural expressions manage to show. Taken as a set, the reading I do from these expressions promptly defines what they have in common, i. e., they tell stories with religious moral values and pedagogical purposes. The ways to tell these stories are also alike, that is, they get formed as from the use of the same pattern of situations and attitudes. In this sense, dreams, apparitions, visions, visits to Heaven or Hell compose its assets. Finally, they are expressions which - in the social and cultural experience of the 20th century Paraíba - show what I characterize as popular religiousness. They express beliefs fully loaded with material and spiritual anguishes. Besides being inserted in, they themselves are witnesses of a spiritual struggle that involves practices of a Christian Catholic faith, desired and wished by the Church in its official terms, and the faith practices of other religious traditions. Therefore, in this ambience of struggle and life experience, this religiousness is characterized by what mostly expresses this reality and this social and spiritual tension
Doutorado
Politica, Memoria e Cidade
Mestre em História

A criança se desenvolve, adquire experiência, constrói e transmite sua cultura lúdica brincando, desde as primeiras interações enquanto bebê, pela participação em jogos com os companheiros, pela observação de outras crianças e pela manipulação de objetos que o passar do tempo lhe permite (WINNICOTT, 1979; BROUGÈRE, 2008). E como é esse brincar hoje? E como era no passado? O que mudou? Nesse sentido, essa investigação se interessou em compreender o brincar de hoje em relação ao passado nos Distritos da Penha e do Cangaíba, no Município de São Paulo. O objetivo principal foi identificar brincadeiras do passado para compreender quais delas permanecem na atualidade, além de levantar fatores que podem ter influência em transformações de brincadeiras infantis nestas duas regiões. A metodologia de história oral foi utilizada para relembrar memórias de brincadeiras do passado e a observação participante para compreender as brincadeiras atuais. Realizaram-se treze entrevistas temáticas com idosos que viveram sua infância nestes dois distritos e foram observadas aproximadamente 340 crianças da região. Estabeleceu-se como hipóteses que brincadeiras se mantêm, mas receberam algumas adaptações ao longo dos anos, assim como transformações nos usos do espaço público constituem-se num dos principais fatores responsáveis pelo deslocamento de brincadeiras infantis do espaço público para o privado e, por fim, que produtos midiáticos não podem ser considerados o principal fator pelas transformações ocorridas nas brincadeiras infantis. Resultados apontam que algumas brincadeiras e brinquedos do passado permanecem até os tempos atuais, mas com adaptações em termos de regras, nomenclatura, aquisição e materiais, como por exemplo, pega-pega, bafo e boneca. Outro aspecto que ainda se faz presente corresponde às diferenciações de gênero nas brincadeiras infantis, como futebol e carrinho comuns entre meninos, boneca e casinha entre meninas. Constatou-se que transformações no uso do espaço urbano, unidas às mudanças de modos de vida foram fatores que influenciaram práticas de brincar, pois crianças da atualidade têm menos oportunidades de interagir pelo brincar com outras crianças na rua, por exemplo
The child develops, gains experience, builds and transfer his or her ludic culture by playing, since the first interactions as a baby, through participation in games with friends, observation of other children and the object manipulation that the time going by allows. (WINNICOTT, 1979; BROUGÈRE, 2008). And how is this play today? And how was it in the past? What has changed? Therefore, this investigation aimed to comprehend todays plays in relation to the past in Penha and Cangaíba districts in the city of São Paulo. The main purpose was to identify plays in the past to understand which of them still remain nowadays, as well as the factors that have influenced the childs plays in those regions. The oral history methodology was used to retrace memories of past plays and participant observation was used to understand todays plays. Thirteen theme interviews were carried out with elderly who lived their childhood in those districts and approximately 340 children from those regions were observed. It was hypothesized that the plays remain the same, but received some adaptations through the years. It was also believed that transformations in the use of urban space are the main factors responsible for the displacement of childs plays in public space to the private one, and, eventually, the media products cannot be considered the main explanation for the transformations occurred in childs plays. Results showed that some past plays and toys remain in the present, but with some adaptations concerning rules, terminology, learning and materials, such as chase/ tag (pega-pega), hitting cards (bafo) and dolls. Another aspect still present is the gender distinction in childs plays, such as soccer and cars which are common among boys, and dolls and dollhouses among girls. It was seen that the urban space transformations, along with changes in life styles, had a significant effect on plays since children have less opportunities to maintain social relations with other children in the streets at present

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
A década de 1990 aponta para o alargamento do fluxo migratório de nordestinos para o trabalho agrícola (fundamentalmente para a atividade do corte da cana de açúcar) na região administrativa de Ribeirão Preto. Ademais, tais trabalhadores têm servido de mão-de-obra em atividades de baixa qualificação e rendimentos em diversas regiões, em diferentes períodos e ciclos econômicos, desde a década de 1920. Tais fatos nos convidam a compreender o processo de territorialização subjacente ao processo migratório de nordestinos, no sentido de observar os níveis de apropriação possíveis, tanto no interior da cidade como no movimento entre o lugar de origem e de destino. Partimos, assim, do método regressivo-progressivo de Lefebvre, buscando, depois de observada a sincronia do tempo e espaço presentes, investigar outros tempos e espaços aos quais este de onde partimos (Ibaté) relaciona-se, e ainda localizar o sujeito-objeto desta pesquisa (o trabalhador rural nordestino) no contexto desvendado. A partir de então, percorremos o trajeto mesmo da migração, passando pela análise do momento da partida, analisando as trajetórias de alguns migrantes e, por fim, compreendendo os territórios constituídos entre cá e lá. Nesse sentido, num primeiro momento, apreendemos o papel das relações sociais e das estruturas no processo de territorialização no interior da cidade, e, num segundo momento, da circulação (de pessoas, objetos e sentimentos) entre o lugar de origem e de destino na constituição dos “territórios migratórios”...
The decade of 1990 appears for the enlargement of the migratory flow of Northeasterners for the agricultural work (fundamentally for the activity of the cut of the cane of sugar) in the administrative area of Ribeirão Preto. Besides, such workers have been serving as labor in activities of low qualification and incomes in several areas, in different periods and economical cycles, since the decade of 1920. Such facts invite us to understand the process of underlying territorialization to the migratory process of Northeasterners, in the sense of observing the possible appropriation levels, so much inside the city as in the movement among the origin place and of destiny. We left, like this, of the regressive-progressive method of Lefebvre, looking for, after having observed the synchrony of the time and space presents, to investigate other times and spaces to the which this from where left (Ibaté) associates, and still to locate the subject-object of this research (the worker rural Northeasterner) in the unmasked context. Starting from then, we traveled the same itinerary of the migration, going by the analysis of the moment of the departure, analyzing the paths of some migrants and, finally, understanding the territories constituted among here and there. In that sense, in a first moment, we apprehended the paper of the social relationships and of the structures in the territorialization process inside the city, and, in a second moment, of the circulation (of people, objects and feelings) among the origin place and of destiny in the constitution of the migratory territories...(Complete abstract, click electronic access below)

This dissertation seeks to make sense of historicist media in America and the ideological work that they do. It examines a variety of discourses that inflect the texts examined. It focuses on representations of the Anglo-American past since this history, more than any other, is selling to American media consumers and has been for the last thirty years. Consequently, media about Anglo-American history provides vital clues as to what motivates the dominant culture’s invocation of the past.

In order to gain the broadest perspective possible on how historicist media function in America, the texts this dissertation examines come from a variety of media, including television, film, a Renaissance festival, and an experiential history museum. For a similar reason, this dissertation explores three distinct historical locales that have been especially marketable in the United States: the English country house of the nineteenth and early twentieth centuries, Renaissance England, and the American Revolution.

This dissertation argues that the media studied is structured by a contradictory desire for the sense of stability promised by notions of pastness and the sense of freedom, flexibility, and novelty promised by notions of modernity and mass production. As a result of these conflicting desires, historicist media in America can best be characterized as contemporary versions of what Elizabeth Outka described as the nineteenth-century aesthetic of the “commodified authentic.” Like the “commodified authentic,” contemporary historicist media offer to help consumers negotiate anxieties caused by rapid social, technological, and economic change by holding history and modernity in productive tension with one another. Whereas the anxieties addressed in the nineteenth century stemmed largely from the Industrial Revolution though, the anxieties negotiated in contemporary media about the past have to do with digitization, neoliberalization, and the global economic crisis of 2007–2008. However, nineteenth century and current examples of the “commodified authentic” are similar in that by turning to history as a source of stability, they tend to reinforce conservative values, even when they incorporate various forms of liberal social critique. As a result, this dissertation pays special attention to the discourses of class-, gender-, and racial privilege that inflect the media texts examined, particularly when considering what kind of communal American identity (a la Benedict Anderson) my sample texts imagine or imply.

This thesis examines the politics of World War II memory in Thai screen culture with special reference to films and television series produced between the 1970s and the 2010s. Framed by memory studies and film studies approaches, the thesis hopes to answer 1) how WW II memory on screen is related to other memory texts: monuments, museums and commemorative rituals and 2) how the memory is coded by various genres: romance, biopic, combat film and horror. The project relies on a plurimedial network which has not yet been extensively studied by film scholars in Thailand. Through the lens of memory studies, the on-screen memory is profoundly intermingled with other sites of memory across Thailand and beyond. It potentially is counter-memory and vernacular memory challenging the state's official memory. The politics of WWII memory are also engaged with cultural politics in Thailand in terms of class, gender and ethnicity. The politics of commoners and trauma are given more voice in WWII memory compared to other moments of the national past, which are dominated by the royal-nationalism. From film studies perspectives, the genres mediating WWII memory are shaped by traditions of Thai-Thai and transnational screen culture; the Thai WWII combat film is a newly proposed genre. The thesis also explores directors, the star system, exhibition and reception. The findings should prove that WWII memory on Thai screen serves their roles in memory institutions which construct and maintain mnemonic communities as well as the roles in entertainment and media institutions. Another crucial implication of the research is that politicising WWII memory on the Thai screen can illuminate how memory and visual texts travel. The research likewise manifests its contributions to a better understanding of how Thai screen culture can be positioned within both global memory culture and global screen culture.

The Spanish artist Josep Renau (1907-1982) published the propaganda periodical Nueva cultura from 1935 to 1937. Although richly illustrated with cuttingedge graphic design and photomontage, it made use of popular culture with more frequency than might be expected in a left-wing, vanguard publication. This is seen most notably in the March 1937 special edition, published to coincide with a local, popular festival. In the special edition, Renau primarily utilized popular forms of illustration in the layout. Further, by publishing it in the regional language rather than Castilian Spanish, he attested to the importance of addressing people in their own language, both linguistically and formally. This thesis examines the periodical in relation to philosopher Mikhail Bakhtin’s writings on folk culture and James V. Wertsch’s research on collective remembering.

Whilst in recent years a number of historians and sociologists have analysed sports as social, cultural and economic processes, relatively few have considered the cultural and ideological implications of sport as an object of representation. This thesis aims to intervene in such debates by considering the emergence and development of the discourse of cricket, a sport intimately associated with ideas of "Englishness" and empire, and one with an unparalleled "Literary" tradition. In order to account for the socially productive function of forms of literary discourse in defining the hegemonic meaning of the cricket field, three interconnected discursive processes are identified: Literaturisation, Canonisation and Aestheticisation. These processes are related to broader manifestations of English cultural nationalism such as the emergence of English Studies in the late nineteenth century. The main body of the thesis is structured around the analysis of a series of historical moments (such as The Great War and the 1926 General Strike), "discursive events" (for instance, the "Bodyline" Series of 1932-33), and key writers and texts. As well as utilising its main trinity of theoretical concepts, the analysis identifies patterns of repetition and regularity within the changing patterns of cricket discourse. These analyses reveal that the discursive meaning of cricket as a symbol of nation and empire was a matter of constant renegotiation, and was consistently produced and reproduced as a response to perceptions of socio-economic, political and cultural crisis. Because cricket discourse was an agent of both imperial hegemony and anti-colonial counter-hegemony, the analysis also considers its dissemination and cultural work within the colonial and postcolonial dispensations. Through a reading of C.L.R. James's Beyond a Boundary, a theorisation of the relationship between the discursive and the performative emerges as a means of accounting for the counter-hegemonic appropriation and re-articulation of cricket into an instrument of postcolonial subjectivity and agency.

Departing from a technofeminist perspective, Becoming Image, places the digital image in a broader context of modern and postmodern technological discourses and fashion. In four articles, the compilation dissertation expands a contemporary and imagistic tech discourse by questioning the ideology of ”masculinity”―specifically the idea of it as a historically male domain. Through interviews, discourse analysis and feminist critique, as well as an interdisciplinary focus on digital media, the project investigates how everyday image practices open up for new embodied experiences. Focusing on women and social media, the articles examines the way material and immaterial aspects of images overlap in everyday life. Rather than artistic intention, emotions and basic human interaction often lie at heart of becoming image. Fashion is, however, highly present in this critical transformation. Not only as collaborative projects emerge out of combining new technologies and dress―such as using your smartphone to elevate your clothing―but also how fashion is a technology itself. Fashion highlights the body as medium, but fashion is also always (mostly) image.  Previous research around the digital image and its meaning has often stressed the banality of everyday image practices as taking selfies. However, these debates represent deeper cultural values and norms, which the dissertation reaches beyond. As women, and also queer and trans-people increasingly innovate and interfere with normative technological usage, it becomes evident that such groups have been excluded from communities organized around technological power and skill. As with language, technology and digital imagery are not neutral media. Women have hence been excluded―and been forced to use instruments and apps seemingly made for strict masculine purposes. Arguably, image practices such as selfies or image micro-blogging encourage women to “write” themselves out of a world they have not constructed themselves. Thus, Becoming Image simultaneously illuminates the structural and fundamental levels of technology and gender―while also suggesting new methodological and theoretical ways of studying and approaching digital media.

At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 4: Accepted.

 

What lies beneath Our cultured constructions? The wild lies beneath. The mud and the mad, the bunyip Other, lies beneath. It echoes through our layered metaphors We hear its memories Through animal mythology in wilder places Through emotive imagination of landscape memoir Through mythic archaeologies of object art. Not the Nation, but the land has active influence. In festivals of bioregion, communities re-member its voice. Our creativity goes to what lies beneath. This thesis explores the ways we develop deeper and wilder connections to specific regional and local landscapes using art, festival, mythology and memoir. It argues that we inhabit and understand the specific nature of our locale when we plan space for the non-human and creatively celebrate culture-nature coalitions. A wilder and more active sense of place relies upon community cultural conversations with the mythic, represented in the Australian exemplar of the bunyip. The bunyip acts as a metaphor for the subaltern or hidden culture of a place. The bunyip is land incarnate. No matter how pristine the wilderness or how concrete the urban, every region has its localised bunyip-equivalent that defines, and is shaped by, its community and their environmental relationships. Human/non-human cohabitations might be actively expressed through art and cultural experience to form a wilder, more emotive landscape memoir. This thesis discusses a diverse range of landstories, mythologies, environmental art, and bioregional festivities from around Australasia with a special focus on the Sunshine Coast or Gubbi-Gubbi region. It suggests a subaltern indigenous influence in how we imagine, plan and celebrate place. The cultural discourses of metaphor, memoir, mythology and memory shape land into landscapes. When the metaphor is wild, the memoir celebratory, the mythology animal, the memory creative and complex, our ways of being are ecocentric and grounded. The distinctions between nature and culture become less defined; we become native to country. Our multi-cultured histories are written upon the earth; our community identities shape and are shaped by the land. Together, monsters and festivals remind us of the active land.

Ariano Suassuna, poeta, dramaturgo, romancista, artista plástico e professor, que quando ainda muito jovem foi considerado um dos maiores dramaturgos brasileiros, tomou para si a missão de defender a cultura nacional. Nesse papel, muitas vezes foi criticado e incompreendido por sustentar suas convicções. Uma das coisas que ele mais criticava era a cultura de massa. Ele afirmava que arte para ele não era um negócio, era missão, vocação e festa. O que fez com que ele tenha demorado tanto a permitir a aproximação de suas obras com as indústrias cultural e criativa – principalmente com a televisão –, que entendia que não teriam condições de manter os princípios que ele trazia em sua poética. E dos quais ele não abria mão. Deste modo, este estudo, constituído a partir das categorias memória e cultura, busca compreender como as narrativas de memórias de um grupo relacionado a Ariano Suassuna testemunharam sua vida e obra e serviram de base para a produção de documentos e relatos sobre cultura e indústria cultural. E entender, por meio dessas narrativas, como se deu a relação de Ariano Suassuna e de sua obra com a cultura e as indústrias cultural e criativa. Para tanto, esta pesquisa, enquadrada como qualitativa descritiva, fez uso da metodologia de história oral e da hermenêutica de profundidade, que junto com a teoria de base deram sustentação à mesma. Ao final, concluiu-se que Ariano não cedeu às investidas dos meios das indústrias cultural e criativa. E que, ao contrário, para adaptarem suas obras foram aqueles meios que se renderam a ele.
Ariano Suassuna, poet, playwright, novelist, plastic artist and teacher, that when still very young was considered one of the greatest Brazilian dramatists, took on the mission of defending the national culture. In this role, he was often criticized and misunderstood for holding his convictions. One of the things he most criticized was mass culture. He claimed that art for him was not a business, it was mission, vocation, and party. What made him take so long to allow the rapprochement of his works with the cultural and creative industries - especially with television - that he understood would not be able to maintain the principles that he brought in his poetics. And of which he would not give up. Thus, this study, based on the categories memory and culture, seeks to understand how the narratives of memories of a group related to Ariano Suassuna witnessed his life and work and served as the basis for the production of documents and reports on culture and cultural industry. And to understand, through these narratives, how the relationship of Ariano Suassuna and his work with culture and the cultural and creative industries occurred. For this, this research, classified as descriptive qualitative, made use of the methodology of oral history and the hermeneutics of depth, which together with the basic theory, gave support to it. In the end, it was concluded that Ariano did not yield to the onslaughts of the cultural and creative industries. And that, on the contrary, to adapt his works, were those means that surrendered to him.

Neste trabalho, procurou-se construir uma aproximação da experiência de um grupo de cultura popular no que diz respeito à transmissão de seus valores e práticas entre as gerações e à transformação deles nesta passagem. Experiência, tal como é compreendida por Benjamin (1985), conta aqui como lente fundamental na medida em que requer do olhar do pesquisador um voltar-se sobre si mesmo, tendo em vista a elaboração do que ele encontra como sua matéria-prima. O trabalho de campo da pesquisa foi feito com o grupo de Jongo do Tamandaré (Guaratinguetá-SP), portador da herança de um ritmo brasileiro de origem africana, que foi tomado como interlocutor, no espírito da pesquisa etnográfica. A etnografia é tomada não como prescrição metodológica, mas como disposição intelectual (Geertz, 1978) a partir da qual o pesquisador se constitui como tradutor de sua própria experiência em campo junto a seus interlocutores, aberto a lógicas insuspeitadas e desconcertantes. No contexto de globalização e do investimento crescente nas ações de salvaguarda do patrimônio cultural imaterial brasileiro, o processo de transmissão da cultura revelou-se como uma esfera de tensões, em que o repertório de saberes da memória coletiva e a linguagem das novas tecnologias disputam entre si e se hibridizam, configurando no grupo pontos de vista diversos e dilemáticos. Porém, para além da aproximação com essas forças de permanência e mudança que se contrapõe e se compõe no seio do grupo, o trabalho de campo suscita sobretudo indagações acerca de como os caminhos de transmissão da cultura criados nessa tensão se situam em relação à necessidade moral de elaboração e transmissão da experiência (Bosi, 1992). Nessa direção, é o próprio sentido mesmo da cultura como modo de estar no mundo (Arendt, 2005) e sua significância na teia de relações humanas que é retomado, tendo em vista uma visada qualitativa dos caminhos e desafios que a cultura popular e seus criadores vêm encontrando para deixarem, na sua passagem pela vida, um rastro (Ricoeur, 1997)
At this assignment, we looked into building an approach from the experience of a group of popular culture in regard to the transmission of its values and practices among generations and also to their transformations at this passage. The experiences as much as it is comprehended by Benjamin (1994), tells us here as something fundamental as it requests from the way we look at it, a quick look at ourselves, having as a target the elaboration from what we found as our raw material. At this research, the field work was done along with the Jongo of Tamandaré group that bears the memories of the Brazilian people that originated from Africa, which, here was taken as the interlocutor in he spirit of this ethnographic research. The ethnography is taken not as a methodological prescription, but as an intellectual disposition (Geertz, 1978) from which the researcher becomes a translator of his own experiences fielded along with his interlocutors, therefore opened to logics that are inconspicuous and sometimes clumsy. In the context of the globalization, and the growing investments in the actions of preserving the abstracted cultural material, the transmission process of the culture came up as a sphere of tensions, in which the collective repertoire of knowledges and memories and the language of the new technologies put up with each other into a fusion, configuring in the group different points of view and dilemmatic. However in order to go beyond this approach with these forces of permanence and changings that many times go against each other in the heart of the group, the field work is based over all in the questionings about how the different ways of transmission of the culture created in this tension is allocated in relation to the moral necessity of elaboration and transmission of backgrounds (Bosi, 1992). Towards it, it is the sense of the culture like the same sense as being in the world (Arendt, 2005) and its meaning in the net of human relations envisioning paths and challenges that the popular culture and its creators are facing in order to leave traces of their lives in the memorabilia of humanity (Ricoeur, 1997)

Estudo sobre o processo de construção identitária da cidade de São Luís. Dos vários epítetos pelos quais a cidade é designada, são contemplados aqui apenas os de Atenas Brasileira, Única cidade brasileira fundada pelos franceses e Jamaica Brasileira. O propósito é o de identificar as condições sociais, políticas e culturais presentes no contexto específico de cada uma dessas construções. São levados em conta o modelo eurocêntrico e o elitismo cultural vigentes na sociedade de um século XIX marcado pelas categorias dominantes/dominados, cultura letrada/cultura popular próprias das condições que ensejaram o estabelecimento da Atenas Brasileira. Foi analisada a estratégia que fez de um acontecimento histórico a instauração de um ato fundador de tradição e, por extensão, de criação de identidade cultural, tática que deu a São Luís, na primeira década do século XX, a designação de Única cidade brasileira fundada pelos franceses, a mesmo tempo em que ensejou a revitalização da primeira identidade cultural. Por fim, a análise do advento da Jamaica Brasileira nos anos de 1970, identidade cultural oriunda das massas populares e periféricas da cidade de São Luís, caracterizadas pela exclusão social e negritude, de forte apelo sensível e estético marcado pelo ritmo, pela dança, pela música reggae de origem jamaicana. Esses estudos tiveram como fundamentos epistemológicos teorizações dos campos da comunicação, dos estudos culturais, memória e narrativa. Para sua realização foram efetuadas leitura e análise de material bibliográfico e documental, realizadas entrevistas e aplicados questionários. O estudo revelou que os processos de construção das identidades culturais da cidade de São Luís foram influenciados pela po
Study of the process of identity construction in the São Luís city. Of the various epithets by which the city is designated, are included here only the Brazilian Athens, Only Brazilian city founded by the French and Brazilian Jamaica. The purpose is to identify the social, political and cultural present in the specific context of each of these constructs. Are taken into account the Eurocentric model and existing cultural elitism in a society of the nineteenth century marked by categories dominant / dominated, literate culture / popular culture typical of conditions that gave rise to the establishment of the Brazilian Athens. Was analyzed the strategy that made a historic event for the establishment of a founding act of tradition and, by extension, the creation of cultural identity, a tactic that gave São Luís the first decade of the twentieth century, the designation of Only Brazilian city founded by the French, the same time which led to the revitalization of the first cultural identity. Finally, analysis of the advent of the Brazilian Jamaica in the 1970s, cultural identity deriving the masses and peripheral São Luís city, characterized by social exclusion and blackness, sensitive and strong appeal marked by the rhythm, the dance, reggae music of Jamaican origin. These studies had as epistemological theories from the fields of communication, cultural studies, memory and narrative. For this realization were done reading and analysis of bibliographical and documentary material, interviews and completed questionnaires. The study revealed that the processes of construction of cultural identities in the São Luís city were influenced by certain political and communicative action in different forms of mediation.

Dissertação(mestrado)-Universidade Federal do Rio Grande, Programa de Pós-Graduação em Geografia, Instituto de Ciências Humanas e da Informação, 2010.
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Este trabalho tem como referências teóricas os conceitos de cultura, memória e patrimônio, que em conjunto transpõem do passado, mediante as recordações, os diversos instantes vivenciados no prédio em análise, apresentando, dessa maneira, contribuições da geografia cultural para o constante aprimoramento do conhecimento acadêmico. É através da pesquisa de campo, das observações realizadas diretamente na comunidade, da organização e aplicação das entrevistas aos moradores mais antigos do local, ou dito de outra forma, aos “velhos”, os quais são os guardiões das lembranças de outrora, mas, que se perpetuam hoje, tendo como objetivo evidenciar na história do antigo prédio do clube Minas do Camaquã o registro etnográfico de singularidades sociais e culturais dos mineiros da vila Minas do Camaquã – Caçapava do Sul – RS. O estudo desdobrou-se em três capítulos, sendo eles: o prédio da fazenda que conjugado com a descoberta do minério e o processo de mineração propriamente dito formam o capítulo 1; no capítulo 2, intitulado o Clube Minas do Camaquã, enfatiza-se a sua formação como tal, mostrando também o armazém e o gabinete dentário; finalizando, esboça-se o capítulo 3, com os 15 anos de mudança, onde se destacam as transformações ocorridas na modernização do beneficiamento do cobre bem como o seu declínio com a formação da holding Bom Jardim, a qual encerra um leque de expectativas e sentimentos devido ao término das atividades de mineiro, e, entremeado a tudo isso, permite-se exibir reflexões para os estudos culturais e geográficos.
This work has as theoretical references the concepts of culture, memory and patrimony, which together form the pillars that pursue to support the elaboration of this research, transposing the past through the memories of several instants experienced in the analyzed building, thus presenting contributions of cultural geography for the constant improvement of academic knowledge. It is through the field research, the observations made directly in the community, the organization and application of the interviews to the oldest inhabitants of the place, or said in a different way, to the “old ones”, who are the guardians of the recollections of long ago, however perpetuated until today, aiming to highlight the history of the ancient building of Clube Minas do Camaquã, the ethnographic record of social and cultural singularities of the miners from Vila Minas do Camaquã - Caçapava do Sul - RS. The study unfolded itself in three chapters: the farm building that along with the discovery of the ore and the process of mining itself forms chapter 1; in chapter 2 entitled Clube Minas do Camaquã, it is emphasized its formation as such, also showing the warehouse and the dental office; and then to finish, chapter 3 is outlined with the 15 years of change where are highlighted the transformations occurring in the modernization of copper processing as well as its decline with the formation of the holding company Bom Jardim, which puts and end to a range of expectations and feelings due to the termination of mining activities, and intermingled to everything, allows to show reflections for the cultural and geographic studies.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Esta dissertação propõe uma metodologia de análise da imagem em parceria com as artesãs da Rede do Museu de Favela do Rio de Janeiro (MUF) do material produzido e comercializado pela Rede. A pesquisa realiza oficinas colaborativas de criação da Exposição Mulheres Guerreiras 2013 com as artesãs do MUF realizando um diálogo com os conceitos de Memória, Cultura Material e Linguagem Pedagógica das Coisas do autor Pier Paolo Pasolini em conjunção com a metodologia do Design Participativo. Todas as etapas do processo foram construídas pelos moradores e pesquisadores envolvidos através das aulas expositivas e das oficinas práticas, nas quais é problematizada a ideia de uma identidade visual local. Os dados revelaram que a participação ativa dos moradores para construção de uma linguagem própria os transforma em potenciais multiplicadores dos fazeres locais, ressaltando os seus saberes da cultura material da comunidade envolvida.
This paper proposes an aesthetic analysis methodology in partnership with artisans of the Network of Favela Museum of Rio de Janeiro (MUF) from the material produced and marketed by the Network. The research conducts collaborative workshops to create the Exhibition Women Warriors 2013 with the artisans of MUF. This establishes a dialog with the concepts of Memory, Material Culture and Educational Language of Things by Pier Paolo Pasolini in conjunction with the methodology of Participatory Design. All process steps have been built by residents and researchers involved through the lectures and hands-on workshop in which we question the idea of a local visual identity. The data have shown that the active participation of residents for construction of a proper language turns them into potential multipliers of local activities. This emphasizes their knowledge of the material culture of the community involved.

This thesis examines the proliferation of ageing characters to be found in twentieth and twenty-first-century Welsh fiction in English and argues that older people have a special significance in this body of literature. The study employs a mixed methodology, combining close comparative analysis of fictional texts with theoretical perspectives taken from cultural and literary theory, philosophy, sociology, psychoanalysis, and postcolonial studies. The introduction situates my work alongside the fields of literary gerontology and Welsh writing in English, giving focus to strands of research which have synergies with this thesis. Chapter 2 examines the influence of stereotypes of ageing on older characterisations in Anglophone Welsh fiction and argues that writers undermine and complicate these stereotypes. Representations of gossips, burdens, those with dementia, wise older people, inspirational grandmothers, older men and grandfathers, and unmarried women are analysed. Chapter 3 focuses on renderings of older subjectivity, considering protagonists’ experiences of physical ageing, alongside tensions between the changing older body and a more constant self within, and texts which represent changes in experiences of time and memory. Writers are argued to give voice to the frail and the marginalised and to reveal the influence of socioeconomic and cultural factors on experiences of ageing. Chapter 4 asserts that intergenerational relationships involving older characters tend to symbolise societal change and to reflect class and linguistic divisions between generations. Ageing characters, particularly older women, are shown to become links to the past and to act as remembrancers of local and national histories. They also signify a conception of Welsh identity grounded in speaking Welsh, devotion to Nonconformist worship, and a stoic determination to survive. These characters often perform the role of storyteller, passing on suppressed knowledge and traditional values. It is argued that, despite their regard for the past, the novels and short stories discussed avoid the dangers of nostalgia through the ambivalence of younger characters to the identities they are bequeathed, the self-reflexivity of several texts, and older characters who are grounded in the present and concerned about the future.

This research study focuses on the role of kinaesthesis and motor response in promoting musical memory. The main questions addressed are: What is the nature of musical memory? How is it promoted? Is a kinaesthetic or muscular strategy a particularly effective means of promoting musical memory? The investigation which follows is mainly conceptual, yet reinforced by some empirical work. It falls into three parts: 1) Cognitive processes; 2) The potential role of kinaesthesis and movement as imagery strategies; 3) Empirical investigation. In part one a framework for the investigation is established. The study of general aspects of memory is linked to research in music cognition and memory. A chapter on representation and imagery is concerned with those techniques and strategies by which musical memory is developed. Part two examines the nature of kinaesthesis and its role in cognitive processes and musical cognition. Rhythmic experience is considered in relation to kinaesthesis and its overt manifestation in physical movement. The major contribution of Emile Jaques- Dalcroze is presented, as a study of kinaesthetic strategy in practice. The close correspondence between music and expressive movement is examined, before a chapter in which a conceptual framework is proposed. The third and final part presents the empirical work undertaken in testing the kinaesthetic principle: 'The stronger the muscular sensations, the clearer and more precise the images' (Jaques-Dalcroze) A replication experiment is described which forms the basis for an experiment on kinaesthetic strategy, the success of which lends support to the theoretical evidence presented. Conclusions are drawn and Dalcroze practice reviewed in the light of these findings and the preceding theoretical work.

Media & Communication
Ph.D.
This dissertation examines the cultural and lived experiences of economic abandonment in deindustrialized zones by exploring how residents of a former single-industry economy negotiate this process via communicative constructions of identity, class, and social memory. As this work examines the conflicts about economic decline, class, and memory that inform the predicament of the residents of small towns within Appalachia and beyond, it contributes to ethnographies of deindustrialization in advanced capitalist societies, in zones of mass mineral extraction, as well as to other work on the Appalachian Region. The analysis of these constructions is based on three sets of data: material gathered during two years of offline ethnographic fieldwork in the Anthracite Coal Region of Northeastern Pennsylvania, autoethnography, and the collaboration with local participants vis-à-vis a multi-modal and multi-sited "public digital humanities collaboratory" called “the Anthracite Coal Region of Northeastern Pennsylvania Digital Project” (the latter, a term I develop to expand the methodological vocabulary), to which community members contributed through communication forums about the history, culture, and media representations of the Coal Region. Three narrative chapters analyze a series of lived experiences and theoretical concerns. The first of these chapters, chapter four, analyzes how place, identity, and memory link with past and present class, labor, and industrial dynamics, as well as landscapes left to ruin to demonstrate how, in the Anthracite Region “King Coal” maintains hegemony. Although the mining industry no longer exists as a viable form of employment, inhabitants still consider themselves residents of “The Coal Region,” and dialogue with modes of identification that evolved in the Anthracite Coal Region. These identifications unite earlier diverse, pan-ethnic identities tied to Europe and are at the basis of the emergence of a new subjectivity—a "coalcracker"—one with family who worked in the mines literally “cracking the coal.” As the landscapes are left to ruin, I develop the term "environmental classism" to conceptualize the impact of the fallout from King Coal. Chapter five examines dominant mediated imaginaries of Centralia, Pennsylvania, which have become cultural tropes for a modern ghost town. In these dominant narratives, the obliteration of Centralia, subject to an underground mine fire for 57 years, has been largely produced for the consumption, commodification, commercialization, and the aesthetic experience of either tourists or horror genre fans. I term this production "cultural extractivism" or the expropriation of cultural resources, memory artifacts, images, narratives, or stories extracted from a marginalized or forgotten community or culture for use by a dominant community or culture. The chapter shows local residents challenging such "cultural extractivisms." Chapter six examines the demolition of the Saint Nicholas Coal Breaker, the last anthracite coal breaker and the largest one in the world, a topic that surfaced on the "public digital humanities collaboratory" and compelled considerable discussion. Research on this discussion demonstrates that this structure served as a coping mechanism for community members. Local residents constructed labor-related identities tied to social memory around it. These analyses of how Coal Region residents used their agency to create artifacts suggest that media can be a site of resistance. In addition to the artifacts presented on the "public digital humanities collaboratory," community members submitted and curated their own (unsolicited) artifacts. Theoretical flashpoints emerged, often resulting in local residents issuing challenges to dominant narratives and politics about the Coal Region. This ethnographic research involves offline immersive contact with informants extending to online interactions that resulted in methodological and theoretical expansions which provide the basis for communication scholars and ethnographers 1. to rethink ideas about how they conceive online and offline spaces previously thought of in binary terms; and, 2. likewise to reconsider ethnographic research on economic abandonment in marginalized communities beyond urban and rural binaries.
Temple University--Theses

Katherine Anne Porter wrote The Old Order stories in the early 1930s; and while there is no evidence that she ever revised them on a story level, she revised the order of the stories over more than thirty years in three collections: The Leaning Tower and Other Stories (1944), The Old Order: Stories of the South from The Leaning Tower, Pale Horse, Pale Rider, and Flowering Judas (1955), and The Collected Stories of Katherine Anne Porter (1965). Individually, each story is its own episodic memory based on Miranda’s adult recollections of childhood experiences. Collectively, Porter’s rearrangement of these stories over time both deconstructs and reconstructs Miranda’s narrative from a chronological to a representational recollection. Therefore, while the individual stories reveal memory’s imprint on identity, the progressive reordering of The Old Order stories reveals a reconstructive process of memory which repositions itself over time.

VPW, a community-access television station in Winnipeg, Manitoba, hosted an array of programming ranging from the pragmatic to the truly bizarre, from 1971 until the station was bought out and dismantled in 2001. Grassroots media does not have the same institutional and archival frameworks as its mainstream counterpart; its losses often go unremarked, or must be reconstituted and memorialized in improvisational, provisional ways. In recent years, several Winnipeg artists have begun a kind of reclamation project around the station. This paper considers the various threads of nostalgia, political economy, and decline narratives at work in VPW's reclamation. It argues that thinking about why certain things are celebrated and others thrown away is itself a problem of aesthetics, politics, and publics. It examines why certain shows are remembered and others not, and the role of unanticipated uses of public infrastructure in such a dynamic.

Thesis (Ph.D.)--Indiana University, Dept. of English, 2007.
Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4307. Advisers: Joss Marsh; Patrick Brantlinger. Title from dissertation home page (viewed May 19, 2008).