Este trabalho tem como objetivo o estudo da conformação do campo da fotografia profissional em São Paulo e sua relação com a dimensão visual da sociedade entre as décadas de 1920 e 1940. Para tanto, analisa-se em perspectiva histórica a produção do fotógrafo Theodor Preising (1883-1962) em seus circuitos de produção, circulação, consumo, apropriação e ação. Quando desembarcou no Brasil imigrado da Alemanha na década de 1920, Preising deu continuidade a sua atividade como fotógrafo profissional. Uma vez estabelecido com a família na capital paulista, se manteve como editor de álbuns e cartões-postais com registros da paisagem natural, rural e urbana do país, prestou serviço de documentação fotográfica para órgãos públicos e instituições privadas, transitou na fotografia de imprensa, passando pela revista S. Paulo (1936) e pelo Departamento Estadual de Imprensa e Propaganda (DEIP), até se aposentar no Serviço de Documentação da Universidade de São Paulo (USP) em 1952. Sem perder de vista as demais dimensões, enfatiza-se a circulação dos materiais visuais produzidos por Preising, articulando-se sua biografia com a biografia de sua produção fotográfica no intuito de percebê-los na interação social, em deslocamentos e mediações que, por vezes, confluem em arquivos. Buscou-se o entendimento tanto da trajetória de Preising, como do percurso dos artefatos por ele produzidos cujo núcleo é o arquivo legado com cerca de 15 mil imagens, que participam de sistemas de ação envolvendo também indivíduos, redes de sociabilidade e instituições quando entram em circulação. Em escala reduzida, reconstituiu-se a trajetória profissional de Preising para compreender sua inserção em um campo profissional em formação entre a especialização e a diversificação. Em escala mais ampla, avaliou-se como a estruturação deste campo em formação se relacionou com a consolidação de uma cultura visual da qual faz parte registros da paisagem natural, rural e urbana de determinadas regiões do país, que são passíveis de ressignificação possibilitando outras leituras ao longo do tempo. / This work aims to study the conformation of professional field of photography in São Paulo and its relation to the visual dimension of society between 1920 and 1940. Therefore, it is analyzed in historical perspective the production of the photographer Theodor Preising (1883-1962) in their circuits of production, circulation, consumption, apropriation and action. When arrived in Brazil immigrated from Germany in the 1920s, Preising continued its activity as professional photographer. Once settled with family in São Paulo, remained as editor of albums and postcards with natural, rural and urban landscapes of the country, provided photographic documentation services for public agencies and private institutions, moved in press photography through the magazine S. Paulo (1936) and the State Department of Press and Propaganda (DEIP), to retire at the Documentation Service of the Universidade de São Paulo (USP) in 1952. Without losing sight of other dimensions, it is emphasized the circulation of visual materials produced by Preising, articulating his biography with the biography of his photographic production in order to perceive them in social interaction, in displacements and mediations that sometimes converge on archives. The understanding was sought to both in Preising\'s trajectory as in the route of the artifacts that it has produced, whose core is the legacy file with about 15,000 images, which participate in systems of action that also involve individuals, social networks and institutions when come into circulation. In reduced scale, it was reconstituted the professional trajectory of Preising to understand its insertion in a professional field in formation between the specialization and the diversification. On a larger scale, was evaluated as the structuring of this field was related to the consolidation of a visual culture which is part the natural, rural and urban landscapes of the specific regions of the country, which are subject to resignification enabling further interpretations over time.

Submitted by Alisson Mota (alisson.davidbeckam@gmail.com) on 2015-06-22T17:55:28Z No. of bitstreams: 1 Dissertação - Maria Lenir Oran Fonseca Feitosa.pdf: 669905 bytes, checksum: 3654a626e9b42abbc23f1dedaeb3563b (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-29T21:59:14Z (GMT) No. of bitstreams: 1 Dissertação - Maria Lenir Oran Fonseca Feitosa.pdf: 669905 bytes, checksum: 3654a626e9b42abbc23f1dedaeb3563b (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-29T22:03:13Z (GMT) No. of bitstreams: 1 Dissertação - Maria Lenir Oran Fonseca Feitosa.pdf: 669905 bytes, checksum: 3654a626e9b42abbc23f1dedaeb3563b (MD5) / Made available in DSpace on 2015-06-29T22:03:13Z (GMT). No. of bitstreams: 1 Dissertação - Maria Lenir Oran Fonseca Feitosa.pdf: 669905 bytes, checksum: 3654a626e9b42abbc23f1dedaeb3563b (MD5) Previous issue date: 1997-07-21 / An organizational policy for the State of Amazonas Public Archive Department is proposed having as framework the methodology employed by the National Archive: that of fund identification. It shows the evolution of the concept of public archive by reflecting the transformation of the modern state from the French revolution on to these days. The conclusions obtained thorugh data collection have disclosed the difficulties the users face in their search for information. Remedial steps are then established involving at the same time administrative fields and archivistic services under ali their facets and levels. / Presente trabalho propõe uma política organizacional para o Departamento de Arquivo Público do Estado do Amazonas, a partir da metodologia usada pelo Arquivo Nacional: da identificação de fundos. Mostra a evolução do conceito de arquivo público, refletindo as transformações do Estado Moderno desde a Revolução Francesa até os dias atuais. As conclusões obtidas através do levantamento de dados evidenciam as dificuldades que os usuários têm na busca da informação. A partir daí são estabelecidas medidas saneadoras que envolvem paralelamente os campos administrativos e serviços arquivísticos, sob todas as suas facetas e níveis.

The power of the relationship between the photographic apparatus and migration is situated at a metaphorical crosslink between the two-dimensional outcome of marking borders on a map, or printing an image on a flat surface, and the time that affects the events that shape the very heart of that crosslink. The rigidity of borders, and sometimes their false ideas of flexibility can be seen on how recently Europe has proved (again) that ‘open boundaries’ is a non specific inclusive idea. The experience of migrants going through conflict situations is representative of the relationship between the ‘having to deal with’ the happenings, in most cases forced, and at the same time changing, transforming the landscape, leaving or bringing old and new values. Therefore the democratic power in this work is intended as the collective recognition of the importance of simple acts of looking, bringing values to the transformative nature of human beings. Because of its mechanical nature and the stillness of the images it produces, photography has the capacity to show transformation, with the quality of its materiality, which continuously challenges the users of photography in accessing different formats, since its invention. In the context of this work (Cartographers), photography becomes an inspiration for the concept, planning and making of the film process. Film can embrace elements that photography doesn’t have, like sound and duration, added to landscape and to portraits. These elements may help the viewer to understand a narrative that grows from a single trunk, the film, whose roots are holding onto the lightness of the sky instead of the thickness of the ground by representing, filmically, the expressions of the people who speak about their experiences. The ‘democratization of cartography’ – is in this written text considered as a shift of attention from the act of cartography to who makes it, the cartographers. Therefore map-making does not function as a merely two-dimensional outcome but as a nuance of an experience that is individual and collective. Cartographers reveals a map visible through the memory of a community of people who originate from the same place and have lived the same conflict (WWII) while being scattered across several different countries (Italy, France, Scotland). The work Cartographers, a film and series of archival aerial image, makes available the maps of these happenings, which memories are pulled together and suggest a reflection towards a democratic act of cartography making. The aim of this research is opposite to the creation of a cartography newly created by joining points from different journeys, experiences or concepts: in this work as the director of the film I have attempted to make emerge that the cartographers are aware of each other, their map is drawn collectively and everyday, and it does not join different points, but it starts from a single one and it explodes in different directions. The exploration of this work and research was made by attempting to represent what can be felt with the connection they have with the starting point. This is not only a process that looks at a certain community but is a dialogue with the memory of that community of cartographers which aids the understanding of the landscape that we traverse in our daily lives. With their memories, the subjects of the interviews - which I refer to as the Cartographers - leave a transparent but permanent trace that remains fixed in the landscape and makes it what it is today. The role of the artist in this case, is not the one of the ‘creator’ of a certain map, but the one that wipes the dust about to reveal the map of the treasure, and finds a way to show to the public, that the suspended moment of revelation, is the treasure itself.

A dissertação concentra-se no estudo do desenvolvimento do Sistema de Conservação do acervo audiovisual da Cinemateca Brasileira. Através da linha histórica, e a partir do olhar do técnico que participa diretamente das atividades de conservação, descreve cada etapa da evolução dos procedimentos dessas atividades e de alguns procedimentos de catalogação. Compreendendo o período de 1946 a 2001, a pesquisa acompanha o amadurecimento técnico institucional, desde os primeiros passos no conhecimento do objeto audiovisual e das técnicas de conservação, passa pelo desenvolvimento de um banco de dados para o controle de informações técnicas e de conteúdo, que finaliza com a implantação das áreas climatizadas para a guarda de longa permanência do acervo. / The dissertation focuses on the study of the development of the Conservation of the audiovisual collection of the Cinemateca Brasileira. Through the history line, and from the point of view of the technician who directly participate in the activities of conservation of the collection, describes each step of the procedures of conservation and some of the procedures of cataloging. Covering the period from 1946 to 2001, the research follows the institutional technical maturity, since the first steps in understanding the audiovisual object and conservation techniques, through the development of a database for the control of technical and content information, and ends with the deployment of air-conditioned areas for the care of long term keeping of the collection.

O trabalho tem como foco a discussão de pressupostos teóricos e técnicos da informatização de arquivos sob a perspectiva da utilização de sistemas de bancos de dados e dos preceitos e métodos propostos pela Arquivologia. A partir de referências e experiências extraídas das áreas de Tecnologia da Informação e Gestão da Informação se pretende também analisar e avaliar conceitualmente como os bancos de dados aplicados em sistemas de gestão organizacionais informatizados incorporam o arquivo, suas qualidades e características em sua estruturação e concepção. Outro enfoque almejado pelo estudo é o levantamento de questões sobre o papel do banco de dados enquanto sistema conceitual, dentro da realidade e do arcabouço conceitual arquivístico. / The main focus of this work is on the debate of theoretical and technical notions of archives electronic management under the perspective of the use of database systems and archival concepts and methods. Using Information Technology and Information Management experiences and references the dissertation also attempt to do a conceptual analysis and evaluation on how databases in organizational electronic management systems deals with archives and records in its usage, conception and structure. Another intended approach is to point questions concerning the role of databases as conceptual systems inside archival practice and theory.

No description available.

This paper examines certain theoretical underpinnings of the historical processes by which Shakespeare's history plays became the de facto collective memory of the events they depict, even when those events are misrepresented. The scholarly conversation about this misrepresentation has heretofore centered on Shakespeare's potential political motivations. I argue that this focus on a political, authorial intent has largely ignored the impact these historical distortions have had over the subsequent 400 years. I propose that, due to Shakespeare's unique place in the historical timeline of the development of collective memory, Shakespeare's historical misrepresentation in the history plays is a byproduct of the emerging ability to access historical sources while also shaping the nascent collective memory. Shakespeare became an archon, in the Derridian sense, of English history. As such he exercised the archon's hermeneutic right to interpret English history. Tracing the methods by which the public experienced Shakespeare's plays, this project shows that in the 20th century film became the dominant medium by which audiences experienced Shakespeare for the first time. Using Orson Welles' Chimes at Midnight as the principle example, I show that the hermeneutic right shifted away from Shakespeare and was instead taken on by directors reinterpreting Shakespeare's version of history. Welles' knowing manipulation of the archontic function empowers his film, affecting subsequent interpretation and placing it squarely in the Shakespearean film canon.

My dissertation, Black Studies Definitions, examines the varied ways that Black Studies has been defined in the United States of America. Investigating the definitions found in college/university catalogues, foundation reports, encyclopedias, dictionaries, textbooks, scholarly articles/books, and the popular press, I suggest that the definitional difficulties surrounding this field can be clarified by considering the archive of these materials, the significance of “the year of promise,” 1968-1969, and a conceptual approach to the discipline. Quite often, observations about Black Studies are grounded in references to limited primary sources. By unearthing and extracting statements about the field from fifty years of materials, “Black Studies Definitions” suggests the inadequacy of such formulations and provides a resource for systematically researching Black Studies. The year of promise has been noted as an important historical landmark; however, its role in the development of Black Studies has not been comprehended accurately. Presenting selected texts that were written during this span, this dissertation identifies 1968-1969 as a vital developmental phase in Black Studies. It does so by using select texts written by the higher education establishment and by intellectuals to abstract key words and kernel elements that provide a basis for defining the discipline. Finally, “Black Studies Definitions” uses a conceptual approach to offer a provisional definition of the field. Addressing more than forty years of unsatisfying efforts, this dissertation points towards techniques that can lay the foundation for a fruitful future in the discipline. My dissertation is an interdisciplinary analysis that aims at a better understanding of Black Studies in higher education. After compiling and analyzing earlier definitions of Black Studies, I noted that these statements were often incomplete. These incomplete statements produced confusion surrounding the identity of the field; however, they also contained details that could provide a fuller understanding of Black Studies. Inquiring into the core concepts of the field, I discovered that Black Studies, which was a new discipline circa 1968, inspired definitions that included a few recurring keywords. My research attempts to determine when and how these keywords appear in materials defining the discipline. By charting such patterns in definitions of Black Studies, I lay the groundwork for a more careful chronicling of the different phases in the field’s public presentation. This kind of chronicling suggests that a conceptual approach to defining the discipline proves fruitful. Despite the proliferation of Black Studies programs between 1968 and 2017, academicians have yet to agree on what is included or excluded from this field. “Black Studies Definitions” addresses this situation with three crucial interventions. My work presents a bibliography of more than one thousand texts that engage the definition of this field. My research establishes 1968-1969 as a revelatory era in identifying the core concepts that underlie Black Studies. Finally, my dissertation illustrates that a conceptual approach provides a fruitful basis for defining this field. Specifically, it argues that Black Studies is a branch of the interdisciplinary human sciences that probe the relations between a state of mind, people and language.

No description available.

This dissertation analyses academic military history and the writing of the World Wars in Canada. While there have been hundreds of books devoted to Canada???s role in the World Wars, few historians have examined the writing of that same history, or the archival records that were used to construct these narratives. It has been the official historians of the Department of National Defence who, for much of the twentieth century, have controlled the historical writing of the World Wars, and that military history has been narrowly defined as the history of military operations. Training, administrating and operational war-fighting remained the focus. Only recently have academic military historians pushed the discipline of military history to explore the impact of the World Wars on Canadian society. Nonetheless, it remains the publications of A.F. Duguid, C.P. Stacy, Gilbert Tucker, Fred Hitchins, Joseph Schull, and more recent official historians that provide the central narrative when examining the writing on Canada???s World Wars. An exploration of key historians and their works reveals historical themes underpinning how memory and narrative of the World Wars has been constructed within historical writing. The official historians were the guardians of memory and controllers of the past. Caught within the battles of reputations that followed the World Wars, they were forced to carefully navigate through these contested issues. Laying an interpretative frame-work, the official historians allowed subsequent generations to build upon and rework their findings, through writing their histories but also by acting as the archivists for their respective services. While the official histories have their flaws, they are also exceptionally important foundational studies that deserve greater attention and study in their own right.