E-archive create more efficient opportunities for operations through process-oriented archival reporting that provides better overview of documents and a better support for case management and increases security for compliance. E-archive are also a prerequisite for achieving the municipalities goals for future e-government and a fully digital flow of information. The purpose of the essay is to investigate why some municipalities have started using electronic archiving while others are still using paper archives. The study also aims to examine the requirements for safety, accessibility, and costs for introducing electronic archives into municipal activities. Previous research in this field has mainly focused on areas that I believe together form the basis of my research area, namely digitalization, security, accessibility, information management, and e-government and digital archives (e-archives). Then presented OAIS model used as theory in this essay. To reach the aim of the study primary data was collected through semi-structured interviews. For this essay, there have been interviews with eight different municipalities, four of which use e-archiving and four using paper archives. The study is also based on secondary data in the form of articles and dissertations for previous studies on e-archives. The result that I got showed that digital archives are evolving very quickly. At the same time e-archives create great benefits such as being able to respond to the digital needs of the activities, follow the digital development that takes place in the public sector. The introduction of e-archives needed sufficient financial and human resources to carry out all the necessary activities.

Dans le but d'évaluer la portée historiographique de ce choix de montage qui consiste à faire œuvre cinématographique à partir d'images déjà existantes, cette thèse développe une étude de deux films de réemploi réalisés au Brésil dans le début des années 1970 : História do Brasil (Histoire du Brésil, Glauber Rocha et Marcos Medeiros, 1974) et Triste Trópico (Triste Tropique, Arthur Omar, 1974). Œuvres uniques dans la filmographie de cinéastes importants, ces films, réalisés uniquement à partir du recyclage de matériaux divers, partagent en plus de leur méthode atypique de réalisation, un intérêt central pour la compréhension de l'histoire du Brésil. Dans leur travail avec les images préexistantes, História do Brasil et Triste Trópico actualisent des questions qui traversent non seulement l'esthétique cinématographique, mais plus généralement le champ de la création culturelle brésilienne des années 60-70, période politiquement marquée au Brésil par une dictature militaire (1964-1985). À partir d'une analyse esthétique du montage, nous nous interrogeons sur la façon selon laquelle ces films s'approprient l'histoire et construisent à l'aide des procédés mêmes de montage un regard sur la société brésilienne du temps présent, celui de leur réalisation. À partir de quels matériaux et de quelles stratégies discursives développent-ils une pensée historique ? Un troisième film, postérieur, Tudo é Brasil (Rogério Sganzerla, 1998), est ponctuellement convoqué dans la première partie de la thèse, afin de montrer combien certains choix politiques et esthétiques de ces films de réemploi de 1974 signalent une position générationnelle, partagée par Sganzerla, qui se prolonge dans le temps. / This thesis develops a study of two compilation films made in Brazil in the early 1970s: História do Brasil (History of Brazil, Glauber Rocha and Marcos Medeiros, 1974) and Triste Trópico (Sad Tropic, Arthur Omar, 1974). Unique works in the filmography of important filmmakers, these films, made from the appropriation of various materials, share in addition to their atypical method of filmmaking, a central interest for the understanding of the history of Brazil. They radically exploit the power of rewriting what already exists to build a new work of historical content. In their work with pre-existing images História do Brasil and Triste Trópico address issues that concern not only the cinema, but the field of Brazilian cultural creation of the 60s and 70s, period politically marked in Brazil by the military dictatorship (1964-1985). Based mostly on an aesthetic analysis of the film's montages, we question the way in which they "write" history and offer, in their very editing processes, a perspective at Brazilian society. From what materials and discursive strategies do these films develop their historical thoughts? The thesis aims to contribute to the establishment of a range of film recycling practices and theoretical questions about the presence of archival footage in cinema, as well as about the relationship between cinema and historical narrative. / Esta tese desenvolve um estudo sobre dois filmes de reemprego brasileiros realizados no início dos anos 1970: História do Brasil (Glauber Rocha e Marcos Medeiros, 1974) e Triste Trópico (Arthur Omar, 1974), com o objetivo de avaliar o alcance historiográfico da escolha estética e política do reemprego de imagens já existentes como método de realização. Obras singulares na filmografia de artistas importantes, esses filmes, realizados fundamentalmente a partir da retomada de materiais diversos, compartilham, além de seu raro método de realização, um interesse central pela compreensão da história do Brasil. Trata-se de filmes que exploram radicalmente a potência de re-criação e re-escritura (ou releitura) do que já existe para a construção de uma obra nova, com intenções históricas. Através da montagem de materiais do passado, História do Brasil e Triste Trópico atualizam questões que atravessam não somente o cinema, mas o campo da criação cultural brasileira dos anos 60-70, período marcado politicamente pela vigência da ditadura militar no Brasil (1964-1985). A partir de uma análise estética, o objetivo desta tese é pensar como os filmes elaboram suas narrativas de caráter histórico e constroem, através dos próprios procedimentos da montagem, um olhar sobre a sociedade brasileira do tempo presente de então, o início dos anos 1970. A partir de quais materiais e estratégias discursivas eles elaboram um pensamento sobre o Brasil e a história? Um terceiro filme, posterior, Tudo é Brasil (Rogério Sganzerla, 1998), é pontualmente convocado na primeira parte da tese, a fim de mostrar o quanto determinadas escolhas políticas e estéticas destes filmes de reemprego de 1974 apontam para uma postura geracional, compartilhada por Sganzerla, que se prolonga no tempo.

George MacDonald's novel Lilith relates the story of a young man inheriting his deceased father's estate and coming in contact with its remarkable library and mysterious librarian. The protagonist's subsequent adventures in a fantastical world prepare the young Mr. Vane to assume authority over his inherited archive and become an archon. Jacques Derrida's exposition of the responsibilities of the archon including archival authority, domiciliation, and consignation illuminate the mentoring role of the elusive librarian Mr. Raven in Vane's adventures. By using Derrida's deconstruction of archives to unpack the intricacies of knowledge transfer in MacDonald's novel, the lasting impact of the archon on the archive and the individuals in Lilith, as well as the importance of the archon in the transfer of knowledge between individuals facilitated through relationships, becomes apparent. The archon, acting as a gatherer, organizer, and shaper of texts, uses the materials within the archive to exercise power and to bequeath power upon other individuals, as seen in the character Mr. Raven's actions. Lilith illustrates the necessity of the archon as he shapes the archive's contents and governs the interactions between book and reader, ultimately allowing the archive to become a place where knowledge is heritable.

Diese Arbeit beschäftigt sich mit der archivarischen und geisteswissenschaftlichen Erschließung der Horst Lippmann-Sammlung (des Konzertveranstalters Horst Lippmanns, der Sammlung der Lippmann+Rau Konzertagentur) im Lippmann+Rau-Musikarchiv in Eisenach. Diese Arbeit ist eine Mischform aus Auflistung, tieferer Erschließung und Werkstattbericht der Arbeit des Autoren als Musikarchivar im Lippmann+Rau-Musikarchiv seit April 2022. Die Horst Lippmann-Sammlung wird hier in ihrer Erschließung beschrieben, diese Workflows mit denen den Sächsischen Staatsarchiv verglichen und zum Schluss mit der Sammlung des Konzertveranstalters Fritz Rau auch biographisch verglichen. Hier zeigt sich, dass Lippmann durch seinen Charakter als nachdenklicher Kunstliebhaber aus einer vermögenden Familie den Anforderungen einer großen Konzertagentur nicht wirklich gewachsen war, weshalb er sich ab den 70er Jahren aus dem Konzertgeschäft zugunsten von Fritz Rau zurückzog und hier das Plattenlabel führen konnte, was durch seine sorgfältige Arbeitsweise beinahe den kompletten Grundstock der Horst Lippmann-Sammlung darstellt. Zum Schluss zeigt sich, dass einem Erklären einer Sammlung auch immer ein ganzheitliches Verstehen einer Sammlung folgen muss, um eine Sammlung nachhaltig erschließen zu können.:1. Einleitung und Grundlage 2. Grundlegendes zum Lippmann+Rau-Musikarchiv 2.1. Bisherige Katalogisierungen im Lippmann+Rau-Musikarchiv 3. Erschließungsansätze von Archivsammlungen 3.1. Erschließungsansatz im Lippmann+Rau-Musikarchiv seit April 2022 3.2. Erschließungsstandards und -richtlinien und Vergleich mit der Erschließungsarbeit im Lippmann+Rau-Musikarchiv 3.2.1. Die Erschließungsrichtlinien des sächsischen Staatsarchivs im Vergleich mit den Arbeitsweisen im Lippmann+Rau-Musikarchiv 4. Die Sammlung Horst Lippmann im Lippmann+Rau-Musikarchiv (LRA-101) 4.1. Grundlegendes zu Horst Lippmann 4.2. Grundlegende Positionierung und Hindernisse bei der Erschließung der Horst Lippmann- Sammlung LRA-101 4.3. Die Erschließung der Horst Lippmann-Sammlung im Lippmann+Rau-Musikachiv Eisenach (LRA-101) 4.3.1. Die Erschließung der Dokumente der Horst Lippmann-Sammlung 4.3.2. Die Erschließung der Tonbänder der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Objekte der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Fotos der Horst Lippmann-Sammlung 4.3.4. Die Erschließung der Bücher, Zeitschriften, Vinyls und CDs der Lippmann-Sammlung 4.4. Die Erschließung der Horst Lippmann-Sammlung im Kontext und Auswertung der Personendatenbank 5. Die Horst Lippmann-Sammlung im Vergleich zur Fritz Rau-Sammlung 5.1. Die Sammlung Fritz Rau (LRA-102) 5.1.1. Grundlegendes zu Fritz Rau 5.1.2. Die Erschließung der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach (LRA-102) 5.1.3. Die Erschließung der Fritz Rau-Sammlung im Kontext 5.2. Die Charaktere von Horst Lippmann und Fritz Rau und die Auswirkungen auf die jeweiligen Sammlungen 6. Andere Sammlungen zu Horst Lippmann in Deutschland 7. Analyse der Horst Lippmann-Sammlung im Kontext der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach 8. Zusammenfassung 9. Quellenverzeichnis / This work deals with the archival and humanities development of the Horst Lippmann collection (of the concert promoter Horst Lippmann, the collection of the Lippmann+Rau concert agency) in the Lippmann+Rau music archive in Eisenach. This work is a hybrid of listing, in-depth development and workshop report of the author's work as a music archivist in the Lippmann+Rau Music Archive since April 2022. The Horst Lippmann Collection is described here in its current status of cataloguing, these workflows compared with those of the Saxon State Archives and finally compared biographically with the collection of the concert promoter Fritz Rau. This all shows that Lippmann, due to his character as a thoughtful art lover from a wealthy family, was not really up to the demands of a large concert agency, which is why he withdrew from the concert business in favor of Fritz Rau from the 70s onwards and was able to run the company's record label here, which he did in his meticulous way of working as it represents almost the entire core of the Horst Lippmann collection. Finally, it becomes clear that an explanation of a collection must always be followed by a holistic understanding of a collection in order to be able to catalogue a collection in the long term.:1. Einleitung und Grundlage 2. Grundlegendes zum Lippmann+Rau-Musikarchiv 2.1. Bisherige Katalogisierungen im Lippmann+Rau-Musikarchiv 3. Erschließungsansätze von Archivsammlungen 3.1. Erschließungsansatz im Lippmann+Rau-Musikarchiv seit April 2022 3.2. Erschließungsstandards und -richtlinien und Vergleich mit der Erschließungsarbeit im Lippmann+Rau-Musikarchiv 3.2.1. Die Erschließungsrichtlinien des sächsischen Staatsarchivs im Vergleich mit den Arbeitsweisen im Lippmann+Rau-Musikarchiv 4. Die Sammlung Horst Lippmann im Lippmann+Rau-Musikarchiv (LRA-101) 4.1. Grundlegendes zu Horst Lippmann 4.2. Grundlegende Positionierung und Hindernisse bei der Erschließung der Horst Lippmann- Sammlung LRA-101 4.3. Die Erschließung der Horst Lippmann-Sammlung im Lippmann+Rau-Musikachiv Eisenach (LRA-101) 4.3.1. Die Erschließung der Dokumente der Horst Lippmann-Sammlung 4.3.2. Die Erschließung der Tonbänder der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Objekte der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Fotos der Horst Lippmann-Sammlung 4.3.4. Die Erschließung der Bücher, Zeitschriften, Vinyls und CDs der Lippmann-Sammlung 4.4. Die Erschließung der Horst Lippmann-Sammlung im Kontext und Auswertung der Personendatenbank 5. Die Horst Lippmann-Sammlung im Vergleich zur Fritz Rau-Sammlung 5.1. Die Sammlung Fritz Rau (LRA-102) 5.1.1. Grundlegendes zu Fritz Rau 5.1.2. Die Erschließung der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach (LRA-102) 5.1.3. Die Erschließung der Fritz Rau-Sammlung im Kontext 5.2. Die Charaktere von Horst Lippmann und Fritz Rau und die Auswirkungen auf die jeweiligen Sammlungen 6. Andere Sammlungen zu Horst Lippmann in Deutschland 7. Analyse der Horst Lippmann-Sammlung im Kontext der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach 8. Zusammenfassung 9. Quellenverzeichnis

[pt] Esta dissertação baseia-se no acervo do escritor Samuel Rawet, doado em 2018 ao Arquivo-Museu de Literatura Brasileira da Fundação Casa de Rui Barbosa. A proposta é investigar hipóteses para os procedimentos de escrita e percursos de criação do autor, analisando de que forma seu acervo pode ser compreendido como parte integrante de sua obra literária. A partir do estudo de fontes documentais e de suas possíveis articulações, estabelecidas pelos cruzamentos e pelas conexões com textos publicados e com o próprio conjunto documental do acervo, busca-se refletir sobre novos caminhos de acesso ao universo criativo do escritor, identificar movimentos de sua escrita e processos para composição de seus contos e ensaios. Neste sentido, compõem as bases para orientação e formação do corpus desta pesquisa a caderneta de anotações de Rawet e uma seleção de transcrições, notas e datiloscritos do autor. De maneira convergente, o trabalho dedica-se a pensar a formação do acervo de Samuel Rawet na contemporaneidade; as problemáticas acerca do conceito e modo de operação dos arquivos, em especial, sob as perspectivas de Michel Foucault e Jacques Derrida, bem como de Reinaldo Marques no âmbito dos arquivos literários. / [en] This dissertation is based on the personal collection of Brazilian writer Samuel Rawet, which was donated in 2018 to the Casa de Rui Barbosa Foundation s Archive Museum of Brazilian Literature. As we turn to Rawet s writing procedures and creative paths, we wish to discuss how his collection can be viewed as an integral part of his literary work. The work is grounded on an understanding that investigating the documentary sources which compose Rawet s collection and considering the possible articulations between them and the author s published texts may open up new pathways into the writer s creative universe, especially by highlighting the movements and processes which characterize his writing — in particular, his production of stories and essays. Our research corpus is primarily based on Rawet s personal notebook and on a selection of the author s transcripts, notes, and typewritten texts. The study, which is informed by Michel Foucault s and Jacques Derrida s contributions, as well as by Reinaldo Marques insights into the scope of literary archives, intertwines thoughts on the formation of Samuel Rawet s collection in the contemporary world with broader reflections on the notion and operation of archives.

When a crisis occurs, information flows rapidly in the Web through social media, blogs, and news articles. The shared information captures the reactions, impacts, and responses from the government as well as the public. Later, researchers, scholars, students, and others seek information about earlier events, sometimes for cross-event analysis or comparison. There are very few integrated systems which try to collect and permanently archive the information about an event and provide access to the crisis information at the same time. In this thesis, we describe the CTRnet Digital Library and Archive which aims to permanently archive crisis event information by using Archive-It services and then provide access to the archived information by using LucidWorks Big Data software. Through the Big Data (LWBD) software, we take advantage of text extraction, clustering, similarity, annotation, and indexing services and build digital libraries with the generated metadata that will be helpful for the system stakeholders to locate information about an event. Through this study, we collected data for 46 crises events using Archive-It. We built a CTRnet DL prototype and its services for the ``Boston Marathon Bombing" collection by using the components of LucidWorks Big Data. Running LucidWorks Big Data on a 30 node Hadoop cluster accelerates the sub-workflows processing and also provides fault tolerant execution. LWBD sub-workflows, ``ingest" and ``extract", processed the textual data present in the WARC files. Other sub-workflows ``kmeans", ``simdoc", and ``annotate" helped in grouping the search-results, deleting the duplicates and providing metadata for additional facets in the CTRnet DL prototype, respectively. / Master of Science

近年來，世界各國紛紛設立國家檔案館以保存其珍貴的國家檔案，我國以往的國家檔案由國史館兼管，主要的館藏仍以歷史檔案為主，許多珍貴的國家檔案無法得到妥善的保存，至為遺憾，因而更顯得成立國家檔案館之迫切需要。本研究的目的在了解國、內外國家檔案館的現狀，發掘國內檔案事業所面臨的問題，並提供一些淺見供我國國家檔案館之成立、發展方向之參考，並不意欲創造或建構一個實際的、理想中的國家檔案館。更具體的說，本研究的目的在於藉助國家最高檔案指導機構之組織與功能的研究，提出國家檔案事業、及檔案學的意義與價值之再思考。本研究探討了國外國家檔案館的成立過程，及其組織與功能發揮之現況、國內檔案事業的發展債形，並運用了深度訪談與仿德爾斐的研究方法，與國內關心檔案事業的專家、先進作了一番深入的意見交流，得到了一些寶貴的結論。 / Although the Academia Historica has preserved records of the Republic of China since 1912, it emphasizes the preservation of historical documents only. Today most countries have established National Archives. The author would like to suggest an establishment of the National Archives of the Republic of China. Based on the system and practice of the NARA - PRO、Mainland China's National Archives, and the great opinions of 16 experts', the author would like to suggest guidelines for establishing the National Archives of the Republic of China.

The aim of this study is to investigate transmission of knowledge as critical archive practice within folk dance, and thereby contribute to updating the concept tradition bearer. The research questions are: What is done in the situation of knowledge transmission where different folk dance bodies understood as archives – both living dancers and bodies in text and image – meet over time and space? How can these situations be understood theoretically and thus contribute to a new, archive oriented, theoretical understanding of the transmission of knowledge and tradition within folk dance? The empirical material consists of phenomenological interviews with three folk dancers who each participated in two workshops created by the author: in one case, the participants encountered archival material such as text, film and photography, in the other a living dancer understood as an archive. Drawing on critical and pluralizing archive theory, the findings of the study show how both dancers and archive records are stakeholders and agents in creating the affective, dynamic and complex interchanges that take place in both situations. Pluralizing archive theory also proved useful in identifying values and hierarchies among the stakeholders in the folk dance archive. In the interchange between dancer and archive, negotiations between different approaches to tradition took place. Through pluralizing archive theory and the understanding of the body as archive, the concept of tradition bearer may be given a more dynamic and inclusive definition, shifting focus from what it is to what it does, and be considered a complex relational situation.

<p>This dissertation analyzes Wolf Vostell's <italic>Fluxus Zug</italic>, 1981, arguing that it was simultaneously a work of art, a museum, an academy, and an archive. I explore the art work/alternative institution in relation to other museums that Vostell conceived and realized from the 1960s until his death in 1998; the interdisciplinary collaborations that he established in the 1960s; his concept for an ideal academy from 1969; the archive that he began building in the 1950s; and recent theories of the Archive. This microhistorical study reveals Vostell's centrality to contemporary experimental art. I argue that the spirit of Vostell's art and ideas are very much alive today as artists demonstrate widespread interest in curating as an art practice, in the construction of alternative pedagogies, and in working in, with, and against the Archive.</p> / Dissertation

Concurrent with a bloom of interest in the archive within academic discourse, an intense cultural fascination with museums, archives, and memorials to the past has flourished within the United States. The ascendency of digital technologies has contributed to and magnified this “turn” by popularising and habituating the archive as a personal memory tool, a key mechanism through which the self is negotiated and fashioned. This dissertation identifies a sustained exploration of the personal archive and its place in contemporary life by American novelists in the twenty-first century. Drawing on theories of the archive and the collection, this dissertation analyses the parameters of the curated self through close-readings of recent novels by five US authors. The first two chapters read Paul Auster’s Sunset Park through trauma theory and Siri Hustvedt’s What I Loved through psychoanalysis, noting that in each the system of archiving generates moments of catharsis. The two chapters argue that, for the subject shattered by trauma, archiving activates and fulfils psychoanalytic processes that facilitate the self’s reintegration and prompts a discursive revelation about the painful past. The texts, thus, discover in the archive strategies for achieving, however provisionally, a kind of stability amongst unexpected change. The next two chapters reveal the complicity of archival formations with threats posed in the digital age and articulate alternative forms of self-curation that counteract these pernicious forces. To ward off information overload, E.L. Doctorow’s Homer and Langley advocates the ethical flexibility of “blind” narration that, wending through time, accommodates a broad range of perspectives by refusing to fantasise about its own ultimate and total claim to accuracy. Jennifer Egan’s A Visit from the Goon Squad, meanwhile, diagnoses the cultural anxiety over increasingly invasive surveillance measures. While the novel situates the digital archive, or database, at the heart of this new dataveillance, it recommends investing the self in material collections, where personal meaning is rendered in the inscrutable patois of objects that disintegrate over time. For Egan, the material archive thereby skirts the assumed readability and fixity of data on which this surveillance thrives. The conclusion analyses Dana Spiotta’s Stone Arabia, observing within it and the other novels a consistent concern with archival destruction, erosion, and stagnation. Together, the texts suggest that the personal archive is persistently stalked by disintegration and failure. Yet, within this contemporary moment in which curation has become a widespread means of self-fashioning, they also show how these hazards can be creatively circumvented or actively courted, can threaten the subject or be harnessed by it.