Musicking is to take part in the creation of music, as defined by musicologist Christopher Small. Whether by performing, listening, producing, or organizing, musicking encompasses all of the activities that surround making music. This shift to addressing the activities of music-making, and not the music itself, is similar to the modern approach to archival appraisal where it is not the records themselves that are appraised, but rather the activities of their creator. By applying Small’s term to making music, a wider lens in which to evaluate the archival value of music records is established. Through that lens this thesis identifies the functions of musicking to be considered when appraising and acquiring archival records, places those functions within the larger Canadian society for context, and examines particular archival collections in Manitoba as a case study to begin developing a strategy in which Manitoba’s musicking records can be preserved for future generations.

Thesis (Ph.D.)--Indiana University, History of Art, 2008. / Title from PDF t.p. (viewed on Jul 21, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3782. Adviser: Patrick R. McNaughton.

Orientador: Milton Carlos Costa / Banca: Maria Lucia Montes / Banca: Silvia Cristina Martins de Souza / Banca: Eduardo Basto de Albuquerque / Banca: Ruy de Oliveira Andrade Filho / Resumo: Em 1977, com o nome de Igreja Universal do Reino de Deus, surgiu o mais instigante movimento religioso no cenário brasileiro contemporâneo, não apenas pelo explosivo crescimento numérico, mas principalmente pela inauguração de práticas que transpõem as categorias conceituais explicativas classicamente utilizadas para a análise das manifestações de fé. Abordagens jornalísticas, religiosas e sociológicas não deram conta de compreender a abrangência e os impactos promovidos por esse segmento. O desafio foi então lançado à historiografia. Com o propósito de contribuir para o preenchimento dessa lacuna, esse trabalho se propôs a pesquisar, com profundidade, as práticas e as representações que notabilizaram o fenômeno iurdiano. Para isso, a partir de parâmetros teórico-metodológicos da História Cultural - articulados com os pensamentos de Roger Chartier e Pierre Bourdieu - realizaram-se incursões investigativas nos documentos próprios da igreja, conjugando-as com observações participantes nos cultos e ritos, cruzando-se ainda tais fontes com depoimentos de líderes e fiéis, além de gravações sistematizadas de programas midiáticos, transcritos e catalogados para análise. Constatou-se que o fenômeno iurdiano: não é dissidência e nem continuidade de outras expressões religiosas, mas é criador de algo novo a partir de apropriação e resignificação de compósitos culturais arraigados na longa duração histórica; estabeleceu um marco divisor no campo religioso quando chegou às massas e atingiu a matriz cultural brasileira... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In 1977 was inaugurated, with the name Universal Church of the Kingdom of God - Igreja Universal do Reino de Deus (IURD) - the most provocative religious movement in contemporary Brazil, not simply due to its explosive numerical growth, but mainly because of its practices that went beyond classical conceptual categories employed in analyses of faith manifestations. Journalistic, religious, and sociological approaches were not sufficient to account for the range and impact of this segment. The challenge was then submitted to historiography. With the purpose of answering some of these lacunae, the present work proposes to research in depth the practices and representations that most mark the IURD phenomenon. For that, using theoretical-methodological parameters from cultural history, articulated in the works of Roger Chartier and Pierre Bourdieu, we shall make incursive investigations into the documents of the church, placing these alongside the observations made by participants in the church’s rites and practices, then comparing these with additional statements from the church’s leadership and faithful followers. We will also examine Transcripted and catalogued information gathered from various media programs. It was found that the IURD phenomenon was not due to dissidence nor continuity with other religious expressions, but was instead the creation of something new... (Complete abstract, click electronic access below) / Doutor

The subject of this thesis is the cancan – a dance form that emerged in Paris in the 1820s, and that has undergone a number of transformations in its continued performance, both live and onscreen, over the last two hundred years. The thesis focuses on particular historical moments during which the cancan’s embodiment of social tensions caused it to gain visibility as a site of both desire and moral panic, often centring on the supposedly uncontrollable bodies that it creates and performs. These moments are characterised by the employment of various legal, mechanical, digital and critical technologies to capture the cancan’s disorderly performance. The complex relationship between the cancan, these technologies and the shifting historical, cultural and political contexts which animate them, form the crux of the discussion. The cancan’s emergence and development as a live dance form in the nineteenth century, its relation to the invention of cinema in the 1890s, its popularity in narrative cinema of the 1920s and 1950s, and its revival in Baz Luhrmann’s film Moulin Rouge! (2001), are analysed from a postmodern perspective, in which modernist hierarchies of high and low, elite and popular, mind and body, are reinterpreted as structures of power. It is argued that at these moments the cancan becomes a particularly salient mediator of the conflict between rational and irrational body politics that had its origins in the Enlightenment. By embodying irrationality, and later, various intersections of rationality and irrationality, cancan performers and spectators make manifest alternative constructions of the body and society that may be utopian, dystopian, or both. In doing so, they participate corporeally in the ongoing negotiation of post-Enlightenment body politics. The thesis thus seeks to demonstrate the importance of popular cultural forms such as the cancan for reconstructing cultural histories in postmodernity.

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The title of this thesis gives away little beyond an engagement with the visual and the implication of some sort of trouble: Agitating images. In many ways it is a project defined by trouble: trouble that is analyzed and historicized but also trouble that is expected and invited. The agitation refers initially to the project of communist agitators working in the 1920s and 30s among indigenous Siberian peoples. Soviet society was at war with illiteracy, at war with backwardness and, in central Siberia it was at war with shamans and wealthy reindeer herders. In relation to images, agitation is something altogether different and my metaphorical leap from a communist agitator to image as agitator can only exist through analytical fiat. What are agitating images? I argue that all photographs are actually agitating, even the most mundane and transparent images are agitating. They pose as media amenable to interpretation and the ascription of meaning; in fact they undermine meaning and they undermine interpretation. I demonstrate this in three distinct parts of the thesis. Part I offers a comprehensive articulation of my project. It is illustrated in a more or less conventional manner with archival photographs from Siberia. Part II is a demonstration of history and photography in conflict. I show how the Soviets—faced with an enormous inland territory and what was perceived as a culturally anterior population—developed the Culturebase, a unique technology to facilitate the shaping and manipulation of indigenous cultures. Part III of the thesis presents an altogether different approach. In this section I eschew the conventions and limitations of the printed page and offer a digital alternative. The format of Part III is agitating as well. As a website it is a performative act of perpetual openness. Agitating images is ultimately not about the end of interpretation, ethnography, or history. Rather, it is a generative work that reflexively apprehends its own place in the production of knowledge.

The implication of belief, that association between the veridical ghost tale and the fictional ghost tale—an association resulting from the onslaught of reason and science, and consequently spiritual doubt—remains largely responsible for the fictional ghost tale’s critical demise. A rise in the spiritualist movement produces a specific literature that coincides with the rise in interest in its fictional counterpart. Both the veridical ghost tale and the fictional ghost tale reach their heights in popularity at precisely the same time; not coincidental, but well planned by talented writers who viewed the preoccupation with ghosts as a platform from which a variety of contemporary issues could be candidly dealt. The Victorian literary ghost figure simultaneously, and ingeniously, fills a spiritual void, satisfies a consumer need for entertainment, and provides an opportunity for cultural commentary. The voice of the Victorian ghost, and the subsequent understanding of its haunted are of distinct cultural significance. / October 2004

The thesis discusses the remembrance of the Ottoman heritage and presentation of Ottoman culture at the Ethnographic Museum in Belgrade. The study emphasizes the role and importance of memory and historical interpretation in the contemporary museum practice at the museum. The historical memories of a collection of 6 curators will be discussed and represented in order to examine the influence these recollections have on the exhibition of culture in the museum. The thesis gives the reader a further understanding of the mechanisms behind the continuous neglect and lack of appreciation of the Ottoman heritage in the Serbian society. In line with the current research within memory studies, this study focus on a museum as a site of memory, or a "lieux de mémoire" in Pierre Nora's term. The author concludes that there is a lack of awareness and emphasis in the museum on the Ottoman heritage. She also argues that the museum as a site of memory does little to provide for an arena where memories of different cultures and identities are channeled and presented in the society. Further studies should also emphasize museum presentations in other Southeast European countries in order to discuss the ways in which folk culture, cultural history and memory are presented to the public. / <p>Master program in International studies - specialization Eurasian studies</p>

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