Made available in DSpace on 2015-05-14T12:23:04Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1432939 bytes, checksum: e9d97cd492acde0aeaa85753ddb6486f (MD5) Previous issue date: 2011-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work has as its object of analysis high school History textbooks and the treatment their authors give to the Enlightenment. Assuming that the systematization and dissemination of scientific knowledge in the Modern age were carried on including through the organization of teaching materials designed to the education systems that began to be assembled at the time, we consider the textbook as a cultural object of the Enlightenment. In its turn, the contemporary historiography has revisited the theme of the Enlightenment in Modernity, from an approach that goes beyond the association established between Enlightenment philosophy and the Age of Reason as a French phenomenon. Our analysis aims to understand how the Enlightenment is addressed in Brazilian current textbooks, the predominant theoretical perspectives and how the central concepts of that philosophy are treated. The analysis of textbooks is justified by the fact that in our culture they constitute an important tool for conveying the historical knowledge, other than promoting teacher and student training on the subject. Furthermore, the ideas and proposals of the Enlightenment modern thinkers are still present from our point of view in basic elements of contemporary historical culture and politics. / Este trabalho tem, como objeto de análise, livros didáticos de História para o Ensino Médio e o tratamento que seus autores conferem ao tema do Iluminismo. Partindo do princípio de que a sistematização e a divulgação do conhecimento científico na Modernidade se processaram inclusive através da organização de materiais didáticos voltados para os sistemas de ensino que começaram a ser montados a partir de então, consideramos o livro didático como um objeto cultural iluminista. Por sua vez, a historiografia contemporânea tem revisitado o tema do Iluminismo na Modernidade, a partir de uma abordagem que ultrapassa a associação estabelecida entre filosofia iluminista e o século das luzes como fenômeno francês. A nossa análise procura perceber como o Iluminismo é abordado nos manuais didáticos brasileiros contemporâneos, quais as perspectivas teóricas predominantes e como os conceitos centrais daquela filosofia são tratados. A análise de livros didáticos se justifica pelo fato de que, na nossa cultura, eles se constituem como um importante instrumento de veiculação do saber histórico, além de promoverem a formação docente e discente na área. Além disso, as idéias e as propostas dos pensadores modernos de extração iluminista ainda se constituem, na nossa perspectiva, em elementos fundamentais da cultura histórica e política contemporânea.

Made available in DSpace on 2015-09-25T12:21:11Z (GMT). No. of bitstreams: 1 RoniereLeiteSoares.pdf: 535658 bytes, checksum: b4d7c3037eece7e38c3c93b3b02af522 (MD5) Previous issue date: 2005-08-26 / The historical rescue of the anonymous cangaçais groups/bands was the way in which we tried to exhibit the public readers in general, the existence of an exaggerated majority omitted intentionally in opposition to the individualized canonization of Lampião as half-finished process of formation discourse. We ve had as general objective to retake the anonymous groups history, carrying through, specifically the tracing small biographies of these groups, grouped through respective cangaceiros leaders, as well as the analysis of the speeches of the interviewed ones. From an interdisciplinary perspective, we intend to guide the text without in arresting to one or another theoretician that could restrict our research to a possible unilateral vision, therefore we chose to work with semiotics, linguistic, historical, discoursives and social elements. Accumulating a range of theoretical visions in face of a subject that, by itself makes us distrust that the interdisciplinarity is nearer to the investigated object than to the investigated citizen, we ve searched for information in plural sources of references such as twines, periodicals, books, cartoons, literary compositions, biographical books, agricultural magazines, countryside environments, cinematographic productions, and also verbal history of the popular interviewed people. We ve decided to base our work according to Le Goff, Walter Benjamin, Eric Hobsbawm, Sharpe (in Peter Burke) and Eni Orlandi. We ve made a northeast contextualization having as reference the representation of the main members of the catholic church, as well as the coronelism and the large state, opposing these institutions in face of the against-institution of cangaço, in the end of the second chapter, in reason of its conceptual crisis. The proposal to elicit/group the considered anonymous groups it made possible to establish small biographies, as we ve had as the main principle of the work a boarding that was centered in the limits of the interpretation, covering the description of the facts and the analysis of the speech of the deponents. We ve had as evidence at the end of the work, that the hypotheses formulated initially had been confirmed with: the discovery of other groups to the group of Corisco, considered, accoding to the official speech, as the last cangaçal group; the ratification that the anonymity of the groups/bands is generally due to the lack of photographic registers; and the register of bands that had covered areas of the wasteland, despite cariri and the hinterland, already mentioned officially. / O resgate histórico dos bandos anônimos cangaçais foi a maneira pela qual tentamos ostentar ao público leitor em geral, a existência de uma demasiada maioria omitida intencionalmente em oposição à canonização individualizada de Lampião como processo semi-acabado de formação discursiva. Tivemos o objetivo geral de retomar os bandos anônimos, realizando especificamente o traçado de pequenas biografias destes bandos, elencados através dos respectivos cangaceiros-chefes, assim como a análise dos discursos dos entrevistados. A partir de uma perspectiva interdisciplinar, buscamos orientar o texto sem nos prendermos a um ou a outro teórico que pudesse nos restringir a uma possível visão unilateral, por isso optamos por lançar mão de elementos semióticos, lingüísticos, históricos, discursivos e sociais. Abarcando diversas visões teóricas em face de um tema que, por si só nos faz desconfiar que a interdisciplinaridade está mais próxima do objeto investigado do que do sujeito investigador, pesquisamos informações em fontes plurais de referências tais como cordéis, jornais, livros, quadrinhos, obras literárias, livros biográficos, revistas, ambientes rurais, produções cinematográficas, além da inquietante história oral dos populares entrevistados. Buscamos fundamentar nosso trabalho a partir de Le Goff, Walter Benjamin, Eric Hobsbawm, Sharpe (in Peter Burke) e Eni Orlandi. Fizemos uma contextuação do Nordeste tendo como referência a representação dos principais membros da igreja católica, assim como o coronelismo e o latifúndio, contrapondo estas instituições em face da contra-instituição do cangaço, abordado no final do segundo capítulo, em razão de sua crise conceitual. A proposta de elencarmos os bandos considerados anônimos possibilitou estabelecer pequenas biografias, haja vista que tínhamos como princípio norteador do trabalho uma abordagem que estava centrada nos limites da interpretação, englobando a descrição dos fatos e a análise do discurso dos depoentes. Constatamos ao final do trabalho, que as hipóteses formuladas inicialmente foram confirmadas com: a descoberta de bandos posteriores ao grupo de Corisco, considerado pelo discurso oficial como sendo o último bando cangaçal; a ratificação de que o anonimato dos bandos se deve geralmente a carência de registros fotográficos; e o registro de bandos que percorreram áreas do brejo e do agreste, além do cariri e do sertão, já mencionadas oficialmente.

This essay studies the use of history concerning the Swedish nineteenth century painter Ivan Aguéli. It places itself in the field of didactics of history where, in this case, the use of history on a societal scale is being analyzed. With the theoretic typology of Klas-Göran Karlsson both the interests, needs and functions of the use of Aguéli can be illuminated and compared. The groups of people that use the memory of Aguéli in the Swedish culture of history are very broad. To sort these out, the essay borrows the theoretical framework stemmed from Jörn Rüsen and applied by Anders Dybelius. Using this analytical typology of the educational, popular, and commemorative spheres, the journey of Aguéli’s memory in Sweden between 1920 and 2020 can be illuminated and understood. The empirical material is very broad and includes, among others, novels, exhibitions, a rock band, a museum, biographies, and newspapers. Regarding the theoretical typologies in the essay, a deductive method is used to sort these artifacts in their relation to their abode. Ivan Aguéli was introduced in the Swedish historical culture after his death. He is remembered mainly as one of the great Swedish modernist landscape-painters, and his extravagant personality and bohemian lifestyle has made him an object of both reverence and wonderment. But why has this person been used and remembered in this way? Ivan Aguéli has often been described as a mystery. This is the one main quality that has followed his memory through the millennia, disregarding which group has been using it. This study points out that the refusal to un-mystify Aguéli has kept his memory in the style of a “bottomless well”, where different groups and individuals has been able to pick up quality’s that answer to their own particular interests and needs. This “bottomless well” contains a flurry of positive characteristics and has something that is appealing for everyone: what’s not to like? Ivan Aguéli is more popular today than ever before. His legacy as an artist is getting challenged when much of his metaphysical, political, and philosophical legacy becomes accessible through translation from French and Arabic into Swedish. Aguéli’s theories of the correlation between religious truths and the political organization of society answers to an increased need for both political and spiritual renewal. This fact makes this essay, and the use of Ivan Aguéli’s memory, an example of how history is being produced and used as a tool to aid man in her aspirations. / I denna uppsats studeras historiebruket kring den svenska sekelskiftskonstnären Ivan Aguéli. Studien har sin hemvist i det historiedidaktiska fältet där, i detta fall, ett samhälleligt bruk av historia analyseras. Med Klas-Göran Karlssons analytiska typologi som bejakar de olika mänskliga intressen, behov och funktioner som historiebruket fyller, kan användningen av Aguélis minne i den svenska historiekulturen avslöjas och analyseras. Bruket av Aguélis minne i den svenska historiekulturen är väldigt brett och kräver något typ av sorteringsverktyg för att begripliggöras. Uppsatsen lånar därför Jörn Rüsens teoretiska ramverk, vilket applicerats i den svenska historiebruksforskningen av Anders Dybelius. Genom att använda de analytiska kategorierna utbildningskultur, populärkultur och minneskultur kan vandringen av Aguélis minne i Sverige mellan 1920 och 2020 belysas och förstås. Det empiriska materialet är väldigt brett och består av bland annat facklitteratur, skönlitteratur, konstutställningar, ett rockband, ett museum och tidningsrecensioner. I ljuset av uppsatsens teoretiska ramverk används en deduktiv metod för att sortera dessa artefakter utifrån deras förhållande till de tre kultursfärerna. Ivan Aguéli blev introducerad i den svenska historiekulturen först efter sin död. Han är ihågkommen som främst en av de stora modernistiska landskapsmålarna, och hans extravaganta personlighet och bohemiska livsöde har kommit att prägla särarten i hans minne. Men varför har han blivit ihågkommen på just detta sätt? Aguéli har ofta beskrivit som ett mysterium. Detta är det enskilda karaktärsdraget som följt hans minne genom århundradet, oavsett vilken grupp som har brukat det. Uppsatsens resultat pekar på att en ovilja att avmystifiera Aguéli har gjort hans minne till något av en ”bottenlös brunn” där olika grupper och personer har kunnat plocka upp värden som svarat på deras specifika intressen och behov. Ivan Aguéli är mer populär idag än någonsin tidigare. Hans arv som i första hans konstnär har kommit att utmanas då mycket av hans metafysiska, politiska och filosofiska tänkande tillgängliggjorts genom översättningar från franska och arabiska till svenska. Aguélis teorier kring korrelationen mellan religiösa sanningar och den politiska organiseringen av samhället har svarat på ett ökat behov av både andlig och politisk förnyelse. Detta faktum gör denna uppsats, och bruket av Aguélis minne i den svenska historiekulturen, till ett exempel på hur historia produceras och brukas av människor för att svara på deras behov och intressen.

Torre Abbey was a rural Premonstratensian monastery in south-east Devon. Although in many ways atypical of its order, not least in the quality and quantity of its surviving source material, Torre provides an excellent case study of how a medium-sized medieval monastery interacted with the world around it, and how the abbey itself was affected by that interaction. Divided into three broad sections, this thesis first examines the role of local landowners and others as patrons of the house in the most obvious sense, that of the bestowal of lands or other assets upon the house. Torre was relatively successful in this regard, and an examination of the architectural and archaeological record indicates a continuation of that relationship after the thirteenth century. The second section notes areas of conflict with the laity. Disputes could and did arise over both temporal and spiritual affairs, as well as through the involvement of a number of lay figures in the administration and patronage of the house. In both respects, notable incidents in the mid-fourteenth century highlight the complexities of the canons’ relationships with the secular world. These are further explored in an analysis of the abbey’s role during the Hundred Years’ War and the Wars of the Roses, two conflicts which greatly affected the locality, but required vastly differing approaches by the canons. Finally, the effect of society on the canons themselves is considered. It is possible to recover some picture of their origins, both social and geographic, as well as some idea of the size of the community in the fifteenth century, and discuss the repercussions for an understanding of monastic recruitment. Finally, the dynamic of the community over the entire history of the abbey is considered in terms of the scattered source material, utilising both architectural and documentary evidence.

During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).

Not available / text

No description available.

Isaac J. Barrera, a noted scholar of Ecuadorian literature, succinctly described the nineteenth-century Liberal essayist, Juan Montalvo, in this way. "Two completely different aspects exist in the intellectual personality of Montalvo, that of the elegant, traditional writer ... and that of the terrible polemicist, possessing a scathing pen [and] ignited rage." Indeed, it was Montalvo's "scathing pen" and "ignited rage" combined with his exceptional mastery of the Castillian language which distinguished his writing from that of other Ecuadorian reformers. Yet, the Ecuadorian's insulting polemics and violent rhetoric encouraged and perpetuated an already existing "culture of revolution" in Ecuador. Indeed, the eyes of the country seemed fixed on Montalvo. He was at the center of Ecuadorian political thought and he personified the hope of those of radical opinion. For example, in 1875, after reading The Perpetual Dictator, his polemical pamphlet directed against the tyrannical practices of then Ecuadorian President, Gabriel Garcia Moreno, three of Montalvo's disciples assassinated the Dictator. Montalvo, believing he now had proof of the power of his words, exclaimed, "No doubt my ideas took root; ... it is my pen that killed him."This thesis will examine three aspects of Juan Montalvo and the culture of revolution in Ecuador. The second chapter entitled, "'It is My Pen that Killed Him!': The Assassination of Garcia Moreno," will examine Montalvo's rhetoric of violence and its results. Chapter three, "Montalvo as Icon: Nationalism, Personalism and Rebellion," will explore how a nation's heroes influence the cultural and revolutionary flavor of the particular region or country. The fourth chapter, "Indoctrination of the Innocent: Montalvo in Education," will analyze how the culture of revolution has not only penetrated Ecuadorian education but is perpetuated through the education of the Ecuadorian youth.This investigation will also provide supplemental awareness of Montalvo's general motives as well as a representative sketch of a nineteenth-century, Latin American liberal. An understanding of this Ecuadorian is also necessary for related research regarding other twentieth-century, Spanish speaking authors, such as Miguel Unamuno, for whom Montalvo was an influential figure. Furthermore, a clear assessment of Montalvo, and the forces against which he fought, portrays Latin American authoritarianism and personalism and reflects the social and religious mentality of the Ecuadorian elite and middle class in the nineteenth century. Despite Montalvo's influential position in Ecuador and his worldwide reputation as an opponent of tyranny and defender of liberty, only a few select passages of his writings have been translated into English. Likewise, English language scholarship on Montalvo is sorely lacking; most of the few existing articles are sparse, replete with errors, and tailored to a popular audience. / Department of History

Thesis (M.G.S.)--Miami University, Dept. of Sociology and Gerontology, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 94-96).

The purpose of this thesis is to examine the use of historic memory  in relation to the riot’s in Gothemburg 14-16/6 2001. The empirical study is done through an examination, using a mainly qualitative method, of two Swedish tabloid papers (Aftonbladet and Expressen) published at the the time of the riot’s. The aim and goal for this study was to examine the process/struggle which took place over how the memory of this event was shaped. This study will show a more versatile, a true picture of that process. Also how different it was portrayed in the two tabloids and how those stories changed character daily depending on what happened.