Submitted by Verena Bastos (verena@uefs.br) on 2015-07-23T00:47:01Z No. of bitstreams: 1 DISSERTA??O.pdf: 4599608 bytes, checksum: 92fb1c0e332c4fafbb16e09eddfea1fd (MD5) / Made available in DSpace on 2015-07-23T00:47:01Z (GMT). No. of bitstreams: 1 DISSERTA??O.pdf: 4599608 bytes, checksum: 92fb1c0e332c4fafbb16e09eddfea1fd (MD5) Previous issue date: 2014-08-19 / In this study we stop in the analysis of the cultural territory drawing children african-Brazilian identity during the feast of St. Bartholomew, held in the city of Maragojipe, located in the Reconcavo Baiano. Our goal is to investigate how maragojipanas children african-Brazilian identity draw the cultural territory of celebration to St. Bartholomew. We understand that the city of Maragojipe has an African ancestral legacy which is part of its historical and cultural constitution. Thus, in addition to the elements of Catholic Western culture, reverberated by the official memory, maragojipano space also features symbols and myths originating in the African peoples, which are territorializam through the identities of the subjects, for example, when you celebrate the patron saint the city. The design which we refer to has its place in the field of images and is expressed via the tracing with pencil and paper, but also through photography, which extends the notion about the act of drawing and design field, showing the potential the said category. In this sense, the image and its visual graphic elements emanate as language tools they employed to reveal the cultural territory of the party. We tried to proposal prove that the children are subject who know their social realities and know about these talk. Therefore, the anchor in the methodologies of the Hermeneutics of Thompson depth (1995) and the Dialectic of Vasconcellos (1999) that while our methodological basis enabled us through interviews and workshops meet the children look the city of Maragojipe, its history cultural, existing symbolic forms in your space and one of the cultural territories of the feast of St. Bartholomew. / Neste estudo nos detemos na an?lise do desenho do territ?rio cultural de crian?as de identidade afro-brasileira durante a festa de S?o Bartolomeu, que acontece na cidade de Maragojipe, situada no Rec?ncavo Baiano. O nosso objetivo ? investigar como as crian?as maragojipanas com identidade afro-brasileira desenham o territ?rio cultural do festejo a S?o Bartolomeu. Compreendemos que a cidade de Maragojipe possui um legado ancestral africano o qual faz parte da sua constitui??o hist?rica e cultural. Dessa forma, para al?m dos elementos da cultura ocidental cat?lica, reverberados pela mem?ria oficial, o espa?o maragojipano apresenta tamb?m s?mbolos e mitos origin?rios dos povos africanos, os quais se territorializam atrav?s das identidades dos sujeitos, por exemplo, no momento de festejar o santo padroeiro da cidade. O desenho ao qual nos referimos tem o seu lugar no campo das imagens e ? expresso via o tra?ado com l?pis e papel, como tamb?m atrav?s da fotografia, o que estende a no??o acerca do ato de desenhar e do campo do desenho, evidenciando a potencialidade da referida categoria. Neste sentido, a imagem e seus elementos gr?fico visuais emanam como ferramentas de linguagem utilizadas pelas crian?as para revelarem o territ?rio cultural da festa. Buscamos em nossa proposta evidenciar que as crian?as s?o sujeito sociais que conhecem suas realidades e sobre estas sabem falar. Para tanto, nos ancoramos nas metodologias da Hermen?utica da Profundidade de Thompson (1995) e na Dial?tica de Vasconcellos (1999) que, enquanto nossas bases metodol?gicas nos possibilitaram por meio de entrevistas e oficinas conhecer pelo olhar das crian?as a cidade de Maragojipe, sua hist?ria cultural, as formas simb?licas existentes em seu espa?o e um dos territ?rios culturais da festa de S?o Bartolomeu.

<p>In 1998 the University of the Western Cape together with the University of Cape Town, and the Robben Island Museum introduced a Post-graduate Diploma in Museum and Heritage Studies. This programme was innovative in that not only did it bring together two universities in a programme where the inequalities of resources derived from their apartheid legacies was recognised, but it also formally incorporated an institution of public culture that was seeking to make a substantial imprint in the post-apartheid heritage sphere as part of its structure. In 2003 this programme attracted substantial funding from the Rockefeller Foundation and was rebranded as the African Program in Museum and Heritage Studies (APMHS). While this rebranding of the programme might seem to be innocently unproblematic and commendable as part of the effort at re-insertion of South Africa into Africa after the isolation of apartheid, an analysis of the concepts employed in the rebranding raises serious theoretical, conceptual, and disciplinary questions for heritage studies as an academic discipline and for its connections with other fields, especially the interdisciplinary study of Africa. What are the implications of a programme that brings together the concepts of ʹAfrican-Heritage-Studiesʹ? Does the rebranding signify a major epistemological positioning in the study of Africa or has it chosen to ignore debates on the problematic of the conjunction of the concepts? This study address these issues through a historical and philosophical analysis of the programme, exploring how it was developed both in relation to ideas of heritage and heritage studies in Africa and, most importantly by re-locating it in debates on the changing meaning of&nbsp / ʹAfricaʹ in African studies.</p>

<p>In 1998 the University of the Western Cape together with the University of Cape Town, and the Robben Island Museum introduced a Post-graduate Diploma in Museum and Heritage Studies. This programme was innovative in that not only did it bring together two universities in a programme where the inequalities of resources derived from their apartheid legacies was recognised, but it also formally incorporated an institution of public culture that was seeking to make a substantial imprint in the post-apartheid heritage sphere as part of its structure. In 2003 this programme attracted substantial funding from the Rockefeller Foundation and was rebranded as the African Program in Museum and Heritage Studies (APMHS). While this rebranding of the programme might seem to be innocently unproblematic and commendable as part of the effort at re-insertion of South Africa into Africa after the isolation of apartheid, an analysis of the concepts employed in the rebranding raises serious theoretical, conceptual, and disciplinary questions for heritage studies as an academic discipline and for its connections with other fields, especially the interdisciplinary study of Africa. What are the implications of a programme that brings together the concepts of ʹAfrican-Heritage-Studiesʹ? Does the rebranding signify a major epistemological positioning in the study of Africa or has it chosen to ignore debates on the problematic of the conjunction of the concepts? This study address these issues through a historical and philosophical analysis of the programme, exploring how it was developed both in relation to ideas of heritage and heritage studies in Africa and, most importantly by re-locating it in debates on the changing meaning of&nbsp / ʹAfricaʹ in African studies.</p>

Since its creation, the ethnographic museums have aimed to represent the other cultures. The most recent trends in museology have encouraged the ethnographic museums to go beyond the discovery and to create a space of intercultural dialogue. This thesis analyses the impact of multiculturalism and postcolonialism on the temporary exhibitions organised at the National Prehistoric and Ethnographic Museum ‘L. Pigorini’. The study is conducted on the African heritage and in the selected period 1994-2014. The research is carried out pinpointing three main channels through which the two ideological orientations could penetrate in the museum practices. By the evaluation of the exhibitions, this study provides a new methodology for the understanding of the influences of the most recent trends in museology within the museum contexts.

Philosophiae Doctor - PhD / In 1998 the University of the Western Cape together with the University of Cape Town, and the Robben Island Museum introduced a Post-graduate Diploma in Museum and Heritage Studies. This programme was innovative in that not only did it bring together two universities in a programme where the inequalities of resources derived from their apartheid legacies was recognised, but it also formally incorporated an institution of public culture that was seeking to make a substantial imprint in the post-apartheid heritage sphere as part of its structure. In 2003 this programme attracted substantial funding from the Rockefeller Foundation and was rebranded as the African Program in Museum and Heritage Studies (APMHS). While this rebranding of the programme might seem to be innocently unproblematic and commendable as part of the effort at re-insertion of South Africa into Africa after the isolation of apartheid, an analysis of the concepts employed in the rebranding raises serious theoretical, conceptual, and disciplinary questions for heritage studies as an academic discipline and for its connections with other fields, especially the interdisciplinary study of Africa. What are the implications of a programme that brings together the concepts of 'African-Heritage-Studies'? Does the rebranding signify a major epistemological positioning in the study of Africa or has it chosen to ignore debates on the problematic of the conjunction of the concepts? This study address these issues through a historical and philosophical analysis of the programme, exploring how it was developed both in relation to ideas of heritage and heritage studies in Africa and, most importantly by re-locating it in debates on the changing meaning of 'Africa' in African studies. / South Africa

Magister Artium - MA / Since the end of apartheid and with that the construction of a new South Africa, archaeology has experienced what can be seen as a resurgence in the public domain. With the creation of a new nation imagined as existing since time immemorial, there has been an emergence of archaeological pasts providing evidence of a nation believed to have existed before apartheid and colonialism. Due to this resurgence of interest in the pre-apartheid and pre-colonial pasts, there has been a ballooning of research and exhibitions around paleontological finds, rock art sites and Iron Age sites indicative of early state formation. This has transported the nation back into what Tony Bennett has called 'pasts beyond memory'. Where mainstream archaeology focuses on sites which reflect a history outside of a colonial past, maritime archaeology has had difficulty. Being a discipline with its main object of focus being the shipwreck, it is difficult to unravel it from a colonial legacy. In an attempt to move away from these older notions of 'public' through the allure of the shipwreck, some maritime archaeologists have looked at different mechanisms, or what I call 'modes of representation', to construct new South African publics. Two such mechanisms are discussed in this thesis: the temporary exhibition of the Meermin Project, and the Nautical Archaeology Society courses on Robben Island. This is in contrast to the older Bredasdorp Shipwreck Museum, where I argue by using Greenblatt’s notion of 'resonance and wonder', that the wonder of the object salvaged is the central feature of the way it constructs its publics. This thesis discusses how a group of maritime archaeologists, located at Iziko Museums and the South African Heritage Resources Agency, attempted to construct new publics by locating resonance with its subject in an exhibition, and by making new archaeologists through a hands-on course.

Magister Legum - LLM

The development of graffiti into an accepted art form, street art, is a cause of concern for South African property owners. The current position in South African property law regarding the original acquisition of ownership suggests that the creation of street art on movable property belonging to another could result in the transfer of ownership. Ownership of the movable may transfer via accessio to the street artist provided that the artwork changes the nature of the movable. This would occur even if the street artist does not act in good faith because bona fides is not a requirement for the original acquisition of ownership via accessio. This anomaly requires that the South African law on accession in the case of pictura be developed such that good faith be a requirement for the transfer of ownership in this format. With the development and growing popularity of the art form the likelihood of this legal anomaly is becoming a greater possibility. Indeed, the popularity of British street artist, Banksy, has provided numerous examples of contested ownership, albeit within English law. Banksy artworks are collectable and financially valuable. Consequently, not only are they desirable but many of his street artworks are considered to be examples of British cultural heritage and as such may be worthy of protection and preservation. These cases highlight the growing need in South Africa to clearly identify who South African street artworks belong to and, to identify any South African street art that warrants cultural heritage protection. The legislation regarding the protection of South African cultural heritage resources has not yet been extended to any street artworks. Yet there are examples of street art in South Africa that meet the requirements for cultural heritage status or which have the characteristics of cultural heritage resources. The extension of cultural heritage resource status to South African street artworks that are culturally significant could assist in the protection and preservation of these resources. However, the effectiveness of the cultural heritage legislation, in particular the National Heritage Resources Act 25 of 1999, is limited. There are several problematic aspects in this Act. This is of great concern as the issues effect all South Africa’s cultural heritage resources (not just street art which may qualify for such status). However, these issues could be responded to through amendments to the legislation. Significantly, the National Heritage Resources Act seeks to deprive private owners of their property as it seeks to regulate what owners can do with cultural heritage property which they own. However, as it stands there are far too many challengeable issues in this legislation to justifiably deprive this property in terms of s25 of the Constitution of the Republic of South Africa, 1996. This renders significant portions of the National Heritage Resources Act inoperable. Consequently, the amendment of this legislation is necessary to ensure the purpose of the legislation i.e. to ensure the protection and preservation of the South Africa’s cultural heritage resources through the deprivation of property rights or indeed, if necessary, through the expropriation of property. / College of Law / LL. D.

Mozambique is undergoing intensive socio-economic reforms to reconstruct war damages and develop the nation. The reforms consist of economic liberalisation through structural adjustment and monetarist economic stabilisation, e.g. government withdrawal from economic activities, privatisation, deregulation, reduction of tariff levels on imports and tax on investments, cuts of expenditure on social services, restrictive credit system, focus on monetarism, increased taxation on individual income, etc. The nature of these reforms, on the surface, leads to morally questionable conditions. There is social chaos and disintegration, high indices of corruption, subtle recolonisation, decline of civil services, etc. At the bottom lie the market ethics and fundamentalist theological discourse by dint of which the World Bank and the International Monetary Fund deny historical consciousness, lack institutional memory, vest themselves with unquestionable international authority, dictate and impose policies without accountability for the social consequences. If there is any hope for Mozambicans, it lies in development ethics which relies heavily on the liberation motif, historical consciousness, and African Heritage. / Philosophy, Practical & Systematic Theology / M. Th. (Theological Ethics)

Mozambique is undergoing intensive socio-economic reforms to reconstruct war damages and develop the nation. The reforms consist of economic liberalisation through structural adjustment and monetarist economic stabilisation, e.g. government withdrawal from economic activities, privatisation, deregulation, reduction of tariff levels on imports and tax on investments, cuts of expenditure on social services, restrictive credit system, focus on monetarism, increased taxation on individual income, etc. The nature of these reforms, on the surface, leads to morally questionable conditions. There is social chaos and disintegration, high indices of corruption, subtle recolonisation, decline of civil services, etc. At the bottom lie the market ethics and fundamentalist theological discourse by dint of which the World Bank and the International Monetary Fund deny historical consciousness, lack institutional memory, vest themselves with unquestionable international authority, dictate and impose policies without accountability for the social consequences. If there is any hope for Mozambicans, it lies in development ethics which relies heavily on the liberation motif, historical consciousness, and African Heritage. / Philosophy, Practical and Systematic Theology / M. Th. (Theological Ethics)