This thesis examines the implications for archival theory of sound recording as a documentary medium. Over the last three decades, archivists have devoted considerable energy to exploring the challenges associated with records in media other than ink and paper. Yet, while the theoretical and methodological problems fostered by digital and photographic records have been subject to vigourous debate, comparatively little attention has been devoted to audio records. When archival sound recordings are discussed, the focus is almost exclusively on the formidable task of preserving the sonic signals captured in degraded or obsolete formats. Preserving and enhancing the accessibility of audio records remains an indispensable endeavour, but this thesis argues that other long neglected aspects of archival activity with sound recording now require much greater attention. Sound recordings are welcome additions to the documentary heritage and transactional evidence preserved by archives, but they are seldom viewed as anything more than adjuncts to the archival enterprise as a whole. The medium-specific value of audio-based records—as opposed to whatever content they may contain—is rarely articulated beyond an affirmation of the powerful allure of listening to noises, music or voices brought forward from the past. Occasionally, these endorsements are supplemented by appeals to sound’s ability to convey the immediacy of a particular moment or to trigger involuntary sense-memories. In recent years, a wide-ranging body of scholarship has established sound as a focus for historical and interdisciplinary investigation. Audio records undoubtedly amplify the range of documented experience, but this thesis argues that archivists must resist the association of sound with simply a more immediate or “immersive” record of the past. The provenance of sound recordings must be carefully situated in relation not only to the technical means by which they were recorded, stored, and preserved, but also according to the shifting conventions, institutions, expectations, and assumptions that have guided the intended purpose, creation, and prior circulation of such recordings. / May 2016

This dissertation is an exploratory case study of the archives of Canadian artist Vera Frenkel and their acquisition by Queen’s University Archives in Kingston, Ontario. The research seeks to understand, through empirical investigation, the many factors that shape the artist’s recordkeeping and archives in the personal sphere and contribute to the nature of the eventual archival fonds in the institution. The foundation for the research includes the literatures of archival studies, life narrative, and art. Vera Frenkel’s interdisciplinary art work reflects a deep engagement with questions of truth and fiction. As an aspect of this theme, records and archives play a role in several of her works, often being revealed as problematic sources of evidence. Fundamental to the artist’s approach to interdisciplinarity is a complex layering of elements that builds uncertainty in the viewer. Given these aspects of Frenkel’s work, research that elicits the artist’s testimony about her archives must be able to accommodate a degree of ambiguity in the construction of that testimony. In a series of in situ interviews with the artist in her studio, the author investigated Frenkel’s recordkeeping habits and their relationship to her creative practice. As a data source, these interviews were supplemented by the artist’s photographs and hand-drawn maps of the studio. The author also investigated the processes entailed by archival transfer, examining the extant Vera Frenkel fonds at Queen’s University Archives and interviewing Heather Home, the archivist responsible for the acquisition. Both the personal and institutional spheres were taken into consideration as essential contributors to the nature of Frenkel’s archives as a complex cultural artifact. The research argues for the central role of archives in the acquisition and preservation of contemporary art. It contributes a foundation for understanding the nature of visual artists’ archives.

This dissertation is an exploratory case study of the archives of Canadian artist Vera Frenkel and their acquisition by Queen’s University Archives in Kingston, Ontario. The research seeks to understand, through empirical investigation, the many factors that shape the artist’s recordkeeping and archives in the personal sphere and contribute to the nature of the eventual archival fonds in the institution. The foundation for the research includes the literatures of archival studies, life narrative, and art. Vera Frenkel’s interdisciplinary art work reflects a deep engagement with questions of truth and fiction. As an aspect of this theme, records and archives play a role in several of her works, often being revealed as problematic sources of evidence. Fundamental to the artist’s approach to interdisciplinarity is a complex layering of elements that builds uncertainty in the viewer. Given these aspects of Frenkel’s work, research that elicits the artist’s testimony about her archives must be able to accommodate a degree of ambiguity in the construction of that testimony. In a series of in situ interviews with the artist in her studio, the author investigated Frenkel’s recordkeeping habits and their relationship to her creative practice. As a data source, these interviews were supplemented by the artist’s photographs and hand-drawn maps of the studio. The author also investigated the processes entailed by archival transfer, examining the extant Vera Frenkel fonds at Queen’s University Archives and interviewing Heather Home, the archivist responsible for the acquisition. Both the personal and institutional spheres were taken into consideration as essential contributors to the nature of Frenkel’s archives as a complex cultural artifact. The research argues for the central role of archives in the acquisition and preservation of contemporary art. It contributes a foundation for understanding the nature of visual artists’ archives.

This thesis analyzes the emergence, presence, and use of digital reproductions in the scholarship of art history and how these reproductions impact individual encounters with art. It will address matters related to the authenticity of reproductions, the development of modern technologies, and the rise of new media, reflecting on issues related to integrating technology into the discipline and proposing how to deal with the digital reproductions in the study of art history.

This thesis aims to shed light on the collection of Oriental manuscripts at the Uppsala University Library Carolina Rediviva and how the collection is a part of the collective memory. The main question which is central for this thesis is: have orientalism and structures of power influenced the acquisition, arrangement and methods of accessability regarding the Oriental manuscripts? If yes, in what way and why? If no, how has this been avoided? The theoretical framework consists of four approaches: phenomenology, sociology of knowledge, orientalism and power which are applied to the archival concept of collective memory. The main source of material consists of three parts: the historical texts which gives an informational framework regarding the time and place in which the manuscripts were collected, the catalogues in which the manuscripts are described and the transcripted interviews alongside correspondence. Methodologically the thesis is based upon a qualitative method which also partly makes up the foundation for the main material. The methods used are interviews and text studies of manuscript catalogues, historical texts and exhibition catalogues. The usage of manuscript catalogues was, due to the limited time, restricted to one which is written in English, as for the informants they are limited to three. The result of this study shows that the historical foundation on which the Oriental manuscript collection came into existance rests on a basis consisting of orientalism and power structures. This foundation is somewhat reproduced in time and in some ways current regarding the arrangement and methods of accessability both in historical and contemporary approaches.

This thesis explores the significant contribution Walter Rudnicki (1925-2010) made to the pursuit of social justice for Indigenous people in Canada through his use of archival records. Rudnicki took on the role of archivist by acquiring, organizing, disseminating, and keeping records that document government-Indigenous relations. Totaling 90.25 metres in extent, the Walter Rudnicki fonds at the University of Manitoba Archives & Special Collections is an impressive private collection amassed in order to make injustice visible. As a federal public servant working to develop innovative government policies with Indigenous people between the 1950s and 1970s, Rudnicki had bitter personal experience with document creation and access to records practices in the Government of Canada that thwarted Indigenous aims. Thereafter, he stressed that accessing and archiving records play an indispensable role in protecting Indigenous peoples’ interests. He spent the rest of his life creating and employing an archive that would be used in advocacy for Indigenous rights. / October 2016

Southern writer Ellen Glasgow once told an audience that “the longer one lives in this world of hazard and disaster, the more reckless one should become . . . in the matter of words.” Between the 1880s and the 1940s, opportunities for southern women writers like Glasgow increased dramatically, first bolstered by readership demands for southern stories in northern periodicals and followed by their acceptance into the southern literary canon during the 1920s-30s Southern Renaissance movement. And yet, it remained difficult for southern women writers to be reckless with words. Confined by magazine requirements and sociocultural expectations, writers often used regional settings to attract publishers and readers. Once a readership was established, they sought to publish a collection of stories separate from popular magazine contexts. This project examines the selection and arrangement of previously-published magazine stories into first short story collections by Kate Chopin, Ellen Glasgow, Marjorie Kinnan Rawlings, and Katherine Anne Porter. Publishing a collection enabled authors to revise their stories outside of magazines’ requirements and provided the agency to arrange individual stories into a collective narrative. In “Arranging Stories,” I argue that selecting and ordering magazine stories for these collections was not arbitrary nor dictated by editors. Instead, it allowed women writers to privilege stories, or to contextualize a particular story by its proximity to other tales, as a form of sociopolitical commentary. This project, supported by archival research at ten institutional repositories, invites a reconsideration of women writers’ authorial control throughout the publication process.

The aim of this thesis is to examine the archivist's professional role in public authorities and discuss if, and in what way, the profession is effected by the new swedish process oriented archival description system. The study focuses on swedish authorities and does not make any international comparisons with other institutions. Neither does it investigate archivists workingin the private sector, but centers on public institutions.The survey is performed in five swedish public authorities, using interviews and observations. Grounded theory is used as a method initially in the purpose of keeping an open mark towards the object of study. The initial results led on to questions about how well the archivists perceived that communication within the authorities served, and how this in turn prepossessed their work situation and the professional roles in which they found themselves. To answer these questions, theories from the subjects of sociology and social psychology, among other things the idea of sensemaking as it is put by Karl Weick, was used to analyze the material.The result of the analysis shows that the implementation of a new archival system has generated a change in the archivists work tasks. The archivists in the studied authorities did in some cases, out of this new situation, manage to find a professional role in which they felt comfortable, and in some cases not. The difference between these two categories seemed to stem from a difference in the ability to make sense of their situations in their workplaces respectively. In the cases where the archivists ideas of their responsibilities and provinces did not correlatewith their employers a lack of sensemaking occured and led to confusion and conflict. This discrepancy between the archivists and the employer's expectations, the thesis argues, comes from the change in the archival profession that is taking place due to the changes in society at large. The employers' traditional image of an archivist clashes with the archivists new professional role. From this it is suggested that if consent is not reached around the archivists place in the organizations, and in society, much knowledge is at risk of being lost, and much competence going to waste. This thesis is a two years master's thesis in archival science.

This is a study of Bartók's compositional process as it relates to the Improvisations, Op. 20. The study, which focuses on the analysis of the draft manuscript 50PS1, compares the draft and other relevant sources with the final composition. Bartók's framework for the entire Improvisations is based on a compositional strategy of pairing individual improvisations combined with systematic revision of the draft copy by the introduction of tritones as tonal equivalents and movement by fifths from semitones, to achieve structural coherence in the individual improvisations. The tonic-dominant relationship is used to rearrange the individual improvisations in the draft and tritones as tonal equivalents are used to propel the movement between the improvisations to produce a coherent whole.

This project draws upon material culture, digital humanities, and archival theory and method in the service of public history investigations. After selecting an artifact and performing object analysis, I will digitize the artifact and materialize a new object. I will then perform another object analysis on the 3D printed object. This exercise will provide the familiar benefits of object analysis, but the decisions and interactions necessary to digitize and materialize the object provide a fresh perspective. I will propose approaches for performing similar investigations in repositories, along with a pedagogical argument for doing so. By emphasizing modularity, flexibility, and minimal capital requirements, I hope these approaches can be adapted to a variety of institutions and audiences. Researchers will reap the benefits of intellectual and emotional engagement, hands-on learning, and technological experimentation. Public historians will have the opportunity to engage in outreach and innovative education and exploration of their collections. / History