In 2006 selected Cornish mining areas were validated as UNESCO World Heritage Sites. Here are found numerous remnants of the mining industry that justified Cornwall’s prominence from the Industrial Revolution up to the close of the last major mine in the 1990s. An essential part of that history is the trade of The Boulton and Watt Mining Company, formed when Midlands businessman Matthew Boulton (1728-1809) joined forces with Scotsman James Watt (1736-1819). This partnership influenced the history of Cornish mining and the whole Industrial Revolution. Traces of their endeavours remain on the Cornish landscape and in Cornish identity. Correspondence between the two men and Cornish mine manager Thomas Wilson (1748-1820) is held at the Cornish Records Office and is available online. Creative work began with these letters, seeking moments, words and gestures to resonate with narratives of the Cornish post-industrial landscape. These narratives were gathered through interviews with locals, tourists, students, mining enthusiasts and those who knew nothing of the Cornish industrial past, and were supported by experience and observation of the Cornish landscape. Poetry written from these sources strives to reflect upon contemporary landscape use and promote cultural ownership and understanding. To this aim, readings of the two collections were given in 2013 and the collections subsequently self-published. Responses to the work show that this project not only promoted Cornish industrial heritage but also prompted recognition of how stories of the contemporary Cornish landscape are intertwined with its history. This project’s partner was the King Edward Mine Museum, Troon, near Camborne, and its aims were supported by the Cornwall Record Office, Truro.

This thesis examines the problematic status and functioning of memory in a variety of contemporary contexts such as judicial cases, popular culture, television, memorials and museums. In doing this it develops an account of the culture of postmemory, originally defined by Marianne Hirsch as the experience of descendents of survivors of trauma, particularly second generation Holocaust survivors, who inherit that trauma from their family forbears. From Hirsch, postmemory can be understood as the possibility of remembering an event that one has not actually experienced. This thesis extends Hirsch???s notion of postmemory to account for a wider range of contemporary memory practices. These occur beyond family relationships to manifest in institutional and discursive sites such as the archive, the museum, the narrative and the tourist attraction. This thesis argues that it is in these sites that memory can be seen to be breaking away from its referential function. Instead of recollection, memory becomes the performance of slippage and the undoing of reference in which the fictive and the historical merge. The thesis plays out the ensuing crisis in recollection in scenes and actions of a theatre of the postmemorial ??? one characterised less by the familiar linear narratives of memory as by multiple and contradictory narratives formed through the operations of chance, reflexivity and ambivalence working within the contemporary cultural sphere. Performing Postmemories re-imagines the performances of contemporary memory culture and examines its master texts.

No description available.

91 Days is a multi-channel video installation composed over a period of ninety-one days, and comprised of thousands of photographs. The photographs create a visual archive of the daily experiences of the home. The corresponding text discusses the link between privacy and self-representation, specifically in relation to the family album.

This study concerns with the characters, movie watching behaviors and lifestyles of the audiences of Kaohsiung Film Archive. Kaohsiung Film Archive, one of the local cultural museums in Kaohsiung city, provides film exhibitions and movie activities for people. The museum studies in Taiwan seldom discussed the audiences¡¦ behaviors based on personal psychological variables. On the other hand, most of the researches about movie viewers were focused in Taipei. This study attempts to reveal the differences of viewers between Kaohsiung Film Archive and other movie theaters. Some marketing suggestions for Kaohsiung Film Archive will be raised based on this study. This research has been conducted by questionnaire surveies from January 20th, 2010 to February 10th, 2010 in Kaohsiung Film Archive daily. 387 valid questionnaires are collected from the audience going to the screen room on the 3rd floor. The result shows: The majority of the movie viewers in Kaohsiung Film Archive are college-educated. The ratio of femail audience to male is 6:4. Their age distributes equally from the youth to retirements. Many people attend movies alone in Kaohsiung Film Archive, and plan the trips in advance. Their motivations to watch movies and the criteria for choosing movies are similar to the results found in the past. Except the mainstream romance and comedy, the study also finds that the audiences¡¦ favorite movie genres include non-mainstream art, documentary, and adaption of literary etc. With respect to viewers¡¦ lifestyles, there are 27 questions in the study listed on the scale meter. By using factor analysis and reliability tests, six common factors can be classified: ¡§loving cinematography,¡¨ ¡§independent and appreciative,¡¨ ¡§engaging in community activities,¡¨ ¡§enjoying family life,¡¨ ¡§taking part in social activities,¡¨ and ¡§calm and gentle nature.¡¨ These common factors further can be divided into 3 groups: ¡§pragmatic,¡¨ ¡§art and leisure¡¨ and ¡§fashion and dynamic.¡¨ The characters and movie-watching behaviors of these three groups are quite different. The age of ¡§pragmatic¡¨ people are relatively aged. They don¡¦t have paracticular vhoice of movie genres. The most frequently moviegoers are ¡§art and leisure¡¨ people, distributed in all ages. They like to watch non-mainstream art and documentary movies. ¡§Fashion and dynamic¡¨ group is the youngest people. Their choices of movies are the same as normal movie audiences.

The Costume History Digital Archive was created to sustain the costume history 35mm slide collection from the department of Theatre & Dance, and make it accessible to the University community at large. It is a flexible, living archive that I leave as my legacy to the University of Texas at Austin. Following are instructions of both how to use it and how to maintain it. / text

It is analysed the topic of the proceeding of Siauliai University archive, is given the analysis of the main conceptions, is discribed the particularity of the work in the Master’s work. It is analysed the proceeding of Lithuanian and foreign archives, is raised the necessity to introduce the new paperless basis of handling the information in order to make the posibility of the efective cooperation with ather institutions. It is emphasized the failings of handling the documents related to the formalizing the documents, preparation to save it, timely transfer for saving and filing as well as gathering. Is paid the grate attention to the rules of the official writting in the Master’s work because of the close connection with the efficiency of archivist’s work. It is given the comprehensive analysis juridical basis of the proceeding of Siauliai University archive, the main attention is paid to the acts and deeds whitch are related to rules of permise equipment and document saving. It is a must to reorganize the archive proceeding by usage of modern technologies, development and updation of the permise as well as cotact with foreign archives.

No description available.

This thesis examines the problematic status and functioning of memory in a variety of contemporary contexts such as judicial cases, popular culture, television, memorials and museums. In doing this it develops an account of the culture of postmemory, originally defined by Marianne Hirsch as the experience of descendents of survivors of trauma, particularly second generation Holocaust survivors, who inherit that trauma from their family forbears. From Hirsch, postmemory can be understood as the possibility of remembering an event that one has not actually experienced. This thesis extends Hirsch???s notion of postmemory to account for a wider range of contemporary memory practices. These occur beyond family relationships to manifest in institutional and discursive sites such as the archive, the museum, the narrative and the tourist attraction. This thesis argues that it is in these sites that memory can be seen to be breaking away from its referential function. Instead of recollection, memory becomes the performance of slippage and the undoing of reference in which the fictive and the historical merge. The thesis plays out the ensuing crisis in recollection in scenes and actions of a theatre of the postmemorial ??? one characterised less by the familiar linear narratives of memory as by multiple and contradictory narratives formed through the operations of chance, reflexivity and ambivalence working within the contemporary cultural sphere. Performing Postmemories re-imagines the performances of contemporary memory culture and examines its master texts.

Made available in DSpace on 2014-06-11T19:32:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-12-07Bitstream added on 2014-06-13T19:43:18Z : No. of bitstreams: 1 calderon_wr_dr_mar.pdf: 977595 bytes, checksum: a393d0eb2bc270f6638980f18b8721da (MD5) / A identidade de uma disciplina de natureza científica está vinculada à capacidade de se distinguir com clareza seu objeto de estudo, aplicar métodos próprios e desenvolver uma linguagem especializada, de tal modo que seja possível estabelecer relações em diferentes níveis, com outras disciplinas. Dentre os inúmeros desafios que a Arquivística tem sido exposta, a estruturação em termos de linguagem especializada é citada por teóricos como sendo de grande relevância. Partindo do pressuposto que a sedimentação de alguns conceitos básicos contribui para avançar em direção ao desenvolvimento da área, buscou se conhecer, de modo comparativo, a concepção de professores e de teóricos da área, a respeito de termos como “arquivo” e “informação arquivística”. Os professores selecionados foram àqueles responsáveis pelo ensino de aspectos fundamentais, contemplados em disciplinas oferecidas nas séries iniciais dos cursos de Arquivologia do Brasil. A abordagem utiliza a análise teórica descritiva para a exposição do posicionamento dos teóricos e professores e em que medida existe corelação entre esses dois grupos. Observou-se que o referencial teórico que sustenta o ensino arquivístico no Brasil é caracterizado pelo uso de autores nacionais que disseminam sua produção científica em periódicos. Em relação ao conceito “arquivo” pareceu haver maior desenvoltura por parte dos professores em apresentar uma definição que, quase sempre, está refletida pela literatura nacional. No entanto, “informação arquivística” é um termo que causa certo desconforto na comunidade arquivística, de modo geral / The identity of a scientific discipline is linked to the ability to clearly distinguish its object of study, apply its own methods and develop a specialized language so that it is possible to establish relationships at different levels, with other disciplines. Among the many challenges that the Archival Science has been exposed, the act of structuring in terms of specialized language is mentioned by theorists as being of great significance. Assuming that the consolidation of some basic concepts helps to move toward the development of the area, this study aimed to investigate, through a comparison, the conception of professors and theorists in this area about terms such as archive and archival information. The selected professors were those responsible for teaching fundamental aspects taught in the first series of courses on Archival Science in Brazil. The approach uses theoretical-descriptive analysis for exposure of the positioning of theorists and professors, it discusses to what extent there is correlation between these two groups. It was observed that the theoretical referential that supports archival education in Brazil is characterized by the approach of national authors who disseminate their scientific output in journals. The professors’ conception on the concepts reveals, at times, the shallowness with which the issue has been handled. Regarding the term archive, it seemed to be a greater boldness on professors’ part to present a definition that is nearly always a reflection of what the national literature professes. However, in relation to archival information, it is noticed that it is still a term that causes some discomfort in the archival community in general