Thesis--American University. / Includes bibliographical references (leaves 435-459).

Several Namibian studies have looked at Oudano as an expansive Oshiwambo and Rukwangali concept that implies utterances of play, performance, and performativity in spheres of culture, sports, religion, and politics. This thesis offers experiments that explore the critical usefulness of Oudano. I embark on these experiments in a deliberately undisciplined way, crossing media, time periods, ethnicities, geographies, and emphasising embodiment and mobility. In the process I show how Oudano is a practice of critical orientation in various respects, by looking at cultural work that questions institutional constraints and exclusions. This study departs from the disjuncture between cultural work that is authorised by hegemonic national heritage discourse and unauthorised cultural work in action, offering other ways of knowing with different aims that slide into the cracks, between and outside of power. The disjuncture endorses structural disparities that are a direct result of a cultural hegemony, its aims and exertion of power. I was motivated by a deep anxiety caused by Namibia's post-apartheid dominant epistemologies that fundamentally exclude indigenous and subaltern methods of knowledge production. This thesis was aimed at finding a range of conceptual and methodological approaches for critical consciousness and radical imagination across place and time. I made a choice to focus on a set of ‘unrelated objects' which include my cultural practices and those of other cultural workers in Namibia. African queer and performance theories are interfaced with Oudano to demonstrate the relatedness of these objects. The objects gathered and analysed in this study were given status of archive to point to their role of memory making in social and cultural movements. Methodologically, I relied on Archival research and Practice-as-Research (P-aR) to interweave my (performance and curatorial) practice and historical research. The thesis is a collection of six papers divided in two movements which offer specific insights about the various objects of analysis. These objects include lino-cut prints, rock art, colonial photography and sonic archives, performance art, museum theatre, site-related performance, jazz, struggle music, HipHop, Kwaito, Shambo, documentary film, orature, oral history, protest action, as well as curatorial practice. Given its epistemic potential, Oudano is a generative approach of decolonising our understandings of performance cultures. Through close reading and listening to works of Oudano produced in Namibia, I demonstrate how people have historically practiced Oudano to construct audiotopic imaginations and build social movements. While this offers decolonial lessons for both performance and archivality, Oudano is an indigenous framework of preserving and queering knowledge. In that sense, a queer understanding of Oudano exceeds geo-political and ethnic borders, signifying how it has historically accompanied historic migrations of artists and material culture, as well as activists and non-normative ideas. By reading Oudano across time allowed this study to interrupt periodisation, showing Oudano's potential as a trans-temporal practice. Overall, this study contributes to the long- existing gap of performance studies as a field in Namibian studies. It pays attention to overlooked archives of cultural work, most of which have hardly received any scholarly attention. The thesis exceeds my disciplinary training of drama and theatre, demonstrating Oudano as an intellectual praxis that is leaky, slippery, and undisciplined.

Thesis--Skopje, 1965. / Summary in French. Bibliography: p. [287]-300.

This thesis is an examination of the ideas of the eminent American archivist, T.R. Schellenberg (1903-1970), on the arrangement, description, and appraisal of archives. The formulation of these ideas is set in the context of the National Archives of the United States where Schellenberg was employed for more than twenty-five years. The National Archives was the first archival institution to attempt to deal with the problems created by large volumes of records. Accordingly, Schellenberg1 writings—the most famous of which is the book Modern Archives; Principles and Techniques (1956)—are concerned primarily with finding solutions to these problems, especially with regard to arrangement, description, and appraisal. His skilful blending of archival theory and practice in the presentation of general principles and techniques is emphasized, as well as his important role in the modernization of the archival profession. Through a comparison with the writings of other archivists, it is concluded that Schellenberg1s ideas have a continuing relevance for present day archivists. / Arts, Faculty of / Library, Archival and Information Studies (SLAIS), School of / Graduate

Thesis (Ph. D.)--University of Pittsburgh, 1992. / Includes bibliographical references (leaves 383-411). Also issued in print.

Thesis--Catholic University of America. / Vita. Bibliography: p. 90-94.

Thesis (J.C.L.)--Catholic University of America, 1995. / Includes bibliographical references (leaves 50-55).

Thesis (Ph. D.)--University of Pittsburgh, 1992. / Includes bibliographical references (leaves 383-411).

published_or_final_version / abstract / Comparative Literature / Doctoral / Doctor of Philosophy

Theoretical analysis of the concepts of work and manifestation for moving image materials was carried out, and both concepts were defined. Research was done on the frequency of occurrence of moving image manifestations, on the types of difference that can occur from one moving image manifestation to another, and on the kinds of visible indicators, accessible to catalogers, that are associated with these differences. It was found that continuity, i.e. intellectual and artistic content, varies frequently, 39 per cent of the time; an additional seven per cent of works have added subsidiary matter, and an additional 12 per cent of works have differences in language and sound track. In other words, a total of 58 per cent of the works sampled had at least one instance of difference in intellectual and artistic content between two items. Only eight per cent of the works in the sample were mentioned as having manifestations in standard reference sources such as Maltin. Visible indicators and physical format are very unreliable indicators of actual difference in intellectual and artistic content; 48 per cent of the time, visible indicators vary with no underlying difference in continuity; 23 per cent of the time, continuity varies with no difference in visible indicators. Length differences of three minutes or more are the most reliable indicators of actual difference in intellectual and artistic content. Of the titles with difference in continuity, 72 per cent of these manifestations were detectible by means of length difference. This corresponds to previous findings for books which indicate paging is the most reliable indicator of true differences in manifestation. Findings mean that catalogers need not create nearly as many separate records for the same work as they do under current practice. Fewer records for the same work would also benefit users, who could more easily select the most suitable manifestation of the work they seek if new records were made only for known differences in either intellectual and artistic content or in identification. Since catalogers cannot identify manifestation variation in two items that are no more than two minutes different in length, film scholars and preservationists must watch all available items representing a particular film work before they can be sure they are aware of all manifestation variations that may occur.