This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

Entre 1869 et 2009, Napoléon Bonaparte fait l'objet de manifestations culturelles à l'occasion de la commémoration des grands moments de sa vie ou de sa carrière politique et militaire. Ces commémorations se déroulent dans des contextes politiques nationaux et internationaux différents. Sous Napoléon III, on note une certaine indifférence, voire même beaucoup de recul pour ne pas trop honorer le fondateur de la dynastie dans un contexte politique difficile pour l'Empereur du Second Empire. La Troisième République alterne entre une attitude prudente et un engagement très fort en 1921. Le moment le plus fort de ces commémorations a lieu pour le bicentenaire de la naissance, en 1969. Les autres bicentenaires, de 1993 à 2009, alternent moments de désintérêt, tensions comme celles soulevées par les polémiques de 2005, et regain de publication chez les éditeurs. Napoléon semble donc un personnage historique difficile à commémorer dans un pays où il continue pourtant d'occuper une place importante dans le paysage culturel, et ce, deux cents ans après. / Between 1869 and 2009 Napoleon Bonaparte was much commemorated through cultural events to celebrate the great periods of his life and his political or military career. Those commemorations took place within various national and international contexts. Under the reign of Napoleon the Third, there was a certain indifference, not to say a lot of reluctance to honor the founder of the dynasty, in a difficult context for the Emperor of the Second Empire. During the Third Republic that interest for Napoleon went from a restrained commitment to a very strong undeniably during the bicentenary of his birth in 1969. As for the other bicentenaries between 1993 and 2009, there were times of disinterest alternating with times of tension like that caused by the controversies in 2005, and also times of increased publishing. Napoleon can therefore be seen as a historical character, who cannot be easily commemorated, in a country where he still stands as a very important person in the cultural scene and that even two hundred years after he resigned.

This dissertation puts into historical context allegations of farm labour abuse during the period 1948 to 1960 on the eastern Transvaal Highveld. It not only gives an exposition of these events, but importantly analyses these allegations of abuse in the context of the South African government’s intervention into farm labour for this period. The dissertation, however, first gives an overview of the government’s policies of regulating and providing farmers with black labour in the period 1910 to 1948. It deals specifically with the dubious measures introduced and coercive actions taken by the National Party government after 1948 to provide farmers with “cheap and plentiful labour”. The reactions to the accusations of abuse by the South African government, the farmers, the conservative, liberal and leftist press, and other independent bodies, such as the churches, Black Sash and the South African Institute of Race Relations, are also explored. The reaction of the African National Congress and the Potato Boycott launched in 1959 by this organisation in response to the mistreatment of farm labourers, also receives specific attention. It concludes with a discussion of how the farm labour scandals and the reaction during the 1950s and more specifically the Potato Boycott of 1959 are still relevant today by considering the contested nature of the commemoration of this event in 2009 AFRIKAANS : Hierdie verhandeling plaas bewerings van die misbruik van plaasarbeid gedurende die periode 1948 tot 1960 op die oostelike Transvaalse Hoëveld in historiese konteks. Dit bied nie net ‘n uiteensetting van hierdie gebeure nie, maar ontleed dié bewerings van mishandeling teen die agtergrond van die Suid-Afrikaanse regering se ingryping ten opsigte van plaasarbeid vir dié tydperk. Die verhandeling bied ten eerste ‘n oorsig van die regering se beleid van die regulering en voorsiening van swart arbeid aan boere gedurende die periode 1910 tot 1948. Dit handel spesifiek oor die twyfelagtige dwangmaatreëls wat deur die Nasionale Partyregering na 1948 geïmplementeer is om boere van “goedkoop en voldoende arbeid” te voorsien. Die reaksies op die bewerings van mishandeling deur die Suid-Afrikaanse regering, die boere, die konserwatiewe, liberale en linkse pers, as ook ander selfstandige instansies, soos die kerke, Black Sash en die Suid-Afrikaanse Instituut van Rasseverhoudinge word ook ondersoek. Die reaksie van die African National Congress en die aartappelboikot wat deur die organisasie in 1959 van stapel gestuur is in reaksie op die mishandeling van plaaswerkers, work ook ontleed. Die studie sluit af met ‘n bespreking van hoe die plaasarbeidskandale, die reaksie in die 1950s en meer spesifiek die aartappelboikot van 1959, steeds vandag relevant is teen die agtergrond van die omstrede herdenking van die gebeurtenis in 2009. / Dissertation (MHCS)--University of Pretoria, 2011. / Historical and Heritage Studies / unrestricted

Den Nachlass Victor Klemperers konnte die Sächsische Landesbibliothek 1977 von seiner Witwe erwerben. Zum 50. Todestag des Romanisten veranstaltete die SLUB Dresden gemeinsam mit der TU Dresden und der Gesellschaft für Deutsche Sprache eine Gedenkveranstaltung. Auf dieser wurde aus den Tagebüchern gelesen und Bilder aus dem Leben Klemperers gezeigt. Die digitale Edition der Tagebücher wird durch Walter Nowojski ständig erweitert.

Ce mémoire porte sur la récupération politique de la figure et des œuvres du compositeur Giuseppe Verdi (1813-1901) pendant la période fasciste en Italie (1922-1943), et plus précisément à l’occasion des manifestations relatives aux célébrations du quarantième anniversaire de sa mort en 1941, alors que l’Italie est en guerre contre la France et l’Angleterre. Le premier chapitre explore le développement du mythe de Verdi, et montre comment le compositeur est graduellement transformé en héros national pour devenir une icône de l’art lyrique italien, s’inscrivant dans un effort de glorification du passé pour la promotion d’un esprit nationaliste italien pour, ultimement, attester de la suprématie du pouvoir fasciste. Le deuxième chapitre propose une étude de l’organisation des festivités de 1941; il se penche aussi bien sur les événements musicaux que sur les discours et les publications, pour ensuite présenter une analyse plus approfondie des célébrations organisées à Parme. Il y est question de la riche réception des manifestations, qui assurent l’entretien et la fortification du mythe verdien. Le troisième chapitre analyse les éléments discursifs entourant les festivités, afin de démontrer que l’encensement de la figure de Verdi suit diverses lignes de force qui convergent vers la représentation fasciste de la civilisation italienne. Par l’exploitation des sujets nationalistes véhiculés dans ses opéras, la restitution de son image révolutionnaire et patriotique et l’exaltation de son génie, présenté comme étant à la fois italien et universel, les adhérents du régime ont entretenu et développé le mythe Verdi selon le canon de l’idéologie fasciste. Le but ultime de ce mémoire est de montrer comment, pendant la période fasciste et plus particulièrement au cours des célébrations de 1941, Verdi a fait l’objet d’une récupération idéologique visant à appuyer la légitimité du pouvoir en place pour créer une hégémonie favorable au climat de consensus nécessaire au régime en temps de guerre. / This thesis focuses on the political recovery of the figure and works of the composer Giuseppe Verdi (1813-1901) during the fascist period in Italy (1922-1943), and more specifically in 1941 during the celebrations commemorating the fortieth anniversary of his death, a moment in time which coincided with Italy’s war against France and England. The first chapter explores the development of Verdi’s myth and sheds light on how the composer was gradually transformed into a national hero to become an icon of Italian opera. This was part of a wider effort to glorify the past in order to promote an Italian nationalist spirit, and ultimately, attest to the supremacy of the fascist power. The second chapter studies the organization of the festivities of 1941; it examines musical events as well as speeches and publications, and presents a more in-depth analysis of the celebrations organized in Parma. It deals with the rich reception of the manifestations, which assure the maintenance and the fortification of the Verdian myth. The third chapter analyzes the discursive elements surrounding the festivities, in order to demonstrate that the exalting of Verdi’s figure follows various lines of force that converge towards the fascist representation of the Italian civilization. By exploiting nationalist subjects conveyed in his operas, restoring his revolutionary and patriotic image and exalting his genius, presented as being both Italian and universal, the adherents of the regime maintained and nurtured a Verdian myth according to the fascist’s cannon. The ultimate goal of this thesis is to show how, during the fascist period and more specifically during the celebrations of 1941, Verdi was subjected to an ideological appropriation that aimed, on the one hand, at given the legitimacy to the fascism authority and on the other, establish a climate of social consensus essential to the exercise of power during wartime.

This paper examines the artist Sámal Joensen-Mikines (1906-1979) and how he and his work manifest Faroese national identity. The theoretical background used in thispaper is Anthony D. Smiths theory on the potential of art to reproduce and re-interpret national identity. He describes three different elements of how this can be achieved in art – evocation, commemoration and didactic. The paper examines the form, style and subject of three of Mikines’ paintings from this theoretical perspective, as well as how the artist positions himself and how he is positioned by critics and experts both during and after his lifetime. The results show that his home island Mykines and his identity as Faroese are central for Mikines and his work. His artwork is clearly identified as Faroese by experts, and he has a strong position in the Faroese art world. The form and style of his work is international, strongly inspired by Nordic and European artists, and he uses this as his language to communicate Faroese national identity in form of evocation and commemoration to both a Faroese and an international audience.

M. Tech. (Department of Visual Arts and Design: Fine Art, Faculty of Human Sciences), Vaal University of Technology. / My practice-based research aimed to produce commemorative portraits of black women in key positions who are associated with the Vaal Region. The study was undertaken in order to contribute to the empowering, positive and growing body of creative research on the visual representation of black women in the visual art field. My concern lies in the dearth of artistic representation of black women, particularly from the Vaal Region and with the hegemonic Westernised portrayal of black women in a Visual Arts discipline dominated by prejudiced attitudes towards issues of race and gender. This was accomplished in two steps. Firstly, through the examination of black feminist theories which underpin my theoretical framework, and further challenge and draw attention to the omissions, invisibility, non-recognition and negative portrayal of black women. In addition selected techniques in artworks of Zanele Muholi, Karina Turok, Sue Williamson and Bongi Bengu have been appropriated to create my body of work. Secondly, I utilise commemorative portraiture to produce iconic portraits of advocate Faith Pansy Tlakula, Professor Ntombekayise Irene Moutlana, Professor Kholeka Constance Moloi, Avitha Sooful, Lerato Moloi, Terry Pheto, Lira, Palesa Mokubung and the late mama Adelaide Tambo which were exhibited in the bodutu gallery accompanied by a catalogue and a comment book. Both of these methods are qualitatively explored as creative strategies to portray and award agency positively to black women through Third World readings of gendered perspectives.

The master thesis focuses on similarities and disparities in the politics of memory related to the 'forgotten' Romani Holocaust in Slovakia and Hungary after 1989. It scrutinizes based on particular topic areas to what extent is the Romani Holocaust marginalized, excluded or integrated into the historical narratives of nation-states and whether it can be classified as a competitive or multidirectional form of memory. The reference point for the comparative discursive analysis represents the Jewish Holocaust. By employing the discourse-historical approach, the thesis attempts to identify various current or long-term strategies of instrumentalizing the Romani Holocaust in specific politics of memory. Moreover, it endeavours to find out which role can the Romani Holocaust play in forming the national identity in these states or its potential endangering.

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