SANTRAUKA Sovietinės okupacijos metu žuvo ir nukentėjo apie 350 tūkst. Lietuvos gyventojų. Visų jų atminimui nuo 1941 m. su pertraukomis buvo statomi įvairių tipų paminklai. Tyrimo objektas – rezistencijos dalyvių ir sovietinio genocido aukų įamžinimo paminklais procesas, jo ypatumai ir kylančios problemos, taip pat vietovių ir statinių, įamžintų paminklais, apskaitos ir įpaveldinimo klausimai. Jie iki šiol nenagrinėti ir nėra sulaukę tyrimo. Darbo tikslas – atskleisti Lietuvos gyventojų sovietinio genocido aukų ir rezistencijos dalyvių atminimo įamžinimo ir įpaveldinimo procesus bei su jais susijusias problemas. Tam įgyvendinti yra iškeliami šie uždaviniai: 1. nustatyti paminklų statybos etapus ir statytojų grupes, jas apibūdinti; 2. išsiaiškinti, kaip vykdoma vietovių ir statinių, pažymėtų paminklais, apskaita, koks šių objektų skirstymas; 3. apžvelgti, kaip vykdomi vietovių ir statinių tvarkymo bei įamžinimo darbai; 4. išsiaiškinti, kokios yra įamžinimo ir įpaveldinimo problemos. Tyrimo chronologija – tyrimas pradedamas XX a 5–uoju dešimtmečiu, kadangi jame prasidėjo pirmoji paminklų statymo banga ir įamžinimo darbai. Procesas nėra baigtinis, jis vyksta ir dabar, todėl apsibrėžiame 2006 m. Remiantis darbo tyrimu paminklų statyba sovietinio genocido aukų ir rezistencinio judėjimo dalyvių atminimui Lietuvoje vyko trimis etapais, kur memorialinių vietovių teritorijų tvarkymą, paminklų statybą ir memorialinių statinių ženklinimą vykdė įvairūs žmonės ir organizacijos, kuriuos... [toliau žr. visą tekstą] / SUMMARY OF MASTER’S WORK During the Soviet occupation, around 350,000 Lithuanian residents suffered and died. From 1941 on, with interruptions, monuments of various kinds have been built to commemorate all of them. The subject of this investigation is the process of immortalizing members of the resistance movement and victims of Soviet genocide in monuments, the specific features of and problems encountered in this process, as well as issues concerning the inventory and memorialization of sites and buildings recognized as monuments. These have not been the subject of any study hitherto and have not been the focus of investigation. The goal of this work is to disclose the processes and associated problems of commemorating and memorializing Lithuanian victims of Soviet genocide and members of the resistance. To achieve this goal, the following tasks were formulated: 1. to determine the phases of monument construction and groups of builders, and to characterize them; 2. to explain how inventory of sites and buildings recognized as monuments takes place and how these objects are categorized; 3. to survey how work is carried out for the maintenance and commemoration of sites and buildings; 4. to ascertain the nature of problems involved in commemoration and memorialization. Based on the work of our investigation, the construction of monuments commemorating victims of Soviet genocide and members of the resistance movement took place in three phases in Lithuania, a process in which... [to full text]

Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-21T21:13:34Z (GMT). No. of bitstreams: 1 Tolentino_MarcosOliveiraAmorim_M.pdf: 1842815 bytes, checksum: 0061fafe25fe110e75bd23cd14680a42 (MD5) Previous issue date: 2012 / Resumo: Esta dissertação visa analisar as comemorações anuais em torno do episódio La noche de los lápices, entre os anos de 1990 e 1996. Tal episódio refere-se a uma série de procedimentos orientados à repressão do movimento estudantil secundarista, ocorridos entre 15 e 21 de setembro de 1976, na cidade de La Plata. Trata-se de um dos casos emblemáticos que se instauraram na memória coletiva da sociedade argentina no período da reconstrução democrática, acerca da violência e da repressão sistemática dos sete anos da mais recente ditadura civil-militar no país (1976-1983). O nosso objetivo é discutir as relações da sociedade e das instituições estatais argentinas com as memórias do episódio em questão, e consequentemente com o mais recente passado ditatorial, a partir da formação de circuitos de memórias nos quais discursos e práticas de rememoração garantem a permanência deste como um passado presente. Para tanto, utilizamos a documentação produzida e arquivada no Arquivo da antiga Dirección de Inteligencia de la Policía de la Provincia de Buenos Aires (DIPBA), serviço de inteligência que funcionou na Argentina entre os anos de 1956 e 1998. A nossa escolha permite mapear as diferentes iniciativas ocorridas anualmente no dia 16 de setembro, além de identificar os critérios que (re) significaram a elaboração de memórias em torno da data. A documentação em questão traz ao circuito de memórias um ator estatal, o órgão de vigilância política e social, e a necessidade de problematizarmos o seu funcionamento durante o período democrático que seguiu a mais recente ditadura civil-militar / Abstract: This dissertation analyses the annual commemoration of the episode La noche de los lápices, from 1990 to 1996. This episode refers to a series of procedures aimed at the repression of the sophomore student movement, occurred between 15 and 21 September 1976 in the city of La Plata. This is one of the emblematic cases which have consolidated in the collective memory of Argentine society in the period of democratic reconstruction, about violence and the systematic repression of the seven years of the most recent civil-military dictatorship in Brazil (1976-1983).Our goal is to discuss the relations of society and Argentine state institutions with memories of the episode in question, and therefore with the most recent dictatorial past, from the formation of circuits in which memories discourses and practices of remembering guarantee the permanence of that as a last present. We used the documents produced and filed in the Archives of former Dirección de Inteligencia de la Policía de la Provincia de Buenos Aires (DIPBA), an intelligence service that worked in Argentina from 1956 to 1998. Our choice enables mapping the different initiatives that occur annually on the 16th of September, in addition to identifying the criteria that (re) mean the creation of memories about the date. The referred documents bring to the circuit of memories a new actor in this study, the national surveillance social policy. And most of all its necessary to question its operation during the democratic period that followed the latest civil-military dictatorship / Mestrado / Politica, Memoria e Cidade / Mestre em História

Bien que le scandale qui a accompagné la publication des Fleurs du mal ne soit plus un obstacle à leur diffusion, il continue à jouer un rôle dans la lecture de l’oeuvre de Baudelaire : le XXe siècle a fait du poète l’archétype de l’artiste censuré. En analysant la réévaluation de l’oeuvre de Baudelaire et la manière dont certaines Fleurs du mal ont été mises à distance, notre étude vise à faire l’histoire de la fortune du poète après le processus d’institutionnalisation qui a fait de lui un classique à la fin des années 1920. Nous nous intéressons au rituel de la commémoration littéraire à travers l’analyse d’un corpus d’articles et d’ouvrages publiés lors de trois anniversaires : le centenaire du procès des Fleurs du mal, celui de la mort de Baudelaire et le cent-cinquantenaire du même procès. Nous envisageons également la fortune littéraire de Baudelaire en France à partir de 1930, date à laquelle son oeuvre est considérée comme l’origine de la poésie moderne. Une analyse critique de la notion d’influence permet de réévaluer le statut du poète, à la fois modèle et antimodèle pour Pierre Jean Jouve, Yves Bonnefoy, Philippe Jaccottet, Michel Deguy, André Frénaud ou André du Bouchet, et de montrer que son apparent oubli, entre le centenaire de 1967 et les années 1990, est suivi d’un retour au lyrisme de La Cloche fêlée. Nous voulons enfin montrer que la patrimonialisation de l’oeuvre de Baudelaire n’a pas été suivie d’une complète intégration à la culture nationale : la « survie culturelle » de Baudelaire à travers les adaptations de son oeuvre, ses biographies ou ses portraits ne s’inscrit pas dans un processus de panthéonisation mais dans un culte multiforme de l’écrivain, résultat de l’institutionnalisation du scandale. / While the scandal raised by the publication of Les Fleurs du mal is no longer an obstacle to the diffusion of the book, it still plays a role in the reading of Baudelaire: the 20th century made the poet into the archetype of the censored artist. By investigating the re-evaluation of Baudelaire’s work and the rejection of some Fleurs du mal, my study aims at accounting for the history of Baudelaire’s fortune after the institutionalization process that made him a classic, in the late 1920’s. I am interested in the ritual of the literary commemoration, through the analysis of a collection of articles and of works published during three anniversaries: the centenary of Les Fleurs du mal’s trial, the one of Baudelaire’s death and the one hundred and fifty years anniversary of the same trial. I also consider Baudelaire’s literary fortune in France since 1930, a time where his work began to be seen as the origin of modern poetry. A critical analysis of the notion of “influence” makes it possible to re-evaluate the poet’s status – he is at the same time a model and an anti-model for Pierre Jean Jouve, Yves Bonnefoy, Philippe Jaccottet, Michel Deguy, André Frénaud or André du Bouchet – and to show that his apparent disappearance between the 1967 centenary and the early 1990s is followed by a return of La Cloche fêlée’s lyric. I finally want to show that the patrimonialization of Baudelaire’s work was not followed by its complete integration to national culture: the “cultural survival” of Baudelaire through his works’ adaptations, his biographies or his portraits does not belong to a pantheonization process, but to a multifaceted cult of the writer, resulting from the scandal’s institutionalization.

AFRIKAANS : Die Simboliese Ossewatrek wat op 8 Augustus 1938 by die Van Riebeeck-standbeeld in Kaapstad begin het en op 16 Desember 1938 met die hoeksteenlegging van die Voortrekkermonument in Pretoria geëindig het, het tydens die honderdjarige herdenking van die Groot Trek grootliks tot die oplewing van Afrikanernasionalisme en Afrikaneridentiteitsvorming bygedra. Tydens die Voortrekkereeufeesvieringe in 1938 het die waens na beraming by meer as vyfhonderd dorpe en plekke aangedoen waar entoesiasties feesgevier is met historiese optogte en opvoerings, kerkdienste, toesprake en feesredes en die lê van ’n klipstapel of die onthulling van ’n monument of gedenkteken wat spesiaal vir die geleentheid opgerig is. Die doel van die studie was om eerstens ’n gedetailleerde databasis saam te stel oor die minder bekende monumente en gedenktekens wat in 1938 dwarsoor Suid-Afrika opgerig is en om hulle sover moontlik behoorlik te dokumenteer. Tweedens is die relevansie, kulturele betekenis en bewaring van die tasbare onverskuifbare erfenis in ’n post-apartheid Suid-Afrika geëvalueer en bespreek. ENGLISH : The symbolic ox-wagon trek that started on 8 August 1938 at the Van Riebeeck statue in Cape Town and ended with the foundation stone laying of the Voortrekker Monument in Pretoria on 16 December 1938, contributed to the revival of Afrikaner Nationalism and the forming of an Afrikaner identity. During the Voortrekker Centenary celebrations in 1938 the wagons visited more than five hundred towns where the inhabitants enthusiastically celebrated the event with historical pageants and processions, church services, speeches and usually stone cairns were layed or a monument or memorial was unveiled to commemorate the occasion. The main aim of this study was to compile a detailed database about these often unknown monuments and memorials that were erected all over South Africa in 1938 and to document them as far as possible. The second aim was to evaluate and discuss the relevance, cultural significance and preservation of these unmovable heritage structures in a post-apartheid South Africa. / Dissertation (MHCS)--University of Pretoria, 2008. / Historical and Heritage Studies / unrestricted

When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare's Othello in London in 1930, tickets were in high demand during the production's first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton's work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson's nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943.

Connue du milieu érudit des historiens, l’histoire romaine rejoint le grand public au XXe siècle sous diverses formes : cinéma, littérature, éducation et expositions. L’empereur Auguste est important dans cette histoire en transformant le monde romain. Né en 63 avant J.-C. et décédé en 14 après J.-C., Auguste devient le fondateur d’un nouveau régime politique, le Principat, remplaçant la République, et faisant d’Auguste le premier Empereur. Il marque ainsi l’histoire de l’Empire romain jusqu’à sa chute, et influencera encore vingt siècles plus tard tout le monde européen et occidental. En 1937, la Mostra Augustea della Romanità est une exposition italienne organisée sous le régime fasciste célébrant le caractère romain – la Romanità –, et voulant amalgamer Auguste à Mussolini. Cette exposition est analysée en comparaison avec deux autres expositions (Kaiser Augustus und die verlorene Republik, Berlin, 1988; et Augusto/Moi, Auguste, Empereur de Rome, Rome/Paris, 2013/2014). La recherche s’intéresse à la représentation muséale d’Auguste et à l’articulation des expositions relativement à l’historiographie évoluant à chaque exposition. Les catalogues d’exposition constituent la principale source sur les artéfacts exposés, les thèmes, les recherches et la mise en récit. Chaque exposition est remise dans son contexte et comparée à l’historiographie contemporaine, centrée sur des ouvrages marquants de leur époque. Ainsi, ces expositions sont teintées par leur époque, mais influencent à leur tour la culture historique populaire et le milieu académique contemporains et futurs. Le travail muséologique n’est pas seulement une vulgarisation du discours historique pour le grand public, mais aussi un travail participatif à l’historiographie. / Known to the scholarly milieu of historians, Roman history reached the general public during the 20th century in various forms: cinema, literature, schools and museum exhibitions. The emperor Augustus is important in Roman history for his transformative role of the Roman world. Born in 63 BC and died in 14 AD, Augustus became the founder of a new political regime, the Principate, replacing the Roman Republic, and making Augustus the first Emperor. He thus marks the history of the Roman Empire until its fall, and will still influence the entire European and Western world twenty centuries later. In 1937, the Mostra Augustea della Romanità is an Italian exhibition organized under the fascist regime celebrating the “idea of Rome” – the Romanità –, and wanting to amalgamate Augustus with Mussolini. This exhibition is analyzed in comparison with two other exhibitions (Kaiser Augustus und die verlorene Republik, Berlin, 1988; and Augusto/Moi, Auguste, Empereur de Rome, Rome/Paris, 2013/2014). The research focuses on the museum representation of Augustus and on the relation of the historiography still evolving with each exhibition. The exhibition catalogs are the main source for exhibited artifacts, themes, research, and storytelling. Each exhibition is put in its context and compared to their contemporary historiography, centered on outstanding works of their time. Thus, these exhibitions are tinted by their time, but in turn influence contemporary and future popular historical culture and as for academia. Museological work is not only popularization of historical discourse for the general public, but also participatory work in historiography.

In New Orleans, Louisiana, voodoo is omnipresent. There is voodoo in a more religious sense, that is generally more secretive, and there is a highly visible side to voodoo, that is shown in the many references to voodoo in a commercial or political sense throughout the city.Based on ethnographic fieldwork, this dissertation demonstrates that the criteria that define the boundaries of what is voodoo are debated by the practitioners and the authenticity of certain events or practices is often internally contested. To include all these debates, the broader concept of ‘voodooscape’ is introduced in this dissertation.The concept of voodooscape is a useful tool for the analysis of voodoo in New Orleans, because it includes these debates and the large domain where negotiations on voodoo take place. This dissertation contains ethnographic descriptions of these negotiations, with a focus on the ways in which the ‘voodooscape’ embodies memories of the history of slavery and the ways of coping with these memories. The voodooscape both mobilizes these memories and how to cope with these memories at the same time. In a similar way, the voodooscape mobilizes the memories of more recent events, of which hurricane Katrina and the current violence that caused the rise of the Black Lives Matter Movement are the most important ones in New Orleans. The theoretical contribution of this work lies in the introduction of the concept of voodooscape, that allows a nuanced analysis and understanding of voodoo, through which several socially relevant dimensions are displayed and connected, namely: race, politics, music, art, heritage, tourism and commerce. / À la Nouvelle-Orléans, en Louisiane, le Vaudou est omniprésent. On y trouve le Vaudou dans sa signification religieuse, qui est généralement plutôt secrète, et son visage plus visible, qui s'illustre à travers la ville dans les nombreuses références aux incarnations commerciales ou politiques du Vaudou. À l'appui d'une enquête ethnographique, cette thèse démontre que les critères qui définissent les frontières de ce qui relève du Vaudou sont débattues par ses différents praticiens, de même qu'ils débattent fréquemment entre eux de l'authenticité de certaines pratiques ou événements. Pour rendre compte de tous ces débats, on a introduit le concept plus large de « Vaudousphère » [voodooscape]. Le concept de Vaudousphère est utile à l'analyse du Vaudou à la Nouvelle-Orléans en ce qu'il incorpore ces débats et les nombreux espaces où prennent place ces négociations sur le Vaudou. Cette thèse inclut des descriptions ethnographiques de ces négociations, en se focalisant sur la manière dont la « Vaudousphère » incarne la mémoire collective de l'histoire de l'esclavage et les stratégies d’accommodation avec cette mémoire. De même, la Vaudousphère mobilise les souvenirs d'événements plus récents, dont les plus importants à la Nouvelle-Orléans sont l'ouragan Katrina et la violence contemporaine qui a conduit à l'émergence du mouvement «Black Lives Matter». L'apport théorique de ce travail repose sur l'introduction du concept de Vaudousphère qui permet de conduire une analyse nuancée et compréhensive du Vadou, et à travers lequel plusieurs dimensions sociales pertinentes sont mises en évidence et en connexion, telles que: la race, la politique, la musique, l'art, l'héritage, le tourisme et le commerce. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

Магистерская диссертация «Редакторская подготовка мемориального издания (на примере книги «Азбука имени. Роман Тягунов в воспоминаниях, интервью, мнениях и критике»)» состоит из двух частей. Магистерская диссертация содержит 75 страниц. В списке литературы содержится 50 библиографических единиц. Цель исследования – подготовка и выпуск мемориальной книги «Азбука имени. Роман Тягунов в воспоминаниях, интервью, мнениях и критике» (изд-во «Кабинетный ученый», 2017). Объект: современные мемориальные издания. Предмет: редакторская подготовка современных мемориальных изданий. В первой главе проанализированы словарные статьи и научная литература, посвященная мемориальным изданиям, охарактеризованы содержательные и структурные особенности, а также выявлена роль издания в процессе мифологизации объектов действительности. Во второй главе сформулирована концепция мемориального издания «Азбука имени», включающая особенности отбора и структурирования материалов для основного текста, выбора состава аппарата издания и т. п. Также во второй главе выявлена специфика редактирования рукописи «Азбуки имени» на разных этапах, с учетом влияния на этот процесс принадлежности книги к мемориальным изданиям. / Master's thesis "Editorial preparation of the memorial edition (on the example of the book "Alphabet of a name. Novel Tyagunov in memoirs of, interview, opinion and criticized")" consists of two parts. Master's thesis contains 75 pages. The list of references contains 50 bibliographic units. The purpose of the study-the preparation and publication of the memorial book "Alphabet name. Roman Tyagunov in memoirs, interviews, opinions and criticism" (publishing house "Cabinet scientist", 2017). Object: modern memorial editions. Subject: editorial preparation of modern memorial publications. The first Chapter analyzes dictionary articles and scientific literature devoted to memorial editions, characterizes the content and structural features, and also reveals the role of the publication in the process of mythologization of the objects of reality. In the second Chapter, the concept of the memorial edition of the "Alphabet of the name", including the features of selection and structuring of materials for the main text, the selection of the staff of the publication, etc.Also in the second Chapter, the specifics of editing the manuscript of the "Alphabet of the name" at different stages, taking into account the impact on this process of belonging to the book memorial editions.

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