No description available.

<p>This study explores the history of Niagara settlement and settlers through the changing patterns of burial and commemoration visible in historical family cemeteries established following Euro-American settlement in the 1790s. Data collected from a combination of site survey and archival research demonstrate three clear phases of: 1) early cemetery creation and use 2) the transition to burial in public cemeteries throughout the late 1800s; and 3) the closure of family cemeteries by the early 1900s followed by periods of neglect and renewal characterized by inactive cemeteries being repurposed by descendants as sites of heritage display.</p> <p>There is incredible variation in burial data and the overall patterns speak to changing identity relating to family, land, community, memory, and history. More specifically, the results of this study demonstrate a shift from an identity created through the experience of family place and burial to a community-based identity that emphasizes the nuclear family and their history within their wider social network. More recent heritage displays have explicitly introduced a narrative of settlement, Loyalist identity, and land ownership that was inherent when cemeteries were in use.</p> <p>This cemetery-based history approach demonstrates the potential of mortuary material culture to address questions of social change within the historical context in which it was created and used. It also highlights the value of variability in cemetery data and the consideration of the circumstances of cemetery creation, use, neglect, and renewal to inform the range of personal and collective histories that are visible over generations.</p> / Doctor of Philosophy (PhD)

“Exhibiting Evangelicalism” is a history of evangelical historical museums in the United States. It argues that conservative Protestant Christians in the United States developed practices for preserving and interpreting the past in public and deployed those practices toward varying theological, cultural, and political ends—an approach I term “evangelical heritage.” It further contends that evangelical heritage performed important work for its purveyors. Amid the boom in church attendance and religious affiliation after World War II, conservative Protestants deployed evangelical heritage to forge what they termed “neo-evangelicalism,” a rebranding of the old-time religion for postwar society. They also engaged evangelical heritage in their crusade to “win America for Christ,” convinced that an encounter with their tradition’s proud past could entice outsiders to convert to Christian faith. These elements never fully disappeared from the function of evangelical heritage. Even so, evangelical heritage did change over time. During the national bicentennial, for instance, evangelical heritage became a means by which neo-evangelicals, internally divided over matters of faith and politics, could project a united front by mapping their proud past onto the nation’s history. Such optimism did not last long. As the national consensus about the past shattered in the 1970s and 1980s, evangelical heritage morphed yet again. By the twenty-first century it had become a vehicle for nostalgia, immersing visitors in a mythic past that offered an imagined sense of comfort and reassurance amid conservative Protestants’ perceived loss of political and social influence. Evangelical heritage did not develop and evolve in a vacuum, however. From the start, it existed within and contributed to broader patterns of historical commemoration. In the postwar era, for instance, experiments in evangelical heritage intersected and overlapped with discourses and practices among bureaucrats, business leaders, social reformers, heritage professionals, and others regarding historic preservation, urban renewal, and the political purposes of civic memory. In the 1970s, neo-evangelical museum-makers helped to invent public history’s turn toward emotion, immersion, and experience as techniques through which to build visitors’ historical knowledge. As that trend became subject to intense internecine debate among public history professionals in the 1980s and 1990s, some conservative Protestant commemorators turned away from the mainstream of public history discourse. Instead, they embraced the theme park as a means of conveying ideological authority while retaining the trappings of the traditional museum as a way of courting intellectual authority—a trend that reached its apex at the turn of the twenty-first century. / History

This dissertation explores the development of an American D-Day tale. D-Day, the Allied invasion of northwestern France in June 1944, stood out to Americans because it seemed to promise a quick end to the Second World War in Europe. This lasting conception of the amphibious assault as a critical juncture has placed it in the forefront of American memories of the war's European phase. More than a turning point, however, American conceptions of the event have come to constitute a veritable morality tale. According to its narrative, D-Day demonstrated the military competence of a free republic that put its faith in citizen-soldiers. This tale has romanticized warfare by depicting it as an event populated by democratic heroes engaging clearly evil foes in decisive clashes fought for liberty, national redemption, and world salvation. The redemptive power of violence displayed on Norman beaches enjoyed divine blessing, and even, as sometimes claimed, outright assistance. Veterans and their family members, politicians, military leaders, honorific organizations, news media personalities, filmmakers, scholars and authors all have offered entries into a staggering field of American D-Day-related material. Their messages, largely similar in tone, transmitted to American audiences through museums, monuments, news stories, books, speeches, games, documentary films and Hollywood spectaculars. This dissertation will also evaluate the impact of their memory work on America. D-Day allegedly reaffirmed cherished American notions of democracy, fair play, moral order, and the militant (yet non-militaristic) use of power for divinely sanctioned and altruistic purposes. Such interpretations of clashing arms have exerted a powerful influence on American conceptions of patriotism, civic duty, and the efficacious use of military power. Feeding the militarization of American culture in the Cold War and beyond, the D-Day tale has pushed Americans to see war as a bloody yet noble clash, a veritable crusade used by the righteous for just purpose and decisive results. This story has cemented into place popular conceptions of the battle and an ideal-type of expectations for "good" wars. / History

While memory studies of the American Civil War flourishes, ethnic and immigrant perspectives remain obscured. This project attempts to uncover how Norwegian-Americans remembered the 6000 Norwegian immigrants who fought in the Union Army. It explores the processes behind commemoration of Colonel Hans Christian Heg and the 15th Wisconsin Infantry Regiment from 1914 to 1928. It reveals that Norwegian-Americans commemorated Colonel Heg on three different and connected levels. Nationally, Norwegian-Americans raised a statue of Heg in Wisconsin after the individual determination of Waldemar Ager to challenge nativism and Americanization. Transnationally, Ager cooperated with the organization Nordmands-Forbundet who facilitated the erection of a replica in Norway in their efforts to create an extraterritorial national community known as the “greater Norway.” Locally, citizens of Racine County, Wisconsin, mobilized to raise their own Heg monument. These events combined local, national, and transnational identities, and illuminate the multilayered complexity of ethnicity in early twentieth-century America.

This research explores the new tradition of creating mass murder memorials in the United States at the turn of the twenty-first century. Using written and oral history sources in combination with memorial designs, I explore the planning processes undertaken by five different communities: Virginia Tech, Columbine, University of Texas, Oklahoma City and Edmond, OK. I analyze what these case studies reveal about how changing cultural expectations and political needs transformed commemorative practices concerning violence in the late twentieth and early twenty-first centuries. By exposing how the timely interventions of national figures increasingly shaped local commemorative aspirations, my research illuminates how the brief period of national unity in the immediate aftermath has been discursively and materially foregrounded as the heart of national public memory narratives of mass murder. I argue that at the turn of the twenty-first century the memory of victims of mass murders"assuming something akin to the role that fallen soldiers have played for the bulk of American history"are now viewed by a range of political, religious and cultural actors as a highly effective means of bolstering perceptions of local, organizational and national unity. This project contributes to the interdisciplinary literature on commemoration in three ways. First, I challenge the literature on memorials built in the immediate aftermath of violence and tragedy by illustrating how these memory sites are increasingly but the first stage of the material culture of public memory. Second, my theory of a ritualized assemblage develops the existing literature by forwarding a concept well suited to analyze the relationship of between seemingly disparate memory sites. Lastly, the rhetoric of what I call the Myth of the Slaughtered Citizen contributes to the literature on nationalism and commemoration by explaining how the victims of mass murder were culturally substituted into the commemorative role traditionally held by fallen soldiers to promote a sense of local and national unity. / Ph. D.

This thesis explores representations of the Holocaust in the Jewish Museum Berlin and the impact of commercialism on representational choices. Daniel Libeskind’s bold architectural design, which ultimately became the Jewish Museum Berlin, is in many ways a Holocaust memorial. By exploring curatorial strategies in regards to exhibition design and content, this thesis analyzes the debates within the Jewish Museum Berlin over the appropriate manner to represent the Holocaust to the museum-going public in contemporary Germany. This thesis argues that commercialism and the prospects of commercial viability played a significant role in curatorial decisions concerning exhibition narrative. Germany leads the world in acknowledging and exploring their past social crimes but, this thesis argues, an important opportunity for atonement was lost when the administration of the Jewish Museum Berlin privileged commercial success over the presentation of more difficult and uncomfortable, yet socially necessary, representations of the horror of the Holocaust.

Ma recherche vise, d’une part, à appréhender le phénomène de la publication des correspondances des « poilus » (les soldats français de la Première Guerre mondiale) et d’autre part, à déterminer leur rôle dans la mémoire collective de la Grande Guerre. Précédé d’un bilan historiographique, mon travail se divise en trois chapitres autour de trois thèmes principaux, la correspondance, l’édition et la mémoire. Le premier chapitre met en contexte la production des lettres et identifie les facteurs l’influençant. Le deuxième chapitre se penche sur les buts éditoriaux des publications de correspondances et sur leur transformation au fil des époques. Finalement, le dernier chapitre analyse la place de ces publications dans le cadre de la commémoration de la Grande Guerre. La recherche va au-delà de l’analyse des lettres et s’intéresse davantage aux desseins éditoriaux des recueils. Les sources utilisées sont des ouvrages collectifs publiant des lettres de poilus, édités entre 1922 (La dernière lettre) et 2006 (Paroles de Verdun). / My research aims to address the phenomenon of the publication of the “poilus” correspondences (French soldiers of the First World War) and to determine their role in the collective memory of the Great War. Preceded by a historiographic review, my work is divided into three chapters around three main themes, correspondences, publishing and memory. The first chapter puts into context the production of letters and identifies the factors influencing it. The second chapter considers the leading goals of publishing correspondences and their transformation over time. Finally, the last chapter analyzes the need for these publications for commemoration of the Great War. Research goes beyond the analysis of letters and focuses on the leading intentions of the editions. The sources used are anthologies of the “poilus” letters, published between 1922 (La dernière lettre) and 2006 (Paroles de Verdun).

Submitted by Maicon Juliano Schmidt (maicons) on 2015-07-17T17:29:26Z No. of bitstreams: 1 Glauce Stumpf.pdf: 1718761 bytes, checksum: aadc76f84ced0ac095236dbaeb422d6d (MD5) / Made available in DSpace on 2015-07-17T17:29:26Z (GMT). No. of bitstreams: 1 Glauce Stumpf.pdf: 1718761 bytes, checksum: aadc76f84ced0ac095236dbaeb422d6d (MD5) Previous issue date: 2015-05-05 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A comemoração do Sesquicentenário da Revolução Farroupilha (1835-1985) foi uma iniciativa oficial do Governo do Estado do Rio Grande do Sul concebida dois anos antes de sua realização. Para o evento todas as esferas da sociedade gaúcha ficaram encarregadas de realizar atividades alusivas à Revolução Farroupilha no transcorrer dos 150 anos do fato histórico. Entendeu-se nesse caso a comemoração como um ato político de criação/manutenção de uma memória coletiva que corroborou com o status quo vigente. Nosso pensamento embasou-se em Ozouf (1988) e Arruda (1999) no que se refere aos conceitos de festa e comemoração. Candau (2012) e Ricoeur (2007), entre outros, foram usados na construção do conceito de memória. A partir dessa construção teórica nos propusemos a estudar a comemoração do Sesquicentenário da Revolução Farroupilha, buscando verificar nela alguns aspectos que se destacaram nas festividades, o que foi constatado por meio da documentação analisada. Para alcançar nossos objetivos nos valemos da pesquisa qualitativa a partir de fontes primárias e da realização de uma revisão bibliográfica sobre o tema. Aprofundamos então a comemoração oficial, que no decorrer do trabalho mostrou-se como a festa da memória farroupilha. Uma memória construída ainda na década de 1930 (GUTFREIND, 1999), passível de manipulação e, conforme defendemos na dissertação, uma construção representativa do poder simbólico da sociedade gaúcha (a Revolução Farroupilha) reutilizado em 1985 (BOURDIEU, 1989; HOBSBAWM, 1997). Ainda três aspectos da comemoração foram analisados: o da historiografia sobre a temática farroupilha produzida no decorrer de 1985; o das propostas para o ensino sobre a Revolução Farroupilha e a da cobertura midiática do evento. Nossa pesquisa indicou que houve na historiografia uma divisão na abordagem sobre a Revolução Farroupilha entre a história oficial e a história acadêmica. Já as apropriações da comemoração pelo ensino estiveram em consonância com a comemoração oficial, por ter sido por ela organizada. E a imprensa gaúcha, representada aqui pelo jornal Zero Hora, demonstrou uma manipulação para além da mediação oficial criando uma autorrepresentação positiva do Grupo RBS. / The commemoration of the Sesquicentennial of the Farroupilha Revolution (1835-1985) was an official initiative of the State Government of Rio Grande do Sul designed two years before its completion. For the event all spheres of the state society were responsible for carrying out activities allusive to Farroupilha Revolution in the course of 150 years of historical fact. It was considered then the celebration as a political act of creation / maintenance of a collective memory that corroborated with the current status quo. Our thinking to base in Ozouf (1988) and Arruda (1999) with regard to the concepts party and commemoration. Candau (2012) and Ricouer (2007), among others, were used in the construction of the concept of memory. From this theoretical construction set out to study the commemoration of the Sesquicentennial of the Farroupilha Revolution, trying to verify it some aspects that stood out in the festivities, which was corroborated by documentation examined. To achieve our goals draw on qualitative research from primary sources and conducting a literature review on the topic. Then deepen the official celebration, which in this work proved to be the party of farroupilha memory. A memory built yet in the 1930s (GUTFREIND, 1999), subject to manipulation and, we argue in the dissertation, a representative building of the symbolic power of the state society reused in 1985 (BOURDIEU, 1989; HOBSBAWM, 1997). Three aspects of the celebration were analyzed for science terms the scope of the same: the historiography of Farroupilha theme produced in the course of 1985; of tenders for teaching about the Farroupilha Revolution in Rio Grande do Sul and the media coverage of the event. Our research indicated that there was a split in the historiography approach to Farroupilha Revolution between official history and academic history. As for the commemoration of the education appropriations were in line with the official celebration, as it was it organized. And the state's press, represented here by the newspaper Zero Hora, showed a manipulation beyond the official mediation creating a positive self-representation of the RBS Group.

This thesis explores representations of the Holocaust in the Jewish Museum Berlin and the impact of commercialism on representational choices. Daniel Libeskind’s bold architectural design, which ultimately became the Jewish Museum Berlin, is in many ways a Holocaust memorial. By exploring curatorial strategies in regards to exhibition design and content, this thesis analyzes the debates within the Jewish Museum Berlin over the appropriate manner to represent the Holocaust to the museum-going public in contemporary Germany. This thesis argues that commercialism and the prospects of commercial viability played a significant role in curatorial decisions concerning exhibition narrative. Germany leads the world in acknowledging and exploring their past social crimes but, this thesis argues, an important opportunity for atonement was lost when the administration of the Jewish Museum Berlin privileged commercial success over the presentation of more difficult and uncomfortable, yet socially necessary, representations of the horror of the Holocaust.