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.

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.

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.

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.

The Australian Government Internet database, the World War Two Nominal Roll, is problematised and then analysed as a document of patron-sponsored alternative journalism as described by Atton and Hamilton, because it attempts to fulfill functions previously completed in Australia by newspaper publishers and television producers. These functions – of discovering, establishing, editing, contextualizing, recording and publishing memory – have long been regarded as roles of journalism. Later they have been seen as roles also of literary publishing and documentary filmmaking, and most recently of online records management. They became especially evident in the 1990s, the decade of the 50th anniversary of many World War II events, during which many anniversary supplements were published in Australian newspapers and in television documentaries. Partly as a result of this major anniversary, the Australian Government undertook the tasks of discovering, establishing, editing, recording, contextualizing, and publishing World War II military memories as an online database known as the World War Two Nominal Roll. The enactment of this large task required the engagement of a subcontractor who tendered on the basis of skills in records management, and the adoption of a methodology which offered some level of quality assurance of the outputs. The problematisation of this project suggests that the engagement of the subcontractor and the methodology adopted for the World War Two Nominal Roll are analogous to the engagement of professionalized journalists, and the adoption of recognised journalistic methods, for the publication of a media artifact such as an anniversary supplement. In that light, this thesis compares the error rates evident in the Nominal Roll with the literature of error rates in contemporary newspapers, and compares some of the audience effects of publishing the Nominal Roll with those of publishing newspapers. This involves a comprehensive examination and critique of the physical nature of the Roll and the processes of its production. The analysis in the first place suggests that the database Roll is overall more trustworthy than established journalism artifacts but in detail more susceptible to errors of fact and context and less likely to be corrected. This leads to the second assessment that the publication of the database Roll is less effective than newspapers as a means of memorialisation. Finally, the findings suggest that the processes deployed in the compilation of the database Roll would have benefitted from the adoption of aspects of ordinary journalistic routines not used by the database publishers. Reasons for this are proposed and discussed.

The Australian Government Internet database, the World War Two Nominal Roll, is problematised and then analysed as a document of patron-sponsored alternative journalism as described by Atton and Hamilton, because it attempts to fulfill functions previously completed in Australia by newspaper publishers and television producers. These functions – of discovering, establishing, editing, contextualizing, recording and publishing memory – have long been regarded as roles of journalism. Later they have been seen as roles also of literary publishing and documentary filmmaking, and most recently of online records management. They became especially evident in the 1990s, the decade of the 50th anniversary of many World War II events, during which many anniversary supplements were published in Australian newspapers and in television documentaries. Partly as a result of this major anniversary, the Australian Government undertook the tasks of discovering, establishing, editing, recording, contextualizing, and publishing World War II military memories as an online database known as the World War Two Nominal Roll. The enactment of this large task required the engagement of a subcontractor who tendered on the basis of skills in records management, and the adoption of a methodology which offered some level of quality assurance of the outputs. The problematisation of this project suggests that the engagement of the subcontractor and the methodology adopted for the World War Two Nominal Roll are analogous to the engagement of professionalized journalists, and the adoption of recognised journalistic methods, for the publication of a media artifact such as an anniversary supplement. In that light, this thesis compares the error rates evident in the Nominal Roll with the literature of error rates in contemporary newspapers, and compares some of the audience effects of publishing the Nominal Roll with those of publishing newspapers. This involves a comprehensive examination and critique of the physical nature of the Roll and the processes of its production. The analysis in the first place suggests that the database Roll is overall more trustworthy than established journalism artifacts but in detail more susceptible to errors of fact and context and less likely to be corrected. This leads to the second assessment that the publication of the database Roll is less effective than newspapers as a means of memorialisation. Finally, the findings suggest that the processes deployed in the compilation of the database Roll would have benefitted from the adoption of aspects of ordinary journalistic routines not used by the database publishers. Reasons for this are proposed and discussed.

The Australian Government Internet database, the World War Two Nominal Roll, is problematised and then analysed as a document of patron-sponsored alternative journalism as described by Atton and Hamilton, because it attempts to fulfill functions previously completed in Australia by newspaper publishers and television producers. These functions – of discovering, establishing, editing, contextualizing, recording and publishing memory – have long been regarded as roles of journalism. Later they have been seen as roles also of literary publishing and documentary filmmaking, and most recently of online records management. They became especially evident in the 1990s, the decade of the 50th anniversary of many World War II events, during which many anniversary supplements were published in Australian newspapers and in television documentaries. Partly as a result of this major anniversary, the Australian Government undertook the tasks of discovering, establishing, editing, recording, contextualizing, and publishing World War II military memories as an online database known as the World War Two Nominal Roll. The enactment of this large task required the engagement of a subcontractor who tendered on the basis of skills in records management, and the adoption of a methodology which offered some level of quality assurance of the outputs. The problematisation of this project suggests that the engagement of the subcontractor and the methodology adopted for the World War Two Nominal Roll are analogous to the engagement of professionalized journalists, and the adoption of recognised journalistic methods, for the publication of a media artifact such as an anniversary supplement. In that light, this thesis compares the error rates evident in the Nominal Roll with the literature of error rates in contemporary newspapers, and compares some of the audience effects of publishing the Nominal Roll with those of publishing newspapers. This involves a comprehensive examination and critique of the physical nature of the Roll and the processes of its production. The analysis in the first place suggests that the database Roll is overall more trustworthy than established journalism artifacts but in detail more susceptible to errors of fact and context and less likely to be corrected. This leads to the second assessment that the publication of the database Roll is less effective than newspapers as a means of memorialisation. Finally, the findings suggest that the processes deployed in the compilation of the database Roll would have benefitted from the adoption of aspects of ordinary journalistic routines not used by the database publishers. Reasons for this are proposed and discussed.

The theme of this investigation explores rememoration/commemoration and urban imaginary . This study is grounded on the theoretical domains of History and Anthropology and the dislocation of the notion of commemoration to the discourse analysis operation. Therefore, the two notions are defined separately. The rememoration, on the one hand, as a discourse of, which operates as inter-discourse and the operation of the pre-constructed, le gitimates and supports the commemoration. On the other hand, the commemoration as a discourse about is related to the present time. The rememoration/commemoration together constitute the intra-discourse the line of the subject s discourse as an effect of the interdiscourse about itself. The rememoration vertical axle has two operations: as memory and as founding text. We divided the discursive corpus based on memory place, notion developed by Nora (1984) and which in the discursive order is constituted, according to Courtine (2006), as a file system, a net of formulations from which return statements that update the speeches and knowledge of a discursive formation. The rememoration/commemoration is a place of memory of this discourse and is structured in four instances, represented by the urban institutions: the Érico Verissimo Foundation, which organizes the discursive memory and, determines what has to be observed and what has to be erased; the UNICRUZ (Foundation of Cruz Alta University); the municipal government, and the media. The urban imaginary refers to Cruz Alta, city located in the inland of Rio Grande do Sul state, which is represented in the inner and outer boundaries as Érico Verissimo s land . The writer is the object of rememoration/commemoration and constitutes himself as the object to (cause of willingness) and the object of willingness (the object of this willingness) and he materializes himself in the line of the discourse by the willingness subject perspective. Two questions support our reflection: the first one is How the object of rememoration/commemoration is constituted in urban space? And the second one: which memory s domains operate in this discourse? Our aim is to know how the discourse of rememoration/commemoration as discursive practice of an urban imaginary constitution is represented and institutionalized. The corpus of this file comprehends the period from 1969 to 2006. There from we set apart texts samples of discourse from the instances of delimitated place of memory. We analyzed a complex corpus, which is constituted of varied discursive materialities: documentaries (two), billboards, signs and advertisement, which are materialized in the line of discourse by verbal and non-verbal statements. The analyses show, briefly, the effort of the urban institutions of Cruz Alta in providing visibility to object of rememoration/commemoration: Érico Verissimo. / O tema desta investigação é rememoração/comemoração e imaginário urbano . Buscamos sustentação nos domínios teóricos da História e da Antropologia e deslocamos a noção de comemoração para o funcionamento na análise discursiva. Refletimos acerca da rememoração e da comemoração, definindo as duas noções separadamente. A rememoração, de um lado, como o discurso de, que funciona como interdiscurso e que pelo funcionamento do pré-construído, legitima e sustenta a comemoração. E de outro, a comemoração como o discurso sobre a atualidade. A rememoração/comemoração, juntas, constituem o intradiscurso fio do discurso do sujeito - como efeito do interdiscurso sobre si mesmo. A rememoração eixo vertical tem dois funcionamentos: como memória e como texto fundante. Dividimos o corpus discursivo a partir dos procedimentos de fazer crer , de De Certeau (1994) e do lugar de memória, noção desenvolvida por Nora (1984) e que na ordem do discurso se constitui, de acordo com Courtine (2006), como um sistema de arquivo, uma rede de formulações a partir da qual retornam enunciados que atualizam os dizeres e saberes de uma FD. A rememoração/comemoração é o lugar de memória desse discurso e estrutura-se por quatro instituições da cidade: a Fundação Érico Verissimo, que organiza a memória discursiva e determina o que deve ser visibilizado e o que deve ser apagado; a Unicruz (Fundação Universidade de Cruz Alta); o Poder Público Municipal e a Mídia. O imaginário urbano de que tratamos é Cruz Alta, cidade do interior do Rio Grande do Sul, que se representa para dentro e para fora de seus limites como a terra de Érico Verissimo . O escritor é o objeto de rememoração/comemoração e se constitui como o objeto a (causa do desejo) e o objeto do desejo (o objeto desejado) e se materializa no fio do discurso pela perspectiva do sujeito desejante. Duas questões sustentam nossa reflexão: a primeira é Como o objeto de rememoração/comemoração se constitui no espaço urbano? E a segunda: Que domínios de memória funcionam nesse discurso? O corpus de arquivo abrange um espaço temporal que vai de 1969 a 2006. Dele recortamos textos exemplares do discurso a partir de lugares, que se constituem a partir do museu. Delimitamos quatro lugares: O museu, a Unicruz, o Poder Público Municipal e a Mídia. Trabalhamos com um corpus complexo, que se constitui de diferentes materialidades discursivas: documentário (dois), outdoors, placas e peças publicitárias que se materializam no fio do discurso por enunciados verbais e não-verbais. As análises apontaram o esforço de instituições urbanas de Cruz Alta em dar visibilidade ao objeto de rememoração/comemoração: Érico Verissimo.

La recopilación de testimonios que se llevó a cabo en el ámbito de la Comisión de la Verdad y Reconciliación (2001-2003) suscitó dinámicas socioculturales inéditas en cuanto a la producción de historias locales sobre el conflicto interno. En este artículo nos centraremos primero en la actuación carnavalesca realizada en el distrito de Ocros, donde se escenificaron las masacres perpetradas por el PCP-Sendero Luminoso, así como en la consiguiente organización en rondas campesinas de los sobrevivientes. Más allá de la conmemoración de este episodio, ¿cómo entender la realización de esta performance y los objetivos que conlleva? ¿Qué muestran o qué silencian los actores con esta ‘escritura’ del pasado de violencia, necesariamente fragmentaria? Enfocándonos en las creaciones coreográficas y narrativas de la violencia, procuraremos entender los usos estratégicos a los que dan lugar. Finalmente, veremos de qué manera las distintas memorias se enfrentan y articulan entre sí para mostrar los mecanismos de legitimación y las lógicas diferentesde esas proyecciones públicas de la historia reciente. / The gathering of testimonials by the Truth and Reconciliation Commission in the aftermath of the armed conflict opposing the Sendero Luminoso guerrilla and the Peruvian state has led to original socio-cultural dynamics around the local histories of the war. This article will focus on a carnival performance carried out in the Andean district of Ocros (Prov. of Huamanga), staging the massacres committed by the Sendero Luminoso and the struggle of the peasant militias. Beyond the commemoration of this episode, what are the issues and the objectives that underlie the performance? What view is given and what is left in silence, unsaid, by the actors in this type of unavoidably fragmentary ‘writing’ of the history of violence? Analyzing both the choreographic and the narrative production concerning the war, we will address the strategic uses they give rise to. Finally, we will focus on the way in which different memories compete and articulate to one another, so as to determine the mechanisms of legitimation and the competitive logics at playin these public projections of recent history.

Le présent travail a pour objet le traitement du passé de la RDA dans l’espace public à l’occasion des commémorations du 17 juin 1953, du 9 novembre 1989 et du 3 octobre 1990, dans les discours officiels et dans la presse. Son objectif est d’étudier le processus de construction d’une mémoire commune de ce passé, mémoire qui participe à l’élaboration d’une identité allemande commune. L’analyse porte d’une part sur les commémorations en tant qu’initiatives politiques de traitement du passé dans l’espace public. Elle met en évidence le traitement « anhistorique » du passé de la RDA dans les discours officiels prononcés lors de ces commémorations. L’étude de leur couverture par la presse montre le rôle de ce média dans le traitement du passé de la RDA.Les commémorations correspondent d’autre part à une focalisation de l’espace public sur le passé de la RDA. L’étude du traitement du passé par la presse à ces occasions met en évidence les réactions de citoyens de l’ancienne RDA à la mémoire « officielle ». Elle révèle la pluralité des mémoires de la RDA telles qu’elles s’expriment dans la presse. Le caractère particulier de la presse régionale est-allemande dans ce traitement du passé est également analysé, à travers l’exemple de la Sächsische Zeitung. Il se dégage de la confrontation et interprétation des sources une nette fragmentation de la mémoire de la RDA en Allemagne, qui s’articule en particulier autour d’une opposition entre mémoire « d’en haut » et mémoire « d’en bas ». Cette opposition souligne la nécessité de négociations entre responsables politiques et citoyens pour passer d’une mémoire événementielle à une mémoire culturelle de la RDA. / The present study explores how the GDR’s past is remembered on the occasion of the commemorations of 17th June 1953, 9th November 1989 and 3rd October 1990, in official speeches and in the press. Its purpose is to investigate the construction of a common memory of this past, which participates in the elaboration of a common German identity.First, it analyses commemorations as a voluntary act of the political management of memory in the public space. It points out how “ahistorical” the official memory of the GDR expressed in official commemoration speeches is. The way the press covers these speeches indicates the role of this media in dealing with the GDR’s past.But commemorations are also an opportunity for discussing and debating about the past in the public space. Citizens of the former GDR react against the “official” memory imposed by politicians through commemorations, which explains why commemorations reveal other types of memories. The thesis examines different aspects of collective memory expressed in the press. Specificities of the East German local press (especially the Sächsische Zeitung) in these processes are also analysed.The confrontation and the interpretation of different sources highlight the fragmentation of GDR memory in Germany, especially the opposition between a memory coming “from the top” (politicians) and a memory coming “from the bottom” (citizens). This opposition underlines the necessity for negotiations in order to operate a transition from an event-oriented memory of the GDR to a cultural one.