A beberagem Huni (popularmente chamada de Ayahuasca) é uma infusão vegetal psicoativa da Amazônia. Tal infusão é conhecida por provocar estados modificados de percepção que resultam em intensas experiências corporais, geralmente de caráter místico e espiritual. O consumo da beberagem Huni possui um papel fundamental na constituição da identidade social e cultural das tribos dos grupos de língua Pano, sendo importante na sua cosmologia, mitologia e práticas celebrativas e de cura. Desta forma, percebendo-se a importância do estudo de culturas indígenas para o entendimento de etnopsicologias populares, esta pesquisa estudou as manifestações corporais dentro de cerimônias espirituais indígenas Pano, seu papel na memória biográfica e cultural de seus participantes, na preservação e propagação de memória coletiva, como também realizou uma documentação das técnicas corporais utilizadas nas cerimônias. Foi realizado trabalho de campo em cerimônias com Huni conduzidas por indígenas das etnias Yawanawá e Huni Kuin e entrevistas com seis condutores indígenas de cerimônias, além de uma revisão bibliográfica sobre temas relevantes da pesquisa. Foram descritos aspectos da organização das cerimônias; descrição dos espaços cerimoniais; condução das cerimônias; descrição das técnicas corporais utilizadas nas cerimônias (cantos, danças e rodas, defumação, sopros, rezas), além de descrições de processos corporais como as visões, limpezas, dietas e desdobramentos da memória coletiva e pessoal. A análise dos dados teve contribuição do referencial psicanalítico. / The beverage Huni (popularly called Ayahuasca) is a psychoactive plant brew from the Amazon. This infusion is known to cause modified states of perception that result in intense bodily experiences, often mystical and spiritual character. The consumption of the brew Huni has a key role in the constitution of social and cultural identity of the tribes of Pano language groups, being important in their cosmology, mythology and celebratory and healing practices. Thus , realizing the importance of the study of indigenous cultures to understanding popular ethnopsychologies, this research studied the physical manifestations within indigenous spiritual ceremonies Pano, their role in the biographical and collective memory of its participants, the preservation and propagation of memory collective, as well as conducted a documentation of physical techniques used in ceremonies . Fieldwork was conducted in ceremonies with Huni conducted by the indigenous ethnicities Yawanawá and Huni Kuin and interviews with six conductors of indigenous ceremonies, including a literature review of relevant research topic. Aspects of the organization of ceremonies were described ; description of ceremonial spaces ; conduct of ceremonies ; description of the physical techniques used in ceremonies (songs, circle dance, curing smoke, blowing, prayers), descriptions of bodily processes such as visions , cleansing , diets and developments of collective and personal memory. The analysis has contribution of psychoanalytic theory.

Submitted by Natalie Mendes (nataliermendes@gmail.com) on 2015-10-19T23:34:42Z No. of bitstreams: 1 Disserta??o Cristiane Tavares Santos Melo.pdf: 5986926 bytes, checksum: 41c2db5723eea22cce4eed77c742286a (MD5) / Made available in DSpace on 2015-10-19T23:34:42Z (GMT). No. of bitstreams: 1 Disserta??o Cristiane Tavares Santos Melo.pdf: 5986926 bytes, checksum: 41c2db5723eea22cce4eed77c742286a (MD5) Previous issue date: 2013-05-03 / Contemporary of Jorge Amado, Carlos Chiacchio, Rui Barbosa, Afr?nico Peixoto, among others, Altamirando Requi?o devoted himself to poetry and novel, but his performances in the journalism and in the politc end up taking the most part of his activities. He was owner of newspaper Di?rio de Not?cias and acted too how collaborator in other newspapers and magazines of Bahia and Rio de Janeiro, where he published many articles and essays. The current work proposes to study the cultural memory of Bahia in the century XVII, through of novel O Baluarte (1976). We also will use some texts from owner author, published in journals such as subsidy to analyze the novel. For this, firstly, we will get the authot back, placing his cultural moment of production and contribution for the literary production of Bahia. We will take advantage of opportunity for analyze the fact of the suppression of artistic identities, such as Requi?o that, in spite of be one of the members founders of Academia de Letras da Bahia and to be in the center of intellectual production from Bahia,too, he didn?t get write his name in the official historiography in literary critical. Then we will analyze the work O Baluarte (1976), through of relations between literature and history. / Contempor?neo de Jorge Amado, Carlos Chiacchio, Rui Barbosa, Afr?nio Peixoto, entre outros, Altamirando Requi?o dedicou-se ? poesia e ao romance, mas suas atua??es no jornalismo e na pol?tica acabam tomando a maior parte do espa?o de suas atividades. Foi propriet?rio do jornal Di?rio de Noticias e atuou tamb?m como colaborador em outros peri?dicos e revistas da Bahia e do Rio de Janeiro, onde publicou muitos artigos e ensaios. O presente trabalho prop?e-se a estudar a mem?ria cultural da Bahia do s?culo XVII, a partir do romance hist?rico O Baluarte (1976). Utilizaremos tamb?m alguns textos do autor, publicados em peri?dicos, como subs?dio para analisar o romance. Para tanto, primeiramente, recuperaremos o autor, situando o seu momento cultural de produ??o e sua contribui??o para a produ??o liter?ria baiana. Aproveitaremos a oportunidade para analisarmos o fato da supress?o das identidades art?sticas, como Requi?o que, apesar de ser um dos membros fundadores da Academia de Letras da Bahia e estar no centro da produ??o intelectual baiana, n?o conseguiu fixar seu nome na historiografia oficializada pela cr?tica liter?ria. Em seguida, analisaremos a obra O baluarte (1976), a partir das rela??es entre literatura e hist?ria.

The following study aims to discuss the impact of Erik Poppes’ and Paul Greengrass’ respective audio-visual texts depicting the July 22 massacre on Utøya, Norway. The study will discuss the impact of said texts on the creation of a cultural memory of the event, as well as the creation of identity which is derived from its remembrance.   The cultural memory and formation of identity created by this mediating media have an impact on the reception of the depicted past as well as the ideas and views regarding contemporary times. This gives the study a deeper relation to the historical field, whilst also contextualizing the entire study in the grander field of memory studies. In addition, the method decodes the theoretical perspectives of gender-theory and ideological-theory.   Considering the choice of theoretical fields, discourse analysis is implemented as the method of analysis. It is derived from Faucault’s idea of language and its notions of hierarchical carriers of meaning, though in this context with a broader scope as to include both linguistic and non-linguistic signs.   The results of the analysis were fruitful. In terms of gender-theoretical portrayal, the films offered similarities as well as differences. Both of them portrayed a nuanced representation of gender-constructions, however in highly different ways, as their respective narratives were dissimilar. Furthermore, the ideological values portrayed were interlinked between the films, though more or less fixed towards different ideas. The discussion that followed connected this study to the wider field of cultural memory and identity creation in relations to mediating popular-historical media.

Esta tese tem como tema a mudança da função dos arquivos como modelo de institucionalização da memória no campo da arte, desde meados do século 20. Partimos da premissa de que os estudos polí- ticos e culturais sobre a experiência da violência e as práticas de memorialização criadas para lidar com o trauma, nos últimos trinta anos, resultaram na expansão do discurso sobre a memória. Diante disso, nossa proposição é discutir como se dá o reconhecimento da experiência histórica traumática, no campo da arte brasileira, no início do século 21. Defendemos a tese de que a arte é capaz de prefigurar a violência contida nos arquivos, ao desafiar sua origem e as formas através das quais estruturam nossa realidade. Como metodologia para perquirimos a dimensão arquitetural do arquivo como produtor de uma imaginação histórica e historicizarmos a criação dessas instituições, recorremos às teorias pós-coloniais (Edward Said, Gayatri Spivak, Homi Bhabha, Frantz Fanon, Walter Mignolo, Anibal Quijano, Achille Mbembe). É sob esse aspecto que escolhemos, como estudos de caso, o Arquivo Público do Estado da Bahia e o Museu Antropológico e Etnográfico Estácio de Lima. Nas histórias dessas duas instituições, encontramos o mote para percorremos o Brasil colonial e a instauração de um modelo de nação fundamentado nas teorias raciais do final do século 19. Na análise das práticas artísticas, investigamos a obra de Eustáquio Neves, Giselle Beiguelman, Ícaro Lira, José Rufino, Maria Magdalena Campos-Pons, Paulo Bruscky e Paulo Nazareth, durante a 3ª Bienal da Bahia (2014), em projetos que se fundem e se retroalimentam nas experiências de reconhecimento da violência contida na coleção abandonada de um museu antropológico e na realidade precária do estado de conservação do nosso patrimônio histórico. Concluímos, com base na análise das diferentes formas de confrontação artística com essas questões, que a arte contemporânea no século 21 opera a partir de procedimentos historiográficos e não mais arquivísticos. / This dissertation addresses the change in the role of archives as a model of institutionalization of memory in the field of art since the mid- 20th century. It is based on the premise that political and cultural studies about the experience of violence and the memory-based practices created to deal with trauma, in the past thirty years, have resulted in the expansion of the discourse on memory. Given this, our proposition is to discuss how the traumatic historical experience is recognized in the field of Brazilian art, in the early 21st century. We understand that art is capable of prefiguring the violence contained in archives by challenging its origin and how it structures our reality. To study the architectural dimension of archives as producers of a historical imagination and to historicize the creation of said institution, we adopt postcolonial theories as a methodology (Edward Said, Gayatri Spivak, Homi Bhabha, Frantz Fanon, Walter Mignolo, Anibal Quijano, Achille Mbembe). Therefore, we chose as case studies the Arquivo Público do Estado da Bahia and the Museu Antropológico e Etnográfico Estácio de Lima. In the histories of these two institutions, we address colonial Brazil and the establishment of a model of nation based on late-19th-century racial theories. In our analysis of art practices, we study the work of Eustáquio Neves, Giselle Beiguelman, Ícaro Lira, José Rufino, Maria Magdalena Campos-Pons, Paulo Bruscky, and Paulo Nazareth, during the 3rd Bahia Biennial (2014), in projects that merge with, inform, and are informed by the experiences that acknowledge violence contained in the abandoned collection of an anthropology museum and in the precarious conservation state of our historical heritage. After analyzing the different forms through which art confronts these issues, we conclude that contemporary art in the 21st century operates based on historiographic procedures rather than archive-based ones.

abstract: This dissertation explores how rank-and-file political prisoners navigated life after release and how they translated their experiences in the Gulag and after into memoirs, letters, and art. I argue that these autobiographical narratives formed the basis of an alternate history of the Soviet Union. This alternate history informed the cultural memory of the Gulag in the Komi Republic, which coalesced over the course of the late 1980s and 1990s into an infrastructure of memory. This alternate history was mobilized by the formation of the Soviet Union’s first civic organizations, such as the Memorial Society, that emerged in the late 1980s. However, Gulag returnees not only joined post-Soviet civil society, they also formed a nascent civil society after their release in the 1950s. The social networks and informal associations that Gulag returnees relied upon to reintegrate back into Soviet society after release, also played an essential role in the memory project of coming to terms with the Stalinist past after the collapse of the Soviet Union. As one of the first and most populous epicenters of the Gulag archipelago located in the Far North, from 1929-1958 Komi saw hundreds of thousands of prisoners, in addition to hundreds of thousands more who were exiled to the region from all over the Soviet Union. While some left the region after they were released, many were not able to leave or chose not to when given the choice. Regardless of where they lived when the Soviet Union collapsed, many former prisoners sent their autobiographies to branches of the Memorial Society and local history museums in Komi. For many, this was the very first time they had shared their stories with anyone. While Komi is unique in many ways, it is emblematic of processes that unfolded throughout the Soviet Union and Eastern Europe at the end of the Twentieth Century. This project expands our understanding of how civil societies form under conditions of authoritarian rule and illuminates the ways in which survivors and societies come to terms with difficult pasts. / Dissertation/Thesis / Doctoral Dissertation History 2019

As the final resting place of celebrities and notable public figures such as Rudolph Valentino, Douglas Fairbanks Sr. and Jr., Janet Gaynor, Mel Blanc, and Barbara La Marr, Hollywood Forever Cemetery in Los Angeles has long served as a tourist attraction and a site of public memory. The touristic visit or pilgrimage to the cemetery can be, like the visit to a sanctioned memorial, a means of stitching oneself into the cultural past. This dissertation considers the articulation and performance of commemoration in contemporary culture, specifically situated at Hollywood Forever. I examine how the cemetery leverages its rich resources from the past to generate new collective experiences and attitudes in the present. Through the outdoor film series Cinespia, a communitywide Dia de los Muertos celebration, performances of Shakespearean plays, and annual memorial services and commemorative events in honor of celebrities interred there, Hollywood Forever invites visitors to use the cemetery as social space. Combining ethnographic research with cultural analysis, I consider how the public interacts with Hollywood Forever. This dissertation looks at the influence of celebrity culture, how shared experience in a unique setting can create a meaningful sense of place, and how the past is appropriated for purposes in the present. In examining the rituals and performances surrounding celebrity fan culture at the cemetery, I consider how fandom creates a sense of community that is deeply connected to the physical space of Hollywood Forever. Using the space of the cemetery for entertainment and leisure has the potential to change perceptions of the cemetery, as uneasiness with the setting fades and visitors become comfortable and enjoy their experience. As Hollywood Forever functions as a space that can provide both solitude and community, perceptions of the cemetery change in the process.

Esta dissertação olha para as formas de representação da memória da última ditadura militar argentina (1976-1983). Toma-se como recorte os Ex-Centros Clandestinos de Detención Tortura y Extermínio (Ex-CCDTyE) de Buenos Aires, hoje lugares de memória e consciência, que compõem a Red Federal de Sítios de Memoria (REFESIM): a Ex Escuela Mecánica de la Armada (Ex ESMA), o Ex Club Atlético, o Ex Olimpo, o Ex Virrey Cevallos e o Ex Automotores Orletti. Busca-se analisar esses espaços, cenários da barbárie no passado, observando como cada um trabalha suas especificidades e se completa (ou não) com os demais, de forma a configurar (ou não) uma narrativa complexa e não redundante na cidade. O trabalho pensa os cinco sítios sob a perspectiva de rede, discutindo as possibilidades - estéticas, políticas e éticas - de representar as memórias da violência na contemporaneidade, a partir e através de lugares da cidade que foram espaços concentracionários (COLOMBO, 2017) no passado e tornaram-se sítios de memória. Para tanto, eles são analisados pelo conjunto de tensões que os construíram: entre grupos, agentes, grupos dentro de grupos e políticas de memória; e os signos (como aquilo que comunica), ferramentas e técnicas (arquitetônicas, arqueológicas, gráficas, propagandísticas, entre outras) escolhidos para representar tal memória de violência. / This dissertation looks at the forms of representation of the memory of the last Argentine military dictatorship (1976-1983). It is taken as a focus of the investigation the former Centros Clandestinos de Detención Tortura y Extermínio (Ex-CCDTyE) of Buenos Aires, now sites of memory and conscience, which compose the Red Federal de Sítios de Memoria: the Ex Escuela Mecánica de la Armada (Ex ESMA), the Ex Club Atlético, the Ex Olimpo, the Ex Virrey Cevallos and the Ex Automotores Orletti. We pretend to analyze these places that were scenarios of violence in the past, and that today are part of a network, observing how each of them works its specificities and completes (or not) with the others, in order to configure (or not) a complex and non-redundant narrative in the city. This dissertation looks at these five sites from a network perspective, seeking to discuss the possibilities - aesthetic, political and ethical - of representing the memories of violence in the contemporary world, from and through places in the city that were concentration camps (COLOMBO, 2017) and became memory sites. For that, the Ex CCDTyEs are analyzed by the set of tensions that built them: between groups, agents, groups within groups and memory policies; and signs, tools and techniques (architectural, archaeological, graphic, propagandistic, etc.) chosen to represent the memory of the violence of the 1970s.

This thesis details the maintenance of Polish identities through acts of memory: the (re)production, transmission and reception of Polish cultural practices. The (re)productions and transmissions of Polish identity formations, and the acts of remembrance, are multifarious by nature, and I have examined them in two distinctly different settings ?? in public spheres in Poland, and in the private realms of Australian Polish diaspora. In this thesis, these research settings have been conceptualised as the conduits through which Polish identities are maintained. Polish identity is theorised using a constructivist approach; Polish identities are therefore positioned historically and geographically. Their performances are fluid: they move through time and across spaces. The active maintenance of Polish identity developed as a result of foreign occupations. The partitioning of Poland by the Austro-Hungarian, Prussian and Russian Empires lasted 123 years. From 1795 to 1918 the Polish nation was expunged. Following a brief period of independence between World War I (WWI) and World War II (WWII), Poland was again occupied by Nazi and Soviet regimes during WWII (1939-1945). The Soviet occupation continued after WWII with the Soviet-supported Polish government that lasted until 1989. Under occupation ?? particularly during WWII ?? Poland suffered events that have been indelibly imprinted within Polish cultural memory. The macabre nature of this era included the incursion of hegemonic regimes on political and everyday social life, as well as the atrocities for which it is well known. An important outcome of these occupations has been the division of discourses of Polishness, and their remembrances, into distinctly public and private spheres. These periods of foreign occupation brought various attempts to suppress and eliminate Polishness: the cultures and identifications of Polish people. Suppression particularly occurred in public spheres through the prohibition of the Polish language, and by investing the public memory landscape with ideologies that represented the new regimes. By repressing public commemorations of Polish cultural narratives, a new history was written at the expense of the Polish experience. There have been two primary responses to these repressions of Polishness. These responses initially developed during the partitioned period to ensure that Polish language and cultural practices were maintained. First, a narrative and tradition of resistance emerged in reaction to the Russian, Prussian and Austrian partitions. It was enacted through military participation in insurrections and through the production of patriotic Romantic Era cultural artefacts, both of which strengthened linkages to the Polish Catholic faith. Second, Polish cultural practices and language were safeguarded in the private spheres of home. It was in private settings, in Poland and within the diaspora in Australia, that memories and experiences of occupation were passed on and through generations. In Poland, such narratives were often maintained in resistance to those imposed by foreign occupiers and because of the inability to commemorate events of Poland??s macabre past in public. In Australia, identity maintenance has occurred to resist the dissolution of Polishness in a diasporic and multicultural environment. This thesis demonstrates the utility of studying cultural memories as a means of understanding how identity maintenance can occur in the face of adversities, such as the multiple foreign occupations that occurred in Poland, and in diaspora. Moreover, it exemplifies the diverse paths of identity maintenance in different contexts. This thesis shows that despite the distinctive character of both Polish public and private spheres, Polish identities have been informed, shaped and maintained through culturally-enacted memory (re)production. This process is exhibited in the present ?? in Poland and through the diaspora ?? and it occurred despite the repressive aims of various foreign occupiers.

In this article we ask if central values which people were in dialogue with in the memorial messages from Oslo Cathedral Square in the aftermath of July 22 nd 2011, may be seen as a part of Norwegian cultural memory, and if so, how. We answer this question in the affirmative, by elaborating on presentations of the Norwegian flag as a symbol of the values unity and solidarity, and on presentations of love and roses as weapons promoting the values love, humanity and calmness. In our discussion we have drawn on theory of cultural memory and suggested that the use of the Norwegian flag in the messages may be understood in the frame of Assmann’s term "canon", representing the active part of cultural remembrance, and that the message from the use of roses and hearts may be understood in the frame of the term "archive", representing the passive part of remembrance.

Who was Colonel Hồ Ngọc Cẩn? He was born in Rạch Giá, Việt Nam in 1938; served in the South Vietnamese army—the Army of the Republic of Vietnam (ARVN)—during the Second Indochina War; and was publicly executed by the Communist forces on August 14, 1975, after refusing to surrender. Beyond that, it depends whom you ask. To the current Communist government of Việt Nam, whose historical narrative of national unity against foreign invasion denies the legitimacy of South Vietnam, he is a political traitor. To the American state, who conceptualizes the Vietnam War as a struggle between the U.S. and the Communists, he is a forgotten subject. To patriotic South Vietnamese veterans in the diaspora, who push back against these state imposed narratives of “organized forgetting,”[1] he is hero. To Colonel Hồ Ngọc Cẩn’s family members, most of whom live in Việt Nam, he is a loved a one. To me, he is a grand-uncle. But I did not know of his fame—of his story—until I was twenty-one. Researching Colonel Hồ Ngọc Cẩn, I grappled with the following questions: Who has the power to write history? How do stateless peoples archive their own history? What is the relationship between history and cultural memory? How is cultural memory embodied and enacted? How do cultural memory practices both challenge and constitute “official” history and nationalist discourse? What is the nature and use of a politics haunted by ghosts and oriented towards the past? In the first body chapter, I draw from websites created by South Vietnamese veterans—what I call a “subaltern digital archive”—to recreate a biographical sketch of Colonel Hồ Ngọc Cẩn. This sketch is interwoven with a narration of the geopolitical context—the different events that were happening in the Asian Pacific during Colonel Hồ Ngọc Cẩn’s lifetime. I acknowledge that all of history is a construction—a process of editing and making sense of the past—and thus I construct a history that centers, rather than effaces, Colonel Hồ Ngọc Cẩn. The other two body chapters examine the cultural memory production surrounding Colonel Hồ Ngọc Cẩn. One chapter highlights the ways in which South Vietnamese Americans engage in cultural memory practices, carving out a space in the present for the ghost of Colonel Hồ Ngọc Cẩn. In these memory acts, Colonel Hồ Ngọc Cẩn becomes a symbol for the Republic of Vietnam—a way for veterans to resurrect the ghost of this now-defunct state. Although South Vietnamese Americans’ resistance to state imposed narratives is admirable, I acknowledge that not everyone has the privileged to be so vocal. Thus in the next chapter, I highlight the oral histories of Colonel Hồ Ngọc Cẩn’s family members, most of whom live in Việt Nam, and thus are not allowed to publicly commemorate their loved one. These are stories that exist only in the space of memory—that are absent from both official state histories as well as the online timelines created by South Vietnamese American veterans—timelines that focus of Colonel Hồ Ngọc Cẩn’s military valor. Instead, Colonel Hồ Ngọc Cẩn’s relatives offer an alternate version of heroism—a more feminine version of heroism that appreciates Colonel Cẩn’s virtues and domestic contributions as well as his masculine victories. [1] Marita Sturken, Tangled Memories: The Vietnam War, the AIDS Epidemic, and the Politics of Remembering (Berkeley: University of California Press, 1997), 7.