Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre" / This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. " / A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sócio-histórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”.

This dissertation explores the relationship between remembrance and citizen humanities. Combining the study of three qualitative empirical sources (an explorative comparison of five citizen humanities projects, an autonetnography conducted in one of the projects and the observation and analysis of the interaction of the online community in said project) the epistemic culture in citizen humanities and how remembrance is enacted in this context are addressed. The findings indicate that the participatory epistemic culture inherent to the citizen humanities allows a limited number of participants to transcend the roles that are assigned as mere data collectors, pursuing their own independent research projects. In this context, remembrance takes place in two levels, first by creating cultural mnemonic manifestations in the form of searchable metadata, transcribed data, digitized objects, images and rerecorded stories and second, by the act of creating knowledge and sharing it with the community. Finally, it is suggested that in the context of the citizen humanities, the traditional dichotomy of history vs. memory is challenged by the figure of the citizen historian, as this subject creates historical knowledge but also enacts mnemonic practices exemplified by the creation of cultural mnemonic manifestations and by recalling, recognizing, and localizing memories, both their own and from others.

Cultural Memory and its functions in the case of Božena Němcová The presented thesis is concerned with the topic of the construction of the portrayal of Božena Němcová and its functions in the cultural memory. Regarding the question of Božena Němcová's portrayal, this thesis is focused on the construction of gender identities in the remembering process. The influence of mediality of given representation on the process of gender identity construction is also explored here. The examination of the function of Božena Němcová's portrayal in the cultural memory is based on its intertextuality. The intertextuality is in this thesis understood as a valency plurality of Božena Němcová's portrayal in relation to other figures and themes of the cultural memory canon. The analyses in this paper is based on the concept of Cultural Memory Studies (Jan Assmann, Astrid Erll, Aleida Assmann), and Gender Studies (Judith Butler). There are different types of sources examined in this paper (textbooks, film, literature, press, social media), arranged from the present to the past. Key words: Božena Němcová, canon, cultural memory, mediality, gender identity

Thesis (M. A. (Media Studies)) -- University of Limpopo, 2021 / The study investigates the popular South African feature film entitled Safarina (1992) and its depiction of young South Africans’ resistance against the apartheid system during the 1970s through the 1980s. It analyses how Sarafina portrays the socio-cultural and political environment that characterised the apartheid modus operandi; explores the film’s ideological frames of societal dissent during apartheid and examines Sarafina’s cinema verité and application of symbolism in portraying the historical context and narrative of the South African struggle for freedom. The study refers to extensive literature about film as an artistic medium, dynamics in film genre, its role in representing societal dissent, application of filmic elements in technical production and relevance of symbolism in film criticism. The theoretical framework entails two theories, namely Framing and Ideological Film Criticism. The study adopted the qualitative descriptive case study design cognisant of its ability to provide a complex visual and audio-textual description of the events represented during the period under study. It used purposive sampling to select the film Sarafina to elucidate the contours and experiences of the apartheid system in pre-democratic South Africa. Methodological techniques used in the study involved audio-visual content analysis during the data collection process and thematic analysis from which discursive themes were generated and findings were derived. The findings of the study demonstrate the representational etiquette of Sarafina to bring out significant political and cultural memories of the struggle for freedom with potential to create conducive spaces for positive social, cultural and political benefits for the contemporary South African society. The study concludes by recommending the usage of Sarafina and other forms of film genre, not only as artefacts for preserving historical experiences, but also to promote active citizenship, good democratic governance, and effective service delivery in post-apartheid South Africa.

This thesis discusses the Soviet mass deportation historical culture narrative formation and their use of history in contemporary Latvia. Looking to find research answer to question of: How are the Soviet mass deportations of 1941 and 1949 used in, and forms Latvian historical culture, in the novel Five Fingers and the film Chronicles of Melanie? The analysis is done via three connected parts using concepts of use of history, cultural and social memory. First, the paper gives an analysis of socio-historical context giving the historical background of mass deportations and the emerging historical culture use in society since 1986. The second part of the paper focuses on two separate narrative analysis of Latvian cultural expressions. The book “Five fingers” by Mara Zalite and the film “Chronicles of Melanie” dir. Viesturs Kairish. Both works analysed by their portrayed story narrative of deportation experience and how they form cultural narratives and use history within the work. The last part of the paper is interpretation- reinterpretation of socio-historical and narrative analysis together. To see the role of the novel and film, have in the use of historical culture, and how they help form the historical narrative in society. Analysing the broader context via social media responses book and film received from the public and seeing how cultural works are forming historical culture in Latvia. The thesis concluded that the novel and film are moral and existential uses of history, as they discuss topics censored during the Soviet period. The authors feel a duty to bring accounts of the past back to the centre of attention in order for people not to forget. Additionally, both works are playing a part in forming new narrative within historical culture, by moving away from identifying as the victim of soviet deportations to survivors of the past. Thus, playing an important role in Soviet mass deportation historical culture in Latvia.

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For decades, Swahili culture and society have been mischaracterized as an extension of Arabic cultural development. Within the last few decades scholars like Thomas Spear, Derek Nurse, and Chapurukha M. Kusimba have challenged Arabcentric and Eurocentric reductionist notions regarding the development of Swahili society. This dissertation traces the discourse of the historiographic discourse of Swahili culture and its impact on the way that the Swahili people, culture, and language are conceptualized. Furthermore, the research presented here is not solely focused on the material evidence of the development of African communities on the Swahili coast, but also on the ethical and cultural foundations of Bantu society manifested within Swahili society. The African ethics manifested in early Swahili society which still exists today illustrate a more nuanced understanding of the Africanity of coastal communities. As demonstrated by the traditional saying of Swahili communities, select folktales, and the construction of philosophical terminology, the ethics and cultural values of an African cultural paradigm. This idea of the essentiality of the African cultural paradigm to the foundation and development of Swahili culture is evidenced by the cross-cultural analysis of Swahili historical and cultural phenomena to other African communities. / African American Studies

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京都大学 / 新制・課程博士 / 博士(文学) / 甲第25047号 / 文博第952号 / 新制||文||744(附属図書館) / 京都大学大学院文学研究科現代文化学専攻 / (主査)教授 小野沢 透, 教授 塩出 浩之, 教授 直野 章子, 教授 河 棕文 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DGAM

This thesis examines the state-sponsored rise of local patriotism in the post-1961 period, interpreting this as part of the effort to strengthen popular support for and the legitimacy of the Soviet regime during the second phase of de-Stalinization. It shifts the analytical focus away from the Secret Speech of 1956, the time of Khrushchev’s full-scale assault on Stalin and his legacy, to the Twenty-Second Party Congress of 1961, the inauguration of a utopian and pioneering plan to build Communism by 1980. The thesis considers how this famously forward-looking programme gave rise to an institutionalized retrospectivism as Soviet policy makers turned to the past to mobilize popular support for socialist construction. It examines how this process played out in the Russian North West, where Soviet citizens were encouraged to turn inwards to examine their local history and traditions, and to reread these through the lens of Soviet socialism. The thesis takes as a case study the towns of Novgorod, Pskov, and Vologda, where the state-sponsored regeneration of local traditions significantly impacted on the self-perception of local communities. In the first part, I look at the strategies for representing and displaying local culture in pubic institutions: the textual treatment and symbolic ordering of urban space in local tourist guides; the heritage movement and the attribution of cultural value to certain objects from the local landscape; and the primary focuses of the exhibitive 'gaze' in local museums. The second part of the thesis shifts the focus from institutionalized culture to popular culture, examining the informal practices and oral traditions that exist alongside the authoritative discourses of social identity in the post-Soviet period. The popular interpretation of public sculpture, the collective imagination of urban space, and the 'common knowledge' of the past as it is articulated in oral narratives are the focuses of discussion.