Discourse characterising climate change has largely revolved around aspects within the realm of impact identification, mitigation and adaptation. Apparently, a burgeoning appetite to examine the role of indigenous knowledge (IK) now confronts the fronts of climate science, policy and practice. The surge in attention to localbased knowledge is attributed to growing challenges posed by change and variability in the climate system. This study argues that indigenous-based knowledge is capable of filling knowledge gaps and validating current understanding about climate change particularly at local levels. Essentially, the paucity of knowledge about local climatic events can be circumvented by engaging indigenous ‘scientists’ whose many years of direct contact with the environment have equipped them with the indispensable knowledge, skills and experiences to understand the same. Primarily, the thesis’ objectives were threefold. One, it captured useful indicators of climate change and variability from the understanding of the indigenous people, which can also be used to enhance understanding of climate change impacts.Two, it drew from the knowledge, experiences, skills and practices of the locals in order to inform appropriate community level mitigation and adaptation interventions. And, three, it highlighted the fact that knowledge of the indigenous people can be used to direct research on climate change. The study area (Muzarabani in Zimbabwe) experiences recurrent droughts and floods and its villagers rely predominantly on climate-sensitive livelihoods. As such, it was selected to provide a reliable case on IK practices and experiences of the people witnessing climatic events. The study was framed within an epistemological and methodological configuration of emancipatory pedagogy that looks at the generators of climate knowledge as ‘scientists’ in their own right. A qualitative elicitation interviewing technique involving in-depth discussions with traditional leaders and elderly knowledgeable citizens was conducted. The participants were selected through chain referrals until the level of theoretical saturation. In addition, directed field observations, document analysis and key informant interviews with other respondents selected through theoretical sampling enhanced the robustness of data acquisition methods. Group-based participatory data analysis and reflexive pragmatism also enhanced rigour and quality of research findings intended to balance between the strictures of the scientific audience and the views of the knowledge generators. Three key themes were derived from IK-climate change linkages as: indigenous based indicators of climate change, indigenous-based mitigation and indigenous based adaptation. A range of indigenous-based indicators identified pointed to a progressively drier climate with shorter growing seasons that are also punctuated by mid-season dry spells. A trend towards increased desiccation of water bodies (rivers, ponds and vleis) was further observed. There is also an upsurge in the abundance and pestiferous nature of Macrotermes spp, Quelea quelea and Acanthoplus discoidalis, which are most likely related to climate change. Some of these indicators closely match with those used in mainstream climate science and they also serve to understand climate change impacts at a finer local level of analysis. Indigenous-based mitigation is mainly driven by the notion of sacredness where the locals regard forestry, certain trees and vleis as sacrosanct. Tampering with these is believed to upset the spirits who have powers to influence climate. Opportunities associated with IK deployment in climate mitigation are understood from the viewpoint of enhancing greenhouse gas (GHG) sinks and that of reducing vulnerability to extreme climatic events. Specifically, this can be achieved through enhancing GHG sequestration through forestry and land-use management initiatives; that is, reducing emissions from deforestation and forestry related degradation (REDD+) and Land Use and Land-Use Cover and Forestry (LULUCF). These two are the dominant schemes adopted by the Intergovernmental Panel on Climate Change (IPCC) to govern climate mitigation. Indigenous disaster risk management (DRM) strategies abound in drought, famine, flood and violent storms through various forms such as Zunde raMambo, nhimbe, rain-making ceremonies and community early warning systems (EWS).The locals in Muzarabani are not passive observers of the changing climate system. Increasing environmental risks necessitates them to devise countermeasures for responding to climatic stimuli with the intention of minimising harm and/or enhancing the benefits brought about by the same. Thus, a portfolio of IK-based adaptation strategies best described as an assortment of short-term coping practices and longterm adaptive strategies were identified. These range from exploitation of ecosystem services, agricultural based interventions, riverine farming, traditional phonological knowledge (TPK) to migration. Therefore, it was revealed that community-based adaptation (CBA) can adequately leverage on IK to improve adaptive capacity and build community resilience against climate change. Clearly, the complementary role of indigenous-based knowledge cannot be disputed, given the demonstrated range of applications from identifying several indicators of change and variability in the climate system, examination of climate change impacts, to identification and assessment of mitigation and adaptation options. The study advises that exogenous climate interventions need to be congruent with indigenous based strategies to avoid maladaptation. To the climate research community therefore, it should be realised that IK is useful both as leads and as baseline knowledge for future work on the impacts of climate change, and in the assessment of climate interventions. In this regard, the remaining challenge is to formulate a framework of constructive dialogue between indigenous scientists and conventional scientists so as to make sure that the mutual benefits of the two knowledge forms are adequately harnessed. Handled well, such collaborative effort would ensure enhanced climate change knowledge for successful mitigation and adaptation strategies. Handled poorly, there is a risk that the developmental needs of communities exposed to climatic events would not be addressed.

Submitted by Mariana Dornelles Vargas (marianadv) on 2015-05-05T12:45:33Z No. of bitstreams: 1 passado_futuro.pdf: 16058970 bytes, checksum: 3634991ca8eeca5a87beb1c96b6edf7f (MD5) / Made available in DSpace on 2015-05-05T12:45:33Z (GMT). No. of bitstreams: 1 passado_futuro.pdf: 16058970 bytes, checksum: 3634991ca8eeca5a87beb1c96b6edf7f (MD5) Previous issue date: 2012-04-10 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação analisa como as comemorações do primeiro centenário da Revolução Farroupilha produziram uma memória sobre o evento. A pesquisa utiliza documentação periódica publicada em Porto Alegre, nos jornais A Federação, Correio do Povo, Diário de Notícias e Jornal da Manhã. A investigação pretende compreender quais foram os elementos acionados nas representações e interpretações sobre este episódio, e como as narrativas mobilizaram a rememoração deste evento nos usos do passado farroupilha. Busca-se assim perceber como a experiência e a expectativa foram relacionadas e de que forma inscreveram o presente em uma perspectiva temporal. O trabalho visa contribuir para os estudos sobre a construção da memória farroupilha e a constituição de uma identidade regional. / This dissertation examines how commemorations of First Centenary of the Farroupilha Revolution produces a memory of the event. This study uses documents published periodically in Porto Alegre, on the newspapers A Federação, Correio do Povo, Diário de Notícias and Jornal da Manhã. The research aims to understand the elements which were triggered in the representations and interpretations of that episode, and how narratives mobilized the recollection of this event in the Farroupilha?s past uses. Search to see how well the experience and expectations were related and how they entered this in a time perspective. The work aims to contribute to studies on the construction of Farroupilha memory and the constitution of a regional identity.

Although this work was commissioned for the purpose of celebrating Alfred Hospital’s first one hundred years, I have made no effort to cover all of those years. I have set out: 1. To isolate the historical precedents for current hospital procedures and in particular to explore the relationship between Alfred Hospital and the State Government. This task was burdened by the scarcity of early hospital records and of research in related fields of charitable and social welfare - which emphasizes the value of rescuing the hospital’s fast vanishing past from oblivion. 2. By attention to human relationships (that constantly inconsistent element in all institutional affairs) to evoke those unique qualities which distinguish Alfred Hospital from other similar hospitals. 3. To convey what the Alfred meant to the greatest number of people associated with it. 4. To provide a useful source of reference.

In the late nineteenth century, traditional Protestant social thought which stressed the idea of individual regeneration underwent a gradual readjustment to include the reforming impulse directed towards saving society from the collective ills of industrial life. In order to understand more precisely the origin and nature of this transformation, this study examines the social composition of three Hamilton churches --Centenary Methodist, Central Presbyterian and Christ's Church Cathedral --from 1890 to 1899, a critical decade in the history of religious and secular arrangements in Canada. It is premised on the proposition that local congregations provided the immediate context in which the new social gospel was often developed; they were the recipients of its message and their susceptibility to it would deeply affect its future course. This study belies the uncritical view of businessmen as heroic "Captains of Industry" or as unfeeling exploiters of an underprivileged working class. The high degree to which most of the lay leaders participated in the business and spiritual affairs of their church and the range of their community interests is suggestive of the extent to which the sacred and the secular were intertwined. Drawn from the middle classes, they saw themselves as directing agents responsible for the material, moral and social well-being of society. At the center of their belief system was the notion that practical consistency in character and conduct must form the basis of a rational capitalistic organization of industrial labor. While most of the lay leaders would never make the shift to the social gospel associated with the new liberalism, their action in manifesting a robust Protestant spirit engaged with social ills as they saw them clearly set a mood of social optimism and a style of activism on which the social gospel could thrive. / Thesis / Master of Arts (MA)

Submitted by Marcia Leitzke (marcia.leitzke@unioeste.br) on 2017-05-23T11:54:01Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Thamara_Parteka.pdf: 2936748 bytes, checksum: 7e1bd3fd430de10a6e4924f72dd1c655 (MD5) / Made available in DSpace on 2017-05-23T11:54:01Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Thamara_Parteka.pdf: 2936748 bytes, checksum: 7e1bd3fd430de10a6e4924f72dd1c655 (MD5) Previous issue date: 2016-03-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this study is to analyze official discourses about the state of Paraná made in the first half of the 1950, during the administration of Bento Munhoz da Rocha Neto (1951-1955). In this period there were celebrations for the first centenary of state political emancipation (1953), which contributed to the discursive construction now analyzed. Such celebrations made the Paraná gain much visibility on the national scene, as well as huge dizibilidade caused by the production of many materials, monuments, as well as conferences and other events, whose central proposition is to build an idea about the state of its population, its economy, as well as establishing or consolidating memories and identities. Although many materials coats is a scientific aura, exposing the sole purpose of disseminating facts and statistics on the state, to include a broader set of analysis, they contribute to the construction of discourses on the Paraná, which are widely accepted and widespread, remaining until today. The work focuses on the analysis of documents understood as officials, in view of the sites where they were produced, the organs for which they were financed, and the guys who make the right to speak on behalf of what is understood as Paraná people. The analyzed sources were messages sent by the Governor to the Legislative Assembly in the years 1951 to 1956, the work 1º Centenary of Emancipation Paraná Policy - 1853 to 1953 - State Government Edition, the book of Paraná images, and Brazil Guide Globe Export and Import. / O objetivo geral deste trabalho é analisar discursos sobre o Estado do Paraná constituídos na primeira metade dos anos 1950, durante o governo de Bento Munhoz da Rocha Neto (1951-1955). Neste período ocorreram as comemorações pelo primeiro centenário de emancipação política do Estado (1953), o que contribuiu para a construção discursiva ora analisada. Tais comemorações fizeram o Paraná ganhar muita visibilidade no cenário nacional, além da enorme dizibilidade causada pela produção de inúmeros materiais, monumentos, bem como congressos e outros eventos, cuja proposição central era construir uma ideia sobre o Estado, sobre sua população, sua economia, além de instituir ou reforçar memórias e identidades. Apesar de muitos materiais revestirem-se de uma áurea científica, expondo como único objetivo a divulgação de fatos e dados estatísticos sobre o Estado, compreende-se, num conjunto mais amplo de análise, que eles contribuem para a construção de discursos sobre o Paraná, os quais são amplamente aceitos e difundidos, permanecendo até os dias atuais. O trabalho centra-se na análise de documentos compreendidos como oficiais, tendo em vista os locais onde foram produzidos, os órgãos pelos quais foram financiados e os sujeitos que ganham o direito de falar em nome do que se compreende como povo paranaense. As fontes analisadas foram: mensagens enviadas pelo governador à Assembleia Legislativa entre os anos de 1951 a 1956, a obra 1º Centenário de Emancipação Política do Paraná – 1853 – 1953 – Edição do Governo do Estado, o livro de imagens Paraná, Brasil e o Guia Globo de Exportação e Importação.

Painted in 1937 as part of the centenary celebration of the death of Alexander Pushkin, Nikolai Ulyanov's A. S. Pushkin and his Wife, N. N. Pushkina at the Imperial Ball has been lauded as the quintessential example of Soviet history painting. Modern scholars have followed the lead of Soviet critics, who praised the painting for its insight into the psychology of the brilliant poet repressed by the tyrannical tsarist regime. According to this interpretation, Soviet viewers in the 1930s were to ponder on the tragedy of Pushkin's demise and rejoice that the victory of Socialism had freed them from such repression. However, this thesis suggests that Ulyanov embedded a secondary, subversive message in his masterpiece. Through careful manipulation of Pushkin's complex semiotic significance, Socialist Realist dialectics, and the Aesopian method, Ulyanov crafted an image that could be celebrated for its adherence to Soviet ideology, while simultaneously suggesting to those who detected his clues that artistic repression had not ended with the revolution. In this subversive reading, Ulyanov's masterwork becomes a psychological self-portrait of an artist living under Stalinist oppression during the Great Terror.

O foco dessa dissertação é a Exposição Histórica do Brasil organizada no interior da Exposição do Mundo Português, em Lisboa, no ano de 1940, quando Oliveira Salazar decidiu comemorar os centenários da fundação de Portugal (1139) e o da Restauração (1640). A Exposição brasileira foi orientada e executada sob a direção de Gustavo Barroso, enviado a Portugal como um dos delegados do Brasil à Exposição do Mundo Português e como Diretor do Museu Histórico Nacional. Ao propor a Exposição Histórica do Brasil como tema, pretendeu-se compreendê-la como expressão de uma forma específica de reconstituir o passado do Brasil, tentando inseri-la no contexto cultural e político do período, contribuindo para o entendimento do modo pelo qual se configurou, na época, uma escrita da História do Brasil, simultaneamente, incrustada no Museu Histórico Nacional e no espaço dos eventos ocorridos em Portugal. / The focus of this essay is the Historical Exposition of Brazil organized inside the Exhibition of the Portuguese World, in Lisbon, in 1940, when Oliveira Salazar decided to celebrate the centenary of Portugal foundation (1139) and of the Restoration (1640). The Brazilian Exposition was guided and carried out by the lead of Gustavo Barroso, who was sent to Portugal as one of the Brazilian representatives in the Exhibition of the Portuguese World and as the Curator of the National Historical Museum. In proposing the Historical Exposition of Brazil as a theme, the intention was to understand it as an expression of a specific way of reconstituting the past of Brazil, trying to insert it in the political and cultural context of the time, contributing to the understanding of how it configured, at the time, a writing of the History of Brazil, simultaneously, incrusted in the National Historical Museum and in the area where the events took place in Portugal.

O foco dessa dissertação é a Exposição Histórica do Brasil organizada no interior da Exposição do Mundo Português, em Lisboa, no ano de 1940, quando Oliveira Salazar decidiu comemorar os centenários da fundação de Portugal (1139) e o da Restauração (1640). A Exposição brasileira foi orientada e executada sob a direção de Gustavo Barroso, enviado a Portugal como um dos delegados do Brasil à Exposição do Mundo Português e como Diretor do Museu Histórico Nacional. Ao propor a Exposição Histórica do Brasil como tema, pretendeu-se compreendê-la como expressão de uma forma específica de reconstituir o passado do Brasil, tentando inseri-la no contexto cultural e político do período, contribuindo para o entendimento do modo pelo qual se configurou, na época, uma escrita da História do Brasil, simultaneamente, incrustada no Museu Histórico Nacional e no espaço dos eventos ocorridos em Portugal. / The focus of this essay is the Historical Exposition of Brazil organized inside the Exhibition of the Portuguese World, in Lisbon, in 1940, when Oliveira Salazar decided to celebrate the centenary of Portugal foundation (1139) and of the Restoration (1640). The Brazilian Exposition was guided and carried out by the lead of Gustavo Barroso, who was sent to Portugal as one of the Brazilian representatives in the Exhibition of the Portuguese World and as the Curator of the National Historical Museum. In proposing the Historical Exposition of Brazil as a theme, the intention was to understand it as an expression of a specific way of reconstituting the past of Brazil, trying to insert it in the political and cultural context of the time, contributing to the understanding of how it configured, at the time, a writing of the History of Brazil, simultaneously, incrusted in the National Historical Museum and in the area where the events took place in Portugal.

Esta tese analisa o processo de estabelecimento do Monumento à Independência como \"lugar de memória\" da emancipação política brasileira. Criada no contexto das comemorações do Centenário da Independência, a obra tornou-se elemento central dos festejos paulistas e revelou-se como um projeto de afirmação da cidade de São Paulo como centro simbólico do país, num embate evidente com a cidade do Rio de Janeiro na criação de uma história oficial brasileira. A trajetória dessa obra foi reconstituída, desde as primeiras intenções de edificação de um monumento no Ipiranga, ocorridas no período imperial brasileiro, até a inauguração do que ali se fez, em 1923. Analisou-se processo de escolha da obra, selecionada por meio de um concurso público internacional, examinando os debates em torno do edital, os projetos concorrentes e as críticas publicadas na imprensa em relação aos diferentes projetos. Constatou-se a importância de se ter selecionado o projeto de Ettore Ximenes, um artista italiano de grande reconhecimento profissional, como uma estratégia de consagração nacional e internacional do novo monumento paulista. Foram evidenciados os paralelos e sinergias entre os temas dos conjuntos escultóricos e relevos do Monumento à Independência com a exposição do Museu Paulista criada por Affonso Taunay para a comemoração de 1922, convergência favorecida pelo fato de que o historiador atuara simultaneamente como membro da comissão julgadora do concurso e diretor da instituição museológica. Além da obra escultórica e da exposição histórica, o projeto de consagração da colina do Ipiranga previa também o estabelecimento de um eixo urbano monumental, pontuado por esculturas e áreas ajardinadas, que ligaria o conjunto histórico ao centro da cidade. As intenções celebrativas da elite dirigente paulista, no entanto, foram impactadas pela incompletude do monumento e das obras a ele relacionadas em 1922 e pela diminuta repercussão que a inauguração do Monumento à Independência obteve na imprensa nacional e internacional. / This thesis analyses the process of establishing the Monument to the Independence of Brazil as a \"place of memory\" representing Brazilian political emancipation. Created within the context of the centennial celebrations of the 1822 Independence, this sculpture was central to São Paulo\'s festivities, and proved to be a representation of the city\'s project to assert itself as the symbolic center of the country, in an overt dispute with the city of Rio de Janeiro for the creation of an official history of Brazil. The history of this piece was retraced back to the earliest intentions of erecting a monument in the Ipiranga district - during the Imperial period - up to its dedication in 1923. The selection process of this sculpture, which was carried out publicly, is herein analyzed, while also examining the debates engendered by its official announcement, its contending projects, and the criticisms published in the press regarding the various projects. The election of a design by Ettore Ximenes - a widely renowned Italian artist - is deemed as a strategy to confer distinction and fame, in national and international levels, to this new monument in São Paulo. The themes found in this set of sculptures and reliefs are shown to be correlated and synergized with the Museu Paulista exhibition - set up by historian Affonso Taunay - for the 1922 celebrations. This convergence of compositions was favored by the fact that Taunay acted simultaneously as member of the public selection\'s judging committee and as director of the aforementioned museum. In addition to the sculpture and to the historical exhibition, the project of aggrandizing and promoting the Ipiranga hill also included creating a monumental urban axis, filled with sculptures and gardens which would connect this historical site to the city center. However, the celebratory intentions of the paulista elite were marred by the delayed construction of the monument and other works connected to it - unfinished in 1922 -, and by the limited repercussion engendered by the inauguration of the Monument to the Independence of Brazil in local and international media.

This thesis explores representations of the First World War in English theatre, Theatre in Education (TIE), and Living History between 2014 and 2015. By employing an interdisciplinary approach it evaluates these performance genres in relation to responses sought from Key Stage 3 History pupils. The beginning of the centenary created a cultural outpouring and provided opportunities for secondary schools to include field trips and creative learning about the war. Examination of this commemorative period is contextualised by examining pupils’ interaction with cultural works since 1914, showing that the centenary moment stemmed from a tradition of creatively remembering and teaching the conflict. This perspective highlights long-standing complexities in the relationship between creative practitioners, teachers and education authorities. It also confronts the divide that has grown between some creative practitioners and revisionist historians of the First World War. Revisionist historians’ reassessment of the conduct and necessity of the war has led some to harshly judge cultural works, such as performances, for misleading audiences. Yet little research has been conducted into twenty-first century productions about the war and their reception by school audiences. An investigation of these performances problematizes scholarly notions about how and who has the authority to communicate the First World War to the next generation. Whilst the providers, gatekeepers, and critics of learning through performance are of central consideration, this thesis also values the pupil’s voice. Ten Key Stage 3 cohorts are used as case studies, providing a snapshot of the creative activities and field trips employed by schools in 2014 and 2015. Interviews and questionnaires provide pupils’ feedback on what they thought and how they felt about studying history through performance. Observations of History lessons and performances also remove the debate from the hypothetical to the realities of history teaching. They reveal that pupils’ cultural backgrounds, schooling, and exposure to cultural works shaped their responses to performances about the First World War. Pupils also assigned the performances varying degrees of historical authority, some viewed them as merely entertainment, others as educational sources and several as a mixture of the two. Performances brought immediacy and life to the historical topic and provoked an empathetic response from many pupils. Yet some struggled with the symbolism of theatre and others feared the participation that came with TIE and Living History. Consequently, this thesis explores pupil’s critical, personal and emotional engagement with performances, raising questions about what criteria should be used to evaluate the success of such non-formal learning on the war.