The three centennial celebrations sponsored by the W.A.C. Bennett Social Credit government in 1958, 1966/67 and 1971 were part of a process of self-definition and province building. Post-war state development in British Columbia certainly included expanding and nationalizing transportation, building ambitious mega projects, and encouraging resource extraction in the hinterlands. The previously unstudied centennials were no less important to defining post-war British Columbia by creating the infrastructure on which cultural and hegemonic province building could take place. Using the methodologies and theories of Cultural Studies this study attends to both the discursive and material elements of these occasions. It uses the voluminous records of the three Centennial Committees, newspaper articles, government reports, and documents from community archives to reveal that that these elaborate and costly centenaries served the government’s desire to build an industry-oriented consensus in BC’s populace. The government - and its Centennial Committees - sought to overcome regional disparities and invite mass participation by making the celebrations truly provincial in nature. Each community, no matter its size, had a local centennial committee, was funded for local commemorative projects, was encouraged to write its history, and enjoyed traveling centenary entertainments. All communities benefited from cultural amenities, the province’s capital assets grew, the province started to undertake heritage conservation and residents gained a new appreciation for their history. Invented traditions - limited and constructed historical re-creations and motifs – helped overcome regional differences. British Columbians were presented with images and narratives of explorers, gold-seekers, and pioneer-entrepreneurs who opened up the interior with ingenuity and bravery, as well as a mythic, popular “old west” narrative that all citizens, no matter region, could rally around. A trade fair and tourism promotion reinforced the tradition of industry especially for manufacturers and small business. By and large, British Columbians in 1958 – particularly white males who found an anti-modern release in centennial events – accepted and legitimized this industry-oriented consensus. In the two later centennials new counter-hegemonies challenged this consensus. First Nations had opposed the colonial narrative in 1958, but by 1966/67 and 1971 they were more vocal and politically active. Other British Columbians opposed the development agenda of the centenaries; youth, environmentalists and labour argued that the celebrations were a waste of time, money, and energy when more pressing issues of environmental degradation and unemployment were present. The government’s static Centennial Committee was ill equipped to address these challenges. It offered superficial amends, such as creating Indian Participation and Youth Subcommittees, but ultimately could not repudiate the hegemony on which it, and Social Credit, was based.

Orientador: Edgar Salvadori De Decca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T00:17:24Z (GMT). No. of bitstreams: 1 Sant'Ana_ThaisRezendedaSilvade_M.pdf: 6188972 bytes, checksum: 3ef53406fc30e6d6a969dd0bcbf246f7 (MD5) Previous issue date: 2008 / Resumo: A Exposição Internacional do Centenário da Independência do Brasil, realizada no Rio de Janeiro em 1922, foi o maior evento republicano do início do século XX. Visitantes e autoridades de todo o país e do mundo foram atraídos à essa primeira exposição internacional brasileira, organizada pelas elites nacionais como espécie de vitrine para exibir os avanços do país ¿ do ponto de vista industrial, econômico e social - e afirmar a identidade da nação no ano em que era comemorada a emancipação política brasileira. O certame ainda motivou uma série de transformações no espaço urbano da então capital republicana; impulsionou o emprego de novos materiais e técnicas de construção, agregou grande valor aos arquitetos e consagrou o neocolonial como o ¿estilo nacional¿. A ocasião do Centenário da Independência do Brasil favoreceu a instauração de um ambiente que incentivava autocrítica entre as diversas camadas sociais do Rio de Janeiro. As idéias que surgiram desses questionamentos repercutiram nas mostras exibidas no certame de 1922. Porém, não houve na historiografia oficial o reconhecimento da Exposição do Centenário como acontecimento relevante para uma melhor compreensão das mudanças e transformações sociais, políticas, econômicas e culturais que marcaram a primeira metade do século XX brasileiro. Por muitos anos, tal historiografia tendeu a associar a manifestação da modernidade no Brasil à cidade de São Paulo e à Semana de 1922, reduzindo esse complexo e contraditório movimento a apenas uma de suas manifestações. A presente dissertação vem evidenciar a influência da Exposição Internacional do Centenário no movimento da modernidade brasileira. O evento é aqui apresentado como a própria materialização da efemeridade modernista de seu tempo; cenário onde estavam dispostas imagens e ideais políticos, econômicos, culturais e urbanos que caracterizavam aqueles agitados anos do início da década de 1920 no Brasil / Abstract: The 1922 Rio de Janeiro International Centennial Exhibition, was the largest event of the republic in the beginning of the 20th century. Nation and worldwide visitors and authorities were attracted to this first Brazilian international exhibition, organized by the country¿s elite, as a means to demonstrate the advancements of the country ¿ through an industrial, economical and social point of view ¿ and to ratify the identity of the nation in the year that the Brazilian political emancipation was celebrated. The exhibition motivated a series of transformations to the urban space of the former capital of the republic; it also stimulated the application of new materials and techniques of construction, added great value to the architects and established the neocolonial as the new ¿national style¿. The atmosphere of the Centennial of Independence of Brazil favored the development of an environment that promoted self ¿criticism among the various social classes of Rio de Janeiro. The ideas which emerged from such self-criticism had repercussions in the various displays of the exhibition of 1922. However, there was no recognition of the 1922 Rio de Janeiro International Centennial Exhibition in the official historiography as a relevant event to a better understanding of the social, political, economical and cultural changes and transformations that marked the first half of the 20th century in Brazil. For many years, such historiography was inclined to associate the manifestation of modernity in Brazil to the city of São Paulo and to the Week of 1922, reducing this complex and contradictory movement to only one of its manifestations.This thesis shows evidences of the influence of the 1922 Rio de Janeiro International Centennial Exhibition in the movement of modernity of Brazil. The event is presented in this study as the actual materialization of the modernist ephemerality of its time. That setting displayed a series of images and political, economical, cultural and urban ideals which characterized the turbulent years of the beginning of the 1920s in Brazil / Mestrado / Politica, Memoria e Cidade / Mestre em História

Cette thèse interroge les pratiques de mémoire hétérogènes qui ont émergé à propos de l’équipe de hockey du Canadien de Montréal dans le cadre du centenaire de l’équipe en 2009. Elle a le double objectif 1) d’apporter un éclairage théorique communicationnel sur l’objet « mémoire » et 2) de développer une analyse contextuelle des pratiques de mémoire et des enjeux qu’elles rendent effectifs. Mon travail s’inscrit dans le champ des memory studies, et particulièrement dans le tournant médiatique actuel, ainsi que dans celui des cultural studies. Au cours du chapitre consacré à la problématisation, je développe une approche communicationnelle de la mémoire en interrogeant la matérialité des pratiques de mémoire ainsi que leur relation co‐constitutive avec les médias de mémoire, réalisées dans le cadre du centenaire. Dans les deux chapitres analytiques, je procède à une analyse d’archives hétérogènes (articles de journaux, captures de sites internet, notes d’observation, interviews, émissions spéciales, publireportages etc.) issues de registres de mémoire différents. Le deuxième chapitre questionne les pratiques de mémoire à propos de l’ancien joueur du Canadien Léo Gravelle, telle la numérisation d’archives et la constitution de la « boîte à chaussures », la « biographisation », la conservation et la fétichisation, ainsi que leurs façons spécifiques de rendre présent des passés. Ce chapitre met en évidence comment des rapports familiaux, des enjeux liés au vieillissement et des formes de camaraderie sont réarticulés par ces pratiques. Le troisième chapitre investigue les pratiques de mémoire développées par l’organisation du Canadien de Montréal, telle la commémoration et la patrimonialisation de l’équipe ainsi que du hockey, et leur manière particulière de réarticuler la relation du sport professionnel à la ville ainsi que des enjeux liés à la philanthropie et au consumer activism. Le quatrième chapitre propose une discussion sur les faire mémoire, comme moyen d’ « espacer », de s’engager « en public » et comme projet qui mobilise et organise. Cette thèse conclue finalement sur ce qui constitue la singularité de ce centenaire. / This dissertation explores the heterogeneous practices of memory that emerged during the centennial anniversary of the hockey team Canadien de Montréal in 2009. The dissertation’s goals are twofold: 1) bring a theoretical and a communicational light on the object ‘memory’; 2) produce a contextual analysis of these memory practices and of the issues they render effectives. My dissertation is situated in the fields of memory studies (especially in its current media turn) and cultural studies. In the first chapter dedicated to the ‘problematization’ of the centennial, I explore this event by a communicational approach of memory. This approach aims to interrogate the materiality of the practices of memory and their co‐constitutive relation with media of memory. In the two following analytical chapters, I proceed by analyzing a heterogeneous archive (newspaper articles, websites excerpts, observation notes, interviews, tv shows, etc.) from different registers of memory.The second chapter focuses on the practices of memory regarding the former hockey player Léo Gravelle. I analyze how practices –such as archive digitalization, constitution of a ‘shoebox’,‘biographization’, conservation and ‘fetichization’ –render present some pasts in specific manners. This chapter highlights how familial relations, aging issues and particular forms of friendships are rearticulated through these practices of memory. The third chapter analyses the practices of memory developed by the organization of the Canadien de Montréal. I explore the commemoration and the patrimonialisation of the team. I also focus on the particular ways in which these practices of memory rearticulate the relationships between a professional sport team and the city of Montreal and how they put forward new issues such as philanthropy and consumer activism. The fourth chapter discusses about the implications of ‘doing memory’, which I conceive as a means to ‘space’, as a manner of being involved as well as a project that mobilizes and organizes. I conclude the dissertation by outlining the singular elements which constitute this centennial anniversary.

Sweet Briar House is one of the best documented sites in Virginia, with sources ranging from architectural drawings and extensive archives to original furnishings. Sweet Briar House was purchased by Elijah Fletcher, a prominent figure in Lynchburg, Virginia, in 1830. Thirty years later it passed into the possession of his daughter Indiana Fletcher Williams, and remained her home until her death in 1900. In her will, Williams left instructions for the founding of Sweet Briar Institute, an educational institution for women that exists today as Sweet Briar College. This dissertation examines Sweet Briar House in three distinct phases, while advancing three theses. The first thesis proposes that the double portico motif introduced by Palladio at the Villa Cornaro in the sixteenth century became the fundamental motif of Palladianism in Virginia architecture, generating a line of offspring that proliferated in the eighteenth century and beyond. The Palladian plantation (Sweet Briar House I, c. 1800) featured this double portico. In 1851, following the return of the Fletcher children from an extended Grand Tour of Europe, the house was remodeled as an Italianate villa (Sweet Briar House II, 1851-52). The second thesis advances the contention that by renovating their Palladian house into an asymmetrical Italianate villa, the Fletcher family implemented an ideal solution between the balanced façade that characterized the Palladian Sweet Briar House I and the fashion for the Picturesque that dominated American building in the second half of the nineteenth century. In 1876, the Williams family traveled to the Centennial Exhibition in Philadelphia, where visitors were presented with an unimaginable array of artistic possibilities from countless eras and nations, exactly the conditions that the Aesthetic Movement needed to flourish in America. The third thesis maintains that the Williams family’s decision to transform Sweet Briar House into an Aesthetic Movement retreat was inspired by their reaction to the Centennial, and in particular by their appreciation for the Japanese objects presented there.

This study investigates the first Woman's Department at a World's Fair in the Deep South. It documents conflicts and reconciliations and the reassessments that post-bellum women made during the World's Industrial and Cotton Centennial Exposition in New Orleans, the region's foremost but atypical city. It traces local women's resistance to the appointment of northern abolitionist and suffragist, Julia Ward Howe, for this “New South” event of 1884-1885. It also notes their increasing receptivity to national causes that Susan B. Anthony, Frances E. Willard, and others brought to the South, sometimes for the first time. This dissertation assesses the historical forces that goaded New Orleans women, from the comfort of their familiar city, to consider radical notions that would later strengthen them in civic roles. It asserts that, although these women were skilled and capable, they had previously lacked cohesive force and public strategies. It concludes that as local women competed and interacted with women from across the country, including those from pioneering western territories, they began to embrace progressive ideas and actions that, without the Woman's Department at the Exposition, might have taken years to drift southward. This is a chronological tale of the journey late-nineteenth-century women made together in New Orleans. It attempts to capture their look, sound, and language from their own writings and from journalists' interpretations of their ideals, values, and emotions. In the potent forum for exchange that the Woman's Department provided, participants and visitors questioned and revised false notions and stereotypes. They influenced each other and formed alliances. Although individuals spoke mainly for themselves, common themes emerged regarding education, jobs, benevolence, and even suffrage. Most women were aware that they were in a defining moment, and this study chronicles how New Orleans women seized the opportunity and created a legacy for themselves and their city. As the Exposition sought to (re)assert agrarian and industrial prowess after turbulent times, a shift occurred in the trajectory of women's public and political lives in New Orleans and, perhaps, the South more broadly. By 1885, southerners were ready to insinuate their voices into the national debate on women's issues.

O presente trabalho tem como objetivo analisar a concepção, formalização e ocupação da Marquise do Parque Ibirapuera, através de uma trajetória que se inicia com a definição do programa de necessidades para as comemorações do IV Centenário da cidade de São Paulo, na década de 50 do século passado. Onde foi tomada a decisão de realizar a construção do que seria o maior parque público da cidade, somado a um conjunto edificado que centralizaria a maioria das atividades propostas durante o período de festividades. Ao mesmo tempo que essa grande obra deveria mostrar a força do progresso do Estado, serviria de legado as próximas gerações. Assim, a construção do programa funcional e sua posterior concepção arquitetônica, de autoria de Oscar Niemeyer e equipe, se mostram fundamentais como fonte de análise para entender o surgimento do elemento de ligação, a grande marquise, entre os pavilhões temáticos propostos. A primeira parte do trabalho examina a evolução do projeto, seus precedentes e as adversidades enfrentadas durante o período de construção. A segunda parte diz respeito a observação e coleta de dados das atividades realizadas sob esta grande cobertura após a conclusão de sua construção. Demonstrando, através de uma amostragem significativa, sua capacidade de servir de suporte a inúmeros usos, sejam eles programados ou espontâneos, no decorrer dos ultimos 60 anos. Superando seu programa inicial de ligação e suporte aos pavilhões com que está conectado e se consolidando como um lugar de intenso convívio social e de encontros, aberto a imprevisibilidade, ao uso indeterminado. / This study aims to analyze the design, formalization and occupation of the Ibirapuera Park\'s Great Marquee, through a trajectory that begins with the definition of the architectural brief for the IV Centennial of the city of São Paulo celebrations in the 1950\'s. Then was the decision to undertake the construction of what would be the largest public park in the city, plus a built set centralizing most of the proposed activities during the festivities. At lhe same time this great work should show the strength of the State\'s progress, it would serve as a legacy to future generations. Thus, the construction of functional program and subsequent architectural design of Oscar Niemeyer and team, show up as a source of fundamental analysis to understand the emergence of the connecting element, a large marquee, between the proposed thematic pavilions. Showing the evolution of the design, its precedents and adversities during the construction period. Conforming the first part of this work. The second part of the work is concerned with the observation and data collection of the activities performed under this great cover upon completion of its construction. Demonstrating, through a significant sample size, its architectural ability to provide support to a number of uses, whether preprogrammed or spontaneous, over the last 60 years. Overcoming its initial briefing as a connection and support to the pavilions, it consolidates itself as a place of intense social life and meeting, open to unpredictability, to the indefinite use.

In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

Indiana University-Purdue University Indianapolis (IUPUI) / Indiana’s state park system developed as a result of state centennial celebrations in 1916. Government officials created state parks as a permanent memorial that glorified the Hoosier pioneer spirit, which celebrated actions of white colonists as they confronted challenges of the new industrial twentieth century. However, this memorialization erased the Lenni Lenape, Miami, Potawatomi, and Shawnee tribes played in the state’s history. This paper analyzes the Indiana statehood centennial celebrations as sites of erasure of Native American contributions to state and national history. It examines how Richard Lieber, the founder of the parks system, and others built the state park system to understand the ways individual state parks commemorated that Hoosier pioneer spirit at the expense of Native American voices. Turkey Run, McCormick’s Creek, Clifty Falls, Indiana Dunes, Pokagon, Spring Mill, and Lincoln State Parks are critiqued in this analysis to illustrate how each park encompasses and presents the story of colonization.

O presente trabalho tem como objetivo analisar a concepção, formalização e ocupação da Marquise do Parque Ibirapuera, através de uma trajetória que se inicia com a definição do programa de necessidades para as comemorações do IV Centenário da cidade de São Paulo, na década de 50 do século passado. Onde foi tomada a decisão de realizar a construção do que seria o maior parque público da cidade, somado a um conjunto edificado que centralizaria a maioria das atividades propostas durante o período de festividades. Ao mesmo tempo que essa grande obra deveria mostrar a força do progresso do Estado, serviria de legado as próximas gerações. Assim, a construção do programa funcional e sua posterior concepção arquitetônica, de autoria de Oscar Niemeyer e equipe, se mostram fundamentais como fonte de análise para entender o surgimento do elemento de ligação, a grande marquise, entre os pavilhões temáticos propostos. A primeira parte do trabalho examina a evolução do projeto, seus precedentes e as adversidades enfrentadas durante o período de construção. A segunda parte diz respeito a observação e coleta de dados das atividades realizadas sob esta grande cobertura após a conclusão de sua construção. Demonstrando, através de uma amostragem significativa, sua capacidade de servir de suporte a inúmeros usos, sejam eles programados ou espontâneos, no decorrer dos ultimos 60 anos. Superando seu programa inicial de ligação e suporte aos pavilhões com que está conectado e se consolidando como um lugar de intenso convívio social e de encontros, aberto a imprevisibilidade, ao uso indeterminado. / This study aims to analyze the design, formalization and occupation of the Ibirapuera Park\'s Great Marquee, through a trajectory that begins with the definition of the architectural brief for the IV Centennial of the city of São Paulo celebrations in the 1950\'s. Then was the decision to undertake the construction of what would be the largest public park in the city, plus a built set centralizing most of the proposed activities during the festivities. At lhe same time this great work should show the strength of the State\'s progress, it would serve as a legacy to future generations. Thus, the construction of functional program and subsequent architectural design of Oscar Niemeyer and team, show up as a source of fundamental analysis to understand the emergence of the connecting element, a large marquee, between the proposed thematic pavilions. Showing the evolution of the design, its precedents and adversities during the construction period. Conforming the first part of this work. The second part of the work is concerned with the observation and data collection of the activities performed under this great cover upon completion of its construction. Demonstrating, through a significant sample size, its architectural ability to provide support to a number of uses, whether preprogrammed or spontaneous, over the last 60 years. Overcoming its initial briefing as a connection and support to the pavilions, it consolidates itself as a place of intense social life and meeting, open to unpredictability, to the indefinite use.