This degree project is a study investigating how the historiography of king Henry VIII of England has changed between 1887-1995. The aim of the study was to gain insight into how the historiography of Henry VIII and the most important aspects of his reign were viewed at different periods of the 19th and 20th centuries and how it has changed over that period. To achieve this aim, Karlsson’s and Zander’s theory about the uses of history was used along with a qualitative method of analysis. The results show that a change did occur in the historiography around Henry VIII at the beginning of the 20th century when the traditional Whig-school of writing history was surpassed by the modernist school of writing. Henry VIII went from being represented as a great ruler with his peoples’ best at heart to a flawed individual whose decisions were often motivated by selfish reasons. Overall, the historiography of Henry VIII has changed from glorifying the king’s personality to showing a more factual picture of the king and the advisors at his court.

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El Desencanto es una pelicula de tipo documental creativo dirigida por Jaime Chavarri en 1976 que retrata a la familia Panero. Por su tematica y estetica contrasta con la ideologia franquista, y fue leida como un simbolo de su tiempo. A traves del analisis de sus personajes y distintas obras de ese periodo historico, este trabajo trata de analizar este componente simbolico y ofrece una lectura politica de la obra.

A presente pesquisa investiga os caminhos trilhados pelas gravadoras de discos 78rpm que atuaram na cidade de São Paulo, desde a inauguração da gravação elétrica até a consolidação do rádio. Analisa-se, especialmente. o processo de incorporação, seleção, ou recriação das empresas fonográficas diante da produção musical brasileira. A tecnologia elétrica conferiu uma densidade sonora inédita à reprodução das músicas e alterou profundamente a experiência auditiva do ouvinte, a forma de conceber a gravação de sons por parte das companhias fonográficas, e a sua relação com as empresas de radiofonia, criando um modelo de atuação que será utilizado ao longo de todo o século XX. Como objeto privilegiado de análise estão as primeiras séries de gravações produzidas na capital paulistana, cujos acordes e vozes registrados - como os tangos, gravados nos anos 20 - foram emudecidos pelo esquecimento ou pelas péssimas condições de conservação dos fonogramas; outros - como a \"música caipira\", ou os choros e as valsas - foram intensamente reproduzidos pelas rádios e vitrolas, e permanecem vivos até hoje em nossa memória musical. / This work examines the paths follwed by the 78rpm disc recording companies, that operated in São Paulo city, since the inauguration of the electric recording process, until the consolidation of the radio companies. Particularly, the record companies\' processes of incorporation, selection and re-creation of brazilian music are analyzed. The new technology granted an unprecedented density to the sounds reproduced by the victrola and deeply transformed the listener\'s auditive experience. It also changed the way that the recording companies conceived the recording process and their relation with the radio companies, creating an operating paradigm that would be used during the whole 20th century. The first series of records produced in the city of São Paulo are the main research objects analyzed, which voices and chords registered - like tangos, recorded during the 1920\'s - were silenced by the forgetfullness or the discs\' bad conditions of conservation; others - like the \"caipira music\", \"choro\" or valses - were intensily reproduced by the radio or victrolas, and remain alive in our musical memory.

Milking stools in the collections of the National Cultural History Museum: an investigation of typology. In this study the physical or other characteristics that might typify the traditional milking stool is investigated. This was done by studying a comparable group of eighteen examples from the Anthropology and Cultural History collections of the National Cultural History Museum in Pretoria. Six of the objects in the group studied had already been associated with the Afrikaans catchword ‘melkstoel’, hence the primary sources that informed the research included the museological data from the existing documentation of the Museum. The investigation confirmed that corresponding physical attributes, especially that pertaining to construction, could be identified in the group studied. It was also found that the objects had seen multiple, but indeterminable, functional applications. Since fifteen of the eighteen examples studied were essentially anonymous, as no documented provenance existed, their origin, history and meaning could not be established. The research was therefore extended to secondary sources, being textual descriptions and images, from which associations and correlations between the group studied and milking stools, especially from Western Europe and the English-speaking world, could be affirmed. Moreover, such links were also found to exist with other stools and certain vernacular chair typologies of shared approach, especially as to their construction. Findings identified certain typological features of the milking stool, but also a symbolic and metaphorical association. Multiple functions of and applications for the milking stool could be ascertained. AFRIKAANS : In hierdie studie word ondersoek ingestel of enige eienskappe, fisies of andersins, die tradisionele melkstoeltjie tipeer. Dit is onderneem aan die hand van ‘n studiegroep van agtien soortgelyke voorwerpe uit die Antropologie-versameling en die Kultuurhistoriese versameling van die Nasionale Kultuurhistoriese Museum, Pretoria. Dié primêre bronne word in die ondersoek ondersteun deur museale bronne ontsluit uit die Museum se dokumentasiesentrum, waar ses van die voorwerpe in die studiegroep reeds assosieer is met die trefwoord ‘melkstoel’. Die ondersoek het bevestig dat sekere fisiese kenmerke van die studiegroep, veral in hul konstruksie, dui op groepsverband. Daar is ook bevind dat die voorwerpe vir meervoudige, maar onbepaalde, funksies gebruik is.Van die agtien voorwerpe in die studiegroep is vyftien van anonieme herkoms, sodat hul oorsprong, geskiedenis en betekenis nie met sekerheid vasgestel kon word nie. Die navorsing is daarom uitgebrei na tekstuele beskrywings en beelde, as sekondêre bronne, om hierdie en ander kenmerke te ondersoek. Hieruit is die studiegroep in verband gebring met melkstoeltjies uit veral Wes-Europa en die Engelssprekende wêreld, asook ander stoeltjies en volkstoele wat soortgelyke eienskappe en konstruksiekenmerke het. Bevindings dui op bepaalde tipologiese kenmerke van ‘n melkstoeltjie, maar ook ‘n wyer, assosiatiewe begrip wat manifesteer in beeldspraak en ‘n metaforiese konteks. Meervoudige gebruike en aanwendings van die melkstoeltjie is nagespeur. Copyright / Dissertation (MInt)--University of Pretoria, 2010. / Architecture / unrestricted

<p>It might be time for critics of early Canadian literature to avoid avoiding blackness in early Canada in their work. This dissertation<em> </em>takes up the recurrent pattern of displacement that emerges in critical studies that recall or rediscover early Canada. It attends in particular to the displacements and subordinations of Canadian blackness, particularly those conspicuously avoided by critics or rendered conspicuously absent by authors in the literatures of Upper Canada during the height of the Underground Railroad era, between 1830 and 1860. Not only is blackness in Upper Canada concealed, omitted, derided, and caricatured, but these representational formulas shape the hegemonic common-sense of what Antonio Gramsci terms “the national popular.” I argue that canonical texts contain accounts of early Canadian blackness from the national popular and subsequent criticisms of them produce an attitude and a history that excises blackness when literary and cultural critics examine the complexities of early Canada. Informed by Stuart Hall’s concept of the “floating signifier,” I draw the tropes of blackness out from behind the backdrop of early Canadian texts and into the foreground of Canadian literary and cultural criticism as well as critical race studies; in turn, this theoretical model helps me to explain what cultural work “undefined and indefinable” blackness did in early Canada and in contemporary imaginings of it (Clarke <em>Odysseys</em>, 16). Working out this paradox in John Richardson’s <em>Wacousta </em>and <em>The Canadian Brothers</em>, Susanna Moodie’s <em>Roughing It in the Bush</em>, and Catharine Parr Traill’s <em>The Canadian Settlers Guide</em>, my three chapters examine how these Upper Canadian authors display as much as hide the crucial roles of blackness in the formation of Canada and Canadian national identity.</p> / Doctor of Philosophy (PhD)

The public tends to think of war memorials as fixed monuments, but I argue that the American and Canadian Legions served as living memorials that acknowledged veterans’ war-time service by providing service to veterans and to the public. This dissertation focuses on how Legionnaires interacted with one another and with their local communities during the interwar years to construct memories of the First World War. By analyzing local chapter records from Michigan, New York, and Ontario, Canada, this case study highlights the contrast between the organizations’ national and local activities. The local posts’ and branches’ wide range of activities complicated the national organizations’ collective memories of the First World War. A new way to construct a holistic depiction of veterans’ organizations is to study them as living memorials. From this perspective, all of their day-to-day activities fulfill the larger purpose of preserving and perpetuating the memory of their war experiences. At the national level, the American and Canadian Legions advocated for legislation to benefit veterans, but it was primarily at the local level where rank-and-file members shaped the Legions’ collective memories of the war. This study explores elements of those memories, including sacrifice, service, and camaraderie, through the tensions that sometimes arose between the national leadership and the local chapters and compares the American and Canadian Legionnaires’ experiences.

To challenge the dominant Mexican narrative of racial democracy that traditionally invisibilizes and delegitimizes those who have been affected by racism, it is imperative to deconstruct the discourse on mestizaje as a central component of Mexican national identity. The notion of México as a racial democracy is accepted throughout México, and is most evident in the nation’s culture and politics. To acknowledge that racism exists in México is essential, since it is impossible to work with a claim that people do not see, dismiss, or do not believe exists. Mestizaje has long been the promise of racial equality, but this uncritical and unexamined positioning of mestizaje ignores or trivializes the colonial and present day baggage that accompanies the term. The uncritical celebration of mestizaje needs to be supplanted with a reexamination of colonialism and capitalism, both of which influenced ideological theories and racial formation from the late sixteenth century through the twentieth century in the Americas.