Диссертация посвящена анализу репрезентации культурной памяти об исторической травме как темы музейной деятельности. Выявлена взаимосвязь партиципаторного подхода в организации музейной деятельности и применения мультимедиатехнологий в современных музеях. Проанализировано выставочное пространство, репрезентирующее культурную память, представляющее собой пример тотального включения мультимедиатехнологий в экспозицию без демонстрации каких-либо артефактов. В качестве практического применения исследования на основе подготовленного теоретического материала представлен проект мультимедийной выставки «Вспомним», посвященной 75-летию Победы в Великой Отечественной войне. / The thesis is devoted to the analysis of representation of cultural memory of historical trauma as a theme of the museum work. The interrelation of the participatory approach in the organization of museum activities and the use of multimedia technologies in modern museums is revealed. The exhibition space representing cultural memory is analyzed, which is an example of the total inclusion of multimedia technologies in the exhibition without demonstrating any artifacts. As a practical application of the study, based on the prepared theoretical material, the project of the multimedia exhibition «Let's Remember», dedicated to the 75th anniversary of Victory in the Great Patriotic War, is presented.

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As the Second World War in Europe came to an end the Russians advanced from the east towards Berlin. German occupation of Poland and Czechoslovakia had been particularly brutal. Both of these countries, products of German defeat at the end of World War I contained millions of ethnic Germans, who had previously co-existed with their Slav neighbours, often for many centuries, but were now perceived by these neighbours as having encouraged and collaborated with Nazi Germany. Russians, Poles and Czechs now sought revenge triggering the largest forced expulsion in recorded history. Somewhere between 8 and 16.5 million ethnic Germans fled to the west, and between 2 and 3 million perished during flight. Expellee property was subsequently seized by the Poles and Czechs. In broad terms, until the 1990s these events were seen within Germany as part of a submerged collective memory, suppressed in part by their having lost the war. In the last 20 years with an increasingly powerful expellee organisation (the Bund der Vertriebenen, Federation of Expellees) influencing mainstream German politics, academia, and the German media, an attempt has been made to change historical memory, or rewrite what has been referred to as an 'unacceptable past'. This, in recent years has led to claims by former expellees against the Czech Republic, and Poland for restitution. This in itself has led to bitter accusations by these countries that the expellees have rewritten German history portraying themselves as victims of the Second World War. This thesis explores the methods employed by the expellee groups and their supporters in the restructuring of their historical memory by examining literature dating from the 1950s until the present day from primarily German and American sources, as well as German television documentaries from 2000. These sources are considered in relation to how collective and historical memory have evolved into a position that has allowed the expellees to create an 'acceptable past'.

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.

This thesis examines how Shinzo Abe’s historical perspectives on “comfort women” and the Nanjing Massacre are influenced by global demands. Abe’s official account on these issues have been affected by pressures to reconcile with South Korea and to face China’s rise for strategic reasons. This originates from sources including think tanks such as the Center for Strategic and International Studies and media. Joseph Nye’s concept of soft power will provide the theoretical background to analyze Abe’s views on both issues. The existence and method through which these pressures are applied will be detailed and explored. This research will hope to contribute to the understanding of historical memory in the Asia-Pacific and how it remains an issue that undergoes changes in the current political climate. / Graduate

Le cinéma de l'Argentine, le Chili et la Colombie entre 1990 et 2005 a dû faire face à divers changements liés aux modèles politique, économique et culturel. En particulier, les lois relatives à la production du cinéma ont changées dans les années ci-dessous, ce qui a permet de configurer un cinéma hétérogène par rapport aux thèmes et moyens de raconter. Dans cette thèse, nous nous proposons d’étudier un phénomène particulier situé temporellement dans un moment de transition et envisagé à travers un corpus clairement sélectionné. Le dit phénomène se présente à travers la relation que le cinéma entretient avec la réalité, relation qui, à cette époque, se caractérise par une grande ambigüité. Il s’agit principalement d’un élargissement des frontières de classifications des productions en vertu de sa relation avec la réalité qui, traditionnellement fut séparée en deux grands groupes définis comme fiction et non fiction. Pour cette raison, nous avons développés un cadre théorique autour du réalisme comme une catégorie d'analyse du corpus. Aussi, nous avons fait une analyse basée sur les approches des Études Culturelles d'Amérique Latine, l’Analyse Critique du Discours et l'Analyse de Cinéma. Notre travail a été de systématiser et de mettre en relation les processus qui ont permis la consolidation du cinéma contemporain d'Amérique Latine. Également, nous avons confirmés le besoin de contextualiser et de nourrir l'analyse de film avec la connaissance de l'histoire sociale, politique et économique comme une condition pour 'interpréter et analyser le récit de l'Amérique Latine. / Argentine, Chilean and Colombian Cinema of the period between1990-2005 had to face several changes related to political, economic and cultural models. In particular, laws related to film production changed over the years, allowing the configuration of a heterogeneous cinematography regarding its topics and ways of narrating. The main problem of this research is studying the relationship between cinema and reality and how the strategies of construction of fiction and nonfiction narratives are put into tension during the period above mentioned. For this reason, we developed a theoretical framework around the realism as a category to get an approach to the corpus. Additionally, we carried out an analysis of our corpus based on the Latin American Cultural Studies, Critical Discourse Analysis and Film Analysis approaches. We systematized and correlated the processes that have allowed contemporary Latin American films to consolidate as a reference. In this project, we have been able to confirm the need to contextualize and nourish film analysis using knowledge of the social, political and economic history as a condition to interpret and study Latin American Narratives.

Cette thèse porte sur le renouvellement du réalisme dans la production narrative espagnole des années 2000, à partir d’un corpus de quatre romans, et se demande : en quoi consiste l’esthétique réaliste actuelle, quelle est son épistémologie et quel lien entretient-elle avec d’autres discours de savoir ? Quel rôle jouent les récits réalistes dans la configuration des imaginaires sociaux, alors que sont remis en question l’héritage de la transition démocratique et le récit de la modernisation espagnole ? Sont d’abord examinées les conditions de possibilité historiques, socio-économiques et culturelles d’un renouveau du réalisme – cartographié dans le champ littéraire des vingt dernières années. Hypothèse centrale : le réalisme ressurgit du fait que les débats de mémoire historique depuis 2000 et la crise économique, sociale et politique depuis 2008 engagent une révision du mythe de la Transition et du projet de la modernité qui structurait les imaginaires sociaux espagnols depuis les années 1960. Trois parties proposent des études de poétiques réalistes, en diachronie et en synchronie, pour mettre en valeur l’évolution des modes de référentialité réalistes entre le début des années 2000 et le début des années 2010, avec la crise de 2008 et ses prémices pour point d’inflexion. La première partie porte sur deux romans (Antonio Muñoz Molina, Sefarad, 2001 et Ignacio Martínez de Pisón, Enterrar a los muertos, 2005) qui dialoguent avec la fabrication sociale de documents et l’historiographie pour réinterpréter la guerre de 1936, de la dictature et de la transition. Les deuxième et troisième parties (Rafael Chirbes, Crematorio, 2007, et Isaac Rosa, La mano invisible, 2011) analysent l’élaboration d’un récit collectif de l’Espagne développementaliste, à l’aube de la crise, par des romans qui dialoguent avec la théorie économique et la sociologie historique. Au carrefour du littéraire, des discours sociaux, de l’histoire et de la sociologie contemporaine de l’Espagne, cette thèse soutient que la réappropriation du réalisme dans les années 2000 participe à la remise en question d’une identité nationale démocratique et moderne, au resurgissement d’une réalité problématique et d’imaginaires sociaux paramodernes après l’écroulement du métarécit d’une transition modèle. Si les romans cherchent tous à prendre en charge le réel social selon ses représentations, ils se différencient par leur traitement de la question politique de ce que « réel » veut dire, par le choix du chemin selon lequel le décrire, et par l’évaluation de la nature des causes historiques et matérielles de la réalité qu’habitent les écrivains. / This thesis studies new forms of realism in Spanish prose in the 2000s, from a corpus of four novels. It contemplates what makes the contemporary reality aesthetic, what its epistemology is, and what links it bears to other forms of knowledge. What roles do realist narrations play in the configuration of social imaginaries, when the heritage of the democratic transition and the narration of Spanish modernisation are called into question? We first examine the conditions of historical, socio-economic and cultural possibilities of a renewal of realism, which is mapped throughout the literary field of the last twenty years. The central hypothesis is that realism springs back up from the fact that debates around historical memory in the 2000s, and since 2008, the economic, social and political crisis prompt the revision of the transition myth and the project of modernity which had been structuring Spain’s social imaginaries since the 1960s. Three parts offer different studies of realist poetics, diachronically and synchronically, to highlight the evolution of the modes of realist referentiality between the start of the 2000s and the beginning of the 2010s, the crisis of 2008 and its beginning as an inflexion point. The first part tackles two novels (Antonio Muñoz Molina, Sefarad, 2001 and Ignacio Martínez de Pisón, Enterrar a los muertos, 2005), which discuss the social fabrication of documents and historiography to reinterpret the 1936 war, the dictatorship and the transition. The second and third parts (Rafael Chirbes, Crematorio, 2007, and Isaac Rosa, La mano invisible, 2011) analyse the elaboration of a collective narrative of developmental Spain, at the dawn of the crisis, through novels which interact with the economic theory of liberalism and historic sociology. At the crossroads of literary studies, social discourse, history and the contemporary sociology of Spain, this thesis argues that the appropriation of realism in the 2000s questions a national identity that is democratic, modern, and takes part in the reappearance of a problematic reality after the meta narration of a model transition collapsed. If the novels all try to tackle the social reality according to its representations, they differ through what « reality » means to them, through the nature of its historic and material causes, and through the ways they describe it.

[ES] La presente tesis doctoral recoge una investigación basada en la práctica artística propia desarrollada entre 2017 y 2022, en el territorio de la comarca de l'Horta. Los trabajos y procesos que componen dicha investigación se inscriben principalmente en el ámbito de las prácticas en contexto, y presentan especial interés por los relatos, memorias y luchas asociadas a las transformaciones territoriales locales. A través de los proyectos L'Horta, ni oblit ni perdó (2017), Aturem la ZAL, recuperem La Punta (2018), Ara vindran les màquines. Relats subalterns de la València Sud (2018), La Retaguardia (2020) y A hores d'ara. Experiències i memòria de la defensa de l'Horta a través del seu arxiu (2022), esta investigación plantea explorar la capacidad que tienen las prácticas artísticas contextuales y colaborativas de generar rupturas en el relato histórico hegemónico, mediante la producción de dispositivos críticos y situados que posibiliten la visibilización y articulación de memorias subalternas. Asimismo, este trabajo propone investigar si dichas prácticas pueden contribuir a reforzar relaciones de apego y empatía con un territorio dado a través de la consolidación de contramemorias locales propias, así como procesos de afectación, dentro del contexto de la defensa de l'Horta de València. / [CAT] La present tesi doctoral recull una investigació basada en la pràctica artística pròpia desenvolupada entre 2017 i 2022, en el territori de la comarca de l'Horta. Els treballs i processos que composen aquesta investigació s'inscriuen principalment en l'àmbit de les pràctiques en context, i presenten especial interés pels relats, memòries i lluites associades a les transformacions territorials locals. A través dels projectes L'Horta, ni oblit ni perdó (2017), Aturem la ZAL, recuperem La Punta (2018), Ara vindran les màquines. Relats subalterns de la València Sud (2018), La Retaguardia (2020) i A hores d'ara. Experiències i memòria de la defensa de l'Horta a través del seu arxiu (2022), aquesta investigació planteja explorar la capacitat que tenen les pràctiques artístiques contextuals i col·laboratives de generar ruptures en el relat històric hegemònic, mitjançant la producció de dispositius crítics i situats que possibiliten la visibilització i articulació de memòries subalternes. Així mateix, aquest treball proposa investigar si aquestes pràctiques poden contribuir a reforçar relacions d'aferrament i empatia amb un territori donat a través de la consolidació de contramemòries locals pròpies, així com processos d'afectació, dins del context de la defensa de l'Horta de València. / [EN] This thesis presents a research based on artistic practice developed between 2017 and 2022, in the regional territory of l'Horta (València). The works and processes that make up this dissertation are mainly inscribed in the field of practices in context, and present special interest in the narratives, memories and struggles associated with local territorial transformations. The capacity of contextual and collaborative artistic practices is investigated in five different field studies; L'Horta, ni oblit ni perdó (2017), Aturem la ZAL, recuperem La Punta (2018), Ara vindran les màquines. Relats subalterns de la València Sud (2018), La Retaguardia (2020) and A hores d'ara. Experiències i memòria de la defensa de l'Horta a través del seu arxiu (2022). The totality of these projects serve to create generative ruptures in the hegemonic historical narrative, through the production of critical and situated devices making possible the visibilization and articulation of subaltern memories. Correspondingly, this work proposes how such practices can contribute to reinforce relationships of attachment and empathy with a given territory: through the consolidation of local counter-memories, as well as processes of affectation, within the context of the defense of l'Horta de València. / Florin, AMC. (2023). Ahora o nunca. Prácticas artísticas contextuales en torno a la defensa de l'Horta y su memoria [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/192824

Overall this thesis analyzes a strain of the white supremacist vision in Denton, Texas via a case study of a former middle-class black neighborhood. This former community, Quakertown, was removed by white city officials and leaders in the early 1920s and was replaced with a public city park. Nearly a century later, the story of Quakertown is celebrated in Denton and is remembered through many sites of memory such as a museum, various texts, and several city, county, and state historical markers. Both the history and memory of Quakertown reveal levels of dominating white supremacy in Denton, ranging from harmless to violent. Chapters 2, 3, and 4 focus on the history of Quakertown. I begin chapter 2 by examining as many details as possible that reveal the middle-class nature of the black community and its residents. Several of these details show that Quakertown residents not only possessed plentiful material items, but they also had high levels of societal involvement both within their community as well as around Denton. Despite being a self-sufficient and successful community, Quakertown residents were not immune to the culture of racial fear that existed in Denton, which was common to countless towns and communities across the South during the Jim Crow era. I identify several factors that contributed to this culture of fear on the national level and explore how they were regularly consumed by Denton citizens in the 1910s and 1920s. After establishing Quakertown and the racist society in which it thrived, in chapter 3 I then examine the various sects of what I term the “white coalition,” such as local politicians, prominent citizens, and city clubs and organizations, who came together to construct a reason to remove the black community out of fear because of its proximity to the white women’s college, the College of Industrial Arts. I then look at the steps they took that secured the passage of the bond referendum that would allow them to legally remove the black neighborhood. Chapter 4 largely focuses on the ways in which the white coalition ensured the black community was transferred from Quakertown to its new community on the outskirts of town, Solomon Hill, from 1922-1923. These ways overwhelmingly included outright racial violence or the repeated threat of it. I then briefly describe the quality of Solomon Hill in the years after the relocation. I also summarize how and why the story of Quakertown was lost over time–among both white and black citizens–and conclude with the discovery of a Quakertown artifact in 1989, which initiated the renaissance period of Quakertown’s memory. In chapters 5 and 6 I switch gears and analyze the memory of Quakertown today via sites of memory. I begin by providing a brief historiography of New South memory studies in chapter 5. This review is important before delving into the specifics of the memory of Quakertown, because 1920s Denton was a microcosm of the New South, specifically in terms of race relations and dominating white supremacist ideals. I explore some of the different techniques utilized by memory historians to evaluate how and why the white supremacist vision dominated the southern region during the Jim Crow era; I, in turn, then use those same techniques to reveal how the white supremacist vision in Denton dominated at the same time. In chapter 6 I provide in-depth analysis of the most prominent sites of memory in Denton that, today, are dedicated to the memory of Quakertown. Collective analysis of these sites reveals levels of white exploitation, blatant omissions, and general misuse surrounding the story of the black removal and experience. I conclude my thesis by stressing that although the white vision today is shaped differently than it was during Jim Crow, it nonetheless still exists in Denton today, as evidenced in the treatment of the sites of Quakertown’s memory.

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