This thesis considers how the Lesbian, Gay, Bisexual and Transgendered communities of Plymouth have performed and signified their own culture and identities during the period 1950 to 2012. Its source materials were largely generated by conducting oral history interviews with members of Plymouth’s LGB and T communities. This resulted in the creation of an archive which included thirty-seven interviews conducted with twenty-four individuals. These interviews, in conjunction with other uncovered archival memorabilia, now form a specific LGBT collection with Plymouth and West Devon Record Office. This PhD thesis interrogates this newly created community archive accession, using theories of performance as a tool, to consider how differing narratives and histories have been constructed, reproduced, contested and maintained. Pride, as a political concept in LGBT culture, is linked to the belief that individuals should maintain and display a sense of dignity in relation to their sexual orientation or gender role as a response to the stigmatisation traditionally associated with being LGB or T. This study tests the relevance of the concept of pride for the lived experience of LGBT communities in Plymouth, concluding that it needs to be understood within personal narratives rather than as primarily manifested in outward-facing forms of performance (such as a parade or a public event). Particularly significant in this regard is the “coming out narrative”. The thesis identifies spaces which, for various reasons, came to be accepted as safe places to accommodate sexual and gender differences in Plymouth in the 1950s and 60s. These strongly reflect Plymouth's location as a port, in combination with the fact that it has played host to each of the armed forces. It considers the impact of international public displays of gay pride from the Stonewall riots in the US through to performances as protest employed by groups such as Outrage! and legislation as Section 28 of the Local Government Act in the UK. The thesis concludes by considering the author’s role in, and wider impact of, the “Pride in Our Past” exhibition, which took place at Plymouth City Museum and Art Gallery (April-June 2012) as part of this research project.

Prior to this study, to our best knowledge, no cast-in-place, older-type RC building has ever been subjected to near-field strong ground motions from three major earthquakes. This happened in an indirect way in Turkey over a time span of eleven years. Three identical buildings belonging to Ministry of Public Works and Resettlement (MPWR) that had been built to the same design templates, experienced March 13th 1992 Erzincan earthquake in Erzincan, November 12th 1999 D&uuml / zce earthquake in Bolu and May 1st 2003 Bing&ouml / l earthquake in Bing&ouml / l, respectively. The ground motion sensor stations were fortuitously nearby in an adjacent single-story building in Bolu and Bing&ouml / l. The station in Erzincan was in a single-story building about 2 km away from the case study building but we assume that the record applies to the building there. These three data represent characteristics of near-field ground motions and the distance of the sensor stations to the nearest fault trace was less than 10 km. The buildings sustained varying degrees of damage during the earthquakes and their damage survey was employed through site investigations. Given that the damage information, input motions, design drawings and material properties of the buildings are all known, this provided an opportunity to predict the structural damage to these buildings by proper modeling using the tools of current computational performance assessment procedures. In this circumstance, three dimensional (3D) analytical models of the MPWR buildings have been performed. Bi-directional excitations have been applied to the models by nonlinear time history analyses (NTHA). The results illustrate that NTHA are capable of indicating the occurrence of shear failure in captive columns / however, they overestimate the global damage level for all buildings. The overestimation is more significant in Erzincan case where the building sustained a pulse-type motion without significant distress.

Although performance based assessment procedures are mainly developed for reinforced concrete and steel buildings, URM buildings occupy significant portion of building stock in earthquake prone areas of the world as well as in Turkey. Variability of material properties, non-engineered nature of the construction and difficulties in structural analysis of perforated walls make analysis of URM buildings challenging. Despite sophisticated finite element models satisfy the modeling requirements, extensive experimental data for definition of material behavior and high computational resources are needed. Recently, nonlinear equivalent frame models which are developed assigning lumped plastic hinges to isotropic and homogenous equivalent frame elements are used for nonlinear modeling of URM buildings. The work presented in this thesis is about performance assessment of unreinforced brick masonry buildings in Turkey through nonlinear equivalent frame modeling technique. Reliability of the proposed model is tested with a reversed cyclic experiment conducted on a full scale, two-story URM building at the University of Pavia and a dynamic shake table test on a half scale, two story URM building at the Ismes Laboratory at Bergamo. Good agreement between numerical and experimental results is found. Finally, pushover and nonlinear time history analyses of three unreinforced brick masonry buildings which are damaged in 1995 earthquake of Dinar is conducted using the proposed three dimensional nonlinear equivalent model. After displacement demands of the buildings are determined utilizing Turkish Earthquake Code 2007, performance based assessment of the buildings are done.

Cette étude entend proposer une histoire des élèves de la danse de l'Académie de musique au XIXe siècle (1783-1913). À travers l’étude des étapes de la mise en place institutionnelle de cette école émerge l'identité des élèves de la danse comme apprentis danseurs. Au-delà d'une histoire administrative, ce sont bien les conditions socioéconomiques de l’enfance au travail que révèle ce travail de thèse. Des questions économiques relatives à leur formation aux pratiques culturelles de la danse, les élèves de l'Académie de musique sont au coeur de la vie urbaine et théâtrale parisienne du XIXe siècle. Enfin, l’examen de la circulation des danseurs et des pédagogies à l'échelle européenne a permis d’identifier les mécanismes d’un discours de domination culturelle, construit et revendiqué par l'Académie de musique, à l’échelle du monde occidental. / This study aims at introducing a story of the Music Academy ballet students in the 19th century (1783-1913). The ballet students’ identities and their positions as apprentices come to light through the different steps of the institutional setting-up of that Academy. This thesis goes beyond administrative history and unveils the genuine socioeconomic conditions of children at work. For many reasons going from economic issues concerning their training to ballet cultural practises, the Music Academy students are at the heart of urban and theatrical life of XIXth century Paris. Eventually, an analysis of the ballet dancers ‘ freedom of movement and of the different teaching methods in Europe allows to pinpoint the mechanisms of a cultural domination speech, built by the music Academy and claimed to come from it too, throughout the Western world .

Das Feld der diskursiven und auch normativen Bestimmungen des Archivbegriffes ist in den letzten Jahren in Bewegung geraten. Das betrifft auch Fragen nach dem Zugang zu Geschichten der Aufführungskünste und die Praxis von Archivprozessen und Sammeltätigkeiten in künstlerischen und kuratorischen Kontexten. Dieses Arbeitsbuch fasst Ergebnisse des Forschungsprojekts „Verzeichnungen. Medien und konstitutive Ordnungen von Archivprozessen der Aufführungskünste“ zusammen. Es wurde zwischen 2012 und 2017, gefördert von der DFG, in Leipzig und Berlin durchgeführt. Enthält: Performance im Museum als Historisierung; Performance der Institution Museum; Performancekunst an der Schnittstelle von visueller und darstellender Kunst; Sammeln und Archivieren als Themen der Kunst; US-amerikanische Performancekunst; Performa New York; Rituals of Rented Island New York; Radical Presence/ Black Performance; Karneval und Performance; Performancekunst in/aus Osteuropa; Reenactment und Re-Staging; MUMOK Factory und Tanzquartier Wien; dispositive Konstellationen Museum und Theater / The discursive and normative field of archivalities has considerably shifted in recent years. This shift also concerns questions of access to histories of performance-based arts as well as archival practices both in artistic and curatorial contexts. This workbook presents results of the research project “Records and Representations. Media and constitutive systems of archiving performance-based arts” conducted between 2012 and 2017 in Leipzig and Berlin with funding by DFG (German Research Foundation).