Made available in DSpace on 2015-04-16T15:23:32Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4059410 bytes, checksum: 39b231fad0354c4facb298f546b4dd49 (MD5) Previous issue date: 2014-02-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research was carried out with the aim to reflect on the photographic image produced by and in the Escola Viva Olho do Tempo (EVOT) as element of the memory, patrimony and cultural identity of the Vale do Gramame, Paraíba communities. The EVOT is a non-governmental institution and it is the place where restoration activities of an almost forgotten experience occur. The method and the techniques are based on the ethnographic research and on data collection that are serving an order conception in the social life related to the producers´ characters and actors emphasized in the images -, where the facts have preeminence on the interpretations and where each event has its function within a coherent system. In this study, we also adopted the reading procedures of images under the following aspects: What is represented? How did it happen? How is it perceived? Why? And when? These questions were answered through the use of interviews, iconographic documents and observation. We concluded that the EVOT imagetic archive as memory source is carrier of cultural identity, appraising the griô masters´ knowledge as well as the social educators´ and of all individuals who are involved in the action of valuing the human being. / Esta pesquisa foi realizada com o objetivo de refletir sobre a imagem fotográfica produzida pela e na Escola Viva Olho do Tempo (EVOT) enquanto elemento de memória, patrimônio e identidade cultural das comunidades do Vale do Gramame, Paraíba. A EVOT é uma instituição não governamental e é o local onde ocorrem atividades de restauração de uma vivência quase esquecida. O método e as técnicas se baseiam na pesquisa etnográfica e na coleta de dados que estão a serviço de uma concepção de ordem na vida social dos personagens produtores e atores em destaque nas imagens em que os fatos têm preeminência sobre as interpretações e cada evento tem sua função dentro de um sistema coerente. Neste estudo adotamos, também, os procedimentos de leituras das imagens sob os seguintes aspectos: O que está representado? Onde aconteceu? Como é percebida? Por quê? E quando? Estas perguntas foram respondidas por meio do uso de entrevistas, documentos iconográficos e observação. Concluímos que o acervo imagético da EVOT como fonte de memória é portador de identidade cultural, valorizando os saberes dos mestres griôs, dos educadores sociais e de todos envolvidos na ação de valorização do ser humano.

Univerzita Karlova - Filozofická fakulta - Ústav světových dějin ABSTRACT This paper discusses the development and state-of-the-art of writing local chronicles in the Czech Republic and Slovakia in the three decades after the fall of the socialist regime (1989 - 2019), placing Czech and Slovak chronicles writing practice on a comparative level. They are based on the Czechoslovak social context. This paper does not ignore also the historical context (19th century) and discusses in more detail writing local chronicles in various periods of the 20th century, as from this period draws current chronicles writing to this day. Besides the theoretical passages, the paper consists of an empirical part (not only as a section describing the field research in the form of a case study), suggests the use of chronicles in practice, and in conclusion seeks to explain and present a comparative synthesis. Following the textual core, a broader base of appendices has been prepared, consisting of both a chronicles bibliography and a direct transcript of contemporary legislative measures concerning chronicles writing in the Czech-Slovak geographical area from the establishment of the first Czechoslovak Republic to the present. Keywords : writing local chronicles; chronicle; chroniclers; commemorative books; comparative analysis;...

Univerzita Karlova - Filozofická fakulta - Ústav světových dějin ABSTRACT This paper discusses the development and state-of-the-art of writing local chronicles in the Czech Republic and Slovakia in the three decades after the fall of the socialist regime (1989 - 2019), placing Czech and Slovak chronicles writing practice on a comparative level. They are based on the Czechoslovak social context. This paper does not ignore also the historical context (19th century) and discusses in more detail writing local chronicles in various periods of the 20th century, as from this period draws current chronicles writing to this day. Besides the theoretical passages, the paper consists of an empirical part (not only as a section describing the field research in the form of a case study), suggests the use of chronicles in practice, and in conclusion seeks to explain and present a comparative synthesis. Following the textual core, a broader base of appendices has been prepared, consisting of both a chronicles bibliography and a direct transcript of contemporary legislative measures concerning chronicles writing in the Czech-Slovak geographical area from the establishment of the first Czechoslovak Republic to the present. Keywords : writing local chronicles; chronicle; chroniclers; commemorative books; comparative analysis;...

Cette thèse relate la conception d’une entreprise artiste créée par l’auteur, artiste entrepreneuse, dans l’intention de témoigner des mutations des villes et des choix effectués en matière de conservation ou de destruction. Urban Memory, entreprise de « rechargement en contenu mnémonique », a vu le jour en 2012 à Dresde, capitale saxonne, bombardée en 1945. Située à l’est de l’Allemagne, cette ville est en constant chantier depuis des décennies. C’est par l’intermédiaire d’une pratique artistique mêlant la peinture et la sérigraphie avec des moyens de communication mis en scène dans l’urbain qu’Urban Memory entend rendre compte des transformations du paysage architectural et accompagner les débats autour de l’identité et la mémoire de la ville. Dans une première partie, l’auteur retrace son parcours de découverte et de réflexion sur Dresde au travers de premiers travaux ; présente le contexte historique, politique et économique des mutations ; puis nous livre une analyse des entreprises artistes à partir de laquelle elle a conçu Urban Memory, son mode de fonctionnement et ses stratégies. Dans une seconde partie, l’auteur nous guide dans le centre historique de Dresde, le long de ses monuments et mémoriaux, afin de souligner tantôt l’éloquence, tantôt le silence dont sont capables de tels édifices et installations dans la ville ; puis se tourne vers la scène artistique contemporaine et ses moyens de création d’une mémoire « vivante ». Enfin, après avoir mis en lien ses propres outils artistiques et le contexte de sa recherche, l’auteur nous révèle les premières réalisations et les projets d’installation in situ de son entreprise. / This thesis examines the author’s conceptualization and establishment of an artist company with the objective of tracing urban transformations and of assessing decisions to conserve or destroy parts of the city. Urban Memory, a company that has as its goal the “recharging of mnemonic content,” was founded in Saxony’s capital city Dresden in 2012. Located in the east of Germany, this city, bombarded in 1945, has constantly been under construction in the past decades. Urban Memory takes account of the architectural landscape’s transformations and accompanies debates about the identity and memory of the city. It does so by means of a hybrid form of artistic practices—painting and serigraphy—and communication media placed in the urban context. The first section of this thesis explores the artist’s discovery and initial reflections on Dresden in the context of her first works; it explores the historical, political and economic context of the city’s transformations; and it analyzes artist companies based on which Urban Memory has been conceived as well as its basic functional framework and strategic outlook. The second part zooms in on the historical center of Dresden, its monuments and memorial sites, so as to expose both the eloquence and silence with which the built environment of the city treats its past. Moreover, this part turns to the milieu of contemporary artists and their means of creating a ‘living’ memory. Finally, after having discussed and related the artistic dimension of her project, the author presents the company’s first projects and in situ installations.