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Submitted by William Justo Figueiro (williamjf) on 2015-06-18T22:41:27Z No. of bitstreams: 1 31.pdf: 3145044 bytes, checksum: e64cd0a17cc5ef444666b102db1cfa46 (MD5) / Made available in DSpace on 2015-06-18T22:41:27Z (GMT). No. of bitstreams: 1 31.pdf: 3145044 bytes, checksum: e64cd0a17cc5ef444666b102db1cfa46 (MD5) Previous issue date: 2011-04-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este é um estudo comunicacional de interface com a Filosofia, que articula duas temáticas: televisão e memória. De um lado, então, trabalhamos com perspectivas teóricas do campo da Comunicação, principalmente os conceitos de midiatização, audiovisualidades e ethicidades televisivas. Do outro lado, buscamos informações sobre memória nos pensamentos filosóficos de Henri Bergson, Paul Ricoeur e Sören Kierkegaard. Os tensionamentos teóricos possibilitaram a construção qualitativa do objeto, que denominei de Recordação televisual, cuja observação é guiada basicamente por três pontos: 1) os tempos em que são enunciadas lembranças singulares dos múltiplos indivíduos televisivos; 2) a intersubjetivação televisiva de memórias individuais – passados íntimos, privados, identitários; 3) uma reflexão sentimental do passado, que cabe a cada indivíduo fazer por si. Com o objetivo de apreender esse objeto em sua heterogeneidade e movência, articulamos à pesquisa o método intuitivo de Henri Bergson. Na primeira etapa do método, então, cartografamos as linhas de diferenciação. Para isso, foram imaginadas três categorias de fronteiras móveis, inspiradas pela metáfora da Constelação de Walter Benjamin: 1) Relatos de vida, em que a TV se torna um meio de enunciação de si, com narrativas orais sobre um passado íntimo; 2) Testemunhos de fatos televisivos, também composta por discursos orais, mas que visam à reconstituição de fatos que já são públicos; 3) Imagens mentais, tempos em que a TV constrói as imagens-lembranças dos indivíduos. Por fim, na segunda etapa da Intuição, as linhas divergentes foram convergidas para um mesmo ponto virtual, transformando o objeto num conceito. Em suma, a Recordação televisual se define como uma prática de construção de memórias individuais, mas que, através do uso de diversos elementos discursivos, se mantém sob o controle televisivo (de quem enuncia), e é utilizada para engendrar ações que perpetuem seu poder. / This study is a communication interface with Philosophy, which articulates two themes: television and memory. At first, we work with theoretical perspectives in the communication field, especially concepts of mediatization, “audiovisualidades” and “ethicidades televisivas”. On the other hand, we research information about memory in the philosophical thoughts of Henri Bergson, Paul Ricoeur and Sören Kierkegaard. The theoretical tensions allowed the quality construction of the object (which was named Televisual Remembrance), whose monitoring is guided primarily by three points: 1) the TV times when memories of the multiple natural individuals television are produced, 2) the individual memories of television – the intrinsic, private and identity pasts; 3) a sentimental reflection of the past, that each individual do by themselves. Aiming to appropriate this object in its heterogeneity and processuality, we articulated the intuitive method to the research from Henri Bergson. In the first stage of method, we mapped the lines of differentiation. For this purpose, we devised three categories of moving boundaries, inspired by the Constellation metaphor of Walter Benjamin: 1) Life reports, when the TV becomes a way of self-enunciation, with oral narratives about the past; 2) Testimonials of television facts, which also contains oral speeches, but aiming at the reconstruction of public events; 3) Mental images, when the TV constructs memory-images. After all, in the second stage of Intuition, the divergent lines were converged to a virtual point, becoming the object in a concept. The Televisual Remembrance is defined as a practice of construction of individual memories, which, through the use of some discursive elements, remains under the television control, and it is used to create actions that perpetuate its power.

This essay examines the concept of memory through a literature study of articles in three prominent archival journals. The aim of the study is to investigate if, and in that case how, the concept of memory is made visible in relation to archives as an institution and collection in three archival journals. The three archival journals that are under examination are Archival Science, American Archivist and Archivaria, with articles published between the years of 2013 to 2020. My study follows the previous research of Trond Jacobsen, Ricardo L. Punzalan and Margaret L. Hedstrom in the 2013 article Invoking ‘‘collective memory’’: mapping the emergence of a concept in archival science. My essay examines the seven following years; 2013-2020. This essay aims to provide a broader view of memory in archival science as it focuses on the concept of memory instead of “collective memory”. Three themes are found and examined; memory and identity, remembering and forgetting, and the archivist’s role in the establishment of memory. Assmann (2006; 2011) uses four different memory formations to illustrate the complexity of the concept. Jimerson (2009) also gives the study a theoretical framework by explaining the power structure and the relationship between the archivist and the concept of memory. The results show that the concept of memory is complex and that there are multiple definitions and understandings of memory. To use a universal definition of the concept of memory is problematic because of it’s multiple understandings. This thesis agrees with the articles examined in that we need interdisciplinary views on how the concept of memory is made visible in relation to archives as an institution and collection, and that archivists need broader tools of how to understand and problematize the concept of memory.

Diploma thesis "The building at 18, rue Bonaparte: The place of memory and its meaning for the Czechs living in Paris" deals with the theme of everyday life of the Czechs in Paris which is connected with a place that presents a piece of Czech country inside of the historical Paris. This work tries to show the perception of this place on the basis of material, functional and symbolic meaning of this building. As well it treats the overhangs to the migration studies, memory studies and problems of identity. Constituent of the text is also theoretical embodiment of the concept of a place not only in the ethnology but also in others social and humanity sciences - mainly with the regard to the Pierre Nora's theory "places of memory" and Marc Augé's theory "anthropological places". Apart from the symbolical capital of the building at 18, rue Bonaparte which is important place of memory there is presented in the text also history of another places in France which is a part of collective memory of the compatriots up to now. The main goal of this work is to present how important role can play one concrete physical place with strong functional and symbolic meaning for the Czechs living outside of their homeland and how this place can contribute to the process of integration to the hosting society.

Målet och syftet med denna studie är att observera, tolka, och vidareutveckla förståelsen för den samtida turistens interagerande med, och omförhandlande av, det historiska rummet genom individualistisk påverkan från fiktiva narrativ – i detta fallet, Outlanders transmediala berättelsevärld. Genom ett teoretiskt ramverk uppbyggt på materialism, påverkan, tidsresande och proteser har jag analyserat och kartlagt både kulturarvsplatserna samt Outlander-fansens interaktion med dessa genom att ha deltagit själv i två guidade endagarsturer, samt genom en djupgående, om än liten, enkät. I en nutid som beskådar hur förhållandet till det förflutna och de platser som kopplas till de temporala och spatiala dimensionerna av historien förändras snabbt och omgående, är detta projekt avgörande för att vidare förstå denna minneskultur och vidareutvecklandet av ett kollektivt minne. Resultatet av mina observationer och min enkät påvisar och demonstrerar hur omfattande individuell den sensoriska upplevelsen har blivit inom Outlander-turismen i Skottland. Genom metoder såsom påverkan och lekfullhet är besökaren inbjuden till att tolka platserna i syfte att tillfredsställa deras personliga behov för autencitet i både fiktionen, historien, och sensationen. Ändock är inte vikten av, och värdet på, historien helt och hållet förlorad; majoriteten av respondenterna demonstrerar ett ökat intresse till den faktiska historien, den ’riktiga’ och autentiska, samtidigt som de återinvesterar i det ’virtuella’ och artificiella. Att bära historiens fysiska kropp som en protes, fullständigt beroende av narrativets påverkan, manifesterar den sensoriska upplevelsen och det fysiska mötet med rummet som en anpassad sammangjutning mellan historien och kroppen; besittningen av den historiska protesen stör fördelaktigt ej den egna kroppens integritet

This paper explains at the intersection of Memory theory, Feminist Theory, Existential Psychology, Faith and Contemporary Art, I have found a way to embrace and integrate memories and experiences into my art and be a more fully integrated, emotionally healthy person living fully in the present moment. I articulate my exploration of the broad concept of memory and addressing unresolved negative memories in order to realize healthy change in forming my identity. Through art and philosophical research I have found substantial corroboration, conceptually supporting my information supporting my Post Minimal art making process. I employ memory evoking materials through the use of repetitive acts and strict self-imposed rules throughout the art making process, communicating ne living in the present moment, embracing yet uninhibited by their past.

En este trabajo vamos a analizar la representación de la memoria, individual y colectiva, en la novela Amuleto (1999) del novelista y poeta chileno Roberto Bolaño, con la finalidad de mostrar la importancia de la memoria para la construcción de la novela. La investigación está dividida principalmente en dos apartados: un análisis narratológico y un análisis sobre teorías de la memoria. En la primera parte del análisis se colocarán los diferentes actantes en un esquema actancial para evidenciar sus respectivas funciones e importancia dentro del texto. En la segunda parte se analizarán más en profundidad algunos apartados de la novela a partir del esquema actancial, con la ayuda principalmente, de las teorías e ideas sobre la memoria de Maurice Halbwachs, Paul Ricoeur y Márcio Seligmann-Silva. Hemos llegado a la conclusión de que Auxilio, la protagonista de la novela,  construye, con la ayuda de su memoria individual, una representación histórica de México de los años sesenta y setenta. A partir de ello, la novela de Bolaño se presenta como una narración importante, puesto que está en contraste con otras versiones de un hito en la historia mexicana. / In this paper we will analyse the representation of memory, individual and collective in the novel Amuleto (1999) by Chilean novelist and poet Roberto Bolaño, with the intention of showing the importance of memory for the construction of the novel. The investigation is primarily divided into two parts: a narratological analysis and an analysis of theories regarding memory. In the first part the different actants will be placed in an actancial model to evidence their function and importance in the text. In the second part we will do an in-depth analyses of some passages of the novel, according to the actancial model with the help of theories on memory presented by among others Maurice Halbwachs, Paul Ricoeur, Márcio Seligmann-Silva and Héctor Schmucler. We have come to the conclusion that Auxilio, the protagonist of the novel, constructs a representation of the history of Mexico in the sixties and the seventies. Accordingly, the novel by Bolaño is an important narration seeing that it represents a contrast to other versions of a milestone in Mexican history.

Made available in DSpace on 2015-04-16T15:23:30Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9178443 bytes, checksum: b242dea44588f549dfdc6024edc7d2df (MD5) Previous issue date: 2014-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / With the general objective to analyze the handwritten epistles of theSanta Claus Program of the Correios, 2009 version, as information artifact by electing the aspects of the individual and collective memory of the writers, from Paraíba, the study analyzed 243 handwritten letters that were discarded at the end of the campaign. The research adopted as theoretical perspective the studies of authors like: Deleuze and Guatari (1992) for the epistle information concept; Foucault (1992) and Gomes (2004) in the self-writing, in addition to Halbwachs (2006) for selecting the memory aspects. In relation to the methodological viewpoint, we adopted a quanti-qualitative approach in the documental research and to aid the analysis we used the theoretical assumptions of Bardin´s content analysis (1977). Firstly, we mentioned the aspects related to the construction of the epistle information concept regarding Information Science by including the epistles, in the area, as artifact of information and memory, once these are full of information that is able to reveal aspects of thought as well as representations of the society. As a result, it was verified that the information enunciations versus articulated epistles constitute a possible concept of Epistle Information. The analysis revealed the writers´ personal aspects by unveiling the individual memory of each participant and when expressed, from a general, social and collective outlook, it was possible to (re)construct the writers´ collective memory and perceive the Santa Claus Campaign of the Correios, in 2009, and its product as a construct of the social reality. Therefore, the epistles constitute meaningful information sources able to alter the knowledge on the individuals´ socioeconomic structures that compose the sample of this study. / Com o objetivo geral de analisar as epístolas manuscritas do Programa Papai Noel dos Correios, versão 2009, como artefato de informação, elegendo os aspectos da memória individual e coletivados missivistas paraibanos, o estudo analisou 243 epístolas manuscritas, que foram descartadas no término da referida campanha. O estudo adotou como perspectiva teórica os estudos de autores; Deleuze e Guatari (1992) para o conceito de informação epistolar; Foucault (1992) e Gomes (2004) na teoria da escrita de si, além de Halbwachs (2006) para selecionar os aspectos da memória. Do ponto de vista metodológico adotamos a abordagem quanti-qualitativa na perspectiva da pesquisa documental e para auxiliar a análise, utilizamos os pressupostos teóricos da análise de conteúdo bardaniana (1977). De início, abordamos os aspectos relativos à construção do conceito de informação epistolar no âmbito da Ciência da Informação, inserindo as epístolas na área como artefato de informação e memória, tendo em vista, que estas, estão carregadas de informações capazes de revelar aspectos do pensamento e das representações da sociedade. E como resultado, verificou-se que os enunciados de informação x epístolas articulados constituem um conceito possível de Informação Epistolar. A análise revelou aspectos pessoais dos missivistas desvendando a memória individual de cada um e quando articuladas, a partir de uma visão geral, social e coletiva, foi possível (re)construir a memória coletiva dos missivistas e percebendo a Campanha Papai Noel dos Correios do ano de 2009 e seu produto, como um construto da realidade social. Portanto, as epístolas se constituem fontes de informação fortes capazes de alterar o conhecimento sobre as estruturas socioeconômicas dos sujeitos que compõem a amostra deste estudo.

Le mémoire de maîtrise présentée a comme but de faire ressortir la relation entre des rééditions des livres d’images de la République démocratique allemande (Bode 2002, Richter 2016) et l’ostalgie (Ahbe 2001/ 2013/2017/2018, Boyer 2006, Haage 2013), un phénomène de nostalgie de la RDA. À partir de la série Kindergeschichten der DDR (Beltz/KinderbuchVerlag; depuis 2009), une analyse paratextuelle (Genette 2001) a été effectuée. Les observations faites nous ont permis de distinguer les groupes commémoratifs affectés, de déterminer de quelle façon les réimpressions font référence à la mémoire collective de l’Allemagne de l’Est et de montrer de quelle manière cette mémoire influence les réimpressions. Avec cette contribution, l’auteure espère enrichir le domaine de recherche de la littérature enfantine germanophone. / This Master thesis explores the relationship between the reeditions of picture books from the German Democratic Republic (Bode 2002, Richter 2016) and “Ostalgie” (Ahbe 2001/ 2013/2017/2018; Boyer 2006; Haage 2013), a unique and continually evolving brand of collective memory specific to the GDR. Analyzing the paratexts (Genette 2001) of the series Kindergeschichten der DDR (Beltz/KinderbuchVerlag; since 2009), we could distinguish the affected commemorative groups, determine in which way the reeditions refer to the collective memory of East Germany, and show in which way this memory influences the reeditions. With this contribution, the author hopes to enhance the field of research on German children’s literature. / Das Ziel der vorliegenden Masterarbeit war es, den Zusammenhang zwischen Neuauflagen ehemaliger DDR-Bilderbücher (Bode 2002, Richter 2016) und Ostalgie (Ahbe 2001/2013/2017/2018, Boyer 2006, Haage 2013), als Phänomen einer spezifischen ostdeutschen Erinnerungskultur, herauszuarbeiten. Von besonderem Interesse war, wie Neuauflagen von DDR-Kinderbüchern an der (Re)Konstruktion von DDRErinnerung beteiligt sind und an welchen Stellen dies explizit als auch implizit deutlich wird. Anhand einer paratextuellen Analyse (Genette 2001) der Reihe Kindergeschichten der DDR (Beltz/KinderbuchVerlag: seit 2009) wurde nachgezeichnet, auf welche Weise und bei welchen Gruppen die Bilderbücher Erinnerungen auslösen (können) und wie diese Erinnerungen wiederum auf die aktuellen Wiederauflagen zurückwirken bzw. diese steuern. Die Autorin erhofft sich mit diesem Beitrag das Forschungsfeld der deutschsprachigen Kinderliteratur zu bereichern.

[ES] Mediante esta tesis doctoral se ha llevado a cabo la producción de un dispositivo escénico que da a conocer las experiencias vividas de una familia colombiana en el seno del conflicto armado. Su puesta en escena emplea la hibridación de lenguajes y se inserta en el campo expandido de experimentación, buscando el sentir común de una memoria colectiva. De esta manera, se crea una acción poético-política con proyecciones, performance y lectura escénica, a través del encuentro intersubjetivo y el agenciamiento colectivo. Para ello, se abordan tres vertientes dentro de este acontecimiento socio-cultural-poético: la memoria individual y colectiva, la violencia política de la desaparición forzada y las dramaturgias de la imagen, en el espacio escénico contemporáneo. A partir de esta articulación conceptual, esta tesis inicia con la ideación y búsqueda de una poética propia a través de la imaginación y el recuerdo, además se ha realizado un proceso colaborativo entre las maestras y estudiantes de la asignatura Práctica Escénica Contemporánea de la Universitat Politècnica de València, lo que ha permitido generar nuevas subjetividades entre artefactos, sujetos y narrativas. Al tratarse de una investigación teórico-práctica el resultado de esta investigación es, además de toda la reflexión teórica plasmada en este documento, el dispositivo artístico Memorias de un sueño: una cadena infinita de afectos para hacernos invisibles a la muerte. Este dispositivo fue estrenado en Valencia, España, el 5 de junio de 2021, en el Teatro Círculo. Dicha obra sirvió como forma de visibilizar la relación entre la memoria autobiográfica de un pasado reciente y la actualidad mediática del estallido social de 2021 en Colombia. / [CA] Mitjançant aquesta tesi doctoral s'ha dut a terme la producció d'un dispositiu escènic que dona a conéixer les experiències viscudes d'una família colombiana en el si del conflicte armat. La seua posada en escena empra la hibridació de llenguatges i s'insereix en el camp l'expandit d'experimentació, buscant el sentir comú d'una memòria col·lectiva. D'aquesta manera, es crea una acció poètic-política amb projeccions, performance i lectura escènica, a través de la trobada intersubjectiva i el agenciamient col·lectiu. Per a això, s'aborden tres vessants dins d'aquest esdeveniment sociocultural- poètic: la memòria individual i col·lectiva, la violència política de la desaparició forçada i les dramatúrgies de la imatge, en l'espai escènic contemporani. A partir d'aquesta articulació conceptual, aquesta tesi s'inicia amb la ideació i cerca d'una poètica pròpia a través de la imaginació i el record, a més s'ha realitzat un procés col·laboratiu entre les mestres i estudiants de l'assignatura Pràctica Escènica Contemporània de la Universitat Politècnica de València, la qual cosa ha permés generar noves subjectivitats entre artefactes, subjectes i narratives. En tractar-se d'una investigació teoricopràctica el resultat d'aquesta investigació s'evidencia en tota la reflexió teòrica plasmada en aquest document y en el dispositiu artístic Memòries d'un somni: una cadena infinita d'afectes per a fer-nos invisibles a la mort. Aquest dispositiu va ser estrenat a València (Espanya), el 5 de juny de 2021, en el Teatre Cercle. Aquesta obra va servir com a manera de visibilitzar la relació entre la memòria autobiogràfica d'un passat recent i l'actualitat mediàtica de l'esclat social de 2021 a Colòmbia. / [EN] Through this doctoral thesis, the production of a scenic device has been carried out that makes known the lived experiences of a Colombian family in the midst of the armed conflict. Its staging employs the hybridisation of languages and is inserted in the expanded field of experimentation, seeking the common feeling of a collective memory. In this way, a poetic-political action is created with projections, performance and scenic reading, through intersubjective encounters and collective agency. To this end, three aspects are addressed within this socio-cultural-poetic event: individual and collective memory, the political violence of forced disappearance and the dramaturgies of the image, in the contemporary stage space. From this conceptual articulation, this thesis begins with the ideation and search for its own poetics through imagination and memory, and a collaborative process has been carried out between the teachers and students of the Contemporary Stage Practice course at the Universitat Politècnica de València, which has allowed the generation of new subjectivities between artefacts, subjects and narratives. As this is a theoretical-practical investigation, the result of this research is evident in all the theoretical reflection expressed in this document and in the artistic device Memorias de un sueño: una cadena infinita de afectos para hacernos invisibles a la muerte (Memories of a dream: an infinite chain of affections to make us invisible to death). This device was premiered in Valencia (Spain), on 5 June 2021, at the Teatro Circulo. This work served as a way of making visible the relationship between the autobiographical memory of a recent past and the current media coverage of the social explosion of 2021 in Colombia. / Cuéllar Torres, T. (2022). Memorias de un sueño. Autobiografía escénica sobre un pasado reciente de Colombia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190085