Often neglected in the musicological coverage of revolutionary music and theater, the Thermidorean Reaction phase (1794–1795) of the French Revolution was a period of governmental transition, in which Parisian theaters enjoyed the institutional and generic freedoms of the Le Chapelier Laws of 1791 in addition to relaxed enforcement of censorship. In recent years, Mark Darlow and Julia Doe's work has advanced understandings of operatic genres during the early years of the Revolution, which they characterize as a balance between "rupture and continuity" with artistic conventions of the ancien régime. I extend their methods of analysis to the second half of the revolutionary decade, exploring the impact that Thermidorian theatrical politics and legal (de)regulations had on operatic genre through the lens of Sapho (1794). This tragédie lyrique premiered at the Théatre de Louvois, a venue of ambiguous status within Paris's theatrical hierarchies. Featuring a libretto by Constance de Salm and music by Jean-Paul-Égide Martini, Sapho falls within the period of temporarily suspended theatrical privilege initiated by Le Chapelier and borrows key formal elements from "great" and popular operatic styles. The opera facilitates a discussion of how composers and librettists collaborated to navigate the rapidly shifting political and legal climate of Thermidor. I argue that Sapho's careful blend of generic consistency and innovation arose from its twofold institutional and aesthetic positioning. Institutionally, it premiered within a period of relaxed theatrical regulations at a theater, the Louvois, that avoids clear categorization. Aesthetically, Sapho represents a culmination of generic developments initiated in the 1750s, with innovative musical and formal elements stemming from the authors' attention to dramatic progression and their desire to remain artistically relevant in the wake of the Terror.

This dissertation examines the development of alternative spaces in Los Angeles from 1970 to 1990. In the absence of museum support during the 1970s, artists in Los Angeles—many of whom were women, queer, racially diverse, young, politically active, and pushing the boundaries of new media—began to create organizations to provide the resources they lacked. I argue that this flourishing network of alternative spaces became one of Los Angeles’s most significant art-historical developments in the latter half of the twentieth century. This emergent contemporary art scene was defined largely in opposition to the city’s principal cultural repository, the Los Angeles County Museum of Art (LACMA), and formed the primary support structure for contemporary artists and exhibitions between the 1974 closure of the Pasadena Art Museum and the launch of the Museum of Contemporary Art’s (MOCA) exhibition program in 1983. The resulting complex of artist-run organizations laid the groundwork for the rebranding of Los Angeles as a capital of contemporary art and culture in the twenty-first century. My study is divided into three chapters, each of which focuses on the history and legacy of a different alternative institution. Chapter one examines the Woman’s Building (1973-1991) through this feminist institution’s exhibition and pedagogical programs, with a focus on the Feminist Studio Workshop (1973-1981). Members of the Woman’s Building sought to transform their Los Angeles community by educating both the women who came there to study and the audiences that encountered their work. The second chapter traces the history of LAICA (Los Angeles Institute of Contemporary Art, 1974-1987), which became the city’s first non-profit exhibition space dedicated to contemporary art. Through its exhibitions and publication, Journal, LAICA validated and disseminated Southern California’s artistic production to national and international audiences. The third chapter introduces LACE (Los Angeles Contemporary Exhibitions, 1978-present), which emerged out of a community mural program to become the preeminent laboratory for experimental art in Los Angeles. The diverse group of artists who founded LACE established a democratically operated organization that prioritized artistic freedom. These three institutions anchored a network of alternative spaces that transformed the cultural landscape in Los Angeles. / 2022-07-08T00:00:00Z

This thesis explores the use and potential of digital timelines in public history projects. Digital timelines have become a popular and accessible ways for institutions and individuals to write history. The history of timelines indicates that people understand timelines as authoritative information visualizations because they represent concrete events in absolute time. The goals of public history often conflict with the linear, progressive nature of most timelines. This thesis reviews various digital timeline tools and uses The Print Center's Centennial Timeline as an in-depth case study that takes into account the multifaceted factors involved in creating a digital timeline. Digital history advocates support digital scholarship as an alternative to traditional narrative writing. This thesis illustrates that digital timelines can enable people to visualize history in unexpected ways, fostering new arguments and creative storytelling. Despite their potential, digital timelines often replicate the conventions of their paper counterparts because of the authoritative nature of the timeline form. / History

O crescente interesse dos historiadores pelos documentos originários de instituições do poder judiciário, cujo grau de difusão e penetração na sociedade os torna, na mesma proporção, reveladores de aspectos importantes do quotidiano vivido pelas pessoas, não se faz acompanhar de um conhecimento mais sistemático sobre os mecanismos de funcionamento desses organismos. Com o propósito de oferecer aos pesquisadores subsídios que lhes permitam compreender a estrutura organizacional do Juízo de Órfãos de São Paulo ao longo do período que vai de 1578 a 1926 (balizas cronológicas do fundo custodiado pelo Arquivo Público do Estado de São Paulo) e, sobretudo, caracterizar os tipos documentais que resultaram de seu funcionamento, este trabalho assume acentuado caráter instrumental, seja para potencializar o uso acadêmico de tais fontes, seja para oferecer parâmetros de arranjo e descrição a arquivos semelhantes. / The growing interest of historians on judicial archives, whose degree of social penetration make them equally capable of revealing important aspects of people lives, is not proportional to the knowledge they have about institutional history. In order to understand the Juízo de Órfãos de São Paulo (1578-1926) and to define the kind of records it has produced over time, this work assumes an instrumental character both to academic research and to professionals who organize similar archives.

O crescente interesse dos historiadores pelos documentos originários de instituições do poder judiciário, cujo grau de difusão e penetração na sociedade os torna, na mesma proporção, reveladores de aspectos importantes do quotidiano vivido pelas pessoas, não se faz acompanhar de um conhecimento mais sistemático sobre os mecanismos de funcionamento desses organismos. Com o propósito de oferecer aos pesquisadores subsídios que lhes permitam compreender a estrutura organizacional do Juízo de Órfãos de São Paulo ao longo do período que vai de 1578 a 1926 (balizas cronológicas do fundo custodiado pelo Arquivo Público do Estado de São Paulo) e, sobretudo, caracterizar os tipos documentais que resultaram de seu funcionamento, este trabalho assume acentuado caráter instrumental, seja para potencializar o uso acadêmico de tais fontes, seja para oferecer parâmetros de arranjo e descrição a arquivos semelhantes. / The growing interest of historians on judicial archives, whose degree of social penetration make them equally capable of revealing important aspects of people lives, is not proportional to the knowledge they have about institutional history. In order to understand the Juízo de Órfãos de São Paulo (1578-1926) and to define the kind of records it has produced over time, this work assumes an instrumental character both to academic research and to professionals who organize similar archives.

La thèse s'inscrit dans une approche liant l'histoire des institutions et l'histoire des idées politiques et s'attache à la manière dont le Maroc a construit son univers politique et pensé son rapport au pouvoir. La France estimait qu'il fallait mettre en place un protectorat et non une administration directe, de type colonial. En fait, la France rejetait l'administration directe de l'Empire Chérifien et cherchait une formule d'association et de contrôle dans le but d'établir l'ordre et l'unité dans le pays. Avec la mis une place du protectorat, la France a connu de nombreuses résistantes, aussi bien armées que politiques. A partir des années 1930, des aspirations nationalistes voient le jour. La recherche d'une identité et d'une unité nationale reste ainsi le principal motif de la résistance marocaine. Le milieu des années trente voit la naissance d'une conscience de plus en plus forte dans le combat pour l'indépendance. La thèse propose de donner une vue d'ensemble sur les différentes phases de la lutte engagée par le mouvement national marocain.Elle a pour ambition également d'analyser les divers aspects du régime issu du traité de 1912 et de mettre en lumière la crise franco-marocaine chronique. Dans ce contexte politique et juridique, la France a t-elle réussi à unifier le Maroc ? Peut-on considérer sa domination territoriale comme un changement de système ? Et comment peut-on identifier les principaux changements que cette situation historique a produit dans le système politique et institutionnel marocain ? / The subject of our research project lies within the scope of a political approach which looksinto how Morocco organises its political universe and conceives its relation to power.France deemed it necessary to set up a protectorate rather than a system of direct rule. De facto, France rejected the direct administration of the Christian Empire and sought a balance of "association" and "control" with the view of re-establishing order and unity within the country.From the moment the protectorate was first mentioned, France witnessed many a resistance, be they armed or political. From 1930 onwards, nationalist aspirations emerged. The quest for national identity and unity would stand as the chief explanation for Moroccan resistance. The mid 1930s saw the beginning of an ever-growing national awareness regarding the struggle for independence. This thesis strives to draw up an overview of the various stages of that same devoted struggle. It also aims at analysing the many aspects of the colonial system which resulted from the treaty of 1912, and shedding light on the French-Moroccan crisis.Within this socio-political context, did France succeed light in uniting Morocco ?May we envisage its territorial supremacy as a change of systems ? And how may we identify the main evolution within the Marocco political system ?

Le XVe siècle voit la naissance de la nation France et l'unification progressive du pays sous le pouvoir de l'État royal. En ces temps troublés de la guerre de Cent Ans se pose la question de la maîtrise du territoire, dans sa double dimension intellectuelle et pratique. Comment, au XVe siècle, un roi de France pouvait-il se représenter son royaume ? Comment pouvait-il le gouverner ? La territorialisation du pouvoir s'affirme dans un va-et-vient entre figurations et occupation concrète. Des espaces sociaux différenciés se constituent, selon que les régions sont gouvernées directement par le roi et ou qu'elles sont confiées à des gouverneurs, un prince ou encore un Parlement. Dans le cadre fixé par les frontières des Quatre Rivières, la monarchie accède à une maîtrise globale du territoire qui coïncide avec l'intégration de la société politique dans un État d'offices sommé par la justice royale. L'unité royale et les constructions régionales divergentes se combinent dès lors dans une forme d'État-nation originale, un État territorial mixte, unitaire et hétérogène. / During the 15th century, the French nation emerged and the unification of the country progressively took place, under the rule of the royal state. The question of how to control the territory, in both its intellectual and practical dimensions, was made more urgent by the troubles caused by the Hundred Years’ War. How, in the 15th century, could a King of France visualize his kingdom ? How was he able to govern it ? The territorialisation of power, oscillating between representation and real occupation, became progressively clearer. Differentiated social spaces emerged, depending on whether the regions were directly governed by the King or were entrusted to governors, be it a Prince or a Parliament. At the time when the monarchy gained overall control over the territory within the limits defined by four rivers (Scheldt, Meuse, Saone, Rhone), political society organised itself in a state constituted by offices ruled by royal law. Royal unity and diverging regional structures combined themselves into an original type of nation-state, a mixed territorial state, unitary and heterogeneous at the same time.

Este trabalho apresenta o desenvolvimento de uma pesquisa de Tipologia Documental em acervo histórico, utilizando como modelo o caso da Assembléia Legislativa Provincial de São Paulo, organismo legislativo da Província de São Paulo durante o período imperial do Brasil. A partir do estudo das condições de criação e de funcionamento da Assembléia Provincial, são apresentados os tipos documentais substantivos de sua atuação - representativos do cumprimento de suas funções - e os documentos acessórios - documentos anexos e complementos encaminhados pela população e instituições locais visando ampliar a argumentação de suas solicitações. Apresenta o Glossário de Formatos, Espécies e Tipos Documentais da Assembléia Legislativa Provincial de São Paulo, instrumento que contém em cada verbete as definições dos tipos documentais representativos do acervo e histórico de utilização dos termos. / This assignment presents the development of a research of Types of Documents in historical collection, using as model the case of the Provincial State Legislature of São Paulo, legislative organism of the Province of São Paulo during the imperial period of Brazil. Starting from the study of the creation conditions and of operation of the Provincial Assembly, the substantive documental types of its performance are presented - representative of the execution of their functions - and the accessory documents - enclosed documents and complements directed by the population and local institutions in order to enlarge the argument of their requests. It presents the Glossary of Formats, Species and Documental Types of the Provincial Legislative Assembly of São Paulo, instrument that contains, in each entry, the definitions of the representative documental types of the collection and historical use of the terms.

Au début des années 2000 un phénomène de transgression des représentations corporelles conventionnelles envahit les scènes chorégraphiques. Autonomie, indiscipline, réflexivité, expérimentation, tendance protéiforme, performativité, intégration sociale et attitude participative, ne sont que quelques dimensions que le corps dansant favorise. D’où provient-il ce phénomène ?Cette thèse, en mettant la question en perspective historique, examine comment les revendications chorégraphiques à orientation politico-artistique du milieu des années 1990, qui visaient à défier les limites propres de la danse, les limites entre les autres arts, mais aussi entre l’artiste, l’œuvre et le spectateur, la danse et les schémas institutionnels du pays, ont trouvé toute leur légitimité et porté leurs fruits dans les années 2000.Dans la lignée de l’analyse critique qui a récemment élargi son champ d’intérêt, interrogeant les frontières traditionnelles de la danse, cette thèse propose d’explorer les transformations du corps, de la pensée, de l’image et du regard, opérées dans le champ chorégraphique, en examinant : la (ré)formation du corps dansant, le processus d’historicisation du domaine, la mutation du visuel due aux démarches transdisciplinaires et transversales, ainsi que le projet de démocratisation de la discipline qui engendre des (ré)formations du corps-public. Trois questions principales traversent l’étude : Quel corps ? Quelle danse ? Qui danse ? A la fois panoramique et monographique, cette thèse développe une méthodologie qui se prête à offrir une sensibilisation à l’analyse pluridimensionnelle du domaine ainsi que des outils adéquats pour une historiographie des œuvres. / In the early 2000s, a phenomenon of transgression in the conventional representations of bodies invades the choreographic scenes. Autonomy, indiscipline, reflexivity, experimentation, protean tendency, performativity, social integration and participative attitude are some of the dimensions favored by the dancing body. Where does this phenomenon come from? Within a historical perspective, this PhD thesis examines how these choreographic claims with a politico-artistic orientation of the middle 1990s, aiming to challenge the proper limits of the dance, the boundaries among the other arts, the frontiers between the artist, his work and the audience, as well as the dance and the French institutional frame, found their legitimacy and started showing results in the years 2000. In line with the critical analysis which recently expanded its field of interest by questioning the traditional borders of the dance, this PhD thesis proposes to explore the transformations of the body, the thinking, the image and the view by examining: the (re)formation of the dancing body, the process of historicisation of the domain, the mutation of visuals stemming from transdisciplinary and transversal approaches, as well as the discipline’s democratisation which generates the (re)formation of the audience. This study deals with three main questions: Which body? Which dance? Who is dancing?Panoramic as well as monographic, this research develops a methodology which intends to raise awareness in favour of the multidimensional analysis of dance, as well as for the most adequate tools for the historiography of related works.

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2013-11-05T18:35:15Z No. of bitstreams: 1 TESE - Aldo Morais.pdf: 2580119 bytes, checksum: 8e79ebe6adc4db384ec37e4feacac905 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2013-11-12T18:21:31Z (GMT) No. of bitstreams: 1 TESE - Aldo Morais.pdf: 2580119 bytes, checksum: 8e79ebe6adc4db384ec37e4feacac905 (MD5) / Made available in DSpace on 2013-11-12T18:21:31Z (GMT). No. of bitstreams: 1 TESE - Aldo Morais.pdf: 2580119 bytes, checksum: 8e79ebe6adc4db384ec37e4feacac905 (MD5) / Este trabalho analisa a origem e o processo de consolidação do Instituto Geográfico e Histórico da Bahia de 1894 a 1930, considerando a sua participação na promoção da desejada modernidade e civilidade da sociedade baiana no contexto da ‘modernização’ brasileira que caracterizou a Primeira República. Com esse propósito discute-se as condições históricas do nascimento da instituição e sua relação com o antigo Instituto Histórico Provincial que lhe antecedera. Do mesmo modo, discute a utilização do IGHB para inserção da Bahia no projeto nacional republicano, tendo como elemento chave a análise das discussões sobre questão racial na Bahia e o interesse do instituto em respaldar os discursos acerca da imigração européia para o estado. O trabalho discute, ainda, a utilização destas mesmas questões pelo IGHB como vias e estratégias de interlocução com a sociedade e governo baiano, visando o apoio necessário à sua consolidação institucional. Após estas considerações, o estudo evidencia o momento de consolidação do IGHB e as implicações deste fato para as relações do Instituto com o governo e a sociedade, bem como sobre as características da sua produção institucional. This study analyzes the origin and the process of consolidation of the Geographic and Historical Institute of Bahia from 1894 to 1930, observing its participation in the effort to promote the modernity and civility of bahian society in that context of the brazilian modernization, which characterized the First Republic. With this objective, this paper discusses the historical conditions of the institution source and its relation with the ancient Provincial Historical Institute than precede it. This study debate, further, the use than GHIB for insertion of Bahia into national republican project, utilizing to this the examination of the debates about the racial question in Bahia and the efforts of the Institute about to stand up for the discourses about European immigration to Bahia. The text discusses, further, the use of these same questions by the GHIB as channel and strategies of interlocution whit the society and Bahian government, thinking about the necessary support to its institutional consolidation. After these considerations, the study discusses the moment of consolidation of the GHIB and its implications for the relations of the Institute with the government and the society, as well as about the characteristics of its institutional production.