Canadians have developed a vocabulary of regionalism, a cultural shorthand that divides Canada into easily-described spaces: the Arctic, the Prairies, the Maritimes, and Central Canada, for example. But these artificial divisions obscure the history of edge places whose identity is drawn from more than one region. The region north of Prince Albert, Saskatchewan, is a place on the edge of the boreal forest whose self-representations, local history, and memorials draw heavily on a non-prairie identity. There, the past is associated with the forest in contrast to most Canadians' understanding of Saskatchewan as flat, treeless prairie. This dissertation presents the history of the north Prince Albert region within a framework that challenges common Saskatchewan and Canadian stereotypes. Through deep-time place history, layers of historical occupation in the study region can be compared and contrasted to show both change and continuity. Historical interpretations have consistently separated the history of Saskatchewans boreal north and prairie south, as if the two have no history of interchange and connection. Using edge theory, this dissertation argues that historical human occupation in the western interior found success in the combination of prairie and boreal lifeways.<p> First Nations groups from both boreal forest and open plain used the forest edge as a refuge, and to enhance resilience through access to resources from the other ecosystem. Newcomer use of the prairie landscape rebranded the boreal north as a place of natural resources to serve the burgeoning prairie market. The prairies could not be settled if there was not also a nearby and extensive source for what the prairies lacked: timber and fuel. Extensive timber harvesting led to deforestation and the rise of agriculture built on the rhetoric of mixed farming, not King Wheat. The mixed farming movement tied to landscape underscored the massive internal migrations from the open prairies to the parkland and forest edge.<p> Soldier settlement, long viewed as a failure, experienced success in the north Prince Albert region and gave a model for future extensive government-supported land settlement schemes. South-to-north migration during the 1920s was based on a combination of push and pull factors: drought in the Palliser Triangle; and a strengthening northern economy built on cordwood, commercial fishing, freighting, prospecting and fur harvesting, as well as mixed farming. The economy at the forest edge supported occupational pluralism, drawing subsistence from both farm and forest, reflecting the First Nations model. As tourism grew to prominence, the Saskatchewan dual identity of prairie/forest led to the re-creation of the north Prince Albert region as a new vacationland, the Playground of the Prairies. The northern forest edge drew thousands of migrants during the Great Depression. Historical analysis has consistently interpreted this movement as frantic, a reactionary idea without precedent. Through a deep-time analysis, the Depression migrations are viewed through a new lens. The forest edge was a historic place of both economic and cultural refuge and resilience predicated on the Saskatchewan contrast of north and south.

Canadians have developed a vocabulary of regionalism, a cultural shorthand that divides Canada into easily-described spaces: the Arctic, the Prairies, the Maritimes, and Central Canada, for example. But these artificial divisions obscure the history of edge places whose identity is drawn from more than one region. The region north of Prince Albert, Saskatchewan, is a place on the edge of the boreal forest whose self-representations, local history, and memorials draw heavily on a non-prairie identity. There, the past is associated with the forest in contrast to most Canadians' understanding of Saskatchewan as flat, treeless prairie. This dissertation presents the history of the north Prince Albert region within a framework that challenges common Saskatchewan and Canadian stereotypes. Through deep-time place history, layers of historical occupation in the study region can be compared and contrasted to show both change and continuity. Historical interpretations have consistently separated the history of Saskatchewans boreal north and prairie south, as if the two have no history of interchange and connection. Using edge theory, this dissertation argues that historical human occupation in the western interior found success in the combination of prairie and boreal lifeways.<p> First Nations groups from both boreal forest and open plain used the forest edge as a refuge, and to enhance resilience through access to resources from the other ecosystem. Newcomer use of the prairie landscape rebranded the boreal north as a place of natural resources to serve the burgeoning prairie market. The prairies could not be settled if there was not also a nearby and extensive source for what the prairies lacked: timber and fuel. Extensive timber harvesting led to deforestation and the rise of agriculture built on the rhetoric of mixed farming, not King Wheat. The mixed farming movement tied to landscape underscored the massive internal migrations from the open prairies to the parkland and forest edge.<p> Soldier settlement, long viewed as a failure, experienced success in the north Prince Albert region and gave a model for future extensive government-supported land settlement schemes. South-to-north migration during the 1920s was based on a combination of push and pull factors: drought in the Palliser Triangle; and a strengthening northern economy built on cordwood, commercial fishing, freighting, prospecting and fur harvesting, as well as mixed farming. The economy at the forest edge supported occupational pluralism, drawing subsistence from both farm and forest, reflecting the First Nations model. As tourism grew to prominence, the Saskatchewan dual identity of prairie/forest led to the re-creation of the north Prince Albert region as a new vacationland, the Playground of the Prairies. The northern forest edge drew thousands of migrants during the Great Depression. Historical analysis has consistently interpreted this movement as frantic, a reactionary idea without precedent. Through a deep-time analysis, the Depression migrations are viewed through a new lens. The forest edge was a historic place of both economic and cultural refuge and resilience predicated on the Saskatchewan contrast of north and south.

In the last 30 years many changes have taken place within the Cowlitz Indian Tribe. These changes involve the tribe’s sovereignty and have greatly impacted the emic identity of the tribe. Previous identity research with the Cowlitz predates these changes and no longer accurately describe the Cowlitz. The question for this research was how have these changes affected the emic identity of the Cowlitz today as seen in their community and interactions? And how does their identity now compare with their identity in the times of pre-contact and initial contact with whites? This research uses Manuel DeLanda’s assemblage theory to assess and compare the emic identity of the contemporary and historical tribe in terms of sovereignty, identity, and cultural rejuvenation. When the structure, relationships, activities, and purposes of the tribe and groups within the contemporary tribe were analyzed, there was a striking resemblance to the community system described in early settler journals and histories of the Cowlitz. The research was cross-sectional, including ethnographic study, interviews of tribal members, document analysis, and historical analysis. In an attempt to allow the Cowlitz people to speak for themselves rather than project ideas onto the tribe, each section of the research first allows tribal members to voice their opinions and then relies on Cowlitz voices to confirm the analysis. The final dissertation was then submitted to the tribe for comment.

Submitted by Suemi Higuchi (suemi.higuchi@fgv.br) on 2008-11-11T13:42:38Z No. of bitstreams: 1 CPDOC2008BrunodeAraujoMendes.pdf: 2285206 bytes, checksum: 4e57f1ddb97fce0aac1fb1c7552130eb (MD5) / Made available in DSpace on 2008-11-11T13:42:38Z (GMT). No. of bitstreams: 1 CPDOC2008BrunodeAraujoMendes.pdf: 2285206 bytes, checksum: 4e57f1ddb97fce0aac1fb1c7552130eb (MD5) / The main objective of this thesis is to analyse through a study case how the issue of 'intergrupal prejudice' can be identified in the historical development of small Brazilian municipalities. The central object chosen was Cachoeira da Prata town’s history of memory and it was searched to debate how the social differentiation process of the small community founded by the ex-slave Nicolau Teixeira took place in relation to the rest of the town. Therefore, the thesis was divided into two parts. The first is formed by the first three chapters in which it is presented the industrial village of Cachoeira de Macacos as the scenario where Commander Américo Teixeira is identified as the major leader of a political and industrial domination project that left lengthy footprints in the memory of the town’s oldest population. In this context, it was searched to debate how the post-emancipation of slavery phenomena happened in the locality, analyzing part of the ex-slave Nicolau Teixeira life’s trajectory, a loyal supporter of the Commander Américo political project that became in mid 20th century the patricarch of a community founded in the vicinity of the old industrial village. The second part, it is exclusively based on the fourth chapter in which is debated in a combined way the history of the social differentiation of the community and the different political and methodological positions that were adopted throughout the research. Thereafter the analysis, it was concluded that is only possible to understand the process meanders that took Nicolau Teixeira’s descendents to the condition of social exclusion after they were identified as capable actors to elaborate representations and narratives that help the population of Cachoeira da Prata to know 'another side' of the local history. / O principal objetivo dessa dissertação é analisar, através de um estudo caso, como a questão do 'preconceito intergrupal' pode ser percebida no desenvolvimento histórico de pequenos municípios brasileiros. Escolhendo a história da memória da cidade de Cachoeira da Prata como objeto central, buscamos discutir como ocorreu o processo de diferenciação social da pequena comunidade formada pelos descendentes do ex-escravo Nicolau Teixeira do restante da cidade. Para tanto, dividimos a dissertação em duas partes. A primeira é formada pelos três primeiros capítulos, nos quais apresentamos a vila fabril de Cachoeira de Macacos como o cenário, no qual o cel. Américo Teixeira é identificado como o líder maior de um projeto de domínio político e industrial que deixou marcas duradouras na memória da população mais antiga da cidade. Nesse contexto, buscamos discutir como o fenômeno do pós-emancipação da escravidão se manifestou na localidade, analisando parte da trajetória de vida do ex-escravo Nicolau Teixeira, um leal apoiador do projeto político do cel. Américo, que se tornou, na primeira metade do século XX, o patriarca de uma comunidade criada nas imediações da antiga vila fabril. Na segunda parte, composta exclusivamente pelo quarto capítulo, discutimos de maneira conjugada, a história da diferenciação social da comunidade e diferentes posicionamentos políticos e metodológicos que adotamos ao longo da pesquisa. Após essa análise, concluímos que só é possível entender os meandros do processo que levou os descendentes de Nicolau Teixeira à condição de exclusão social após percebê-los como atores capazes de elaborar narrativas e representações que auxiliam a população de Cachoeira da Prata a conhecer um 'outro lado' da história local.

No description available.

[EN] This thesis will analyze various constructions of contemporary art projects and exhibitions held since the beginning of the 21st century in rural areas in Spain. From these general cultural parameters and specific parameters, indeterminacy of artistic projects in rural areas requires, at present, a review of the various samples for the analysis of the activities of artists, collectives and institutions in the same area. This study is divided into three chapters: The first chapter will examine the increase in the recuperation of autonomous pedagogical approaches and popular education frameworks, which has led to rethinking relationship modes and generating nodes of artistic creation in rural areas. More specifically, in line with the new cultural policy review models, allowing for affective, the contribution of other participatory political mutual support and mediation in terms of the commons, the representation of cultural, ecological, aesthetic, educational, productive and free software use in various artistic projects. These creation-based laboratories are represented in the more mature manifestations of projects and works that integrate rural art within an institutional framework and try to develop a standardized normative. The second chapter examines how interdisciplinary knowledge and art function in the various locations called Fab labs, which advocate the use of open-source technologies. After verifying this, the analysis of case studies related to existing art in rural areas in Spain is presented. This has led to the formulation of a few basic steps to follow for the compendium and creation of a directory in the last chapter of the dissertation. The third chapter will present my personal proposal as an artist in search of new production models. Being part of a collective has allowed me to develop an interdisciplinary art project in rural areas called "Paraisurural". This is implemented with the knowledge acquired during the research into the creation of an online platform called Lab Rural, hosting artistic presentations in rural areas made by groups, institutions and entities created in Spain during the first decade of this century. Places that are labeled and cataloged in hitherto neglected parameters -such as ethnographical readings, ethnology and assessment of the contributions of open-source technologies- provide a more rigorous characterization and promote coherence in the creation of artistic works. / [ES] La tesis analiza diversas construcciones del Arte contemporáneo en los proyectos y exposiciones llevados a cabo desde principios del siglo XXI en el ámbito rural en España. A partir de estos parámetros culturales generales y de parámetros específicos la indeterminación de los proyectos artísticos en el medio rural requiere, en la actualidad, una revisión de las diversas muestras para el análisis de las actividades realizadas por los artistas, los colectivos y las instituciones en este mismo ámbito. El estudio se divide en tres capítulos: El primer capítulo ha detectado la proliferación de recuperar planteamientos pedagógicos autónomos y marcos de educación popular, repensando los modos de relación y generación de Arte en los nodos de creación en el medio rural. Más concretamente bajo los nuevos modelos de una política cultural crítica, dando cabida a lo afectivo, la aportación de otras políticas participativas del apoyo mutuo y la mediación en términos del procomún, la representación de las funciones culturales, ecológicas, estéticas, didácticas, productivas y los usos del software libre en los diversos proyectos artísticos. Estos laboratorios de creación se representan en las manifestaciones más maduras de proyectos y obras que integran el Arte en el medio rural en el sistema institucional e intentan el desarrollo de una normativa regularizada. El segundo capítulo examina de qué maneras actúan el conocimiento transdisciplinar y el Arte en los diversos emplazamientos de los centros llamados Fab labs, sedes de creación cuyo uso aboga las tecnologías de código abierto. Tras constatar esto se presenta el análisis de los casos prácticos en torno al Arte existentes en el medio rural en España, que han llevado a la formulación de unos criterios básicos a seguir para el compendio y creación de un directorio en el último capítulo. El tercer capítulo presenta mi propuesta personal como artista en búsqueda de nuevos modelos de producción, que como parte de un colectivo me ha permitido desarrollar un proyecto artístico transdisciplinar en el medio rural, llamado "Paraisurural". Este se implementa con los conocimientos adquiridos a lo largo de esta investigación en la creación de una plataforma online llamada Labrural o Laboratorio rural, que acoge las representaciones artísticas en el medio rural realizadas por los colectivos, las instituciones y las entidades creadas en España en la primera década del siglo XXI. Lugar en el que se etiquetan y catalogan en parámetros hasta ahora no considerados -como las lecturas de la etnografía, la valoración de la etnología y las aportaciones de las tecnologías de código abierto- para servir de una más rigurosa tipificación y propiciar una coherencia en la materialización de las obras artísticas. / [CA] La tesi analitza diverses construccions de l'art contemporani en els projectes i exposicions duts a terme des de principis del segle XXI en l'`ambit rural a Espanya. A partir d'estos paràmetres culturals generals i de paràmetres específics la indeterminació dels projectes artístics en el medi rural requerix, en l'actualitat, una revisió de les diverses mostres per l'anàlisis de les activitats realitzades pels artistas, els col lectius i les institucions en este mateix àmbit. L'estudi es dividix en tres capítols: El primer capìtol ha detectat la proliferació de recuperar plantejaments pedagògics autònoms i marcs d'educació popular, repensant els modes de relació i generació d'Art en els nodes de creació en el medi rural. Més concretament davall els nous models d'una política cultural crítica, donant cabuda a l'afectiu, l'aportació d'altres polítiques participatives del suport mutu i la mediació en termes de l'utilitat pública, la representació de les funcions culturals, ecològiques, estètiques, didàctiques, productives i els usos del programari lliure en els diversos projectes artístics. Estos laboratoris de creació es representen en les manifestacions més madures de projectes i obres que integren l'art en el medi rural en el sistema institucional i intenten el desenrotllament d'una normativa regularitzada. El segon capítol examina de quines maneres actuen el coneixement transdisciplinar i l'Art en els diversos emplaçaments dels centres cridats Fab labs, seus de creació l'ús dels quals advoca les tecnologies de codi obert. Després de constatar açò es presenta l'anàlisis dels casos pràctics entorn de l'Art existents en el medi rural a Espanya, que han portat a la formulació d'uns criteris bàsics a seguir per al compendi i la creació d'un directori en l'últim capítol. El tercer capítol presenta la meua proposta personal com a artista a la recerca de nous models de producció, que com a part d'un col¿lectiu m'ha permés desenrotllar un projecte artístic transdisciplinar en el medi rural, cridat "Paraisurural". Este s'implementa amb els coneixements adquirits al llarg d'esta investigació en la creació d'una plataforma online crida Labrural o Laboratori Rural, que acull les respresentacions artístiques en el Medi Rural realitzades pels col¿lectius. les institucions i les entitats creades a Espanya en la primera década del segle XXI. Lloc en què s'etiqueten i cataloguen en paràmetres fins ara no considerats -com les lectures de l'etnografía, la valoració de l'etnologia i les aportacions de les tecnologies de codi obert- per a servir d'una més rigorosa tipificació i propiciar una coherencia en la materialització de les obres artístiques. / Gónzalez Fernández, M. (2016). Prácticas artísticas híbridas contemporáneas en el ámbito rural. Paraisurrural [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61461