How we come to know about social phenomena is an important sociological question and a central focus of this thesis. How knowledge is organised and produced and becomes part of ruling relations is empirically interrogated through an institutional ethnography. I do this in the context of explicating the construction of a public history concerning Aboriginal Australian child separations over the 20th century, and in particular as it arose in the 1990s as a social problem. Particular attention is given to knowledge construction practices around the Australian National Inquiry into the Separation of Aboriginal Children from Their Families (1996-1997) and the related Bringing Them Home Oral History Project (1998-2002). The once separated children have come to be known as The Stolen Generation(s) in public discourse and have been represented as sharing a common experience as well as reasons for the separations. Against the master narrative of common experience and discussion of the reasons for it, this thesis raises the problematic that knowledge is grounded in particular times and places, and also that many people who are differently related and who have experiences which contain many differences as well as similarities end up being represented as though saying the same thing. Through an institutional ethnography grounded in explicating the social organising activities which produced the Bringing Them Home Oral History Project, I examine how institutional relations coordinate the multiplicity and variability of people’s experiences through a textually-mediated project with a focused concern regarding the knowing subject, ideology, accounts, texts and analytical mapping. Through this I show how ruling relations are implicated in constructing what is known about the Aboriginal child separation histories, and more generally how experience, memory, the telling of a life and the making of public history are embedded in social organising practices.

In this dissertation, I examine how the themes of memory, storytelling, and the construction of narrative identity develop in the works of Canadian authors Alistair MacLeod, Michael Ondaatje, and Jane Urquhart. As a means of delving more deeply into these themes, I focus on the specific narrative strategies that all three writers employ in the expression of the relationship between the individual and his/her community, as well as between physical and psychological realities. For the narrative voices in these authors’ works—given the different ways they envision and encode communal identity as constitutive of subjectivity—the past is inextricably embedded in the present. As they construct and record unfolding experience, a wider cultural history is written over with personal connections and significance. In the works of each of these authors, the act of telling stories (re)shapes people and events for the audience: speakers reform and reconstitute their experiences, allowing them both to rewrite the past and be haunted by it. Storytelling becomes an existential act in which personal landscapes are invested with structures of feeling that transcend local significance yet are manifested in everyday connections between ordinary people, and in daily (often unrecognized) struggles and acts of heroism. This includes a study of the means through which psychological evolution and trauma can be depicted. I also discuss how stylistic techniques such as fragmentation, repetition, self-reflexivity, and literary allusion function within these narratives. This aspect of my investigation provides the opportunity to engage more fully with the body of literary research that has already been produced on these authors.

Magister Artium - MA (History) / The aim of this mini-thesis is to interrogate an incident that happened in Lesotho in 1982, where the South African Defence Force (SADF) invaded the capital, Maseru, under the guise of searching for ANC operatives and killed 42 people thirty of whom were South Africans, while the remaining 12 were Basotho citizens. A particular concern is how traumatic events are represented by witnesses, how they remember or, rather talk, about the event, and the secrets and silences which may arise. A lack of literature on this period of Lesotho's history and the Raid itself has necessitated a wider engagement with Raid as it is the first raid that involved the SADF, perpetrated in Lesotho. The first chapter draws out and highlights the complicated relationships between Lesotho and South Africa and their respective main opposition political parties, namely, the Basotho Congress Party and the overall South African liberation movements including the African National Congress and the Pan Africanist Congress. This brings me to conclude that the 1982 Maseru Raid and subsequent ones took place on the back of a period that was burdened with gross human rights violations in Lesotho and, this can be argued to explain why the Raid is not particularly spoken about.

Submitted by Maria Aparecida (cidazen@gmail.com) on 2017-04-18T12:01:29Z No. of bitstreams: 1 Anderson Roberto.pdf: 601948 bytes, checksum: 02b984b19962126af1746cfd8691d3c1 (MD5) / Made available in DSpace on 2017-04-18T12:01:29Z (GMT). No. of bitstreams: 1 Anderson Roberto.pdf: 601948 bytes, checksum: 02b984b19962126af1746cfd8691d3c1 (MD5) Previous issue date: 2017-01-27 / CAPES / This dissertation addresses significant aspects of the production of novels-report by the writer José Louzeiro, published during the regime of dictatorship civil-military law in Brazil between 1964 and 1985. The research focuses on understanding the nature of resistance and social denunciation of the narrative written by journalist from Maranhão, taking as corpus the work Aracelli, meu amor – Um anjo espera a justiça dos homens, published in 1976. We tried to make a reflection on the construction of the report of the nature of testimony, supporting the analysis on the assumption that relations between memory and forgetting are present in text narratives, pointing out possible contributions of the writer for the consolidation of the debate about the theme of childhood helpless in Brazil. The narrative of resistance of José Louzeiro, in addition to provide the coping and the analysis of themes muffled by the dictatorial government, produced constructions with aesthetic effects of the thoroughness of the work of counting and by textual fabric, marked by the journalistic bias. / Essa dissertação aborda aspectos significativos da produção de romances-reportagem pelo escritor José Louzeiro, publicados durante o regime de ditadura civil-militar, vigente no Brasil entre 1964 e 1985. A pesquisa tem como foco compreender o caráter de resistência e de denúncia social da narrativa escrita pelo jornalista maranhense, tomando como corpus a obra Aracelli, meu amor – Um anjo espera a justiça dos homens, publicada em 1976. Buscou-se fazer uma reflexão sobre a construção do relato de natureza testemunhal, amparando-se as análises no pressuposto de que as relações entre memória e esquecimento estão presentes em textos narrativos, apontando-se possíveis contribuições do escritor para a consolidação do debate acerca da temática da infância desamparada no Brasil. A narrativa de resistência de José Louzeiro, além de propiciar o enfrentamento e a análise de temas abafados pelo governo ditatorial, produziu construções com efeitos estéticos pelo rigor do trabalho apurativo e pela tessitura textual, marcados pelo viés jornalístico.

Thesis (Ph.D.)--Ohio University, August, 2009. / Release of full electronic text on OhioLINK has been delayed until September 1, 2012. Includes bibliographical references (leaves 185-254)

Thesis (Ph.D.)--Ohio University, August, 2009. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until September 1, 2012. Includes bibliographical references (leaves 185-254)

O Massacre do Carandiru foi um evento crítico que dizimou mais de uma centena de presidiários na Casa de Detenção de São Paulo, em 2 de outubro de 1992. Ao expor a vida carcerária de forma dramática, o Massacre inaugura uma nova relação entre o dentro e o fora do cárcere, fazendo com que a sociedade extramuros volte a sua atenção para a vida prisional. Essa nova relação pode ser percebida e analisada a partir de um tipo de produção literária que ganhou espaço após a virada do século, momento em que alguns presos tiveram seus livros publicados, convertendo-se em autores e despertando um interesse do maior do público pelo universo prisional. Esta pesquisa toma como base para a compreensão sobre as novas relações que se estabelecem, a partir do evento trágico, entre o interior e o exterior da prisão, seis volumes publicados na década de 2000: Memórias de um Sobrevivente (2001), de Luiz Alberto Mendes, Vidas no Carandiru, Histórias Reais (2002), de Humberto Rodrigues, Sobrevivente André Du Rap (do Massacre do Carandiru) (2002), de André du Rap e Bruno Zeni, Pavilhão 9, Paixão e Morte no Carandiru (2001), de Hosmany Ramos, Letras de Liberdade (2000), vários autores, publicado pela Madras Editora e O Direito do Olhar: Publicar para Replicar (2009), publicado pelo Instituto de Defesa do Direito de Defesa. A análise de tais volumes permitiu lançar uma reflexão sobre as maneiras pelas quais os autores presos interpretam a prisão; a sua relação com o que se encontra fora das grades; as maneiras pelas quais constroem a memória. Permitiu, também, uma compreensão sobre a prática da escrita prisional, revelando as maneiras pelas quais as narrativas circulam dentro e fora do cárcere e como fazem circular afetos, memórias, pedidos de ajuda e ideias. Tais textos revelam, ainda, as disputas simbólicas voltadas para a prática da escrita no cárcere, nas quais sentidos pré-determinados sobre a prática são apropriados pelos presos e por eles reelaborados, oferecendo novos sentidos para a narrativa e para a própria experiência prisional. Essa literatura, portanto, evidencia um tipo de relação específica entre o dentro e o fora do cárcere, relação pautada na circulação de um tipo específico de texto, que movimenta sentidos e interpretações, tanto sobre a sociedade quanto sobre o próprio cárcere. / The Carandiru Massacre was a critical event that decimated more than a hundred prisoners at the São Paulo Detention House on October 2, 1992. The Massacre revealed a new relationship between the inside and outside of a prison by dramatically exposing prison life, making society outside the prison turn its attention to prison life. This new relationship can be perceived and analyzed from a type of literary production that gained space after the turn of the century, when some prisoners had their books published, becoming authors and arousing the interest of a large audience by the prison setting. In order to understand the new relationships established from the tragic event between the interior and exterior of the prison, the present study was based on six books published in the 2000s: Memórias de um Sobrevivente (2001), by Luiz Alberto Mendes, Vidas no Carandiru, Histórias Reais (2002), Humberto Rodrigues, Sobrevivente André Du Rap (do Massacre do Carandiru) (2002), André du Rap and Bruno Zeni, Pavilhão 9, Paixão e Morte no Carandiru (2001), by Hosmany Ramos, Letras de Liberdade (2000), several authors, published by Madras Editoria and O Direito do Olhar: Publicar para Replicar (2009), published by the Institute of Defense of the Right of Defense. The analysis of these books has given rise to a reflection on the way how the arrested authors interpret prison; its relation with what is outside the grids; and how they build memory. It also allowed a better understanding of the practice of prison writing, revealing the way narratives circulate - in and out of prison - and how they express affections, memories, requests for help, and ideas. These texts also reveal the symbolic disputes involved in the practice of prison writing, in which predetermined senses of practice are appropriated by the prisoners and reworked, offering new meanings for the narrative and the prison experience. Therefore, this type of literature reveals a specific type of relationship between the inside and outside of prison based on the circulation of a specific type of text, which enables senses and interpretations of society and the prison itself.

Jewellery as a tool in the identification of the deceased is increasingly referenced within the scientific process of Forensic Human Identification (FHI). Jewellery’s prevalence in society, connection to both place and geographic region, potential to corroborate primary methods of identification (such as DNA, fingerprinting, or odontology), and robust physical form, means it progressively contributes to practices surrounding identification in a number of forensic fields. Physical marks or characteristics such as hallmarks or serial numbers, personal inscriptions or engravings, representational symbols (such as medals, badges of office, religious iconography or military insignia), and genealogical or gemmological markings, may also prove useful in informing investigators much about a piece - and potentially - the individual to whom it may have belonged. Despite this, jewellery is an approach to establishing human identity that has yet to be explicitly investigated from the perspective of either forensic science or jewellery design. The aim of this research has been to explore the potential of jewellery and highlight its significance within this context, through employing the processes and approaches of design. Informed by my own background in both jewellery and service design; I sought to co-design the interdisciplinary proposition of Forensic Jewellery as an extension of my own personal design practice, in addition to a broader hybrid methodology through which the dualistic perspective(s) of both forensic science and jewellery design may come to be mutually explored. By centring my methodology upon my practice, the research serves to document and reflect upon my auto-ethnographic experiences in inadvertently ‘prototyping’ my emergent new role as a Forensic Jeweller – a jewellery designer engaged within, or whose work pertains to, the field of forensic science. Through a range of forensic-based fieldwork, I sought to immerse myself within various communities of forensic practice by way of considering how a design practitioner may come to add value to this otherwise polarised field - a highly subjective and interpretive framework that has remained wholly unconsidered within forensic science. In simultaneously considering the impact of the perspective of forensics upon the broader field of jewellery design, I came to capture some of the otherwise restricted narratives of Forensic Jewellery emerging from the developing research context through a series of theoretically-informed design ‘reconstructions’: objects, concepts, and scenarios (representational, propositional, and metaphorical); educational material, and series of public engagement activities. The research thus culminates in a unique portfolio of practice – written, conceptual, and visual – with relevance to both forensic science and jewellery design history, theory, and practice. Original contributions to knowledge are demonstrated through the direct study of jewellery within real-world forensic settings through combined theory and practice, while the theoretical and conceptual debates surrounding identity, death, and the human body present within the field of jewellery design are simultaneously extended through the inclusion of forensics as a perspective. The research additionally demonstrates how the visual and tangible sensibilities of design can help to attend to otherwise challenging, emotional, or difficult subjects, capture and communicate tacit knowledge or anecdotal evidence, and ultimately contribute to the development of new and emergent research contexts.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-03-04T13:06:26Z No. of bitstreams: 2 Dissertação - Valter Bueno da Silva Junior - 2015.pdf: 1021483 bytes, checksum: e7034f567361daca4f0d219af5a87af9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-04T13:14:04Z (GMT) No. of bitstreams: 2 Dissertação - Valter Bueno da Silva Junior - 2015.pdf: 1021483 bytes, checksum: e7034f567361daca4f0d219af5a87af9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-04T13:14:04Z (GMT). No. of bitstreams: 2 Dissertação - Valter Bueno da Silva Junior - 2015.pdf: 1021483 bytes, checksum: e7034f567361daca4f0d219af5a87af9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / We will discuss about the representations of Flavius Josephus from his autobiographical work Vita, and how it has defined and consolidated the perception of self representation of the author. The historical context in which it belonged should be considered. It is about to observe the Judean environment that preceded the Jewish Revolt marked by social, economic and political conflicts, as these were crucial for that the clash between Romans and Jews occurred. Therefore, we noted the surge of the Jewish Revolt, and also the participation of Josephus at that war. In this sense, Josephus experiences in the Revolt are recurrent due to own unfolding of the conflict as he experienced the different sides of the war and witnessed the Roman victory beside them. This way, we will consider the relevance of Josephus' Vita as it was a work that approached the Revolt in a personal perspective, and from it, his memories were highlighted in a constructive process of narrative argumentations, making them the key elements in the very representation of Josephus' impressions. We understand how Josephus' autobiographical speech expresses his own demands of his contemporary, from the relation between narrative, memory, representation and identity. / Discutiremos acerca das representações de Flávio Josefo a partir de sua obra autobiográfica Vita, além do modo como a mesma definiu e consolidou a percepção de representação própria de seu autor. O contexto histórico ao qual pertenceu deve ser considerado. Trata-se de observar o ambiente da Judéia que antecedeu a Revolta Judaica, marcada por conflitos sociais, econômicos e políticos, pois estes foram fundamentais para que o embate entre romanos e judeus ocorresse. Sendo assim, evidenciamos a eclosão da Revolta Judaica e também a participação de Josefo nessa Guerra. Neste sentido, as experiências de Josefo na Revolta são recorrentes devido ao próprio desdobramento do conflito, pois vivenciou os lados distintos da guerra e presenciou a vitória romana ao lado dos envolvidos. Dessa maneira, consideraremos a relevância da Vita de Josefo, pois foi uma obra que abordou a Revolta em uma perspectiva pessoal; a partir desta criação, suas recordações e lembranças foram ressaltadas em um processo construtivo de argumentações narrativas, tornando-as elementos primordiais na impressão da representação própria de Flávio Josefo. Compreendemos como o discurso autobiográfico de Josefo expressa as demandas pessoais de sua contemporaneidade, a partir da relação entre narrativa, memória, representação e identidade.

O Massacre do Carandiru foi um evento crítico que dizimou mais de uma centena de presidiários na Casa de Detenção de São Paulo, em 2 de outubro de 1992. Ao expor a vida carcerária de forma dramática, o Massacre inaugura uma nova relação entre o dentro e o fora do cárcere, fazendo com que a sociedade extramuros volte a sua atenção para a vida prisional. Essa nova relação pode ser percebida e analisada a partir de um tipo de produção literária que ganhou espaço após a virada do século, momento em que alguns presos tiveram seus livros publicados, convertendo-se em autores e despertando um interesse do maior do público pelo universo prisional. Esta pesquisa toma como base para a compreensão sobre as novas relações que se estabelecem, a partir do evento trágico, entre o interior e o exterior da prisão, seis volumes publicados na década de 2000: Memórias de um Sobrevivente (2001), de Luiz Alberto Mendes, Vidas no Carandiru, Histórias Reais (2002), de Humberto Rodrigues, Sobrevivente André Du Rap (do Massacre do Carandiru) (2002), de André du Rap e Bruno Zeni, Pavilhão 9, Paixão e Morte no Carandiru (2001), de Hosmany Ramos, Letras de Liberdade (2000), vários autores, publicado pela Madras Editora e O Direito do Olhar: Publicar para Replicar (2009), publicado pelo Instituto de Defesa do Direito de Defesa. A análise de tais volumes permitiu lançar uma reflexão sobre as maneiras pelas quais os autores presos interpretam a prisão; a sua relação com o que se encontra fora das grades; as maneiras pelas quais constroem a memória. Permitiu, também, uma compreensão sobre a prática da escrita prisional, revelando as maneiras pelas quais as narrativas circulam dentro e fora do cárcere e como fazem circular afetos, memórias, pedidos de ajuda e ideias. Tais textos revelam, ainda, as disputas simbólicas voltadas para a prática da escrita no cárcere, nas quais sentidos pré-determinados sobre a prática são apropriados pelos presos e por eles reelaborados, oferecendo novos sentidos para a narrativa e para a própria experiência prisional. Essa literatura, portanto, evidencia um tipo de relação específica entre o dentro e o fora do cárcere, relação pautada na circulação de um tipo específico de texto, que movimenta sentidos e interpretações, tanto sobre a sociedade quanto sobre o próprio cárcere. / The Carandiru Massacre was a critical event that decimated more than a hundred prisoners at the São Paulo Detention House on October 2, 1992. The Massacre revealed a new relationship between the inside and outside of a prison by dramatically exposing prison life, making society outside the prison turn its attention to prison life. This new relationship can be perceived and analyzed from a type of literary production that gained space after the turn of the century, when some prisoners had their books published, becoming authors and arousing the interest of a large audience by the prison setting. In order to understand the new relationships established from the tragic event between the interior and exterior of the prison, the present study was based on six books published in the 2000s: Memórias de um Sobrevivente (2001), by Luiz Alberto Mendes, Vidas no Carandiru, Histórias Reais (2002), Humberto Rodrigues, Sobrevivente André Du Rap (do Massacre do Carandiru) (2002), André du Rap and Bruno Zeni, Pavilhão 9, Paixão e Morte no Carandiru (2001), by Hosmany Ramos, Letras de Liberdade (2000), several authors, published by Madras Editoria and O Direito do Olhar: Publicar para Replicar (2009), published by the Institute of Defense of the Right of Defense. The analysis of these books has given rise to a reflection on the way how the arrested authors interpret prison; its relation with what is outside the grids; and how they build memory. It also allowed a better understanding of the practice of prison writing, revealing the way narratives circulate - in and out of prison - and how they express affections, memories, requests for help, and ideas. These texts also reveal the symbolic disputes involved in the practice of prison writing, in which predetermined senses of practice are appropriated by the prisoners and reworked, offering new meanings for the narrative and the prison experience. Therefore, this type of literature reveals a specific type of relationship between the inside and outside of prison based on the circulation of a specific type of text, which enables senses and interpretations of society and the prison itself.