Based on the author's Thesis (Ph. D.--University College, London). / Description based on print version record. Includes bibliographical references (p. 264-277) and index.

Based on the author's thesis (Ph. D.--University College, London). / Includes bibliographical references (p. 264-277) and index.

Based on the author's Thesis (Ph. D.--University College, London). / Description based on print version record. Includes bibliographical references (p. 264-277) and index.

University of Technology, Sydney. / The reenactment of the past itself has a history. This thesis analyses self-styled 'historical reenactors' in the West and traces the history of the broader phenomenon of historical reenactment in the Australian context from the late nineteenth century to the present. The historical section focuses on several events significant in Australian cultural memory that have been reenacted over time. Historical parades, pageants and reenactments dramatically narrate culturally specific historical sensibilities and demonstrate inter and cross cultural exchanges of historical consciousness. I contend such performances have had a significant position in the formation of popular history since the late nineteenth century and that there is a continuity of conventions in performing the past. I have addressed the position of reenactments as part of a constant interest in the status and power of history in, and for, popular culture. I have shown how a form of history that operated for the public was transformed into a form of history operated by the public in a struggle for authority over the form and content of history. Historical reenactments have been useful avenues for elites to create didactic spectacular history that have also offered the opportunity for marginalised groups to make social and political gains through their participation in the making of public history. Considering the significance of reenactments in the formation of a distinctly Australian public history, they have received little attention from historians. As ephemera, reenactments sit awkwardly in the explanatory frameworks regularly used by historians. Using methodologies from a range of academic disciplines such as performance studies, anthropology and cultural studies, this thesis documents and interrogates the specific form of historical reenactment. In the sections of this thesis that analyse contemporary historical reenactments, I use my own experience as an historical reenactor of more than ten years in an ethnographic approach that reflects on the pleasures, promises and problems 'dressing up as if from the past' offers. In this history I draw continuities between past reenactments and present practices that assist in understanding historical reenactment as a specific cultural form. This thesis contends that reenactments over time have been characterised by three main elements: a collapsing of past and present, an avenue for a 'connectedness' with the past through a sensual experience, and an essential relationship with I authenticity.'

University of Technology, Sydney. / The reenactment of the past itself has a history. This thesis analyses self-styled 'historical reenactors' in the West and traces the history of the broader phenomenon of historical reenactment in the Australian context from the late nineteenth century to the present. The historical section focuses on several events significant in Australian cultural memory that have been reenacted over time. Historical parades, pageants and reenactments dramatically narrate culturally specific historical sensibilities and demonstrate inter and cross cultural exchanges of historical consciousness. I contend such performances have had a significant position in the formation of popular history since the late nineteenth century and that there is a continuity of conventions in performing the past. I have addressed the position of reenactments as part of a constant interest in the status and power of history in, and for, popular culture. I have shown how a form of history that operated for the public was transformed into a form of history operated by the public in a struggle for authority over the form and content of history. Historical reenactments have been useful avenues for elites to create didactic spectacular history that have also offered the opportunity for marginalised groups to make social and political gains through their participation in the making of public history. Considering the significance of reenactments in the formation of a distinctly Australian public history, they have received little attention from historians. As ephemera, reenactments sit awkwardly in the explanatory frameworks regularly used by historians. Using methodologies from a range of academic disciplines such as performance studies, anthropology and cultural studies, this thesis documents and interrogates the specific form of historical reenactment. In the sections of this thesis that analyse contemporary historical reenactments, I use my own experience as an historical reenactor of more than ten years in an ethnographic approach that reflects on the pleasures, promises and problems 'dressing up as if from the past' offers. In this history I draw continuities between past reenactments and present practices that assist in understanding historical reenactment as a specific cultural form. This thesis contends that reenactments over time have been characterised by three main elements: a collapsing of past and present, an avenue for a 'connectedness' with the past through a sensual experience, and an essential relationship with I authenticity.'

Diploma thesis Phenomena of Parading in Northern Ireland Conflict applies a concept of reconciliation to the case of parades and parading in Northern Ireland. It uses the theoretical framework of conflict resolution, post-conflict reconstruction and a concept of reconciliation as a main theoretical anchor. The aim is to illustrate on the case of unionist/loyal parades whether the process of reconciliation is taking place. Method used is process tracing. The transformation of behavior is analyzed on four different factors of parading: the overall number of parades, parades statistics and changes the Orange Order implemented; parade routes and their development - a specific case of Orange Drumcree parade is examined; the use of symbols in Northern Ireland context and during parades; societal significance of parades. The thesis reaches the conclusion that based on the example of parades; process of reconciliation is most likely not taking place in Northern Ireland. Some of the data are inconclusive, therefore a firm statement cannot be made, however the existing data shows prevailing tendency towards absence of reconciliation.

Divertissement mondain ayant rencontré un vif succès au cours du XVIIIe siècle, la parade de société est une forme dramatique que l’histoire littéraire a longtemps considérée comme mineure et par là même sans intérêt. Inspirées des spectacles forains et populaires, mais reprises et jouées dans les meilleures compagnies parisiennes, ces pièces graveleuses, grossières, ordurières pour reprendre l’expression consacrée, n’intéressent aux XIXe et XXe siècles que quelques érudits amateurs d’anecdotes grivoises. Les jugements d’ordre moral et esthétique sur la parade sont sévères, se multiplient jusqu’au XXIe siècle et contribuent à reléguer cette forme dans l’oubli. Seules les études portant sur des parades écrites par des auteurs reconnus comme Beaumarchais ou Potocki donnent à ces spectacles quelque légitimité critique. Le champ d’études est donc encore largement inexploré et la présente thèse se propose entre autres de retracer l’histoire de cette forme, en étudiant les conditions d’émergence, les manifestations et la réception de la parade au XVIIIe siècle. Mais au-delà de cette dimension documentaire, nous voudrions montrer dans cette étude, notamment par une analyse méthodique de la dramaturgie de ces pièces, à quel point celles-ci, comme le théâtre de société dans lequel elles s’inscrivent, sont le lieu d’expériences dramatiques, d’une approche parodique des savoirs et d’une remise en question du théâtre officiel. / While widely popular as a form of entertainment among eighteenth-century aristocratic circles, the dramatic genre known as ‘parade de société’ has long been regarded by literary historians as a minor one, and therefore unworthy of scholarly attention. Parades find their origins in the shows that took place in fairs and markets in Paris, yet they were later taken up by the best salons of the town. In the nineteenth and twentieth centuries, few were interested in these ribald plays except for a handful of scholars delving into bawdy double entendre and sexual innuendoes. Up until the twenty-first century, the parade has been condemned on moral as well as aesthetic grounds and has gradually fallen into oblivion. Only the parades written by well-known authors such as Beaumarchais and Potocki have been carefully studied and have been granted some critical legitimacy. This field of research has therefore been left largely unexplored. My aim in this dissertation is to trace the history of the parade and examine the emergence, development and reception of the genre in the eighteenth century. Going beyond mere description, I want to scrutinize the dramatic devices at work in these plays to show how, similarly to the ‘théâtre de société’ to which they belong, parades make possible a number of dramatic experiments, how they approach all forms of knowledge in a parodic way, and call into question the codes of established drama.

This thesis describes the organization of two waves of pride parades in the city of Dallas, Texas. Using more than 40 sources, this work details how LGBT organizers have used pride parades to create a more established place for the LGBT community in greater Dallas culture. This works adds to the study of LGBT history by focusing on an understudied region, the South; as well as focusing on an important symbolic event in LGBT communities, pride parades.

Community expressions-specifically, annual events manifested by groups other than official organizations-can be sites for transmission of crucial understandings of the past that have not achieved representation in formal archives. In this dissertation, to locate the minor narratives of history I analyze a community expression with my focus honed on the ephemeral matter used within it, to imitate and question the reliance in archives on evidence, and explore ephemera as important focus points for the transmission of collective memory. The ephemerally embodied event I studied as an "archive" was the All Souls Procession, a grassroots annual celebration and parade in honor of the dead in Tucson, Arizona. To convey and interpret perspectives from the community enacting and participating in this event through engagement with ephemera, I have used three questions as my guide: How are ephemera used in All Souls Procession events as commemorative community expressions? How has the history of the All Souls Procession been shaped around the commemorative use of ephemera in relationship with recorded documents? And, What are the implications for archives of this case of commemoration through ephemeral community expression? Through qualitative methods of data collection including participant observation, document analysis, and unstructured interviews with thirteen current and former All Souls Procession organizers, I have found two overarching themes in the discourse around ephemeral commemoration in this event: processing the past and softening community boundaries. I found that through these themes of use, ephemera in the All Souls Procession anchor collective memory while constituting community boundaries, meeting a growing need to define and connect "members" of a rapidly expanding "community." With community membership defined as volunteerism in ASP events, ephemera function as iconic draws toward this event, attracting people to a unified theme and then engaging them in constructing it anew, as its ephemeral building blocks must be regularly recreated. Ephemera in this study were also found to help claim ownership and authority for the All Souls community, through occupation of space and memory. Concluding this work are three propositions: First, that in such community expressions, competing "archives" may face off against one another in the online arena, which is both ephemeral and enduring; Second, the use of ephemera as commemorative matter may give a community leverage in controlling records about the past, yet in increasingly transparent ways. Third, as they adapt to the model of participatory archives seen increasingly in the digital archival landscape, users can deploy strategies-forging alliances and "communities" that result in effacements and master narratives, the latter of which are then celebrated as community histories through new cycles of ephemeral commemoration. I ultimately retheorize the archive as collective action to construct, efface, and build community around history, supporting the notion that the more collective, or massive, or spectacular the telling of a story, the better it competes to become a history.

A presente Dissertação traz uma análise psicopolítica das concepções de sexualidade e direitos humanos a partir das Paradas do Orgulho LGBT de São Paulo e Campinas, sendo nossa perspectiva epistemológica a produção de sentidos e significados no cotidiano. Inicialmente, apresentamos nosso marco teórico, as concepções de sexualidade e direitos humanos, com base em autores referências na área; em seguida, descrevemos nossa metodologia, a constituição de um survey e o uso da análise de discurso como recurso técnico-teórico para aferir os dados das questões abertas. Na sequência, apresentamos o perfil de nossos respondentes e definimos o campo onde construímos nossa pesquisa, mostrando como a psicologia política nos representa uma possibilidade de estudo interdisciplinar. E, finalmente, apresentamos uma discussão entre o marco teórico e os dados obtidos com o survey, concluindo com uma análise psicopolítica entre os resultados e o cenário político atual, na dimensão dos DDHH de LGBT no Brasil, que nos implica a compreensão dos posicionamentos dos sujeitos políticos que participam desta ação coletiva e nos oferece possibilidades de ações no campo das políticas públicas e da educação para os direitos humanos. / The thesis presented here brings a psicopolitical analysis over the conceptions of sexuality and human rights from the LGBT Pride Parades in São Paulo and Campinas, in a epistemological perspective on the production of senses and meanings in the daily life. Initially, we present our theoretical research, the conceptions of sexuality and human rights, based on the work of references in this field; thereafter, we describe our methodology, which is based on a survey and in the analysis of the discourse as technical-theoretical method in which is possible to assess relevant data. Thus, we present our respondents profiles and we define our research field, showing how political psychology is, for us, a way of interdisciplinary studies. Finally, we show the discussion between the theory firstly presented and the data collected through the survey and our respondents discourses collected through the open questions, concluding the psicopolitical analysis of the results and the current political scenario over LGBTs DDHH in Brazil, which implies an understanding of the positions of political subjects participating in this collective action and offers us possibilities for public policy and education for human rights.