Introduction: The aim of this thesis is to investigate the factors that lead to the creation of meaning for Jewish genealogists. Research on the creation of meaning in genealogy has been carried out in the past, but not for this particular group. Method: The grounded theory process of textual coding was conducted on so called success stories in connection to two different databases with access to Holocaust related records. A group of genealogists without connections to the Holocaust serve as comparison. Analysis: Three phases in the genealogical process appear. The first is a practical phase. The second is a personal engagement phase. The last phase is emotional. The attributes and categories from the coding procedure are selected and placed into the most suitable phase. A perspective of archival pedagogy is incorporated. A discussion that ends with the final grounded theory follows. Results: The components that create meaning in the Jewish groups research are information gathering, conclusion, participation, inclusiveness, creation of identity and highlighting. The main differences between the two groups of genealogists are the event of the Holocaust. Conclusion: The genealogical research and its meaningful and creative processes are overall the same in the Jewish as in the other group. The Holocaust is however unavoidably affecting all the processes for the Jewish genealogists. This is a two years master’s thesis in Archival Science.

Orientador: Paulo Augusto Castagna / Resumo: Esta tese trata da metodologia brasileira e internacional disponível para a elaboração de catálogos temáticos de obras e fontes musicais de compositores atuantes no Brasil. A partir da experiência de catalogação das obras e arranjos do músico alemão – declarado cidadão brasileiro e atuante em Blumenau (SC) durante mais de cinco décadas – Heinz Geyer (1897-1982), estabeleceu-se uma discussão sobre os parâmetros metodológicos envolvidos na produção deste instrumento de pesquisa. Constatou-se que, até então, não existia um levantamento científico de sua produção composicional e os escassos modelos existentes no Brasil pouco sustentavam a fundamentação de trabalhos dessa natureza. O objetivo geral foi contribuir para o desenvolvimento de metodologias para elaboração de catálogos temáticos, adequadas aos acervos musicais brasileiros. No âmbito do trabalho foi possível disponibilizar o catálogo de Geyer, localizar e conhecer o estado das fontes de suas obras e arranjos – na maior parte, ainda preservadas em manuscritos – e inserir o compositor no campo científico, possibilitando sua eventual reintegração à vida musical de Blumenau. Os procedimentos metodológicos desta pesquisa envolveram estudos terminológicos e conceituais em Arquivologia, reinterpretados para o âmbito da Música, uma ampla revisão bibliográfica em 37 catálogos nacionais e internacionais e a pesquisa documental propriamente dita. Foram estabelecidos critérios para a delimitação do campo de pesquisa, da categoria da... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis focuses on the Brazilian and international methodology available for the elaboration of thematic catalogs of works and musical sources from composers who have acted in Brazil. From the experience of cataloging the works and arrangements from the German musician - declared Brazilian citizen and active in Blumenau (Santa Catarina state) for more than five decades - Heinz Geyer (1897-1982), a discussion about the methodological parameters involved in the production of this research instrument was proposed. It was found that, until then, there was no scientific survey of his compositional production and the scarce models in Brazil hardly supported the foundation of works of this nature. The general objective was to contribute to the development of methodologies for the elaboration of thematic catalogs, appropriate to the Brazilian’s musical archives. Within the scope of the work, it was possible to make Geyer's catalog available as well as to locate and get to know the state of the sources of his works and arrangements - mostly still preserved in manuscripts - and insert the composer in the scientific field, enabling his potential reintegration into the musical life of Blumenau. The methodological procedures of this research study involved terminological and conceptual studies of Archival Science, which were reinterpreted to the field of Music; a broad literature review in 37 national and international catalogs; and the documentary research itself. Some criteria were ... (Complete abstract click electronic access below) / Doutor

The purpose of this master’s thesis in archival science was to provide a picture of what archiving of mental health records looks like in Sweden, and what rights private individuals have to their own mental health records. It fills a void in archival science research, as there is very little written about this specific type of document from an archival science perspective, and with Swedish conditions as the main focus. Similar questions are touched upon in research on those who grew up in foster homes; and from in research on attitudes to reading ones own patient records, ethical issues of preservation and destruction of records, and the patient record's legal status.  As a theoretical background, three of Cook's four archival paradigms were used, based on Foscarini's interpretation of these in relation to appraisal. For this thesis they were analysed with the individual's perspective in mind. As the main method, two questionnaires were sent out: one to Swedish archival institutions and one to practising psychologists. In addition, the method consisted of analysing government policies on appraisal of mental health records, as well as a review of the information about patient records on the Swedish regional archives' websites. Qualitative questions about experiences and attitudes have been outside the scope of this work. The scope of the research was limited to Sweden, and by the number of responses to the questionnaires.  The study shows that mental health records are legally indistinguishable from other patient records, that mental health records are often part of other records, and that many mental health records are destroyed ten years after the last notation, excepting records concerning children. This is a two years master’s thesis in archival science.

Archive profession, just like other professions, has not so long ago observed the lack of women in the archive world. The old patriarchal order and other power relations kept women out of archives and the labor market. Today, the labor market and the archive world look completely different as women just like men, are treated equally. There is even talk of a shift, that the norm of male archivist has instead become a norm of women archivist. The aim of this studie was to discover if a possible shift can be expressed within the international archival journal Archival Science, by examining what the gender distribution looks like among writers and how gender issues are addressed in the articles. With a qualitative and quantitative content analysis as method and a theory of gender systems by Yvonne Hirdman, the studie where able to obtain gender statistics and scheme from the contributing writers in the journal, and also what the writers dealt with when gender was mentioned in their research. The main result showed that women, both when it came to gender distribution among Archival Science writers and which of them touched on gender in their articles, the gender distribution of the various subject categories based on what was treated subjectively when gender was raised, were most numerous in all results. On the other hand, it was clear that both gender issues and women became more towards the end of the study period, and that the gender category of men shrunk in number, at the same time as the number of writers who wrote articles together regardless of gender, grew. Which means that the gender order changed during the period examined.

Following the Enlightenment, Western adherence to positivist theory influenced practices of Western research and documentation. Prior to the introduction of positivism into Western scholarship, innovations in printing technology, literary advancements, and the development of capitalism encouraged the passing of copyright statutes by nation-states in fifteenth century Europe. The evolution of copyright and positivism in Europe influenced United States copyright and its protection of the author, as well as the practice of archiving and its role in interpreting history. Because Native American cultures practiced orality, they suffered the loss of their traditional knowledge and cultural expressions not protected by copyright. By incorporating postmodern perspectives on archiving and poststructuralist views on the formation of knowledge, this thesis argues that Native American tribes now use Western forms of digital technology to create archives, record their histories, and reclaim control of their traditional cultural expressions.

Dès le début du 21e siècle, une nouvelle dimension suscite un intérêt grandissant : l’émotion. Ce mémoire propose une étude exploratoire-descriptive de la place qu’occupent les émotions dans la description et la diffusion archivistique. Pour contextualiser cette étude, nous commençons par une revue de la littérature clé publiée entre 2008 et 2020, cette revue illustrant l’évolution de la compréhension et de l’acceptation des émotions par les professionnels de divers milieux (archivistes, historiens, historiens des émotions, et psychologues) dans la description et la diffusion archivistique. Nous étudions ensuite une sélection de règles de description archivistique et la place qui est donnée aux émotions dans la description d’archives, le cas échéant. Ces aperçus mènent à une étude exploratoire-descriptive de trois projets réalisés par deux institutions d’archives québécoises, soit le Musée Lac-Brome et le Musée McCord, dans le cadre desquels des descriptions archivistiques de différentes collections de documents textuels ont été préparées en incluant les émotions évoquées dans les textes décrits. Nous discutons ensuite de notre analyse de différents termes d’indexation et d’émotions référencés dans ces descriptions archivistiques, incluant certaines tendances qui peuvent ressortir. Deux perspectives émergent à partir desquelles l’émotion peut être davantage considérée dans la description archivistique : l’émotion exprimée par les sujets représentés dans le document ou par l’auteur du document ; la place de l’empathie et de l’émotion dans la diffusion archivistique. Ces perspectives pourraient permettre à la communauté archivistique de mieux comprendre et d’accueillir les pratiques naissantes impliquant l’inclusion de l’émotion dans la description et la diffusion archivistique. / Since the beginning of the 21st century, a new dimension has sparked a growing interest : emotions. This dissertation offers an exploratory-descriptive study of the place emotions occupy in archival descriptions and dissemination. To contextualize this study, we begin with a review of key literature between 2008 and 2020 illustrating the evolution of professionals’—archivists, historians, emotions historians, and psychologists—understanding and acceptance of emotions in archival descriptions and dissemination. We then review certain rules for archival description and the place, if any, for including emotions in these descriptions. These overviews lead to an exploratory-descriptive study of three description projects carried out by two Quebec archival institutions, the Lac-Brome Museum and the McCord Museum, who have prepared archival descriptions of different collections of textual records including emotions evoked in these texts. We then discuss our analysis of the different index terms and emotions referenced in these archival descriptions, including certain trends that can be identified. Two perspectives emerge from which emotion can be further considered in archival description : emotion expressed by the subjects represented in the record or by the author of the record ; the place of empathy and emotion in archival dissemination. These perspectives could allow the archival community to better understand and accommodate budding practices involving the inclusion of emotion in archival description and in outreach programs.

Ce mémoire adopte une perspective archivistique afin d'examiner l'art de Robert Rauschenberg, un artiste américain ayant fait ses débuts sur la scène artistique new-yorkaise des années soixante. Il est pertinent de voir les stratégies d’appropriation des artistes des années soixante, dont faisait partie Rauschenberg, comme ayant « mis la table » pour le mouvement des artistes allant puiser dans les archives pour leur pratique artistique, mouvement qui s'est développé depuis la fin des années quatre-vingt et le début des années quatre-vingt-dix. L'ensemble des rapports de l'artiste avec les archives est d'abord étudié. Ensuite, une lecture archivistique d'un corpus d'oeuvres est réalisée afin de mieux comprendre les particularités de l'utilisation des archives par Rauschenberg. Les conditions d'utilisation des archives sont relevées ainsi que la conception des archives comme mémoire, pour se terminer avec les rapports entre les archives et la photographie. / This thesis takes an archival perspective in order to examine the work of Robert Rauschenberg, an American artist who gained notoriety in the New-York art scene of the sixties. It is relevant to see appropriation art strategies by artists like Rauschenberg as a way of having « set up the table » for the archival art movement that would follow, starting in the late eighties and early nineties. The artist's connexions with the archives are first studied. Then, an archival reading of a corpus of his artworks is conducted in order to learn about his particular use of the archives. The conditions of use are raised, along with the conception of archives as memory and, at last, the relationship between archives and photography.

Les archives sont aujourd’hui utilisées et envisagées hors de leur lieu traditionnel qu’est le service d’archives et souvent même hors de l’action des archivistes. Cette thèse de doctorat propose un renversement dialectique benjaminien dans la conception de l’archivistique dont le point central devient l’utilisation des archives définitives plutôt que la production des documents. Les premiers chapitres retracent les différentes compréhensions des archives depuis la création des institutions nationales au 19e siècle jusqu’au renouvellement opéré par certains archivistes se réclamant de la postmodernité à la fin du 20e siècle. Cette histoire des archives et de l’archivistique montre que les archives définitives sont caractérisées au regard du rapport au passé qu’elles permettent et que les archivistes pensent leur objet depuis la question historiographique de l’écriture de l’histoire. Ainsi, deux conceptions générales des archives coexistent aujourd’hui et apparaissent comme essentiellement contradictoires en ce que l’une (traditionnelle) est centrée sur le créateur des documents et le passé compris comme l’ensemble des actes posés par le créateur, tandis que l’autre (postmoderne) se fonde sur les fonctions sociales des archives et sur le rôle de l’archiviste. L’élément commun à ces deux visions est l’absence de prise en charge théorique des utilisateurs et de l’exploitation des documents. Or, en suivant les traces et la pensée de Walter Benjamin, nous proposons de penser la double nature des archives comme documents et comme témoignage tout en articulant cette pensée à l’archive comme modalité d’inscription de soi dans le temps. Il en ressort que les archives peuvent être considérées comme une objectivation du passé relevant d’une temporalité chronologique au cœur de laquelle réside, à l’état latent, l’archive potentiellement libératrice. L’exploitation artistique des archives, telle qu’elle est présentée dans le cinquième chapitre, montre comment la notion d’archives explose. En outre, l’observation de ce type particulier d’exploitation permet de mettre au jour le fait que les archives sont toujours inscrites dans des conditions d’utilisation (contexte, matérialité, dispositif, rapport au public) qui sont autant de conditions d’existence de l’archive. Parmi les questions abordées par les artistes celles de la mémoire, de l’authenticité, des archives comme moyen d’appropriation du monde et comme objet poétique sont alors autant de points d’entrée possibles pour revisiter l’archivistique. Le dernier chapitre synthétise l’ensemble des renouvellements proposés au fil de la thèse de manière implicite ou explicite. Nous y envisageons une temporalité non chronologique où les archives sont un objet du passé qui, saisi par un présent dialectique singulier, sont tournées à la fois vers le passé et vers l’avenir. De nouvelles perspectives sont ouvertes pour l’archivistique à partir des caractéristiques assignées aux archives par les artistes. Finalement, c’est le cycle de vie des archives qui peut être revu en y incluant l’exploitation comme dimension essentielle. / This thesis proposes a dialectical reversal in the archival science concept whose central point is the use of archives rather than the production of records. The first chapters outline the various understandings of the archives since the creation of national institutions in the 19th century until a renewed approach done by some archivists defining themselves as postmodernists in the late 20th century. The history of the archives and the archival science shows two coexistent views which appear as essentially contradictory in that one (traditional) is centered on the creator of the records, and the past understood as the set of actions performed by the creator, while the other (postmodern) is based on the social functions of the archives and the archivist’s role. Following the dialectical thought of Walter Benjamin, the fourth chapter proposes to think the dual nature of archives as documents and testimony while articulating that thought about the archive as a means of inscription of self in time. It appears that the archives can be considered as an objectification of the past within a chronological temporality at the heart of which resides, latently, the archive as a potential emancipator. The artistic use of archives as presented in the fifth chapter shows how this particular type of exploitation highlights the fact that the archives are bound by their conditions of use, which are also the conditions of existence of the archive. Among the issues addressed by the artists, those of memory, authenticity, archives as a means of appropriating the world, and as a poetical object become as many possible entry point to revisit the archival science. The last chapter summarizes all the proposed renewals detailed throughout the thesis. We envision a non-chronological temporality where the archives, objects of the past handled by a singular current dialectic, are being oriented towards both the past and the future. New opportunities are being offered for the archival science from the new properties being assigned to the archives by the artists. Finally, it is the life cycle of the archives itself that can be revised by including the exploitation as a key dimension.

Les institutions de mémoire et de savoir (par exemple, les bibliothèques, les archives, les musées) font face à des défis importants dans leurs responsabilités d’assurer la pérennité du patrimoine documentaire à l’ère numérique. Citons la surabondance de l’information numérique, la possibilité de production, théoriquement illimitée, offerte aux individus comme aux groupes sociaux, les limites dans les capacités de stockage et de diffusion de l’information numérique qui sont à la disposition des institutions mandataires du patrimoine documentaire. De plus, il est apparu que les approches et les méthodes utilisées pour identifier, gérer, préserver et diffuser le patrimoine documentaire de la société canadienne dans un environnement analogique n’étaient transférables à un environnement numérique. Nous suggérons que la théorie sociale de la connaissance peut servir de base à une réflexion portant sur le développement d’une politique publique qui viserait à encadrer l’identification, la sélection, la gestion et la préservation du patrimoine documentaire d’une société à l'ère numérique. Nous définissons la problématique puis proposons des réponses à travers trois articles scientifiques. Les résultats indiquent que les connaissances et les pratiques professionnelles utilisées demeurent persistantes et limitent la formulation et l'application de nouveaux cadres théoriques, de politiques administratives et de techniques associés à l'identification et la sélection du patrimoine documentaire. Cette recherche propose un cadre conceptuel qui permet de développer des politiques publiques sur le patrimoine documentaire du Canada. / Memory and knowledge institutions (for example, libraries, archives, museums) face significant challenges in their responsibilities to ensure the long-term preservation of documentary heritage in the digital age. The overabundance of digital information, the potential unrestricted ability to create and produce digital information by individuals and social groups; the lack of storage capacity and ability to disseminate digital information by documentary heritage institutions are only a few of these challenges. Moreover, the approaches and methods used in an analogue environment to identify, manage, preserve and disseminate Canadian documentary heritage have proven to be non-transferable to the digital environment. We suggest that social epistemology can support the development of public policy approach for documentary heritage institutions to identify Canada's documentary heritage in the digital age. We explored this issue and we tried to respond to it through three scientific articles. Our research indicates that existing professional practice and objective knowledge remains persistent and limits the formulation and application of new theoretical frameworks, administrative policies and instruments related to the identification and selection of documentary heritage. To remedy this situation, our research identifies a conceptual framework that can be used to develop public policies on Canada's documentary heritage.

Este trabalho apresenta um catálogo da produção coreográfica do Balé da Cidade de São Paulo, de 1968 até 2007, indicando quais fontes documentais podem ser encontradas no arquivo da companhia. Baseado na abordagem funcional para a classificação dos documentos, o catálogo, ainda que não exaustivo, oferece uma visão da instituição como um todo e indica quais atividades foram, ou não, documentadas no processo de encenação de espetáculos. Além de constituir um instrumento para a pesquisa, este trabalho oferece uma proposta de como preservar a memória coreográfica. / The archives of the Balé da Cidade de São Paulo offer a panoramic vision of its institutional life, since 1968 till 2007. In spite of the lacks we observe in several series of records, it is possible to describe them and elaborate a finding aid where the essential characteristics of the whole are indicated, under a functional approach. Besides its role as a guide to researchers, this work also intends to offer an example of how to preserve our choreographic memory.