Cette thèse s’efforce de penser le remploi d’archives comme un acte de création qui signale une possibilité fondamentale du medium filmique, à même d’exercer un retour à sa propre matérialité. Pour ce faire, elle s’appuie sur l’analyse de trois films contemporains - X+ (2010) de Marylène Negro, The Uprising (2012) de Peter Snowdon et Pays barbare (2013) de Yervant Gianikian et Angela Ricci Lucchi. L’hypothèse que cette recherche entend vérifier est qu’il n’y a de cinéma que de seconde main. A partir d’une lecture des thèses de Benjamin sur le langage et la traduction, la reprise et la répétition au principe de toute expression filmique sont étudiées comme les conditions requises pour que puissent émerger des formes radicalement neuves. Les propositions filmiques analysées, en travaillant des formes fragmentaires ou en explorant la dimension polyrythmique du remploi d’images, invitent à envisager l’écran et au-delà l’archive elle-même comme des opérateurs de l’événement. Reposant sur une dimension dialogique et relationnelle de l’image filmique, le montage d’archive est indissociablement poétique et politique. Les formes qu’en proposent les artistes étudiés invitent à considérer d’un même tenant pratique filmique, archéologie des techniques et histoire des peuples. Le remploi d’archives opère un acte duel : manifester ce que le monde a été et dire dans le même temps ce qu’il peut devenir. Le montage d’archives se comprend alors comme un geste exécuté au présent, pour le présent, à travers lequel pointe l’image d’un monde ouvert. / Based on the analysis of three contemporary films (X+ by Marylène Negro, Pays barbare by Yervant Gianikian and Angela Ricci Lucchi, The Uprising by Peter Snowdon), this PhD aims to reconsider the found footage practice as a creative act that points to a fundamental potential of cinematographic media to perform a feedback on its own materiality. This PhD states as an initial hypothesis that all cinema is a second hand cinema. Using as a starting point Walter Benjamin’s works on language and translation, the reemployment and the repetition as principle of every filmic expression are considered as essential conditions for the rise of radically new forms. The topic follows three main lines : forms, rhythm and events. Theses issues are tackled in order to highlight that the cinematographic works analysed in this PhD – combining fragmentary forms or exploring the polyrhythmic dimension of found footage - allow to consider the screen and further more, the archive itself, as agents of the event. Based on the dialogic and relational dimension of moving image, the archive editing is inextricably poetic and political. Hence cinematographic practice, archaeology of techniques and political history are considered as fundamental materials by the filmmakers studied in this PhD. The reemployment as used by these artists operate a dual act : show the world as it has been and in the mean time say what this world could become. The archive editing can thus be understood as a gesture performed in the present time, for the present, a gesture that reveals the image of a world full of possibilities.

Esta dissertação de mestrado apresenta como corpus de análise as obras publicadas em 2009, Realidad, de Sergio Bizzio, e Bajo este sol tremendo, de Carlos Busqued, ambos autores argentinos. O objetivo é fazer uma leitura crítica de como a televisão e determinados formatos televisivos (o reality show e o documentário) possuem sua estrutura e argumento apropriados por essas narrativas literárias. Nelas, arquivos de imagens se armam e se desmontam, se abrem e se articulam, entre fotografias militares oficiais e confissões banais espetacularizadas, implicando, no trabalho do narrador, um posicionamento, um comprometimento ético e estético, crítico e criativo, ao compartilhar uma história cheia de detalhes (embora cheia de lacunas) com o leitor/espectador. Por isso, em um jogo metonímico entre o visível e o não visível, o explorado e o camuflado, a imagem da violência e a imagem violenta, qualquer semelhança com fatos históricos, imagens reais e materiais ou personagens de ficção não é mera coincidência, é matéria e questão centrais de certas práticas artísticas latino-americanas contemporâneas, como as de Bizzio e Busqued. / This dissertation presents as analysis corpus the works published in 2009 by the Argentinian authors Sergio Bizzio, Realidad, and Carlos Busqued, Bajo este sol tremendo. The aim of this study is to make a critical reading of how television and certain television formats (the reality show and documentary) have structure and plot conformed by these literary narratives. In those works, archives are assembled up and taken to pieces, opened and articulated, among military official photographs and spectacular banal confessions, involving, in the narrators work, an ethical and aesthetic, critical and creative commitment, in sharing a story full of details (although full of loopholes) with the reader/viewer. On account of a metonymic role between the visible and non-visible, the exploitation and the camouflage, the image of violence and the violent image, any similarity with historical facts, real images and fictional materials or characters is not a simple coincidence, it is a central matter of some contemporary Latin American art practices, such as Bizzio and Busqued.

Made available in DSpace on 2016-08-10T10:37:28Z (GMT). No. of bitstreams: 1 Laurimar Gomes da Silva.pdf: 1845900 bytes, checksum: 888a5525c174b307364fd35144c47b68 (MD5) Previous issue date: 2009-08-23 / The purpose of this project aims to meet a demand of the Brotherhood of the Rosary of Black Efigênia of Santa Cruz in the Upper town of Ouro Preto in order to build partnerships to preserve and manage the file of the Brotherhood of the Rosary of Black Santa's Efigênia Top of the Cross in the city of Ouro Preto (MG). Founded in 1719, up from the twenty sisterhoods found in the city, the Brotherhood of the Rosary of Black of Santa Cruz's Upper Efigênia emphasizes is to be responsible for the administration of the Baroque church of Santa Efigênia dating site which is associated with the imaginary figures of Chico King, lining slave who became rich, and Efigênia Santa, a black saint, patroness of the slaves who lived on site. The central object of the project management is making means that the Brotherhood by its members and the local community, to keep alive the memory of the existing entity is three hundred years. Through research conducted in primary and secondary sources, found in the cities of Ouro Preto and Mariana in museums, libraries, archives, public and private, were unpublished data on the history of the institution. Accordingly, the design file is presented as a conceptual category which added to the memory and cultural heritage motivated the construction of this project. / A proposta deste projeto visa atender a uma demanda da Irmandade do Rosário dos Pretos de Santa Efigênia do Alto da Cruz na cidade de Ouro Preto (MG), a fim de consolidar parcerias no sentido de preservar e gerir o arquivo. Fundada em 1719, compondo uma das vinte irmandades encontradas na cidade, a Irmandade do Rosário dos Pretos de Santa Efigênia do Alto da Cruz se particulariza por ser a responsável pela administração da igreja barroca de Santa Efigênia, que no imaginário local está associado às figuras de Chico Rei, escravo forro que se tornou rico, de Santa Efigênia, uma santa negra, benfeitora dos escravos que residiam no local. O objeto central do projeto de gestão é condicionar meios para que a irmandade por meio de seus membros, possa manter viva a memória dessa entidade existente há trezentos anos. Por meio de pesquisas realizadas nas cidades de Ouro Preto e Mariana, em museus, bibliotecas e arquivos públicos e privados, foram encontrados dados inéditos sobre a história da instituição. Nesse sentido, a concepção de arquivo se apresentou como uma categoria conceitual que somada a da memória e do patrimônio cultural fundamentou a construção do presente projeto.

La tesi ricostruisce la complessa vicenda della scrittura e pubblicazione del celebre poema Uljalaevščina di Il’ja Sel’vinskij. La stesura dell’opera, le sue riscritture e pubblicazioni non sono mai state oggetto di indagine, perciò il lavoro della dott.ssa Krasnikova, basato su fonti sia d’archivio sia a stampa, costituisce il primo studio sistematico della storia del poema che analizza tutte le fonti pubblicate e d’archivio conosciute attualmente (la maggior parte delle quali non è mai stata studiata prima) e utilizza sia i metodi tradizionali della critica del testo sia gli strumenti digitali. Con il suo lavoro di ricerca la dott.ssa Krasnikova ha individuato e stabilito tutte le versioni del testo del poema, e anche gli altri materiali che possono far luce sulla storia del poema; successivamente, ha descritto e analizzato le versioni, definito il tipo e il grado delle differenze tra le varianti, cercando di capire i motivi dei mutamenti. Tra i risultati della ricerca spiccano la creazione dell’elenco di tutte le versioni del poema e dei suoi frammenti (38 testi in totale) e la costruzione di un corpus digitale delle versioni di Uljalaevščina. / The thesis reconstructs the complex story of the creation and publication of the famous Uljalaevščina, a poem by Ilya Selvinsky. The issue has never been studied, so the work of Anna Krasnikova, based on archival and published sources, constitutes the first systematic study of the history of the poem. The author analyzes all the published and archival sources currently known (most of which have never been studied before) and uses traditional methods of text criticism and digital tools. The author has identified and established all the versions of the text of the poem, as well as other materials that can be useful for the reconstruction of the history of the poem; she has described and analyzed all he versions, defined the type and degree of differences between the variants, trying to understand the reasons for the changes. Among the research results are the creation of a list of all the versions of the poem and its fragments (38 texts in total) and the construction of a digital corpus of the versions of Uljalaevščina.

Esta dissertação de mestrado apresenta como corpus de análise as obras publicadas em 2009, Realidad, de Sergio Bizzio, e Bajo este sol tremendo, de Carlos Busqued, ambos autores argentinos. O objetivo é fazer uma leitura crítica de como a televisão e determinados formatos televisivos (o reality show e o documentário) possuem sua estrutura e argumento apropriados por essas narrativas literárias. Nelas, arquivos de imagens se armam e se desmontam, se abrem e se articulam, entre fotografias militares oficiais e confissões banais espetacularizadas, implicando, no trabalho do narrador, um posicionamento, um comprometimento ético e estético, crítico e criativo, ao compartilhar uma história cheia de detalhes (embora cheia de lacunas) com o leitor/espectador. Por isso, em um jogo metonímico entre o visível e o não visível, o explorado e o camuflado, a imagem da violência e a imagem violenta, qualquer semelhança com fatos históricos, imagens reais e materiais ou personagens de ficção não é mera coincidência, é matéria e questão centrais de certas práticas artísticas latino-americanas contemporâneas, como as de Bizzio e Busqued. / This dissertation presents as analysis corpus the works published in 2009 by the Argentinian authors Sergio Bizzio, Realidad, and Carlos Busqued, Bajo este sol tremendo. The aim of this study is to make a critical reading of how television and certain television formats (the reality show and documentary) have structure and plot conformed by these literary narratives. In those works, archives are assembled up and taken to pieces, opened and articulated, among military official photographs and spectacular banal confessions, involving, in the narrators work, an ethical and aesthetic, critical and creative commitment, in sharing a story full of details (although full of loopholes) with the reader/viewer. On account of a metonymic role between the visible and non-visible, the exploitation and the camouflage, the image of violence and the violent image, any similarity with historical facts, real images and fictional materials or characters is not a simple coincidence, it is a central matter of some contemporary Latin American art practices, such as Bizzio and Busqued.

<div>This study analyzes eleven collections created, saved, and preserved by rural Iowa women, during the middle of the twentieth-century to interpret change in the experience of rural American women, and consider their role in the preservation of historical evidence. Analysis of privately-held and institutional collections of calendars, journals, scrapbooks, notebooks, and club meeting records provides details of farm life, rural communities in transition, and the way collection creators conceptualized and enacted the identity of rural womanhood. In making decisions about which events to write down in a journal or clip-and-save from the local newspaper, these women “performed archivalness” in preserving their experience for family and community members and scholars. </div><div>The women who created the collections considered in this study experienced a rural landscape altered by the continuation and aftermath of agricultural specialization, mechanization, and capital consolidation. These changes altered rural community systems, economies, and institutions reshaping the experience of rural womanhood, as women upheld and adjusted the norms and values that defined the rural way of life. This study takes a three-part approach to considering the eleven collections as case studies. Chapter two analyzes five of the collections as unconventional forms of autobiographical writing, finding that nowhere else were women truer to themselves and their experiences than in their daily writing. In journals or on calendars, these women wrote their life stories by recording the daily details of work, motherhood, and marriage, and occasionally providing subtle commentary on local and national events. Changes in women’s work, education, responsibilities in marriage and motherhood, and involvement in public life and civic affairs happened in gradual and rapid ways during the middle of the twentieth-century. The third chapter in this study analyzes the collections of three women who used their writing to document, prescribe, and promote notions of rural womanhood during this time of change. Chapter four provides a meditation on the relationship between evidence and history by examining the ways in which three women performed archivalness in creating their collections. Consideration of the means by which the collections have been saved, provides insight into the importance of everyday individuals in the preservation of historical evidence. </div><div><br></div>

This thesis is a study of the social and cultural significance of Standen from the perspective of the Beale family's lived experience of the property from 1890 to 1914. The Beales commissioned architect Philip Webb to design Standen in 1891, they were sole owners of the property until it was bequeathed to the National Trust in the early 1970s. Although Standen is recognised by architectural historians as a fine and complete example of Art and Crafts architecture of the period and is celebrated for its William Morris wallpapers, little is known about how the family experienced the house. Drawing on Henri Lefebvre's theory which understands a user's space as lived and not represented, this thesis moves away from traditional architectural accounts to focus on the family's lived experience and the role they played in the creation of Standen. It analyses family and estate archives, the property and its collection of objects and photographs to reveal that Standen's decorative interior, as an ‘eclectic' mix of styles blending Arts and Crafts with Aestheticism, was interwoven with social and cultural meaning. Representing original and innovative research into the history of domestic interiors and living space, this thesis aims to encourage new ways of engaging with and critically understanding the late-nineteenth century Arts and Crafts Movement.

Orientador: Plácida Leopoldina Ventura Amorim da Costa Santos / Banca: Silvana aparecida Borsetti Gregório Vidotti / Banca: José Fernando Modesto da Silva / Abstract: The scientific communication is suffering considerable alterations so much in its process as in its structure and philosophy. The open archives and open access initiatives are contributing significantly for the undoing of the traditional model of scientific communication and for the construction of a new disaggregated model and with interoperability, fairer and efficient to disseminate the research results and like this, the knowledge generated by the scientific communities. However, due to the progresses of the information and communication technologies, not only the structure and the flow of the scientific communication is suffering considerable alterations, as well as the own concept and support of the scientific documents. This has been generating the need of the development of tools to optimize the organization, description, exchange and information retrieval processes, besides the digital preservation, among others. Highlight that the MARC format it has been allowing per decades the description and the exchange of bibliographical and cataloging registrations to the institutions, favoring the access to the contents informacionais contained in several collections. However, with the exponential growth of information and of the documents generation (above all digital), this has been demanding larger flexibility and interoperability among the several information systems available. In this scenery, the XML markup language is presented as one of the current developments that has as purpose to facilitate and to optimize the administration, storage and transmission of contents through Internet, it being incorporate for several sections and areas of the knowledge for the handling easiness and operational flexibility. Front to that, an exploratory study of theoretical analysis was accomplished, identifying the adaptation of the MARCXML... (Complete abstract, click electronic address below) / Mestre

O crescente uso das tecnologias de informação e comunicação a partir dos anos oitenta impulsionou no cenário arquivístico novas discussões em torno das questões de preservação e acesso aos arquivos, dentre outras. Neste contexto, a comunidade arquivística investiu no desenvolvimento de padrões e modelos para a descrição arquivística apresentando dentre os objetivos centrais a possibilidade de intercâmbio entre os arquivos e a ampliação do uso dos acervos. Contudo, este processo modelizador destituiu da descrição arquivística sua natureza de pesquisa, na medida em que não foi criado o devido espaço para a discussão teórico-metodológica pertinente a sua natureza. O problema atinge os arquivos em geral. Em nosso trabalho vamos analisar o impacto deste efeito modelizador e suas implicações no âmbito dos arquivos pessoais, uma vez que suas características mais específicas exigem do arquivista um trabalho de pesquisa detalhado em busca da reconstrução dos vínculos arquivísticos. / The increasing use of information and communication technologies since the 1980s has given an impulse to new discussions in the archival science field concerning digital preservation and access to archives, among other themes. In this context the community of archivists developed standards and models for archival description declaring as some of its aims the encouragement of the interchange between archives and the possibility of increasing the use of archive collections. However, this modeling process in fact deprived archival description of its research nature since it did not include or address the theoretical and methodological discussion pertinent to its own nature. This problem exists in all archives. In our work we will analise the impact of this modeling effect and its implications for personal archives, since they present more specific characteristics that demand from the archivist a more detailed research approach to reconstruct the archival bond.

A partir do pressuposto de que bibliotecas, arquivos, centros de documentação, museus e instituições afins são entidades que compartilham, dentre outros, o objetivo de acumular e/ou colecionar, documentar e preservar bens culturais, deduz-se que aproximações podem ser realizadas a partir da representação da informação. A presente pesquisa teve por objetivo geral explorar os pontos de aproximação entre as áreas da Arquivística, Biblioteconomia e Museologia a partir das metodologias para descrição de seus acervos. A conceituação teórica da pesquisa foi pautada no estudo dos conceitos de informação e documentação oriundos da Ciência da Informação e que permitiram aproximar as áreas no que diz respeito às questões relacionadas ao acesso à informação. Outro aspecto pesquisado foi a influência das novas tecnologias de comunicação e informação em cada área e seus procedimentos. Apresentam-se as origens e formação de cada instituição e seus acervos. É realizada uma análise comparativa entre campos selecionados das normas da Isad(G) para arquivos, o AACR2 para bibliotecas e as Diretrizes do CIDOC-ICOM para museus. O resultado do estudo aponta para a similaridade nas recomendações dadas pelas regras e constata-se que a representação da informação em ambiente digital propicia o deslocamento do foco do objeto informacional para a informação, o que compõe um cenário no qual as instituições coletoras de memória poderão estar aptas a elaborar instrumentos de pesquisa seguindo padrões de metadados comuns. / Starting from the assumption that libraries, archives, documentation centers, museums and similar institutions are entities which share, among other purposes, the common purpose of accumulating and/or collecting, documenting and preserving cultural heritage, one can infer that from the information representation it is possible to perform approximations. The general aim of the present research is exploring the approximation points among the areas of Archives, Library Science and Museology from the methodologies used to describe their collections. The research technical conceptualization was based on the study of information and documentation concepts derived from the Information Science which allowed approximating the areas concerning issues related to access to information. Another aspect object of research was the influence of new communication and information technologies on each area and their procedures. The origins of each institution and their collections are presented. A comparative analysis of the rules of Isad(G) for archives, AACR2 for libraries and the Guidelines of CIDOC-ICOM for museums among selected fields is performed. The study results points to the similarity in the recommendations given by the rules and it is noticeable that the information representation in a digital environment makes it possible the rearrangement of the information object focus towards the information, thus composing a scenario on which the collector institutions might be apt to devise research instruments following shared metadata patterns.