In the democratic process, of discussion and decision making, there is a need of reliable and authentic information. Archives are authentic and reliable information and also provides long term accessibility. But the public archives potential isn´t utilized enough at a societal level. The public archives are organized in a decentralised manner, and there are no common accesspoint at a national level. In the thesis this issue of accessibility and use at a societal level, is discussed in terms of collective memory. In a digital environment, these organizational limits could probably be overcome, but there is a need for new goals, perspectives and frameworks for the management of public archives. In an e-government context, interoperability is often mentioned in the discussion of accessibility. Interoperability could be understood as the ability of diverse organizations to interact together towards common goals, and include technological, semantic, organizational, legal and political aspects. The hypothesis like assumption of the thesis is that interoperability could contribute to making the archives a more significant part of the collective memory.The thesis uses a case study methodology, and a critical discourse textual analyses. Records Continuum Model and archival perspective about collective memory, particularly Jimersons distinction of collective memory from other types of memory, is used as a theoretical frame for the analyses. The case is the project e-archives and e-diarium, which is a Swedish E-delegation project, driven by the National Archives. Central documents from the project is analysed, as is important documents for the work on e-government for the contextual understanding.The results indicate that interoperability may contribute to making the archives a more significant part of the collective memory, practically and discursively. Practically, it provides conditions to share information and remove barriers for interaction. Discursively, it contributes to an overall perspective of public administration, and switch the view from each single organization to the citizens and the society as a whole where the information is seen as a common societal resource. Interoperability is also an important factor in the development of a common information architecture for the whole of the public administration. This change in perspective could make the archives, when included in the e-government, change perspective from the archives creators to the end users and society at large, and give more effort in making the archives accessible in the collective dimension.

The history of the Great War has been dominated by accounts that view the War as an international conflict between nations and soldiers that contributed to the consolidation of Canadian cultural and political independence and identity. In many cases, the War has assumed a foundational—even mythic—status as integral to the building of a mature state and people. Since the 1970s, however, there has been an efflorescence of Canadian plays that have problematized traditional representations of the War. Many of these plays are set on the home front and explore the ways in which the War, in the form of disease, disaster, and intra-communal in-fighting and suspicion, invaded Canadian home space. What they suggest is that the War was not simply launched against an external enemy but that the War invaded Canadian communities and households. This dissertation examines five of these plays: Kevin Kerr’s Unity (1918), Guy Vanderhaeghe’s Dancock’s Dance, Trina Davies’ Shatter, Jean Provencher and Gilles Lachance’s Québec, Printemps 1918, and Wendy Lill’s The Fighting Days, all of which were written and published after 1970. Ultimately, it demonstrates that these plays, by relocating the War to Canadian terrain, undertake an important and radical critique; they suggest that the understanding of the War should not be restricted to overseas conflicts or Canadian national self-definition but that it should be expanded to encompass a diversity of people and experiences in domestic and international settings. At the same time, this thesis recognizes these plays as part of an emergent, bourgeoning Canadian dramatic genre, one which attests to Canadians’ continued preoccupation with the War past.

Holocaust monuments are often catalysts in the ‘nationalization’ of the Holocaust – the process by which Holocaust memory is shaped by its national milieu. Between 2009 and 2011, the Parliament of Canada debated a bill which set out the guidelines for the establishment of a National Holocaust Monument (NHM), which ultimately became a federal Act of Parliament in early 2011. I examine the discourse generated by this bill to understand how the memory of the Holocaust is being integrated into the Canadian identity, and argue that the debate surrounding the NHM has been instrumental in the ‘Canadianisation’ of the Holocaust. I summarise my findings by placing them into dialogue with other national memories of the Holocaust, and identify three distinct features of Holocaust memory in Canada: a centrifugal trajectory originating in the Jewish community, a particular-universal tension rooted in multiculturalism, and a multifaceted memory comprising several conflicting – though not competing – narratives. Monuments de l’Holocauste sont souvent des catalyseurs de la «nationalisation» de l'Holocauste – le processus par lequel mémoire de l'Holocauste est formé par son milieu national. Entre 2009 et 2011, le Parlement du Canada a débattre un projet de loi qui crée les lignes directrices pour la mise en place d'un Monument national de l'Holocauste (MNH), qui est finalement devenu une loi fédérale du Parlement au début de 2011. J'examine le discours généré par ce projet de loi pour comprendre comment la mémoire de l'Holocauste est intégrée dans l'identité canadienne, et soutien que le débat entourant le MNH a joué un rôle déterminant dans la «canadianisation» de l'Holocauste. Je résume mes conclusions en les plaçant dans le dialogue avec d'autres mémoires nationales de l'Holocauste, et d'identifier trois caractéristiques distinctes de mémoire de l'Holocauste au Canada: une trajectoire centrifuge d’origine dans la communauté juive, une tension particulière-universelle enracinée dans le multiculturalisme, et une mémoire à multiples facettes comprenant plusieurs récits contradictories – mais pas compétitifs.

In this thesis we will show that individually we still have memory, which allows us to recognise our ways of living. To recognise is to remember. Thus, we intend to offer ways of regenerating Maseko Ngoni governance by reviving the personal memories of the Ubantu collective through embracing our languages, histories, politics, medicine. economics and spirituality. The research methodology used in this thesis is inclusive of all Ubantu sacred oral evidence while challenging some written sources and welcoming others as ways of sharing our personal memories as an act of reviving our collective knowledge (memories). We show that this shared knowledge is the basis of our sustainable Indigenous governance because it is motivated by respect for the land and the people (inclusive of all living things).

The overall aim of the study is to investigate how a social and collective memory is mobilized by the directors’ depiction of ethnicity and gender roles from a post- colonial and gender perspective. The thesis focuses on how ethnicity and gender roles are depicted in each movie and how this results in a mobilization of a social and collective memory. The results show that Django Unchained mobilizes a memory by its use of the invective nigger and iconic acts of slavery, such as whipping and cotton picking. From a gender perspective, the results show that men worked with jobs that required more strength, compared to the jobs of women and thus mobilizes a memory of how we remember the gender roles of slaves. Nevertheless, these memories can result in traumas and to recover from them, memories must be revisited. Similarly, yet differently, the results show that 12 Years a Slave mobilizes a memory by its use of the invective nigger and by the use of songs that solidified the hierarchy present during slavery. In other words, these songs were used to exhibit the level of supremacy Caucasians possessed from a post-colonial perspective. The conclusion drawn in the study is that 12 Years a Slave, as a historical source, provides audiences with considerably more authenticity compared to Django Unchained. Therefore an individual might feel as if he or she has lived the life of Solomon Northup and experienced and endured everything he did.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008. / Also available via the World Wide Web. Includes bibliographical references (p. 48-51).

Thesis (M.A. in History)--S.M.U. / Title from PDF title page (viewed Mar. 16, 2009). Source: Masters Abstracts International, Volume: 47-03. Adviser: Thomas J. Knock. Includes bibliographical references.

Thèse (M.Ed.) -- Université du Québec à Chicoutimi, 2002. / Bibliogr.: f. 118-123. Document électronique également accessible en format PDF. CaQCU

Revised version of author's dissertation--Berlin, Humboldt-Univ., 2007. / Includes bibliographical references (p. 459-484).