Over three decades of research has shown that memories have significant effect on the behaviour, attitudes, beliefs, and identities of individuals and collectives, revealing also how experiences of trauma and acts of narrativisation have pertinence to the ways in which memories are stored and reconstructed. In this thesis a link is developed between memory, trauma, narrativisation processes and the interpretation of works by Jane Alexander, a contemporary artist whose work is informed by observations about South African life. Alexander’s sculptures are revealed to be not only important vessels of collective memories and experiences, but also evocations of individuals’ countermemories and traumas that remain unarticulated and invisible. Through an exploration of the workings of memory and its relation to her art, it is revealed how the past continues to exert its influence on many of South Africa’s present sociopolitical concerns and interpersonal dynamics. Indeed constantly changing memories have a significant effect on future generations’ perceptions of, and connectedness to, the past. While theories about memory have been deployed in Art History as well as the Humanities in general, Alexander’s work has not previously been considered in light of the influence of these ideas. This thesis thus contributes a new dimension to literature on the artist.

Orientadores: Lenita Waldige Mendes Nogueira, Rita de Cássia Lahoz Morelli / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T17:20:52Z (GMT). No. of bitstreams: 1 Giesbrecht_Erica_D.pdf: 34707985 bytes, checksum: c13c6788883b77cb55a630c3a7c3f679 (MD5) Previous issue date: 2011 / Resumo: A crescente proliferação de grupos performáticos, que, através de manifestações culturais, divulgam "passados", convencionalmente chamados de "tradições culturais", tem rendido estudos e debates no campo da etnomusicologia em todo o mundo. Partindo da etnografia de grupos de cultura popular afro-brasileira sediados na cidade de Campinas - São Paulo, proponho uma reflexão sobre as dinâmicas que particularizam tal processo ali. No auge da economia cafeeira do Brasil no século XIX, a cidade foi um pólo produtivo, concentrando um grande contingente de escravizados a quem se atribui atualmente a criação de diversos estilos musicais. Entretanto os atores da conjuntura atual não descendem necessariamente daqueles escravizados, não pertencem a uma comunidade isolada ou a grupos familiares demarcados. Performando um legado musical atribuído àqueles escravos, esses grupos - dentre os quais acompanhei o Urucungos, Puítas e Quijêngues, a Casa de Cultura Nação Tainã, o Jongo Dito Ribeiro, e o grupo Maracatucá - nos colocam uma questão: por que grupos "não tradicionais" se interessam pelos chamados repertórios tradicionais, escolhendo, pesquisando e recriando suas performances? Sem eliminar outras possíveis respostas, defendo que as performances desses grupos engendram a intencional incorporação desse "passado negro" através de sua música, devolvendo aos corpos de seus participantes o controle sobre si mesmos. Usamos esta expressão, "passado negro", quando não queremos reconhecer acontecimentos de nosso passado que nos causam desconforto no tempo presente. Ambiguamente essa expressão também sintetiza tudo o que se relaciona à memória dos escravos da Campinas do século XIX. Renegado por uma cidade que ostenta um cenário urbano modernizado e essencialmente branco, esse passado aflora nos cabelos, nos tecidos, na cultura, na dança e na memória reconstruída de transeuntes negros que, por meio da performance, (re)enegrecem. Apropriar-se deste legado cultural através da performance significa remexer nas cinzas do esquecimento; é opor-se aos processos de exclusão do presente juntando-se a uma história e uma memória maior e desenterrando um passado trágico para que jamais seja esquecido / Abstract: The increasing propagation of cultural groups dedicated to the performance of the so called "cultural traditions", has yielded studies and debates in the field of ethnomusicology worldwide. From the ethnography of popular cultural groups based in Campinas - São Paulo, I propose a reflection on the dynamics that distinguish their processes. At the height of the Brazilian coffee economy in the nineteenth century, the city was a production center, gathering a large number of slaves to whom the creation of many musical styles is credited. Meanwhile the agents of the present groups do not necessarily descended from those slaves nor belong to any culturally isolated traditional community. Performing a musical legacy credited to those slaves, these groups - Urucungos, Puítas e Quijêngues, Casa de Cultura Tainã, Jongo Dito Ribeiro and Maracatucá - bring up a question: why would "nontraditional" groups be interested in the so-called traditional repertoires, selecting, researching and recreating their performances? Considering other possible answers, I argue that the performances of these groups engender the intentional incorporation of a "black memory" through their music, thus leading their participants to regain control over their bodies. We use this expression, "black memory", when we don't want to recognize past events that could embarrass us if disclosed. Ambiguously this term also encompasses everything that relates to the memory of the slaves from Campinas in the nineteenth century. Denied by an essentially white city that holds a modernized urban scenery, this memory flourishes from the hairs, clothes, culture, dance and memory of black citizens who redress the black skin through their performances. Empowered by this cultural legacy they revolve the ashes of oblivion, and oppose to the exclusion processes by joining a larger history and memory, thus disclosing a tragic past that shall never be forgotten / Doutorado / Fundamentos Teoricos / Doutor em Música

Este trabalho discute a performance da memória e suas implicações em questões de identidade, sociedade e, principalmente, na constituição da regionalidade na obra São Bernardo, de Graciliano Ramos, mediante a análise do texto em primeira pessoa atribuído a seu protagonista e narrador, Paulo Honório e considerações publicadas na fortuna crítica relacionada ao livro e ao autor. Abordam-se ainda os temas de região e regionalidade, através de discussões teóricas e análises da obra e de textos críticos preexistentes. O estudo divide-se em quatro capítulos: o primeiro privilegia os aspectos da memória em São Bernardo; o segundo aborda a visão de sociedade proporcionada pelo texto; o terceiro, a questão da identidade social e, por fim, discutem-se os aspectos de regionalidade e região. / This work discusses the memory performance and its implications in questions of identity, society and specially in regionality´s constitution in the work São Bernardo, by Graciliano Ramos, by analysis of first person text attributed to its protagonist and narrator, Paulo Honório as well as book´s and author´s literary criticism analysis. It approaches also the themes of region and regionality, through theoretical discussions and analysis of work and preexisting critical texts. The study is divided into four chapters: the first focuses on aspects of memory in São Bernardo; the second deals with the vision of society offered by the text; the third, the question of social identity and, finally, we discuss aspects of regionality and region.

Orientador: Gabriela Kvacek Betella / Resumo: Este trabalho se propõe a analisar duas traduções audiovisuais do texto literário O tempo e o vento, de Erico Verissimo. As traduções são minisséries homônimas. A primeira, dirigida por Paulo José, em 1985, tem 26 capítulos; a segunda, dirigida por Jayme Monjardim em 2014, três. Nosso objetivo é dar prosseguimento à pesquisa já iniciada em dissertação de Mestrado (MAZIERO, 2013), e a partir das bases dos estudos sobre adaptação e tradução, recorrermos a conceitos das áreas de comunicação, linguagens, cinema e dramaturgia a fim de demonstrar que, embora haja certa convergência entre os textos, devemos tratar cada um de maneira independente. Além disso, investigamos como o texto literário e suas traduções audiovisuais repropõem a narrativa da história de um povo num determinado período de tempo, e de que maneira essa nova forma de contar incide sobre a instância do narrador nas três obras. Por fim, destacamos a categoria da memória, a partir do conceito de memória coletiva (HALBWACHS, 2006), aproximando-o de nossos objetos de estudo, uma vez que nas duas minisséries elege-se uma personagem que nos parece ser a responsável por narrar os feitos de um grupo – sua família – em determinado período histórico, abarcado por sua própria existência e de seus antepassados. / Abstract: This work intend to analyze two audiovisual translations of Erico Verissimo’s novel O tempo e o vento. The are two homonymous miniseries. The first, directed by Paulo José in 1985, has 26 chapters; the second, directed by Jayme Monjardim in 2014, three. Our goal is to continue the research already started in Master's thesis (MAZIERO, 2013), and from the bases of studies on adaptation and translation, we use concepts from the areas of communication, languages, cinema and dramaturgy in order to demonstrate that, although there is some convergence between the texts, we must treat each one independently. In addition, we investigate how the literary text and its audiovisual translations re-propose the narrative of the history of a people over a given period of time, and how this new way of telling focuses on the narrator's instance in the three works. Finally, we highlight the category of memory, based on the concept of collective memory (HALBWACHS, 2006), bringing it closer to our objects of study, since in the two minisseries a character who seems to be responsible for narrating us is chosen. the achievements of a group - its family - in a certain historical period, encompassed by its own existence and its ancestors. / Doutor

English title and keywords: Memory in the Novels by Dermot Healy - Dermot Healy, Irish literature, Irish novel, memory, collective memory Despite his large and diverse body of work Irish writer Dermot Healy remains somewhat ignored by scholars. However, his formally diverse writing which spans from novels and short stories to poetry and dramatic work is without a doubt worthy of critical response. One of Healy's themes is an engagement with the formation of memory and with how an experience transforms in the mind of its 'experiencer' and changes into what from a certain perspective may be regarded as fiction. Stemming from his own life experiences the author engages a topic common to all human beings and plays with the concept of memory and its possible distortion in his autobiography The Bend For Home (1996), as well as in his plays and poems. His autobiographic work can be seen as a background for the theme; however, the present thesis will focus on Healy's novels, starting with Fighting with Shadows (1984) through A Goat's Song (1994), Sudden Times (1999) to his final novel Long Time, No See (2011). In these books and in the characters that Healy presents we are able to observe individuals with diverse personal histories who return to individual experienced events through reconstruction and in...

Orientador: Alexandre Mate / Banca: Flávio Desgranges / Banca: Carminda Mendes André / Resumo: Através da sua memória e de documentação existente, o autor traça uma trajetória de sua formação como espectador passando pelas diversas fontes que o alimentaram: o circo, o rádio, a música, os livros, o cinema, a televisão com ênfase no teatro, objeto da pesquisa. As livrarias, os cinemas, os teatros e a própria cidade de São Paulo são o pano de fundo para os espetáculos teatrais assistidos no período de 1964 a 2011. O autor faz um recorte, analisando mais detalhadamente os 27 espetáculos teatrais mais significativos de sua vida de espectador. Em tese, essa visão do espectador está isenta dos habituais didatismos de um professor, da alardeada neutralidade do crítico, do rigor analítico requerido aos historiadores e pesquisadores e permite transitar com a reação espontânea, a emoção, recordações que a memória guardou, acontecimentos curiosos ligados ao contexto da apresentação e tão importantes quanto aqueles ocorridos no palco. O estudo é completado com uma análise da presença/ausência do espectador na literatura teatral e com um levantamento das atividades da Casa do Espectador, entidade muito importante para o meio teatral paulistano, surgida em 1960 e desaparecida no início dos anos 1990 / Abstract: The author relyes on his memory and on documents to outline the trajectory that lead to his education as a spectator going by the several sources that nourished him: the circus, the radio, the music, the books, the cinema, the television and mostly the theather, the very object of the research. The bookstores, the theathers and the city of São Paulo itself build the background for the plays seen from 1964 to 2011. The author analyzes in depht the 27 more signficant spectacles of his life as a spectator. In theory, the point of view of the spectator is free of the dictacticism of scholars as well as free of the often mentioned neutrality of the critics and the analytical rigor required from historioagraphers and researchers, and allows his spontaneous reaction on emotions, memories and curious events related to the spectacle itself, as important as the ones that took place on the stage. The study is completed with an analysis of the presence/absence of the spectator in the theatrical literature and the story of Casa do Espectador, a very relevant entity in the theatrical scene in São Paulo, founded in 1960 and closed in 1990 / Mestre

Cette thèse part de l’hypothèse que des traces du passé, portées par chacun, habitent le quotidien, comme une sorte de mémoire collective insoupçonnée. Elle se propose en analysant les caractéristiques ou encore la transmission de quelques pratiques sociales (celles liées à la mort, à la religion, à la médecine populaire, au gwoka, au calypso et au conte) de comprendre ce qui se joue au-delà des apparences. A partir de ces expériences d’aujourd'hui, on découvre les apports divers, les dynamiques, les interactions, les ambivalences, ainsi que tout ce qui avait été mis en œuvre pour « braconner » des expressions, se créer des espaces de liberté et commencer à transcender un quotidien douloureux. Il s’avère, cependant que ces traces ne sont pas seulement des vestiges. Elles constituent plutôt un tissu complexe et mouvant construit par des perceptions, des émotions ainsi que des faits véridiques. Ces traces entremêlées d’hier et d’aujourd'hui, sont sans cesse réactivées par ceux qui les reçoivent, les portent et les transmettent à leur tour. / This thesis assumes that traces of the past, worn by everyone, inhabit the everyday, as a sort of unsuspected collective memory. In order to understand what is happening beyond appearances, it analyzes the characteristics of the transmission of a few social practices such as those related to death, religion, folk medicine, gwoka, calypso and storytelling. From today experiences, one discovers the various contributions, the dynamics, the interactions, the ambivalences, as well as all that had been implemented to "poach" expressions, to create spaces of freedom and start to transcend a painful reality. It turns out, however, that these traces are not just remnants. They are rather a complex and moving fabric woven by perceptions, emotions as well as truthful facts. These traces, which are those of yesterday and today intermingled, are constantly reactivated by those who receive them, carry them and transmit them in their turn.

L’oubli est un mécanisme essentiel au fonctionnement de la mémoire. Ceci est vrai lorsque l’on considère la mémoire de l’individu, qui est l’objet privilégié de la neuropsychologie, mais cela est également le cas lorsque nous considérons les usages sociaux, culturels et historiques de la mémoire qui sont les objets d’études privilégiés de l’histoire et des sciences humaines. Dans ce travail, nous avons cherché à comprendre l’influence conjointe des capacités de contrôle inhibiteur et de l’encodage de représentations collectives sur la conservation des souvenirs épisodiques. Nous avons abordé la question de l’oubli volontaire à l’aide du paradigme "Think/No-Think" qui permet l’induction expérimentale d’intrusions mnésiques, de leur contrôle et de leur oubli. Nous avons tout d’abord montré, en électrocardiographie et en électroencéphalographie, que les capacités d’oubli volontaire influencent directement la manifestation physiologique des émotions qui peuvent leur être associées. Ce résultat a ensuite été complété par une étude, à l’aide d’analyses de classification multivariées, montrant que les dynamiques neurales qui encadrent la suppression effective des souvenirs, lorsqu’ils apparaissent involontairement à la conscience, sont comparables aux réflexes de réorientation attentionnelle qui peuvent intervenir lors d’interférences sensorielles ou perceptives. Enfin, nous abordons l’influence des schémas présents en mémoire collective sur l’encodage des souvenirs à travers une étude en imagerie par résonance magnétique fonctionnelle. / Forgetting is a central mechanism for memory functioning. This is noticeable regarding individual’s memory, which is the privileged topic of neuropsychology, but this is still the case when we consider the social, cultural and historical practices of memory which are the privileged topics of history and social sciences. In this work, we tried to understand the joint influence of inhibitory control capabilities and the encoding of collective representations over episodic memories conservation. We addressed the question of voluntary forgetting through the use of the"Think/No-Think" paradigm as a way to induce experimental memory intrusions and their control. First, we report with electrocardiography and electroencephalography that voluntary forgetting capabilities directly affects the physiological roots of associated emotions. This result was then complemented, through the use of multivariate decoding, by a study showing that the neural dynamics surrounding the effective suppression of memories, when they involuntarily intrude into consciousness, are comparable to the reorienting reflex occurring during sensory or perceptive interference. Finally, we assess the influence of collective memory schema on the encoding of memories in a magnetic resonance image study.

In den 10 Jahren, die seit dem Extremhochwasser in Sachsen vergangen sind, wurde viel für den Hochwasserschutz getan: die Vorhersage, die Kommunikation sowie die Hochwasserschutzanlagen wurden verbessert und es wurden neue Deiche sowie Hochwasserrückhaltebecken errichtet oder angepasst. Eine wichtige Frage ist aber, wie sich das Hochwasserbewusstsein der potenziell betroffenen Bevölkerung entwickelt hat. Im Beitrag wird der Frage nachgegangen, ob die Lehren von 2002 in Erinnerung sind und weitergegeben wurden oder ob das Hochwasserbewusstsein nachgelassen hat und man sich angesichts besseren Schutzes in Sicherheit wiegt.

After the fall of the Berlin Wall, post-Communist states had to interpret and portray their past in the context of post-Cold War politics. In the Czech Republic, reflections on the memory of communism have gone through peculiar waves that travel between indifference to anti-regime. The Museum of Communism serves as the only social institution that deals with such memory exclusively. Its goal is to create a simple and objective account of communism. However, with museums reinventing themselves as performative spaces that aim to empower their visitors, engage them emotionally and provide them an opportunity to (re)live a past they have not experienced first-hand, this thesis aims to identify what group identities the museum promotes, how it gives substance to them, and what kind of memory community it adheres to and fosters. Drawing on the rich literature on both memory studies and museum studies, this thesis examines the museum through lens of critical discourse analysis. It argues that the Museum of Communism ́s portrayal of the past maintains and participates in the pan-European discourse of the Czech Republic as a western nation kidnapped by the East and its victimhood status is defined by the global holocaust discourse.