Afin de légitimer une approche des systèmes d’information plus documentaire que technologique bien peu en accord avec l’air du temps, le besoin impérieux s’est fait ressentir de faire appel aux fondements théoriques de la fonction renseignement et de son exploitation étroitement dépendante de la maîtrise d’une information devenue surabondante. Ce regard, plus analogique que numérique, s’est intéressé à la construction de sens dans une mémoire partagée, organisée autour d’un besoin collectif de savoir qui la conditionne entièrement. Il s’agit d’assurer la cohésion des actions individuelles en s’appuyant sur la synergie des intentions qui orientent l’action collective et lui donnent ainsi tout son sens. Cette recherche s’est fondée sur une expérience professionnelle ponctuellement réussie, bien que peu suivie par une administration trompée par le mirage d’une technologie omnipotente. Ses résultats sont décrits pour tenter de les pérenniser, dans l’idée d’en élargir la portée et d’en promouvoir l’usage chez d’autres professionnels aux besoins analogues, dans des domaines différents comme, par exemple, celui de la recherche scientifique. / Despite the current trend, the pressing need arose to legitimize a documentary approach to information system rather than a technological one, based on the theoretical foundations of intelligence and its exploitation, which is directly connected to the control of an information that has become overabundant. This vision, rather analogical than numerical, focuses on creating sense within a shared memory that is organized around a collective need of knowledge, which directly impacts this memory. The aim is to ensure the cohesion of individual actions by relying on the synergy of intentions, which orient the collective action and give it its meaning. This research was built on a professional experience successful, although little followed by an administration mistaken by the mirage of an omnipotent technology. Its results are described in an attempt to perpetuate them, with the idea of extending their scope and promoting their use to other professionals with similar needs, in different fields such as, for example, scientific research.

Mestrado em Arte Multimédia / Biografia e Autobiografia Universal: para um modelo de análise dos rituais de produção e consumo na arte multimédia trata do estudo e análise de formas alternativas que questionam o modo como criamos a nossa memória cultural colectiva por meio de objectos e rituais. O campo de investigação aqui exposto permanece distinto da História ou Crítica da arte. A abordagem aos rituais é realizada pelo do ponto de vista sócio-cultural, ambicionando reconhecer um modelo de profusão cultural. Inicialmente, é analisado o papel da memória na construção de conteúdos culturais. Com esse intuito, é discutida a validade de dispositivos externos, como a hermenêutica e os rituais nessa construção. Abordando temas gerais como a Memória, Cultura e Linguagem estabelecem-se dicotomias entre Hermenêutica e Rituais, Texto e Imagem, de modo a perceber uma evolução dos rituais tradicionais para rituais contemporâneos em actividades artísticas. É questionado, nos rituais contemporâneos, o seu potencial de, como manifestações performativas, que se centram no indivíduo, constituírem o formato privilegiado para uma linguagem transversal, independente de religiões, nacionalidade, ou grupo. Sendo a investigação desenvolvida no âmbito do Mestrado em Arte Multimédia, avançou-se por uma análise de propostas artísticas que discutem a amplitude dos conceitos de multimédia e performance. A presença do subtítulo Para um modelo de análise dos rituais de produção e consumo na arte multimédia representa um enquadramento da dinâmica presente nos rituais contemporâneos em manifestações de trabalho artístico de tendência biográfica e autobiográfica. A reflexão sobre o modelo de interpretação e análise é realizada perante o corpo de trabalho das artistas: Tracey Emin, Mona Hatoum e Morgan O Hara, procurando indagar se os seus trabalhos têm a capacidade de se caracterizarem como dispositivos de memória. / Universal Biography and Autobiography: for a model of analysis of the rituals of production and consumption in multimedia art regards the study and analysis of alternative forms of questioning how we create our collective cultural memory through objects and rituals. The field of investigation here shown stands apart from areas of History or Art criticism. The approach to rituals is made from the Socio-cultural view point, aspiring to recognize a model of cultural profusion. Foremost, the role of memory in the construction of cultural content is here analyzed. With that intent, the validity between external devices, such as hermeneutics and rituals, is discussed on that construction. Approaching broad themes such as Memory, Culture, Language, dichotomies between Hermeneutics and Rituals, Text and Image are established to understand an evolution from traditional rituals to contemporary ones in artistic activity. It is questioned and suggested that contemporary rituals, with their potential of being performative manifestations that centre on the individual, constitute a privileged format for a transverse language, independent of religion, nationality or group. Being the investigation developed in the scope of the Master in Multimedia Art, an analysis of artistic proposals was followed, that discusses the breadth of the multimedia and performance concepts. The presence of the sub-heading For a model of analysis of the rituals of production and consumption in multimedia art , represents a framing of the dynamic which is present on contemporary rituals in biographical and autobiographical artistic work. Pondering about the model of interpretation and analyses is made in the presence of the body of work of the artist: Tracey Emin, Mona Hatoum and Morgan O Hara, seeking to inquest if their work can be characterized as a memory agent.

Contemporary Italian philosopher, Gianni Vattimo (1991), has described ‘the end of history’ as a motif of our times. While neo-liberal conservatives such as Francis Fukuyama (1992) celebrated triumphantly, and perhaps rather prematurely after the fall of the Berlin Wall, ‘the end of history’ in the ‘inevitable’ global acceptance of the ideologies of free market capitalism and liberal democracy, methodological postmodernists (including Barthes, Derrida, Baudrillard, Lyotard, and Foucault), mobilised ‘the end of history’ throughout the later half of the twentieth century as a symbol of a crisis of confidence in the discourse of modernity, and its realist epistemologies. This loss of faith in the adequacy of representation has been seen by many positivist and empiricist historians as a threat to the discipline of history, with its desire to recover and reconstruct ����the truth���� of the past. It is argued by defenders of ‘traditional’ history (from Appleby, Hunt, & Jacob, 1994; R. J. Evans, 1997; Marwick, 2001; and Windschuttle, 1996; to Zagorin, 1999), and some postmodernists (most notably, Jenkins, 1999), that if we accept postmodern social theory, historical research and writing will become untenable. This study re-examines the nature of the alleged ‘threat’ to history posed by postmodernism, and explores the implications of postmodern social theory for History as curriculum. Situated within a broadly-conceived critical-reconceptualist trend in curriculum inquiry, and deploying a form of historically and philosophically oriented ‘deconstructive hermeneutics’, the study explores past attempts to mount, and future possibilities for, a curricular response to the problem of historical representation. The analysis begins with an investigation of ‘end of history’ discourse in contemporary theory. It then proceeds through a critical exploration of the social meliorist changes to, and cultural politics surrounding, the History curriculum in New South Wales (NSW), Australia, from the Bicentennial to the Millennium (1988-2000), a period that marked curriculum as a site of contestation in a series of highly public ‘history wars’ over representations of the nation’s past (Macintyre & Clark, 2003). It concludes with a discussion of the missed opportunities for ‘critical practice’ within the NSW History curriculum. Synthesising insights into the ‘nature of history’ derived from contemporary academic debate, it is argued that what has remained uncontested in the struggle for ‘critical histories’ during the period under study, are the representational practices of history itself. The study closes with an assessment of the (im)possibility of History curriculum after ‘the end of history’. I argue that if History curriculum is to be a critical/transformative enterprise, then it must attend to the problem of historical representation. / PhD Doctorate

本篇論文探討的是，台灣「五○年代白色恐怖」政治案件的「集體記憶」（collective memory）保存、復甦和建構的社會過程。 自1949至1987年，我國在戒嚴體制的控制下，「五○年代白色恐怖」的集體記憶曾經長期受到抹黑及消音，當時受難者及其團體在此一記憶的保存上，扮演了關鍵的角色，透過他們私下的集結與聯絡，在團體的脈絡中鞏固了此一記憶。 解嚴前後，過去被壓抑的許多記憶浮上檯面，透過紀念儀式、平反活動、修改法令、保存歷史地標等活動，各方主體重新召喚、組織、競爭詮釋集體記憶，端賴資源不同，決定了競爭結果。但是由於五○年代白色恐怖蘊含的意識型態和國族認同，不完全符合當時社會的需要，因此並未馬上進入國家論述。 隨著舊政權逐漸退出執政集團，新的國民黨政權有「建構新國家」認同的需要，同時遭受地方反對黨政府的強烈挑戰；配合社會控制鬆綁，文化媒介的傳播，民間記憶更加浮現。最後在「朝野大和解」等現實環境的配合之下，受難者團體採取迴避意識型態的論述策略，發揮了臨門一腳的功效，終於讓此一集體記憶進入正式論述，新的「人權論述」的建構和認同也在這個過程中悄悄的重構、凝塑。 但是目前呈現的集體記憶仍是經過篩選、組合後的結果，紀念碑的概念如「人權」、「民主」等，已獲得這一波國族建構的認可；但是相對的，由於兩岸的僵局未解，左翼思潮和運動仍然被排除在外；少數族群、弱勢性別的詮釋權也相對被忽略。目前各種不同主體，仍在互動中持續移動建構，或許下一次大規模的記憶召喚，隨時可能在適當的時機，再度出現在公共論域。

Am Abend des 13. Februar gedenken seit 66 Jahren viele Dresdner vor der Frauenkirche mit Kerzen in der Hand der Zerstörung der Stadt im Jahre 1945. Seit einigen Jahren bestimmen aber weniger die trauernden Menschen als vielmehr die Märsche rechtsradikaler Gruppierungen das öffentliche Bild, die sich vor der wieder erstandenen Stadtkulisse in Szene setzen und ein weltweites Medieninteresse auf sich lenken wollen. Seit 1989 sind Deutschland und Europa friedlich vereint, der Zweite Weltkrieg und der Kalte Krieg sind überwunden. Wir leben versöhnt mit unseren vielen Nachbarn, die Grenzen sind offen, die kriegsverwundeten Städte sind weitgehend wieder aufgebaut, in Dresden stehen die Synagoge wieder und die Frauenkirche – und die ganze Welt hat an diesem Wiederaufbau mitgewirkt. Dresden ist wieder eine schöne und weltoffene Stadt. Ist es da verwunderlich, wenn die „Trauermärsche“ rechtsradikaler Gruppierungen nicht nur die Dresdner, sondern Menschen in aller Welt entsetzen und Erinnerungen an ein intolerantes und ausländerfeindliches Deutschland der Diktatur von 1933 bis 1945 wecken? Warum aber marschieren Jahr für Jahr Neonazis durch die Stadt?

Cette thèse s’intéresse aux effets de la conscience historique sur les négociations de l’ethnicité et la structuration des frontières intergroupes chez les enseignants d’histoire nationale au Québec. L’ambiguïté de dominance ethnique entre Francophones et Anglophones contextualise la façon dont les enseignants de ces groupes historicisent les significations du passé pour se connaître et s’orienter « ethniquement. » Selon leurs constructions des réalités intergroupes, ils peuvent promouvoir la compréhension intergroupe ou préserver une coexistence rigide. Le premier article théorise comment les capacités à historiciser le passé, ou à générer des formes de vie morales pour une orientation temporelle, soutiennent la construction de l’ethnicité. En développant un répertoire des tendances de conscience historique parallèles et égales afin de comprendre les fluctuations dans le maintien des frontières ethniques, l’article souligne l’importance de la volonté à reconnaître l’agentivité morale et historique des humains à rendre les frontières plus perméables. Le deuxième article discute d’une étude sur les attitudes intergroupes et les traitements mutuels entre des enseignants d’histoire Francophones et Anglophones. Alors que la plupart des répondants francophones sont indifférents aux réalités sociales et expériences historiques des Anglo-québécois, tous les répondants anglophones en sont conscients et enseignent celles des Franco-québécois. Cette divergence implique une dissemblance dans la manière dont les relations intergroupes passées sont historicisées. La non-reconnaissance de l’agentivité morale et historique des Anglo-québécois peut expliquer l’indifférence des répondants francophones. Le dernier article présente une étude sur la conscience historique des enseignants d’histoire francophone à l’égard des Anglo-québécois. En mettant le répertoire de conscience historique développé à l’épreuve, l’étude se concentre sur la manière dont les répondants historicisent le changement temporel dans leurs négociations de l’ethnicité et leurs structurations des frontières. Tandis que leurs opinions sur l’« histoire » et leurs historicisations des contextes différents les amènent à renforcer des différences ethnoculturelles et à ne pas reconnaître l’agentivité morale et historique de l’Autre, presque la moitié des répondants démontre une ouverture à apprendre et transmettre les réalités et expériences anglo-québécoises. La dépendance sur les visions historiques préétablies pour construire les réalités intergroupes souligne néanmoins l’exclusion de ce dernier groupe dans le développement d’une identité nationale. / This three-article thesis looks at the effects of historical consciousness on the negotiation of ethnicity and the structuring of group boundaries among national history teachers in Quebec. The province’s ambiguous ethnic dominance between Francophones and Anglophones sets the stage for revealing how teachers from Quebec’s parallel history classrooms historicize meanings of the past for ethno-cultural awareness and agency. Depending on how inter-group realities are constructed, these educators can either promote inter-group comprehension or preserve rigid co-existence. The first article theorizes how social actors’ differing capacities to historicize the past, or to generate moral life patterns for temporal orientation, underlie their negotiations of ethnicity and agency toward the “significant Other.” By developing a repertory of parallel and equal tendencies of historical consciousness for grasping fluctuations in ethnic boundary maintenance, the article moreover argues how social actors’ willingness to recognize human moral and historical agency is central to group boundary porosity. The second article discusses the findings of an exploratory study conducted on inter-group attitudes and mutual in-class treatments between Francophone and Anglophone educators in Montreal national history classrooms. Whereas most Francophone respondents are indifferent to Anglo-Québécois social realities and historical experiences, all Anglophone ones know and transmit those of the Franco-Québécois to their students. Mirroring each group’s sociological status, this divergence implies a dissimilarity in how past inter-group relations are historicized. Possible non-recognition of Anglo-Québécois moral and historical agency moreover explains the prevalent indifference among Francophone respondents. The last article touches upon an in-depth study conducted on Francophone national history teachers’ historical consciousness of the Anglo-Québécois. By testing my aforementioned repertory, the study analyzed how respondents historicize temporal change when negotiating ethnicity and structuring group boundaries. While their views on “history” and their historicizing of different thematic contexts overwhelmingly lead respondents to reinforce ethno-cultural differences and to not recognize human moral and historical agency, half of them nonetheless demonstrate openness to learning about and transmitting Anglo-Québécois social realities and historical experiences. Despite such willingness, reliance on pre-established historical visions for constructing inter-group realities nevertheless highlights the exclusion of the latter when respondents set out to develop a national identity among students.

Ma thèse de doctorat, intitulée Inventing Interventions: Strategies of Reappropriation in Native and First Nations Literatures traite du sujet de la réappropriation de la langue anglaise et de la langue française dans les littératures autochtones du Canada et des États-Unis, en tant que stratégie d’intervention de re-narration et de récupération. De fait, mon projet fait abstraction, autant que possible, des frontières nationales et linguistiques, vu que celles-ci sont essentiellement des constructions culturelles et coloniales. Ainsi, l’acte de réappropriation de la langue coloniale implique non seulement la maîtrise de base de cette dernière à des fins de communication, cela devient un moyen envers une fin : au lieu d’être possédés par la langue, les auteurs sur lesquels je me penche ici possèdent à présent cette dernière, et n’y sont plus soumis. Les tensions qui résultent d’un tel processus sont le produit d’une transition violente imposée et expérimentale d’une réalité culturelle à une autre, qui, pour plusieurs, n’a pas réussie et s’est, au contraire, effritée sur elle-même. Je soutiens donc que les auteurs autochtones ont créé un moyen à travers l’expression artistique et politique de répondre (dans le sens de « write back ») à l’oppression et l’injustice. À travers l’analyse d’oeuvres contemporaines écrites en anglais ou en français, que ce soit de la fiction, de l’autobiographie, de la poésie, du théâtre, de l’histoire ou du politique, ma recherche se structure autour de quatre concepts spécifiques : la langue, la résistance, la mémoire, et le lieu. J’examine comment ces concepts sont mis en voix, et comment ils sont interdépendants et s’affectent à l’intérieur du discours particulier issu des littératures autochtones et des différentes stratégies d’intervention (telles la redéfinition ou l’invention) et du mélange de différentes formules littéraires. / My doctoral thesis, entitled Inventing Interventions: Strategies of Reappropriation in Native and First Nations Literatures, explores the reappropriation of the English and French languages, as a strategy for retelling and reclaiming hi/stories of the Aboriginal people of Canada and the United States. In effect, my project disregards national and linguistic borders since these are, in essence, cultural and colonial constructs. To reappropriate the colonial language, then, entails not only its mastery as a means for basic communication, but claims it as a means to an end: instead of being owned by and subject to the language, it is now these authors who own the language. The resulting tensions of this process are the product of the imposed and tentative violent transition from one cultural realm to another, which, for many, never succeeded to its fullest, but rather crumbled back upon itself: for First Nations and Native American authors, I argue, creating means through art and politics to “write back” against oppression and injustice. My thesis, an examination of contemporary fictional, autobiographical, historical and political, prosaic and poetic works written in French and English, is structured along the analysis of specific keywords – language, resistance, memory and place. I explore how these concepts are voiced, and how they are not only inter-related but affect each other within the particular discursive framework of Indigenous writing, set in motion by different strategies of intervention (redefinition, invention) and the mixing of different literary devices.

Thesis (M.A.)--Miami University, Dept. of Spanish and Portguese, 2004. / Title from first page of PDF document. Includes bibliographical references (p. 66-71).

Thesis (MPhil (Journalism))--University of Stellenbosch, 2009. / There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War

Text in English / While intergenerational transmission of trauma has been widely studied, there is a paucity of literature on intergenerational humiliation. Furthermore, humiliation is regarded as a significant feature of transgenerational transmission of trauma and revenge production. Therefore, the present study aimed to contribute to addressing this paucity and to explore and understand intergenerational humiliation as experienced by 20 children and grandchildren of victims of apartheid-era gross human rights violations. Conceptually, historical trauma theory framed the study. A hermeneutic phenomenological methodology was used to achieve the aims. Through purposive-criterion sampling, data was collected and analysed using interpretive phenomenological analysis. Results show that the consequences of intergenerational humiliation are varied as feelings of hurt and loss perpetuate through the generations. Although positive influences counter these feelings within a generation, they remain alive in memories. This has implications on ethnic and racial inter-group relations as transitional societies such as South Africa seek social cohesion. / Psychology / M.A. (Psychology (Research Consultation))