Diss. Stockholm : Stockholms universitet, 2008.

Inaug.-Diss. Staatswiss. Bern, [ca 1925].

Diss. Staatswiss. Bern.

<p>Public history has become a dynamic new field of study in South African historiography during the post-apartheid period. As a field of applied history, it has been engaged with analysing the highly contested nature of knowledge production across a wide range of public sites. These include museums, art galleries, archaeological digs, theme-parks, shopping malls, tourist attractions and heritage sites. The wider national cultural and political challenge has been that of working towards restoration, healing, and reparation in the wake of a colonial and apartheid history marked by particularly acute brutality and dispossession. This thesis analyses the attempts of one public institution, the Iziko South African Museum, to negotiate the remaking of public history in the post-apartheid period. Unlike some of the newer sites of cultural production, such as the Cape Town Waterfront and the West Coast cultural village of !Kwa-ttu, the South African Museum has a century-long history of complicity in generating images of racial and cultural others, notably Khoisan communities. The thesis begins by exploring this history and the ways in which the South African Museum has tried to come to terms with this legacy in its post-apartheid policies: firstly, in the discussions and debates around the closing of the Bushman diorama (2001), and secondly, in the creation of a new exhibition on San rock art which draws extensively on the Bleek-Lloyd Collection (/Qe: The Power of Rock Art. Ancestors, Rain-making and Healing, 2003 to the present). The Iziko South African Museum has not been successful in its attempts to meet the challenge of coming to terms with its history of collecting human remains and creating body casts and putting them on display. I argue that the measures it has introduced over the last twenty two years, including the &lsquo / revision of the Bushman diorama exhibition&rsquo / (1988-89), to Miscast (1996), and the&nbsp / closure&nbsp / of the diorama (2001), are little more than window-dressing and staged productions, with lip-service being paid to transformation. In the place of the effective opening out of debate and discussion about the Museum&rsquo / s history of racial scientific research, we have seen the presentation of a new framework of knowledge about Khoisan communities through the &lsquo / lens of rock art&nbsp / research&rsquo / and the Bleek-Lloyd-/Xam records. I see these as a way of sanitising the story about colonialism and apartheid. In making these arguments I draw upon a number of scholarly works by academics involved in public and visual history / recent literature on trauma narratives / Foucauldian discourse / and newspaper.</p>

The post-modern novels in Taiwan is appeared in the middle of 1980s, and its appearance is to answer the problems to the changes and deterioration of regional literature, and to continue the standard of art and the traditional literary techniques that are built by the modernism literature in Taiwan. In the middle of 1980s, with the thought of modern spreading into Taiwan, the upsurge of post-modern novels appeared, but this upsurge is gradually disappeared with the changes of time and circumstance. However, after 1900s, the post-modern novels in Taiwan are presented with a new aspect after transformation, and become one of the main streams of Taiwanese literature. The goal of this dissertation is to order the developments of the post-modern novels. The following is the abstract of every chapter. The first chapter is an introduction to elaborate the motives and methods of research, and discuss the research results by predecessors. The second chapter is to illustrate the developments and characteristics of regional literature and modernism literature, and the possible effects to the post-modern novels in Taiwan, The third chapter is to demonstrate the relation between the city literature and the Taiwan post-modern literature, and the rising, declining, and transformation of Taiwan post-modern novels. The fourth chapter is to explain the possible relation between science fictions and post-modern novels. The fifth chapter explicates the appearance and connotation of Taiwan post-modern novels after transformation. The sixth chapter is the conclusion, clarifying the research results and limited of this dissertation and the direction of development in the future.

<p>Public history has become a dynamic new field of study in South African historiography during the post-apartheid period. As a field of applied history, it has been engaged with analysing the highly contested nature of knowledge production across a wide range of public sites. These include museums, art galleries, archaeological digs, theme-parks, shopping malls, tourist attractions and heritage sites. The wider national cultural and political challenge has been that of working towards restoration, healing, and reparation in the wake of a colonial and apartheid history marked by particularly acute brutality and dispossession. This thesis analyses the attempts of one public institution, the Iziko South African Museum, to negotiate the remaking of public history in the post-apartheid period. Unlike some of the newer sites of cultural production, such as the Cape Town Waterfront and the West Coast cultural village of !Kwa-ttu, the South African Museum has a century-long history of complicity in generating images of racial and cultural others, notably Khoisan communities. The thesis begins by exploring this history and the ways in which the South African Museum has tried to come to terms with this legacy in its post-apartheid policies: firstly, in the discussions and debates around the closing of the Bushman diorama (2001), and secondly, in the creation of a new exhibition on San rock art which draws extensively on the Bleek-Lloyd Collection (/Qe: The Power of Rock Art. Ancestors, Rain-making and Healing, 2003 to the present). The Iziko South African Museum has not been successful in its attempts to meet the challenge of coming to terms with its history of collecting human remains and creating body casts and putting them on display. I argue that the measures it has introduced over the last twenty two years, including the &lsquo / revision of the Bushman diorama exhibition&rsquo / (1988-89), to Miscast (1996), and the&nbsp / closure&nbsp / of the diorama (2001), are little more than window-dressing and staged productions, with lip-service being paid to transformation. In the place of the effective opening out of debate and discussion about the Museum&rsquo / s history of racial scientific research, we have seen the presentation of a new framework of knowledge about Khoisan communities through the &lsquo / lens of rock art&nbsp / research&rsquo / and the Bleek-Lloyd-/Xam records. I see these as a way of sanitising the story about colonialism and apartheid. In making these arguments I draw upon a number of scholarly works by academics involved in public and visual history / recent literature on trauma narratives / Foucauldian discourse / and newspaper.</p>

Diss. Stockholm : Tekn. högsk.

Magister Artium - MA / Public history has become a dynamic new field of study in South African historiography during the post-apartheid period. As a field of applied history, it has been engaged with analysing the highly contested nature of knowledge production across a wide range of public sites. These include museums, art galleries, archaeological digs, theme-parks, shopping malls, tourist attractions and heritage sites. The wider national cultural and political challenge has been that of working towards restoration, healing, and reparation in the wake of a colonial and apartheid history marked by particularly acute brutality and dispossession. This thesis analyses the attempts of one public institution, the Iziko South African Museum, to negotiate the remaking of public history in the post-apartheid period. Unlike some of the newer sites of cultural production, such as the Cape Town Waterfront and the West Coast cultural village of !Kwa-ttu, the South African Museum has a century-long history of complicity in generating images of racial and cultural others, notably Khoisan communities. The thesis begins by exploring this history and the ways in which the South African Museum has tried to come to terms with this legacy in its post-apartheid policies: firstly, in the discussions and debates around the closing of the Bushman diorama (2001), and secondly, in the creation of a new exhibition on San rock art which draws extensively on the Bleek-Lloyd Collection (/Qe: The Power of Rock Art. Ancestors, Rain-making and Healing, 2003 to the present). The Iziko South African Museum has not been successful in its attempts to meet the challenge of coming to terms with its history of collecting human remains and creating body casts and putting them on display. I argue that the measures it has introduced over the last twenty two years, including the &lsquo;revision of the Bushman diorama exhibition&rsquo; (1988-89), to Miscast (1996), and the&nbsp; closure&nbsp; of the diorama (2001), are little more than window-dressing and staged productions, with lip-service being paid to transformation. In the place of the effective opening out of debate and discussion about the Museum&rsquo;s history of racial scientific research, we have seen the presentation of a new framework of knowledge about Khoisan communities through the &lsquo;lens of rock art&nbsp; research&rsquo; and the Bleek-Lloyd-/Xam records. I see these as a way of sanitising the story about colonialism and apartheid. In making these arguments I draw upon a number of scholarly works by academics involved in public and visual history; recent literature on trauma narratives; Foucauldian discourse; and newspaper. / South Africa

No description available.

Les recherches sur les ARN non codants et leurs rôles biologiques ont transformé la conception des propriétés des génomes et de la régulation de l'expression génétique. Ces recherches sont ici analysées dans une perspective historique et philosophique. Elles permettent de caractériser certaines transformations théoriques, conceptuelles et méthodologiques affectant la biologie moléculaire contemporaine. La diversité des démarches d'investigation employées dans les travaux sur les ARN non codants est soulignée. Parmi ces démarches, les expériences exploratoires occupent une place importante, et sont à l'origine de bouleversements conceptuels et théoriques majeurs. L'affirmation selon laquelle la découverte des ARN non codants constitue une révolution scientifique est nuancée, et les apports de cette découverte sont caractérisés dans toute leur diversité. Les limites rencontrées par le concept de gène dans la biologie post-génomique sont précisées, et reliées à l'histoire de ce concept. Un statut possible pour le gène est alors proposé ; il reconnaît la diversité des éléments génétiques fonctionnels, la dimension historique des génomes, et les différents niveaux d'étude de la relation entre génotype et phénotype. Les recherches sur les ARN non codants affaiblissent par ailleurs la pertinence théorique du discours informationnel pour décrire la diversité des fonctions assurées par les acides nucléiques. Enfin, ce travail montre que les explications du rôle régulateur des ARN mettent en jeu différents types explicatifs, dépassant le cadre mécaniste. Un pluralisme explicatif est défendu, et le statut du concept de mécanisme dans la biologie moléculaire contemporaine est clarifié. / Research on non-coding RNAs and their biological roles has transformed the way biologists conceptualize genomic properties and the regulation of genetic expression. This work analyzes this research from both a historical and philosophical perspective. It helps characterize some theoretical, conceptual and methodological transformation currently affecting moleculau biology. I stress that multiple modes of investigation are employed in research on non coding RNAs. Particularly important among them is exploratory experimentation, which brings about major conceptual and theoretical changes. I temper the claim that the discovery of non-coding RNAs has triggered a scientific revolution and characterize the multifaceted contributions of this discovery. I identify some limits faced by the gene concept in post-genomic biology, and relate them to the history of this concept. I suggest a possible status for the gene, which to study the relation between genotype and phenotype. Besides, research on non-coding RNAs leads to question the theoretical relevance of informational concepts to describe the diverse functions fulfilled by nucleic acids. Finally, I show that explanations of the regulatory roles of RNAs involve different explanatory schemes, which do not fit the mechanistic framework. I advocate an explanatory pluralism, and clarify the status of the concept of mechanism in contemporary molecular biology.