This dissertation analyzes the modes of social emergences and the transformations in Taiwanese oppositional movements during Japanese rule from 1895 to 1945 and the KMT's rule from 1945 to 1987 on the basis of Deleuze and Guattari's theorizations. Five types of multiplicity of States, of towns, of primitives, of bands, and of nomads developed from Deleuze and Guattari's theories were used to provide the genealogical interpretation of the seventeen oppositional events and their sub-events from five significant periods in the actualization of imperial and capitalist stratification from 1895 to 1987. Each oppositional event was analyzed as it was presented as the individuated modes of social emergence and transformation which were directed respectively by the quality of its will to power or desire produced from its oppositional machinic assemblage through the interactions with multiplicities deterrotorializing from the complex of state-form at its specific time and space. In my finding, the modes of social emergences of Taiwanese oppositional events were shown as expressions reflecting phenomena in a manner of bi-polarization, especially when the multiplicity of oppositional assemblages encountered the multiplicity of colonial nation-states. In the first part of my dissertation, the research objective, the scope of research, and the research method accompanying a molar entity of Taiwanese history from the sixteenth century on were introduced. In the second part, Deleuze and Guattari's philosophy and the relevant theories to my study were discussed. The third part analyzed in detail the oppositional events occurred during Japanese rule. The fourth part analyzed in detail those oppositional events during KMT rule. In the fifth part, five types of multiplicity were used to offer a genealogical interpretation of the modes of social emergences and the transformations of Taiwanese oppositional movements. In the conclusion, the shortcomings of previous approaches as well as my analysis were addressed.

This dissertation deals with the politics of cultural production in documentary film and photography. The axis of contemporary documentary production has shifted significantly, as people of color, women of all races and ethnicities, post-colonial peoples, and gays and lesbians, all of whom were traditional objects of documentary representation, have become active producing subjects. Yet post-structuralist cultural theory, which has significantly influenced film and photography studies, fails to account for, or support, acts of cultural production, focusing instead on the critical potential inherent in the moment of reception. This dissertation argues that an adequate theory of documentary production requires a producing subject, as well as a realist theory of language. It finds in Mikhail Bakhtin's writings on the novel a basis for theorizing the inscription of experience in language, and the practice of identity as the orchestration of the heteroglossic discourses that converge upon the self. It then links these reformulations of language, identity, and experience to key 20th century debates about realism, aesthetics, and the politics of image-making practices. Finally, the dissertation offers an extended critical analysis of photographer Anne Noggle's Silver Lining, and of the film Two Laws, a collaboration between an indigenous Australian community and two white Australian filmmakers. Silver Lining and Two Laws offer significant challenges to the politics of documentary production, and each in its own discursive mode shifts the basis of documentary practice from a mode of representation (the organization of pre-existing experience) to the active performance of reality.

This thesis investigates the ways in which British and French imperial heroes involved in the exploration, conquest or administration of Mrica between 1870 and 1939 were selected, packaged and promoted to the various sections of the public of their respective countries. It seeks to unveil the commercial, political and personal interests that lay behind the imperial hero-making business. This research analyses the hidden mechanisms, as well as the reasons that led to the appearance of a new type of hero in the context of the 'new' T Imperialism and the 'Scramble for Mrica': private connections, political lobbies (especially colonial advocates and nationalists), commercial interests (journalists, writers, biographers, hagiographers, publishers, film-makers) and personal ambition, the combination of which underpinned the creation and success ofheroic reputations. The first part of the thesis investigates the process through which imperial heroes progressively became widely known in their homelands, and how it was facilitated by the technical and social improvements of the Second Industrial Revolution. Drawing upon a wide variety of printed and manuscript sources, it shows the ever-increasing commercial success of imperial heroes throughout the period, analyses how they could serve political ends, and explains the values for which 'they were held up as examples. The second part examines the case studies of two military commanders in times of Anglo-French rivalry in Africa (the Sirdar Kitchener and Major Marchand before, during and after the Fashoda confrontation of 1898), in order to compare the modalities of the development of these legends, and the different backdrops against which they took shape. This thesis is the first to combine quantitative evidence (such as print run figures) and qualitative sources (such as police records) to demonstrate conclusively the prevalence and complexity of the hero-making process brought about by the conquest of Mrica, and to evaluate the reception of these heroic myths among the public.

Les écrans dans la ville sont les nouveaux écrans d'affichage numériques exposés depuis le début des années 2000 dans les villes industrialisées. Les marches quotidiennes dans la ville révèlent qu’ils sont qualifiables d’écrans d’ambiance. Ils montrent un rapport d’iconicité avec les œuvres picturales, dont les mises en place dans l’espace s’apparentent à une mise en exposition muséale. Intégrés dans la dynamique de la vie citadine, ils se fondent dans le contexte de vie, où leurs esthétiques formulent un climat moral et affectif. Mais ces écrans d'expositions de l’image ne peuvent être étudiés comme de l’art, ni comme des éléments d’ambiance, car ils sont avant tout des médias de communication. Cette thèse pose la question de savoir comment les écrans dans la ville, disposés dans le décor de vie des citadins, assurent la fonction de communiquer un message. Le dispositif est tout d’abord défini selon une étude historique de son origine. Ensuite, une méthodologie d’analyse est construite d'après la classification d’un relevé photographique international, et les résultats d’un entretien basé sur l’activité d’un citadin. Elle est appliquée à une enquête de terrain par observation directe dans 14 types de lieux parisiens (institutions et entreprises ; postes et banques ; agences de télécommunications ; services de transport ; agences immobilières ; supermarchés ; boulangeries ; nouveaux commerces ; confiseries ; tabacs ; bars ; lieux culturels ; parvis ; restaurants). L’enquête montre en définitive, que la mise en exposition de l'écran et de son image consiste à être la mise en présence d’une communication, opérant comme un outil de valorisation de lieu. / Screens in the city are the new digital displays, they have been shown in industrialized cities since the beginning of the 2000s. As one walks through the city, they create a certain ambience. Digital display relate in an iconic manner to the images, whose displays in space seems to be like a museum exhibition. Incorporated into the dynamics of urban life, those screens merge with the context of living, where their aesthetics shape a moral and emotional atmosphere. But those digital displays cannot be studied as art, nor can they be studied as pure elements of ambience, because they are, first of all, a media of communication. This research seeks to find out how digital screens in the city, displayed in the life décor of the inhabitants, undertake the function of communicating a message. The apparatus of the screen is first defined following a historical study of its origin. Then, a method of analysis is constructed based on the classification of an international photographic transcript and the results of an interview of one inhabitant. This method is applied to a field study through direct observation within 14 Parisian spaces (institutions and firms; post-offices and banks; telecommunication agencies; transportation services; real estate agencies; supermarkets; bakeries; new shops; candy stores; tobacco shops; bars; cultural venues; forecourts; restaurants). The results of the inquiry show that the display of a screen consists of the exhibiting and materialization of a communication, operating as a tool for space valorization.

The aim of this master’s thesis in history of ideas is to investigate the idea circulation in the Swedish Green Party’s meetings with mass media 1980–1982. The study is based upon a series of theoretical premises. It is presumed that cultural expressions, such as speech, media use and visual representation, can be understood through studying how people think about society’s history, contemporary development and conceivable futures. Since ideas about society’s ongoing development also are presumed to be intertwined with social and cultural positions and practices, and may be expressed differently given different social and cultural circumstances, it is relevant to investigate on the one hand the Green Party’s political vision, and on the other hand how the formulation and reception of ideas took place between them and journalists.     The Green Party’s communication to the Swedish public is studied through on the one hand their own media channels, and on the other hand a selection of events where they were covered in mass media, communicating to the public via journalists. The study shows that the Green Party expected society’s ongoing development to lead to an environmental and human disaster, if not their vision of a democratic society, built on small-scale production, came true. These two conceivable futures were used to motivate political action in their present time. History, on the other hand, was used to criticize the present society built on economical growth and hierarchies. In the Green Party’s visionary society, mankind would embrace a natural lifestyle and thereby reunite with her, in growth society, lost democratic, accountable and creative nature. These ideas were related to societal processes, events and circulating ideas at the time. To get their messages across to the broad Swedish public, the Green Party arranged a press conference. Partly adapting to journalistic working methods for covering politics, the Green Party staged their alternative, small-scale ideology materially, musically and visually. The Green Party’s mass media appearance, along with their growth in membership numbers, made mass media coverage about them increase. In a parliamentary uncertain and politically hostile time, the party’s presented parliamentary strategies and political proposals awoke journalistic speculation. However, journalists’ news telling about the Green Party’s politics circulated, in different ways, around their parliamentary goal, prospects and future obligations. Thereby conceivable futures, as formulated by journalists, gave meaning to the Green Party’s formation, development and politics. These ideas were expressed in journalistic media use and interview praxis. Since around two decades, journalists were reporting more independently and confrontational on politics than previously.  Covering the Green Party, photographers, camera men and writers created meanings by using mediums, which sometimes were transferred between media forms, to support news narratives. Consequently, a political party trying to change a political lifestyle and exercise reached the Swedish public through mass media as a party mainly competing for parliamentary representation. These results contribute to ongoing research on how, and on what premises, political voices have reached the public through mass media throughout modern history.

Esta tese visa a analisar os espaços que os meios de comunicação destinam à narrativa das histórias pessoais do seu público feita por eles mesmos e o grau de mediação praticado por essas mídias na publicação/veiculação dessas histórias. Para comprovar a hipótese central, de que os espaços oferecidos para os relatos de histórias pessoais variam de mídia para mídia e, no entanto, os critérios de seleção adotados pelos diversos meios de comunicação são praticamente comuns e reproduzem os critérios de noticiabilidade jornalística (interesse e adequação da história ao público do veículo), procedemos ao resgate do fenômeno (em suas vertentes histórica, psicológica, sociológica e antropológica) e a análise de casos emblemáticos em cada mídia. / This thesis aims to analyse the spaces that the communication media devote to the narration of its public personal stories made by themselves and the mediation grade practiced by these media in the publication/transmission of these stories. To authenticate the central hypothesis, that the spaces offered to the account of personal stories vary from medium to medium and, however, the selection standards adopted by the many media are practically common and reproduce the journalistic newsworthiness standards (interest and adjustment of the story to the public of the media), we proceed to the phenomenon rescue (in its historical, psychological, sociological and anthropological bases) and the analyses of emblematic cases in each media

Esta tese visa a analisar os espaços que os meios de comunicação destinam à narrativa das histórias pessoais do seu público feita por eles mesmos e o grau de mediação praticado por essas mídias na publicação/veiculação dessas histórias. Para comprovar a hipótese central, de que os espaços oferecidos para os relatos de histórias pessoais variam de mídia para mídia e, no entanto, os critérios de seleção adotados pelos diversos meios de comunicação são praticamente comuns e reproduzem os critérios de noticiabilidade jornalística (interesse e adequação da história ao público do veículo), procedemos ao resgate do fenômeno (em suas vertentes histórica, psicológica, sociológica e antropológica) e a análise de casos emblemáticos em cada mídia. / This thesis aims to analyse the spaces that the communication media devote to the narration of its public personal stories made by themselves and the mediation grade practiced by these media in the publication/transmission of these stories. To authenticate the central hypothesis, that the spaces offered to the account of personal stories vary from medium to medium and, however, the selection standards adopted by the many media are practically common and reproduce the journalistic newsworthiness standards (interest and adjustment of the story to the public of the media), we proceed to the phenomenon rescue (in its historical, psychological, sociological and anthropological bases) and the analyses of emblematic cases in each media

The increasing awareness of the opportunities and possibilities of digitization in research and industry brings increased demands on graduates. The fact that digital resources are now cumulatively playing a role in the humanities and social sciences also necessitates the networking of various specialist disciplines. Cross-disciplinary project work, however, has its own challenges due to different subject cultures, perspectives and working methods. In order to adequately prepare students for these hurdles, the TU Dresden and the HTW Dresden (University of Applied Sciences) carried out a joint teaching project called “Dresdner Stadtgeschichte 3D”. Potentials and challenges were collected and analysed in a mixed method procedure in order to subsequently formulate didactic-conceptual implications.

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