En este trabajo vamos a analizar la representación de la memoria, individual y colectiva, en la novela Amuleto (1999) del novelista y poeta chileno Roberto Bolaño, con la finalidad de mostrar la importancia de la memoria para la construcción de la novela. La investigación está dividida principalmente en dos apartados: un análisis narratológico y un análisis sobre teorías de la memoria. En la primera parte del análisis se colocarán los diferentes actantes en un esquema actancial para evidenciar sus respectivas funciones e importancia dentro del texto. En la segunda parte se analizarán más en profundidad algunos apartados de la novela a partir del esquema actancial, con la ayuda principalmente, de las teorías e ideas sobre la memoria de Maurice Halbwachs, Paul Ricoeur y Márcio Seligmann-Silva. Hemos llegado a la conclusión de que Auxilio, la protagonista de la novela,  construye, con la ayuda de su memoria individual, una representación histórica de México de los años sesenta y setenta. A partir de ello, la novela de Bolaño se presenta como una narración importante, puesto que está en contraste con otras versiones de un hito en la historia mexicana. / In this paper we will analyse the representation of memory, individual and collective in the novel Amuleto (1999) by Chilean novelist and poet Roberto Bolaño, with the intention of showing the importance of memory for the construction of the novel. The investigation is primarily divided into two parts: a narratological analysis and an analysis of theories regarding memory. In the first part the different actants will be placed in an actancial model to evidence their function and importance in the text. In the second part we will do an in-depth analyses of some passages of the novel, according to the actancial model with the help of theories on memory presented by among others Maurice Halbwachs, Paul Ricoeur, Márcio Seligmann-Silva and Héctor Schmucler. We have come to the conclusion that Auxilio, the protagonist of the novel, constructs a representation of the history of Mexico in the sixties and the seventies. Accordingly, the novel by Bolaño is an important narration seeing that it represents a contrast to other versions of a milestone in Mexican history.

The Protestant community is articulated through liturgy, history, and drama. Liturgy teaches communal bonds and scripts their enactment, while narrative and dramatic depictions of the collective past appeal to the imagination of readers and viewers. Liturgy and literature are joined by the participation they invite, which engages parishioners, readers, and audiences with questions of affiliation and collectivity. Lack of attention to the ways Renaissance texts pondered over and produced bonds of commonality has sidetracked us from the communal nature of the period. We need to reevaluate such bonds to better understand how English culture imagined relationships between individual and community, and between people and institutions---including church and theatre. When orthodox writing is treated as doctrine and praxis, and not as a means for political indoctrination, we gain a different understanding of the potential for human relationships, one more generous and reciprocal than the model of coercion that has dominated literary studies. Such reciprocity is found in Church of England liturgy, and in the imaginative space of Foxe's Acts and Monuments, which seeks to forge the Protestant community through an ethics of reading. Imaginative space was also a public space, and Shakespeare's King John and Marlowe's The Massacre at Paris reflect upon religious affiliation in moments of war and atrocity; both plays represent very tangled lines of identification that do not endorse Catholic-Protestant factions but undo them. Religious writing and public theatre explored the precarious balance between community and individual, offering readers and audiences a vehicle for thinking about their own immediate lives and their sense of belonging.

Thesis (Ph.D.)--University of Toronto, 1997. / Includes bibliographical references.

No description available.

The purpose of this master dissertation is to highlight the historical role of the working class on the border of Rio Grande do Sul and Uruguay, specifically in the town of Santana do Livramento. In September 1950, in the context of elections for president, there was a dramatic episode in the town of Livramento - more specifically, at International Park, in the border with Rivera, Uruguayan city. The Communist Party was in illegality and in clandestinity and the police had warned them that they would not allowed actions of its militants - more clearly, they would not allowed to graffiti the candidates' names defended by the PCB. A group of communists, however, has decided to do some graffiti in the city and it is repressed. The form of repression occurs with the use of firearms and four militants were killed. This study aims to analyze the workers' struggle and the communists in Livramento, taking this episode, occurred in the city in September 1950, as emblematic of social and political struggle in the period. This paper focuses on the relationship between the union activities of the strikers from Armour‟s frigorific and the slaughter of these workers, as activists from PCB in 1950, at International Park. The anticommunist policy of President Eurico Gaspar Dutra (1946-1951) and its alignment with the Truman Doctrine, defended by the United States, are important for explaining the circumstances experienced by the gauchos Communists in 1950. The episode of the death of the communists was known as "The Slaughter of the four A's", because the four dead communists had their names started with the letter "A": Ari, Abdias, Aladdin and Aristides. / A presente dissertação de Mestrado procurou trabalhar a atuação histórica da classe operária na fronteira do Rio Grande do Sul, Brasil, com o Uruguai, especificamente, na cidade de Santana de Livramento. Em setembro de 1950, no contexto das eleições para Presidente da República, ocorreu um episódio dramático na cidade de Livramento mais especificamente, no Parque Internacional, limítrofe com Rivera, cidade uruguaia. O Partido Comunista estava na ilegalidade e na clandestinidade e a polícia avisara que não permitiria a atuação de seus militantes mais claramente, a pichação de nomes de candidatos defendidos pelo PCB. Um grupo de comunistas, no entanto, decide fazer pichações na cidade e é reprimido. A forma de repressão se dá com uso de armas de fogo e quatro militantes são mortos. O presente trabalho visou analisar as lutas operárias e comunistas em Livramento, tomando esse episódio ocorrido na cidade, em setembro de 1950, como emblemático da luta social e política no período, O trabalho tratou da relação entre a atividade sindical dos grevistas do frigorifico Armour e a chacina destes operários, já como militantes do PCB, em1950, no Parque Internacional. A política anticomunista do Presidente Eurico Gaspar Dutra (1946-1951) e o seu alinhamento com a Doutrina Truman, defendida pelos Estados Unidos, são vertentes importantes para a explicação da conjuntura vivida pelos comunistas gaúchos no ano de 1950. O episódio da morte dos comunistas ficou conhecido como A chacina dos quatro As , pois os quatro comunistas mortos tinham seus nomes iniciados com a letra A : Ari, Abdias, Aladim e Aristides.

(in English): This diploma thesis deals with events related to student protests in 1968 in Mexico during which occurred a violent suppression of demonstrations against a rigid political system controlled by the PRI for several decades. This diploma thesis describes the course of the demonstrations from June to October 1968, using declassified diplomatic notes and intelligence prepared by relevant bureaus of the United States of America operating in Mexico as a source. The well-known and mapped events of student protests in Mexico in 1968 which escalated with the bloodshed in the square in Tlateloclo, Mexico, D.F., where soldiers and policemen interfered with protestors, are examined in the perspective of American diplomats and intelligence officers.

Transmission of memory: the Heritage Trail and Jeju Uprising This thesis aims to shed light on the stories of individuals in transmitting memories using the heritage trail as a medium. Thus, this thesis examines how the heritage trail works as memory embodiment and, further, its role in transmitting memory. The research site, Jeju Island of the Republic of Korea, was selected due to its little recognition as both cultural and natural heritage concerning the history of Jeju Uprising. This event is called in different ways, including the April 3rd Incident, Jeju Killings, Jeju Rebellion, and simply 4.3 (Sasam), representing the date of the armed uprising in Jeju Island in 1943. The heritage trail of the Jeju Uprising called the 4.3 trail was examined empirically as a case study. Fieldwork was conducted from 22 September to 10 October 2020 in Jeju Island. The data was collected from interviews and participant observation and then narratively analyzed. There are polysemic memories and narratives within the same discourse because the names of calling the Uprising vary from context to context. The memory workers were interviewed, and the practice of walking as a component of the trail was studied to examine multiple dimensions of the memories surrounding the trail. Finally, this thesis concludes that in...

No description available.

The monograph Ripped from the land, shipped away, and reborn introduces the concept Destierro-which translates as uprooting, deracination, exile, exodus, and banishment- to unthink the intellectual, political, and legal categories used by prevailing intellectual models to narrate/explain the 2002 massacre, occurred at the community of Bellavista-Bojayá-Chocó-Colombia. This thesis offers a critical prospect of the event. It highlights ethno-historical analytics to deconstruct the concepts of forced displacement, and forced migration. I study the racial, class, gender, generational, and regional dimensions undergirding this phenomenon to propose an Afrodiasporic Decolonial Critique of the field of Forced Migration. Single-axis explanations of this event and phenomenon have failed to move forward a complex analytical framework to fully explain the joint effect of multiple systems of oppression at play in events of land dispossession. Variables such as race, place, gender, and class; historical processes such as colonialism, the development of capitalism, contemporary place-based ethno-territorial social mobilization, and neoliberal multiculturalism intersect in this massacre. Accordingly, it is an imperative for critical historical sociological research to craft theories, and concepts to understand these crossroads. The basic argument I develop is that the concepts of forced displacement, and forced migration are formulas for historical erasure, and therefore limited to contribute to the demands for reparation of the affected populations. Territories are socio-geo-historical formations that can only be understood within the context in which they are conceived, produced, re-produced, and unproduced. Likewise, the categories used to name and study land dispossession need to be contextually and historically grounded to capture both complex local specificities, and global linkages. I advocate for concepts that can be used as categories of analysis, social mobilization, and reparation; to unveil the historical roots of the current constellation of processes, which are generating a new cycle of Diaspora of the Afrocolombian population, and similar contexts in the world-system in which this phenomenon is observable. In this vein, unthinking/deconstructing the concepts of forced displacement, and forced migration, as well as the massacre of Bellavista as an event of forced displacement, is an attempt to write stories that can repair the broken dignity of those that have been, and still are continually exploited.

The Massacre of Chios (1824) by Eugéne Delacroix illustrates the titular genocide from the Greek War of Independence. This genocide was a veritable razing of the entire island by Ottoman Turks in 1822. Today, a replica of Delacroix's painting resides on the island inside the entrance of the Chios Byzantine Museum, located in a converted mosque built on the ruins of a Christian church. This site is a case for the existence of non-Western temporalities, including liturgical and Aegean temporalities, as they pertain to the commemoration of the massacre through interaction with the replica. These temporalities are not causal or linear as in the West. On Chios, everyday interactions with history happen through the orthodox devotions and concomitant emotions of the present, with temporally transcendent icons, relics, and rituals promoting the imbrication of temporalities. The layout of the mosque, in its simplicity, conforms roughly to the plan of a Greek Orthodox church with the museum space organized to emphasize this, encouraging a liturgical temporality. Given that Chiots remember the massacre victims as tantamount to saints, the saturation of Christian elements in Delacroix's composition communes with the museum space to create an active site of memory, with the replica functioning like the Holy Greek Orthodox icons in the adjacent room, inviting a liturgical temporality. A comparable site, Agio Minas, a major massacre site in Southern Chios, also exhibits genocide victims as saints through eikonic imagery; here, victims' remains are displayed as relics alongside an icon of the Forty Martyrs of Sebaste, setting the stage, so to speak, for the naos where blood still stains the stone floor. In a similar way, the replica located in the "narthex" of the museum mediates a preparatory experience that overlays a narrative of Christian martyrdom onto the museum's "naos," where visitors engage with the icon collection. The proximity of replica and Byzantine collection overlays Chios' destruction with that of Constantinople's, collapsing time and presenting the two as related events. The Chios Byzantine Museum exemplifies what anthropologist Nicolas Argenti has termed "Aegean temporality," where past and present overlap in physical and incorporeal sites of memory. Orthodox icons do just that: transcendent and a-temporal by nature, their efficacy lies in bringing the pictured figure into the present moment and "enfleshing" remembrance as a current reality. The replica Massacre of Chios likewise acts as an active a-temporal object. Because of affordances granted by the narthex space and eikonic associations, it sacralizes the museum space into a living site of memory. With Aegean temporality facilitating a constant re-experiencing of the massacre, the massacre's presence and potency is not something left in the past. The painting's status as a semi-icon supports the immediacy of the massacre, as the viewer spiritually interacts with the image in the present.