Thesis (Ph.D.)--Georgetown University, 2008. / Includes bibliographical references.

This thesis draws upon literature from the fields of oral history and Indigenous Studies to look at how Palestinians are using memories and shared narratives in spaces of indigenous resistance in Haifa and the Galilee. Looking beyond collecting and archiving, I have focused on commemorative activities and projects lead by various civil society actors in which oral history plays a central role. Taking a bottom-up qualitative approach my data is derived from in-depth interviews, informal conversations, participant observation and textual analyses, gathered between 2013-2016. This has resulted in an interdisciplinary thesis which conceptualizes Palestinian memory as a form of Indigenous resistance. The Palestinian community in the 1948 Territory, unlike many of their brethren, remained on the physical site of the Nakba and the ethnic cleansing. This fact is an important and defining one, their physical presence on their land has influenced their identity and their collective narrative which is so heavily influenced by oral histories. Their subsequent exclusion and segregation from the Israeli Jewish settler population whilst creating spatial and temporal limitations, has at the same time allowed for an assertive Palestinian identity and narrative to develop without being assimilated into the settler structure. Memory in particular plays a huge role in the assertiveness of this Palestinian community and this thesis examines how they are being harnessed to challenge both the epistemic and physical erasure of Palestine whilst at the same time creating new forms of political and cultural agency to recreate Palestinian space. At the same time as their exclusion from Israel, the Palestinian community in the 1948 Territory have also been largely marginalized from the Palestinian national project. Therefore, it has mostly been up to them to create space for themselves in which futures can be imagined. This imagined future is based on memories of Palestine before the settler colonization and reinforced by commemorations return activities, which actively challenge the reality that the Zionist State deems irreversible. The outcome of this research is the understanding that in certain Palestinian spaces in the 1948 Territory, there has been the development of a memory politics which is distinctly future orientated and has decolonizing potential.

<p><font face="Times New Roman"> <p align="left">This work is a meditation on the shaping of time and its impact on living with and understanding atrocity in South Africa in the wake of the Truth and Reconciliation Commission (TRC).</p> </font></p>

<p><font face="Times New Roman"> <p align="left">This work is a meditation on the shaping of time and its impact on living with and understanding atrocity in South Africa in the wake of the Truth and Reconciliation Commission (TRC).</p> </font></p>

Philosophiae Doctor - PhD / This work is a meditation on the shaping of time and its impact on living with and understanding atrocity in South Africa in the wake of the Truth and Reconciliation Commission (TRC).

Die Arbeit geht aus von der Annahme, dass Literatur und Malerei, obgleich sie ihren Darstellungsformen entsprechend unterschiedliche Werkzeuge oder Strategien nutzen, ähnliche Potentiale der Gedächtnisreflexion für den Rezipienten bereitstellen. Selbst wenn die Strategien zur Erlangung eines Potentials der Reflexion von Gedächtnis also an die jeweilige Disziplin gebunden sind, so können doch die reflektierten Aspekte ähnliche sein. Ziel dieser Arbeit ist es, zu zeigen, dass in Theorie und Praxis solche Überschneidungen auffindbar sind. Dabei sollen Literatur und bildende Kunst (hier: Malerei) als zwei von vielen möglichen Erinnerungsmedien und ihre Funktionen innerhalb eines kollektiven Gedächtnisses als solche dargestellt werden. Speziell befasst sich die Arbeit dann mit der Funktion der Reflexion des kollektiven Erinnerns als Wirkungspotential, das im Rezeptionsprozess aktualisiert werden kann. Verschiedene Strategien der Gedächtnisreflexion werden unterschieden und in den drei Anwendungsbeispielen analysiert. Die Arbeit fasst zunächst einige von den Studien Jan und Aleida Assmanns ausgehende narratologische Konzepte zur Erinnerungskultur zusammen, darunter die Ansätze von Astrid Erll und Birgit Neumann. Es kristalliert sich eine Unterscheidung von Gedächtnisbildung und Gedächtnisreflexion heraus. Genauer in den Blick genommen wird Astrid Erlls Modell einer „Rhetorik des kollektiven Gedächtnisses.“ Auf drei Textebenen, der Handlungsebene, der Textstruktur und der sprachlichen Ebene können Potentiale der Gedächtnisreflexion beschrieben werden. Anhand dieser Unterteilungen werden im Anwendungsteil dann zwei literarische Prosatexte der gegenwärtigen Erinnerungsliteratur in den Blick genommen. Beide Texte, sowohl Grass' Im Krebsgang als auch Timms Halbschatten weisen vielfältige Strategien der Gedächtnisreflexion auf, die sich aber in ihrer Schwerpunktbildung voneinander unterscheiden. Zudem wird die Methodik auf den Gemäldezyklus 18. Oktober 1977 des Malers Gerhard Richter angewandt. / The thesis assumes that literature and painting provide similar potential for the reflection of memory to their audience, although they utilise different tools and strategies as appropriate for their modes of expression. Even if the strategies to create a potential for the reflection of memory are clearly dependent on the relevant discipline, the aspects reflected can be similar. It is the goal of this thesis to show that such overlap can be found in theory and practice. Literature and fine arts (here: painting) will be presented as two of numerous media of remembrance and their functions within a collective memory will be analysed. The thesis will focus on the function of the collective memory's reflection as a potential of the text which can stimulate a reaction in the process of reception. Different strategies for reflection of memory will be identified and analysed in three case studies. The thesis summaries several narratological concepts based on the cultural memory studies by Jan and Aleida Assman, including those of Astrid Erll and Birgit Neumann. The distinction between memory formation and reflection of memory is clarified. Astrid Erll's model of a “Rhetoric of the collective memory” is analysed in more detail, according to which potential for the reflection of memory can be described on three text levels: plot, structure and language. The case studies then apply an analysis based on the distinction between the three levels to two contemporary German examples of literature dealing with memory. Both texts, Grass's Im Krebsgang (English title: Crabwalk) and Timm's Halbschatten use a number of strategies for the reflection of memory, although the emphasis differs between the texts. The same methodology is applied to Gerhard Richter's painting cycle 18. Oktober 1977 (English title: October 18, 1977).

Scholarly work on the relationship between heritage and memory has largely neglected living memory (that is ‘everyday’ memories of lived experience). There is a common assumption that heritage fosters or maintains broader ‘collective’ memories (often referred to as social, public or cultural memories) in a linear sense, after living memory has lapsed. However, given the range of complex conceptualisations of ‘memory’ itself, there are inevitably multiple ways in which memory and heritage interact. This thesis argues that where heritage displays represent the recent past, the picture is more complex; that heritage narratives play a prominent role in the tussle between different layers of memory. Empirically, the research focuses on two prominent mining heritage sites; Big Pit coal mine in south Wales and Geevor tin mine in Cornwall. Industrial heritage sites are one of the few sorts of public historical representation where heritage narratives exist so closely alongside living memories of the social experiences they represent. The study more clearly models the relationship between heritage and memory by analysing three key components in relation to these sites; the process ‘heritagisation’, living memories and broader cultural memory. It is argued that heritagisation is a process in which dominant narratives of the past are socially constructed and reliant upon particular political, cultural and economic circumstances. In these cases, heritage discourses imposed particular senses of value in relation to the mining past, emphasising the more distant past and the inherent ‘historic’ value of the industry. Through oral history, the relationship between autobiographical memories and these dominant heritage narratives is then explored. The study finds that living memory provides a more complex, nuanced account of the past which both challenges and goes beyond fixed heritage representations. As such, the meeting of heritagisation and living memory creates a number of points of contest. However, heritagisation directly influences the construction of dominant cultural memory, suggesting that heritage narratives actively construct new ways of ‘remembering’ the past. In turn, while living memories are not ‘forgotten’, they are gradually bleached out, diluted or even subsumed by dominant cultural memory.

Thesis (Ph. D.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 391-395).

Esta dissertação tem por objetivo compreender a maneira como o dramaturgo Ariano Suassuna constrói, por meio de sua produção teatral, uma certa memória que, no limite, é sua, mas é também partilhada por um código social particular: as brigas de família - e a vingança - no contexto do nordeste brasileiro. Para tanto, escolhemos as peças de Ariano Suassuna escritas entre 1947 e 1960, a fim de explorar o modo como ele seleciona e encadeia fatos, lembranças e valores criando, desse modo, a história de sua família. Essa mesma construção é observada também em seus artigos, publicados no periódico recifense Jornal da Semana, entre 1972 e 1974. Tanto as peças como os artigos evidenciam, assim, como Ariano Suassuna ancora-se no interior de sua família e, ao mesmo tempo, reforça valores e tradições que iriam além de seu próprio núcleo privado e intimista. O assassinato de seu pai, tal como as represálias que sua família sofreu nos anos 30, teriam marcado o dramaturgo a tal ponto que ficção e não ficção, objeto e criatura confundem-se de maneira intrincada e pouco óbvia. A lógica privada da briga de família pode, desse modo, ser reconhecida nas opções artísticas assumidas pelo escritor, mesmo depois da aparente resolução da \"intriga\" que envolveu os Suassuna, Dantas e Pessoa pelo controle do Estado da Paraíba em 1930. Sua obra é um diálogo entre biografia e criação; fato e ficção. O resultado é a seleção de um certo nordeste, de uma determinada cultura popular, de um universo povoado por personagens espertos e de uma noção particular de \"pureza\" e identidade. / This dissertation aims towards understanding the constructions of playwright Ariano Suassuna\'s theatrical production of a memory that in its limit is his though it is also shared by a particular social code: family issues - and revenge - plotted in the Northeast of Brazil. To approach this object, plays of Ariano Suassuna written between 1947 and 1960 were chosen in order to explore the way he selects and chains facts, memories and values creating, thereby, the history of his family. This very construction can also be observed in his articles published in a State of Pernambucos\' periodic, the Jornal da Semana between the years of 1972 and 1974. Both his plays and articles display how Ariano Suassuna anchors himself in the depths of his family and, at the same time, reinforces values and traditions that go beyond their own private and intimate nucleus. The murder of his father as well as the reprisals suffered by his family in the 1930\'s scarred the playwright in such a way that fiction and non-fiction, object and creature lose themselves in a non-obvious, complicated way. The private logic of family matters can be acknowledged in the artistic options taken by the writer even after the apparent resolution of the \"intrigue\" involving the Suassunas, Dantas and Pessoas for the control of the State of Paraíba in the 1930\'s. The result is the selection of a certain Northeast, of a certain popular culture, of a universe populated by clever characters and a particular sense of \"purity\" and identity.

Face2Face is a photographic project realized by JR, an undercover photographer and Marco, a technology consultant, in 2007 in the Middle East context. It consisted of taking the portraits of Israeli and Palestinian people who were doing the same job, printing them in huge formats and putting them on various unavoidable places in Israeli and Palestinian cities. The project was based on the idea that Israeli and Palestinian people were so much similar to each other, as if they were &lsquo / twin brothers raised in different families&rsquo / but that they were not aware of that. Therefore, the artists decided to provide them with images of the other side which would make people be surprised, laugh, stop for a while and think about the other side once again. The artists hoped that such a reworking of the ideas about the other side would hopefully motivate people to enter into dialogue with each other, which would eventually end up in peaceful co-existence. This thesis sets this photographic project as its starting point. It focuses upon its conceptualization of dialogue, which is based on the idea of seeing the other from a new perspective, and compares it with Mikhail Bakhtin&rsquo / s concept of dialogue and Emmanuel Levinas&rsquo / s concept of face-to-face, which are based on the idea of disrupting the self. It then criticizes the project for its neglect of various dimensions which shape Israeli and Palestinian identities, such as diaspora, nostalgia and home and of the heavy burden of the past on these two communities&rsquo / present. As a result, the thesis focuses upon the concept of collective memory at length and then discusses photography at the service of collective memory. Another section is devoted to the analysis of Israeli and Palestinian collective memories. The photographic project Face2Face is discussed all throughout the thesis in terms of its failure to spot the crucial dimensions in Israeli-Palestinian context, no matter how well intended it was.