Ariano Suassuna, poeta, dramaturgo, romancista, artista plástico e professor, que quando ainda muito jovem foi considerado um dos maiores dramaturgos brasileiros, tomou para si a missão de defender a cultura nacional. Nesse papel, muitas vezes foi criticado e incompreendido por sustentar suas convicções. Uma das coisas que ele mais criticava era a cultura de massa. Ele afirmava que arte para ele não era um negócio, era missão, vocação e festa. O que fez com que ele tenha demorado tanto a permitir a aproximação de suas obras com as indústrias cultural e criativa – principalmente com a televisão –, que entendia que não teriam condições de manter os princípios que ele trazia em sua poética. E dos quais ele não abria mão. Deste modo, este estudo, constituído a partir das categorias memória e cultura, busca compreender como as narrativas de memórias de um grupo relacionado a Ariano Suassuna testemunharam sua vida e obra e serviram de base para a produção de documentos e relatos sobre cultura e indústria cultural. E entender, por meio dessas narrativas, como se deu a relação de Ariano Suassuna e de sua obra com a cultura e as indústrias cultural e criativa. Para tanto, esta pesquisa, enquadrada como qualitativa descritiva, fez uso da metodologia de história oral e da hermenêutica de profundidade, que junto com a teoria de base deram sustentação à mesma. Ao final, concluiu-se que Ariano não cedeu às investidas dos meios das indústrias cultural e criativa. E que, ao contrário, para adaptarem suas obras foram aqueles meios que se renderam a ele. / Ariano Suassuna, poet, playwright, novelist, plastic artist and teacher, that when still very young was considered one of the greatest Brazilian dramatists, took on the mission of defending the national culture. In this role, he was often criticized and misunderstood for holding his convictions. One of the things he most criticized was mass culture. He claimed that art for him was not a business, it was mission, vocation, and party. What made him take so long to allow the rapprochement of his works with the cultural and creative industries - especially with television - that he understood would not be able to maintain the principles that he brought in his poetics. And of which he would not give up. Thus, this study, based on the categories memory and culture, seeks to understand how the narratives of memories of a group related to Ariano Suassuna witnessed his life and work and served as the basis for the production of documents and reports on culture and cultural industry. And to understand, through these narratives, how the relationship of Ariano Suassuna and his work with culture and the cultural and creative industries occurred. For this, this research, classified as descriptive qualitative, made use of the methodology of oral history and the hermeneutics of depth, which together with the basic theory, gave support to it. In the end, it was concluded that Ariano did not yield to the onslaughts of the cultural and creative industries. And that, on the contrary, to adapt his works, were those means that surrendered to him.

Cemeteries serve as repositories of history and memories of the local community, as well as afford the living population an opportunity to connect and learn about a culture’s past. Accordingly, the cemetery as a place and the rituals associated with death and remembrance that it holds, not only communicate and express the ideals of a collective identity, but also undergo modifications with time and geography. Through the study of burial rituals and funerary traditions of the multicultural community in the City of Richmond in British Columbia, this thesis seeks unifying qualities within the diversity of practices that will offer strategies for the design of ritual spaces that not only communicate the cultural identity within each community, but also serve as a place in which new ritual practices are born and integrated for the greater community of Richmond.

Ariano Suassuna, poeta, dramaturgo, romancista, artista plástico e professor, que quando ainda muito jovem foi considerado um dos maiores dramaturgos brasileiros, tomou para si a missão de defender a cultura nacional. Nesse papel, muitas vezes foi criticado e incompreendido por sustentar suas convicções. Uma das coisas que ele mais criticava era a cultura de massa. Ele afirmava que arte para ele não era um negócio, era missão, vocação e festa. O que fez com que ele tenha demorado tanto a permitir a aproximação de suas obras com as indústrias cultural e criativa – principalmente com a televisão –, que entendia que não teriam condições de manter os princípios que ele trazia em sua poética. E dos quais ele não abria mão. Deste modo, este estudo, constituído a partir das categorias memória e cultura, busca compreender como as narrativas de memórias de um grupo relacionado a Ariano Suassuna testemunharam sua vida e obra e serviram de base para a produção de documentos e relatos sobre cultura e indústria cultural. E entender, por meio dessas narrativas, como se deu a relação de Ariano Suassuna e de sua obra com a cultura e as indústrias cultural e criativa. Para tanto, esta pesquisa, enquadrada como qualitativa descritiva, fez uso da metodologia de história oral e da hermenêutica de profundidade, que junto com a teoria de base deram sustentação à mesma. Ao final, concluiu-se que Ariano não cedeu às investidas dos meios das indústrias cultural e criativa. E que, ao contrário, para adaptarem suas obras foram aqueles meios que se renderam a ele. / Ariano Suassuna, poet, playwright, novelist, plastic artist and teacher, that when still very young was considered one of the greatest Brazilian dramatists, took on the mission of defending the national culture. In this role, he was often criticized and misunderstood for holding his convictions. One of the things he most criticized was mass culture. He claimed that art for him was not a business, it was mission, vocation, and party. What made him take so long to allow the rapprochement of his works with the cultural and creative industries - especially with television - that he understood would not be able to maintain the principles that he brought in his poetics. And of which he would not give up. Thus, this study, based on the categories memory and culture, seeks to understand how the narratives of memories of a group related to Ariano Suassuna witnessed his life and work and served as the basis for the production of documents and reports on culture and cultural industry. And to understand, through these narratives, how the relationship of Ariano Suassuna and his work with culture and the cultural and creative industries occurred. For this, this research, classified as descriptive qualitative, made use of the methodology of oral history and the hermeneutics of depth, which together with the basic theory, gave support to it. In the end, it was concluded that Ariano did not yield to the onslaughts of the cultural and creative industries. And that, on the contrary, to adapt his works, were those means that surrendered to him.

Ariano Suassuna, poeta, dramaturgo, romancista, artista plástico e professor, que quando ainda muito jovem foi considerado um dos maiores dramaturgos brasileiros, tomou para si a missão de defender a cultura nacional. Nesse papel, muitas vezes foi criticado e incompreendido por sustentar suas convicções. Uma das coisas que ele mais criticava era a cultura de massa. Ele afirmava que arte para ele não era um negócio, era missão, vocação e festa. O que fez com que ele tenha demorado tanto a permitir a aproximação de suas obras com as indústrias cultural e criativa – principalmente com a televisão –, que entendia que não teriam condições de manter os princípios que ele trazia em sua poética. E dos quais ele não abria mão. Deste modo, este estudo, constituído a partir das categorias memória e cultura, busca compreender como as narrativas de memórias de um grupo relacionado a Ariano Suassuna testemunharam sua vida e obra e serviram de base para a produção de documentos e relatos sobre cultura e indústria cultural. E entender, por meio dessas narrativas, como se deu a relação de Ariano Suassuna e de sua obra com a cultura e as indústrias cultural e criativa. Para tanto, esta pesquisa, enquadrada como qualitativa descritiva, fez uso da metodologia de história oral e da hermenêutica de profundidade, que junto com a teoria de base deram sustentação à mesma. Ao final, concluiu-se que Ariano não cedeu às investidas dos meios das indústrias cultural e criativa. E que, ao contrário, para adaptarem suas obras foram aqueles meios que se renderam a ele. / Ariano Suassuna, poet, playwright, novelist, plastic artist and teacher, that when still very young was considered one of the greatest Brazilian dramatists, took on the mission of defending the national culture. In this role, he was often criticized and misunderstood for holding his convictions. One of the things he most criticized was mass culture. He claimed that art for him was not a business, it was mission, vocation, and party. What made him take so long to allow the rapprochement of his works with the cultural and creative industries - especially with television - that he understood would not be able to maintain the principles that he brought in his poetics. And of which he would not give up. Thus, this study, based on the categories memory and culture, seeks to understand how the narratives of memories of a group related to Ariano Suassuna witnessed his life and work and served as the basis for the production of documents and reports on culture and cultural industry. And to understand, through these narratives, how the relationship of Ariano Suassuna and his work with culture and the cultural and creative industries occurred. For this, this research, classified as descriptive qualitative, made use of the methodology of oral history and the hermeneutics of depth, which together with the basic theory, gave support to it. In the end, it was concluded that Ariano did not yield to the onslaughts of the cultural and creative industries. And that, on the contrary, to adapt his works, were those means that surrendered to him.

This thesis analyses the texts and audio-files of the exhibitions of the Dutch memorial museums about the Second World War to understand how perpetrators have been represented. In a social constructionist approach on cultural memory and heritage it can be argued that memorial museums are institutions which partake in the processes of cultural memory and heritage during which a reconstruction of the past is developed which can be connected to the values of the current society. Cultural memory and heritage provide a shared past for the community and a connection between the past, present, and future. The aim is to find out who is represented, how they are represented, and how their narrative relates to Dutch memory culture. This has been done through an analysis of the texts of the exhibition using Fairclough’s three dimensional model for Critical Discourse Analysis.It can be concluded that the narrative of the perpetrators in the Netherlands has hardly changed since the exhibitions still represent the stereotypical German, high-ranking, and/or violent perpetrators. However, the exhibitions do focus on local perpetrators rather than the elite in Germany, they include women as perpetrators, and present the perpetrators as ordinary people who became perpetrators due to a variety of social, cultural, and mental factors. Additionally, the exhibitions indicate that individuals, including perpetrators, cannot be either ‘good’ or ‘evil’ but should be analysed individually to understand the positive and negative consequences of their choices and actions. Nonetheless, more Dutch perpetrators, lower-ranking individuals, and guards who tried to help the prisoners need to be represented to provide a more complete image of the perpetrators and to represent a more nuanced narrative where ‘good’ and ‘evil’ are not necessarily mutually exclusive. Additionally, the variety of reasons that turned regular people into perpetrators could be better explored through a more diverse group of perpetrators. Finally, within the context of moral consciousness, active citizenship, and reflection, the portrayal of the different choices made by the different perpetrators and the effect these had would be valuable cases of reflection for the visitor.

XVIII ir XIX a. vyko ginkluoti išsivadavimo iš nacionalinės ir socialinės priespaudos judėjimai. Tai 1794 m., 1830 – 1831 m. ir 1863 – 1864 m. sukilimai, kurie telkė įvairių luomų žmones kovai prieš pavergėjus. Sukilimai atsispindi skirtingų laikotarpių atminties kultūroje, žmonės juos pamena ir įvairiais būdais įamžina. Atminties kultūra gali pasireikšti pačiais įvairiausiais aspektais, per kuriuos galima tirti kaip formuojama atmintis apie sukilimus ir kiek žmonėms jie yra reikšmingi. Šiame darbe analizuojami sukilimai atminties kultūroje Šiaulių apskrityje nuo 1918 m. iki šių dienų. Pirmiausia pateikiama istoriografijos analizė, kaip Lietuvos ir užsienio autoriai nagrinėja atminties kultūrą. Istoriografija nagrinėjama siejant su šiais sukilimais. Tiriamosiose dalyse išskiriami tokie aspektai kaip laikraščiai, muziejai, paminklai ir gatvėvardžiai. Tema yra aktuali, kadangi naujaisiais laikais paplinta mikroistorijos tyrimai, kuomet analizuojama smulkių vienetų istorija, koncentruojamasi į labiau apibrėžtus ir glaustus tyrimus, todėl svarbu pažvelgti kaip ankstesnėje ir dabartinėje visuomenėje įamžinami šie įvykiai. Pirmiausia darbe tiriama, kaip sukilimų tema perteikiama Šiaulių apskrities laikraščiuose, žiūrima, ar tai yra aktualus klausimas. Taip pat išryškinami svarbiausi aspektai, kurie pateikiami straipsniuose. Pasitelkiama laikraščių klasifikacija pagal tris laikotarpius: tarpukaris, sovietmetis ir Nepriklausomybės laikai. Šis skirstymas naudojamas ir kitose... [toliau žr. visą tekstą] / In the 18th and 19th century, there were armed liberation movements against national and social oppression. There were uprisings in 1794, 1830 - 1831 and 1863 – 1864, when people from various estates were gathered to fight against the subjugators. Memory culture can reflect in various aspects, through which we may research how memory of uprisings is formed and how much they are important for people. This work contains the analysis of uprisings memory culture from 1918 to our days in Siauliai district. The presentation of the historiography analysis is presented at the beginning. Historiography is analyzed linking with these uprisings. Such aspects as newspapers, museums, monuments and street’s names are distinguished in research parts. The subject is relevant, due to spreading microhistory studies in the new era, when history of small units is analyzed, concentrating on a more defined and more concise researches. Therefore it is important to look how in the previous and the nowadays society these events are commemorated. First of all, in this research is analyzed how the theme of uprisings is rendered in newspapers of Siauliai district, also it is studied if this question is urgent. Three periods of newspapers classification are invoked: the interwar, The Soviet period, and Independence times. This distribution is also used in other parts of the research. In the next part the biggest attention is directed to the material of museums. It's interesting to know if any... [to full text]

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2016-09-02T19:56:24Z No. of bitstreams: 1 JoseEduardoCosta2.pdf: 1826640 bytes, checksum: 8d99212824ad0b3815a8864adc90e73e (MD5) / Made available in DSpace on 2016-09-02T19:56:24Z (GMT). No. of bitstreams: 1 JoseEduardoCosta2.pdf: 1826640 bytes, checksum: 8d99212824ad0b3815a8864adc90e73e (MD5) Previous issue date: 2016-04-26 / Study of the comunicacional process and record of memory fragments from the small regional agriculturist established in Ribeirão Grande on the region of Vale do Paranapanema in the State of São Paulo. This research has set the objectives to present the reality of the small agriculturist; investigate communicational processes which influences in the preservation of values or their loss; comprehend the opinions of small agriculturists and the residents in Ribeirão Grande, State of São Paulo, concerned to their reality; their communication regarding their life style and production; comprehend how communication is produced throughout the small agriculturist daily routine, if there is a proximity relationship with the regional newspaper, concerning the existence or non existence of any mean of communication which relates the feeling of enrollment and the ―community‖ interests. The methodology of this project incorporates the bibliographic research, documental research and the case study of a local regional newspaper, aside from semi structured interviews with the farmers / Estudo do processo comunicacional e o registro de fragmentos de memória do pequeno agricultor na localidade de Ribeirão Grande, região do Vale do Paranapanema, Estado de São Paulo. Esta pesquisa tem como objetivos mostrar a realidade do pequeno agricultor; investigar sobre os processos comunicacionais que influenciam na preservação dos valores ou na perda deles, conhecer a opinião dos pequenos agricultores e moradores do município de Ribeirão Grande no Estado de São Paulo, sobre sua realidade, sua comunicação, seu modelo de vida e de produção, entender como se produz a comunicação no dia a dia do pequeno agricultor, e se há uma relação de proximidade com o jornal regional, sobre a existência ou não de um meio de comunicação que trabalhe os sentimentos de pertencimento e os interesses da ―comunidade‖. A metodologia deste trabalho incorpora a pesquisa bibliográfica, pesquisa documental e o estudo do caso de um jornal regional local, além de entrevistas semiestruturadas com os lavradores. Conclui-se que o pequeno lavrador e seu estilo de vida na região tratada não possui perscpectiva de futuro, imersos nas circunstancias que se encontram. Palavras-

The thesis analyzes how the expulsion of Germans from Czechoslovakia is treated, interpreted and staged. It concentrates on two questions: what strategies do the authors use to recover the memory of the events and how do the different communities translate and share their memories? In the first part I sketch the development of the political contexts and discourses of expulsion in German and Czech memory culture on the basis of the model of ‚floating gap' by Jan Assman. In the second part, I present seven ‚strategies of commemoration' (Documenting, Interpreting, Investigating, Exhibiting of fragmentarized Memories, Swearing/staging of Trauma, Drawing of Genealogies, Reading in Landscapes), which the authors use in Literature (and Art) to represent the expulsion. The third part focuses finally on the problem of intercultural translation of memories, its shareability and the inner dialogism. The constant line of the analysis is the irreductibility of connection of memory and forgetting, which underline each other from the level of text to the level of memory politic.

No description available.

Målet och syftet med denna studie är att observera, tolka, och vidareutveckla förståelsen för den samtida turistens interagerande med, och omförhandlande av, det historiska rummet genom individualistisk påverkan från fiktiva narrativ – i detta fallet, Outlanders transmediala berättelsevärld. Genom ett teoretiskt ramverk uppbyggt på materialism, påverkan, tidsresande och proteser har jag analyserat och kartlagt både kulturarvsplatserna samt Outlander-fansens interaktion med dessa genom att ha deltagit själv i två guidade endagarsturer, samt genom en djupgående, om än liten, enkät. I en nutid som beskådar hur förhållandet till det förflutna och de platser som kopplas till de temporala och spatiala dimensionerna av historien förändras snabbt och omgående, är detta projekt avgörande för att vidare förstå denna minneskultur och vidareutvecklandet av ett kollektivt minne. Resultatet av mina observationer och min enkät påvisar och demonstrerar hur omfattande individuell den sensoriska upplevelsen har blivit inom Outlander-turismen i Skottland. Genom metoder såsom påverkan och lekfullhet är besökaren inbjuden till att tolka platserna i syfte att tillfredsställa deras personliga behov för autencitet i både fiktionen, historien, och sensationen. Ändock är inte vikten av, och värdet på, historien helt och hållet förlorad; majoriteten av respondenterna demonstrerar ett ökat intresse till den faktiska historien, den ’riktiga’ och autentiska, samtidigt som de återinvesterar i det ’virtuella’ och artificiella. Att bära historiens fysiska kropp som en protes, fullständigt beroende av narrativets påverkan, manifesterar den sensoriska upplevelsen och det fysiska mötet med rummet som en anpassad sammangjutning mellan historien och kroppen; besittningen av den historiska protesen stör fördelaktigt ej den egna kroppens integritet