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5.4pt;mso-para-margin:0in;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}</style><![endif]--><span lang="RU" style="font-size:9.0pt;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;mso-fareast-font-family:&quot;Times New Roman&quot;;color:#222222;background:white;mso-font-kerning:10.0pt;mso-ansi-language:RU;mso-fareast-language:EN-US;mso-bidi-language:AR-SA">Predmet doktorskog umetničkog projekta &bdquo;Rana sećanja: umetničko delo scenskog dizajna&rdquo; jeste ispitivanje stvaralačkog dejstva ranih sećanja i ključnih narativa ličnih priča na egzistencijalni i poetski prostor pojedinca u posebnim prostorno-vremenskim okolnostima. Kao konačni ishod, projekat integriše materijalizovane, preispitane i izabrane uticaje u delo iz domena scenskog dizajna pod nazivom &bdquo;Susret u sećanju</span><span lang="RU" style="font-size:14.0pt;mso-bidi-font-size:10.0pt;font-family:TimesRoman;mso-fareast-font-family:&quot;Times New Roman&quot;;mso-bidi-font-family:&quot;Times New Roman&quot;;mso-font-kerning:10.0pt;mso-ansi-language:RU;mso-fareast-language:EN-US;mso-bidi-language:AR-SA"> </span><span lang="RU" style="font-size:9.0pt;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;mso-fareast-font-family:&quot;Times New Roman&quot;;color:#222222;background:white;mso-font-kerning:10.0pt;mso-ansi-language:RU;mso-fareast-language:EN-US;mso-bidi-language:AR-SA">&rdquo;.</span></p> / <p>The subject of doctoral art project &bdquo;Early memories: scene design art work&rdquo; is the examination of the creative effect of early memories and the key narratives of personal stories on the existential and poetic space of an individual, in special spatio-temporal circumstances. As a final outcome, the project integrates materialized, re-examined and selected influences into scene design art work called &bdquo;Meeting in Remembrance&rdquo;.</p>

Gleich dem Individuum benötigen Gesellschaften Vergangenheit in erster Linie zur Selbstdefinition. Eine feste Struktur gesellschaftlich geteilter Vergangenheitsreferenzen erzeugt ein überindividuelles kollektives Gedächtnis, das soziale Rollen und Identitäten determiniert. Was aber geschieht, wenn eine Gemeinschaft ihre Vergangenheit oder wesentliche Teile dieser nicht erinnert? Am Beispiel Russlands wird dargestellt, warum tragische Ereignisse – in diesem Fall die stalinistischen Repressionen – nicht kommemoriert werden und in welcher Weise sich diese weitgehend verdrängten Erinnerungen und die defizitär ausgebildete Erinnerungskultur auf die heutige russländische Gesellschaft auswirken. / Just as the individual person societies need their past first and foremost to define themselves. A fixed structure of socially divided references of the past generates a supra-individual collective memory which determines social roles and identities. However one has to ask oneself what happens if a society does not remember its past or crucial parts of it? By looking at the example of Russia this book illustrates why tragic events – such as in this particular case the Stalinist repression – are not commemorated and how the suppressed memories and the deficiently developed memorial culture is affecting present-day Russian society.

Das Gedenken an diejenigen, die vom 13. bis 15. Februar 1945 Opfer der Bombardierungen britischer und amerikanischer Luftstreitkräfte wurden, ist von zahlreichen weiteren Versuchen gekennzeichnet, die Erinnerungen daran individuell und kollektiv einzuordnen. Der Luftangriff verursachte jedoch nicht nur eine Diskussion um den Stellenwert des historischen Ereignisses, sondern ließ darüber hinaus sofort eine Erinnerungskultur entstehen, die trotz Diskontinuitäten bis heute an Vielfältigkeit zunimmt. Ihre Entwicklung kann allerdings nicht losgelöst von der Diskussion um Erinnerungskultur(en) in Deutschland gesehen werden. Die Arbeit geht – unter Bezugnahme auf Cornelißens Begriffsbestimmung von Erinnerungskultur – davon aus, dass das Dresdner Gedenken anlässlich der Bombardierungen am 13. Februar 1945 maßgeblich von lokalen AkteurInnen – d. h. Initiativen, Gruppen, Organisationen und Institutionen – gestaltet wird, die darin ihre erinnerungskulturellen und geschichtspolitischen Vorstellungen verwirklichen. Die öffentliche Memorialkultur als Teil der Erinnerungskultur bedient sich einer überwiegend gefestigten Ritual- und Symbolstruktur, die sich in Folge von Auseinandersetzungen verändert. Dieser Wandlungsprozess unterliegt seit der Wiedervereinigung 1990 einer größeren Dynamik und ist noch nicht abgeschlossen. Die Entwicklung der Ritual- und Symbolstruktur wird daher in den Jahren 1990 bis 2008 untersucht. Betrachtet wird die erinnerungskulturelle Entwicklung aus der AkteurInnenperspektive. Schwerpunkte der Arbeit bilden infolgedessen, in welcher Form die verschiedenen Bedeutungsrahmen der AkteurInnen zu den erinnerungskulturellen Konflikten beitrugen, wie sich kollektive Erzählungen und Identität in den vergangenen knapp 20 Jahren wandelten.

Das Gedenken an diejenigen, die vom 13. bis 15. Februar 1945 Opfer der Bombardierungen britischer und amerikanischer Luftstreitkräfte wurden, ist von zahlreichen weiteren Versuchen gekennzeichnet, die Erinnerungen daran individuell und kollektiv einzuordnen. Der Luftangriff verursachte jedoch nicht nur eine Diskussion um den Stellenwert des historischen Ereignisses, sondern ließ darüber hinaus sofort eine Erinnerungskultur entstehen, die trotz Diskontinuitäten bis heute an Vielfältigkeit zunimmt. Ihre Entwicklung kann allerdings nicht losgelöst von der Diskussion um Erinnerungskultur(en) in Deutschland gesehen werden. Die Arbeit geht – unter Bezugnahme auf Cornelißens Begriffsbestimmung von Erinnerungskultur – davon aus, dass das Dresdner Gedenken anlässlich der Bombardierungen am 13. Februar 1945 maßgeblich von lokalen AkteurInnen – d. h. Initiativen, Gruppen, Organisationen und Institutionen – gestaltet wird, die darin ihre erinnerungskulturellen und geschichtspolitischen Vorstellungen verwirklichen. Die öffentliche Memorialkultur als Teil der Erinnerungskultur bedient sich einer überwiegend gefestigten Ritual- und Symbolstruktur, die sich in Folge von Auseinandersetzungen verändert. Dieser Wandlungsprozess unterliegt seit der Wiedervereinigung 1990 einer größeren Dynamik und ist noch nicht abgeschlossen. Die Entwicklung der Ritual- und Symbolstruktur wird daher in den Jahren 1990 bis 2008 untersucht. Betrachtet wird die erinnerungskulturelle Entwicklung aus der AkteurInnenperspektive. Schwerpunkte der Arbeit bilden infolgedessen, in welcher Form die verschiedenen Bedeutungsrahmen der AkteurInnen zu den erinnerungskulturellen Konflikten beitrugen, wie sich kollektive Erzählungen und Identität in den vergangenen knapp 20 Jahren wandelten.

Walter Benjamin, in Thesis IX of his “Theses on the Philosophy of History,” wrote of the angel of history looking back at the past from the now-time of the present moment, at the historical wreckage, a single catastrophe as it were, piling in front of its feet, as it gets pulled forward facing back into the temporality of the future and the space of modernity’s violent excesses, heralded by the promise of apparent progress. As the title to my dissertation suggests, my study begins, following the angel’s look, with these three words, seeing what remains, and as such it is structured around the very nature of this arresting “look back” and that which is being regarded, the ruins, or the remains and remainders that exist after, and in the aftermath of, traumatic loss. Working with and across a variety of mediums, I conduct a series of exegetical studies of recent “texts” – literary, photographic, and cinematic – within which, I argue, this look back figures as central to the concern of how we might understand the simultaneous existence of the forces of remembrance and forgetting, and of mourning and melancholia in memory-work. The various “texts” within which I explore this look back are Anne Michaels’s novel Fugitive Pieces, the photographic series titled Library of Dust by David Maisel, the movies Hiroshima, mon amour by Marguerite Duras and Alain Resnais and Amour by Michael Haneke. I situate my exploration of the enigmatic nature of the look back in these different textual scenes alongside Sigmund Freud’s critical work on transference and transference love and Kaja Silverman’s rigorous expansion of the psychoanalytic objective of the “cure by love.” Here, it is my intention, as such, to work toward and expand on my thesis that this look, of the angel (or the materialist historian or the artist as witness), is a look of redemptive love, both against erasure and against the possibility of invisibility, “to awaken the dead” as it were, so as to address the loss inscribed in historical experiences with catastrophic temporality and to thereby redeem the ethical from within the scene of trauma.

Zwischen Nietzsche und Cheikh Anta Diop gibt es wenige Verbindungen. Nietzsche gilt inzwischen unbezweifelbar als Philosoph, während bei Cheikh Anta Diop diese Anerkennung noch aussteht. Der eine ist ein in Deutschland geborener Europäer (1844-1900), der andere ein im Senegal geborener Afrikaner (1923-1986). Beide waren der Antike zugewandt und fanden darin Kraft für ihre Hoffnungen. Der eine stützte sich auf das antike Griechenland und der andere auf das antike Ägypten, beide forderten damit die Wissenschaftlergemeinschaft ihrer Zeit heraus und erschütterten die Wissensordnung ihrer Zeit. Absichtlich provokativ haben sie auf eine unsichere Zukunft gesetzt. Beide haben sie Grenzen des Wissens und Grenzen der Politik überschritten. Im folgenden sollen die Ähnlichkeiten der unzeitgemäßen Denkformen beider Denker im Vordergrund stehen. Für Cheikh Anta Diop und Nietzsche steht fest, dass wir unserer Existenz durch den historischen Sinn einen Wert geben. Der eine lädt uns ein, in der Erforschung der pharaonischen Ursprünge die Zielrichtung einer Konstruktion der afrikanischen Zukunft zu finden, was der Haltung von Nietzsche ähnelt, der das dekadente Europa seiner Zeit dazu aufrief, sich aus der griechischen Seele als seinem eigentlichen Sein zu erneuern. Beide Denker haben die Macht der Erinnerung thematisiert, Ursprünge und große Anfänge herausgehoben.

Thesis (PhD--History)--University of Auckland, 2009. / Includes bibliographical references.

Made available in DSpace on 2014-06-11T19:24:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-08-19Bitstream added on 2014-06-13T20:31:35Z : No. of bitstreams: 1 mercadante_m_me_rcla.pdf: 3771951 bytes, checksum: e73bfc017638be5edc507cf4e525c04f (MD5) / Esta pesquisa tem como objetivo identificar, a partir da memória de velhas professoras, as concepções de natureza e de relação sociedade-natureza presentes nos depoimentos de velhas professoras da rede pública estadual de uma cidade do interior do estado de São Paulo, nas décadas de 1960 e 1970. Acreditamos que entender como determinada sociedade “torna a natureza presente” Bornheim (1985), é fundamental para a superação dos impasses gerados pela problemática ambiental. Para a realização deste trabalho, optou-se pela metodologia da história oral e constatou-se, por meio das leituras das narrativas, que as professoras entrevistadas “tornam a natureza presente” por meio de diferentes concepções. A natureza como “tudo o que existe”, como “vida”, uma concepção “religiosa” de natureza, a natureza como a “grande provedora de recursos naturais”, a natureza como “universo”, “como mãe de todas as coisas” e a natureza como aquela que “tudo recicla” são as concepções de natureza presentes nos depoimentos coletados. Várias professoras consideraram, ainda, a natureza como aquela que pode “dar respostas” e “reagir” às ações desmedidas do homem. Além disso, a natureza apareceu como aquela que deve ser preservada, pois disso depende a manutenção da nossa própria vida. No que diz respeito à relação sociedade-natureza, evidencia-se a relação conflituosa que se estabelece entre o homem e a natureza. Pode-se afirmar que, no geral, o homem foi apresentado como sendo o grande vilão, como aquele que destrói a natureza, sendo caracterizado pelas professoras, entre outras coisas, de ruim, malvado, ganancioso e ignorante. Tentar compreender como a natureza e a relação sociedade-natureza se fazem presentes na memória dessas velhas professoras permite repensar como essa relação tem sido tratada atualmente no âmbito escolar. / This research has the objective to identify from the remembrance of old teachers the nature conceptions and nature society relation presented into the old teachers attests from the state public schools from a city in the country of São Paulo in 60’s and 70’s. We believe that understanding as a certain society becomes a present nature Bornheim (1985) is essential to the overcoming from the conflicts generated by the environmental problematic. To the realization of this work, it was chosen the methodology of the oral history and it was found that for the reading from the narratives that the interviewed teachers make the nature presented by different conceptions. The nature as “all that exists”, as “life”, a “religious” conception of nature, the nature as the “big provider of natural resources”, the nature as “universe”, “as the mother of all things”, and the nature as one “that recycles all” are the conceptions of nature present in the collected attests. Several teachers considered, yet, the nature as one that can give answers and reacts to the men’s undue actions. Besides, the nature came on as one that must be preserved, because the maintenance of our own life depends on this. According to the nature society relation, it is noticeable the conflicted relation that is established between the man and the nature. It can be affirmed, in general, that man was presented as being the big guilty, as the one who destroys the nature, being characterized by the teachers among other things, as bad, mean, greedy and ignorant. Trying to understand how the nature and the nature society relation are present in the remembrance of these old masters, allow us to think again how this relation has been currently dealt in the scholar environment.

Made available in DSpace on 2014-12-17T15:06:58Z (GMT). No. of bitstreams: 1 ElizabeteMAS_DISSERT.pdf: 2370555 bytes, checksum: 8d6d7f66565e2c06518f6d69f6a5e4b3 (MD5) Previous issue date: 2012-11-05 / Inf?ncia is undoubtedly memory, high qual ity l iterature, reputable, as the story moves between f ict ion and reality. Personal and social history, wi th such a sense of reality, causing the reader to prof it f rom the honesty and the sinceri ty producing, in this work, remarkable results in a constancy of cl ippings, f rame -by-f rame. Memory and obl ivion are this work guidance. We aim to denounce the relat ionship between the chi ld and violence, and as it is a memorialist ic text , we see the importance of f ict ion for this type of narrat ive to be sustained. I aim thereby show the tone of this report humanizing memories, its deep and decisive meaning, through the memories concepts by Le Gof f , by Seligmann-Silva and by Ecl?a Bosi. I t is also through the theories of Jeanne Marie Ganegbin that I just ify the concept of remembering and forget t ing, and also it is also according the concepts of Eliane Zagury that I give support to the importance of autobiography as a a mean of expressing the reported memor ies. Final ly, in Inf?ncia, there is no room for fantasy. The lyricism that overwhelms, throughout each chapter, commands the author's imaginat ion. The need to invent gives way to the need to test ify, to denounce. And this t ransit ion occurs gradually, slow as Gra c il ia n o s c h i ld li f e , d u e to such humiliat ion and submission / Inf?ncia ?, sem d?vida, mem?ria, l iteratura de grande qualidade, respei t?vel, ? medida que a hist?ria contada transita ent re f ic??o e real idade. Hist?r ia social e pessoal, com tamanho senso de real idade, fazendo com que o leitor lucre com a honest idade e a sinceridade que produziu, nessa obra, resultados marcantes em sua const?ncia de recortes quadro-a-quadro. Lembran?a e esquecimento s?o, portanto, os guiadores deste trabalho, tendo como prop?sito a den?ncia do encontro da crian?a com a viol?ncia e, sendo o texto memor ial ?st ico, v? -se a import?ncia da f ic??o para que esse t ipo de narrat iva se sustente. Busco, com isso, mostrar no tom humanizador deste relato de mem?rias, o seu signif icado profundo e decisivo, atrav?s dos conceitos de mem?ria de Le gof f , de Seligmann-Silva e de Ecl?a Bosi. ?, tamb?m, atrav?s das teorias de Jeanne Marie Ganegbin que just if ico o conceito de lembran?a e esquecimento e que, me ut il izando dos conceitos de El iane Zagury, acrescento e amparo a rela??o da autobiograf ia como meio de express?o do relato de mem?rias. Por ?lt imo, em Inf?ncia, n?o h? espa?o para a fantasia. O lir ismo que se avassala, no decorrer de cada cap?tulo, comanda a imagina??o do autor. A necessidade de inventar cede espa?o ? necessidade de depor, de denunciar . E essa transi??o ocor re de forma lenta e gradual, assim como lenta ? a vida do menino Gracil iano, diante de tanta humilha??o e submiss?o

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-19T11:48:03Z No. of bitstreams: 2 Dissertação - Keila Alves da Silva - 2016.pdf: 2564043 bytes, checksum: d8171bda8a7a2f31c5f8ac290a810a7e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-19T11:51:13Z (GMT) No. of bitstreams: 2 Dissertação - Keila Alves da Silva - 2016.pdf: 2564043 bytes, checksum: d8171bda8a7a2f31c5f8ac290a810a7e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-19T11:51:13Z (GMT). No. of bitstreams: 2 Dissertação - Keila Alves da Silva - 2016.pdf: 2564043 bytes, checksum: d8171bda8a7a2f31c5f8ac290a810a7e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the course of my master's research, I work on a textual, artistic and poetic-reflexive construction stem from memories, family objects and filaments of dialogues compositions based on two subjects, my mother and my maternal grandfather. My artistic path was formed by listening experiences of memories and narratives, as an attitude from an ethnographer artist combined with individuals invited for research. Experiences that led me to meet some trigger objects of multiple senses. The same objects of remembrance and affection, elected by me as poetic output, knitting together a triangulation between me, my mother and my maternal grandfather who compose the core of the reflections and analysis of possibilities that were developed in this dissertation production: the individuals, their stories and memories, the inventive makings and things that came from this entanglement. The art path analysis occurred with the aid of a poetic science look. It includes the implications of memory objects converted into artistic artifacts (objects and installation) composed by me but taken from my mother’s and my grandfather’s belongings. The senses threads happen by the weaving of our times, learnings, “doings” and stories. / No transcorrer de minha pesquisa de mestrado realizo uma construção poético-reflexiva, textual e artística, a partir de tessituras com lembranças, objetos familiares e fios de diálogos com dois sujeitos: minha mãe e meu avô materno. O meu percurso artístico se deu entremeado de experiências de escuta das lembranças e narrativas, numa atitude de artista etnógrafa junto aos sujeitos invocados para a pesquisa. Experiências que me conduziram a encontros com alguns objetos disparadores de sentidos múltiplos. Os mesmos objetos de lembrança e afeto, eleitos por mim como potência poética, imbricaram uma triangulação entre mim, minha mãe e meu avô materno que compõem o cerne das reflexões e possibilidades de análises desenvolvidas neste exercício dissertativo: os sujeitos, suas histórias lembradas, os fazeres inventivos e as coisas vindas desse emaranhamento. As análises do percurso artístico ocorreram com o auxílio de um olhar localizado na ciência poiética. Abarca as implicações dos objetos de memória desdobradas em artefatos artísticos (objetos e instalação) construídos por mim a partir de coisas apropriadas de minha mãe e meu avô. As costuras de sentidos acontecem tramando os nossos tempos, saberes, fazeres e histórias.