Le second dix-huitième siècle est marqué par une profonde reconfiguration du cadre politique qui se traduit par un essor concomitant de la critique publique et du patriotisme. Le théâtre participe au mouvement. Dans le sillage de Voltaire, des auteurs très divers s’emparent de l’Histoire de France, renouvelant les genres théâtraux et le rapport au spectacle. Aux pièces épiques ou sentimentales du « genre troubadour » s’ajoutent bientôt les anecdotes biographiques consacrées aux Grands Hommes, puis les « apothéoses dramatiques » et les « faits historiques » contemporains de la Révolution. Cet ensemble hétéroclite de pièces jouées sur des théâtres officiels, en société ou seulement diffusées par écrit, constitue ce que nous appelons le théâtre national des Lumières et de la Révolution. À travers l’étude des textes et de leur réception, nous analysons comment la représentation de l’Histoire de France participe aux transformations des mentalités, selon un effet de miroir passé-présent plus ou moins explicite. Aux enjeux esthétiques et dramaturgiques emblématiques de cette période charnière entre classicisme et romantisme, le théâtre national mêle des enjeux politiques et mémoriels : plus qu’un divertissement moral, il est conçu comme un dispositif civique. Il construit un patrimoine historique collectif avec des mythes et des légendes, mais les intentions idéologiques divergentes des auteurs et la participation active des publics en font un lieu de dissensus. Le théâtre national médiatise également les tensions de la société et recherche des émotions qui oscillent entre l’admiration, l’attendrissement, la déploration indignée et l’horreur face aux blessures du passé. / The second half of the eighteenth-century is characterized by a thorough transformation of the political world, a change which reflected the simultaneous development of public criticism and patriotism. Theatre plays a key role in this process. Following Voltaire, a variety of playwrights use French history for their plots, and in so doing they update genres and audience expectations. Alongside epic or sentimental plays of the troubadour genre, bio-dramas of “Great Men” soon appeared, followed by dramatic apotheoses and the Revolution’s “faits historiques”. This varied corpus of plays – performed ¬ or not, on official or private stages – constitutes what we may call the national drama of the Enlightenment and the French Revolution.By studying these texts and their reception, I analyse how the theatrical representation of French history and its ability to act as a mirror between the past and the present contribute to the contemporary changes in thought. National drama not only showcases the esthetical and dramaturgic debates of this turning point between classicism and romanticism, but it additionally implicates issues of politics and memory: it is more than simple moral entertainment, it has civic value. These productions create a collective historical heritage with its own myths and legends, but the playwrights’ contradictory ideological intentions and the audiences’ active participation also make this theatre a site of dissent. National drama also expresses contemporary social strains and seeks to evoke specific emotions such as admiration, empathy, outrage and horror in the face of the past’s wounds.

The Stolpersteine memorial art project commemorates individual Holocaust victims by placing small brass plates outside the last known place they freely lived or worked. To date around 70,000 of these ‘stones’ have been laid across 24 countries, making it the largest decentralised monument in the world. The work grows by virtue of community action from relatives, neighbours and activists. This paper examines how the memorial form functions in a specific context. An ‘unofficial' version has been running in Vienna since 2005, termed Stones of Remembrance. It shares key characteristics with Stolpersteine but the approach in the Austrian capital is distinctly different, with local interpretations. This case study into the Vienna experience investigates public response to these stones drawing on research material that includes interviews with specific stakeholders and the general public who encounter them on a day to day basis. It highlights Austria’s role in the Holocaust, and struggle to belatedly come to terms with its complicity in what happened on local streets. Key questions are whether placing history at a neighbourhood level engages the public more actively than centralised state actions? How do people understand and engage with these pieces and are they effective sites of memory, reflection or imagining? Public response in Vienna suggests that memorial stones might be valuable communication tools not only for remembering the past, but for the present too - as reminders of past abuses that can serve as warnings for the future. As an example of a participatory approach to memory work Stones of Remembrance / Stolpersteine can have relevance as a communication for development and social change tool, with potential application in other post conflict contexts.

This thesis examines the public manifestations of the culture of remembrance of WWII in the Hlučín Region, with an emphasis on the commemorations of the fallen local soldiers fighting in the Wehrmacht. The aim of the thesis is to describe the public commemorations of WWII in the Hlučín Region, and to examine the relation between the regional and the mainstream Czech narrative. The core difference between the narratives arises from the fact that the Hlučín residents took part in WWII on the side of the Germans. I investigate the means used in the commemorations, as well as who initiates, organizes and finances the commemorations and what are the motivations of the commemorations' participants. Among the means, I focus on the analyses of the memorials and graves of the fallen soldiers, as well as on acts of piety. I concentrate on the period after the Velvet Revolution, when the particular narrative of the Hlučín Region ceased to be a taboo. In the first chapter I present the terms, theoretical concepts and methodology of the research. The second chapter deals with the history of the Hlučín Region and the identity of its inhabitants. In the third chapter I outline the Czech narrative of WWII during the communist regime and after 1989. The fourth chapter presents the results of my research of the...

Ce projet de recherche-création en cinéma porte sur l’histoire d’une ancienne ville minière. En 1971, un glissement de terrain provoqué par les excavations d’une exploitation minière emporte une partie de la ville d’Asbestos (et de son histoire) au fond du trou. Cet événement hautement symbolique est devenu le point d’ancrage d’une problématique sur la représentation de la mémoire collective au cinéma. En écartant une approche « archiviste » du cinéma documentaire (images et enregistrements du passé), j’ai cherché à faire voir ce qui avait disparu dans le paysage matériel d’Asbestos, mais qui subsistait pourtant dans la mémoire des citoyens. Trois grands axes ont structuré mon projet. 1) Peut-on faire voir le passé d’Asbestos avec des images de son paysage actuel? 2) Est-il possible que la parole vernaculaire soit le meilleur moyen de faire (re)vivre et de faire (re)voir les expériences d'une communauté? 3) Est-ce dans l’interaction entre les images du présent et la parole des témoins de l’histoire que l’on peut révéler un passé disparu? / This film research-creation project focuses on the history of a former mining town. In 1971, a landslide triggered by the excavations of the adjacent mine swept part of the town of Asbestos – and its history – to the bottom of the pit. This symbolic incident serves as the basis for an exploration of how best to represent collective memory in film. In eschewing the archival approach of documentary cinema (using images and audio recordings from the past), I have tried to show what has disappeared from the town’s physical landscape yet is still very present in the memory of its inhabitants. My project is underpinned by three main questions: 1) Can Asbestos’s past be evoked through images of its current landscape? 2) Could capturing the spoken words of its inhabitants be the best way to bring a community’s experiences back to life and share them with others? 3) Can a bygone past be revealed through the interplay of present images and vernacular accounts of recent or distant history?

Seit einigen Jahren kursiert im Internet der Begriff Yolocaust als Bezeichnung für ein vorwiegend jugendbildkulturelles Phänomen, welches das als unangemessen empfundene Erstellen von Foto­gra­fien im Stile der jugendlichen Selfiekultur in Holocaust-Ge­denk­stätten und das anschließende Teilen dieser Bilder in den sozialen Netzwerken meint und welches oft als Symptom einer gestörten Erinnerungskultur gedeutet wird. Dieser Beitrag er­schließt anhand der Plattform Instagram zunächst die graduellen Ausprägungen dieser Bildkultur und sucht anschließend über die Analyse der Programmatik und der allgemeinen Bildkultur des Netzwerkes nach Erklärungsansätzen in der medialen Eigenlogik. Abschließend wird nach pädagogischen Konsequenzen für die Vorbereitung des Gedenkstättenbesuchs gefragt, ohne eine pau­schale Verurteilung der Bildkultur anzustreben.

This doctoral thesis deals with West German and Italian public memory of a specific wartime episode on the Greek island of Cephalonia. In September 1943, soldiers of the Wehrmacht, the regular German army, committed mass executions on up to 4,000 Italian prisoners of war. The thesis also analyses the mutual reception of the memory discourses in West Germany and Italy and examines the possibility of an interaction between their participants. The thesis uses the case study "Cephalonia" to expose how West German and Italian society came to terms with the past of the World War II in the period from 1943 to 1989. Powered by TCPDF (www.tcpdf.org)

This Thesis deals with the issues of violence in relation to the time of National Socialism of the second and third Generation of the survivors illustrated by the examples of the sinking of the Cap Arcona and the Neuengamme concentration camp. The main source are the Interviews with the families of the Czech survivors from Cap Arcona and Neuengamme Concentration Camp and an interview with the main management of Neuengamme monument. The approaches from the experts to the transgenerational transmission of trauma will be discussed in the theoretical part the and they will be also analyzed and evaluated.

No description available.

La réunification ne transforma pas uniquement l’Allemagne sur le plan intérieur, mais eut également d’importantes répercussions sur sa place en Europe et dans le monde. Le nouveau contexte général ainsi que le changement générationnel au sein de la classe politique dans les années qui suivirent, entraînèrent aussi une évolution de l’autoreprésentation de la République fédérale. Tout cela ne resta pas sans conséquences sur sa perception à l’étranger. L’objectif de la présente thèse est d’analyser l’autoreprésentation de la jeune « République de Berlin » et sa réception en France de 1990 à nos jours. La question centrale est de savoir quelle image l’Etat allemand cherche à donner de lui-même et quelle image de l’Allemagne domine en France. Il s’agira de mettre en évidence les évolutions concrètes que l’on peut observer en la matière depuis la réunification, les facteurs permettant de les expliquer ainsi que de déterminer dans quelle mesure il existe une corrélation entre l’autoreprésentation de l’Allemagne et sa réception. / Reunification not only changed Germany domestically, but also had an important impact on its position in Europe and in the world. The new general framework as well as the generational change in politics in the following years also led to a change in the self-representation of the Federal Republic. All this did not remain without consequences on the perception of the country abroad. The aim of this thesis is to analyse the self-representation of the young “Berlin Republic” and its reception in France from 1990 to the present. The key question is which public image does the German state promote of itself and which image of Germany prevails in France. It will be highlighted how this has changed concretely since reunification, by which factors this development can be explained, and to what extent a correlation exists between Germany’s self-representation and its reception.

Seguindo uma pista lançada pelo próprio Proust num texto crítico sobre a leitura, a crítica proustiana vem dedicando bastante espaço à compreensão deste tema na Recherche. Em geral, essa compreensão tem sido levada a cabo por meio da análise das figurações da leitura no romance de modo a construir o posicionamento teórico do escritor sobre a leitura que, por sua vez, funcionaria como modelo para a leitura da própria Recherche. Entretanto, essas análises apontam para incoerências e contradições que potencialmente poderiam invalidar seu caráter de modelo. Revisitando algumas das interpretações críticas bem como o próprio ensaio de Proust sobre a questão, esta tese defende que a compreensão da leitura da Recherche vai além da discussão da figuração do tema no texto. Para isso, propõe a análise do papel do leitor dimensão textual virtual que comporta diversas operações interpretativas potenciais. Controladas pela organização do texto, isto é, por sua disposição arquitetônica, em seus mais diversos planos, essas operações, uma vez percebidas pelos leitores (o que não se deu imediatamente na história da recepção da Recherche) sustentam essas leituras (críticas ou não) de modo que podem ser vistas como a base ou as condições de possibilidade de toda e qualquer interpretação. / Following the clue given by Proust himself on his essay on reading, recently, proustian critics have been paying a lot of attention to this theme in A la Recherche. In general, these interpretations analyse the figurations of reading in the text which, in turn, is used as a model for the reading of Prousts text. However, many of these analyses point out to incoherencies in Prousts theoretical discourse which can invalidate its status as a model for the reader. Revisiting some of the analyses on the topic and Prousts own essay On reading, this thesis tries to indicate that the understanding of the subject of reading should move beyond the discussion of its figuration in the text. In order to do that, we propose an analysis of the role of the reader a virtual textual dimension formed by the interpretive operations designed by the text itself. Controlled by the organization of the materials that form the text, these operations, once perceived by the reader, support many of the critical readings of Prousts text and so, they are, as it seems, the foundations for most of the readings of A la Recherche.