O aumento da atividade turística e os benefícios que a mesma pode trazer para as pessoas envolvidas nas localidades que possuem atrativos turísticos têm suscitado uma nova reflexão sobre o processo de desenvolvimento local e regional que o turismo produz, pela sua capacidade de gerar renda e divisas para as regiões. Baseada no pressuposto de que o turismo cultural é um agente de desenvolvimento, esta pesquisa foi realizada no município de São Miguel das Missões, no estado do Rio Grande do Sul, município onde reside uma comunidade de índios Guarani Mbya e que possui como atrativo turístico às Ruínas Jesuíticas de São Miguel das Missões, visando conhecer a trajetória de 1988 a 2003 desta comunidade e os benefícios que a mesma possa ter tido em decorrência da atividade turística local. Após a pesquisa percebi que os Guarani consideram a posse das terras e a permanência na reserva do Inhacapetum como uma forma de desenvolvimento e concluí que o turismo agiu no local como um efeito indireto para a posse das terras. Embora o discurso dos planos de turismo do estado enfatizem os resultados sociais, na prática isso não se confirmou, pois foram pessoas do município as principais responsáveis pelos benefícios alcançados pela comunidade Guarani. / The increasing of touristic activity and the benefits which it can bring to people who live in places with touristic attractions have stimulated a new relfection about the process of local and regional development that tourism produces according to its capacity of causing profit to these regions. Based on the belief that cultural tourism is an agent of development this research took place in the city of São Miguel das Missões, in the state of Rio Grande do Sul, city where a community of Guarani Mbya Indians live and which has as touristics attraction the Jesuitic Ruins of São Miguel das Missões, having in view the period from 1988 to 2003 and the benefits that were reached due to the local touristc activity. After the research it was clear to me that the Guarani consider the possession of the earth and the permanence in the Inhacapetum reserve as a way of effectivation of this possession. No matter the speech related to plans of tourism in the State, emphasizing the social results, I can asseru this wasn t confirmed because the people who live in this region were the main responsible for the benefits reached by the whole Guarani community.

This work exposes the outcomes obtained from the research performed in the urban context ambit that focus on Urban Archaeology as a support to understand the city of Laranjeiras, Sergipe. The city here is understood from the construction of modernity based in the practices and social behavior resulting from the adoption of the bourgeois way of life. The purpose is to draw a historical-urban panorama of Laranjeiras of the nineteenth century and analyze their dynamics, under the hypothesis the local construction of modernity from representations and practices politics, economic and social of its population. Therefore, I approached about the historical site “The Ruins of the Theatre”, this local was the stage for many activities that constituted its palimpsests. The methodology applied is solidified on the theoretical reference of Urban Archaeology to interpret and contextualize the history of the building and, thereby, identify the evolution of the city of Laranjeiras and its urban development. The results allowed to build the concept of modernity from the particularities of the landed elite, of German immigrants, free workers and the large number of slaves, social agents responsible for building, spread and consolidation of ideas of modernity that desolated the Brazil at the turn of XIX century. / Este trabalho expõe os resultados da pesquisa efetivada no âmbito da Arqueologia Urbana como aporte para interpretar a cidade de Laranjeiras/SE. A cidade aqui é entendida a partir da construção de modernidade consubstanciada nas práticas e comportamentos sociais resultantes da adoção do modo de vida burguês. O objetivo é traçar um panorama histórico-urbano da Laranjeiras Oitocentista e analisar a sua dinâmica, tendo como hipótese a construção local da modernidade a partir de representações e práticas políticas, econômicas e sociais de sua população. Para tanto, abordei o sítio histórico “Ruínas do Teatro”, palco de várias atividades, que constituíram os seus palimpsestos. A metodologia aplicada esta solidificada no referencial teórico da Arqueologia Urbana para interpretar a história do edifício e assim, identificar o desenvolvimento urbano da cidade de Laranjeiras. Os resultados permitiram construir a concepção de modernidade a partir das particularidades da elite agrária, de imigrantes germânicos, dos trabalhadores livres e do grande contingente de escravos, agentes sociais responsáveis pela construção, propagação e consolidação das ideias de modernidade que afetaram o Brasil na virada do século XIX.

Du Bauhaus à De Stijl, du Constructivisme au Style international ou au Mouvement moderne, le modernisme historique n’aura pas seulement occupé les historiens de l’architecture et du design. Il est en effet devenu, depuis une vingtaine d’années, un objet d’investissement à part entière d'un grand nombre d'artistes de toutes provenances. Au tournant des années 2000, ce phénomène de références, d'évocations, de déplacements, de réappropriations, de mises à distance ou de célébrations, a pris une ampleur telle que de nombreuses expositions en Europe et en Amérique du Nord l'ont interrogé, en le réduisant toutefois le plus souvent à une mouvance ruiniste, empreinte de nostalgie, qui n'est pas confirmée par une étude attentive des œuvres. Loin de toute vaine prétention à l’exhaustivité, notre recherche a opté pour une focale centrée sur les œuvres. Au risque d’un peu de myopie où pourrait sembler se perdre une conscience globale du phénomène historique traité, le parti est ici pris d’analyser individuellement les pratiques. L’étude des divers cas retenus conduit à différentes hypothèses et lectures, qu'on espère inédites. Si tous les travaux analysés ont en commun de se référer au modernisme, de prendre celui-ci pour objet à travers telle ou telle de ses réalisations, on verra qu’il est impossible de conférer un sens unitaire à pareil tropisme. L'indispensable proximité avec les œuvres aura ainsi permis de prendre non pas l’unique mais les mesures plurielles d’un phénomène qui aura indéniablement marqué la création artistique des dernières décennies, et continue de la marquer. / From Bauhaus to De Stijl, from Constructivism to the International Style or the Modern Movement, historical modernism has kept more than architecture and design historians busy. In fact, in the last twenty years, it has become a focus of investment in its own right for a large number of artists from all walks of life. At the turn of the century, this phenomenon of references, evocations, displacements, reappropriations, distancing or celebrations took on such a magnitude that many exhibitions in Europe and North America addressed it. However, it was primarily reduced to a ruinist movement, full of nostalgia, which is not discerned by a careful study of the works. Without pretense of being exhaustive, our research has chosen to focus on the works. At the risk of being slightly myopic, where a global consciousness of the historical phenomenon treated might seem lost, we seek to analyze individual practices. The study of the various cases selected leads to different hypotheses and readings, which we hope are novel. If the common thread of all the analyzed works is to refer to modernism, to take it as object through one or other of its achievements, we will see that it is impossible to confer a unitary meaning on such tropism. The indispensable proximity to the works will thus make it possible to take not the exclusive but the plural measures of a phenomenon that will undoubtedly mark the artistic creation of the last decades, and continues to mark it.

Syftet med den här avhandlingen är att studera de roller bilder har i skapandet av dominerande föreställningar om en plats. Exemplen är hämtade från Visby, en stad med välkända medeltida lämningar på ön Gotland i Östersjön. Teoretiska verktyg kommer från kulturarvspolitik, som belyser kulturarv som konstruktioner med objekt värdeladdade av specifika aktörer i särskilda syften och från visuella kulturstudier som fokuserar hur vi betraktar vår omvärld. Bilder och berättelser skapar socialt konstruerade seenden och bortseenden. Dessa seenden, skapar i sin tur mindscapes tillsammans med upplevelser, drömmar, minnen, medierade budskap och ”före-bilder”. Det är Visbys mindscapes som fokuseras här. Med utgångspunkt i Visbys tio-i-topp-motiv diskuteras bilder hämtade från tre grupper av aktörer, kulturarvsbilder, konstbilder och turismbilder. Begrepp som autenticitet, tilltal och modus är viktiga i förståelsen av hur Visbys ikoner tillkommer bland annat genom upprepning av ett litet antal bildmotiv. Då medeltida lämningar och Visbys guldålder som Hansestad ofta ingår i människors mindscapes döljs och överskuggas andra tidsperioder, sociala kontexter och miljöer i Visby. Fotografier, målningar, teckningar, tryck och souvenirer är kraftfulla redskap i den processen. Detta resulterar i att 9/10 av Visby hamnar i skymundan genom stadens status som en medeltida ikon. Den historiska innerstaden har också fått anpassa sig efter föreställningarna om densamma. / This thesis deals with the roles pictures play when collective imaginations of a city are constructed. The examples comes from Visby, a city with famous medieval remains, on the island Gotland in the Baltic. Cultural heritage politics points out heritage as a mode of cultural production. Heritage is constructed when values are added to specific objects by specific actors for specific purposes. Visual cultural studies underline the practices of looking. We are always looking from specific positions. Images and narratives create socially constructed gazes. Gazes together with experiences, dreams, memories, mediated messages and “fore-sights” creates mindscapes. The urban mindscapes of Visby are at focus here. Starting in a Visby top-ten-image-list, images produced and frequently used within the three domains; heritage and tourist industries and the art world are discussed. The images characteristic marks are defined and discussed in terms of authenticity, emotive modes and ways of address. This study also deals with four socially emergent Visby icons and the consequences of the mono-thematic in Visby. When the medieval remains and Hanseatic traders are dominating people’s mindscapes, other periods, social contexts and Visby settings are hidden or overshadowed. The agency of display, a few repeated views in all sorts of media, produces gazes, ways of seeing and unseeing. Photographs, paintings, drawings, prints and souvenirs with Visby motifs are powerful tools in this process. The result is hierarchical orders hard to change. It has not only had the effect that 9/10 of the contemporary city of Visby is being shaded by its status as a medieval icon. The historical centre has also been adjusted in order to fit with the conceptions of the place.

This paper presents an investigation of sedimentary deposition, soil formation, and pedoturbation in the Animas River Valley to determine the provenience of archaeological deposits in an open field at Aztec Ruins National Monument, NM outside of the Greathouse complex. Four stratigraphic pedounits correlated with active fan deposition have been proposed for the lower terrace in the project area with only one of these units retaining strong potential for buried archaeological deposits from the Anasazi late Pueblo II/Pueblo III period. The distal fan on the lower terrace and the Animas River floodplain appear to show poor potential for archaeological deposits either due to shallow sediment overburden with historic disturbance or alluvial activity during or after occupation. Based on these findings, four other zones of similar fan development have been identified throughout the Animas Valley and are recommended for subsurface testing during future cultural resource investigations.

Mon sujet n’est pas la guerre qu’on pourrait imaginer représentée par des bombardements, la peur, la panique, la fuite ou le refuge mais plus précisément les traces matérielles et immatérielles de la guerre dans la ville et sur ses habitants. Ce mémoire ne traitera donc pas directement de guerre mais des effets de cette dernière, des traces qu’elle a laissées dans les corps et les esprits des citoyens de Beyrouth et sur le corps de la ville devenu monument de guerre. Cette figure de la guerre ne cesse d’apparaître dans le cinéma libanais en présentant Beyrouth en tant que ville témoin d’une violence continue. Pour examiner cette question des traces de la violence dans les corps, la ville, les relations interpersonnelles et la société, un corpus de trois films libanais a été choisi : Beyrouth fantôme, réalisé par Ghassan Salhab en 1999, Autour de la maison rose, réalisé par Khalil Joreige et Joana Hadjithomas en 1999 et Je veux voir, réalisé aussi par Khalil Joreige et Joana Hadjithomas en 2008. Ces films ne s’attardent pas à montrer la violence de la guerre, mais plutôt à penser la guerre au lieu de la raconter, à travers l’expérience corporelle, en plaçant le corps au milieu des ruines afin que le corps vive cette ruine, cette destruction et ce retour au point zéro, au point de son départ. Le corps pense cette guerre et lui survit. Les vies sont en suspens, dans ce que je nomme un « entre-deux »: un espace entre vie et mort, un présent écartelé entre un passé violent et un avenir non-envisageable, un espace de suspension, intermédiaire. Plusieurs thématiques retrouvées dans chacun des films seront abordées; la mémoire et l’oubli, la folie et la mélancolie des corps et de la ville, le corps martyrisé et l’autopunition, l’état de survie et de suspension ainsi que l’état mental collectif. Il me permettra également de nommer cet « entre-deux » apparent tout au long de ces oeuvres filmiques, qui se manifeste dans les allers-retours entre attachement et détachement, entre la disparition et la réapparition du corps, entre la construction et la destruction de la ville et dans l’espace chtonien ainsi créé. / My subject is the not the that war we could imagine represented by shelling, fear, panic, escape or refuge but more specifically the material and immaterial traces of war in the city and its inhabitants. This thesis does not therefore address directly the war but its effects, the traces left in the bodies and minds of the citizens of Beirut and on the body of the city that became war memorial. This figure of the war continues to appear in Lebanese cinema by presenting Beirut as a city that witnessed continuous violence. To examine these traces of violence in the body, the city, the relationships and society, a body of three Lebanese films was chosen: Beirut Phantom, directed by Ghassan Salhab in 1999, Around the Pink House, directed by Khalil Joreige and Joana Hadjithomas in 1999 and I want to see, directed by Khalil Joreige and Joana Hadjithomas in 2008. These films do not linger to show the violence of war, but rather to think the war, and that through bodily experience; placing the body in the ruins so that this body lives the ruins, the destruction and the return to the point of departure. The body thinks that war and survives it. Lives are in a pending stage in what I call an "in-between", a space between life and death, and a present torn between a violent past and a non-foreseeable future, a space of suspension intermediary. Several themes found in each of the films will be addressed; memory and oblivion, madness and melancholy of the body and the city, the martyred body and self punishment, the state of survival and suspension and the collective mental state. It will also allow me to name this "in-between" apparent throughout these cinematic works, manifested in the round trips between attachment and detachment between the disappearance and reappearance of the body, between construction and destruction the city and the chthonic space created.

Trümmerliteratur - literally “rubble-literature" - is a brand of literature that became important after the Second World War, led by Heinrich Böll, whom I term the apologist of German Trümmerliteratur. Typically included under this classification are the writers who began to produce in the years immediately following the war, and in whose work the rubble and ruins of the landscape figure prominently. Böll provided the programmatic framework for the movement in his “Bekenntnis zur Trümmerliteratur" but his relationship to another type of ruin writing presents a point of friction when he appears to be working in a romantic mode to describe his experience of Irish ruins. This problem was the point of departure for a new thinking of ruins. Discovering the strains of rubble literature in Grass and Celan presents the second part of this study, which dramatically recasts these writers, demanding that the presence and prevalence of ruin images and themes receive consideration. Grass's hermeneutical ruins, a reading of narrative gaps, presents the first level of ruin, separating the reader from the text's reliability and authorial immediacy. The next type of ruins that Grass presents is the violent ruinating involved in the the act of writing itself, whether chiseled into gravestones or flecking virginal paper. Similarly, Celan's images of ruins are produced in a form consciously resembling berubbled structures, with dashes and slashes often left jutting dangerously into the space of a wide margin, like the rusty reinforcing steel bars of modern construction. Considering these writers in these terms leads to the question of language and how they attempt to overcome the problem of a language manipulated into complicity in the crimes of totalitarianism. Finally, there is the transparency offered in the porous structure of the ruin. These houses prove incapable of providing the shelter or protection. The inhabitants are exposed, exhibited to the observer with all of the intimate contents of quotidian existence, the low objects of the everyday. Entrance into this interiority is a powerful part of what makes the ruins an interesting object for observation. In this literature of ruins and rubble the reader is offered this transparency, an offer of entrance into society's interiority.

Stefanie Gerke untersucht in der vorliegenden Dissertation die Frage, in welcher Weise sich Künstler*innen mit verfallender Architektur der 1960er und 1970er Jahre beschäftigen. Sie analysiert Fotografie-, Film- und Videoarbeiten seit 1990, die gezielt ikonografische Traditionen des Topos Ruine erweitern, aktualisieren und unter den Bedingungen ihres Mediums neu orientieren. War die Ruinenikonografie bislang durch die Ästhetik der Romantik sowie Georg Simmels geprägt, der den Reiz verfallender Bauten in der Rückeroberung durch die Natur sah, bestehen die modernen Ruinen aus industriellen, schwer vergänglichen Baustoffen und sind häufig die Folge menschlicher statt natürlicher Zerstörung. Die Analyse der Werke zeitgenössischer Künstler*innen, die sich maßgeblich mit dem Verfall von Nachkriegsbauten beschäftigt haben, führt in der Dissertation daher zu einer Aktualisierung der für den Ruinenbegriff prägenden ästhetischen Kategorien des Pittoresken und des Erhabenen für das 21. Jahrhundert. Einige der analysierten Arbeiten nutzen Nachkriegsarchitektur als zeitgemäßes Symbol der Vergänglichkeit und widmen sich in pittoresker Tradition vor allem Wahrnehmungsfragen, um die Konstruktionsmechanismen ihrer eigenen Medien zu reflektieren, wie etwa die 16-mm-Filme Tacita Deans (*1965), die Polaroid-Serie Cyprien Gaillards (*1980) und die Fotomontagen Beate Gütschows (*1970). Andere Künstler gewinnen den radikalen Bildern abgerissener oder dem Abbruch geweihter, gescheiterter Nachkriegsarchitektur und den damit einhergehenden sozialen Folgen eine ästhetische Komponente ab, die in der Tradition des Erhabenen Lust und Schrecken miteinander verbindet, wie etwa Julian Rosefeldt (*1965), Clemens von Wedemeyer (*1974) und Tobias Zielony (*1973). Die Dissertation verortet sich nicht nur innerhalb der Diskussion um das Erbe der Nachkriegsmoderne, sondern steckt systematisch ein Feld ab, in dem sich zeitgenössische Kunst momentan bewegt. / In this dissertation, Stefanie Gerke investigates the question of how artists deal with decaying architecture of the 1960s and 1970s. She analyzes photographic, film, and video works since 1990 that specifically expand the iconographic tradition of the ruin, update it, and rearticulate it within the specific conditions of new media. While the iconography of ruins was previously influenced by the aesthetics of Romanticism as well as Georg Simmel, who saw the appeal of decaying buildings in their reconquest by nature, modern ruins are made of industrial building materials that are difficult to decompose and are often the result of human rather than natural destruction. In the dissertation, the analysis of the works of contemporary artists who are dealing with the decay of post-war buildings therefore leads to an update of two aesthetic categories that characterize the concept of ruins, for the 21st century: the picturesque and the sublime. Some of the works analyzed use postwar architecture as a contemporary symbol of transience and, in the picturesque tradition, devote themselves primarily to questions of perception in order to reflect on the construction mechanisms of their own media, such as Tacita Dean's (*1965) 16mm films, Cyprien Gaillard's (*1980) Polaroid series, and Beate Gütschow's (*1970) photomontages. Other artists extract an aesthetic component from the radical images of demolished or condemned, failed postwar architecture and the accompanying social consequences, which combines pleasure and horror in the tradition of the sublime, such as Julian Rosefeldt and Piero Steinle (*1965/1959), Clemens von Wedemeyer (*1974), and Tobias Zielony (*1973). The dissertation not only locates itself within the discussion about the legacy of postwar architecture, but also systematically delineates a field in which contemporary art is currently active.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

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