Memoria para optar al Título Profesional de Periodista / El autor no autoriza el acceso a texto completo de su documento / Internacionalmente la iniciativa de toma de conciencia de los valores patrimoniales surge en forma posterior a la Segunda Guerra Mundial (1939-1945). Dentro de esto se puede considerar como un primer paso, la creación de la Organización de Naciones Unidas ONU (1945), que traería consigo a la Organización de las Naciones Unidas para la Educación, la Ciencia y la Cultura UNESCO (1945). Aunque ambos organismos abogarían principalmente por la contribución a la paz mundial, es tras su conformación que el tema patrimonial se pone en tabla, y comienza a adquirir importancia. El clima de destrucción post guerra había dejado al hombre frente a una realidad devastadora. En esta situación, muchos pueblos optaron por buscar refugio en sus raíces, apelando a su propia esencia e identidad. La tregua bélica facilitaría este proceso, y varias naciones comenzaron a apostar por una política de rescate del pasado y re-identificación social y cultural. Sin embargo, es recién en 1965 que emana un avance significativo en la materia, con la creación del Consejo Internacional de Monumentos y Sitios. Posterior a esto, en 1972 todos los países adherentes de la UNESCO aprueban la "Convención sobre la Protección del Patrimonio Mundial Cultural y Natural", hoy base de la actual disposición de salvaguarda del Patrimonio Mundial. En Chile la iniciativa de proteger los bienes patrimoniales bajo amparo estatal se remonta a 1925, fecha en que mediante dos débiles decretos (Nº 3.500 y Nº 651) se crea el Consejo de Monumentos Nacionales. Con los años la institución se vio desprovista de un marco legal acorde, por lo que en 1970 se promulga la Ley Nº17.288 de Monumentos Nacionales. Aunque esta ley significaba un avance, no sería hasta mediados de la década de los 90' que el tema adquiriría mayor trascendencia y seriedad, con la creación de una secretaría ejecutiva del Consejo, que luego pasaría a formar parte del Consejo Nacional para la Cultura y las Artes. Entendemos el patrimonio como el legado de nuestros antepasados que perdura y evoluciona con la sociedad, este es de alguna forma “historia viva”. Así, la primera motivación que tuvimos para escribir esta memoria, fue el interés por ahondar en los testimonios de un pueblo que pese a contar con el título de Patrimonio Mundial de la Humanidad, creíamos abandonado, de una historia quizás caduca para nuestros ojos en ese entonces. Como cualquier proyecto que indagara en la historia de un lugar, fue necesario establecer con precisión el contexto histórico, social y cultural en el que este se enmarcó. Sin embargo, la semblanza a la que apuntábamos buscaba trascender el mero recuento histórico. Profundizando sobre esta idea, nos encontramos con la particular visión de Pierre Nora, filósofo y académico francés, quien postula un importante punto de vista sobre conceptos que veníamos trabajando "No hay que confundir memoria con historia […] La memoria es el recuerdo de un pasado vivido o imaginado. Por esa razón, la memoria siempre es portada por grupos de seres vivos que experimentaron los hechos o creen haberlo hecho. La memoria, por naturaleza, es afectiva, emotiva, abierta a todas las transformaciones, inconsciente de sus sucesivas transformaciones, vulnerable a toda manipulación, susceptible de permanecer latente durante largos períodos y de bruscos despertares. La memoria es siempre un fenómeno colectivo, aunque sea psicológicamente vivida como individual […] Por el contrario, la historia es una construcción siempre problemática e incompleta de aquello que ha dejado de existir, pero que dejó rastros. A partir de esos rastros, controlados, entrecruzados, comparados, el historiador trata de reconstituir lo que pudo pasar y, sobre todo, integrar esos hechos en un conjunto explicativo. La memoria depende en gran parte de lo mágico y sólo acepta las informaciones que le convienen. La historia, por el contrario, es una operación puramente intelectual, laica, que exige un análisis y un discurso críticos." Este alcance sobre memoria e historia recoge justamente la perspectiva que creímos necesaria para la elaboración del trabajo. Es en la adecuada mezcla de ambos conceptos que encontramos una oportunidad para desarrollar este documento en la forma que esperábamos. El modo de vida practicado en Sewell sería hoy irreproducible, sin embargo existen reminiscencias tan profundas y significativas en su naturaleza que le permiten a esta comunidad seguir trascendiendo a nivel cultural, a pesar de ser ya sólo el recuerdo de un pasado deslumbrante. Los testimonios de sus protagonistas, enlazados adecuadamente con la perspectiva histórica, devienen en el documento que presentamos a continuación.

El objetivo general de la tesis es demostrar que el patrimonio inmaterial del Campamento Sewell representa parte importante de su valor como bien patrimonial.

Thesis (D. Min.)--Harding Graduate School of Religion, 1980. / Includes bibliographical references (leaves 121-133).

Published in November 1877, Black Beauty is one of the most popular and enduring works of the nineteenth and twentieth centuries. The book, in which the eponymous narrator relates his life's story, sold well following its publication in England and in the United States; by 1985, sales were estimated at over forty million. While usually regarded as entertaining, Black Beauty has a strong crusading purpose: Anna Sewell herself said she wrote to improve the treatment of horses. This study springs from an intuitive notion. While reading the 1845 Narrative of the Life of Frederick Douglass, I could not shake a "curiously different sense of familiarity" that took me home to my well-worn copy of Black Beauty. The more I explored a relationship between Douglass's Narrative and Black Beauty, the more apparent it became that these two works were interrelated in ways that had yet to be explored in critical literature. Although comparisons between animals and slaves have long been made-slaves themselves recognized and used such comparisons-the relationship between animal autobiography and the slave narrative has only recently been recognized. In 1994 Moira Ferguson sketched several commonalities between the two genres. In 2003 Tess Cosslett made an explicit-if brief-comparison of the animal autobiography and the slave narrative, a comparison developed in depth in her 2006 study Talking Animals in British Children's Literature 1786-1914. This thesis investigates that relationship further. It begins by briefly reviewing generic criticism, moves to a consideration of the various genres into which critics have placed Black Beauty, and then examines the text as a slave narrative, focusing upon James Olney's 1985 discussion of the conventions of the slave narrative. Finally, it considers Elizabeth W. Bruss's study of autobiographical acts as a literary genre for additional areas that establish my original "sense of familiarity." In short, this thesis confirms Black Beauty's rhetorical, formal, thematic, and social power within the genre of the American antebellum slave narrative.

Informe de Seminario para optar al grado de Licenciado en Historia

The purpose of this study is to give a deeper understanding of Anna Sewell’s argumentation for a changed view on animals in her book Black Beauty and Sewell’s contribution to the animal welfare debate. The questions addressed in the study is: What arguments does Sewell present for a changed view on animals? What contemporary assumptions does Sewell challenge? Against what contemporary assumptions does her argument become effective? To answer these questions the material that are examined is Sewell’s book Black Beauty: His Grooms and Companions, the Autobiography of a Horse (1877), first published in England. The theoretical perspective is that the book’s influence on the debate only is effective through two factors which is Sewell’s argumentation and the contemporary conditions that affected her way of arguing. These two factors become effective through interaction. The method used is a rhetorical analysis because it takes hold on text and context. Prior research has found through their perspective that the horses in Sewell’s book represent humans. But this study argues that the horses in Sewell’s book represent horses and that the book argues for a change in the way human’s attitude towards animals. The analysis in this study shows that Sewell’s argumentation can be divided into four categories of the contemporary ethics and context’s: Christianity, socialism, critique off fashion and machine. The conclusion drawn from the study is that Sewells arguments for a changed view on animals is based on these four categories where she must argue with and against them.

This thesis explores the languages of Native policy in New Zealand’s General Assembly from 1858 to 1862. It argues, aligning with the scholarship of Peter Mandler and Duncan Bell, that a stadial discourse, which understood history as a progression from savage or barbarian states to those of civility, was the main paradigm in this period. Other discourses have received attention in New Zealand historiography, namely Locke and Vattel’s labour theory of land and Wakefield’s theory of systematic colonization; but some traditions have not been closely examined, including mid-Victorian Saxonism, the Burkean common law tradition, and the French discourse concerning national character. This thesis seeks to delineate these intellectual contexts that were both European and British, with reference to Imperial and colonial contexts. The thesis comprises a close reading of parliamentary addresses by C. W. Richmond, J. E. FitzGerald and Henry Sewell.

This thesis explores the languages of Native policy in New Zealand’s General Assembly from 1858 to 1862. It argues, aligning with the scholarship of Peter Mandler and Duncan Bell, that a stadial discourse, which understood history as a progression from savage or barbarian states to those of civility, was the main paradigm in this period. Other discourses have received attention in New Zealand historiography, namely Locke and Vattel’s labour theory of land and Wakefield’s theory of systematic colonization; but some traditions have not been closely examined, including mid-Victorian Saxonism, the Burkean common law tradition, and the French discourse concerning national character. This thesis seeks to delineate these intellectual contexts that were both European and British, with reference to Imperial and colonial contexts. The thesis comprises a close reading of parliamentary addresses by C. W. Richmond, J. E. FitzGerald and Henry Sewell.

The horse-book is a literary genre which is considered very popular among young girls. Black Beauty (1877) by Anna Sewell is the very first horse-book and was therefore what started the genre. It is highly different from the horse-books of today which is what this paper looks at to see how the genre has evolved. This is done by comparing Sewell’s novel to Britta och Silver (1966) by Lisbeth Pahnke and Alla älskar Sigge (2004) by Lin Hallberg. This is done by looking at how these novels are alike and different from one another with connection to the horse and the human. And how it differs when the horse is the narrator as compared to when the human takes the narrating role. In Black Beauty the horse is telling its life story and how humans treat the horse as some of the people in the novel are cruel towards horses. Many of the dangerous moments are caused by the humans being mean towards the horse. Whereas in the other books it is pure accident, the danger also mildens. In Britta och Silver there are mainly riding accidents but also a death incident where a horse dies. In Alla älskar Sigge the most dangerous thing that happens is that a pony gets so sick that it must go to the hospital where it is cured. These dangers getting milder is connected to how the genre is targeted towards a younger audience nowadays. In all three books there is also a clear boy-girl relationship between horse and human. The narrative makes how the human girl views the male horse sound like a description of a love interest. This makes the genre heteronormative. And with the narrative switching from the horse to the human there is also shown more of the human’s relations to one another and rivalry in the stable.

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