Littérature scientifique sur le sujet « Forgotten archive »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Sommaire
Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Forgotten archive ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Articles de revues sur le sujet "Forgotten archive"
1
Op den Kamp, Claudy. « Too Good To Be Forgotten ». International Association of Sound and Audiovisual Archives (IASA) Journal, no 46 (28 août 2017) : 33–41. http://dx.doi.org/10.35320/ij.v0i46.6.
Texte intégralRésumé :
Film archives own, or hold on deposit, many physical works of film, whereas the copyright holder to these might be someone quite different. The colourisation debate of the late 1980s in the US and Als twee druppels water (The Spitting Image, NL 1963, Fons Rademakers), an embargoed film in a public-sector archive, are both examples of this copyright dichotomy between material and intellectual property. The examples expose the archive as a vulnerable place. On the one hand, the archive cannot guarantee a fixed and stable environment for cinematic memories. On the other hand, an inhibited visibility of important works of film that are arguably crucial to an understanding of the history of film is the result if a film archive cannot provide access to its holdings. The examples provide new insights into the wider cultural implications of the intellectual property (IP) system. They demonstrate how IP underpins understandings of public accessibility to (a limited range of) primary source material and their subsequent potential for history making.
2
Roberts, Paul. « Archive of the Forgotten ». Afterimage 38, no 5 (1 mars 2011) : 5–7. http://dx.doi.org/10.1525/aft.2011.38.5.5.
Texte intégral
3
Mallan, Kerry, Amy Cross et Cherie Allan. « A Token to the Future : A Digital ‘Archive’ of Early Australian Children’s Literature ». Papers : Explorations into Children's Literature 22, no 1 (1 janvier 2012) : 94–108. http://dx.doi.org/10.21153/pecl2012vol22no1art1127.
Texte intégralRésumé :
The archive has always been a pledge, and like every pledge [gage], a token of the future. To put it more trivially: what is no longer archived in the same way is no longer lived in the same way. Archivable meaning is also and in advance codetermined by the structure that archives. It begins with the printer. (Derrida 1995, p.18) As Derrida notes the printer is the originary source that enables the production of an archive whether it is a rare or special book collection, or a digital archive. The scope and purpose of any archive or special collection vary according to institutional or personal reasons, and budget. In his article, ‘The Child, the Scholar, and the Children’s Literature Archive’ (2011), Kenneth Kidd writes that ‘like the canon, the archive promises coherence and totality, reinforces the idea of a literary heritage... For scholars, the archive is primarily a site for research’ (p.2). Kidd is quite right to imply that what an archive promises may not be achievable. An archive is always incomplete, never a totality. It also offers a partial account of a literary heritage; it can never offer the complete picture as history is always marked by silences and absences, and the literature of any country is similarly never fully accounted. Previously unknown writers of the past and forgotten stories continually emerge as historians and literary scholars undertake their own specialised archaeological digs as these texts ‘burrow into the past’ separating readers from them at an astonishing rate (Derrida, 1995, p.18).
4
De Paiva, Rita de Cássia Marinho, et Sonia Torres. « Mal de Arquivo em Linden Hills ». Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no 1 (1 février 2019) : 125–44. http://dx.doi.org/10.5007/2175-8026.2019v72n1p125.
Texte intégralRésumé :
In this article we examine Gloria Naylor’s novel Linden Hills, articulating the concepts of the neoarchive and the neo-slave narrative with the notion of archive as proposed by Derrida (2001) and developed by other authors (Osborne,1999; Bradley,1999; Johnson, 2014) with whom we seek to dialogue in this space. Linden Hills’s counterdiscursive narrative revisits the past by excavating the palimpsest of forgotten memories, once unidentified or not compiled, thus establishing its relationship to the neo-slave narrative. We argue that the link between the neo-slave narrative and the archive is both concrete and productive, given that it foregrounds non-sanctioned archives as counternarratives to the historical archive (mainly, but not exclusively, that of slavery), through the articulation of history and both personal and collective memory – calling to question, in this way, colonizing documented history and its official guardians.
5
Forster, Nicholas. « Unsettling the Archive ». Film Quarterly 69, no 1 (2015) : 64–71. http://dx.doi.org/10.1525/fq.2015.69.1.64.
Texte intégralRésumé :
This review essay examines the Film Society at Lincoln Center’s program Tell It Like It Is: Black Independents in New York, 1968–1986. Incorporating both television programs and cinematic (un)releases, Tell It Like It Is manages to highlight an often diminished or forgotten era in black image-making while also revealing a unique moment in television history. The double bind at the heart of such a program is the question of how to recognize and engage the wealth of material produced over the course of twenty years while still crafting a coherent series. By foregrounding testimonies from the past and standing as a testament to the failures of the present, this series challenges a film history that has repeatedly blotted out the work of black filmmakers.
6
Sidorenko, Ewa. « Remembering the War : An Autoethnography of Survival ». Qualitative Inquiry 28, no 3-4 (8 janvier 2022) : 365–77. http://dx.doi.org/10.1177/10778004211066881.
Texte intégralRésumé :
This is an autoethnography of World War II (WW2) survival and trauma based on a recovered family archive and a reflexive engagement with my own childhood memories. Driven by subjective imperatives to bear witness to forgotten war experiences, and to explore family mental health problems, I delve into not just personal memories but forgotten voices found in the archive whose stories have never been told thus offering a perspective of multiple subjects. My grandmother’s witness testimony of concentration camp survival recorded in 1946 compels me to research and reflect on life in the state of exception and the long-term and intergenerational impact on survivors. This autoethnographic work helps me examine the character of survival of war trauma as a form of exclusion from community and often an incomplete return from bare life to polis. Through engaging with the archive, I find some partial answers to questions about my family members, and reconstruct my family memory narrative.
7
Rutherford, Leonie. « Forgotten Histories : Ephemeral Culture for Children and the Digital Archive ». Media International Australia 150, no 1 (février 2014) : 66–71. http://dx.doi.org/10.1177/1329878x1415000115.
Texte intégralRésumé :
The history of children's popular culture in Australia is still to be written. This article examines Australian print publication for children from the mid-nineteenth to the early twentieth centuries, together with radio and children's television programming from the 1950s to the 1970s. It presents new scholarship on the history of children's magazines and newspapers, sourced from digital archives such as Trove, and documents new sources for early works by Australian children's writers. The discussion covers early television production for children, mobilising digital resources that have hitherto not informed scholarship in the field.
8
Ness, Caroline, et Mary M. Brooks. « Rediscovering Mattli : A Forgotten 1950s London Couturier ». Costume 45, no 1 (1 mars 2011) : 85–100. http://dx.doi.org/10.1179/174963011x12978768537654.
Texte intégralRésumé :
Based on the author’s research for her MA, supervised by Mary M. Brooks, this article examines the history of the little-documented but once famous London couturier, Mattli (1903/1904–1982). An argument is made for a re-evaluation of the importance of Mattli’s contribution to the post-war British fashion and textile industry which has so far been overlooked in the histories of fashion. Research is focused upon a wide range of sources, including a collection of press books from the Mattli archive at the Fashion Museum, Bath, and extant clothing in British collections.
9
Almond, Kevin, et Caroline Riches. « Gerald McCann : The Rediscovery of a Fashion Designer ». Costume 52, no 1 (mars 2018) : 97–122. http://dx.doi.org/10.3366/cost.2018.0049.
Texte intégralRésumé :
This article was prompted by the discovery of the archive of international fashion designer Gerald McCann, hidden in a garage in Fleetwood, Lancashire, UK. The contents of the archive revealed a treasure trove of press cuttings, photographs, fashion drawings and interviews as well as designs and costings from a once well-known designer, whose significance to the global fashion industry is sparsely documented and largely forgotten. The article reveals the history of the designer, who graduated from the Royal College of Art in London in the 1950s, during the tenure of Professor Madge Garland, and forged a career at the heart of ‘Swinging London’ in the 1960s. He was lured to the USA in the 1970s, returning to the UK in the 1990s as a designer for House of Fraser and Harrods. The research offers the first significant assessment of McCann's position in global fashion and the value and relevance of his legacy, as well as exploring the rationale for documenting the history of forgotten fashion designers.
10
Niculescu, Oana, Maria Marin et Daniela Răuţu. « Rediscovering past narrations : The oral history of the Romanian language preserved in the National Phonogram Archive ». Bucharest Working Papers in Linguistics 22, no 1 (2020) : 49–60. http://dx.doi.org/10.31178/bwpl.22.1.3.
Texte intégralRésumé :
In this paper we aim to deliver a key message related to the safeguarding of the Romanian National Phonogram Archive (AFLR). The data gathered within the Archive (the richest, most inclusive and diversified collection of dialectal texts and ethno-linguistic recordings in Romania) are of immeasurable documentary value. Through the digitization and preservation of AFLR we can gain access to both individual and collective memories, aiding to a better understanding of our cultural heritage on the one hand, and, on the other hand, restoring missing or forgotten pieces of Europe’s oral history.
Thèses sur le sujet "Forgotten archive"
1
Craveiro, Joanna. « A live/living museum of small, forgotten and unwanted memories : performing narratives, testimonies and archives of the Portuguese Dictatorship and Revolution ». Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/a-liveliving-museum-of-small-forgotten-and-unwanted-memories(f671342c-cb8d-4696-9340-b3644a601cde).html.
Texte intégralRésumé :
This practice-as-research thesis investigates and contributes to the transmission of official, non-official and personal memories of the Portuguese Dictatorship (1926-1974), Revolution (25th April 1974) and Revolutionary Process (1974-1975) – three key historical moments, memories of which are still subject to contestation. My research addresses these disputes, part of the overall “memory struggles” (Jelin, 2003) concerning the public politics of memory in Portugal, together with the lack of inscription of those memories in the public space. Moreover, in what I argue to be the absence of an official process of transitional justice and the lack of reparation for victims of state repression during the dictatorship, – I interrogate not only state policies over the last 40 years, but also the personal responsibility of the individuals in the preservation and transmission of memory. A Living Museum of Small, Forgotten and Unwanted Memories, presents a series of seven performance-lectures on aspects of the three historical moments, as évenements “…shaped from conflicting imaginations at once past and present” (de Certeau, 1988 xv). My employment of different performance devices within the performancelecture mode intersects the “archive” and the “repertoire” (Taylor, 2001) in the transmission of memory, demonstrating that, rather than disappearing, performancecan remain (Schneider, 2011) in various ways, as when written materials originally pertaining to the “archive” are performed and thus become “repertoire”, and through the effect of the performance on spectators and their memories of the events portrayed. Using autobiography and oral testimonies, I accessed the meaning of the events for these individuals, myself and my family, creating a set of personal histories with which I challenge some of the dominant master narratives, disseminated through privileged channels, such as the media and political discourses. As such, the performance A Living Museum became a space to disseminate an alternative history, altering the perception of these events in the public space. It also became a space of live interaction between past events and their present representation, through post-performance debates staged every night, whereby spectators and some of the interviewees could voice their opinions, as well as their own personal memories. The performance thus encouraged emancipated spectatorship (Rancière, 2009), offering an active practice of reconciliation for individuals with traumatic features of their past, namely state repression and the Colonial War during the dictatorship; the return from the Portuguese ex-colonies during the revolutionary process; and the lost utopias of an “impossible” revolution (the revolutionary process of 1974-75), today perceived through negative narratives of excess and exoticism.
2
Bohannon, Jeanne Law. « "Here in the To-Day, Forgotten in the To-Morrow:" Re-covering and Re-membering the Feminist Rhetorics of 19-Century Actress and Author Adah Menken ». Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/96.
Texte intégralRésumé :
This dissertation project, which recovers the feminist invention of 19th-century actress and author Adah Menken, proves the efficacy of conducting historigraphic recoveries of heretofore forgotten and elided female rhetors. I situate Adah’s visual and written performances within the materiality of Victorian social codes, positioning her as a feminist commentator worthy of inclusion in our remembrances of feminist discourses. I use archival sources including carte de visites (CDVs) and Adah’s letters and poetry as heuristics for gendered critique, to analyze how she resisted the master narrative of Victorian society and its accompanying codes governing public and private feminine behavior. My objectives are three-fold: to use archival recovery as a method to unearth and evaluate what feminist inquiry can accomplish; to argue for the feminist intentions of a previously unknown female writer; and to offer an opportunity to discover cross-disciplinary connections for rhetorical recoveries. Feminist inquiry is itself an exemplar of rhetorical invention, the idea of making a path. In my dissertation project, I illustrate how Adah Menken blazed a path in her personal and public rhetorics. For my principal goal of asserting Adah’s importance as a feminist rhetor, I use primary sources to demonstrate that her invention and resistance provide fertile ground for vital feminist inquiry. As a secondary means of asserting the significance of archival feminist research, I also offer my Adah Menken recovery as a case study for examining ideas of resistance and subversion to dominant master narratives. For this application, I use Judith Butler’s theory of performativity and Michel Foucault’s ideas surrounding the topic of resistance. Ultimately, the convergence of theoretical and practical applications for rhetorical recoveries, both of which I describe in-depth in my dissertation, serve to re-connect fields of inquiry and make them relevant to scholars across the Academe.
3
VALDINOCI, FRANCESCA. « I RIFIUTI NELLE ARTI E NELLA LETTERATURA CONTROARCHIVIO E MEMORIA DELL'UMANO ». Doctoral thesis, 2018. http://hdl.handle.net/2158/1159213.
Texte intégralRésumé :
Les déchets, une image polysémique
Ce travail se propose d'explorer, dans les domaines de la littérature et des arts visuels, un territoire souvent délaissé: celui des objets écartés en raison de leur insignifiance, ou éloignés du fait de leur danger, ou bien abandonnés parce que liés à la décomposition et à la mort, ou encore repoussés parce que malodorants, vieux et inutiles. Littérature et arts contemporains se focalisent sur les déchets, alors que les sociétés contemporaines, qui multiplient les produits de faible durée, essaient d'occulter ses ordures. Puisque les objets écartés prolifèrent de manière anarchique dans les économies du capitalisme tardif, la culture du XXe siècle, marquée par une abondance de rejets, écarts et ordures, se caractérise par la récurrence du phénomène de la réutilisation et du recyclage. Le objets artistiques sont souvent constitués par fragments et traces d'une totalité désormais perdue, alors que les œuvres littéraires thématisant les déchets deviennent de plus en plus nombreuses. Les objets écartés et de-fonctionnalisés représentent le revers des mythes d'efficacité, croissance et productivité, que les artistes veulent remettre en question.
Les déchets peuvent repousser ainsi qu'attirer, ils suscitent des réactions contrastés: dégoût pour des restes à éliminer le plus rapidement possible, mais également pitié puisqu'ils sont aussi les vestiges mémoriaux d'une totalité irrémédiablement perdue, ou encore inquiétude face au signe visible du passage du temps, et nostalgie et fascination crépusculaire liées au sentiment du sublime postmoderne. La société contemporaine semble parfois trouver dans l’exhibition de ses déchets une paradoxale forme de rédemption. À partir des ordures il est possible, en effet, de construire quelque chose de complètement nouveau et d'envisager un ordre différent, comme l'illustrent les œuvres réalisés par des artistes-chiffonniers comme Joseph Cornell. À ce propos Charles Simic théorise une esthétique onnicompréhensive, en trouvant son matériel de travail pendant l'exploration urbaine: «Il modernismo in arte e in letteratura ha dato all'individuo una libertà senza precedenti d'inventarsi un suo mondo a partire dai frammenti di quello già esistente. Ha abolito le gerarchie della bellezza e ha consentito il combinarsi degli stili e l'aprirsi dell'esperienza quotidiana» . Jean Dubuffet aussi n'hésite pas à chercher les matériaux pour ses œuvres parmi les écarts parce qu'il vise à souligner la valeur esthétique des déchet: «J'usais de balayures recueillies [..], riches en bouts de fils et menus débris mêlés de poussière [...] Certains éléments végétaux empruntés aux légumes et que j'allais le matin chercher aux Halles dans le tas d'immondices me furent parfois de bon profit» . Les écarts deviennent porteurs d'une nouvelle dignité artistique, comme le soutient Dubuffet-même à maintes reprises: «...pour l'artiste, il n'y a pas de détritus qui tienne. La réalité tout entière se vaut» . L’œuvre d'art doit être, donc, «pleine des odeurs» du réel vécu.
Livres sur le sujet "Forgotten archive"
1
Smart, Sue. When heroes die : A forgotten archive reveals the last days of the schoolfriends who died for Britain. Derby : Breedon, 2001.
Trouver le texte intégral
2
Praze, Státní ústřední archiv v. Nothing and nobody should be forgotten : On the anniversary of the Central Archives of the Czech State, 1954-2004. Prague : Central State Archives in Prague, 2004.
Trouver le texte intégral
3
Polli, Nicolas. Ferox : The forgotten archives, 1976-2010. [Jesi] : Skinnerboox, 2018.
Trouver le texte intégral
4
Bibliothèque et Archives nationales du Québec. Safely stored but not forgotten : A guide to conserving your personal and family documents. Montréal : Bibliothèque et Archives nationales du Québec, 2008.
Trouver le texte intégral
5
The forgotten scholar : Georg Zoëga (1755-1809) : at the dawn of Egyptology and Coptic studies. Leiden : Brill, 2015.
Trouver le texte intégral
6
Dekker, Henk-Jan. Cycling Pathways. NL Amsterdam : Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728478.
Texte intégralRésumé :
In an effort to fight climate change, many cities try to boost their cycling levels. They often look towards the Dutch for guidance. However, historians have only begun to uncover how and why the Netherlands became the premier cycling country of the world. Why were Dutch cyclists so successful in their fight for a place on the road? Cycling Pathways: The Politics and Governance of Dutch Cycling Infrastructure, 1920-2020 explores the long political struggle that culminated in today’s high cycling levels. Delving into the archives, it uncovers the important role of social movements and shows in detail how these interacted with national, provincial, and urban engineers and policymakers to govern the distribution of road space and construction of cycling infrastructure. It discusses a wide range of topics, ranging from activists to engineering committees, from urban commuters to recreational cyclists and from the early 1900s to today in order to uncover the long and all-but-forgotten history of Dutch cycling governance.
7
Magdalen College (University of Oxford), dir. The Church Militant : Interpreting a satirical cartoon : being a disquisition on the iconography of a cartoon dealing with the Hampden controversy of 1836 in Oxford & the unravelling of a forgotten riddle in the archives of Magdalen College Oxford. Oxford : Magdalen College, 2013.
Trouver le texte intégral
8
Archive of the Forgotten. Titan Books Limited, 2021.
Trouver le texte intégral
9
The Archive of the Forgotten. Ace, 2020.
Trouver le texte intégral
10
Hupaniittu, Outi, et Ulla-Maija Peltonen, dir. Arkistot ja kulttuuriperintö. SKS Finnish Literature Society, 2021. http://dx.doi.org/10.21435/tl.268.
Texte intégralRésumé :
Archives and the Cultural Heritage The edited volume Archives and the Cultural Heritage focuses on archives as institutions and to their tense relationship with archives as material. These dynamics are discussed in respect of the past, the present, and the future. The focus lies in the mechanisms the Finnish archive institutions have utilised when taking part in forming the cultural heritage and in debating the importance of the private archives in society. Within social sciences and history from the early 1990s onwards, the effects of globalisation have been seen as a new focal point for research. Momentarily, the archives saw the same paradigm shift as the focus of the archival studies proceeded from state to society. This brought forth the notion that the values of society are reflected in the acquisition of archival material. This archival turn draws attention to the archives as entities formed by cultural practices. The volume discusses cultural heritage within Finnish archives with diverse perspectives and from various time periods. The key concepts are cultural heritage and archives – both as institution and as material. Articles review the formation of archival collections spanning from the 19th to the 21st century and highlight that the archives have never been neutral or objective actors; rather, they have always been an active process of remembering and forgetting, a matter of inclusion and exclusion. The focus is on private archives and on the choices that guided the creation of the archives and the cultural perceptions and power structures associated with them. Although private archives have considerable social and research value, and although their material complements the picture of society provided by documentary data produced by public administrations, they have only risen to the theoretical discussions in the 21st century. The authors consider what has happened before the material ends up in the archive, what happens in the archive and what can be deduced from this. It shows how archival solutions manifest themselves, how they have influenced research and how they still affect it. One of the key questions is whose past has been preserved and whose is deemed worthy of preservation. Under what conditions have the permanently preserved documents been selected and how can they be accessed? In addition, the volume pays attention to whose documents have been ignored or forgotten, as well as to the networks and power of the individuals within the archival institution and to the politics of memory. The Archives and the Cultural Heritage is an opening to a discussion on the mechanisms, practices and goals of Finnish archival activities. It challenges archival organisations to reflect on their own operating models and to make visible their own conscious or unconscious choices. It raises awareness of the formation of the Finnish documentary cultural heritage, produces new information about private archives and participates in the scientific debate on the changing significance of archives in society. The volume is related to the Academy of Finland research project “Making and Interpreting National Pasts – Role of Finnish Archives as Networks of Power and Sites of Memory” (no 25257, 2011–2014/2019), University of Turku. Project partners Finnish Literature Society (SKS) and Society of Swedish Literature in Finland (SLS).
Chapitres de livres sur le sujet "Forgotten archive"
1
Jackson, Kimberly. « Memory, Pregnancy, and Technological Archive in Dark Water and The Forgotten ». Dans Technology, Monstrosity, and Reproduction in Twenty-First Century Horror, 85–109. New York : Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137360267_5.
Texte intégral
2
Čtvrtník, Mikuláš. « The Right to (Not) Be Forgotten, Right to Know, and Model of Four Categories of the Right to Be Forgotten ». Dans Archives and Records, 111–37. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-18667-7_5.
Texte intégralRésumé :
AbstractBoth at the level of the most basic civil and democratic rights declared at the constitutional level and specifically in the field of archiving, there has long been a fundamental tension between two principles: On the one hand, it is the right to the protection of personality, privacy, and the private sphere, specifically expressed also in the form of the right to protection of personal data and restriction of their disclosure. On the other hand, there is the right of access to information, freedom of inquiry, and similar rights, which can be summarised under the common denominator of the right to know. This dichotomy, in a specific and in a way analogous sense, is also at the level of the relationship between the right to be forgotten and, conversely, the right to be remembered and not forgotten.Encounters and, in many cases, clashes between these two principles on both levels of meaning have changed in recent years and have intensified, including in court decisions. What implications does it have for archiving, for the creation and preservation of collective memory in society, and for the relationship to one’s own history? What are the implications of the current development of the legal order for the archival sector, within the European Union, especially in connection with the adoption of the General Data Protection Regulation (GDPR), specifically at the level of the application of the right to be forgotten as one of the new rights of the European citizen, which, however, has much deeper and older roots than the existence of the GDPR? How does the newly established right to be forgotten manifest in the field of archiving? What impacts and potential risks can be expected when applying this newly formed right of (not only) the European citizen to archival practice? This chapter will seek answers to the above questions. The chapter will include the presentation of the author’s concept of a model of the four categories of the right to be forgotten, applicable mainly in the field of records management and archiving, but also in a wide range of scientific disciplines.
3
Čtvrtník, Mikuláš. « Personality Rights, Privacy, and Post-mortem Privacy Protection in Archives : International Comparison, Germany and “Protection of Legitimate Interests” ». Dans Archives and Records, 19–53. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-18667-7_2.
Texte intégralRésumé :
AbstractThis chapter together with Chaps. 3 and 4, will address the protection of personality rights in archives in the broader context of the issue of access to archival records, and in some respects also on the general level of the protection of information not only of personal nature. In doing so, it will focus on several selected specific situations, models, or special procedural settings that can be encountered in the archival systems of some countries, namely the United Kingdom, Germany, and France, and it will also touch on the situation in the USA and some other countries that may also serve as inspirational moments that could potentially be used in other archival systems. Special attention will be paid to post-mortem protection of personality and privacy. This chapter will introduce several illustrative examples from some countries and show how archival legislation can complement the scope of law regulating the field of post-mortem privacy protection. The chapter will focus on introductory general international comparison, the case law of the European Court of Human Rights regarding the archival sector and its relation to the protection of personal data and personal information of living persons, the right to be forgotten together with the freedom of expression, right to access to information and will conclude with an analysis of the specific situation in Germany.
4
Coelen, Marcus. « An Eclipse of the Screen ». Dans De/Constituting Wholes, 215–37. Vienna : Turia + Kant, 2017. http://dx.doi.org/10.37050/ci-11_10.
Texte intégralRésumé :
The film script is a challenging entity for criticism. Its destiny is to disappear, its function to contribute to the production of a screen of image, music, and voice, behind which it dissolves and is forgotten. Film scripts are in principle not meant to be read. Nor are they meant to be inscribed directly into our archives and libraries. They are transient and ‘functional’.
5
Čtvrtník, Mikuláš. « The Paradox of Archiving : Personality Protection and a Threat in One—Archives and Child Sexual Abuse ». Dans Archives and Records, 91–110. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-18667-7_4.
Texte intégralRésumé :
AbstractPerspectives on the protection of the individual are usually based primarily on the question of how a person and their personality rights may be harmed by the retention and disclosure of data concerning this particular individual. Hence the intentions of the European GDPR to allow for “minimisation” and “storage limitation” when it comes to personal data and the correlating “right to be forgotten” (“right to erasure”). Although these intentions apply primarily to data controllers other than archives, most often of private law provenance, they also apply to archives. Along with this trend, however, the opposite perspective proportionally fades, which is the starting point of this chapter: Apart from the risks associated with the preservation and disclosure of personal data, archiving in the public interest is also one of the tools by which the protection of personality rights can be implemented, even enhanced. Permanent preservation of certain categories of personal data is not only necessary for various future research purposes and official interests, but in some cases such preservation becomes the key guarantee of the protection of personality as well as other human and civil rights. The author will demonstrate this thesis on some specific cases including a specific category of records testifying about sexual abuse inside and outside the Church and the protection of victim rights. An analysis of the opposite situation, in which personal data, especially in archival records, have been misused, will be discussed in more detail in the following chapters.
6
Szekely, Ivan. « The Right to be Forgotten and the New Archival Paradigm ». Dans The Ethics of Memory in a Digital Age, 28–49. London : Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137428455_3.
Texte intégral
7
Allegri, Maria Romana. « The Right to be Forgotten in the Digital Age ». Dans Frontiers in Sociology and Social Research, 237–51. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11756-5_15.
Texte intégralRésumé :
AbstractThe right to be forgotten (RTBF) is meant to provide individuals with an actual representation of their personal identity by obtaining the erasure of their past “digital traces” left online. In 2014, the CJEU’s leading case Google Spain accorded the data subject the right to obtain the de-referencing of personal information related to past events from search engines. Consequently, the RTBF has been included in the title of Article 17 GDPR as a synonym of the right to erasure, without however being explicitly explained or regulated. Alongside this process, the ECtHR has constantly highlighted the need for fair balancing between the right to respect for private life and the right to freedom of expression, often denying the applicants the right to obtain removal or anonymization of news reports published in the past because of their permanent public interest. By stressing that Internet archives constitute an important source for education and historical research, it admitted, though, that the obligations of search engines may differ from those of the original publishers of the information. This reasoning, however, does not seem to have influenced a recent decision of the Italian Corte di Cassazione, commented in the final part of this chapter.
8
Mawdsley, Hannah. « Remembering the ‘Forgotten’ Pandemic ». Dans Pandemic Re-Awakenings, 51–62. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843739.003.0002.
Texte intégralRésumé :
Following the 1918–19 pandemic, medical research embraced the ‘Spanish’ Flu as a subject for intense study. In contrast, the popular and cultural memory of the pandemic remained obscured and disparate. In the 1970s Richard Collier, a journalist and historian, embarked upon a narrative book project about the 1918–19 flu. To generate his raw material, he placed adverts in newspapers around the world, inviting personal recollections of ordinary people’s experiences of this global phenomenon. The response surpassed his expectations and demonstrated the latent cultural memory of the pandemic which persisted around the world. Although Collier’s book was not a bestseller, his research captured and preserved the largest known collection of eyewitness accounts of the 1918–19 pandemic, first in his personal archive and later at the Imperial War Museum. This collection has since proven invaluable to academics and the media for revealing stories of the pandemic beyond the official accounts.
9
« The Archive of Forgotten Memories A Participatory Process of Reflection ». Dans What’s Missing ?, sous la direction de Iris Edenheiser, Elisabeth Tietmeyer et Susanne Boersma, 241–45. Dietrich Reimer Verlag, 2020. http://dx.doi.org/10.5771/9783496030430-241.
Texte intégral
10
Gabbay, Cynthia. « Traces in the Archive of a Great Oblivion ». Dans Pandemic Re-Awakenings, 314–32. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843739.003.0019.
Texte intégralRésumé :
This chapter examines ‘the great oblivion’ of the ‘Spanish’ Flu pandemic through an inspection of a variety of Ibero-American literary and visual representations. The study diachronically conceptualises different semiotic phenomena from the last hundred years that are apparent in what could be considered an Ibero-American ‘archive’—understood as a conceptual cultural reservoir—of the 1918–19 pandemic. Given the elusive nature of the non-canonic literary and visual artefacts, which appear as ‘vestiges’ or ‘cinders’ of forgotten cultural histories, the study focuses on the construction of the memory of the ‘Spanish’ Flu pandemic as an alternation of remembrance and oblivion, and it traces cultural ‘lethomechanisms’ responsible for transmitting memory through manifestations of forgetfulness. A typology of the phenomena is offered through consideration of examples of denial, rejection and silencing of the event, including cultural expressions of ‘pre-forgetting’, collateral representation and textual resignification. These modes of representation have produced an inverted memorable imprint that projects a particular epistemology of the epidemic experience. The chapter concludes that, given the absence of intertextual relations between the different cultural sources, it is not possible to identify a canonical Ibero-American tradition of representations of the ‘Spanish’ Flu pandemic.
Actes de conférences sur le sujet "Forgotten archive"
1
« Organizing Anarchy : The Forgotten Zine Archive ». Dans iConference 2014 Proceedings : Breaking Down Walls. Culture - Context - Computing. iSchools, 2014. http://dx.doi.org/10.9776/14350.
Texte intégral
2
Крулица, Анна. « Conversation with the past in contemporary choreography ». Dans Patrimoniul cultural : cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.18.
Texte intégralRésumé :
My article examines the problem of the archival turn in scientific works and discourse that affects artistic practice, including the choreographic one. In recent years, we can find several attempts to reconstruct the performances of famous choreographers who worked in the 1920s and 1930s. Modern choreographers have recalled forgotten performances of the former era, but recalling these choreographic works, they want to give them a modern meaning. This attempt is similar to rewriting history. In this context of rewriting history, I want to emphasize the importance of bodily memory and bring the perspective of viewing the body as an archive. In my article, I pose questions about how to find traces of former works? How modern choreographers work with memory and with the body. The concept of the body as an archive and the experience of past generations associated with choreographic practice is at the center of my work. The body can hide the secret of trauma, the unconscious determination of behavior in bodily, physical play. The second problem raised in the article is about the relationship between the present and the past. Why do we need a turn in the past now? I consider Yanka Rudskaya’s biography and her approach to dance as an example. This article shows the role of feminine artistic practices in the space of choreography. Recent reflections concern the problem of transferring modern dance to modernity and its discovery.
3
Tunzi, Pasquale. « Dai documenti d’archivio la ricostruzione virtuale della Piazzaforte di Pescara ». Dans FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia : Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11332.
Texte intégralRésumé :
From Archive Documents the Virtual Reconstruction of the Fortress of PescaraWhen the Unity of Italy occurred, the ancient fortress of Pescara, marked by the river with the same name, was demolished to allow the expansion of the Adriatic city. On the mighty sixteenth century building, eastern defense of the Kingdom of Naples, remain only the eighteenth and nineteenth century maps made by the military. A rigorous study conducted by us on the historic center of Pescara has allowed us to carry out extensive archival surveys and punctual inspections. Then different documents emerged and testimonies that encouraged a virtual reconstruction of the disappeared artefact in which the military garrison and the inhabited nucleus were enclosed. The virtual reconstruction of the fortress that is presented here has been elaborated by resorting the nineteenth century maps, carefully analyzed and compared to perform, critically, a translation of the two-dimensional technical figuration in three-dimensional processing. A sort of regeneration of the historical image was thus conducted with the intent of recovering a fundamental element of the city, almost completely forgotten.
4
Kurguzov, Pavel. « Kyakhta 1920 : Forgotten Pages in the History of the Chinese Intervention ». Dans Irkutsk Historical and Economic Yearbook 2021. Baikal State University, 2021. http://dx.doi.org/10.17150/978-5-7253-3040-3.22.
Texte intégralRésumé :
The article is devoted to the forgotten and insufficiently known to the general scientific community details of the Chinese intervention of 1920, which took place on the eastern border of the Russian state in the distant Kyakhta. On the basis of archival data, the article describes the course and main events of the elevenmonth occupation of Russian territory by Chinese troops in the Troitskosavsky district, identifying the main characters in these events. Studying this problem will make it possible to better understand the course and main problems associated with the presence of Chinese foreign troops on Russian territory during the Civil War.
5
Mihály, Kristóf. « The Transition from a Feudal Society to a Social Structure based upon Civil Rights in Hungary with Particular Regard to Preparatory Draft Law ». Dans Mezinárodní konference doktorských studentů oboru právní historie a římského práva. Brno : Masaryk University Press, 2022. http://dx.doi.org/10.5817/cz.muni.p280-0156-2022-8.
Texte intégralRésumé :
In this study, I review the immediate antecedents of the civil transition as the most profound development. The codification attempts of the Enlightenment of the 1790s and the liberalism of the 1830s and 1840s are the focal points of my doctoral research. In order to drafting bills to reform the feudal state based on customary law and privileges without changing the basic public law framework, nine so-called national regular committees were set forth by Article 67 of Act 1791. The committees completed their work and sent their drafts, known as so-called operatives, to the king between 1792 and 1795. After all, the completed operatives were not put on the agenda of Parliament due to changes in the domestic and foreign policy status quo. They only emerged from the archives of the Chancellery thanks to the committees set up by Article 8 of Act 1827. These committees were responsible for reviewing the “forgotten” operatives, which were finally printed and sent to the counties for comments. The Hungarian liberal noble opposition was organised first as a movement and then as a party during these county debates (1831–1832) in order to replace the feudal system by manifesting the basic principles of the civil transition in the so-called laws of April (representation of the people, the right to private property, equality of rights, burden sharing, etc.)
6
Mukai, Hibiki. « An Interactive and Digital Puppeteering Interface for new musical expression (IDPI) ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.
Texte intégralRésumé :
Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
Rapports d'organisations sur le sujet "Forgotten archive"
1
Flandreau, Marc. Pari Passu Lost and Found : The Origins of Sovereign Bankruptcy 1798-1873. Institute for New Economic Thinking Working Paper Series, juin 2022. http://dx.doi.org/10.36687/inetwp186.
Texte intégralRésumé :
Verdicts returned by modern courts of justice in the context of sovereign debt lawsuits have upheld a ratable (proportional) interpretation of so-called “pari passu” clauses in debt contracts which, literally, promise creditors they will be dealt with equitably. Such verdicts have given individual creditors the right to interfere with payments to others, in situation where the sovereign had failed to make proportional payments. Contract originalists argue that this interpretation of pari passu clauses has no historical foundation. Historically, they claim, pari passu clauses never granted individual creditors a unilateral right to block payments to other bondholders assenting to a government debt restructuring proposal. This article shows this claim is incorrect. Drawing on novel archival research, it argues that pari passu clauses find one potent historical origin in the operation of a now forgotten sovereign bankruptcy tribunal, the London stock exchange. Under the law of the stock exchange, departure from ratable payments did create a unilateral right for individual creditors to interfere with sovereign debt discharges. In fact, ratable distributions provided the touchstone for the stock exchange sanctioned sovereign debt discharge system. What is more, sophisticated contract drafters availed themselves of the logic. The result was a weaponization of pari passu clauses, and their inscription into sovereign debt covenants in the 19th century. The article concludes that the modern debate on the role of clauses in sovereign debt contracts cannot be held without thorough reconsideration of the history of sovereign bankruptcy.