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Chu, Hoi-shan. "Museum for traditional Chinese garment." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956875.
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Baker, Terry. "Sing for Your Costumes: A Costume Design Thesis on The Boys from Syracuse." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2345.
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This thesis document is a presentation and exploration of the process involving the costume design for The Boys from Syracuse (music by Richard Rodgers, lyrics by Lorenz Hart, book by George Abbott) in the McLeod Theatre at Southern Illinois University Carbondale during February 2018. This light-hearted, farcical musical reminds us that life doesn’t have to be so serious. It explores our ability to be consumed by our own responsibilities, which causes us to escape to the theater and just enjoy a show. Chapter 1 contains the research, background information, and script analysis that was conducted to further enhance and inform the design of the costumes. This chapter also contains the goals that I wanted to achieve within my design and personal growth. Chapter 2 focuses on the design process and how each costume evolved through collaboration and discussion. Chapter 3 documents the build process of the design and how it was realized. An examination of the dress rehearsals and the production’s four performances are also contained within this chapter. Chapter 4 documents an analysis of the entire design and its evolution through outside critiques and commentary supported by personal self-reflection.
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Товстенко, Ілона. "National Costumes in Ukraine." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7258.
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Rigdon, Jessica. "THE STORY OF THE COSTUMES: A COSTUME DESIGN THESIS ON TUCK EVERLASTING: THE MUSICAL." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2850.
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This thesis document follows the costume design and production of Southern Illinois University’s February 2021 production of Tuck Everlasting: the Musical. This “earthbound fantasy” musical takes the audience along with the young protagonist on a life changing journey as she discovers a mysterious immortal family living in the wood near her home. The primary focus surrounds a costume designer’s role through analysis, the design process, the production process, and reflection as it applies to Tuck Everlasting: the Musical.
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Rocha, Rosane Muniz. "A trajetória de Gianni Ratto na indumentária." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13052009-161645/.
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Esta pesquisa registra e analisa as criações de figurinos, desde a Itália até o Brasil, de Gianni Ratto, diretor, cenógrafo, iluminador e figurinista, além de autor e importante figura no teatro italiano e brasileiro. A catalogação, organização e digitalização das imagens de seus trabalhos resgata parte da história do teatro. Somada à investigação em fontes bibliográficas, e levando em consideração a história oral nos depoimentos registrados, a análise do seu acervo torna-se não apenas histórica, mas também cultural. Um estudo comparativo de três montagens do mesmo espetáculo (Elixir de Amor) em diferentes fases de sua carreira com Giorgio Strehler, no Teatro Scala, em 1951; no Theatro Municipal de São Paulo, em 1971; e com Antonio Pedro, no Teatro Municipal do Rio de Janeiro, em 1983 possibilita uma reflexão sobre os diferentes processos criativos em seu ¯processo de trabalho. no que tange à elaboração de figurinos teatrais.<br>This research focus and analyses costume creation, from Italy to Brazil, of Gianni Ratto, director, set, light and costume designer, also author and a very important person in both Brazilian and Italian theater. The cataloguing, organization and the creation of photo archives of the images rescue part of the theater history. Together with the investigation of varied bibliographical sources and considering oral history as documental information, the analysis of his collection becomes not only historical, but also cultural. A comparative study of three different mise-en-scènes of the same play (LElisir DAmore) in different moments of his career with Giorgio Strehler, in Teatro alla Scala, in 1951; at the Theatro Municipal de São Paulo, in 1971; and under Antonio Pedros direction, in the Teatro Municipal do Rio de Janeiro, in 1983 makes it possible to reflect on the different creative processes in his process of creation. In terms of costume creation.
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Nicks, Andie. "Recreating Creation: Designing the Costumes for Children of Eden." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2133.
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Southern Illinois University’s Department of Theater presented Children of Eden on the McLeod Theater stage in October of 2016. This Thesis is an examination of the process of designing the costumes for the production from the early play analysis, through the design, to the performances. Stephen Schwartz and John Caird’s Children of Eden is a musical exploration of the first nine chapters of the book of “Genesis.” Our production of Children of Eden focused on creating a global exploration of the familial themes. The first chapter of this document contains an in-depth analysis of this script. Chapter Two covers the designing of the show. The third chapter discusses the production process. Chapter Four offers an overview of the tech rehearsals and performances of the show. Finally, the fifth chapter examines the original goals set for myself and the execution of each goal. The visual process for each character’s design can be found in the Appendices, including rough sketches, renderings, fitting photos and production photographs.
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Burris, Sarah Mittiga. "Creatures: Series of Sculptural Costumes." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1227280056.
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Burris, Sarah M. "Creatures series of sculptural costumes /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227280056.
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Thesis (M.F.A.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed Jan. 5, 2010). Advisor: Paul O'Keeffe. Keywords: sculpture, performance, fabric, beauty, sewing, feminine. Includes bibliographical references (p. 28).
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Arzatian, Céline G. "Mode et cinéma en france de 1896 à 1930. Comment habille-t-on les actrices et acteurs ?" Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030022.
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À travers une étude générale de l’organisation et de l’évolution des costumes au cinéma en France, du début du cinématographe jusqu’à la fin du muet, l’ambition de cette thèse est d’étudier les liens qui se sont créés entre la mode et le cinéma par le biais des maisons de couture participant à la confection des costumes de la vedette principalement. Il s’agit également de montrer quel a été l’impact de l’arrivée d’un professionnel de l’écran : le créateur de costume dans la conception des costumes d’un personnage. Cette thèse analyse à travers les dimensions historiques, humaines, économiques, esthétiques, la création et l’évolution du costume au cinéma. La première partie aborde les débuts du cinématographe, le rôle des opérateurs Lumière tournant leurs premières vues « mises en scène » avec des méthodes héritées du théâtre. Puis la thèse met en valeur les différentes pratiques mises en place par Georges Méliès pour habiller ses artistes et figurants à la Star Film. Elle s’attache ensuite aux premiers acteurs célèbres confrontés à l’utilisation d’un costume particulier pour créer leur personnage : Max Linder, Charles Chaplin et Pearl White. La deuxième partie s’intéresse à la manière dont le cinéma français s’est servi de la mode dans les films pour tenter de rivaliser avec le cinéma américain. Puis, dans une troisième et quatrième partie, l’analyse s’attache au travail de la maison de couture lorsque celle-ci est appelée à créer et prêter des vêtements sous l’impulsion du réalisateur ou à exécuter sous l’autorité du créateur de costumes, les vêtements de la vedette pour des fictions à costumes ou à sujet contemporain. Enfin la cinquième partie relève les points de convergence entre ces deux arts : la mode et le cinéma lorsqu’à la fin de la Première Guerre mondiale, les arts se stimulent mutuellement donnant naissance au nouveau style de cette époque. Le projet de Louis Delluc, qui s’inspire d’une revue de mode pour réaliser une revue de cinéma, mais également l’introduction au Salon d’Automne de la mode et du cinéma, puis la réalisation de L’Inhumaine comme point de bascule vers cette synthèse des arts, et enfin l’Exposition des Arts décoratifs qui contribuent à faire de la mode et du cinéma des arts complémentaires, modernes et emblématiques de la période dite des Années Folles<br>Through a general study of organisation and evolution of costumes in cinema in France, from the birth of the cinematograph to the end of the silent film era, the ambition of this thesis is to study the created links between fashion and cinema, looking at fashion houses participating in creating the costumes of the main movie star. It is also about highlighting what the impact of the costume designer in the costume conception of a character is. This thesis analyses the creation and the evolution of the costume in cinema, through the historical, human, economical and aesthetical perspectives.The first part tackles the birth of the cinematograph and the Lumiere’s operators capturing their first shots, created with the methods inherited from the theatre. Then, this thesis highlights how Georges Méliès styled his stars and extras at the Star Film. Moreover, it points out to the first movie stars realizing that their costumes begin to create their characters for Max Linder, Charles Chaplin and Pearl White. The second part addresses the way French cinema used fashion to try and compete with the American cinema. Then, in a third and fourth part, the analysis focuses on the work of the fashion house when it is called to create and lend (in response to the director) or to only execute (in response to the costume designer) the clothes of the lead actress, for costume movies or with a contemporary subject.Finally, the fifth part points out the convergence points between these two arts: fashion and cinema at a specific time, the end of WW1 where arts stimulate each other and create together the new style of this era. It’s also Louis Delluc’s project, inspired by a fashion review to create a cinema magazine, it’s the introduction of the Fashion Autumn Salon followed by the cinema one, it’s the realization that L’Inhumaine is the tilted point towards this new style and it’s the Art Deco Exhibition confirming fashion and cinema as arts, in this era called the Années folles
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Neckman, Karolina, and Elgé Petrulyté. "Historical fashion and modern action : Historical accuracy in female costumes in games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18967.
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This thesis will investigate how developers can create recognizable and historically realistic female game characters while balancing historically accurate aspects and creative aesthetics.This paper is meant to give a better understanding of the importance of accurate historical female costumes in games, and investigate whether or not these are preferable to a gaming audience. The results will be reached by analysing the results collected from two online surveys where six 3D models’ turnarounds from two different eras with different levels of historical accuracy will be represented.
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Luetkenhaus, Deana M. "Annealing fear : designing costumes for "The Crucible" /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1328054851&sid=6&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Åkerfelt, Nicolina. "Gender in LittleBigPlanet : Analysis of LittleBigPlanet's Costumes." Thesis, Uppsala universitet, Institutionen för speldesign, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297857.
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In this study, ninety costumes from the LittleBigPlanet (Media Molecule, 2008, 2011; Sumo Digital 2014) franchise were analyzed in order to answer the question on how the LittleBigPlanet series have represented diversity of different genders through the available costumes to a seemingly gender neutral character. This is done by dividing the costumes into three categories: feminine, masculine and neutral. The costumes are categorized according to set criteria, and in the results it is revealed that there are mostly feminine costumes, even though the difference is minor. The study also analyses how different gender-coded costumes in the LittleBigPlanet series are portrayed, and several traits are found to be reoccurring. Finally, it is discussed whether having portrayed stereotypical body images were suitable for the age of their audience, and it is also stated that the costumes of the LittleBigPlanet franchise are generally diversified.<br>I denna undersökning analyserades nittio kostymer från LittleBigPlanet-serien (Media Molecule, 2008, 2011; Sumo Digital 2014). Syftet är att besvara frågan om hur LittleBigPlanet serien har representerad mångfald av kön genom de tillgängliga kostymerna för en till synes könsneutral karaktär. Detta görs genom att dela upp kostymerna i tre kategorier: feminina, maskulina och neutrala. Kostymerna är kategoriserade enligt satta kriterier, och resultaten avslöjar att det är huvudsakligen feminina kostymer, även om skillnaden inte är särskilt stor. Studien analyserar även hur olika könskodade kostymer i LittleBigPlanet-serien är porträtterande, och flera egenskaper visar sig upprepas. Slutligen diskuteras om det är lämpligt för kostymerna att porträttera stereotypiska kroppsbilder i spelen med tanke på deras spelares ålder, och det påstås även att kostymerna i LittleBigPlanet-serien är någorlunda mångsidiga.
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Zanelato, Henrique. "Ceticismo e Montaigne: uma apologia dos costumes." Universidade Estadual do Oeste do Paraná, 2018. http://tede.unioeste.br/handle/tede/3937.
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Previous issue date: 2018-06-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The following research deals with the investigation of one of the most important questions concerning skeptical doctrine: the possibility of conciliation between the teaching pronounced in school and practical life. By refusing all dogmatic doctrines, due to the skeptical conclusion that they invalidate each other, since each supposes to have reached a truth that opposes the other, the skepticism prescribes the epoché, or suspension of judgment. In this sense, the skeptics take effort, then, to construct a discourse of opposition to all other schools, showing the fragility of each and every position in any subject. Due to the residual indecision after the suspension of the judgment, skeptics are accused of not being able to act because the epoché prevents them from making any decision, however simple it may be. However, skeptics make some recommendations on this, deviating the suspension from this scope and suggesting a maintenance of the common customs of the people to which they belong. We seek to understand, therefore, how these two apparently paradoxical aspects of the skeptical doctrine harmonize: at one side, the consequences of a corrosive discourse, always willing to highlight the present contradictions between the dogmatic affirmations; on the other, the advice of admitting and preserving their own customs and laws, even knowing them to be relative and incomplete. For that, this research covers a series of elements, ranging from the early skeptics, Greeks and Romans, to the Renaissance, Montaigne in particular, as well as a study on the main authors who raised criticisms focused on this specific problem.<br>A pesquisa a seguir trata da investigação de uma das mais importantes questões referentes à doutrina cética: a possibilidade ou não de conciliação entre o ensinamento proferido pela escola e a vida prática. Por recusar todas as doutrinas chamadas dogmáticas, devido à conclusão cética de que elas se invalidam entre si, já que cada uma supõe ter alcançado uma verdade que opõe a de outra, o ceticismo prescreve a epoché, ou suspensão do juízo. Nesse sentido, os céticos se esforçaram, então, em construir um discurso de oposição a todas as outras escolas, mostrando a fragilidade de toda e qualquer posição, em qualquer assunto. Devido à indecisão restante após a suspensão do juízo, os céticos são acusados de não poderem agir porque a epoché os impede de tomar qualquer decisão, por mais simples que seja. No entanto, os céticos fazem algumas recomendações quanto a isso, afastando a suspensão desse âmbito e sugerindo a manutenção dos costumes comuns do povo ao qual pertencem. Buscamos compreender, portanto, como se harmonizam esses dois aspectos aparentemente paradoxais, próprios à doutrina cética: por um lado, as consequências de um discurso corrosivo, sempre disposto a destacar as contradições presentes entre as afirmações dogmáticas; por outro, o conselho de admitir e conservar os próprios costumes e leis, mesmo sabendo-os relativos e incompletos. Para isso, a pesquisa abrange uma série de elementos, que vai desde os primeiros céticos, gregos e romanos, até os renascentistas, Montaigne em especial, bem como um estudo sobre os principais autores que levantaram críticas focadas nesse problema específico.
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Varhaugvik, Amanda. "A Merging of Costumes, Voice & Transcendence." Thesis, Konstfack, Textil, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7221.
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I am an interdisciplinary artist working with a merging of costumes and voice through the performance art medium. In this masters degree project I present costume as the main performer and look at the ability for my performance to create a transcendent experience in a secular art context. The paper will lift some of the historical and contemporary ideas about transcendence in art. I will argue that the singing voice can be used as an enchanting tool to create presence and communicate the inexplicable. By using my own practice as an example I present costume as the initiator and leading star of a performance. Finally, I give insight into the process and making of my master performance, A merging of Costumes, Voice & Transcendence.
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Coulon, Anne. "Du maniaque à l'insouciance, la stratégie du costume chez les chorégraphes contemporains." Paris 1, 2000. http://www.theses.fr/2000PA010585.
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En danse contemporaine, le champs du costume recouvre un large domaine, allant du nu à une quasi accessoirisation du corps, en passant par la fripe ou des tenues diversement élaborées. Réelle interface entre le corps du danseur et le regard du spectateur, le costume reste trop souvent du domaine de l'évidence, ne bénéficiant que rarement d'une attention dans les discours relatifs à la danse. C'est la relation entre les costumiers et les chorégraphes que nous nous proposons de regarder ici de plus près, au-delà des relations trop souvent obscures qui lient costume et danse. Après un retour dans l'histoire, (Noverre, le ballet romantique, Loie Füller, Isadora Duncan, les ballets russes, parade, Marie Wigman, le Bauhaus, Martha Graham, Merce Cunningham, Alvin Nikolais, Pina Bausch), nous nous penchons plus précisément sur la définition, l'analyse du costume, avant d'en proposer une typologie en danse contemporaine. Les chorégraphes Daniel Larrieu, Maguy Marin, Karine Saporta, Hervé Robbe, Régine Chopinot, Philippe Découfle, et Jean-Claude Gallotta ont été interrogés. Pour Dominique Bagouet, disparu au moment de l'étude, nous avons écouté ce qu'en disaient ceux qui avaient travaillé avec lui. Pour certains, un costumier « majeur » c'est le cas de Dominique Fabrègue pour Bagouet, de Philippe Guillotel pour Decoufle ou de Jean-Yves Langlais pour Gallotta. Pour d'autres, de fréquents changements. Autant d'orientations esthétiques et de solutions pratiques pour intégrer le costume dans le projet chorégraphique, qui en viennent à nous préciser les instants et instances de création. Le choix du costume est-il finalement le résultat d'une stratégie de la part du chorégraphe, ou bien résulte-t-il d'un ensemble de conjonctions et de faits empiriquement établis ? Cette dernière analyse nous mène, en forme de conclusion, à nous demander si l'on peut réellement parler en termes de stratégie lorsqu'il s'agit des démarches des chorégraphes pour mener à bien leur projet. Nous avons tenté de cerner la possibilité de suivre et d'analyser la venue du costume dans la chorégraphie, avec ce que nous ont livré les uns et les autres, aides de traces, photos, schémas, empreintes, afin de soutenir le propos et d'essayer d'aller à la rencontre de ce dont nous supposons l'existence, à savoir une stratégie de définition visuelle des corps sur scène.
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Nguimfack-Perault, Sylvie. "Une approche ethnologique du costume de spectacle, de ceux qui le portent à ceux qui le fabriquent : identité, savoir faire et transmission." Paris 7, 1999. http://www.theses.fr/1999PA070117.
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On reconnaît l'individu de spectacle à son allure. On ne peut confondre l'acrobate avec la danseuse, la tragédienne avec le clown. Le costume de scène conjugué à l'attitude du corps constitue un puissant indicateur implicite sur le personnage représenté. Dans ce cadre, la danse et en particulier le music-hall où le paraître est porté à son comble constituent une référence obligée. La formation pour passer du statut de danseuse à celui de Girl est identique à une forme d'initiation. On en retrouve les ingrédients : le choc émotionnel (l'audition), l'isolement (la formation), la régression (le statut de "fille" qui est un statut de personne dépendante), la perte du moi (la conscience émoussée du sujet et le baptême en signe d'appartenance au groupe). Une mémoire spécifique est activée dès lors que le costume de scène st porté car c'est en fonction du port et des contraintes qu'il implique que la mémoire se construit. C'est aussi le passage définitif de la personne au personnage. La fabrication de ces costumes se fait par des artisans spécialisés : les artisans du spectacle. Représentants de savoir faire existants depuis le treizième siècle, ils se sont adaptés à l'utilisation de matériaux nouveaux. Ils sont les seuls à vivre l'état naissant de la création et le passage de la matière brute - à dompter - à l'objet fini, celui de l'esquisse à plat au volume. Ils sont tributaires du travail des uns et des autres tandis que l'artiste rassemble et porte chaque pièce du costume. Cependant les ateliers ferment un à un car leur économie n'est pas en adéquation avec cette fin de siècle. Quel avenir pour la jeune création, alors ? Quel devenir et quelle transmission pour ces savoir faire ?<br>We recognize the artist in the way he's dressed. We can't confuse between an acrobat and a dancer or a tragedian and a clown. The stage costume associated to a body attitude constitutes a strong indicator about the represented character. In the domain of dance, Music Hall is particularly interesting because of the extravagance of the stage costume. It will be our reference. The formation to become Girl is similar to an initiation. The observer will find all ingredients : emotional shock (audition), loneliness (during fomation) regression (being a Girl means depend on somebody), the new personality and the dull consciousness, the baptism as a sign of belonging to a new community. As a link of this particular formation, the body will have a new memory going beyond the fact of knowing dancing. This fact starts when one wears the stage costume and it's according to this fact that dancing bodies built specific memory. The making of these stage costumes needs a specific knowledge. Specialized handcrafts men possess it. They represent old french corporation of XIIIth century. They adapted ancient knowledge to new raw material. They are the only one to live the birth estate of creation : the transition of raw material to an object, from the esquiss to the volume. All handcrafts men depend on the others to see their creation in a full existence when the artist gathers and wears each part of the costume. However, workshops close one by one because of inadaptated economy. How will creation be going on ? How will knowledge be transmitted ?
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Kang, Zi Young. "Reproduction of historic costumes using 3D apparel CAD." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16869/.
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The progress of digital technology has brought about many changes. In the world of fashion, 3D apparel CAD is attracting attention as the most promising product which reduces time and cost in the design process through virtual simulation. This study highlights the potential of its technology and tries to extend the boundaries of its practical use through the simulation of historical dresses. The aim of this study is to identify the desirable factors for digital costume development, to produce accurate reproductions of digital clothing from historical sources and to investigate the implications of developing it for online exhibitory and educational materials. In order to achieve this, this study went through following process. First, the theoretical background of the digital clothing technology, 3D apparel CAD and museum and new media was established through the review of various materials. Second, the desirable concepts for effective digital costume were drawn from the analysis of earlier digital costume projects considering the constraints of costume collections and limitations of the data on museum websites: faithful reproduction, virtual fabrication and Interactive and stereographic display. Third, design development was carried out for the embodiment of the concepts based on two costumes in the Museum of London: (1) preparation which provided foundation data with physical counterparts, (2) digital reproduction which generated digital costumes with simulations and (3) application development where simulations were embodied into a platform. Fourth, evaluation of the outcomes was carried with different groups of participants. The evaluation results indicated that the outcomes functioned as an effective information delivery method and had suitability and applicability for exhibitory and educational use. However, further improvement particularly in the faithfulness of current digital costumes and more consideration for the concerns for virtual and intangible nature were pointed out to be required. Nevertheless digital costumes were reviewed to bring notable benefits in complete or partial replacement of the relics, presentation of invisible features, release of physical constraints on appreciation and provision of integrated and comprehensive information. This study expects that use of digital costumes may assist museums in terms of preservation, documentation and exhibition of costume collections giving new possibility especially to the endangered garments lying in the dark.
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Juchet, Aurore. "Les costumes de scène et leurs dessinateurs à Paris au temps du Romantisme 1825-1850 : le triomphe du costume historique." Paris 10, 2008. http://www.theses.fr/2008PA100164.
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Au début du XIXe siècle, il était encore fréquent de voir sur scène des acteurs jouer ensemble dans une même représentation vêtus de costumes de différents styles et différentes époques. Pourtant, depuis le milieu du XVIIIe siècle, un vaste mouvement de réforme s’était engagé visant à rétablir la vérité historique dans le costume. Mais ce n’est finalement qu’entre 1825 et 1850 que les costumes historiques, élaborés par des artistes à partir de sources archéologiques et de documents anciens s’imposèrent véritablement sur la scène tant au théâtre qu’à l’opéra. L’intérêt nouveau du public pour tout ce qui touchait à l’Histoire contribua largement à cette réforme. La vie réelle avec ses décors et ses costumes s’invita sur la scène. Drames romantiques et grands opéras offrirent un déploiement de détails pittoresques et d’éléments de couleur locale. Les auteurs tels que Victor Hugo et Alexandre Dumas firent appel à leurs amis peintres pour dessiner les maquettes des costumes de leurs drames : Louis Boulanger pour le premier, Eugène Giraud pour le second. Ce dernier fut également le dessinateur des costume pour le Théâtre Français. A l’Opéra, le dessinateur Paul Lormier s’imposa comme le grand spécialiste du costume historique. Il s’y consacra exclusivement pendant plus de cinquante ans, devenant à ce titre le premier dessinateur professionnel de costume. Durant cette période, le nombre de costumes de scène augmenta considérablement : chaque époque, chaque catégorie de population devant être représentée avec ses propres costumes. Par conséquent, la réforme des costumes de scène eut également des répercussions sur les acteurs et sur les ateliers de confection des théâtres<br>At the begining of the nineteenth century, it was quite normal to see actors dressed with costumes from different style and period playing together in a same play. Nevertheless, since the middle of the eighteenth century, began a reform in order to impose the right costume to the stage. But until 1825-1850 there was not great result. With the romantics at theater and opera, the historic costumes created by artists based archeological and historical documents became essential. The real life with décor and costume invaded the stage. Romantic dramas and french “Grand Opéra” were full of pitoresque and local colour. Writers like Victor Hugo or Alexandre Dumas asked their friend Louis boulanger and Eugène Giraud, two painter for creating the costumes of their plays. Paul Lormier was the costume’s designer of the “Académie de Musique”. He was considered as the best historical costume designer. As he worked his all life at the Opera, he could be considered as the first professional costume designer. During this time, the number of costume explosed since it was necessary to have costumes for each period, each category of person. Consequently, this reform changed also lot of things for actors and theater costumes workshop
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Françozo, Laura de Campos. "Lume teatro: trajes de cena e processo de criação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13112015-101124/.
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O objetivo deste trabalho é analisar o processo de criação dos figurinos dos espetáculos do grupo Lume Teatro. Já que este grupo é, antes de tudo, um núcleo de pesquisa, o presente trabalho busca então compreender de que forma as linhas de pesquisa do Lume Teatro influenciam ou modificam o modo de produção dos trajes de cena. Para atingir essa meta, analisamos o pensamento acerca dos figurinos dos mestres teatrais que foram a base do trabalho desenvolvido pelo Lume. A seguir, foram entrevistados os sete atores-pesquisadores do Lume e dois figurinistas que trabalham com frequência com o grupo. A partir das entrevistas, descrevemos o processo de criação dos trajes de espetáculos derivados de três linhas de pesquisa, apontando as características recorrentes de cada linha. O trabalho de finalização teve como guia norteador o estabelecimento de pontos de contato e distanciamento entre aquilo que os mestres do Lume diziam a respeito do figurino e aquilo que o Lume produz.<br>The objective of this research is to analyze the creative process behind the costumes used by Lume Teatro. Since Lume Teatro is first and foremost a research center, this study aims to find out whether the research lines of the group influence or change the means of production of their costumes. The analysis was carried out in three phases. First, the writings of Lume Teatro\'s masters were examined in order to understand their thoughts on costumes. The second phase was to interview Lume\'s seven actors and two costume designers who often work for them. The third phase was to describe the creative process behind each spectacle of three of their research lines. We were then able to point out recurrent characteristics in each research line. The result of this study was guided by a comparison of Lume Teatro\'s costume practices with their masters thoughts on the subject.
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Lisboa, Carolina Cardoso Guimarães. "Normas constitucionais não escritas: costumes e convenções da constituição." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/2/2134/tde-29082013-082952/.
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Cette thèse prétends analyser les normes constitutionnelles non-écrites découlant de la pratique institutionnelle des ordres juridiques ayant des constitutions codifiés. On y cherche à identifier les fondements, les catégories et les caractéristiques, à partir des exemples de l\'expérience constitutionnelle de quelques Etats, tel que la France et l\'Italie. On vise aussi à présenter certains cas du constitutionnalisme brésilienne.<br>Esta tese pretende analisar as normas constitucionais não escritas decorrentes da prática institucional dos ordenamentos jurídicos dotados de constituições documentalmente codificadas, identificando seu fundamento, categorias e características, a partir de exemplos retirados da experiência constitucional de países como França e Itália e apresentando alguns casos encontrados no constitucionalismo brasileiro
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Walrond-Patterson, Jean Thomasine. "Caribbean-Canadians celebrate Carnival, costumes and inter-generational relationships." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ47111.pdf.
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Mercier, Caroline. "Designing theatrical costumes in collaboration : a contribution to theatre." Thesis, Durham University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400679.
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Cousins, Jennie. "Unstitching the 1950s film costumes : hidden designers, hidden meanings." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/42353.
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This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinoline, and accessories, is explored in order to determine an ideological pattern (based in each costumier’s individual design methodology) from which the fabric of this thesis may then be cut. In so doing, the way in which film costume speaks as an independent producer of cinematic meaning may then be uncovered. By viewing costume design as an autonomous ideological system, rather than a part of mise-en-scène subordinate to narrative, this fabric-centric enquiry consolidates Stella Bruzzi’s insightful exploration of film costume in Undressing Cinema, Clothing and Identity in the Movies (1997). Where this study diverges from previous work, however, is in its focus on specific costume designers to illustrate the way in which the costume of costume drama may operate as a complex component of cinematic signification in terms of gender, authenticity, status and power.
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Curtis, Vesta. "A study of Parthian costumes : their origin and distribution." Thesis, University College London (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245160.
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Li, Yiman. "Study of symbolic expressions in Peking Opera's costumes and lyrics." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002149.
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Trevisan, Diego Kosbiau. "A metafísica dos costumes: a autonomia para o ser humano." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-04012012-164642/.
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Esta dissertação tem por objetivo analisar o lugar sistemático ocupado pela Metafísica dos Costumes no interior da filosofia prática kantiana, interpretando-a como uma metafísica da moral aplicada a um elemento empírico mínimo: a natureza humana. Em suas duas partes, a Doutrina do Direito e a Doutrina da Virtude, o princípio supremo da moral, o princípio da autonomia, adquire o significado de uma autonomia jurídica e ética que guia as situações fundamentais da vida prática do homem. Na primeira parte da dissertação, o transcurso do projeto de uma Metafísica dos Costumes ao longo do desenvolvimento da filosofia kantiana será investigado como uma progressiva purificação do princípio supremo da moral condizente com o projeto crítico mais amplo de Kant e que culmina na formulação embrionária de uma comunidade de seres racionais sob leis autônomas. Numa segunda parte, a Metafísica da Natureza será analisada como uma metafísica aplicada que surge a partir da reformulação da metafísica tradicional empreendida por Kant e, de acordo com os novos parâmetros estipulados pela crítica, é composta por um momento transcendental e por outro metafísico-específico, onde os princípios do momento anterior são aplicados a um elemento mínimo empírico. Por fim, na terceira e última parte, o procedimento em atuação nos Primeiros Princípios Metafísicos da Ciência da Natureza será adotado como o modelo a ser seguido na Metafísica dos Costumes, surgindo disto um momento transcendental da filosofia moral, que encontra sua base normativa no princípio de autonomia, e uma etapa metafísica, na qual o princípio supremo da moral é aplicado ao direito e à ética.<br>This work intends to analyze the Metaphysics of Morals systematic place within Kants practical philosophy, interpreting it as a metaphysical discipline of morals applied to an empirical minimum: the human nature. In its both parts, the Doctrine of Right and the Doctrine of Virtue, the supreme principle of morality, the principle of autonomy, turns into an ethical and juridical autonomy that guides human practical life. In the first place, the journey of the always postponed Metaphysics of Morals in the course of Kants philosophical development will be investigated as a progressive purification of the supreme principle of morals, a procedure that agrees with the wider critical project and that culminates in the incipient idea of a community of rational beings under autonomous laws. In the second place, the Metaphysics of Nature will be analyzed as an applied metaphysics, a discipline that emerged after Kants Critique had molded the new shape of traditional metaphysics; according to its critical pattern, this discipline is composed by a transcendental and a special-metaphysical part, in which the principles of the former are applied to an empirical minimum. Finally, in the third and final part, the procedure in action in the Metaphysical Foundations of Natural Science will be taken as a model to be followed in the Metaphysics of Morals. From such procedure arise a transcendental moment, which finds its normative basis in the principle of autonomy, and a metaphysical stage, in which the supreme principle of morality is applied to right and ethics.
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Silva, Cláudio José da. "A Doutrina dos Usos e Costumes da Assembléia de Deus." Pontifícia Universidade Católica de Goiás, 2003. http://localhost:8080/tede/handle/tede/918.
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Previous issue date: 2003-12-31<br>In this production, we tryed to achieve an investigation about all the changes on the
Doctrine of uses and behaviors that the God`s Assembly has been sufferins
nowadays. It had been started fron the theory that uses and behavier, that were
always conduct rules created by the believers from God`s Assembly, have been
constanthy questioned by many influences, from both insde and outside the church,
and that has been taken this church to a new interpretation upen the reality of uses
and routine.<br>Neste trabalho, procurou-se investigar as mudanças que a Assembléia de Deus tem
enfrentado hoje na Doutrina dos usos e costumes. Partiu-se da hipótese de que os
Usos e Costumes sempre foram regras de conduta dos crentes da Assembléia de
Deus e padrão de conduta e de postura que diferenciam este grupo dos demais
pentecostais. No decorrer dos tempos estes padrões vem gradativamente sendo
questionados por varias influências, tanto internas, por uma nova re-interpretação
bíblica como externas, pelas influencias dos grupos neo-pentecostais. Estes dois
fatores tem levado a questionar e analisar esta realidade no Usos e Costumes.
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Machado, Claudia Carvalho. "A FOLIA DE SANTOS REIS: Valores e Manutenção de Costumes." Pontifícia Universidade Católica de Goiás, 2010. http://localhost:8080/tede/handle/tede/2037.
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Previous issue date: 2010-03-15<br>The Folia de Reis is considered a cultural ritual of Brasilian folklore that has suffered
the consequences of significant changes occurring today. It becomes essential, from the
standpoint of Psychology, the development of studies correlating the Folia with
personal values and the meaning of the Folia in different religious groups and
participants. This study assumes that the recovery and preservation of immaterial and
material heritage is characterized as the very meaning of humanity. 300 people
participated in the estudy. The instruments of measurement were: Significance Scale of
Folia de Reis adapted Factorial Attitude Scale (Osgood, Suci & Tannembaum, 1957), to
measure the sigficance of Folia de Reis and Portrait Questionnaire (Pasquali and Alves,
2004) to assess personal values. For data analysis, descriptive analysis and Anova, with
the support of SPSS 14, was used. It was found that the values of pacifism and
tradition, peace-and-respect coupled with the positive meaning of Folia de Reis
influence in preserving it.<br>A Folia de Reis é considerada um ritual cultural do folclore brasileiro que tem sofrido
consequências de mudanças significativas ocorridas na atualidade. Torna-se
imprescindível, sob o enfoque da psicologia, desenvolver estudos que relacionem a folia
com os valores pessoais e com o significado atribuído à ela por diferentes grupos
religiosos e seus participantes. Este estudo parte do pressuposto de que a valorização e
preservação do patrimônio imaterial e material caracteriza-se como o próprio sentido da
humanidade. Participaram da pesquisa 300 pessoas. Utilizaram-se como instrumentos
de medida: Escala Fatorial de Atitude (Osgood, Suci & Tannembaum, 1957), para
mensurar o significado da Folia de Reis e o Portrait Questionnaire (Pasquali e Alves,
2004) para avaliar os valores pessoais. Para análise dos resultados foi utilizado a
Análise Descritiva e a Anova, com o suporte do programa SPSS-14. Constatou-se que
os valores como pacifismo e tradicionalismo, paz-e-respeito aliados ao significado
positivo da Folia de Reis influenciam na preservação da folia de reis.
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Teixeira, Carla Maria de Sousa Amorim. "Moralidade e costumes na sociedade de além-Douro : 1433-1521." Master's thesis, Porto : [Edição do Autor], 1996. http://hdl.handle.net/10216/18534.
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Motta, Nykolas Friedrich Von Peters Correia. "A Grundlegung sob a perspectiva de uma metafísica dos costumes." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/150314.
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A presente dissertação tem como objeto o prefácio da Fundamentação da Metafísica dos Costumes (FMC). Sua investigação concentra-se na concepção aí contida da disciplina da Metafísica dos Costumes, concepção essa pouca levada em conta para a compreensão da argumentação ulterior da FMC. Inicialmente abordamos (i) o que seria essa disciplina a partir da topologia das disciplinas filosóficas oferecida por Kant. Em seguida, exploramos (ii) o conceito de vontade pura, declaradamente o objeto de uma Metafísica dos Costumes. Na sequência investigamos (iii) o conceito de boa vontade, a fim de localizar o conceito de vontade pura na FMC. Como resultado, uma série de distinções úteis são alcançadas. Em (i), introduzimos a distinção entre os dois níveis da disciplina da Metafísica dos Costumes, na falta de termos melhores, “transcendental” e “humano”, a fim de harmonizar afirmações aparentemente contraditórias de Kant na FMC e na obra Metafísica dos Costumes. Em (ii), distinguimos pelo menos três usos distintos do conceito de vontade pura por parte de Kant, a saber, como (a) capacidade de determinar/motivar a vontade de certa maneira; como (b) a vontade determinada/motivada de certa maneira e como (c) a vontade maximamente determinada/motivada de certa maneira. Já em (iii), rastreamos a distinção entre pelo menos três usos do conceito de boa vontade, a saber, como (a) capacidade universalmente difundida de um agente racional agir moralmente; como (b) o bom caráter esparsamente difundido de quem se compromete firmemente com a lei moral, e como (c) a vontade maximamente boa, universalmente ausente porquanto uma ideia. Por fim, a partir da sobreposição dos três usos de ambos os conceitos, concluimos pela identificação do conceito de vontade pura com aquele de boa vontade.<br>The subject of the present dissertation is the preface of the Groundwork for the Metaphysics of Morals (Groundwork). Our investigation focused on the conception of the discipline of the Metaphysics of Morals presented in the preface, whose role for the understanding of the ulterior argumentation of the Groundwork is overlooked. Initially we investigate (i) what is this discipline taking as the start point the topology of the philosophical disciplines offered by Kant. Then we explore (ii) the concept of pure will, professedly the object of a Metaphysics of Morals. Finally we investigate (iii) the concept of a good will, in order to locate the concept of a pure will in the Groundwork. As a result, a number of useful distinctions are achieved. In (i), we introduce the distinction between the two levels within the discipline of the Metaphysics of Morals, in the absence of better terms, “transcendental” and “human”, in order to make coherent the apparently contradictory statements of Kant in the Groundwork and in the Metaphysics of Morals. In (ii) we distinguish at least three uses by Kant of the concept of pure will, namely, the pure will (a) as a capacity of determining/motivating the will in a certain way; as (b) a will determined/motivated in a certain way and (c) as a will maximally determined/motivated in a certain way. In (iii) we track the distinction between at least three uses of the concept of good will, namely, the good will (a) as a universally diffused capacity of a rational agent to act morally good; (b) as a sparsely diffused good character of a person steadily commited to the moral law, and (c) as a universally absent maximally good will, since it is an idea. Lastly, we identify both concepts, since their three uses overlap.
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Teixeira, Carla Maria de Sousa Amorim. "Moralidade e costumes na sociedade de além-Douro : 1433-1521." Dissertação, Porto : [Edição do Autor], 1996. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000046067.
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Fickling, Sarah. "Costume Design and Production of An Enemy of the People." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461090962.
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Burrington, David J. "Dancing Around Costuming: A Symbiotic Relationship of Disciplines, Costume Design for Dance 2011: Parallel and Intersect." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334347548.
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Chu, Hoi-shan, and 朱海山. "Museum for traditional Chinese garment." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983856.
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SILVA, Sandro Vasconcelos da. "O Costume da praça vai à casa : as transformações urbanas e suas influências sobre os costumes da classe burguesa do Recife oitocentista (1830 - 1880)." Universidade Federal Rural de Pernambuco, 2011. http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/6187.
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Previous issue date: 2011-07-29<br>Influencé par la modernité européenne du XIXe siècle, et en partie par les changements à Rio de Janeiro, avec l'arrivée de la famille royale et plus tard avec la formation de l'Empire, la ville de Recife au cours des huit cents cherché à moderniser les urbanistes en suivant les normes européennes. Cette tentative a provoqué certains membres de la quête élite locale pour une amélioration de leurs habitudes afin qu'ils puissent être reconnus comme membres de ces nouvelles normes de la „civilisation‟ adoptée, en particulier ceux d'origine française. A partir de cette prémisse, nous avons trouvé certains aspects de la vie de la cité et comment ce processus de „modernisation urbaine‟ a eu lieu à partir de l'environnement public (la rue) et en transformant l'intérieur de certains espaces privés (la maison), permettant des innovations dans la cohabitation et de sociabilité. Pour retrouver certains de ces changements directement notre regard vers l'action d'investigation pour favoriser ces nouvelles valeurs sont basées sur visuelles, les habitudes et les normes de l'acquisition d'objets, symboles de statut. Tous ces efforts venaient de tenter de distance entre l'espace public et privé, ce qui, contrairement à toute attente, une imbrication croissante de l'hybridation de ces et culturel. Utilisé en tant que sources de documents de recherche de nos notes et annonces dans les journaux, et quelques romans et chroniques de l'époque dans laquelle nous examinons.<br>Influenciada pela modernidade européia do século XIX, assim como pelas mudanças ocorridas no Rio de Janeiro desde a chegada da Família Real, a cidade do Recife ao longo dos oitocentos buscou modernizar-se seguindo os padrões europeus. Essa tentativa desencadeou em alguns integrantes da elite local uma busca pelo refinamento dos hábitos para que pudessem ser reconhecidas como integrantes dos novos padrões de “civilização” adotados, sobretudo os franceses. Partindo dessa premissa, observaremos alguns aspectos do cotidiano da cidade e como esse processo de “modernização urbana” se deu. Para isso dirigimos nosso olhar investigativo à percepção de como a adoção de novos valores distintivos desencadeou uma tentativa maior de separação entre o espaço público e o privado, levando, ao contrário do que se imaginava, a um entrelaçamento cada vez maior destes e à hibridização cultural. Utilizamos como fontes de nossa pesquisa os romances, as crônicas do e sobre o período em que nos debruçamos, assim como algumas notícias estampadas nos jornais da época.
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Machado, Fabio da Silva. "Fazenda Machadinha: memória e tradições culturais em uma comunidade de descendentes de escravos." reponame:Repositório Institucional do FGV, 2006. http://hdl.handle.net/10438/2115.
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Previous issue date: 2006-03-24T00:00:00Z<br>O objetivo do presente trabalho é estudar a memória, a identidade e as tradições culturais dos moradores da Fazenda Machadinha, uma comunidade localizada em Quissamã, no estado do Rio de Janeiro, formada por descendentes de escravos. A importância das tradições culturais na manutenção da identidade e na sustentabilidade econômica daquela comunidade quilombola é também analisada. Além da pesquisa em fontes primárias e do trabalho de campo, foram realizadas entrevistas com moradores da Fazenda Machadinha visando a constituição de um acervo de história oral.
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Jay, Corey M. "The Unraveling of Shakespeare's Othello." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/117.
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This thesis analyzes one of Shakespeare’s greatest tragedies from the perspective of its costumes, and chronicles the start-to-finish process of the costume design for the April 2012 production of Othello held at Pomona College. Incorporating the Pre-Raphaelite art movement with high fashion’s late Alexander McQueen, this thesis brings to light Othello’s predominant themes of race and honesty by means of luxurious textiles and distinct silhouettes.
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Souza, Hélio José dos Santos [UNESP]. "O problema da motivação moral na fundamentação da metafísica dos costumes." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/93139.
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souza_hjs_me_mar.pdf: 427980 bytes, checksum: a42bbaabdb2f039edea37cf64bff8501 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A Fundamentação da metafísica dos costumes tem por finalidade encontrar o princípio supremo da moralidade. Segundo Kant, somente a razão é suficientemente capaz de fornecer, totalmente a priori, o princípio incondicionado da moralidade. Surge, porém, um problema: por que é que devemos nos submeter à lei moral? O que é capaz de motivar o homem a agir conforme o imperativo categórico e, portanto, moralmente? O presente trabalho pretende examinar, a partir dos apontamentos realizados por Kant, como pode o homem agir motivado pela lei, motivação esta necessária para que a moral se estabeleça.<br>The Groundwork Metaphysic of Morals is to find the supreme principle of morality. According to Kant, the only reason is sufficiently capable of providing, quite a priori, the principle unconditional of morality. Appears, however, a problem: why should we submit to the moral law? What is able to motivate a man to act as the categorical imperative and therefore morally? This study seeks to examine, from notes made by Kant, as can the man acts motivated by the law, the motivation necessary for the moral is established.
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Souza, Hélio José dos Santos. "O problema da motivação moral na fundamentação da metafísica dos costumes /." Marília : [s.n.], 2008. http://hdl.handle.net/11449/93139.
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Orientador: Ricardo Montiagudo<br>Banca: José Carlos Bruni<br>Banca: Paulo Roberto Licht dos Santos<br>Resumo: A Fundamentação da metafísica dos costumes tem por finalidade encontrar o princípio supremo da moralidade. Segundo Kant, somente a razão é suficientemente capaz de fornecer, totalmente a priori, o princípio incondicionado da moralidade. Surge, porém, um problema: por que é que devemos nos submeter à lei moral? O que é capaz de motivar o homem a agir conforme o imperativo categórico e, portanto, moralmente? O presente trabalho pretende examinar, a partir dos apontamentos realizados por Kant, como pode o homem agir motivado pela lei, motivação esta necessária para que a moral se estabeleça.<br>Abstract: The Groundwork Metaphysic of Morals is to find the supreme principle of morality. According to Kant, the only reason is sufficiently capable of providing, quite a priori, the principle unconditional of morality. Appears, however, a problem: why should we submit to the moral law? What is able to motivate a man to act as the categorical imperative and therefore morally? This study seeks to examine, from notes made by Kant, as can the man acts motivated by the law, the motivation necessary for the moral is established.<br>Mestre
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Li, Bo. "Falocentrismo e resistência no feminino em "Brandos costumes" e "Ju Dou"." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/18784.
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Mestrado em Línguas, Literaturas e Culturas<br>Esta dissertação aborda o falocentrismo e as resistências femininas nos
dois filmes “Brandos Costumes” e “Ju Dou”, que relatam, respetivamente, uma
história acontecida em Portugal durante o período do Estado Novo e a outra
história ocorrida na China, no início do século XX. O nosso estudo visa
conhecer o estatuto das mulheres e as resistências do feminino, nestes dois
filmes. Além disso, e devido à grande diferença entre Portugal e a China nos
aspetos de história, de cultura e de política, as resistências feitas pelas
mulheres dos dois países denotam caraterísticas distintas.
Por isso, nesta dissertação, procuraremos, ainda, encontrar as razões
da causa dessas diferenças, bem como as relações entre o grau de
falocentrismo e as maneiras de expressão das resistências.<br>This dissertation deals with phallocentrism and feminine resistances in
the two films "Brandos Costumes" and "Ju Dou", which report, respectively, a
history that happened in Portugal during the period of Estado Novo and the
other story that occurred in China at the beginning of the century XX. Our study
aims to know the status of women and the resistance of feminism in these two
films. Moreover, due to the great difference between Portugal and China in
history, culture and politics, the resistance of the women of the two countries
shows different characteristics.
Therefore, in this dissertation, we will also try to find the reasons for the
cause of these differences, as well as the relations between the degree of
phallocentrism and the ways of expression of resistances.
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Ennis, Elizabeth Susan. "Don't Fall in Love: Designing Costumes for Shakespeare's Romeo and Juliet." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/488826.
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Theater<br>M.F.A.<br>The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Spring 2018 production of Romeo and Juliet. This process begins with a thorough reading of the play and moves through the phases of research, planning, and implementation of the author’s designs. Subjects discussed include historical fashion of the early Italian Renaissance, the challenges of working with costume rental companies, and the collaborative nature of costume construction. The author will reflect on the struggles and successes of her contribution to the production.<br>Temple University--Theses
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Sorenson, Lesley. "Shoes first the process of designing costumes for Shakespeare's Measure for measure /." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4638.
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Thesis (M.F.A.)--West Virginia University, 2006.<br>Title from document title page. Document formatted into pages; contains vi, 74 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 72-74).
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CASTRO, LUCAS CABRAL DE. "COMEDY, POLITICS AND COSTUMES: THE COMIC VOCABULARY OF MARTINS PENA (1836-1845)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27380@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>O presente trabalho analisa o vocabulário utilizado pelo comediógrafo
fluminense Luís Carlos Martins Pena. Parte de uma preocupação quanto aos
significados em torno dos gêneros usados pelo autor, buscando-se destacar as
finalidades da comédia. O comediógrafo usou e reutilizou vocabulários e chistes
recorrentes no seu meio para atingir seus propósitos reformadores. Em suas obras,
há um uso proposital de palavras do vocabulário político, deslocadas do seu sentido
original, servindo de motivo de riso. O ridículo que Martins Pena expõe, visa não
somente ao riso, mas a retificação dos costumes.<br>The present work analyzes the vocabulary used by Rio de Janeiro based comedy writer Luís Carlos Martins Pena. It begins with an inquiry of the meanings behind the genres used by the author, looking for the goals of comedy. The comediography used and reused vocabularies and wits that were frequent in his context to achieve his own reformer ends. In his work, there is a deliberate use of words from the political vocabulary, out of his original meaning, serving as a reason for laugh. The ridicule that Martins Pena shows, achieves not only the laughters, but the amendments of costumes.
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Oliveira, Marcos Alberto de. "A ideia de uma ciencia da virtude na metafisica Kantiana dos costumes." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281065.
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Orientador: Zeljko Loparic<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-04T16:41:37Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: Não informado<br>Abstract: Not informed.<br>Doutorado<br>Filosofia<br>Doutor em Filosofia
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Zanella, Diego Carlos. "O cosmopolitismo kantiano : do melhoramento dos costumes humanos ? institui??o da paz." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2012. http://tede2.pucrs.br/tede2/handle/tede/2900.
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441538.pdf: 2111358 bytes, checksum: 0670f86bb8bb1aa2c2f0e878e293b7c8 (MD5)
Previous issue date: 2012-12-30<br>The aim of this thesis is to defend Kantian cosmopolitanism as a proposal to progressively and continuously organize the political and legal relations in the world. This proposal has, on the one hand, clearly Stoic roots. On the other hand, it shows the Enlightenment ideals of Kant s time as intrinsic to cosmopolitanism. Due to this, this proposal does not sufficiently separate the spheres of law and morality, which end up being the essential parts of Kantian cosmopolitanism. The moral sphere puts forward the idea that every rational being should think and act as a world citizen, so as to respect others. The political sphere puts forward the idea that global citizenship requires an international organization that administers the cosmopolitan law. In this sense, each of these spheres has a particular area of expertise: the moral domain manifests itself in people s relations with each other, while the political field is manifested in the structure of political and legal institutions and their relationships, whether between institutions themselves or between institutions and citizens. Moreover, this consideration also has to go through the understanding of human destiny, that is, by the understanding that the human beings are determined to live in society and improve themselves in it, as well as its institutions.<br>O objetivo dessa tese ? o de defender o cosmopolitismo kantiano como uma proposta que vise progressivamente e constantemente organizar as rela??es pol?tico-jur?dicas do mundo. Essa proposta possui, por um lado, claras ra?zes estoicas, por outro lado, apresenta os ideais iluministas da ?poca de Kant como intr?nsecos ao cosmopolitismo. Devido a isso, essa proposta n?o consegue desvincular muito bem as esferas do direito e da moral, as quais acabam sendo partes constitutivas do cosmopolitismo kantiano. A esfera moral apresenta a ideia de que todo ser racional deveria pensar e agir como um cidad?o do mundo, respeitando os demais. A esfera pol?tica apresenta a ideia de que a cidadania mundial exige uma organiza??o internacional que administre o direito cosmopolita. Nesse sentido, cada uma dessas esferas possui uma ?rea espec?fica de atua??o: o dom?nio moral se manifesta nas rela??es das pessoas entre si, enquanto que o dom?nio pol?tico se manifesta na estrutura??o pol?tico-jur?dica das institui??es e em suas rela??es, sejam elas das institui??es entre si mesmas ou entre institui??es e cidad?os. Al?m disso, essa reflex?o tamb?m tem que passar pela compreens?o do destino humano, ou seja, pela compreens?o de que o homem est? determinado a viver em sociedade e nela melhorar a si mesmo, assim como tamb?m as suas institui??es.
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Aldoukhi, Abdulmajeed. "The Misrepresentation of Arab Gulf Men Through Costumes on Stage and Screen." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1625843129706682.
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Zanella, Diego Carlos. "O cosmopolitismo kantiano: do melhoramento dos costumes humanos à instituição da paz." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/3528.
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000441538-Texto+Completo-0.pdf: 2111358 bytes, checksum: 0670f86bb8bb1aa2c2f0e878e293b7c8 (MD5)
Previous issue date: 2012<br>The aim of this thesis is to defend Kantian cosmopolitanism as a proposal to progressively and continuously organize the political and legal relations in the world. This proposal has, on the one hand, clearly Stoic roots. On the other hand, it shows the Enlightenment ideals of Kant’s time as intrinsic to cosmopolitanism. Due to this, this proposal does not sufficiently separate the spheres of law and morality, which end up being the essential parts of Kantian cosmopolitanism. The moral sphere puts forward the idea that every rational being should think and act as a world citizen, so as to respect others. The political sphere puts forward the idea that global citizenship requires an international organization that administers the cosmopolitan law. In this sense, each of these spheres has a particular area of expertise: the moral domain manifests itself in people’s relations with each other, while the political field is manifested in the structure of political and legal institutions and their relationships, whether between institutions themselves or between institutions and citizens. Moreover, this consideration also has to go through the understanding of human destiny, that is, by the understanding that the human beings are determined to live in society and improve themselves in it, as well as its institutions.<br>O objetivo dessa tese é o de defender o cosmopolitismo kantiano como uma proposta que vise progressivamente e constantemente organizar as relações político-jurídicas do mundo. Essa proposta possui, por um lado, claras raízes estoicas, por outro lado, apresenta os ideais iluministas da época de Kant como intrínsecos ao cosmopolitismo. Devido a isso, essa proposta não consegue desvincular muito bem as esferas do direito e da moral, as quais acabam sendo partes constitutivas do cosmopolitismo kantiano. A esfera moral apresenta a ideia de que todo ser racional deveria pensar e agir como um cidadão do mundo, respeitando os demais. A esfera política apresenta a ideia de que a cidadania mundial exige uma organização internacional que administre o direito cosmopolita. Nesse sentido, cada uma dessas esferas possui uma área específica de atuação: o domínio moral se manifesta nas relações das pessoas entre si, enquanto que o domínio político se manifesta na estruturação político-jurídica das instituições e em suas relações, sejam elas das instituições entre si mesmas ou entre instituições e cidadãos. Além disso, essa reflexão também tem que passar pela compreensão do destino humano, ou seja, pela compreensão de que o homem está determinado a viver em sociedade e nela melhorar a si mesmo, assim como também as suas instituições.
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Espírito, Santo Marília Lopes de Figueiredo do. "Autonomia da vontade e dedução transcendental na Fundamentação da Metafísica dos Costumes." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/56018.
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Mehta, Archana. "STORAGE OF EIGHTEENTH-CENTURY WOMEN’S COSTUMES AT THE KENT STATE UNIVERSITY MUSEUM." University of Akron / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=akron1185477321.
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Albrizio, Eileen M. "Wearing costumes and crossing borders : search for self in Chicano/a literature /." Abstract, 2008. http://eprints.ccsu.edu/archive/00000551/01/1995Abstract.htm.
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Thesis (M.A.) -- Central Connecticut State University, 2008.<br>Thesis advisor: Katherine Sugg. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 114-116). Abstract available via the World Wide Web.