Dissertations / Theses on the topic 'Drama'
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Narasaki, Roxanne. "Drama." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/220.
Full textBlewitt, David. "Drama in Tudor education : education in Tudor drama." Thesis, University of Bristol, 1986. http://hdl.handle.net/1983/9c1050cb-a734-4151-b3f4-63ff22554368.
Full textLee, Doyoung. "Drama, severely." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327941446.
Full textNweba, Lena. "Characterisation in isiXhosa drama with specific reference to two isiXhosa dramas." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49878.
Full textENGLISH ABSTRACT: The main aim of study is to investigate characterisation in two of Ngewu's dramas. Ngewu's dramas are contemporary and many scholars have not yet had time to research them. The story in the drama Amadada la afunani ezintsaneni ?( 1998), is about the sexual abuse of children. This is new because the abuse of small children is not seen to indicate culture especially now that even fathers abuse their children. In the olden days children used to look to grown -ups for protection of every kind. The story in the second drama Yeha Mfazi Obulala Indada (1997) , is about a wife who hires assassins to kill her husband. In the past wives were submissive to their husbands. It was unheard of a wife challenging the husband's authority, let alone hiring assassins to kill him. Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the plot structure of the dramas Amadada la afunani ezintsaneni? (1998) and Yeha Mfazi Obulala Indada (1997) Chapter 3 deals with characterisation in isiXhosa dramas, Amadada la afunani ezintsaneni(1998) and Yeha Mfazi Obulala lndoda (1997) Chapter 4 deals with language and the pattern of stylistic devices Chapter 5 concludes the findings of the study.
AFRIKAANSE OPSOMMING: Die hoofdoel van hierdie studie is om die karakterisering in twee van Ngewu se dramas te ondersoek. Ngewu se dramas is hedendaagse daarom is daar nog veel navorsing daaroor ezintsaneni (1998) gedoen nie. Die storie in die drama Amadoda la afunani handel hoofsaaklik oor die seksuele molestering van kinders. Seksuele kindemolestering is In relatiewe nuwe versknser want dit is taboe in kultuur veral nou dat die bekend is dat kinders deur hulle vaders gemolesteer word. In vroeer jare was kinders van volwassens afhanklik vir beskermering en welvaart. Die tweede drama Yeha Mfazi Obulala lndoda (1997) handeloor I vrou wat sluipmoordenaars huur om haar man om die lewe te bring. In vroeer jare was vroue aan hul mans onderdaning. Dit was ongewoon dat I vrou haar man se gesag sou ondermyn, en nog meer ondenkbaar die huur van sluipmoordenaars om hom om die lewe te bring. In hoofstuk 1 vind ons die doel van die studie, die omvang ,teoretiese raamwerk en metode van die studie. Hoofstuk 2 handeloor die struktuur van die twee Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda ( 1997) Hoofstuk 3 handeloor die karakterisering in die isiXhosa dramas, Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda (1997) Hoofstuk 4 handeloor die taal en skryfstyl van die skrywer. Hoofstuk 5 bevat die samevatting van die studie.
Van, Zyl Yolande. "Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2290.
Full textThe general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.
Van, Zyl Yolandé. "Hoekom drama? : 'n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch /." Link to the Internet, 2008. http://hdl.handle.net/10019/798.
Full textHofmann, Evelina. "Drama som utvecklingsmetod." Thesis, Estetisk inriktning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-9312.
Full textBryson, Lucy Lynn. "Drama + math = dramath." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.
Full textID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
Harvie, Jennifer B. "Liz Lochhead's drama." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/5026/.
Full textSilva, Jameson Thiago Farias. "Um drama cibercultural." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/5965.
Full textA condição cibercultural pode ser entendida como uma cultura de circunstâncias operadas por tipos específicos de tecnologia; tecnologias que perigam codificar o pensamento, exagerando a polarização das ideias num duplo frenesi ideológico, e tecnologias que possibilitam a mobilização das pessoas em nome de pautas ignoradas pelos espaços legitimados para o fazer político e a discussão de temas deixados de lado, ou adulterados, pelos meios tradicionais de produzir conhecimento e comunicação. Para o internauta, personagem conceitual caracterizado e definido pelas conexões que articula, é neste segundo sentido que se inserem a Mídia NINJA, o Episódio Cablegate, a Primavera Árabe e o Occupy Wall Street. O OWS, mesmo, é coerente em seu manifesto: de fato, formalizar a política da esquerda é endireitar-se, é tornar-se direita, é transformar esse tempo criador em espaço. Mas, sem um espaço formal e estabelecido, como pode o tempo fruir e frutificar? Aí reside o problema do internauta ou, ao menos, o seu fundamento, problema que o internauta tentará encaminhar e, mesmo, recolocar com a noção de parresía. Através dum uso muito particular e peculiar da mesma feito por Michel Foucault, a noção repensa a relação entre verdade, política e sujeito, colocando o problema do discurso verdadeiro não nas famigeradas condições de possibilidade da veridicção, mas na questão do real da filosofia, da sua realidade. O parresiasta é aquele que, fora do estatuto social ou institucional, faz valer sua própria liberdade e coragem ao falar. Levado ao extremo, o parresiasta é o que aceita morrer pela verdade: aceita morrer em nome da verdade, por ter dito a verdade e por ter a verdade no dizer. O que interessa a Foucault e ao internauta, com a parresía, não é um estudo das performances e do sentido dos enunciados neste ou naquele contexto cibercultural, mas um drama, uma dramática dos discursos, um modo de dizer e pensar que revele o contrato do sujeito falante à verdade que enuncia, sua maneira de se vincular à verdade do que diz. Uma leitura cibercultural da parresía; uma leitura de Foucault por um internauta. Este drama cibercultural, aqui presentificado na escritura burocrática de um trabalho de dissertação, é uma tentativa do internauta em resolver o problema que o acomete, o registro institucional dessa tentativa e o próprio internauta.
Cybercultural condition is understood as a culture of circumstances operated by the specific types of technology; technologies which endanger to decode thinking, exaggerating the polarization of ideas on a double ideological frenzy, and technologies which enable the mobilization of people in the name of rulings ignored by legitimated spaces to political doing and the discussion of themes left aside, or adulterate, by traditional means of producing knowledge and communication. For netizen, conceptual personage characterized and defined by connections which articulate, it is in this second meaning that is inserted the NINJA Media, the Cablegate Episode, the Arabic Spring and the Occupy Wall Street. The OWS is coherent in its manifest: indeed, formalizing the left-winged politics turns it into right-winged politics, it is transforming this maker-time into space. However, without a formal space and established, how can the time possess and be fruitful? This is the problem of netizen or, at least, its foundation, problem which netizen will try to route and put back with the notion of parrhesia. Through a very particular and peculiar usage of it done by Michel Foucault, the idea rethink the relation between truth, politics and individual, setting the problem of unfeigned discourse not in infamous conditions of responsibility and veridiction, but in the real matter of philosophy, of its reality. |Parrhesiasta| is someone who even being outside of one´s social or institutional statute enforces one´s own liberty and courage when speaking. Taken to the extreme, |parrhesiasta| is someone who is willing to die in the name of the truth, for having said the truth or for having truth in the said. What comes to Foucault interest and the netizen, along with parrhesia, it is not the studies of the performances and the meanings of the enunciation in different cybercultual contexts, but the dramatic of the discourses themselves, a way of saying and thinking that reveals the relation of the speaker with the truth that one annunciates, one´s way of being bound with the truth. A cybercultural reading of Parrhesia; a Foucault´s reading by the netizen. This cyberculltural drama, presented in this bureaucratic thesis, it is an attempt of the netizen to solve the problem which one is attacked by, the institutional registry of this attempt and the netizen himself.
Danbolt, Viktoria, and Rasmus Jinnestrand. "Drama i historieundervisningen." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34569.
Full textBerglund, Jesper, and Anders Juhlin. "Drama i undervisningen." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32875.
Full textEinarsson, Anneli. "Drama i marginalen." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30943.
Full textThis paper is part of a Masters degree in Education and treats discourse analysis of fouressays written by students who have studied courses Educational Drama 90 hp at MalmöUniversity. The purpose of the study was to describe and analyze how students expressthemselves about Educational Drama and what possible patterns that occur in their textsand the discourses which can therefore be identified. I have also used Lindström's theory(2008) on educational approaches at the Aesthetic learning processes and Marners ideasabout arguments for the arts in schools (2004), to analyze students' essays.In discourse analysis, I have come to the conclusion that four discourses can be identified instudents' texts. These discourses, I have called: Knowledge discourse, subject-discourse,methodological discourse and social discourse. There are traces of all discourses in all fourpapers, but most pronounced is the method of discourse and social discourse.Lindström’s (2008) theory is based on ideas that one can describe four forms of learning inaesthetic learning processes, and these he calls ABOUT, IN, WITH and THROUGH. By usingthis theory I have given suggestions on how to apply them to Educational Drama. I have inconnection with this pairing the discourses that appear in students' essays with Lindström'seducational forms: ABOUT drama is related to methodological discourse, the subjectdiscoursecan be related to IN drama, WITH drama can be linked to the knowledge discourseand THROUGH drama relates to the social discourse. The purpose of using this theory hasbeen continuing to develop theoretical tools to describe, formulate and analyze EducationalDrama and put it in a larger context.
Ziegler, Randy, and Malin Åberg. "Drama och Teater." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35983.
Full textJönsson, Maria. "Drabbad av drama!" Thesis, Malmö högskola, Lärarutbildningen (LUT), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33976.
Full textMagdová, Marcela. "Ruské "nové drama"." Doctoral thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371621.
Full textAndersson, Louise, and Linda Sjöström. "Drama i förskolan : En intervjustudie om hur förskollärare uppfattar begreppet drama." Thesis, Högskolan i Gävle, Avdelningen för utbildningsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-21094.
Full textKarlsson, Evelina, and Sofia Larsson. ""Drama har tappat lite status. Men jag tycker drama är viktigt." : Pedagogers perspektiv på förutsättningar för arbete med drama." Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48521.
Full textSwedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.
Karlsson, Nina. "Pedagogiskt drama : En undersökning om hur drama kan främja gruppsammanhållning på lågstadiet." Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1466.
Full textIn my study I enter deeply in pedagogical drama. My aim is to investigate how pedagogical drama can facilitate group dynamics on a preschool level. I also aim to receive a deeper understanding about how pedagogical drama affects the individual within the group. To obtain answers to my questions I look at my aims and specified my question at issue.
I have used quality interview technique as a method of approach in my investigation, which is appropriate when I need to understand the individual reactions and reasoning. I have chosen to interview three pedagogues that all have a connection to drama and who works on a preschool level.
I came to the conclusion that pedagogical drama can indeed facilitate group dynamics within, due to the fact that many factors work together. The group obtains a high level of solidarity by doing different things together, for instance different kinds of problem solving in a pleasurable way. Pedagogical drama evolves the whole individual in teamwork with others. True pedagogical drama the individual gets a greater confidence better self-esteem and the possibility to explore different parts and roles. Pedagogical drama can contribute to seeing all the individuals within a group.
Keywords: Pedagogical drama, group solidarity, individual, group
I mitt arbete fördjupar jag mig i ämnet pedagogiskt drama. Mitt syfte är att undersöka hur pedagogiskt drama kan främja gruppsammanhållning på lågstadiet. Syftet är även att få en förståelse om hur individen påverkas. För att få svar på detta har jag använt mig av mina frågeställningar och min preciserade frågeställning.
Jag har använt mig av kvalitativ intervju som metod i min undersökning, vilket är passande då det kommer till att förstå individers sätt att reagera och resonera. Jag har valt att intervjua tre pedagoger, alla har en kopplig till drama och de arbetar på lågstadiet.
Min slutsats är att pedagogiskt drama kan främja gruppsammanhållningen, genom att många faktorer verkar tillsammans. Gruppen får sammanhållning genom att göra saker tillsammans som t.ex. problemlösningar eller något annat som är lustfyllt. Pedagogiskt drama utvecklar hela individen i samspel med andra. Individen får genom pedagogiskt drama ett stärkt självförtroende, självkänsla, medvetenhet och möjligheten att till utforska olika roller. Pedagogiskt drama kan bidra till att man kan se alla individer.
Sander, Nina. "Drama : En kvalitativ intervjustudie om drama som arbetssätt inom skolan och fritidshem." Thesis, Linköpings universitet, Institutionen för samhälls- och välfärdsstudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-76326.
Full textChristiansen, Johanna. "Goda grupper genom pedagogiskt drama : Hur kan pedagogiskt drama påverka gruppens sammanhållning?" Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26210.
Full textWisten, Christer. "Drama på skolan : En studie i praktiserandet av pedagogiskt drama i skolan." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-104798.
Full textDahlgren, Josefin, and Ida Petersson. "Strukturerad drama i svenskundervisningen : Hur elever uttrycker sin muntliga framställning genom drama." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-37463.
Full textSüdkamp, Holger. "Tom Stoppard's biographical drama /." Trier : WVT, Wiss. Verl, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016558889&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
Full textSüdkamp, Holger. "Tom Stoppard's biographical drama." Trier Wiss. Verl. Trier, 2007. http://d-nb.info/989158276/04.
Full textBohlin, Janni, and Frida Lindh. "Pedagogiskt drama i förskolan." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31776.
Full textEnebrant, Therese. "Pedagogiskt drama på Montessoriskolor." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30975.
Full textTeachers´ Stories About the Combining Pedagogical Drama with the Montessori Educational Method
golrang, nasrin. "Folksagor i pedagogiskt drama." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35986.
Full textOlsson, Sofie. "Pedagogiskt drama i förskolan." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35720.
Full textSproat, Ethan McKay. "Dialectic, Perspective, and Drama." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2441.pdf.
Full textEvans, Elizabeth Jane. "Audiences for emergent drama." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498288.
Full textGrip, Kerstin. "Rikare matematik med drama : En hermeneutisk fenomenologisk studie om drama som matematikdidaktiskt verktyg." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14776.
Full textCody, Tracey-Lynne. "Drama education in New Zealand schools: the practice of six experienced drama teachers." Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.
Full textGonçalves, Charles Dias. "Livro do Desassossego de Fernando Pessoa. O drama em gente no drama editorial." Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/526.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Neste trabalho de dissertação, tenciona-se analisar aspectos da obra de Fernando Pessoa na prosa-poética do Livro do Desassossego, de Bernardo Soares. A partir da reflexão sobre o conceito de “livro”, pode-se pensar na teoria da “obra aberta” e nas noções de abertura e infinitude do texto literário. Esse percurso possibilita uma incisiva indagação à própria obra, e ao “livro por vir”, cuja essência está no inconcluso, em fragmentos de um livro nunca concluso ou fechado. Através da análise de algumas de suas edições, tentar-se-á pensar o Livro também através do conceito de work in progress e obra rizomática. A primeira parte deste trabalho tem por objetivo refletir sobre o aporte teórico para confecção da dissertação, através de pensadores, filósofos e críticos como Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). A segunda parte é dedicada à metodologia do trabalho, a fim de justificar a escolha do corpus analítico utilizado: edições do Livro do Desassossego realizadas por Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). A terceira e a quarta partes são compostas pelo trabalho analítico. Pela análise das edições cotejadas e por meio de uma leitura mais profunda pretende-se a articulação da análise com o aporte teórico e a metodologia. A parte conclusiva do trabalho pretende retomar possíveis achados da análise e sustentar a provocação crítica já iniciada por nomes da literatura, como Eduardo Lourenço e Leyla Perrone-Moisés, segundo os quais o Livro do Desassossego pode ser lido como o símbolo material da certeza de não-fechamento de todos os textos e o possível suicídio da mitologia heteronímica de Fernando Pessoa.
In this dissertation paper, it is an intention to analyze aspects of Fernando Pessoa´s work in the prose-poetic of Livro do Desassossego (Unrest Book) from Bernardo Soares. Starting from the reflection on the concept of “book”, it is possible to think about the theory of the “open work”, and about the literary text´s notions of opening and infinitude. This path enables an incisive quest at the work itself, and at the “book to come”, whose essence is in the inconclusive, in fragments of a book never concluded or closed. Through the analysis of some of its editions, there will be an attempt to think about the book also through the concept of ‘work in progress’ and rhizomatic work. The first part of this work aims at the reflection on the theoretical support for the dissertation confection, through thinkers, philosophers and critics such as Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). The second part is dedicated to the paper´s methodology, in order to justify the choice for the utilized analytical corpus: editions of Livro do Desassossego (Unrest Book) accomplished by Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). The third and fourth parts are composed by analytical work. Through the collated editions and through a deeper reading, the analysis´ articulation is intended with the theoretical support and the methodology. The paper´s conclusive part intends to recapture possible analysis´ findings and support the critical provocation already initiated by literary names such as Eduardo Lourenço e Leyla Perrone-Moisés, according to whom Livro do Desassossego (Unrest Book) might be read as a material symbol for the certainty of all the texts’ non-closing and the possible suicide of Fernando de Pessoa´s heteronymic mithology.
Björnsson, Sara, and Therese Lundberg. "Varför drama? : En studie om betydelsen av drama för elever i F-3." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100582.
Full textHalvarson, Annika. "Med muntligt berättande som ingång i drama : Ett lärande i fiktion genom drama." Thesis, Stockholms universitet, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-173352.
Full textSaxon, Belinda Sue. ""Borrowing from the east" a study of types of Western theater adaptations of Chinese opera, Japanese noh, and kabuki /." online access from Digital Dissertation Consortium access full-text, 1992. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1351076.
Full textRipemo, Maria. "Spelar drama någon roll? : Om betydelsen av drama för de yngsta barnen i förskolan." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-43478.
Full textSyftet med detta examensarbete är att undersöka dramats intrinsikala värde (egenvärde) för de yngsta barnen (1-3 år) i förskolan. Dessutom försökte jag ta reda på om drama möjligen kunde ge upphov till lek. Jag har genom att använda mig av aktionsforskning som metod genomfört en undersökning på en förskola där jag utfört vad jag kallar för ”dramaupplevelser” med barnen. Genom min undersökning har jag fått svar på och en fördjupad förståelse för min frågeställning om barns agerande, reagerande, interagerande och intra-agerande i drama. I litteraturen har jag använt såväl det fenomenologiska perspektivet som det sociokulturella perspektivet samtidigt som jag har studerat nutida forskning om ämnet. Utifrån resultat och analys av min undersökning har jag kunnat konstatera dramats potential när det gäller de yngsta barnens agerande, reagerande, interagerande och intra-agerande. Detta har också bidragit till att jag kunnat urskilja och identifiera dramats intrinsikala värde samt hur drama kan ge upphov till lek.
Donley, Maren L. "Merchant drama: Trade, piety, and the paths to salvation in English drama, 1400--1532." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337088.
Full textMorton, Sheila A. Ellison Katherine E. "Teaching eighteenth-century drama through classroom and digital performance." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1276391361&SrchMode=1&sid=5&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1202155512&clientId=43838.
Full textTitle from title page screen, viewed on February 4, 2008. Dissertation Committee: Katherine Ellison (chair), James Kalmbach, Claire Lamonica. Includes bibliographical references (leaves 164-177) and abstract. Also available in print.
Gustavsson, Jessica, and Charlotte Persson. "Drama som tillgång i klassrummet." Thesis, Kristianstad University College, Department of Teacher Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-4015.
Full textVårt övergripande syfte med denna undersökning är att finna ut i vilket syfte lärare använder drama i sin undervisning och hur de uppnår dessa. Vi har genom vår litteraturstudie dragit slutsatserna att drama är ett gott instrument för att skapa en sammanhållning i klassen, ett instrument för inlärning som också i förlängningen skapar en trygghet i gruppen och en stärkt självkänsla hos den enskilda eleven. Drama tydliggör också för eleven skeenden inom historien såväl som samhällskunskapen som annars kan vara svåra att förstå och arbeta kring. Genom att intervjua åtta lärare som arbetar med drama i sin undervisning kom vi fram till att drama är ett ypperligt instrument att använda som komplement till den traditionella undervisningen.
Hallberg, Jessica. "Varför just teater och drama?" Thesis, Kristianstad University College, Department of Behavioural Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-4206.
Full textStudiens övergripande syfte är att få vetskap om varför elever väljer att gå teater- och dramainriktningen på det estetiska programmet på gymnasieskolan. Jag har genom min litteraturstudie dragit slutsatserna att teater och drama är ett bra verktyg för att nå personlig utveckling, tillit och trygghet hos individen och i gruppen, social kompetens, kommunikativ förmåga samt kognitiv kompetens hos individer. Drama används som redskap för utveckling av individens inre egenskaper och för gruppens välmående samt som ett förberedande steg till teater. Studien är en fallstudie där jag intervjuat tio elever som går den teater- och dramapedagogiska inriktningen på det estetiska programmet. Resultatet av min studie visar att motiven till varför elever väljer att gå denna utbildning kan delas in i tre inriktningar av anledningar och skäl. En av anledningarna visade sig vara att det var roligt. Teatern i sig själv samt personlig utveckling uppvisade sig vara de andra motiven. Genom att analysera den betydelse eleverna gav ordet ”roligt” gick det att urskilja tre olika innebörder; vilka är erfarenhetsmässigt, intressemässigt samt kombinationsmöjligheten med den teoretiska delen av utbildningen.
Olsson, Kristina, and Jill Gustafsson. "Drama - som ämne och metod." Thesis, Umeå University, Creative Studies (Teacher Education), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1032.
Full textDet här arbetet riktar sig till förskollärare, lärarstuderande och lärare inom skolväsendet samt inom barnomsorgen.
Vi är två lärarstuderande vid Umeå universitet som länge funderat på hur dramaarbetet har sett ut och ser ut i skolorna idag. I och med detta arbete har vi haft som avsikt att uppmärksamma just detta och vi ville ge en insikt i hur viktigt drama kan vara i undervisningen för eleverna. Vi ville även visa att drama är mycket mer än bara teater. I drama ingår även lek och skapande. Vi valde att intervjua personer som arbetar med drama i sin undervisning för att få svar på frågeställningarna kring detta arbete.
Det vi funnit är att alla lärare kan arbeta med drama i undervisningen om engagemanget finns. Det vi finner glädjande är att eleverna generellt uppskattar detta arbete, vilket vi tycker att man som lärare ska ta tillvara på. Ett sådant arbete skapar trygga, självsäkra, ämneskunniga och mer öppna elever.
Starck, Jessica. "Drama som metod i språkundervisning." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-45301.
Full textAnderson, Colin. "Teaching Social Studies Through Drama." DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.
Full textMansilla, Juan F. "Voces - Drama in One Act." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3274.
Full textJouve, Émeline. "Susan Glaspell's drama of revolt." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20116.
Full textManossa, Geraldine, and University of Lethbridge Faculty of Arts and Science. "The roots of Cree drama." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2002, 2002. http://hdl.handle.net/10133/227.
Full textv, 107 leaves ; 28 cm.
Adamcyk, David. "Cheval mémoire (a piano drama)." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107614.
Full textCheval mémoire (a piano drama) est une composition musicale de trente minutes écrite pour piano solo et électronique, intégrant six radios anciennes. La pièce explore métaphoriquement les processus de la mémoire, c'est-à-dire comment des évènements, des expériences, et des informations se transforment en souvenir, ou disparaissent à jamais. Pour ce faire, deux éléments narratifs alimentent l'action : un texte poétique où une jeune femme se rappelle et raconte la disparition de sa mère; et une métaphore visuelle où la pianiste, le piano, les radios anciennes, et le public représentent l'intérieur de la tête de la jeune femme. La pièce alterne alors entre des sections où la pianiste réagit musicalement au texte poétique qu'elle entend grâce à des haut-parleurs placés autour de l'auditoire, et d'autres où elle accomplit diverses actions dramatiques autour du piano, incluant le déplacement des radios à partir du piano vers le plancher. L'ensemble de ces actions symbolise la création et la consolidation de souvenirs. Les éléments musicaux de la composition émergent principalement de processus informatiques, découlant d'analyses spectrales et de diverses dérivations graphiques, appliquées à une série d'entrevues enregistrées au sujet de la radio, dont le contenu se distingue du texte poétique. Sur le plan technique, la pièce explore l'idée du redéploiement des haut-parleurs (c'est-à-dire le déplacement physique des haut-parleurs durant la performance) dans le but de modifier la perception de la dimension de l'image sonore sur scène; de plus, la pièce étudie comment la combinaison d'une simulation de la résonance du piano à d'autres sons synthétisés peut amplifier le potentiel du timbre et du registre du piano durant la performance.
Woods, Gillian. "Catholic semiotics in Shakespearean drama." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442890.
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