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Dissertations / Theses on the topic 'Horrocks'

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Published: 10 December 2022
Last updated: 29 January 2023

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1

Borgwardt, Stefan [Verfasser], Franz [Akademischer Betreuer] Baader, and Ian [Akademischer Betreuer] Horrocks. "Fuzzy Description Logics with General Concept Inclusions / Stefan Borgwardt. Gutachter: Franz Baader ; Ian Horrocks. Betreuer: Franz Baader." Dresden : Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://d-nb.info/1068447249/34.

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2

Melliez, Franck. "Une rédaction sur la courbe de Bring comprenant notamment une étude sur l'"involution dualité" liée aux sections du fibré de Horrocks-Mumford." Lille 1, 2001. https://pepite-depot.univ-lille.fr/LIBRE/Th_Num/2001/50376-2001-43-44.pdf.

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Pour produire cet opuscule, un Thésard T a utilisé un manuscrit du célèbre alchimiste T. TIMOLEI traitant de l'iquenosaèdre. Il prétend en extraire certains renseignements, par exemple que toute sextique rationnelle plane a 6 tritangentes est projection de l'unique sextique gauche rationnelle (2l 5-invariante) qui admet une infinité de plans tritangents (celles-ci sont presque en bijection avec les sections du célébrissime fibré de Horrocks-Mumford sur P 4 = Proj(C[K,L,E,I,N])). Ce phénomène découle de l'unicité - dans un espace projectif (complexe) - d'une "figure" formée d'une cubique gauche et d'une cubique gauche duale dont les réseaux sont orthogonaux. Avec un égal brio, l'auteur T. T. Poursuit sa cueillette en mettant en évidence une presque bijection (i. E. Une application qui est génériquement un isomorphisme) entre l'ensemble des variétés abéliennes (1,5)-polarisées à isomorphisme et dualité près d'une part, et l'ensemble des sextuplets de points d'une droite projective complexe à homographie près d'autre part. Outre les résultats (indispensables) de BARTH et MOORE concernant le fibré de Horrocks-Mumford, l'argument clé est qu'il existe au plus une droite rencontrant six plans trisécants à une quintique rationnelle normale.
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Melliez, Franck Gruson Laurent. "Une rédaction sur la courbe de Bring comprenant notamment une étude sur l'"involution dualité" liée aux sections du fibré de Horrocks-Mumford." [S.l.] : [s.n.], 2001. https://iris.univ-lille1.fr/dspace.

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4

Siqueira, Mônica Soares. "Arrasando horrores." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/93027.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Antropologia Social, Florianópolis, 2009
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Esta tese de doutorado propôs-se a realizar um estudo etnográfico das narrativas biográficas e formas de sociabilidade de sujeitos que se identificam como "travestis das antigas". Ao procurar empreender, em termos de Eckert & Rocha (2005), uma etnografia das lacunas da duração pretendeu-se compreender os processos pelos quais estes sujeitos foram construindo, ao longo de suas trajetórias sociais, e por intermédio de seus itinerários urbanos, suas formas de sociabilidade relacionadas às suas vivências na cidade do Rio de Janeiro. Pensar as formas de sociabilidade específicas das interlocutoras desta pesquisa me conduziu à análise de suas interações sociais e, conseqüentemente, das formas de apropriação do espaço urbano, bem como de suas relações, percepções e concepções da cidade entendida, principalmente, como cenário de atuação desses atores sociais. Acredito que ao compartilhar de suas caminhadas ao longo de suas vidas através de suas memórias e seus cotidianos somos levados aos dramas, às intrigas e aos dilemas que compõem a interface entre o que estou chamando aqui, inspirada em De Certeau (2008), cidade conceito e cidade ordinária. Se em suas narrativas sobre as experiências na e da cidade são enunciados preconceitos e discriminações constrangedoras de seus processos de construção de subjetividade, de formulações de projetos e de apropriações e usos da cidade em que nasceram e/ou escolheram para viver, também são relatadas suas astúcias e táticas no intuito de impor seus estilos de uso nos diferentes espaços urbanos e de serem, assim, senhoras de seus passos na cidade do Rio de Janeiro.
This thesis sets out to conduct an ethnographic study of biographic narratives and sociability forms of subjects identified as "transvestites of the ancient kind". While trying to undertake, in terms of Eckert and Rocha (2005), an ethnography of the gaps of duration, it intends to understand the processes by which these subjects were building, all along their social trajectories and through their urban itineraries, their forms of sociability related to their existences in the city of Rio de Janeiro. Thinking the specific forms of sociability of the interviewed led me to analyze their social interactions and consequently the forms of appropriation of the urban space, as well as their relations, perceptions and conceptions of the gay city, principally, like stage of performance of these social actors. I believe that sharing their walking along his lives through his memories and his daily activities we're taken to the dramas, intrigues and dilemmas that compose the interface between what, inspired in De Certeau (2008), I refer to as concept city and ordinary city. If, in their narratives of the experiences in and of the city, prejudices and embarrassing discriminations of his processes of subjectivity-building, of projects-formulation and of appropriations and uses of the city in which they were born and/or chose to live are expressed, their cunnings and tactics as they try to impose their styles of use in different urban spaces and of becoming ladies of their steps in the city of the Rio de Janeiro are also told.
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5

Oliveira, Ana Maria Fernandes de. "Baile dos Horrores: A presença do grotesco e do horror num baile de carnaval do Rio de Janeiro." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5981.

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O trabalho aborda o baile dos Horrores, que acontecia no período pré-carnavalesco do Clube Magnatas de Futebol de Salão localizado na Rua General Belford no bairro do Rocha, subúrbio do Rio de Janeiro, de 1960 a 1988. Sua característica marcante foi o horror levado às últimas conseqüências, chamando a atenção da imprensa e provocavam mal estar em pessoas mais sensíveis. A dissertação busca discutir os motivos da presença desses elementos numa festa onde a alegria predomina. Procuramos, desse modo, associar o baile a um período do século XX em que as tensões ocasionadas por uma série de fatores (como a Segunda Guerra Mundial, a Guerra Fria e a Guerra do Vietnã, por exemplo) causavam os mais diversos temores com elementos nunca antes visto, como a bomba atômica, iniciando assim novo período onde as metamorfoses seguiam o caminho do terror. A ciência, por sua vez, aceleraria processos que teriam influencia em todos os campos da produção humana, inclusive, ou principalmente, nas artes
The paper addresses the Ball of Horrors (Baile dos Horrores), which happened during the pre-carnival time in the Clube Magnatas de Futebol de Salão in Rio de Janeiro, 1960-1988.Its salient characteristic was theme of horror taken to its ultimate consequences, drawing media attention and causing discomfort in sensitive individuals. The paper seeks to discuss the reasons for the presence of these elements at in kind of festivity where joy prevails. We seek thus associate the ball whith the twentieth century period when tension caused by a number of factores (such as the Second World War, Cold War and the Vietnam War, for example) brought a fear never seen before, like the one associate with the atomic bomb, thus initiating new period where the metamorphosis followed the path of terror. Science, in turn, accelerants the processes that have influence in every of human production, even, if not especially, in the arts
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Crowley, Dale Allen. "Eldritch Horrors: The Modernist Liminality of H.P. Lovecraft's Weird Fiction." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1496326220734249.

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7

Scales, Adam. "Logging into horror's closet : gay fans, the horror film and online culture." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59454/.

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Harry Benshoff has boldly proclaimed that ‘horror stories and monster movies, perhaps more than any other genre, actively invoke queer readings’ (1997, p. 6). For Benshoff, gay audiences have forged cultural identifications with the counter-hegemonic figure of the ‘monster queer’ who disrupts the heterosexual status quo. However, beyond identification with the monstrous outsider, there is at present little understanding of the interpretations that gay fans mobilise around different forms and features of horror and the cultural connections they establish with other horror fans online. In addressing this gap, this thesis employs a multi-sited netnographic method to study gay horror fandom. This holistic approach seeks to investigate spaces created by and for gay horror fans, in addition to their presence on a mainstream horror site and a gay online forum. In doing so, this study argues that gay fans forge deep emotional connections with horror that links particular textual features to the construction and articulation of their sexual and fannish identities. In developing the concept of ‘emotional capital’ that establishes intersubjective recognition between gay fans, this thesis argues that this capital is destabilised in much larger spaces of fandom where gay fans perform the successful ‘doing of being’ a horror fan (Hills, 2005). This, I argue, illustrates that gay horror fandom is constructed and performed differently across fan spaces as a means to articulate gay identity in culturally meaningful ways. In presenting the voices of gay fans, the significance of this thesis lies in challenging existing models of horror fandom by suggesting its multiplicity for the fans researched. Indeed, whilst the ‘knowledgeability’ (Hills, 2005) of horror fans is important, this study explores the meaningful connections that gay fans establish with one another and the cultural significance of horror to the identity work of fans across distinctive online spaces.
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8

Johnson, Jay. "'Same hell, different horrors' : women in the Holocaust : testimony into fiction." Thesis, De Montfort University, 2001. http://hdl.handle.net/2086/4297.

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9

Lima, Dulce Fabiana Mota. "Traduzindo horrores com H. P. Lovecraft (1890-1937) : aspectos afetivos e relação tradutoria." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269233.

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Orientador: Jo Anne Marie McCafrey Busnardo Neto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação apresenta um estudo de caso auto-reflexivo que denomino autoetnografia de tradução. Esse estudo visa a minha própria relação tradutória com um escritor norte-americano bastante representativo para a literatura de horror, Howard Philips Lovecraft (1890-1937). Para investigar essa relação, utilizo-me de uma metodologia de pesquisa qualitativa que combina dois instrumentos: histórias de vida e protocolos verbais (aos quais me refiro também como protocolos de tradução). Durante as análises dos dados coletados, eu verifico a aplicabilidade de certas teorias psicanalíticas: o neo-lacanianismo do teórico da escrita Mark Bracher (1999); o pós-lacanianismo de Julia Kristeva e suas noções de registro Semiótico e de abjeto; o conceito de relação tradutória amorosa (ou relação de amor) e a idéia de escrita singular da teórica brasileira de tradução Maria Paula Frota (2000); e o ¿Esquema Lacandemônico¿ do teórico norte-americano de tradução Douglas Robinson (2001). O foco da investigação é a visibilidade do tradutor. Faço uso também de teorias de recepção para compreender as implicações ¿ inclusive as implicações éticas ¿ de uma relação tradutória caracterizada por um amor infeliz e que é construída pelo apagamento de aspectos importantes do texto de partida
Abstract: This dissertation presents a self-reflexive case study which I will call an autoethnography of translation. The study describes my own relationship, as a translator, to the North American author H. P. Lovecraft (1890-1937), one of the most representative creations of the horror genre in literature. In order to investigate that relationship, I utilize a qualitative research methodology which combines two instruments: life histories and verbal protocols (which I also refer to as translation protocols). During the analysis of the data collected, I attempt to verify the applicability to translation processes of certain psychoanalytic theories: the neo-Lacanianism of the writing theorist Mark Bracher (1999); the post-Lacanianism of Julia Kristeva and her notions of the Semiotic Register and the abject; the concept of the translation love relationship (or love affair) and the idea of the singular in translation writing processes of the Brazilian translation theorist Maria Paula Frota (2000); and the ¿Lacandemonic Schema¿ of the North American theorist of translation Douglas Robinson (2001). The focus of the investigation is the translator¿s visibility. I also make use of theories of reception in order to understand the implications ¿ including ethical implications ¿ of a translation relationship characterized as unhappy love, and which is constructed through the erasure of important aspects of the source text
Mestrado
Tradução
Mestre em Linguística Aplicada
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10

Kendrick-Alcántara, Carolyn. "Life among the living dead the Gothic horrors of Latin American literature /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468231&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Young, Suzie Sau Fong. "The horrors of pleasure and the pleasures of horror in David Cronenbergs's cinema /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9961763.

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12

Jennings, Audra R. "With Minds Fixed on the Horrors of War: Liberalism and Disability Activism, 1940–1960." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1217350845.

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13

Brittnacher, Hans Richard. "Ästhetik des Horrors : Gespenster, Vampire, Monster, Teufel und künstliche Menschen in der phantastichen Literatur /." Frankfurt am Main : Suhrkamp, 1994. http://catalogue.bnf.fr/ark:/12148/cb375273918.

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14

Catlett, Mark. "THE MIND OF A SADOMASOCIST:A THEATRICAL ROLE ANALYSIS OF ORIN SCRIVELLO D.D.S." Master's thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3806.

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Mark Catlett will portray the role of Orin Scrivello D.D.S., as well as various other "cameo" roles, at Seaside Music Theater in Daytona Beach, Florida from January 13- February 13 2005. The role of Orin Scrivello will provide me with several acting challenges as well as multiple subjects and themes to research. The most challenging aspect of creating, developing and embodying the character of Orin will be his sadomasochistic nature and his blatant abuse towards Audrey. Sadomasochism is defined as "the deriving of sexual gratification, from being physically or emotionally abused". It is also defined as "a willingness or tendency to subject oneself to unpleasant or trying experiences". The psychology of sadomasochism is completely foreign to my life experience and will have to be deeply explored to fully realize the inner workings of Orin's behavior. To supplement the exploration of the psychology of sadomasochism, research will be completed on the following topics: • Sadomasochism in regards to the lead characters of Little Shop of Horrors. • The history of Little Shop of Horrors from its roots in the cult horror film of 1960, followed by the 1983 Off-Broadway production, segueing into the 1986 re-make film version, and culminating in the 2003 official Broadway production. Portrayal of Orin Scrivello D.D.S. also demands the creation of several other characters in the second act of the show. This will require me to develop several different characters ranging from the sadomasochistic dentist, to an ambitious entrepreneur, to even dressing in drag to portray a female florist customer. This will give me an opportunity to show versatility as well as research several different character personalities and dramatic structures. These characters come in and out of the florist shop very quickly, so the challenge will be to both perform a quick change of costume and also be able to completely switch characterizations within minutes. These characters should be different enough that the audience does not immediately realize it is the same actor playing all of these roles.
M.F.A.
Department of Theatre
Arts and Sciences
Theatre
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Whitehead, Cameron Ean Alfred. "The Bulgarian Horrors : culture and the international history of the Great Eastern Crisis, 1876-1878." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46524.

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In the wake of alleged Ottoman atrocities in Bulgaria, the new geopolitical order created at the 1878 Congress of Berlin was demarcated largely along Western cultural prejudices. Using a cultural approach that appreciates both “macro” material structures and “micro” cultural processes in Bulgaria, Britain, and the Ottoman Empire, this study offers an alternative framework for understanding this period. It employs community-level evidence (petitions, public meetings, provincial journalism) alongside the diplomatic record; moreover, it uses the diaries, writings, and the marginalia within the personal readings of important policy-makers as pivotal intermediaries between cultural discourses, material structures, and individual agency. Diverging from previous narratives, which hold that the Great Powers altruistically responded to barbaric atrocities perpetrated by the Ottoman Empire against their European Christian subjects, I argue that solidifying conceptions of racially-based national self-determination and nonconformist evangelicalism were crucial within humanitarian protest, the diplomatic decision-making process, military objectives during the Russo-Turkish War, and the resolution of the Great Eastern Crisis. Western cultural preconceptions, propagated, negotiated, and reified throughout this process, were thus transformative in the construction of the new, unstable Balkan geopolitical order that contributed to the outbreak of the First World War and the remaking of the modern world.
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Stone, Tracy. "Speculative Ontologies and Cautionary Horrors| The Literary Zombie's Answer to What We Are and Where We're Going." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687707.

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On a metaphoric level, the zombie is an extremely malleable and dynamic figure because it can act as a template for exploring the hazy definitions of humanity. The trope of the zombie I trace in this dissertation is the performance of an absence: the zombie as fragmented and incomplete human. I examine examples of the zombie in American literature across the last century that reify the absence of something crucial in the ontological makeup of a complete human, a component I term `the absent quale.' In the first two chapters, I establish the trope of the zombie as a figure that lacks a particular quale essential to humanity. Chapter One examines H. P. Lovecraft's zombies in "Herbert West: Reanimator" (1921–22) in the context of scientific materialism, which denies the existence of the soul. By 1959, when Robert Heinlein wrote his time travel classic "All You Zombies—," the figure of the zombie as an embodied absence was so established in popular culture that Heinlein's narrator uses the word "zombies" as a metaphor; Chapter Two reads the figurative zombie as a characterization of the fragmented along the temporal dimension. In Chapter Three, I consider Harlan Ellison and Robert Silverberg's "The Song the Zombie Sang" (1970) alongside Walter Benjamin's influential essay, "The Work of Art in the Age of Mechanical Reproduction," using the latter's concept of the aura to denote a sort of material analogue to the human soul. I argue in Chapter Four that the bricolage of popular culture motifs that Robin Becker's zombie rehearses throughout Brains: A Zombie Memoir (2010) enacts the postmodern estrangement from an authentic dimension of being. Expanding on this theme, Chapter Five explores the ways in which popular culture dictates reality for the living and the undead members of the pre- and post-apocalyptic American society Colson Whitehead describes in Zone One (2011).

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Hurford, Emily M. "Gender and Sexuality in Shoujo Manga: Undoing Heteronormative Expectations in Utena, Pet Shop of Horrors, and Angel Sanctuary." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1250882984.

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Fraley, Chad David. "Design and Construction of the Audrey II Puppet Series for the Play Little Shop of Horrors." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2030.

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This project's objective was to design and build 4 stages of the Audrey II puppet for the East Tennessee State University production of Little Shop of Horrors (Ashman, 1982). The puppets were to be created with consideration for the production space, budget, and operator ease, along with audience impact. This paper will present the design and construction in a step by step-bystep fashion using illustrations and photographic examples. Each puppet in the series was originally conceived using references to living plants and animals combined with an artistic vision of the designer. The puppets were built with light, modern materials using new and traditional techniques for puppet construction. Construction techniques and materials resulted in light, maneuverable puppets that can be manipulated with ease and with high audience impact.
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Berndtson, Erik. "Mortal Minds and Cosmic Horrors : A Cognitive Analysis of Literary Cosmic Horror in H.P.Lovecraft's ”The Shadow Out of Time”." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-38854.

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This essay explores how the reader cognitively reacts to reading H. P. Lovecraft’s horror story “The Shadow Out of Time” (1936). I analyse the text to see how it invites readers to beaffected by it. I specifically look at invitations to envisionment, subjective experience andintersubjectivity. The literary horror terms uncertainty and uncanniness are used inconjunction with cognitive theory to explain how the readers may react to readingLovecraft’s stories. These are in turn reinforced by the reader's ongoing envisionment of thestory, and their sharing of the character’s experiences via subjective experience. For example,the separation between the mind and body of the protagonist creates an uncanny dissonanceto his own identity, which disrupts the reader’s understanding of the character. This maycause distress in the reader due to the subjective experience that connects the reader to thecharacter. Additionally, the disrupted sense of reality in the book affects the narrator'sperceptions of both his surroundings and his own mental faculties. Subsequently, the reader’sunderstanding of the text is also in a state of flux which affects their envisionment of thestory. This disrupts understanding and may enhance feelings of unease. My theory istherefore that unease is invited by certain horror techniques, such as uncertainty anduncanniness, which in turn influence the reader specifically through subjective experienceand envisionment.
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Waller, Vanja. "Gender representation through the horrors of Fatal frame (2001) : Textual analysis into female gender representation in the Japanese survival horror game, Fatal Frame (2001)." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20087.

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Gender representation in the horror genre has many interesting discussions surrounding it through multiple perspectives such as psychoanalysis and culture. This article intends to expand the investigation of how female characters are portrayed in horror games. The research on female representation will investigate the potential connections between horror cinema and horror games in the survival horror game Fatal Frame (2001, Koei Tecmo), the first title of a series that is iconic f0r drawing inspiration from Japanese mythology and horror tropes while simultaneously using a large cast of female characters. To gather information about the audience to support the game analysis, an online survey will be released targeting players of the games. Thereafter, recorded, non-commentary footage of the first game, Fatal Frame (2001), will be observed and textually analysed through a framework with data points, based on the background of psychoanalysis, horror cinema, culture, and game theory.
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Casemiro, Fabio Martinelli 1976. "Carne, imagem e revolta na lirica de Teofilo Dias." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270251.

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Orientador: Francisco Foot Hardman
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A obra lírica de Teófilo Dias (1854 - 1889) é hoje composta de quatro livros: Lira dos Verdes Anos, Cantos Tropicais, Fanfarras e A Comédia dos Deuses. Sua poesia é considerada pela crítica, por vezes baudelairiana, por vezes parnasiana, ora simbolista. Este trabalho rompe com as "escolas literárias" e demais reduções teóricas e visa compreendê-la a partir das discussões estéticas e políticas próprias de sua historicidade. Em seu canto lírico, elaborado a partir da ressonância de várias tendências nacionais e estrangeiras, o culto ao belo-horrível e a mobilização política não se mostram isolados, mas como peças que harmonicamente se fundem no vitral da imagem.
Abstract: The works of Teófilo Dias (1854 - 1889) are composed by four books: Lira dos Verdes Anos, Cantos Tropicais, Fanfarras and A Comédia dos Deuses. His poetry is considered by the critics as baudelairian, or parnassian, or symbolist. This investigation breaks with these conceptions of "literary schools" and others theorical reductions, and intends to understand them in the aesthetics and political discussions within its historicity. In his poetry, which is elaborated by the resonance of multiples tendencies (nationals and foreigns), the aesthetic of the horror's beauty and the political mobilization were not composed isolatedly: it were harmonically merged to the sculpture of the image.
Mestrado
Literatura Geral e Comparada
Mestre em Teoria e História Literária
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Kornmeier, Uta. "Taken from life." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2006. http://dx.doi.org/10.18452/15547.

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Wachsfigurenkabinette waren nicht immer die billigen Sensationsmaschinen, als die sie heute verstanden werden. Vor der Erfindung und Verbreitung von Photographie und illustrierten Zeitschriften waren sie Bildmedien, die der Vermittlung von visuellen Informationen dienten. Kein anderes Medium konnte die Protagonisten der Weltgeschichte so unmittelbar darstellen wie die Sammlungen lebensgroßer Wachsfiguren. Das Material Wachs trug wesentlich zu ihrem Erfolg bei, denn es ermöglichte die täuschend echten und bis dahin realistischsten Darstellungen von bekannten Persönlichkeiten. Die Operationsweise dieses Mediums wird am Beispiel von Madame Tussauds Wachsfigurenkabinett genauer untersucht. Dazu wurde, soweit möglich, die Reiseroute, der Aufbau und die “Besetzung” der Ausstellung rekonstruiert, sowie die soziale Herkunft der Besucher in der ersten Hälfte des 19. Jh.s ermittelt. Es wird deutlich, daß Marie Tussaud eine talentierte Portraitkünstlerin und ambitionierte Schaustellerin war, deren sorgfältig gestaltete Ausstellung vor allem Besucher der aufstrebenden Mittelschicht mit Interesse an Menschenkenntnis anzog. Das Wachsfigurenkabinett fiel damit in die Kategorie der “nützliche Unterhaltung”, die der Wissens- und Charakterbildung diente. Madame Tussaud ist vielleicht die bekannteste Betreiberin eines Wachsfigurenkabinetts – keinesfalls aber die erste. Die Geschichte der kommerziellen Ausstellung lebensgroßer Wachsfiguren reicht ins beginnende 17. Jh. zurück, wobei sich das Konzept der Kabinette im Laufe der Jahrhunderte stark gewandelt hat. In dieser Arbeit werden drei Ausstellungsformen unterschieden: a) das barocke Figurengruppen-Kabinett, das programmatische oder allegorische Geschichten erzählt, b) die aufklärerische Portraitgalerie (wie z.B. Madame Tussauds), in der Persönlichkeiten als charakteristische Individuen vorgestellt werden, c) das moderne Tableau-Kabinett, wo alltägliche oder außergewöhnliche Ereignisse auf bis dahin unübertroffen realistische Weise wiedergegeben werden. Als Nachrichtenkanal und als Medium für realistische Wirklichkeitswiedergabe sind Wachsfigurenkabinette seit den 1920er Jahren überholt. Als Spiel mit der menschlichen Sinneswahrnehmung bleiben sie jedoch vorerst aktuell.
Waxworks were not always the cheap sensation spinners as which we perceive them today. Before the invention and wide-spread use of photography and illustrated magazines they were an important medium for distributing visual information. No other form of communication could offer such immediate representations the protagonists of world history. Perhaps the greatest part in their success took the material wax which allowed the creation of deceptively lifelike and hitherto most realistic depictions of celebrated individuals. In this thesis, Madame Tussaud’s serves as a prime example for examining the mode of operation of a waxwork exhibition. As far as the sources allow, the itinerary, the ‘cast’ and display of the exhibition is reconstructed, as well as the number and the social background of its visitors during the first half of the 19th century. It emerges that Marie Tussaud was a talented portrait artist and a show woman of ambition whose carefully constructed exhibition attracted mainly middle-class visitors with an interest in human classification. Thus, the waxworks was a ‘rational entertainment’ that was thought to further the development of knowledge and character in its visitors. While Madame Tussaud’s was perhaps the most famous waxworks, it was not the first one. The history of commercial exhibition of life-sized wax figures goes back to the 17th century. Their concept, however, changed significantly over the centuries. Three forms of waxworks are differentiated here: a) the baroque waxworks of groups of figures narrating programmatic and allegorical stories, b) the enlightened portrait gallery – such as Madame Tussaud’s – where celebrities are presented as individual characters, c) the modern tableau waxworks, that represents extraordinary as well as everyday events in a realistic way that was hitherto unprecedented. As a channel for the distribution of news and as a medium for representing reality waxworks have become outdated. As a tickle for the senses, however, they will yet remain effective.
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23

Moody, David Adams. "Little shop of horrors comparative lighting designs through stage directions /." 2010. http://hdl.handle.net/10288/1908.

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24

"Traduzindo horrores com H. P. Lovecraft (1890-1937) : aspectos afetivos e relação tradutoria." Tese, Biblioteca Digital da Unicamp, 2005. http://libdigi.unicamp.br/document/?code=vtls000358580.

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25

Lewis, Stephanie E. ""Congeries of pleasing horrors" : Fantasmagoriana and the writings of the Diodati Group /." 1995. http://collections.mun.ca/u?/theses,29862.

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26

Weber, Eric. "National Crimes and Southern Horrors: Trans-Atlantic Conversations about Race, Empire, and Civilization, 1880-1900." Diss., 2011. http://hdl.handle.net/10161/5037.

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National Crimes and Southern Horrors examines the contested meanings of the terms civilization, race, and empire in trans-Atlantic conversations during the last two decades of the nineteenth century. It argues that understanding these dialogues requires us to understand the interplay between regional and transnational definitions of these terms. It further explains both white Southern opposition to empire at the end of the nineteenth century as well as white Southern acceptance of their region as similar to European empires and imperial mission described in Rudyard Kipling's poem, "The White Man's Burden." Reading newspaper US and British articles and editorials, international periodicals, personal papers of activists and politicians in both the US South and Britain, it uncovers the dynamic definitions of race, empire, and civilization at play in the work of constructing the US South as both a part of and distinct from the imperial world. Reading conversations about Irish home rule, the gold standard, international bimetallism, British interactions with white and black Southerners, the disfranchisement of black men in the US South, the construction of Jim Crow, lynching in the US South, Turkish atrocities in Armenia, the Philippine American War and the Boer War, it reveals that to understand the transnational development of white supremacy in imperial sites in Africa, Asia, the West Indies, and the US South requires to look not only at the ways whites within each site defined their right to rule but also in the ways they looked to each other. It also argues that understanding the place of the US South within trans-Atlantic conversations about race and civilization but also regional politics and the ways that regional concerns structured and limited how people in Britain and the US South saw each other. Through comparison and conflict, the US South was an essential part in constructing global color lines, and imperial ideologies worked to prop up white Southern defenses for segregation and Jim Crow.


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27

"Design and Construction of the Audrey II Puppet Series For the Play Little Shop of Horrors." East Tennessee State University, 2007. http://etd-submit.etsu.edu/etd/theses/available/etd-1106107-095745/.

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28

Benson, Frances. "The interior cinematic : beauties and horrors from the strange loop of self : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Design, Massey University, Wellington, New Zealand." 2010. http://hdl.handle.net/10179/1293.

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When we are buffeted by extreme external or internal forces, the self may splinter and spiral in a psychological maze of disengagement and lost sovereignty. This trans-disciplinary design project responds – operating between fashion, performance and film – and acts out Elaine Scarry’s contention that pain can be constructively re-made. Functioning as a metaphorical problem-solving space where the textures of inner experience are explored, this project employs fragmented narrative and theatrical re-fashioning of the environment and body to attain greater social relevance. It asks how can we reconnect with the ‘sovereign self’ when our constitutional confidence has been eroded and how do we re-engage with the outside world once we have become psychologically estranged from it? The Interior Cinematic utilises cognitive scientist Douglas Hofstadter’s formulation of the self as a ‘strange loop’, and Louis A. Sass’ explanation of the dissociative and recursive features of schizophrenia as a point of poetic departure for understanding the damaged and dissociated self. The lost self may seem like an end - a horrific freefall out of normal life into madness and estrangement. But it is also a beginning; the pinnacle of sensory ascendency - a beautiful, lateral, life affirming state. Through The Interior Cinematic I construct an aesthetics of reengagement: an affective pathway between these contradictory and overlapping existential poles, contending that the lost self can, in part, be recovered through a rediscovery of sensation. This work is informed by Julia Kristeva’s assertion that alienation is the kernel for empathetic re-engagement with others, as well as by Arthur Frank’s theory of narrative as a strategy to reconnect with the damaged self.
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