Tesis sobre el tema "Performing studies"
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Wittmer, Micah. "Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939)". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718725.
Texto completoMusic
Reynoso, Humberto. "Performing Binaries". CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/252.
Texto completoAdkins, Katrin L. "Performing Race: Instances of Color Representation in American Culture". W&M ScholarWorks, 2003. https://scholarworks.wm.edu/etd/1539626385.
Texto completoWidmer, T. K. "Performing Transition: Depictions of the Transgender Experience". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/362.
Texto completoSpeer, Annika Corwin. "Performing Politics| Visibility, Identity, and Meaning-Making in Docudrama". Thesis, University of California, Santa Barbara, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596267.
Texto completoMy dissertation, Performing Politics: Visibility, Identity, and Meaning-Making in Docudrama, challenges scholars' privileging of documentary theatre, which relies solely on primary source material such as trial transcripts, over docudrama, which allows a blending of primary sources with fiction. I focus on contemporary docudrama theatre practitioners in the United States, and specifically on productions that address issues of gender and sexuality. My work argues for the feminist potential of docudrama to disrupt hierarchies of knowledge and destabilize the primacy of the primary source. I demonstrate in Chapter One that in a docudrama like Paula Kamen's Jane: Abortion and the Underground, "reality" operates alongside the imaginative potential of fiction, thus providing practitioners and audiences a unique realm in which to tackle difficult and politically charged issues. My second chapter argues that the interdisciplinarity of documentary theatre can be a feminist ethnographic model for scholar-artists to employ ethical research methods for artistic engagement. Through a critical examination of E. Patrick Johnson's Sweet Tea, I argue that reflexivity and the post-show talkback are promising tools for foregrounding the practitioner's positionality and raising public consciousness. Finally, I challenge implications that documentary theatre is inherently pedagogical. Through an analysis of Dustin Lance Black's 8, I question the ways in which parroting primary source material reifies dominant ideologies, further entrenching cultural hierarchies. I conclude by considering other promising feminist attributes of docudrama, specifically the symbiotic potential of dialoging documentary scholarship with scholarship on queer temporalities.
Correro, Augustine III. "Performing Tennessee Williams". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.
Texto completoSentilles, Renee M. "Performing Menken: Adah Isaacs Menken's American odyssey". W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539623901.
Texto completoStrain-Bell, Sheila L. "Organizational conflict : in a performing arts organization". Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77674.
Texto completoMICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 161-165.
by Sheila L. Strain-Bell.
M.C.P.
Scal, Joshua. "White Skin, Black Masks: Jewish Minstrelsy and Performing Whiteness". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2163.
Texto completoShrewsbury, Kristen M. ""Just like everyone else"| Lesbians performing heteronormativity to create connection". Thesis, California Institute of Integral Studies, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3718563.
Texto completoThis study assists in gathering narratives of lesbian lived experiences in the culturally conservative context of the Shenandoah Valley during the political shift toward marriage equality in the Commonwealth of Virginia. Framed in relational-cultural theory (Jordan, 2010), individual narratives document 5 Shenandoah Valley lesbian couples’ conversations about marriage among partners located between February 13, 2014, when U.S. District Judge Arenda Wright Allen declared Virginia’s ban on same-sex marriage unconstitutional, and October 6, 2014, when the U.S. Supreme Court declined to hear the appeals, thereby removing the delays to legal same-sex marriage in the Commonwealth of Virginia. Conducting this inquiry during this cultural transition, the study’s focus is centered on contextual factors contributing to personal responses to prospective legal marriage. A poststructuralist feminist inquiry, the thematic analysis provides a contextualized snapshot in a time when political change is leading culture and invites readers to reflect and challenge their own discursively defined views. The thematic analysis revealed 7 key concepts for deeper consideration: relative belonging, caution, equal protections, the respectable same-sex couple, revisiting the relationship, family of origin, and personal ideology about marriage.
This study broadens the discourse of marriage equality by contributing lesbian-generated knowledge to the literature on the impact of the political shift toward marriage equality, and presents 5 distinct interview narratives. The project documents the tensions between assimilation and re-imagining marriage for lesbians performing heteronormativity as a facet of creating connection in a socially conservative culture. The impacts on the socially conservative culture includes the creation of new myths that reconfigure a separate gay culture in the paradigm of Foucault’s (1978a, 1978b) homosexual into an ambient community (Brown-Saracino, 2011) of the posthomosexual (Valverde, 2006) aligned with the emergent respectable same-sex couple (Valverde, 2006) and queer-blindness, an appropriation of the racism construct color-blindness aimed at queer sexualities rather than people of color. This project is significant to queer, feminist, and social justice scholars, activists and practitioners, lesbian couples considering marriage, and antigay activists whose collusion to subordinate this population has largely been an ideological fight against a disembodied other.
Rudnick, Justin J. "Performing, Sensing, Being: Queer Identity in Everyday Life". Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1466084273.
Texto completoWu, Xiaojun Allan 1973. "An examination of China's non-performing loan issue". Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/32235.
Texto completoIncludes bibliographical references (leaves 61-62).
Non-performing loans (NPLs) are essentially a product of the irrational allocation of resources. Different from other Asian countries, China's NPL issue resulted primarily from a transitioning economy dominated by the triangular relations of state-owned enterprises (SOEs), state-owned commercial banks (SOBs) and the fiscal system. Even though the total amount of NPLs in 1999 was estimated to be around 30% of the total outstanding loans of SOBs, the NPL problem in China would not lead to an immediate financial crisis as the NPL problem is more a stock problem than a flow one. However, the huge amount of overhanging bad debts has become one of the bottlenecks for China's further reform, particularly, in the banking sector. The establishment of four Asset Management Companies (AMCs) was an innovative approach to provide an instant relief of the bad debt burden of SOBs, to recover distressed assets and to restructure SOEs. Despite facing many challenges, the AMCs have been continuously seeking new NPL workout approaches and made substantial progress. A series of workout approaches have been introduced including debt-equity swap, discounted payoff, loan pool sale and property auction, etc. The process, however, will become increasingly difficult because the high quality assets have been disposed of first and the more troubled ones still remain in the portfolio. Furthermore, if the government cannot make a creditable commitment that the current NPL transfer and debt-equity swap is a once-off policy, new NPLs will be encouraged through soft lending by the SOBs and strategic default by the SOEs. There are also several obstacles ahead to the AMCs including China's immature capital market, the AMCs' internal structural problems as well as China's weak legal enforcement mechanism. Fortunately, the Chinese government has made a great commitment to tackle the NPL issue not only from the surface but also from the fundamental structure, evidenced by the Chinese government's efforts to improve the corporate governance of SOEs and institutional infrastructures. China's accession to the WTO in 2001 will further force the government to seriously reform the banking sector in order to build up the competitive advantage to face the imminent competition from foreign banks. With more international practices introduced and corporate governance improved, China's banking system could be more resilient and healthier in the near future. The AMC scheme would hopefully be a once-off prescription.
by Xiaojun Allan Wu.
S.M.
Petersson, Jessica y Isac Wadman. "Non Performing Loans - the markets of Italy and Sweden". Thesis, Uppsala University, Department of Business Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-7004.
Texto completoA1207
Many countries are suffering from Non Performing Loans (NPLs), which are defaulted loans that banks are unable to profit from. There are two general ways to secure NPLs. One is for banks to handle them themselves, which is common in Sweden where the NPL market is not so widespread. The alternative is for banks to auction them in public to Asset Management Companies (AMCs), which purpose is to dispose of the assets as profitably as possible. This procedure is used at the vast Italian NPL market.
Our purpose is to describe how these countries secure their NPLs from three aspects; the market, legal and financial aspect. We investigate how Svenska Handelsbanken (Handelsbanken) in Sweden and Morgan Stanley Real Estate Fund (MSREF) in Italy handle their NPLs. The study has been made through interviews at respective companies.
Our study reveals that historic actions of the government, credit culture and management decisions have shown to be crucial causes to the spread of NPLs. The Swedish legal system allows banks to secure their own defaulted loans in a fast and efficient way, while the Italian is more unwieldy and does not give banks any incentive to work out their NPLs. From a financial perspective, neither one nor the other method can be stated better since the companies operate in different fields. The main reasons that affect the financial result are the specific national conditions. Credit culture and legal system are two vital factors that benefit Handelsbanken while they obstruct MSREF. However, both Italian and Swedish AMCs respective banks must continue to review their routines and adaptation ability in order to excel in the future.
Bidgood, Lee. "Sounding Place: Performing Appalachia in a Small Czech Town". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1045.
Texto completoPaley, Sky Matthew Riel. "Theatrical Spaces as Platforms for Resistance and Revolt| The History of St. Croix and Its Present-Day Predicament through the Lens of the Play Antiman". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784929.
Texto completoThis thesis explores the ways in which Caucasian theatre makers can become more effective educators and directors in diverse student populations. By drawing attention to their “whiteness” and overcoming the fear of being implicated in the subjugation of these student populations, Caucasian theatre makers can instead embrace this implication and thereby transform classrooms and theatrical spaces from static appreciations of sovereignty and beauty, into platforms for resistance and revolt. In this thesis, I interrogate my own process in the direction of my multi-actor, undergraduate student production that was borne of the journey of the creation of my solo play entitled ANTIMAN. In this play, I implicate my family and our own racism and naiveté and the many challenges I faced in telling a story that explores such controversial subject matters as racism, antiblackness, colonialism, colonization, and settler-indigenous relations from my own white, male, heterosexual orientation. It is my hope that through this examination of both my failures and successes in this process of creating and directing ANTIMAN, in concert with the history of St. Croix, that I will articulate the present-day predicament of St. Croix in a manner that creates a space for discourse, resistance, and change.
Greene, Justin R. "I Am an Author: Performing Authorship in Literary Culture". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5346.
Texto completoLe, Thi Kieu Huong. "Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia". School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.
Texto completoThis thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.
Puthawala, Kayo. "Japanese Language Learners’ Grades and Performance Improvement in High-Performing and Low-Performing Classrooms". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574805643303484.
Texto completoMc, Glinn Sarah. "Performing the Jersey : Subjectivity, Identity, and Change within the Scottish Football Culture". Thesis, Linköpings universitet, Tema Genus, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-121296.
Texto completoKays, Cory Asher. "Multidisciplinary methods for performing trade studies on blended wing body aircraft". Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82485.
Texto completoThis electronic version was submitted and approved by the author's academic department as part of an electronic thesis pilot project. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from department-submitted PDF version of thesis
Includes bibliographical references (p. 99-102).
Multidisciplinary design optimization (MDO) is becoming an essential tool for the design of engineering systems due to the inherent coupling between discipline analyses and the increasing complexity of such systems. An important component of MDO is effective exploration of the design space since this is often a key driver in finding characteristics of systems which perform well. However, many design space exploration techniques scale poorly with the number of design variables and, moreover, a large-dimensional design space can be prohibitive to designer manipulation. This research addresses complexity management in trade-space exploration of multidisciplinary systems, with a focus on the conceptual design of Blended Wing Body (BWB) aircraft. The objectives of this thesis are twofold. The first objective is to create a multidisciplinary tool for the design of BWB aircraft and to demonstrate the performance of the tool on several example trade studies. The second objective is to develop a methodology for reducing the dimension of the design space using designer-chosen partitionings of the design variables describing the system. The first half of this thesis describes the development of the BWB design tool and demonstrates its performance via a comparison to existing methods for the conceptual design of an existing BWB configuration. The BWB design tool is then demonstrated using two example design space trades with respect to planform geometry and cabin bay arrangement. Results show that the BWB design tool provides sufficient fidelity compared to existing BWB analyses, while accurately predicting trends in system performance. The second half of this thesis develops a bi-level methodology for reducing the dimension of the design space for a trade space exploration problem. In this methodology, the designer partitions the design vector into an upper- and lower-level set, wherein the lower-level variables essentially serve as parameters, in which their values are chosen via an optimization with respect to some lower-level objective. This reduces the dimension of the design space, thereby allowing a more manageable space for designer interaction, while subsequently ensuring that the lower-level variables are set to "good" values relative to the lower-level objective. The bi-level method is demonstrated on three test problems, each involving an exploration over BWB planform geometries. Results show that the method constructs surrogate models in which the sampled configurations have a reduction in the system objective by up to 4 % relative to surrogates constructed using a standard exploration. Furthermore, the problems highlight the potential for the framework to reduce the dimension of the design space such that the full space can be visualized.
by Cory Asher Kays.
S.M.
Caldognetto, Samuele Francesco. "STRANGESPACES : Studies and structure for an itinerant transcultural performing art festival". Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-993.
Texto completoKordowicz, Maria Julia. "Understanding 'poor performing' General Practices : findings from five qualitative case studies". Thesis, King's College London (University of London), 2017. https://kclpure.kcl.ac.uk/portal/en/theses/understanding-poor-performing-general-practices(fc6f244d-b85c-46ac-9e0f-9b5a0927296f).html.
Texto completoPelle, Susan Lynne. "(Dis)Articulating Bodies and Genders: Pussy Politics and Performing Vaginas". Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1217263933.
Texto completoHarris, Sabra. "Anime Music Videos and Storytelling: Performing Channels of Communication". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20420.
Texto completoHäkkinen, Annika. "Dans som ett uttryckt för identiet : Vogue och dragging". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-172460.
Texto completoOtsuji, Emi. "Performing transculturation : between/within 'Japanese' and 'Australian' language, identities and culture /". Electronic version, 2008. http://hdl.handle.net/2100/598.
Texto completoThis thesis examines the construction processes of language, culture and identities in relation to both the macro level of society and culture, as well as the micro-individual level. It argues that there is a need to understand these constructions beyond discrete notions of language, identities and culture. The thesis mobilises performativity theory to explore how exposure to a variety of practices during the life trajectory has an impact on the construction and performance of language, identities and culture. It shows how a theory of performativity can provide a comprehensive account of the complex process of, and the relationships between, hybridisation (engagement in a range of cultural practices) and monolithication (nostalgic attachments to familiar practices). The thesis also suggests that the deployment of performativity theory with a focus on individual biography as well as larger social-cultural factors may fill a gap left in some other modes of analysis such as Critical Discourse Analysis (CDA) and Conversation Analysis (CA). Analysing data from four workplaces in Australia, the study focuses on trans-institutional talk, namely casual conversation in which people from a variety of linguistic and cultural backgrounds work together. Following the suggestion (Pennycook 2003; Luke 2002) that there is a need to shift away from the understanding that a particular language is attached to a particular nation, territory and ethnicity, the thesis shows how discrete ethnic and linguistic labels such as ‘Japanese’ and ‘English’ as well as notions of ‘code-switching’ and ‘bi-lingualism’ become problematic in the attempt to grasp the complexity of contemporary transcultural workplaces. The thesis also explores the potential agency of subjects at the convergence of various discourses through iterative linguistic and cultural performances. In summary, the thesis provides deeper insight into transcultural performances to show the links between idiosyncratic individual performances and the construction of transcultural linguistic, cultural phenomena within globalisation.
Theo, Lincoln. "Performing the self : Making/Remaking White Male Identities in Post-Apartheid South Africa". Thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/6770.
Texto completoKnight, Christina Anne. "Performing Passage: Contemporary Artists Stage the Slave Trade". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11178.
Texto completoAfrican and African American Studies
Southall, Sally. "Pedagogy and Performing Shakespeare's Text: A Comparative Study". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1832.
Texto completoSomers, Gareth James. "Performing Gaia : towards a deep ecocritical poetics and politics of performance". Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/performing-gaia(dc317042-b2c7-45ae-a5d7-f786ae5fff95).html.
Texto completoMacDonald, Shauna M. "Viscera(l) Views: Performing on the Brink of the Human". OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/392.
Texto completoScheldeman, Griet. "Performing diabetes : balancing between 'patients' and 'carers', bodies and pumps, Scotland and beyond". Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/11085.
Texto completoKim, Hyemin. "Introduction to Chung Gil Kim's "Go Poong" with emphasis on pedagogical studies". Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705850.
Texto completoThis treatise will address the late twentieth-century and well-known Korean composer Chung Gil Kim's piano work Go Poong (Memories of Childhood; 1981) as a case study on how to make pedagogical use of works intended for performance. Go Poong is purely a programmatic composition intended to create a musical picture of four items in Korean cultural history including: a temple incense jar, a wooden shoe, a jade hairpin, and a paper window patch. The piece is also capable of functioning as an ideal pedagogical tool for intermediate and early-advanced players to experience technical exercises and compositional features that are a necessary part in the training of successful pianists. Repertoire useful either as preparation or as follow-up will be suggested.
Rodriguez, D. Maria Angelica. "Performing Whiteness: An Interdisciplinary Analysis of Racism in Ballet". Thesis, Linköpings universitet, Avdelningen för migration, etnicitet och samhälle (REMESO), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177980.
Texto completoEllison, Season M. "Towards the Horsewoman: Performing Femininity in the American Horse Training and Riding Arenas". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1250552783.
Texto completoWall, Sharron. "Careers of freelance creative and performing artists : implications for education". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64100.
Texto completoWiesinger, Justine Kirby. "Performing Disaster| The Response to 3.11 and the Great Kanto Earthquake in Japanese Film and Theater". Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957346.
Texto completoThe Great East Japan Earthquake of March 2011, known colloquially by the shorthand "3.11," claimed at least 16,000 lives and caused extreme damage to landscape and property, also triggering one of the most serious nuclear crises in history. These events were of great social, economic, cultural, and political consequence and are therefore in need of study from multiple perspectives. Sociologist Jeffrey C. Alexander, as a leading theorist of the model of cultural trauma, sees the work of "trauma drama" as crucial to the collective creation and negotiation of claims toward large-scale trauma. My dissertation seeks to investigate Alexander's insight more thoroughly. This dissertation seeks not only to broaden the field of view of collective trauma studies with a new case study, but to deepen the understanding of how performance functions as a part of the collective trauma creation process. To that end, this dissertation has a topical organization that analyzes space, time, and the body as nodes of intersection between post-3.11 anxiety sites and aspects of stage and film performance. Closely reading film and stage plays while examining the specific formal mechanisms by which they manipulate space, time, and the body in the aftermath of disaster, I argue that stage and film performances are especially powerful means through which to stake and (re)negotiate claims regarding trauma, particularly in response to the specifics of the 3.11 disaster. Inspired by the socially contextualized approach to performance studies pioneered by Richard Schechner and Victor Turner, this dissertation accesses a wide array of cultural and theoretical sources, including the spatial theory of Henri Lefebvre, the temporal Deleuzian scholarship of D.N. Rodowick, and Erin Manning's theory on the political impact of touch, alongside trauma theory and a multiplicity of readings on the significance of 3.11.
Bell, Melissa Hudson. "Audience Engagement in San Francisco's Contemporary Dance Scene| Forging Connections Through Food". Thesis, University of California, Riverside, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3630649.
Texto completoThis dissertation looks at critical interventions made by select San Francisco bay area choreographers and dance programmers interested in altering spectatorial norms for contemporary dance. Those selected have strategically employed food themes and materials in and as performance, simultaneously tapping into existing foodie ideology and redressing concerns about dwindling audiences for live dance performance in the twenty-first century. I argue that such efforts 1) bring to light subsumed race, class, and gender politics embedded in the trend towards "audience engagement," espoused by arts funders and dance makers alike as a necessary intervention for the survival of contemporary dance; and 2) open up discursive and experiential realms of possibility by favoring material, associative exchange, (re)awakening synesthetic sensory-perceptive capacities, inviting spectators to refigure themselves as co-creators in performance, and providing opportunities to reckon with exoticizing desires to enrich one's own culture by consuming another's.
In theoretically grouping these choreographies together I illustrate a spectrum of responses that clarify how food-oriented performance gatherings can operate not only as strategies for altering audience relations, but as sites for alternative knowledge production and fruitful commensal exchange. Such research draws from and intervenes in the overlapping fields of food studies, American studies, and performance and dance studies. This analysis is uniquely positioned amongst other work addressing the interstices between food and performance in its emphasis explicitly on Western concert dance. It also contributes significantly to the archives of an often overlooked San Francisco bay area dance community.
Methodologically I take a dance studies approach, generating choreographic analyses enabled through interviews with choreographers and dance programmers, my own work as witness/participant in the selected events, and archival research into feminist theories of performativity, anthropologies of the senses, contemporary theories of embodiment and select dance and theatre scholarship from the 1800s to the present. Throughout I prioritize the embodied experience of spectatorship, highlighting how contemporary corporeality is shaped by shifting inclusions and exclusions of various peoples and practices, capitalist economic models, the pervasive reach of readily-available digitized media, and both dominant and alternative systems of knowledge production.
Stubblefield, Shannon. "The nude female performer". Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1562505.
Texto completoA live nude female performer can occupy a powerful identity equal to a man because she willingly places herself in front of an audience. She commits to this state of profound vulnerability as a means of gaining ownership of her body that men by virtue of their power in society take for granted. The female body occupies physical space, unlike how a body image seen on a television or in a magazine does. The actuality of the live female nude creates a transformation from the purely sexualized body to an authentic female nude body. This authentic female nude body, via her control of her physicality, is a “loud” and often rejected body. The acknowledgement of her authenticity is an acknowledgement of her power and this is common ground on which the female audience member and performer can relate intersubjectively. On the surface, it seems the most effective solution to eliminating objectification and this obstruction of the female body would be to take focus away from her body. Yet paradoxically, female subjects have altered these culturally shaped identity norms of objectification through nude performance, liberating the hyper-sexualized projections attached to the female body and replacing them with symbols of innocence, creativity and power.
Karlstrom, Sigrid. "Three Women Composers and Their Works for Viola and Piano| Marion Bauer, Miriam Gideon, and Vivian Fine and the Trajectory of Female Tradition in American Music". Thesis, University of Hartford, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10982811.
Texto completoThe lives and careers of the three women composers Marion Bauer (1882-1955), Miriam Gideon (1906-1996), and Vivian Fine (1913-2000) spanned more than a century. Each wrote works for viola and piano, including Bauer's Sonata for Viola and Piano, op. 22, Gideon's Sonata for Viola and Piano, and Fine's Lieder for Viola and Piano. Together, these composers' careers encompass a number of important trends in the professional development of the twentieth century woman composer in the United States.
Women composers were hindered in their advancement and acknowledgement for a number of reasons. One of these was a lack of "female tradition", the absence of an existing community of successful women composers to look to as examples. Another was the "female affiliation complex", the idea that female professionals struggle to look toward their predecessors as models because the female tradition is devalued. First, this document will explore the lives and influences of Marion Bauer, Miriam Gideon, and Vivian Fine, aiming to contribute to a better understanding of how "female tradition" and the "female affiliation complex" affected these composers' lives. Second, each work for viola and piano will undergo theoretical analysis focusing on goal-directed linearity. Goal-directed linearity is an issue of interest to performers and will encourage a deeper understanding of the works in question, fostering their further performance and dissemination.
Long, Lingqian. "Han Opera as a Public Institution in Modern Wuhan". Thesis, The University of Arizona, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10283306.
Texto completoWuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China’s neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution ( wenhua jigou) into a creative industry ( wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class (“talent”) in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.
Brost, Molly. "Mining the Past: Performing Authenticity in the Country Music Biopic". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1210877250.
Texto completoGlosson, Sarah G. "Performing Jane: a cultural history of Jane Austen's fans in America". W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539720290.
Texto completoAlison, Brooke Turner. "Teaching and Performing Theatre for Youth Using Physical Storytelling". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3138.
Texto completoDavis, Allan N. "A Hell House Divided: Performing Identity Politics through Christian Mediums of Proselytization". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2514.
Texto completoKeller, Alyse. "Performing Narrative Medicine: Understanding Familial Chronic Illness through Performance". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6876.
Texto completoHill, Starlit. "Performing Gender and Authority: Juvenile Corrections Officers' Self-Perceptions and Strategies at Work". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1553300521457272.
Texto completoGera, Neha. "Identity performance on the MTV India Facebook fan page : articulating Youngistan, performing Indian-ness". Thesis, University of Sunderland, 2014. http://sure.sunderland.ac.uk/5648/.
Texto completoCastorena, Sohnya Sierra. "REMEMBERING AND PERFORMING HISTORY, TRADITION, AND IDENTITY: A MULTI-SENSORY ANALYSIS OF DANZA AZTECA". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/195376.
Texto completoPh.D.
This dissertation investigates the production and reception of a modern transnational pan-indigenous ideology and multi-plex identity, through the acquisition of Danza Azteca expressive cultural practices. My research is situated within the Quetzalcoatl-Citlalli Danza Azteca group, based in Sacramento, California. I argue that through the embodied act of dancing, danzantes are able to access, reconstruct, and express socio-historical memories, feelings, and their sense of space and place, effectively creating a Mexica identity and way of life based in a pan-indigenous ideology, a decolonized consciousness. I explore the expressive cultural practices and the processes that each danzante participates in to create this pan-indigenous ideology and identity. I explore the transformative power and habitus of Danza Azteca, an emergent social movement, and I investigate its ability to act as a vehicle for self-representation for individual danzantes as well as the larger Chicana/o and Native communities in which it is situated. Danza encompasses more than just the physical act of dancing. Danzantes are engaged in the movement, music, as well as the multiple visual representations of danza. A danzante may utilize one or more of danza's expressive cultural practices to produce and express the various manifestations of their multi-plex indigenous identities. Danza is seen not as a dance or a religion, it is viewed among the danzantes as a way of life: as prayer, tradition, heritage, history and dancing identity. I argue that through the expression and reception of danza at Danza Azteca dance events, the indigenous ideology acquired, and the expressive cultural practices shared by the danzantes, grant them the power to construct, produce and express a highly politicized pan-indigenous identity. The production of this pan-indigenous identity and ideology confronts past geo-political and ethnic boundaries and is grounded in the specific socio-political relationships the Quetzalcoatl-Citlalli group is embedded in and the corresponding ideology of the Maestro of the Danza group. I explore how the danzantes connect with socio-historical memories via movement, as well as in Danza art vis-`a-vis the images and symbols on their trajes and armas. I show how danzantes employ Nahua art and symbolism as representations of their gendered, social and cultural identity. I focus upon the body as the site where memories are stored, accessed, and expressed. The performance, experience, and reception of dance is a particularly powerful site for the embodiment, expression and reception of identity and memory.
Temple University--Theses
Nicosia, Matthew. "Performing the Female Superhero: An Analysis of Identity Acquisition, Violence, and Hypersexuality in DC Comics". Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1476751594815625.
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