Tesi sul tema "Reading – political aspects – drama"
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Chik, Hsia-hui Alice, e 戚夏蕙. "Adolescents' critical reading of advertisements and public service messages: the interpretation of identitiesand meaning". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31944784.
Testo completoNtsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
Testo completoENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed". Thesis, Queensland University of Technology, 1999.
Cerca il testo completoBaldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
Testo completoStent, Alison. "Reading the Sowetan's mediation of the public's response to the Jacob Zuma rape trial: a critical discourse analysis". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1002940.
Testo completoVan, der Merwe Anna Susanna Petronella. "Postkolonialiteit in die twintigste- en een-en-twintigste-eeuse Afrikaanse drama met klem op die na-sestigers". Thesis, 2003. http://hdl.handle.net/10500/1219.
Testo completoIn this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts.
Afrikaans & Theory of Literature
D. Litt. et Phil. (Afrikaans)
Gray, Richard James. "French radio drama from the interwar to the postwar period (1922-1973)". Thesis, 2006. http://hdl.handle.net/2152/2495.
Testo completoApotieri-Abdulai, Oluwadamilola. "An exploration of aspects of the South African Bill of Rights through applied drama amongst young adults (care givers) at Rena Le Lona Creative Centre for Children, Johannesburg South Africa". Thesis, 2016. http://hdl.handle.net/10539/19666.
Testo completoThis research report evaluates an exploration of how Applied Drama methods can aid the pedagogy of Human Rights and encourage an attitude of responsibility towards human rights among young adult caregivers at the Rena la Lona Creative Centre in Soweto, South Africa. Human Rights are basic standards which inform the standard of living among people so that they live in dignity. In the context of this study, Human rights education through Applied Drama methods is the means through which people are empowered and are given a sense for responsibility. The study consisted of the use of Applied Drama methods to articulate the education of equality and Human rights. This was done through a practice-based research framework wherein the research is informed by collective practice and also relies on theoretical findings. The first chapter articulates the background and justification of study. Chapter two focuses on the literature and methodology that inform the study. Chapter three explores the research findings through an analysis of the methods used and the learning derived from the practice. Chapter four concludes with the reflection around the research results. The conclusion asserts that the explored Applied Drama methods can be used as a tool for holistic education of the South African Bill of Rights within an informal education setting such as the Rena la Lona Creative Centre.
Hoffman, Mark Anthony. "Cultural Consumption and Political Thought in the Age of the American Revolution". Thesis, 2019. https://doi.org/10.7916/d8-jpe8-8q82.
Testo completo"從辛亥前後香港報章對「革命」的取態看傳媒的政治角色: 以《香港華字日報》為例 = Reading the stance on "revolution" of Wah Tsz Yat Po in Hong Kong, 1909-1913 : a study of media's political role". 2014. http://library.cuhk.edu.hk/record=b6116490.
Testo completo本文選取1909-1913年的《香港華字日報》,剖析這五年的報紙中與「革命」相關的內容細節,認為這份報紙對「革命」並非積極推動,取態反而偏於保守,並順應時勢而調整:辛亥前報紙展現的「革命」介於傳統和現代之間,既是「犯上作亂」的傳統造反,又是謀求民族獨立、政治改良的現代革命;而辛亥之後,報紙不滿意革命黨建立的地方政府,轉而支持中央而強烈反對革命黨的「二次革命」。這樣的取態既反映了部份以往未得到充分審視的社會輿論,也與報紙自身的立場及處境有關。
Hong Kong is understood as the "birthplace" of the 1911 Revolution in mainstream studies of the Chinese Revolution. But besides the revolutionaries, how did ordinary people understand "revolution"? Wah Tsz Yat Po was the most widely circulated Chinese language newspaper in Hong Kong during the period concerned. The thesis is an in-depth study of the newspaper’s founding history and its political stance during 1909-1913. It is found that the newspaper was a modernised property owned by the Chan family in Hong Kong. It did not have political affiliations. Its content and objectives showed the newspaper’s emphasis on journalistic professionalism that was similar to that held by modern day mass media, preferring "neutrality" over the tradition of providing political comments.
The thesis closely examines the content of Wah Tsz Yat Po that was related to revolution during 1909-1913. It proposes that the newspaper did not play an active role in promoting revolution. Its stance was rather conservative instead and changed in accordance with political developments. Before the revolution of 1911, the newspaper regarded "revolution" as something between tradition and modernity. It was understood as a "rebellion against the authorities" in the traditional sense and also as a way to attain national independence and political reform in the modern sense. After 1911, the newspaper was against the local government set up by the revolutionists. It then turned its support to Yuan’s central government and took a strong oppositional stance towards "the Second Revolution" initiated by Sun’s revolutionary party. Its stance not only reflected some of the public opinions that were not fully examined but was also related to the newspaper’s own position and situation as well.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
典典.
Parallel title from added title page.
Thesis (M.Phil.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 98-107).
Abstracts in Chinese and English.
Dian Dian.
Oliveira, Campoy Juliana de. "Framing the presidency : presidential depictions on Fox's fictional drama 24". Thesis, 2014. http://hdl.handle.net/1805/5754.
Testo completoFraming theory is one of the most used theories in the discussion of media effects on how people make sense of issues, especially in the political environment. Although it is majorly used for the discussion of news media, framing theory can also be applied in other areas surrounding media production. This thesis uses this theory to discuss how presidents are framed in fiction and implications of race and gender in the assessment of presidential characters by analyzing Fox’s fictional drama 24. Although at first the show seems to bring new options for the presidency, the analysis points Presidents Palmer and Taylor as unfit for office and President Logan as unethical and power-hungry. Following Entman’s (1993) process for analyzing frames in media, embedded white male hegemony was identified in the show. As the show presented a postfeminist and postracial world, it continued to frame femininity and blackness as the opposite to effective executive leadership. Further, white masculinity was associated with power, ambition and ultimately corruption. As other races and gender were pointed as unfit, the status quo was questioned as being corrupt. The show both increases the cynicism that people may develop against politics and damages a more proper consideration of women and people of color to be elected president.
Dollie, Na-iem. "Dialogical narratives : reading Neville Alexander's writings". Thesis, 2015. http://hdl.handle.net/10500/19887.
Testo completoHistory
D.Lit et Phil. (History)
Oluwasuji, Olutoba Gboyega. "Re-imagining Ogun in selected Nigerian plays: a decolonial reading". Thesis, 2018. http://hdl.handle.net/10500/25490.
Testo completoThrough an in-depth analysis of selected texts, this study engages with the ways in which Ogun is reimagined by recent selected Nigerian playwrights. Early writers from this country, influenced by their modernist education, misrepresented Ogun by presenting only his so-called negative attributes. Contemporary writers are reconceptualising him; it is the task of this thesis to demonstrate how they are doing so from a decolonial perspective. These alleged attributes represent Ogun as a wicked, bloodthirsty, arrogant and hot tempered god who only kills and makes no positive contribution to the Yoruba community. The thesis argues that the notion of an African god should be viewed from an Afrocentric perspective, not a Eurocentric one, which might lead to violence or misrepresentation of him. The dialogue in the plays conveys how the playwrights have constructed their main characters as Ogun representatives in their society. For example, Mojagbe and Morontonu present Balogun, the chief warlord of their different community; both characters exhibit Ogun features of defending their community. The chosen plays for this study are selected based on different notions of Ogun, the Yoruba god of iron and war, presented by the playwrights. A closer look at the primary materials this thesis explores suggests Ogun’s strong connection with rituals and cultural festivals. These plays exemplify African ritual theatre. Being a member of the Yoruba ethnic group, I have considerable knowledge of how festivals are performed. The Ogun festival is an annual celebration among the Yoruba, where African idioms of puppetry, masquerading, music, dance, mime, invocation, evocation and several elements of drama are incorporated into the performances. The selected plays critiqued in this thesis are Mojagbe (Ahmed Yerima, 2008), Battles of Pleasure (Peter Omoko, 2009), Hard Choice (Sunnie Ododo, 2011), and Morontonu (Alex Roy-Omoni, 2012). No in-depth exploration has previously been undertaken into the kinds of textual and ideological identities that Ogun adopts, especially in the selected plays. Therefore, using a decolonial epistemic perspective, this study offers a critical examination of how the selected Nigerian playwrights between the years 2008 and 2012 have constructed Ogun, the Yoruba god of iron. Such a perspective assists in delinking interpretations from the modernised notions mentioned above, in which Ogun is sometimes a paradoxical god. Coloniality is responsible for such misinterpretation; the employed theoretical framework is used to interrogate these notions. The research project begins with a general introduction locating Ogun in Yoruba mythology, which forms the background to how the god is being constructed in Yorubaland. Also included iii in this first chapter is a discussion on a decolonial perspective, the principles of coloniality, the aims and objective of the study, and the relevant literature review. Thereafter, chapter two focuses on Battles of Pleasure and argues that the play re-imagines Ogun as a god of peace and harvest as opposed to a god of war and destruction. Chapter three discusses how Ododo’s Hard Choice reconceptualises Ogun as a god of justice, in contrast to him being interpreted as a god who engages in reckless devastation of life. Chapter four explores Ogun’s representation in Yerima’s Mojagbe as a reformer who gives human beings ample time to change from their wayward course to a course that he approves. In chapter five, Ogun’s reconception as a remover of obstacles in Roy-Omoni’s Morontonu is examined. The study concludes with a discussion on how Africans should delink themselves from a modernist Eurocentric perspective and think from an Afrocentric locus of enunciation.
English Studies
D. Litt. et Phil.(English)
García-Martín, Elena. "Negotiating Golden Age tradition since the Spanish Second Republic: performing national, political and social identities". Thesis, 2004. http://hdl.handle.net/2152/2555.
Testo completoArjomand, Minou. "Theatre on Trial: Staging Postwar Justice in the United States and Germany". Thesis, 2013. https://doi.org/10.7916/D8VM4BK8.
Testo completoSanders, Kyle Austin. "The concept of autochthony in Euripides' Phoenissae". Thesis, 2014. http://hdl.handle.net/2152/25781.
Testo completotext
Mathews, Ned Lee 1934. "Toward reestablishing a Christian worldview in a postmodern age". Thesis, 2000. http://hdl.handle.net/10500/18165.
Testo completoPhilosophy, Practical & Systematic Theology
D. Th. (Theology)