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Marra, Juliana Ribeiro. "Catira: performance e tradição na dança caipira". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/7293.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This research aims at proposing a widening of the understanding of catira, a traditional dance of the Brazilian popular culture. The dance territorializes itself in the region of the caipira culture and has its structure founded in the clapping of hands and on step dancing of the dancers under the rhythm of the moda de viola and of the recortado. The viola is therefore the essential instrument for the dance. Catira is a dance but also music and poetry, which find identification with the rural world of the southern center of Brazil. Although the practice is considered contemporary of the country´s colonization – and the catira groups are many – there are few records and studies that go about it. Therefore, initially to introduce the dance, its forms and elements were presented and there has been an attempt to analyze them bearing in mind its insertion in the studies concerning popular culture and folklore in Brazil. Following that the theoretical and methodological approach of the research is outlined. Catira becomes then the focus of an analysis built within interdisciplinary knowledge. Focus in which, a method and categories of analyses of social sciences and also of the arts, are supposed. Cultural performances rise as the interpretative axis of the research, as long as in relationship with other concepts that also establish themselves in the multidisciplinary perspective – i.e. tradition, socialization, memory, body and dance. Bearing in mind these concepts, we reach the analysis of the records gained from the field research of the work. The analytical narrative is built from the interviews, observation and participation, theoretical relationships and audiovisual records, mainly the photographs taken in the fieldwork. Firstly the dance of the catira within the ritual of folia of Companhia de Reis Bandeira Vermelha, in the town of Goiás/GO, is analyzed. After that the focus is turned to the town of Itaguari/GO and its enormous Folia de Reis, where the groups Irmãos Oliveira e Orgulho Caipira are to be found. Finally having the experience lived with the groups as a referential, the analysis is deepened with focus on the identities, the power relationships and the negotiating carried by the groups of catira. The understanding is that the identities sought and lived are related to the places and territories in which this performing heritage of the caipira culture takes place. The endurance is characteristic of these bodies that move harmonized and in pairs since immemorial times, in the conjunctures of nowadays – if permitted indicating a path beforehand – in a future not envisioned.
Essa pesquisa tem como objetivo propor uma ampliação da compreensão sobre a catira, dança tradicional da cultura popular brasileira. A dança se territorializa na região de cultura caipira e tem sua estrutura fundamentada no palmeado e sapateado dos dançadores no ritmo da moda de viola e do recortado. A viola é, pois, o instrumento essencial à dança. Assim, catira é dança, mas também música e poesia que se identificam com o mundo rural do centro-sul do Brasil. Embora a prática seja considerada contemporânea à colonização do país – e os grupos de catira sejam muitos –, são poucos os registros e estudos que versam sobre ela. Neste sentido, inicialmente se apresentou a dança, sua forma e elementos e buscou analisa-la tendo em vista sua inserção nos estudos acerca da cultura popular e do folclore no Brasil. Em seguida, delineia-se a abordagem teórica e metodológica da pesquisa, e a catira passa a ser o foco de uma análise construída na interdisciplinaridade dos saberes, no qual supõe-se métodos e categorias de análise das ciências sociais, mas também das artes. As performances culturais emergem como eixo interpretativo da pesquisa, desde que em relação com outros conceitos que também se estabelecem na perspectiva multidisciplinar – a saber: tradição, socialização, memória, corpo e dança. Tendo em vista esses conceitos, chega-se à análise dos dados obtidos a partir do trabalho de campo realizado na pesquisa. A narração analítica é construída a partir de entrevistas, observação e participação, relações teóricas e registros audiovisuais, sobretudo as fotografias produzidas em campo. Primeiramente, se analisa a dança da catira inserida no ritual da folia da Companhia de Reis da Bandeira Vermelha, na Cidade de Goiás/GO e, posteriormente, o foco se desloca para a cidade de Itaguari/GO e sua imensa Folia de Reis, onde se encontram os grupos Irmãos Oliveira e Orgulho Caipira. Finalmente, tendo ainda como referencial a experiência vivenciada com os grupos, o estudo é aprofundado focando as identidades, as relações de poder e negociações empreendidas pelos grupos de catira. Entende-se que as identidades buscadas e vividas se relacionam com os lugares e territórios nos quais são produzidos esse patrimônio performático da cultura caipira e que a resistência é característica desses corpos que se movimentam, harmonizados e em duplas, desde tempos imemoriais, nas conjunturas da atualidade e – se for permitido indicar um caminho de antemão – em um futuro a perder de vista.
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Summerhayes, Catherine, i catherine summerhayes@anu edu au. "Film as Cultural Performance". The Australian National University. School of Art, 2002. http://thesis.anu.edu.au./public/adt-ANU20090210.095136.
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This thesis investigates how Victor Turners concept of cultural performance can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtins dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of performance in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed across cultures and which are concerned particularly with Australian societys relationship with indigenous Australians.
¶
Section One locates Turners concept of cultural performance within his wider theory of social drama and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of liminality is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as for an audience. I describe this relationship between performances in film and theatre through Kristevas interpretation of Bakhtins concept of heteroglossia as intertextuality, especially through her distinction of a transformative intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory:
1. Brechts theory of gest,
2. direct address to the audience in relation to the gaze in film and
3. Rebecca Schneiders conceptualisation of the performance artist.
¶
Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turners concept of cultural performance, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechners performance theory, Michael Taussigs understanding of mimesis, Vivian Sobchacks phenomenology of film, Paul Ricoeurs theory of text as meaningful action, Gadamers concept of meaningful play, Bakhtins conceptualisation of a dialogic text and Catherine Bells theory of ritualised behaviour. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougalls transcultural cinema and Jodi Brooks conceptualisation of a gestural practice in film, which she positions both in terms of Brechts theatrical concept of gest and Walter Benjamins concept of the shock of modernity.
¶
The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who film and people who are filmed. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same social drama: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as fiction and the other as non-fiction towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film a signifying practice which has existed just over one hundred years.
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Bernard, Jennifer. "Expressions of identity : tourism and acadian cultural performances /". Access restricted. DAL users only, 2008.
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Costa, Grasielle Aires da. "Ritual em Richard Schechner e Victor Turner: aspectos de um diálogo interdisciplinar". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5704.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields.
Este trabalho visa à análise do diálogo interdisciplinar e liminar estabelecido entre Richard Schechner e Victor Turner através da definição, análise e discussão do conceito de ritual em suas obras. A pesquisa foi desenvolvida através da leitura e fichamento dos principais volumes publicados destes autores, sendo eles Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors e From Ritual to Theater de Turner e de Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual e Performance Studies. Não foram encontrados registros de trabalhos semelhantes. Sendo esse um trabalho inédito e que oferece uma revisão dos escritos destes dois autores. Discutir o ritual por esta perspectiva multifacetada é abrir o leque de novas possibilidades de discussão de um conceito tão importante e que tendo sido já tão discutido necessita de novo fôlego para ganhar novos horizontes. Trata-se de um trabalho considerado liminar, pois sua riqueza metodológica está justamente no fato de a pesquisa localizar-se no "entre" o teatro e a antropologia. Não se prende a nenhuma disciplina e ao mesmo tempo pertence a muitas. Trata-se de um estudo bibliográfico que poderá servir de aporte teórico para os mais variados campos de pesquisa.
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Santos, Lucas Monteiro dos. "Narrativas do rock and roll: sociabilidades, liminaridades e performances". Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9070.
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The following research talks about the rock and roll and phenomenons that contextualize with this theme, for example the use of the spaces for the fans e the ways of sociabilities that is possible to find in these spaces that the events happen. Talks about the historical processes of this musical style, fundamental piece for the comprehension, and about the moshpit too, corporal performance of the crowd that is completely associated with the experience to be in a rock and roll event. Field researches happened on Goiania, Goiás, and narratives were done about how these events happen and how the moshpit performance happen. The methodological path used was the cultural performance studies, that are coherent with the theme. It is possible to conclude that the ambience that rise when these events happen are full of liminarities and freedom, and all of this context ethic and aesthetical of rock and roll, moshpit and performance comes with a group of restored behaviors e a incorporated knowledge for the people that integrate the scenario and these ambiances.
A seguinte pesquisa aborda sobre o rock and roll e fenômenos que venham se contextualizar com essa temática, a exemplo do uso dos espaços pelos fãs e das formas de sociabilidades que são encontradas nesses espaços em que os eventos acontecem. Aborda-se sobre os processos históricos deste estilo musical, elemento fundamental para sua compreensão, e também sobre o moshpit, performance corporal da plateia que está completamente associada à experiência de se participar de um evento de rock and roll. Pesquisas de campo ocorreram na cidade de Goiânia, Goiás, e foram executadas narrativas de como acontecem os eventos e de como ocorre a performance do moshpit. O caminho metodológico utilizado foi dos estudos em performances culturais, que são coerentes com a temática abordada. É possível concluir que o ambiente que vem à tona quando esses eventos são executados é repleto de liminaridades e de liberdade, e que todo esse contexto ético e estético de rock and roll, moshpit e performance vem de um conjunto de comportamentos restaurados e de um conhecimento incorporado por parte das pessoas que integram esse cenário e esses ambientes.
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Young, Michael A. "Cultural performances of German national identity| Popular music, body culture, and the 2006 FIFA World Cup". Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535413.
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This thesis explores the intersection of nationalism, popular music, and sport as they collided with German identity politics and discourses of twentieth-century history. I contextualize public performances of German national identity during the 2006 World Cup within the broader historical context of national identity construction through music and sport in the last two hundred. I contextualize Germans' public performance of national pride and hospitality during the World Cup as the latest in a long line of cultural performances of German identity that have shaped and been shaped by historical circumstances and socially conditioned discourses of national identity. Taking a broad historical and conceptual perspective on cultural performance, I argue that cultural performances of German national identity—communicated in music, sport, and visual symbolism in the public landscape (i.e., through the use of posters, ads, popular press, etc)—have been tailored to and contingent on the social and discursive exigencies of particular historical and political junctures of the past two hundred years. Likewise, cultural performances during the 2006 World Cup must be seen as particular to twenty-first-century German society. Analyzing the Germans' public performance of national identity as well as popular songs and their audio-visual texts (i.e., music videos), I argue that some supposedly nationalist performances of German identity gained traction and popular support during the World Cup because of the strong role played by popular music and sport in framing the terms of their performance and interpretation.
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Faria, Marcelo Fecunde de. "Zé Pereira: a performance carnavalesca em Itaberaí-GO". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5464.
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This dissertation deals with the carnival manifestation "Zé Pereira" in Itaberai- GO, analyzing it as a cultural performance adopting some concepts present in studies of cultural performances to understand how is the relationship and involvement that are coming and characteristic of performative action, linking the liminality concepts of Victor Turner, the theory of performance of Richard Schechner, Bakhtin and DaMata Carnival. The focus of the analysis are the events that take place 15-17 days before the national carnival, being a predecessor activity the carnival period, the performance is formed by a group of masked young people wearing horrifying masks, accompanied by a drumming group with several instruments percussion and prepared by a committee of support organization, all these characters are surrounded by an audience that accompanies the demonstration during ALL the days passing through different streets of the city gaining attention from citizens who are in their homes. This work aims to demonstrate that while performance “Zé Pereira” produces historical, social and cultural repercussions on people directly or indirectly involved. This context was accompanied by ethnographic experience and observation of the process of formation and constitution of the current “Zé Pereira” in Itaberaí.
Esta dissertação aborda a manifestação carnavalesca Zé Pereira no município de Itaberaí –GO, analisando-o enquanto performance cultural. Adotando alguns conceitos presentes nos estudos das performances culturais para compreender como se dá as relações e envolvimentos que são oriundos e característicos da ação performativa, interligando os conceitos de liminaridade de Victor Turner, da teoria da performance de Richard Schechner e do Carnaval de Baktin e DaMatta. O foco da analise são os eventos que acontecem de 15 a 17 dias que antecedem o carnaval nacional, sendo uma atividade antecessora ao período carnavalesco, a performance é formada por um grupo de jovens mascarados com máscaras horripilantes, acompanhada de uma batucada formada por vários instrumentos de percussão e preparada por uma comissão de organização de apoio, todos estes personagens estão envoltos de um público que acompanha a manifestação durante os dias de saída em que passa pelas diferenciadas ruas do município ganhando atenção dos moradores que estão em suas casas. Procura-se demonstrar que enquanto performance o Zé Pereira produz ressonâncias históricas, sociais e culturais nas pessoas envolvidas direta ou indiretamente. Este contexto foi acompanhado por meio da vivência etnográfica e observação do processo de formação e constituição do atual Zé Pereira em Itaberaí
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Peck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.
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Lima, Maria do Socorro Pereira. "Arpilleras: o bordado como performance cultural chilena, em favor do drama social". Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8440.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The emphasis of this study relies on the arpillerista women`s movement and their arpilleras, an embroidery technique that served as a tool to speak out against the the military dictatorship of Augusto Pinochet (1915-2016). The movement characterized itself by political resistance, the denouncing and the defense of human rights, inspired by various groups in Chile and in other countries, such as Brazil. The experience of arpilleristas consists in what the British anthropologist Victor Turner would call a “social drama” (TURNER, 2005a, p.182). The goal of this research is to identify the possibilities of artistic practices in the arpilleras as events of cultural performativity in that we can observe the occurrence of a “social drama” according to the authors who have written in this field. The methodology chosen for this study was the cartographic method and the investigation tools we used were: observation, semi-structured interviews with the representatives of the movement of Brazilian arpilleristas (arpilleras do MAB) and of Chilean arpilleristas (Memorarte) as well with as the curator of current expositions in Northern Ireland, Roberta Bacic, and the curator and facilitator of expositions and workshops of arpilleras, Esther Conti; my participation in workshops of production of this technique, as well as photographs taken to register the process. We understand that the importance of this study to the interdisciplinary field of Cultural Performances is valuable because it delves into the social, political and artistic experiences which deals with significant transformations yet to be explored by the academic world at large as well as in our country.
A ênfase deste estudo recai no movimento de mulheres arpilleristas e suas arpilleras, técnica de bordado tradicional que serviu de instrumento de denúncia durante a ditadura militar do general Augusto Pinochet (1915-2006). O movimento se caracterizou pela resistência política, denúncia e defesa dos direitos humanos, inspirando vários grupos no Chile e em outros países como no Brasil. A experiência das arpilleristas se configura no que o antropólogo britânico Victor Turner denomina de “drama social”? (TURNER, 2005a, p.182). O objetivo desta pesquisa foi identificar as possibilidades das práticas artísticas nas arpilleras como eventos liminares de performances culturais, em que se pode observar a ocorrência do “drama social” conforme definem autores do campo. A metodologia transcorreu pelo método cartográfico e os instrumentos de investigação foram: a observação, entrevistas semiestruturadas com representantes de movimentos de arpilleristas brasileiras (arpilleras do MAB) e do Chile (Memorarte), além da curadora de exposições que atua na Irlanda do Norte, Roberta Bacic, e a curadora e facilitadora de exposições e oficinas de arpilleras Esther Conti; minha participação em oficinas de produção da técnica, além de fotografias para registrar o processo. Entendemos que a importância deste estudo para o campo interdisciplinar das Performances Culturais é valiosa por tratar de uma experiência social, política, e artística que envolve transformações significativas, ainda pouco exploradas no meio acadêmico e em nosso país.
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Beer, Lorena Rivero de. "Guillermo Gomez-Pena's performances : cultural politics, aesthetics, representatio n and subjectivity". Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496277.
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Muller, Paulo Ricardo. "Politicas e performances da diversidade : etnografia de um circulo musical intercultural em São Paulo". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281718.
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Orientador: Bela Feldman-BiancoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta dissertação tem como objetivo analisar a constituição de um circuito de produção e consumo de "músicas do mundo" na cidade de São Paulo a partir da formação de uma rede de músicos e grupos musicais dedicados à prática de instrumentos e linguagens musicais de "outras culturas", assim definidas em relação ao mainstream do mercado musical internacional e brasileiro. Esta rede é composta tanto por grupos especializados em linguagens musicais, cujo produto musical é classificado largamente como "música étnica", quanto por grupos de abordagem generalista, cujo produto musical é classificado como "encontro" ou "fusão" de diferentes linguagens musicais. O trabalho de campo que subsidia as interpretações aqui presentes combina o acompanhamento do circuito de performances comerciais dos grupos desta rede com minha participação como cantor em um coral destinado à participação de migrantes transnacionais residentes em São Paulo, além de entrevistas formais e informais com músicos e produtores. Com estas observações presentes, busco explicitar a lógica de produção e incorporação de "músicas do mundo" aos repertórios locais atentando para o uso da noção de diversidade cultural como um princípio do fazer musical
Abstract: The objective of this dissertation is to analyze the constitution of a world music production and consumption scene in São Paulo (Brazil) by a network of musical groups and musicians dedicated to the practice of non-western and non-Brazilian musical instruments and languages. This network is formed both by groups that are specialized in specific musical cultures - which sound is largely classified as ethnic music - and groups with a generalist approach to music - which sound is classified as "encounter" or "fusion" of many musical cultures. The fieldwork that provides the observations and interpretations herein combines the assistance of the circuit of commercial performances and my participation in a choir destined to transnational. immigrants dwelling in São Paulo, as well as formal and informal interviews with musicians and musical producers. Through these observations I intend to clarify the logics of production and incorporation of "world musics" to local repertoires and how cultural diversity is used as a rationale of music-making
Mestrado
Mestre em Antropologia Social
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Zaratim, Samuel Ribeiro. "Quadrilhas Juninas em Giânia: novos sentidos e significados". Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3972.
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This work aims to understand the dynamics of production and organization of quadrilhas juninas from metropolitan area of Goiânia – GO. This work also has as theoretical contribution the reflection on the cultural performances field. The research distinguished itself by the analysis of the tension between the traditional and contemporary aspects found in the quadrilhas juninas, comprising the celebration and the spectacle. The period (2012 - 2013) of total immersion in the junino world proposes as a field research method the observational study of three groups of quadrilhas juninas. The backstage of quadrilhas juninas groups provided an interpretative analysis of the peculiarities of the visited groups allowing the interpretation of the data and a dense description of elements that concretize the communities involved. The reflections related to this work, point to the understanding of that, currently, the quadrilhas juninas, in the great Goiania/GO, coexist simultaneously with traditional elements that acquire new symbologies facing the transformations caused by the characteristic of spectacle that involves it. Thus the structures that comprises the new senses and meanings of the quadrilhas juninas dynamics aggregate tools of recognition, re-signification and identification through complex web of meanings, in this context analyzed by theory of culture, particularly the cultural performances.
Este trabalho visa compreender a dinâmica de produção e organização das quadrilhas juninas da região metropolitana de Goiânia/GO, tendo como aporte teórico a reflexão do campo das performances culturais. A pesquisa primou pela análise da tensão entre as dimensões que envolvem aspectos tradicionais e contemporâneos nas quadrilhas juninas, abrangendo a festa e o espetáculo. O período (2012 – 2013) de total imersão no mundo junino propõe como método de pesquisa de campo a observação direta de três grupos de quadrilhas juninas. Os bastidores dos grupos das quadrilhas juninas proporcionaram uma análise interpretativa das particularidades dos grupos visitados possibilitando a interpretação de dados e uma descrição densa de elementos que concretizam as comunidades envolvidas. As reflexões do trabalho apontam para o entendimento de que, atualmente, as quadrilhas juninas, na região da grande Goiânia/GO, convivem simultaneamente com elementos tradicionais que adquirem novas simbologias mediante as transformações provocadas pelo caráter de espetacularização que as envolve. Assim, as estruturas que compõem os novos sentidos e significados das dinâmicas das quadrilhas juninas agregam ferramentas de reconhecimento, ressignificação e identificação, mediante as complexas redes de significados, aqui analisadas no contexto da teoria da cultura, particularmente as performances culturais.
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Grassilli, Mariagiulia. "Representations of diversity and cultural participation : performances of multiculturalism in Bologna and Barcelona". Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390918.
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Roseland, Margaret J. "The BGSU SICSIC Spirit Crew: Masked Performances of Campus Identity and Cultural Anxiety". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1563376450526318.
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Ohlsen, David Blond. "A Rhetorical Analysis of Hegemonic and Counterhegemonic Performances in World Wrestling Entertainment (WWE)". Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10604427.
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A global entertainment powerhouse with millions of fans, WWE produces and archives thousands of hours of content every year that is often dismissed as low brow, incomprehensible, base, and/or harmless. However, WWE content is guilty of propitiating heteronormativity, binary gender construction, and the exploitation, repression, and erasure of LGBTQ+ culture.
I argue that the pro wrestling personae that perform in the fictional WWE universe are perfect embodiments of Judith Butler’s theory of performativity, as evidenced in how the gender and sexuality of these often fluid and paradoxical personae are discursively constructed. This thesis also analyzes ironic and transcendent counterhegemonic performances by personae that can be read as rupturing WWE’s repressive, heteronormative hegemony, as informed by Kenneth Burke. This thesis is an analysis of the counterhegemonic personae Nia Jax, Tyler Breeze, Bayley, and Chris Jericho based on their appearances in primary WWE content between 2 January, 2017 and 25 April, 2017.
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Gindt, Dirk. "Playing activists and dancing anarchists : men and masculinities in cultural performances in contemporary Sweden /". Stockholm : Department of Musicology and Performance Studies, Stockholm University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7058.
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Santos, Valéria Braga dos. "Memória roubada: teatralidades performáticas nas intervisualidades de Ana Maria Pacheco". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5498.
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The purpose of this work is to study Memória Roubada I (Sculpture, 2001) done by the plastic artist Ana Maria Pacheco, born in Goiânia, 1943. This sculpture condenses and opens new paths at the Brazilian art and their fictional representation of our memory. This artwork establishes more than a simple relationship between the parts. It enters the world as an intervention, which puts the viewer in the center of the perceptive action and allows multiple interpretations and experiences. This study aims enlarges questions and reflections with regard to dynamics of the perceptive act and the ability to formulate thoughts. It seeks to understand the complexity of Memória Roubada I, its domains and relationship to memory, history and cultural performances.
A proposta deste trabalho é estudar a obra Memória Roubada I (escultura, 2001) da artista plástica goiana, Ana Maria Pacheco (1943), que amplia noções sobre o imaginário brasileiro no campo da visualidade. A obra configura-se, neste caso, como mais que uma simples relação entre a obra e seu apreciador. Ela se insere no mundo como uma intervenção, o que coloca o espectador no centro da ação perceptiva e permite múltiplas interpretações e vivências. O estudo, então, abrange questões e reflexões no que se refere às dinâmicas do ato perceptivo e à capacidade de agir e formular pensamentos. Procura ainda compreender a complexidade do grupo escultórico Memória Roubada I, seus domínios e sua relação com a memória, a história e as performances culturais.
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Alhourani, Ala. "Performances of Muslim-ness in post-apartheid Cape Town: Authenticating cultural difference, belonging and citizenship". University of the Western Cape, 2017. http://hdl.handle.net/11394/6104.
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Philosophiae Doctor - PhD (Anthropology/Sociology)This thesis presents an ethnographic study of the resurgence of public performances of Muslim-ness and an exploration of the Muslim politics of cultural difference in the democratic, post-colonial, and liberal context of the post-apartheid South African nation-state. The central argument that underpins my approach throughout this thesis is that the post-apartheid cultural politics of 'rainbowism' has led to an enhanced and remarkable resurgence of public performance of Muslim-ness in Cape Town. This thesis posits that this resurgence has mediated a sense of belonging that is defined by the multiple allegiances of Muslims to their local cultural particularity, to the South African nation-state, and to the transnational Muslim Ummah.
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De, Silva Wasana. "Performing place : natural landscape, cultural place, performances of Sri Lankan traditional settlements : Kandy and Lankathilaka". Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/28213/.
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Traditional settlement patterns in Sri Lanka reflect a sense of harmony between built forms, architecture and their natural landscape context. In contrast to this, many new developments neglect or overpower natural landscape features. In traditional societies a range of sites are celebrated through the performance of ritual activities which create significant distinctive places and dwelling patterns. This research focuses on traditional settlements of Sri Lanka to examine emerging architecture and built space, focusing on the relationships between natural landscape, cultural place and the role of ritual and performance. A number of pilot case studies followed by an in depth comparative case study of a city and a village - Kandy and Lankathilaka respectively - address the topic by examining how common narratives perform in contrasting landscape locations. The thesis develops the theoretical concept of the ‘Performative phenomenon’ as a means of understanding the dynamic nature of cultural place and landscape in the Sri Lankan context. A theoretical framework and case study method is established by combining aspects of phenomenology, anthropology, psychology, ethnography, landscape theory, and architectural interpretation. A wide range of literature review draws on key concepts such as chora and topos, dwelling, ideal forms, Mitte and actor-network-theory to theorise how ‘place’ emerges through cultural practices in space and time. Fieldwork and archival research provide detailed evidence of site specific practices, most notably in the Asala perahera festivals which are repeated at both case study locations. A pattern matching technique is applied for analysing data, presented in tables, diagrams, maps and illustrations. In both case studies, the experience of ideal forms and dwelling is evident throughout the performing process of Asala perahera. Place is produced by repeated events, such as, parading, marking geometrical patterns, sound performing, narrating, body performing and so on, producing and sustaining an inter-related network of performers and landscape. It is concluded that Kandy city is experienced as an ‘inside’ enclosed within three mountains, while Lankathilaka village is experienced as a divine centre. Through locally specific performative processes, common ideal forms continue to flourish, shaped by the natural landscape and architecture, which reflect the chora of the place.
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Yan, Yongyu. "Participating on a Different Platform: Viewing the Chinese Internet as a Platform for Cultural Performances". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376984342.
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Carvalho, Cleber de Sousa. "Tradições em movimento no Terno de Congo Verde e Preto". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6679.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This dissertation shows reflections about the Festivity in Honor of Our Lady of the Rosary and Saint Benedict of Village João Vaz (Goiânia, GO) and the body movements of the congo’s dancers of Terno de Congo Verde e Preto focusing on processing procedures and permanence which are subject traditions and expressions of popular culture. The Rosary celebrations of black men are also known as Congada parties or Congado are produced from a conversion universe to Catholicism present in Brazil, since the colonial period with an ambiguous character who reconstructed and a new meant the sacred made its own and articulated with knowledge and concepts bounded to the ancestral notion of Bantu people. Onwards from a theoretical reference aligned by an interdisciplinary aproach the research purpose is to perceive how the congadeiros of Village João Vaz, especially the participants of congo’s dancers, they living the processes of transformation and permanence of their rituals and body movements (dancing, singing and drumming). To do this, initially, will be shown the structure of the Feast of the João Vaz, its relations with Congada Party of Catalan (GO), and main ceremonies, enabling the perception of the cycle of the Feaste, from the participation of Terno de Congo Verde e Preto. Then we will discuss about the contact’s points between the processes of urbanization and modernity and the ceremonies of the Feast of João Vaz that have presented to “congadeiros” the necessity of modifications and new meanings in their rituals, as the demands of urban life. So understand that, the same time that the life settings in the city point to the formation of an individualistic and apathetic subjectivit based on monetary values it was observed as the existence of manifestations of popular culture as the Congada between others present in regions considered marginalized comunities that they went occupied by people with limited financial resources who value sociability, solidarity coexistence affection and friendship. Finally, we will discuss about how the dancers of Terno de Congo Verde e Preto are living the changes and continuities in the configuration of body movements and rituals they perform, in view of the embodiment of knowledge that are manifested in dancing, singing and drumming, as basic features make up the african-Brazilian performances. The survey conducted the understanding of the interrelationships between the material sphere of existence and spiritual or symbolic sphere that operated in the manifestations of popular culture. This being one of the aspects that allow the observation of their movements and transformations and the realization that the knowledge of Congada that are sedimented in Congadeiro(congo dancer) body in built-in memory, the formation of a habitus, which manifests in festive ceremonies and celebration rituals.
Esta dissertação apresenta reflexões sobre a Festa em Louvor a Nossa Senhora do Rosário e São Benedito da Vila João Vaz (Goiânia, GO) e os movimentos corporais dos dançadores do Terno de Congo Verde e Preto, tendo como foco os processos de transformação e permanência, os quais estão sujeitas as tradições e manifestações da cultura popular. As festas do rosário dos homens pretos, também conhecidas como Festas de Congada, ou Congado, são produzidas a partir de um universo de conversão ao catolicismo, presentes no Brasil, desde o período colonial possuindo um caráter polissêmico, que reconstituiu e ressignificou o sagrado feito de uma forma própria e articulada a saberes e concepções vinculadas à noção de ancestralidade dos povos Bantos. Partindo de um referencial teórico alinhado por um eixo interdisciplinar, o intuito da pesquisa é perceber como os congadeiros da Vila João Vaz, em especial os participantes do Terno de Congo Verde e Preto, vivenciam os processos de transformação e permanência de seus rituais e movimentos corporais(danças, cantos e batuques). Para tanto, inicialmente, será apresentada a estrutura da Festa da João Vaz, suas relações com a Festa de Congada de Catalão (GO) e principais cerimônias, possibilitando a percepção do ciclo da Festa, a partir da participação do Terno de Congo Verde e Preto. Em seguida, será discutido a respeito dos pontos de contato entre os processos de urbanização e da modernidade e as cerimônias da Festa da João Vaz que têm apresentado aos congadeiros a necessidade de modificações e ressignificações em seus rituais, conforme as exigências da vida urbana. Percebe-se que, ao mesmo tempo em que as configurações da vida na cidade apontam para a formação de uma subjetividade individualista e apática, fundamentada por valores monetários, observa-se, também, a existência de manifestações da cultura popular, como a Congada, entre outras, presentes em regiões consideradas marginalizadas, ocupadas por populações com poucos recursos financeiros, que valorizam a sociabilidade, a convivência solidária o afeto e a amizade. Finalmente, discutiremos sobre como os congadeiros do Terno de Congo Verde e Preto vivenciam as transformações e permanências na configuração dos movimentos corporais e rituais que realizam, tendo em vista a corporificação de saberes que são manifestados no dançar, cantar e batucar, como características básicas que compõem as performances afro-brasileiras. A pesquisa possibilitou o entendimento das inter-relações entre a esfera material da existência e a esfera espiritual ou simbólica que operam nas manifestações da cultura popular, sendo este um dos aspectos que permitem a observação de seus movimentos e transformações; bem como a percepção de que os saberes da Congada estão sedimentados no corpo do congadeiro, em uma memória incorporada, pela constituição de um habitus, que se manifesta nas cerimônias festivas e nos rituais de celebração.
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Macedo, Eliene Nunes. "A dança dos congos da cidade de Goiás: performances de um grupo afro-brasileiro". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5307.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This master thesis introduces the Congo dance, which has been performed in Goiás City (Goiás/Brazil) since the first half of the 18th century. In this ritual, we are able to watch the fight between Moors and Christians. The routine is divided into street parades and representations of an embassy mission, performed by poor Afro-Brazilian men, usually at the city’s Historical Centre (held as a UNESCO world cultural heritage). The performances generally take place during the Divine Holy Ghost and the Our Lady of the Rosary festivals. This is an ethnographic research project, which aims at interpreting the performances of the Congo dance ritual and its complex meaning relations. Therefore, a detailed description of the Congo dance structure was done, by highlighting its gestures, orality, music, clothing and dramatization. Also, as an analytical category, the theoretical background to such cultural performances was reviewed, aiming at analysing the dance and dancers’ embodied knowledge. Furthermore, some questions on the congos’ cultural social historical were raised, bringing some comparison among the thoughts on ethnographic studies on the Congo dance and the possibility of an interlocution between Brandão’s ethnography (1977) and the one presented in this paper. Eventually, the representation and appropriation of this way of expression towards the whole Goiás City’s cultural heritage and how safeguard policy is done were deeply observed. As a conclusion, the study states that the Congo dance from Goiás City is the materialisation of the iconography of people who live, fight, resist and remain.
Esta dissertação apresenta a Dança dos Congos que se realiza na cidade de Goiás (Goiás/Brasil) desde a primeira metade do século XVIII. Nesse ritual, é realizada a luta entre mouros e cristãos e constitui-se em uma performance dividida em marchas de rua e embaixadas, executadas por homens afro-brasileiros, possuidores de poucos recursos financeiros, sendo realizada, sobretudo, no Centro Histórico da cidade (reconhecida como patrimônio mundial pela UNESCO), por ocasião das festas do Divino Espírito Santo e de Nossa Senhora do Rosário. Trata-se de uma pesquisa etnográfica, cujo principal objetivo é interpretar as performances do ritual da Dança dos Congos e as complexas relações de significados naquele sistema cultural. Por isso, primeiramente foi realizada uma descrição pormenorizada da estrutura da Dança dos Congos, destacando gestos, oralidade, músicas, indumentárias, dramatizações. Também foram acionados os referenciais teóricos das performances culturais, enquanto categoria analítica, para analisar o conhecimento encorporado na dança e nos dançantes dos congos. Logo em seguida, levantaram-se algumas questões sobre o contexto sócio-histórico e cultural dos congos, trançando reflexões sobre os estudos etnográficos da Dança dos Congos, explorando a possibilidade de uma interlocução entre a etnografia realizada por Brandão (1977) e a que realizei. E por fim, observaram-se as representações e apropriação dessa forma de expressão em relação ao conjunto de bens patrimoniais da cidade de Goiás e as políticas de salvaguardas executadas por seus detentores. Este estudo permitiu identificar que a performance da Dança dos Congos, da cidade de Goiás é a materialização da iconografia de um povo que vive, luta, resiste e permanece.
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Solidade, Luana Lise Carmo da. "Blues e samba traduzindo corpos de mulheres negras em performances de Billie Holiday e Elza Soares". Instituto de Letras, 2017. http://repositorio.ufba.br/ri/handle/ri/24357.
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Por meio de um breve histórico do blues e do samba, bem como de uma análise crítica da formação do discurso nacional dos Estados Unidos e do Brasil, vemos o poder da música negra nas Américas através da agência performativa dos corpos. O diálogo entre as discussões de raça e gênero acontecem por meio da problematização das figuras do malandro e do bluesman, respectivamente presentes no samba e no blues. As trajetórias de duas mulheres negras, Billie Holiday e Elza Soares, nos mostram rasuras das narrativas hegemônicas atribuídas a corpos negros femininos. Com base na análise das canções Fine and mellow, My man, Maria da Vila Matilde e Pra fuder, proponho uma tradução cultural entre Billie Holiday e Elza Soares a partir da intempestividade e da predominância dos afetos da alegria e da tristeza em suas performances. A noção de sujeito como agência possibilita pensar a performance como um mecanismo de escrita e de tradução de si através do agora. O tempo do performático instaura rasuras em discursos oficiais e em estruturas de ordenamento cronológico que possibilitam a entrada do “novo” no mundo com políticas de tradução de si. A teoria da performance então entrecruza-se com o campo da tradução através do diálogo entre Agamben (2013), Bhabha (2013), Derrida (2006), Deleuze (2002), Nietzsche (2003) e Spinoza (2009). Além de analisar a performance como uma tradução intempestiva, defendo que, como gesto tradutório, ela é um dispositivo atravessado pelos afetos.
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Valle, Castro Manuela. "Neoliberal desires, spectacles of market-nationalism, utopian performances : a feminist analysis of gendered cultural narratives in post-dictatorship Chile". Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52860.
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My dissertation explores neoliberalism as a gendered cultural discourse in post-dictatorship Chile. I argue that the transformation of the developmentalist narrative (characteristic of the Popular Front and the Popular Unity) into a neoliberal narrative during the Dictatorship and the Transition, depended on the staging of a series of spectacles of gender and sexuality that offered new coordinates for subjectivation. Applying a feminist reading to a variety of materials from advertising, telenovelas, and media articles, I show how these cultural artifacts work to legitimize neoliberalism, reproduce or reinterpret national memories, and shape particular forms of (social, collective) desire through a narrative of “sexual freedom.” Through this analysis I provide evidence of how what I call “the sexualized spectacles of neoliberalism” recreate the coordinates of heterosexuality, sexual respectability and gender nationalism in post-dictatorship Chile. Freemarketism in Chile then has been sustained by gendered spectacles of “sexual freedom,” while laws and policies that regulate and discipline bodies are still articulated around notions of (hetero)sexual respectability. This leads me to ask how these spectacles and the narratives they articulate are being negotiated, resisted, and transformed through embodied queer and feminist political practices. I explore how activist performance has contributed to the expansion of cultural memories and the emergence of utopian political imaginaries and subjects in post-dictatorship Chile (1990-2013). I approach these questions from an interdisciplinary approach to feminist research, informed by discourse analysis, psychoanalysis, post-colonial theory, Latin American readings of queer theories, and cultural studies. I argue that the queer and feminist activist performances analyzed in this thesis enact femininity in a strategic, rather than essentialist manner, to oppose and subvert the militarized male gaze. These performances offer clues of alternative embodiments (through the aesthetics of horror and pornography, for instance), subjectivities, political projects, and political imaginations, in which the street is seen as a public space and stage for democracy, and subjectivities are based on the “interconnection of bodies,” rather than defined by the notion of individual rights and bodily sovereignty.Arts, Faculty of
Gender, Race, Sexuality and Social Justice, Institute for
Graduate
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Ukuma, Shadrach Teryila [Verfasser]. "Cultural Performances : A Study on Managing Collective Trauma amongst Displaced Persons in Daudu, Benue State, Nigeria / Shadrach Teryila Ukuma". Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2020. http://d-nb.info/1224832140/34.
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Soares, Maria Andréia dos Santos. ""Na base do muque da onda" : estudo etnográfico de performances entre rappers da ALVO - Associação Cultural da Zona Norte de Porto Alegre". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12767.
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O presente trabalho realiza uma etnografia da fala e do gestual de rappers integrantes da Associação Cultural ALVO ligada ao movimento Hip Hop de Porto Alegre. A pesquisa, orientada pelas contribuições teóricas da antropologia da performance, com foco analítico no uso nativo do corpo e da voz dos performers-rappers, tenta superar o senso comum acerca da virtuosidade/sensualidade inata do corpo do negro brasileiro na dança e na música, interpretando-os como um projeto de agenciamento étnico e social de um segmento de jovens negros da periferia urbana da cidade que reivindica espaços de poder através de sua cultura expressiva.This thesis is based on an ethnography of speaking and gesturing among some rappers ( DJs, MCs, promoters) associated to the Hip Hop movement of Porto Alegre city, Southern Brazil. Considering the theoretical instances of an anthropology of performance, it focuses on the native concepts of body and voice by the performersrappers as a means to superseded common sense ideas on the virtuosity/sensuality of Brazilian Blacks for music and dance. Therefore, the study interpret them as a project in agency put forward by a youth Black segment of a Brazilian urban periphery as means to reinvidicate power through their expressive culture.
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Plumly, Vanessa D. "BLACK-Red-Gold in “der bunten Republik”: Constructions and Performances of Heimat/en in Post-Wende Afro-/Black German Cultural Productions". University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439562438.
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Aquino, Denise Marciano de. "As mulheres da capa:uma análise semiótica de traços, cores e performances ilustrados na revista feminina Grande Hotel em finais da década de 40". Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4368.
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Previous issue date: 2012-03-01The "body" transcends its material condition of existence, marks, designs and shows a being staying in a world shaped by realities which make it tactile, albeit subjective, vibrating, and at the same time encased in standards. Volatile, even if you want it to be everlasting. These realities are embroidered by ideals of beauty, which converge into aesthetic standards that are persistently. Which are the Processes that reflect the representation of a "body" that is considered ideal? The initial hypothesis is that the media aimed at female audiences defile / is contaminated by aesthetic standards of beauty woven into a kaleidoscope in which cultural practices embroider a mosaic bio-political and socio-cultural.It is worth remembering that when I consider the female audience, I assume that the "beauty" is often related to it. In this study, therefore, I believe that women's magazines are an important source to investigate the question posed: by means of linguistic and visual resources this media establishes a will and a duty to be "beautiful." The female reader has access to a kind of knowledge and power that can be incorporated to make her "beautiful", sanctioned by the society and the public for whom it is aimed. The magazine that introduced the photo-story in Brazil will be analyzed in this study: it is the Grand Hotel, whose weekly editions circulated between 1947 and 1980.Covers published in its first year of service are being analyzed; a kind of "artistic work", they are drawn by hand and function as an identification of the journal. The choice of this analysis material is due to the cultural ideology of the late 40'sThe analysis is grounded in a proposal which, in addition to a system of signs, the culture is understood as a light of traditional theories of communication and arts magazines and translated into a new dimension of knowledge - which considers the need for a change of fields and methods of application .This research focuses on how a media production is related to cultural series, redesigning and distributing porous and non-orthogonal forms of beliefs, values and ways of life, exchanging cross bordering translations whose threads I intend to investigate. This work is based therefore on theoretical aspects of communication and the arts (especially in the semiotic work of the Slavic extraction, among which, Tynianov, Lotman and others). Three chapters compose the dissertation: the first chapter checks cases in which the contamination between codes, sets and languages inscribed in bodies (considered ideal) embroidered in a double subjectivity in which the natural and cultural are intertwined. Chapter 2 covers "printed aesthetic universes" it deals with the emergence of the magazine, relating this media with an aesthetic language of the universe. The proposed analysis of the corpus are developed in Chapter 3. Some final remarks close the paper, and opportunities for future research in the area are also highlighted
O corpo transcende sua condição material de existência; marca, projeta e mostra um ser e um estar no mundo, moldado por realidades que o tornam tátil, ainda que subjetivo; vibrátil, e ao mesmo tempo enclausurado em padrões. Volátil, mesmo que se queira perene. Essas realidades são bordadas por ideais de beleza, que confluem em padrões estéticos insistentemente perseguidos. Que processos traduzem a representação de um corpo considerado ideal? Este é o problema central desta dissertação. A hipótese inicial é a de que a mídia voltada ao público feminino contamina/ é contaminada por padrões estéticos de beleza tecidos num caleidoscópio em que práticas culturais bordam um mosaico bio-político-cultural. Vale lembrar que, quando considero o público feminino, parto do pressuposto de que a beleza é frequentemente relacionada a ele. Nesta pesquisa, pois, considero que as revistas femininas constituem um lugar importante para investigar a questão proposta: por meio de recursos linguísticos e visuais, esta mídia instaura um querer e um dever ser bonita . A leitora tem acesso a um saber e a um poder passíveis de serem incorporados para fazê-la bonita , sancionados pela sociedade e também pelo público a que se dirige. A revista que introduziu no Brasil a fotonovela será analisada nesta pesquisa: trata-se da Grande Hotel, cujas edições semanais circularam entre 1947 e 1980. São analisadas capas publicadas em seu primeiro ano de circulação; espécie de obra artística , são desenhadas à mão e funcionam como identificação do periódico. A escolha por este material de análise se deve à ideologia cultural de finais dos anos 40. A análise se embasa em uma proposta na qual, para além de um sistema de signos, a cultura é compreendida à luz de teorias tradicionais da comunicação e das artes revistas e traduzidas para uma nova dimensão de conhecimento na qual se considera a necessidade de alteração de campos e métodos de aplicação. Esta pesquisa se debruça sobre o modo como uma produção midiática se relaciona com séries culturais, redesenhando e distribuindo formas porosas e não-ortogonais de crenças, valores e modos de vida, intercambiando traduções interfronteiriças cujos encadeamentos investigo. Este trabalho se fundamenta, pois, em vertentes teóricas da comunicação e das artes (principalmente em filiação a trabalhos semióticos de extração eslava, dentre os quais, Tynianov, Lotman e outros). Três capítulos compõem a dissertação: o capítulo inicial verifica processos em que a contaminação entre códigos, séries e linguagens inscrevem em corpos (considerados ideais) subjetividades bordadas num duplo em que o natural e o cultural se entrelaçam. O capítulo 2 aborda universos estéticos impressos : trata do surgimento da revista, relacionando esta mídia com linguagens do universo estético. As análises do corpus proposto são desenvolvidas no capítulo 3. Algumas considerações finais encerram a dissertação, e também são apontadas possibilidades de pesquisas futuras na área
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Amorim, Georthon Silva. "CORPO, BEM ESTAR E PERFORMANCE FÍSICA NA SOCIEDADE CONTEMPORÂNEA". Pontifícia Universidade Católica de Goiás, 2017. http://tede2.pucgoias.edu.br:8080/handle/tede/3717.
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Throughout the whole cultural process, as new human being tendencies and needs emerge, changes and transformations occur. This context of changes brings fresh thoughts about all studies and their development. Therefore, when studying the body as a physical and cultural performance representation, as well as the body as a balance between what is inside and outside its own materiality, it seems important to understand the action of the Physical Education professional and anticipate the professional expansion that encompasses this science and the need to study such transformations in a historical process. This research shows us that what influences the relationship between individuals and Physical Activity is the promotion of a culture, not only of awareness, but of effective practice, with the use of all possible Physical Education intervention tools upon the society. We have observed the need to offer an adequate qualification to the Physical Education professionals to enable them to act in the formation of these individuals, providing them with a contemporary view of social, economical and cultural aspects of our society, as well as the principle of interdisciplinary and continuous training, allowing them to understand the complexity of our profession. In this emerging scenario, more and more "quick" and incisive words become more valuable than others which express positive values, recognized and associated with good and attractive things for a wide range of the population. That is why, for example, words such as "well-being", "health", "physical activity", "longevity", "physical fitness", "ability to work" and "employability" have become part of our lives. We can also emphasize the lack of knowledge towards the concept of physical performance and its functional applicability among Physical Education professionals, exploring the history of the body associated to the discussion of cultural performance and well-being. We have propose for this study, aligning within the time and the historical process of evolution of the society, to compile the records of the presence of physical activity practices, listing its tendencies and needs. As we expand the study of the concepts that refer to the relationship between physical fitness and health as a world priority, we create this new cultural paradigm that we must offer to society a cultural idea that physical performance is tied to the human archetype in Contemporary society, providing a chance to improve health, work capacity, wellbeing and cultural aspects. The definition of culture as the human set of material or immaterial achievements leads us to characterize it as a basic foundation of History. And it is through cultural heritage that individuals can communicate with each other, not only through language, but also through forms of behavior and cultural performances, here represented by the study of Contemporary Physical Performances.
Em todo o processo cultural, de acordo com o surgimento de novas tendências e necessidades do ser humano, ocorrem mudanças e transformações. Este contexto de mudanças traz reflexões sobre os estudos e seu desenvolvimento. Assim ao estudar o corpo como representação de performance física e cultural, bem como o próprio corpo como um equilíbrio entre o que está dentro e fora de sua materialidade, parece-nos importante para compreender a ação do profissional de Educação Física e antever a expansão profissional que abrange está ciência, com a necessidade de se estudar tais transformações em um processo histórico. Desta forma, observamos com esta pesquisa que o fator que interfere na relação dos indivíduos com a atividade física é a promoção de uma cultura não só de conscientização, mas de formação com prática efetiva e utilização de todas as ferramentas possíveis de intervenção da Educação Física junto à sociedade. Observamos a necessidade de oferecer uma qualificação profissional adequada ao professor de Educação Física para atuar na formação destes indivíduos, proporcionando a ele uma visão contemporânea dos fatores sociais, econômicos e culturais de nossa sociedade, bem como o princípio da interdisciplinidade e da formação contínua, compreendendo a complexidade que envolve nossa profissão. Neste cenário emergente, se adquire cada vez mais valor as palavras mais “rápidas” e incisivas do que as outras que expressam valores positivos, reconhecidos e associados a coisas boas e atraentes para uma ampla faixa da população. E esta é a razão que, por exemplo, palavras como “bem-estar”, “saúde”, “atividade física”, “longevidade”, “aptidão física”, “capacidade para o trabalho” e “empregabilidade” se tornaram parte de nossas vidas. Pode-se também ressaltar a inexistência do conhecimento do conceito de performance física e sua aplicabilidade funcional junto aos profissionais de Educação Física, explorando a temática da história do corpo associando à discussão de performance cultural e bem-estar. Propomos para este estudo, alinhando dentro do tempo e do processo histórico de evolução da sociedade, compilar os registros da presença da prática das atividades físicas relacionando suas tendências e necessidades. Ao aprofundarmos os estudos dos conceitos que se referem à relação entre aptidão física e saúde como uma prioridade mundial, é que formatamos este novo paradigma cultural onde concluímos que para tal devemos oferecer à sociedade uma cultura em que a performance física estará atrelada ao arquétipo humano na sociedade contemporânea, propiciando assim, uma chance de melhorar a saúde, a capacidade para o trabalho, o bem-estar e a cultura de um povo. A definição de cultura como o conjunto de realizações humanas, materiais ou imateriais leva-nos a caracterizá-la como um fundamento básico da História. E é por meio da herança cultural que os indivíduos podem se comunicar uns com os outros, não apenas por meio da linguagem, mas também por formas de comportamento e suas performances culturais aqui representadas pelo estudo das Performances Físicas no Contemporâneo.
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Smith, Synatra A. "On and Off the Stage at Atlanta Greek Picnic: Performances of Collective Black Middle-Class Identities and the Politics of Belonging". FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1906.
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This dissertation presents a thick ethnography that engages in the micro-analysis of the situationality of black middle-class collective identification processes through an examination of performances by members of the nine historically black sororities and fraternities at Atlanta Greek Picnic, an annual festival that occurs at the beginning of June in Atlanta, Georgia. It mainly attracts undergraduate and graduate members of these university-based organizations, as they exist all over the United States. This exploration of black Greek-letter organization (BGLO) performances uncovers processes through which young black middle-class individuals attempt to combine two universes that are at first glance in complete opposition to each other: the domain of the traditional black middle-class values with representations and fashions stemming from black popular culture. These constructions also attempt to incorporate—in a contradiction of sorts— black popular cultural elements in the objective to deconstruct the social conservatism that characterizes middle-class values, particularly in relation to sexuality and its representation in social behaviors and performances. This negotiation between prescribed v middle-class values of respectability and black popular culture provides a space wherein black individuals challenge and/or perpetuate those dominant tropes through identity performances that feed into the formation of black sexual politics, which I examine through a variety of BGLO staged and non-staged performances.
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Simpsi, Aspasia. "Do I like the Queen now? : negotiating ethno-cultural identity through national celebration theatre performances : the case of a Greek community school in London". Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/66757/.
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This thesis explores the negotiation of ethno-cultural identity within a Greek community school in London. The focus is on the national celebration theatre performances and the respective ideological representations that are embedded within these celebrations. It is a qualitative ethnographic case study that employs the methods of participant-observation, field notes and ethnographic interviews. For the analysis I employ a grounded-theory-related approach where inductive and deductive approaches mutually inform one the other. The participants are students, students’ family members (parents and a grandparent) and educators of a Greek community school in North London. The project sets out to explore the participants’ reported perceptions on their self-positions while they are engaged in the school’s national celebration performances. The findings suggest that these celebrations have an impact on the participants’ self-positions that are related to ethnic, linguistic and religious parameters. Moreover, the participants’ reports emphasise that the theatre performances are permeated by contested ethnic/national, historical and linguistic ideologies that the community members do not accept unquestionably. In this view, the community school could possibly be described as a faith/ethnic related setting where the members of the community can affirm and/or re-affirm respective self-positions while participating in ritualistic celebrations, such as the national celebration theatre performances.
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Nascimento, Rita Gomes do. "Rituais de resist?ncia: experi?ncias pedag?gicas tapeba". Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14241.
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Previous issue date: 2009-10-19Funda??o Cearense de Apoio ao Desenvolvimento Cientifico e Tecnol?gico
The work aims to investigate some of the educational actions developed in the differentiated Tapeba schools (CE), in their pedagogical practices. The reading of these practices as ritual of ethnic cultural resistance is accomplished by the approach of studies of experience and performance in the anthropology, as well as, the analytical perspective suggested by the dramaturgy ideas and social drama. So, taking a critical approach of the school, that conceives it, while time space privileged of possibilities of political social change, this work searches to notice the means of achievement of a differentiated education. I aim at, with that, to observe the ritual moments and perform?ticos of the pedagogic practices of Tapeba while important political-symbolic expressions of your collective experiences, looking at the process of construction of legitimacy of the school differentiated as scenery of creation of pedagogic rituals of resistance. Then, the Cultural Fair, Tapeba Indian Games, the Walking of Tapeba Indian`s Day and Carnauba Party by one side and the Cultural Classes, by another, promote a re-thinking on the experiences of Tapeba ethnicity, distinguishing also, in this process of identity affirmation, the political pedagogical role fulfilled by land re-taking. Finally, this work makes clear that Tapeba prove to be individuals with rights and at the same time they want to legitimate their differentiated school practices, Tapeba construct the meaning of their social actions in the educative and in other aspects of their communitarian living as well
O trabalho tem como unidade de investiga??o algumas das a??es educativas desenvolvidas nas escolas diferenciadas Tapeba (CE), observando as manipula??es t?ticas e estrat?gicas do tema do preconceito em suas pr?ticas pedag?gicas. A leitura dessas pr?ticas como rituais de resist?ncia ?tnico-cultural ? realizada por meio de uma aproxima??o com os estudos da antropologia da experi?ncia e da performance, bem como da perspectiva anal?tica sugerida pelas id?ias de dramaturgia e drama social. Partindo de uma abordagem cr?tica da escola, que a concebe enquanto tempo-espa?o privilegiado de possibilidades de mudan?a s?cio-pol?tica, busco observar os modos de realiza??o de uma educa??o diferenciada. Objetivo, com isso, observar os momentos rituais e perform?ticos das pr?ticas pedag?gicas dos Tapeba enquanto importantes express?es pol?tico-simb?licas de suas experi?ncias coletivas, atentando para o processo de constru??o de legitimidade da escola diferenciada como cen?rio de cria??o de rituais pedag?gicos de resist?ncia. Assim, a Feira Cultural, os Jogos Ind?genas Tapeba, a Caminhada do Dia do ?ndio Tapeba e a Festa da Carna?ba, por um lado, e as Aulas Culturais, por outro, promovem um repensar das experi?ncias de etnicidade tapeba, destacando-se tamb?m, nesse processo de afirma??o identit?ria, o papel pedag?gico-pol?tico desempenhado pelas retomadas de terra. Por fim, procuro evidenciar que, afirmando-se como sujeitos de direito, ao mesmo tempo em que buscam legitimar as suas pr?ticas escolares diferenciadas, os Tapeba constroem o significado de suas a??es sociais tanto no educativo quanto em outros aspectos de suas viv?ncias comunit?rias
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Željko, Anđelković. "Перформансе туристичког водича као фактор задовољства туриста у културном туризму". Phd thesis, Univerzitet u Novom Sadu, Prirodno-matematički fakultet u Novom Sadu, 2017. https://www.cris.uns.ac.rs/record.jsf?recordId=104327&source=NDLTD&language=en.
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Tуристички водичи су веома важни у туристичкој индустрији. Неретко управо од њихових перформанси зависи и целокупно туристичко задовољство (и дестинацијом и комплетним пакет аранжманом). У литератури има мало радова, посебно у Србији, који се баве повезивањем перформанси туристичког водича и задовољством туриста – посебно их је мало у области културног туризма. Важан теоријски допринос ове дисертације је у вези са препознавањем значаја перформанси које су кључне код туристичког водича како би он својим делањем задовољио туристичке потребе. За потребе дисертације урађено је истраживање на узорку од 255 туриста из земље и иностранства при њиховим посетама Нишу, Новом Саду и Београду, на просторима који предствљају важне центре културног туризма у Србији и то на следећим локалитетима: музеји, галерије и градска језгра. У вези са задовољством туристичким услугама,потврђена је хипотеза која је постављена као основа исраживања, а која гласи: перформансе туристичког водича дикретно утичу на степен задовољства туриста. Потврђене су и следеће хипотезе: Туристички водич може својим адекватним перформансама да лошу дестинацију подигне на виши ниво и обратно је такође потврђена; Задовољство туриста услугама туристичког водича директно утиче на задовољство целокупним пакет аранжманом је такође потврђена; Задовољство туриста неком туром зависи и од степена задовољства услугама туристичког водича и од задовољства перформансама водича; Испитаници различитих социо-демографских карактеристика се разликују према степену њиховог задовољства услугама (перформансама) туристичког водича; Задовољство туриста перформансама туристичког водича разликује се код људи са различитом учесталости путовања; Постоје одређене перфомансе туристичког водича које су универзалне и високо рангиране без обзира на социо-демографске особине испитаника. Једина хипотеза која се одбацује гласила је: Висина месечних примања утиче на задовољство туриста перформансама водича и свеукупно задовољство туристичким аранжманом. Практични допринос овог рада огледа се у препознавању значаја свих перформанси туристичког водича, а које ће помоћи да се туристи са путовања враћају задовољнији.Turistički vodiči su veoma važni u turističkoj industriji. Neretko upravo od njihovih performansi zavisi i celokupno turističko zadovoljstvo (i destinacijom i kompletnim paket aranžmanom). U literaturi ima malo radova, posebno u Srbiji, koji se bave povezivanjem performansi turističkog vodiča i zadovoljstvom turista – posebno ih je malo u oblasti kulturnog turizma. Važan teorijski doprinos ove disertacije je u vezi sa prepoznavanjem značaja performansi koje su ključne kod turističkog vodiča kako bi on svojim delanjem zadovoljio turističke potrebe. Za potrebe disertacije urađeno je istraživanje na uzorku od 255 turista iz zemlje i inostranstva pri njihovim posetama Nišu, Novom Sadu i Beogradu, na prostorima koji predstvljaju važne centre kulturnog turizma u Srbiji i to na sledećim lokalitetima: muzeji, galerije i gradska jezgra. U vezi sa zadovoljstvom turističkim uslugama,potvrđena je hipoteza koja je postavljena kao osnova israživanja, a koja glasi: performanse turističkog vodiča dikretno utiču na stepen zadovoljstva turista. Potvrđene su i sledeće hipoteze: Turistički vodič može svojim adekvatnim performansama da lošu destinaciju podigne na viši nivo i obratno je takođe potvrđena; Zadovoljstvo turista uslugama turističkog vodiča direktno utiče na zadovoljstvo celokupnim paket aranžmanom je takođe potvrđena; Zadovoljstvo turista nekom turom zavisi i od stepena zadovoljstva uslugama turističkog vodiča i od zadovoljstva performansama vodiča; Ispitanici različitih socio-demografskih karakteristika se razlikuju prema stepenu njihovog zadovoljstva uslugama (performansama) turističkog vodiča; Zadovoljstvo turista performansama turističkog vodiča razlikuje se kod ljudi sa različitom učestalosti putovanja; Postoje određene perfomanse turističkog vodiča koje su univerzalne i visoko rangirane bez obzira na socio-demografske osobine ispitanika. Jedina hipoteza koja se odbacuje glasila je: Visina mesečnih primanja utiče na zadovoljstvo turista performansama vodiča i sveukupno zadovoljstvo turističkim aranžmanom. Praktični doprinos ovog rada ogleda se u prepoznavanju značaja svih performansi turističkog vodiča, a koje će pomoći da se turisti sa putovanja vraćaju zadovoljniji.
Tour guides are very important in tourism industry. It is not the rare case that their performance determines the overall tourist satisfaction (both in terms of destination and package tour). There is very little paperwork, especially from the field of cultural tourism in Serbia that deal with the link between the tour guides‟ performances and tourists‟ satisfaction. The important theoretical contribution this dissertation has relates to the identifying the significance of the tour guides‟ performances that seem to be crucial for making their tourists satisfied. For this purpose, the research was conducted that included 255 Serbian and foreign tourists visiting Niš, Novi Sad and Belgrade- the places that represent important centers of cultural tourism in Serbia and museums, galleries and downtown areas there. When it comes to the satisfaction with the tourist services, the hypothesis that has been proposed as a starting point for this research has been confirmed and it says that the tour guides‟ performances are directly related to the level of tourists‟ satisfaction. The following hypothesis have been confirmed as well: A tour guide with adequate performances is able to elevate a bad destination as well as the hypothesis that claims opposite; The hypothesis that states that tourists‟ satisfaction with tour guides‟ services is directly related to the overall satisfaction with the complete package tour is also confirmed; The tourists‟ satisfaction with the tour depends on the level of satisfaction with the tour guides‟ services as well as their performances; Interviewees with different socio- demographic characteristics differ in terms of the level of their satisfaction with tour guides‟ services (performances); The satisfaction with tour guides‟ performances varies depending on the travel frequency of interviewees; There are certain tour guides performances that seem to be universal and highly ranked no matter what socio-demographic characteristics of the interviewees are. The only hypothesis that is not confirmed states: The monthly income influences tourists‟ satisfaction with tour guides‟ performances and overall satisfaction with the package tour. Practical contribution of this thesis reflects the importance of identifying all the tour guides‟ performances that will help the tourists be more satisfied after they get home.
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FRASS, ALEXANDER. "Impact of After-Sales Performances of German Automobile Manufacturers in China in Service Satisfaction and Loyalty. With a Particular Focus on the Influences of Cultural Determinants". Doctoral thesis, Universitat Politècnica de València, 2015. http://hdl.handle.net/10251/59251.
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[EN] After-sales services have become very important in the automobile industry. However, this area has not been sufficiently researched, particularly with regard to China, the most important car market globally. In this respect, German manufacturers play a leading role because they dominate the premium market segment. When it comes to services, the one thing that is especially important in China is culture. At the same time, this is exactly where a scientific gap exists because the cultural aspect in automotive services has been mostly neglected in the research literature. Thus, specific knowledge with regard to Chinese service demand behaviour is lacking, which could become a crucial issue because of the enormous differences between Chinese and Western cultures. This paper addresses this limitation by providing a guideline for how the entire process chain of after-sales services could be researched in China. In addition, it also introduces Schwartz's individual level value theory as a beneficial operationalisation approach to culture. Thereby, values are modelled as exogenous variables in order to show which ones are really causal. This significant advantage cannot be provided by national comparison studies, which are the ones that are most often conducted. A total of 301 Chinese workshop customers of Audi, BMW and Mercedes-Benz were surveyed in order to assess the critical success factors of after-sales services via partial least squares structural equation modelling.[ES] Los servicios post venta en el sector del automóvil se han convertido en un elemento esencial en su mercadotecnia global. Sin embargo, no se han investigado suficientemente y, especialmente en países emergentes con mercados crecientes como China, el mercado más relevante a nivel mundial. Aquí, los fabricantes alemanes juegan un rol fundamental al dominar el segmento premium (o de cuasi lujo) del mercado. Cuando analizamos los servicios, un factor importante en China es la cultura. Sin embargo existe, en este campo un hueco en la investigación académica ya que en la literatura de investigación del sector automóvil, la cultura es un elemento poco analizado. Por ello, no se pueden aplicar conocimientos de mercadotecnia específicos en relación con el comportamiento de la demanda de servicios en China, en un tema esencial, como es la cultura China, muy diferente a la occidental. Esta tesis trata de enfocar las limitaciones mencionadas; en primer lugar, proporcionando una guía de cómo la cadena de proceso de servicios postventa puede ser investigada en países emergentes como China. Y en segundo lugar, porque se utiliza la teoría de cultura de Schwartz como un enfoque útil de instrumentación de los valores culturales. Así, estos se modelan como variables externas, para mostrar claramente cuáles son los valores realmente relevantes en su conjunto. Para ello se encuestaron a 301 clientes de talleres post venta chinos de las marcas Audi, BMW y Mercedes-Benz, con el fin de evaluar los factores críticos de éxito mediante modelos de ecuaciones estructurales de mínimos cuadrados parciales (PLS).
[CAT] Els serveis post venda en el sector de l'automòbil s'han convertit en un element essencial del màrqueting global. No obstant això, no s'han investigat prou i, especialment en països emergents amb mercats creixents com la Xina, el mercat més rellevant a nivell mundial. Aquí, els fabricants alemanys juguen un paper fonamental en dominar el segment premium (o de quasi luxe) del mercat. Quan analitzem els serveis, un factor important a la Xina és la cultura. No obstant això existeix, en aquest camp un buit en la investigació acadèmica ja que en la literatura de recerca del sector automòbil, la cultura és un element poc analitzat. Per això, no es poden aplicar coneixements de màrqueting específics en relació amb el comportament de la demanda de serveis a la Xina, en un tema essencial, com és la cultura Xina, molt diferent a l'occidental. Aquesta tesis tracta d'enfocar les limitacions esmentades; en primer lloc, proporcionant una guia de com la cadena de procés de serveis postvenda pot ser investigada en països emergents com la Xina. I en segon lloc, perquè s'utilitza la teoria de cultura de Schwartz com un enfocament útil d'instrumentació dels valors culturals. Així, aquests es modelen com a variables externes, per mostrar clarament quins són els valors realment rellevants en el seu conjunt. Per a això es van enquestar a 301 clients de tallers post venda xinesos de les marques Audi, BMW i Mercedes-Benz, per tal d'avaluar els factors crítics d'èxit mitjançant models d'equacions estructurals de mínims quadrats
Frass, A. (2015). Impact of After-Sales Performances of German Automobile Manufacturers in China in Service Satisfaction and Loyalty. With a Particular Focus on the Influences of Cultural Determinants [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59251
TESIS
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Frazier, John Nyrere. "FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF: LIVING IN THE WORDAN EXAMINATION OF THE TEXT AND TRADITIONAL PERFORMANCES OF FOR COLORED GIRLS… AS A STUDY FOR A MULTICULTURAL PRODUCTION". Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1410542294.
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Rosa, Alessandra M. "Resistance Performances: (Re)constructing Spaces of Resistance and Contention in the 2010-2011 University of Puerto Rico Student Movement". FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1865.
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On the night of April 20, 2010, a group of students from the University of Puerto Rico (UPR), Río Piedras campus, met to organize an indefinite strike that quickly broadened into a defense of accessible public higher education of excellence as a fundamental right and not a privilege. Although the history of student activism in the UPR can be traced back to the early 1900s, the 2010-2011 strike will be remembered for the student activists’ use of new media technologies as resources that rapidly prompted and aided the numerous protests.
This activist research entailed a critical ethnography and a critical discourse analysis (CDA) of traditional and alternative media coverage and treatment during the 2010 -2011 UPR student strike. I examined the use of the 2010-2011 UPR student activists’ resistance performances in constructing local, corporeal, and virtual spaces of resistance and contention during their movement. In particular, I analyzed the different tactics and strategies of resistance or repertoire of collective actions that student activists used (e.g. new media technologies) to frame their collective identities via alternative news media’s (re)presentation of the strike, while juxtaposing the university administration’s counter-resistance performances in counter-framing the student activists’ collective identity via traditional news media representations of the strike. I illustrated how both traditional and alternative media (re)presentations of student activism developed, maintained, and/or modified students activists’ collective identities.
As such, the UPR student activism’s success should not be measured by the sum of demands granted, but by the sense of community achieved and the establishment of networks that continue to create resistance and change. These networks add to the debate surrounding Internet activism and its impact on student activism. Ultimately, the results of this study highlight the important role student movements have had in challenging different types of government policies and raising awareness of the importance of an accessible public higher education of excellence.
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Nicolaidis, Christos S. "Cultural determinants of corporate excellence : the impact of national cultures on organisational performance". Thesis, University of Reading, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333433.
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Taghavi, Shiva. "When Your Culture Advocates You : the Effect of Cultural Work Values on Performance". Thesis, Jouy-en Josas, HEC, 2015. http://www.theses.fr/2015EHEC0004/document.
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Les valeurs culturelles et leur impact sur les attitudes et les comportements ont longtemps été un objet de débat. La mondialisation, la migration et l'expatriation ont contribué au conflit provoqué par l'interaction entre les multiples identités culturelles, en particulier lorsqu’il s’agit d'organisations constituées de personnel diversifié. La France est un cas singulier, offrant un contexte historique et culturel particulièrement intéressant pour l’étude de ce sujet. En effet, la culture dominante en France prône l'égalitarisme et la laïcité. Parallèlement, une grande partie de la population française a adopté des valeurs culturelles issues de ses croyances religieuses. De plus, les perceptions au sujet de «l'égalité des chances» offerte par la société varient considérablement selon les cultures. Cette question est particulièrement importante dans un environnement de travail où les individus ayant des croyances diverses et complexes participent à des activités collectives. L'objectif de cette thèse est de découvrir les mécanismes par lesquels les attributs culturels déterminent une éthique de travail - premièrement, à travers leur interaction avec les croyances religieuses; et deuxièmement, à travers les croyances implicites sur la structure de la société. Les résultats révèlent que les pensées religieuses influencent positivement l’éthique de travail et le niveau de l’effort quand une culture de la religiosité est proéminente et négativement lorsque la culture laïque est saillante. Par ailleurs, cette recherche éclaircit les différentes perceptions de l'égalité des chances dans la société. Les attitudes méritocratiques sont directement influencées par la façon dont les gens distinguent la structure sociale : selon qu’elle soit perçue comme rigide ou malléable. Sur trois essais, cette thèse soulève une problématique particulièrement importante à laquelle font face les employeurs et les décideurs politiques, en particulier en France. Elle fournit une explication quant à l'impact des valeurs culturelles et religieuses, des perceptions sur la malléabilité de la structure sociale, et des mentalités, sur la prévision de l’éthique de travail et la motivationCultural values and their impact on people’s attitudes and behavior have long been a place for debate. Globalization, migration and expatriation have contributed to the conflict caused by the interaction among multiple cultural identities, particularly when it comes to organizations with diverse workforce. Specifically, France is a unique case that provides a historically and culturally rich, yet very ambiguous context for studying this topic. The dominant culture in France emphasizes on egalitarianism and secularism. However, a great part of the population has adopted distinct cultural values with regard to their religious beliefs. Moreover, the perception about ‘equal opportunities’ provided by the society varies considerably across the cultures. The topic is specifically important at workplace, where individuals with diverse and sometimes divergent beliefs take part in collective activities. The objective of this dissertation is to discover the mechanisms by which cultural attributes predict work ethic and productivity- first, through their interaction with religious beliefs; and second through the implicit theories about the societal structure. The findings reveal that religious thoughts positively influence work ethic and level effort when a culture of religiosity is prominent and negatively when the laïc culture is salient. Furthermore, this research sheds light to the different perceptions about equal opportunities in the society. The meritocratic attitudes are directly influenced by the extent to which people perceive the social structure to be malleable vs. fixed. Across three essays, this dissertation addresses a particularly important issue as faced by employers and policy makers, specifically in France. It provides a compelling understanding about a number of antecedents of work ethic and work behavior; namely, the cultural and religious values, perceptions about malleability of the social structure, and mindsets
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Weber, Todd Jack Dean James W. "Performance oriented cross-cultural management research examining the impact of national culture on the practice-performance relationship /". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,239.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Kenan-Flagler School of Business Administration." Discipline: Business Administration; Department/School: Business School, Kenan-Flagler.
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Phaneuf, Victoria M. "National and Minority Cultures in 21st Century France: North African and Pied-Noir Cultural Associations". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/265371.
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Social conflict is common in many nations around the world. Tensions often arise from cultural misunderstandings and disagreements over national and group membership in multicultural populations. France offers a particularly clear example of such unrest. As a contemporary multi-ethnic, multicultural nation, France advocates both the belief in universal human rights as well as assimilationist policies designed to create a singular majority culture. North African immigrants and Pied-Noir repatriates are two groups at the center of recent debate in France. Both have historical ties to colonial French North Africa, but now reside within the modern French state. Each offers a unique case study of alternative strategies related to cultural negotiation and social tension as both groups currently demand recognition as French citizens and minorities. This dissertation analyses how North African and Pied-Noir minority communities in France engage discourses of history, culture, and identity to create a hospitable place for themselves in the French nation by redefining themselves both as minorities and as active citizens. One primary mechanism through which these groups achieve these goals is cultural associations, or social clubs. Cultural associations were legalized in 1901 and have not yet found a well-established role in France. Minorities use this institutional fluidity to develop concurrently their national and minority identities. Within such associations, they develop performances for both minority and outside audiences, engage contemporary French understandings of "culture," and acquire attention and resources needed to enact social change. One of the recurring tropes in such performances is the display of minority history and the role minorities play in French history. Through analysis of such activities this dissertation argues that these groups create new conceptions of national membership through their assertion of their right to be members in the French nation while retaining their cultural difference.
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Meng, Nan. "Chinese Culture themes and Cultural Development: from a Family Pedagogy to a Performance-based Pedagogy of a Foreign Language and Culture". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345312833.
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Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea". Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.
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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.
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Lundborg, Jona, i Iman Nouri. "Cultural Distance and International Acquisition Performance". Thesis, Uppsala University, Department of Business Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9429.
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Based on Hofstede's findings, this study breaks down Kogut and Singh's index of cultural distance, examining implications for acquisition performance of each individual dimension. Hypotheses are formulated, and based on deal data covering 488 acquisitions with American companies as acquirers, tested through linear regression. We find support for a positive relationship between cultural distance of power distance and performance, and an inverse relationship between cultural distance of masculinity and performance. Significant results are not obtained for the remaining dimensions.
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Pinho, Maria Inês Ribeiro Basílio de. "O empreendedorismo estratégico como fator de melhoria de desempenho de organizações culturais: Estudo de caso - a Casa da Música". Doctoral thesis, Universidade Portucalense, 2014. http://hdl.handle.net/11328/1239.
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Tese de Doutoramento em Gestão.As organizações culturais vivem um período de mudança fruto da recente crise financeira, o que as leva a equacionar o seu desempenho organizacional. Com efeito, a diminuição do financiamento público fá-las pugnar pela definição de uma Estratégia, que se traduz, por um lado, em Gestão Cultural, e por outro, em Empreendedorismo Cultural. Ao mesmo tempo, as performances intraempreendedoras dos colaboradores têm também um papel muito relevante na melhoria do desempenho da organização. Neste contexto, é oportuno propor um modelo de gestão de equipamentos culturais que conjugue Gestão Cultural, Empreendedorismo Cultural e Intraempreendedorismo Cultural com vista à melhoria do desempenho organizacional e, consequentemente, à criação de valor. Assim, este modelo visa identificar a forma como as variáveis Gestão Cultural, Empreendedorismo Cultural e Intraempreendedorismo Cultural concorrem para a promoção do Empreendedorismo Estratégico nas organizações culturais e como o Empreendedorismo Estratégico (concetualizado nessas três variáveis) se constitui um fator para melhorar o seu desempenho organizacional e criar valor. Deste modo, são cinco as questões de investigação a que se pretendeu dar resposta: - De que forma a Gestão Cultural, o Empreendedorismo Cultural e o Intraempreendedorismo Cultural contribuem para a promoção do Empreendedorismo Estratégico nas organizações culturais? - De que forma a Gestão Cultural contribui para melhorar o desempenho organizacional? - De que forma o Empreendedorismo Cultural contribui para melhorar o desempenho organizacional? - De que forma é que o Intraempreendedorismo Cultural contribui para melhorar o desempenho organizacional? - De que forma a melhoria do desempenho organizacional contribui para a criação de valor? No sentido de se confirmar este modelo, procedeu-se a um estudo empírico com recurso ao método de estudo de caso suportado por uma metodologia mista (isto é, simultaneamente qualitativa e quantitativa). O caso escolhido foi a Casa da Música. A metodologia qualitativa baseou-se na elaboração de entrevistas em profundidade junto dos diretores e gestores de topo e dos fundadores e mecenas e na realização de grupos focais com públicos com e sem experiência em gestão de organizações culturais. A metodologia quantitativa partiu da aplicação de um inquérito aos colaboradores e chefias intermédias deste equipamento cultural. As respostas às questões de investigação permitiram concluir que, especialmente em períodos de mudança, as organizações culturais que pretendam sobreviver deverão, sistematicamente, articular práticas de Gestão Cultural e de Empreendedorismo Cultural. Simultaneamente, deverão criar condições de trabalho para que os seus colaboradores sejam intraempreendedores culturais, isto é, sejam estimulados a agir de forma proativa na implementação de inovações no ambiente organizacional. Adicionalmente, a quase inexistência de estudos sobre desempenho de organizações culturais em Portugal, bem como de instrumentos quantitativos sobre Intraempreendedorismo Cultural que avaliem esse desempenho, tornam o presente trabalho de investigação inovador. Assim sendo, apresenta-se uma proposta de reestruturação do conceito de Empreendedorismo Estratégico que inclui uma articulação entre as variáveis de Gestão Cultural, Empreendedorismo Cultural e Intraempreendedorismo Cultural, uma análise simultânea do ambiente externo e interno, a introdução da melhoria do desempenho organizacional como consequência da implementação de Empreendedorismo Estratégico em organizações culturais e, por fim, a apresentação da criação de valor como consequência do desempenho organizacional. Deste modo, o próprio conceito de Gestão é repensado, propondo-se a Gestão Cultural e o Empreendedorismo Cultural como práticas quotidianas na administração de equipamentos culturais e a Cidadania Organizacional como elemento chave da Estratégia.
Cultural organizations are experiencing a period of change resulting from the recent financial crisis, which leads them to reconsider its organizational performance. In fact, the decrease of public funding makes them work for the definition of a strategy, which is reflected, on the one hand, in Cultural Management, and on the other in Cultural Entrepreneurship. At the same time, the employees’ intrapreneurial performances also have a very important role in improving the organization’s performance. In this context, it is appropriate to propose a management model for cultural facilities that combines Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship with a view to the improvement of organizational performance and, consequently, to value creation. This model aims to identify how the variables Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship contribute to the promotion of Strategic Entrepreneurship in cultural organizations and how Strategic Entrepreneurship (conceptualized in these three variables) constitutes a factor for improving organizational performance. There are thus five research questions that we intended to answer: - How do Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship contribute to the promotion of Strategic Entrepreneurship in Cultural Organizations? - How does Cultural Management help to improve organizational performance? - How does Cultural Entrepreneurship contribute to improve organizational performance? - How does Cultural Intrapreneurship help to improve organizational performance? - How does organizational performance improvement contribute to value creation? In order to confirm this model, we proceeded to an empirical study using the case study method supported by a mixed methodology (i.e., both qualitative and quantitative). The case study chosen was Casa da Música. Qualitative methodology was based on the development of in-depth interviews with the directors and senior managers and founders and patrons and conducting focus groups with public with and without experience in cultural organizations management. The quantitative methodology was based on the application of a survey to employees and middle management of this cultural facility. The answers to the research questions showed that specially, in periods of change, cultural organizations wishing to survive must systematically articulate practices of Cultural Management and Cultural Entrepreneurship. At the same time, they must create working conditions for their employees to be cultural intrapreneurs, meaning, they should be encouraged to act in a proactive way when implementing work environment organizational innovations. Additionally, the fact that there are hardly any studies on performance of cultural organizations in Portugal, as well as quantitative tools on Cultural Intrapreneurship to assess this performance, makes this research project innovative. Therefore, we present a restructuring proposal of the concept of Strategic Entrepreneurship which includes a link between the variables of Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship, a simultaneous analysis of the external and internal environment; the introduction of organizational performance improvement as a result of implementation of Strategic Entrepreneurship in cultural organizations, and finally the presentation of value creation as a result of organizational performance. The concept of management itself is thus rethought, as we propose Cultural Management and Cultural Entrepreneurship as everyday practice in the management of cultural facilities and Organizational Citizenship as a key element of the Strategy.
Orientação: Prof. Doutora Cláudia Carvalho.
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Oughton, Karen. "Drag performance, identity, and cultural perception". Thesis, University of Hull, 2009. http://hydra.hull.ac.uk/resources/hull:2573.
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This is the first holistic study of English cross-dressed performers. It will situate drag performers within their cultural context in order to establish how their concerns, motivations, employment, communities, friendships, self-perception and artistic ambitions impact on their performances. Furthermore, it utilises performance and ethnographic analysis of a number of artistes to demonstrate how modern drag politicises communities and forms an accessible critique of social roles. Furthermore, it aims to reunite Queer Theory with the realities of its effects on society. The first chapter establishes the study’s position within the overarching framework of Queer Theory. A troupe of drag performers are examined in light of Judith Butler’s theories of performativity to elucidate how the social aspects of gender can be developed. Then, Kate Bornstein’s work is used to illustrate how individuals can use these identities as a conscious method of self-development. Following this, the second chapter explores the social role drag performers have, sometimes inadvertently, chosen. Developing the theories of the interrelationship between belief, LGBTQ sexuality and otherness purported by Kate Bornstein, it asserts the educational and social role that can be taken by drag performers. The third chapter focuses on the messages that these LGTBQ shaman (a theory developed from Laurence Senelick’s work) convey to their community via performance. Case studies illustrate how the performers tailor their acts to politicise their often apathetic audiences. This work is extrapolated in the fourth chapter, which focuses on the community-wide Pride Parade performances. The Rabelaisian carnivalesque is used to argue that the carnivals encourage the audience to review their gender development, revitalising the culture. Finally, the fifth chapter demonstrates how these differing theoretical strands enable televised drag performance to challenge censure by questioning ‘otherness’ itself. This is achieved with reference to horror theory, camp and the performances of Danny La Rue, amongst others, and the cultural impact of the programme Little Britain (2003). The thesis demonstrates that drag is, in fact, a dialogue that can engage and politicise mainstream culture.
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Moyo, Unoda C. "Performance Appraisal in Organizational Cultural Context". PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/1155.
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This study examined the relationship between an organization's culture and its performance appraisal (PA) system and process. The initial phase of this study involved examining an organization's culture and the properties of its performance appraisal system from organizational archival information. Information derived from this phase of the study was later utilized to formulate interview questions, guide the search for the organizational culture survey instrument, and to construct the performance appraisal perceptions measuring instrument. This latter instrument is a quantitative measure that was later employed in testing the primary hypothesis that stated the performance appraisal process had a positive effect on organizational culture. The results of the hypotheses testing revealed that the PA process, in terms of individual member perceptions thereof, had a significant positive effect on the selected organizational cultural elements. Further analysis of the data revealed that members of the organization that had been recently appraised had statistically stronger positive perceptions towards the PA process and, therefore, stronger inclination towards the espoused cultural values. These findings make a strong case for using the performance appraisal process for the purpose of not only evaluating individual performance for various administrative goals, but for other goals related to creating, maintaining, and perpetuating the desired organizational culture. This suggests that organizational leadership (through its management), when designing its PA system should pay attention to the value system, or the culture, it wants to prevail in its organization and include this information along with other relevant performance measures into the PA structure. Such a policy can lead to the existence of an appropriate culture for that organization if, as the results of this study show, the managers and supervisors at all levels timely perform such appraisals for all their subordinates. Performance appraisal, which itself is often considered a structural element designed for organizational control, has the potential to have as much impact on an organization's culture as any other mode of communication. In that regard, this study takes a step towards looking at PA as one more criteria to be examined during organizational cultural studies and organizational intervention
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Lerner, Vyacheslav Semenovich. "Cultural Backgrounds Influencing Virtual Team Performance". ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1410.
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Virtual teams improve organizational performance and competitiveness because they reduce business travel and allow team members to work from anywhere, anytime, using the Internet to complete projects. Although researchers have identified benefits of using virtual teams, knowledge about how cultural backgrounds influence virtual team performance is limited. Illuminating this relationship may help leadership improve team performance. The purpose of this phenomenological study was to explore the lived experiences of team members with different cultural backgrounds to understand their effect on team performance. The research questions were based on the conceptual framework of organizational cultural theories developed by Schein and Trompenaars and Hampden-Turner. Interview questions were electronically distributed to a purposeful sample of 20 participants who worked on virtual teams and could describe their lived experiences. Data were collected, coded using open and axial techniques, and analyzed for themes and patterns. Key themes emerged such as cultural backgrounds, language barriers, communication, conflict, and use of information technology. Findings included techniques for improving communications, understanding different cultural backgrounds, and the satisfaction of team members. Implications for positive social change include an improved understanding among virtual team leaders regarding how different cultural backgrounds influence team performance. Results of this study may benefit organizations by helping them better manage the performance of multicultural virtual teams, thereby leading to improved product development and reduced costs associated with activities such as business travel and remote work.
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Hadley, Graham John. "Performance culture meets police culture : the relationship between political ideologies, police reform and police culture". Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/performance-culture-meets-police-culture(31510fe4-4810-449b-8117-1c2d20956344).html.
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This thesis explores successive police reform agendas over the period 1979 – 2012 in terms of the relationship between political ideology, police reform and police occupational culture. The thesis addresses the interplay between ideologically driven police reform and the reception of reform agendas within the central mindset of policing. It examines the significance of political and economic drivers in police reform agendas and literature on police occupational culture, with emphasis upon change and reform and the response within the police. As a means of exploring the relationship between reform and police culture the thesis gathers data through empirical research based upon documentary analysis and semi-structured interviews. Research upon street and management cops (Reuss-Ianni 1983) and the analytical model of cultural knowledge and change outlined by Chan (1997), was used to analyse and present the research findings. The main conclusions concern how ideology in police reform agendas was received by police occupational culture. Utilising the theoretical frameworks of Reuss-Ianni and Chan, the thesis argues that the ideology in police reform agendas is received and assessed through cultural knowledge. This places into context documented features of police occupational culture such as the sense of mission, conservatism, resistance to change and the street – management divide. As a result, this thesis contributes to the understanding of police occupational culture through the prism of reform and the implications for practice, outlining how ideologically driven police reform agendas are received and interpreted through police occupational culture.
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Silva, André Carlos Conrado Inácio da. "Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016)". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6389.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The word performance was popularized and became appellant in everyday human being. However, they make use of it without understanding the size and strength she has. . The performance takes place in all areas of our life, she runs the kitchen at the time of cooking, in sports, at work, on the floor, finally the performance is a term loaded with meanings and synthesis shows that our life is structured with ways behavior and gestural expression that a social attitude that is evident in daily living. The dissertational work images that speak: A pictorial ethnographic research goianiense cultural performance (2014-2016), sought to demonstrate how to constitute the daily lives of the city of Goiania cultural performance of passers-by that it circulating in their day-to-day. For this, we used the Photoethnography in a collection of images made through photographs taken at various points of the city, which were later transformed into lick lick and taken for public reception in the same places where photographed form. With the reception process we seek to identify the goianiense or goianiense recognize the images its own cultural performance or not. So in the receptive process we conducted interviews with the receiver public that were later used for data analysis on procedural research. This time, the results led to a gestural performance goianiense and goianiense that became evident in his statements on the existence of an identity - performative than is to be a goianiense or goianiense. This work is an invitation to get to know how to built and present in living daily "be goianiense".
A palavra performance se popularizou e tornou-se recorrente no cotidiano do ser humano. No entanto, fazem uso da mesma sem entenderem a dimensão e força que ela tem. A saber que performance ocorre em todos os espaços de nossa vida, ela ocorre na cozinha no ato de cozinhar, no esporte, no trabalho, no andar, enfim, a performance é um termo carregado de sentidos e em síntese demonstra que a nossa vida está estruturada com modos de comportamentos e gestuais que expressam uma postura social que se evidencia no viver cotidiano. O trabalho dissertativo Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016) buscou demonstrar como se constitui no viver cotidiano da cidade de Goiânia a performance cultural dos goianienses que por ela circulam no seu dia a dia. Para tanto, fizemos uso da fotoetnografia em uma coleta de imagens realizada por meio de fotografias feitas em diversos pontos da cidade que, posteriormente, foram transformadas em l ambe -l ambes e levadas para recepção do público nos mesmos locais onde foram fotografados. Com o processo de recepção, buscamos identificar se o goianiense ou a goianiense reconheceria nas imagens a sua própria performance cultural ou não. Assim, no processo receptivo, realizamos entrevistas com o público receptor que foram posteriormente usadas para análise de dados no processual da pesquisa. Dessa feita, os resultados obtidos nos levaram a conhecer uma performance gestual do goianiense e da goianiense que foi construída desde a formação da cidade, e eles afirmaram nos depoimentos a existência de uma performance que constitui a identidade – performática do que viria a ser um goianiense ou uma goianiense. O presente trabalho é um convite à reflexão sobre o viver cotidiano do “goianiense”.
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Ramirez, Manuel Andres. "From the Panels to the Margins: Identity, Marginalization, and Subversion in Cosplay". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6749.
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In investigating the ways social actors experience and interact with mass media texts, I examine how cosplay, as a performative practice of identity in relation to popular culture, enables social actors to subvert and reproduce marginalization towards minority status groups. Theoretical arguments apply a constructionist framework in order to examine the participants’ meaning making processes. The study addresses the following research questions: (1) what social function does cosplay serve for participants; (2) how do cosplayers perform race and gender; (3) how do cosplayers resist, negotiate, or reinforce race and gender-based marginalization? Drawing upon qualitative data gathered from observing two large metropolitan comic book conventions and from conducting nine in-depth interviews, the author forms two arguments. First, cosplayers are capable of both subverting and reinforcing marginalization. Second, the processes of identity-making, social capital, and social cohesion that promote cultural capital in cosplay are stratified along race and gender.