Rozprawy doktorskie na temat „Families – drama”

Based on Iain Chambers' observations in Migrancy, Culture, Identity (1994, pp. 6-24), the process of migration can be summarized as the relentless transformation of a single entity into multiple spaces and tempos while various histories of language, of politics, of culture and of experiences are distilled. The migrant then has to negotiate the shared occupation of the same new signs with the 'natives' of the new host country. This ongoing process is evident as each new community of migrants arrives in Australia. As each new generation matures, they contribute or distill elements of their home cultures into the fabric of multicultural Australian society. The genesis of Happy Families as a play could be attributed to what Chambers calls the 'relentless transformation' of my migrant family as it attempts to negotiate the spaces in the various communities into which it has been transplanted. This transformation has many facets; some painful, some pleasant, and all inevitable. Hence the play is an attempt to analyze the forces and the circumstances surrounding the transformation such as the issue of assimilation with the attendant loss of cultural roots and the recent unprecedented rise in racial tensions in multicultural societies like Australia.

This thesis includes a full length play and a separate section describing the creation of this play. The play depicts family members struggling with the direct and indirect ramifications of alcoholism, depression, and suicide. The play is composed of two acts; act one contains eight scenes, and act two contains six scenes. It is set in the 1950s and 1960s and takes place in various areas of the family home, at a wedding reception, and at a funeral. The essay section includes a description of the process, a record of changes in the play's direction, notations of personal discoveries, and a self evaluation of the strengths and weaknesses of the play.

Includes bibliographical references.
The purpose of the study is to investigate the manner in which performance can facilitate communication amongst family members in dealing with the challenges facing families in which there is a member with ‘special needs’. Special needs range from problems of mental or emotional anguish, care, disability or chronic illnesses. My interest in this study is on how these special needs impact on the functioning of the family and family dynamics. Theatrical representation and audience participation is at the heart of exploring the empowering role of applied theatre to engage family members in expressing their difficulties and discussing their issues together.

Les familles et les questions de société qui s’y rapportent occupent une place politiquement et symboliquement importante aux Etats-Unis depuis l’installation des colonies anglaises dans le continent Américain au XVIIe siècle. Elles sont omniprésentes dans les fictions télévisées depuis les débuts de la télévision commerciale américaine, à la fin des années 1940. Aujourd’hui, il est difficile de citer une série qui ne parle pas directement ou indirectement de la famille. Pourtant, elles sont peu nombreuses à en faire leur sujet principal. Dans les années 1950 et 1960, les familles sont déjà le sujet de séries télévisées, que ce soit dans des sitcoms, des soap operas ou des westerns. A partir des années 1970, elles commencent à être l’objet principal de séries dramatiques de prime time : des family dramas. La chercheuse Ella Taylor, dans Prime Time Families, définit le family drama comme « une série dont l’action se passe principalement dans la maison » (« a dramatic series set in the home »). L’observation des évolutions du family drama des années 1970 à nos jours vise à comprendre l’évolution des conceptions de la famille dans l’imaginaire collectif de la société américaine. Cette étude chronologique, divisée en trois époques, analysera la généalogie du genre du family drama. La première période commence en 1972, le début de la diffusion de la série The Waltons (CBS, 1972-1981) et se termine en 1983, soit à la fin de la diffusion de Little House on the Prairie (NBC, 1974-1983). La deuxième période commence en 1978, avec le début de la diffusion de Dallas (CBS, 1978-1991) et se termine en 1993, soit à la fin de la diffusion de Knots Landing (CBS, 1979-1993). La troisième période s’est ouverte en 1994, avec le début de la diffusion de Party of Five (Fox, 1994-2000) et se termine en 2015 avec Parenthood (NBC, 2010-2015)
Families have occupied a politically and symbolically important place in the United States since the settlement of the English colonies in the American continent in the seventeenth century. They have been ubiquitous in TV drama since the early days of American commercial television in the late 1940s. Today, it is hard to find a television series that does not speak directly or indirectly about family. Yet, only few make them their main subject. In the 1950s and 1960s, families were already the subject of television programs, whether in sitcoms, soap operas or westerns. From the 1970s, they began to be the main focus of prime-time drama shows: family drama was born. The researcher Ella Taylor, in Prime Time Families, defines the family drama as "a dramatic series set in the home". The observation of evolutions of the family drama from the 1970s to now aims at understanding the evolution of the perceptions of the family in the collective imagination of American society. This chronological study, divided into three eras, analyzes the genealogy of the family drama as a genre. The first period began in 1972, with the beginning of the broadcast of The Waltons (CBS, 1972-1981) and ended in 1983, at the end of the broadcast of Little House on the Prairie (NBC, 1974-1983). The second period begins in 1978, with the start of the Dallas broadcast (CBS, 1978-1991) and ends in 1993, at the end of the broadcast of Knots Landing (CBS, 1979-1993). The third period began in 1994 with the launch of the release of Party of Five (Fox, 1994-2000) and ends in 2015 with Parenthood (NBC, 2010-2015)

Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: During the nineteenth century, Charles Darwin published The Origin of Species, inciting debate surrounding the validity of the Christian creation narrative. Prior to this, the Adam and Eve creation narrative was the central narrative around which Christian families modelled their own family structures – with the father as the head of the household. In this thesis I discuss the effect that Darwin’s publication had on the restructuring of families in the nineteenth century. I do this through analysis of Henrik Ibsen’s Ghosts and August Strindberg’s Easter, two domestic dramas that chronicle the effect of a society redesigning their religious philosophies owning to the toppling of the patriarchal structures of authority. I argue that Ibsen and Strindberg stand in polar relation to one another in terms of the debate surrounding the religiosity of the family and the position of the (F)ather within this framework (borrowing from Ross Shideler’s term conflating the notion of the divine Father and the earthly father). Relating the debate to the contemporary Afrikaner culture, the research aims to create a family drama (...van ons vaders) that addresses the decline of Afrikaner Calvinistic religious constructs in a similar manner to that of Ibsen and Strindberg, but in through a contemporary aesthetic approach.
AFRIKAANSE OPSOMMING: Gedurende die negentiende eeu is debat ontlok rondom die geldigheid van die Christelike skeppingsverhaal wanweë die publikasie van Charles Darwin se The Origin of Species. Voor dit, is die Adam-en-Eva verhaal die sentrale narratief waarvolgens Christelike families hulself gestruktureer het – met die vader as die hoof van die huishouding. In hierdie tesis bespreek ek die effek wat Darwin se publikasie gehad het op die herstrukturering van families gedurende die negentiende eeu. Ek doen dit aan die hand van Henrik Ibsen se Ghosts en August Strindberg se Easter – twee familiedramas wat sentraal in die debat staan rondom die herontwerp van geloofsfilosifieë en omvorming van patriargale gesagstrukture. Ek argumenteer dat Ibsen en Strindberg in polêre verhouding met mekaar staan in terme van die debat rondom die godsdienstigheid van die familie en die posisie van die (V)ader binne hierdie raamwerk. Hier leen ek Ross Shideler se term wat die idee van die goddelike Vader en die aardse vader saamsmelt. Dit word later in verband gebring met die kontemporêre Afrikaner kultuur om ten einde ‘n nuwe familiedrama (…van ons vaders) te skep, wat fokus op die hedendaagse hervorming van Afrikaner Calvinistiese geloofstrukture, in ‘n wyse soortgelyk aan dié van Ibsen en Strindberg, maar deur om gebruik te maak van ‘n kontemporêre estetiese benadering.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-29T19:52:27Z No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:26Z (GMT) No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:44Z (GMT) No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5)
Made available in DSpace on 2016-07-13T15:50:44Z (GMT). No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5) Previous issue date: 2012-03-30
Utilizando como matriz midiática “Espectros – Um drama familiar” (Gengangere, 1881) de Henrik Ibsen, esta dissertação analisa a expansão do universo ficcional de uma peça teatral por diversas plataformas de mídia. A montagem da obra foi desenvolvida através da aplicação de estratégias transmídia com base nas explanações de Henry Jenkins e Stephen Dinehart, teóricos dessa nova forma de utilização da narrativa perante a era da “Cultura da Convergência”. O projeto apresentou ao espectador uma obra que possui vários “pontos de entrada” no universo ficcional da trama de Ibsen, acessíveis através de um conteúdo distribuído eletronicamente: vídeos, áudio-teatro, história em quadrinhos, um jornal fictício que contém informações sobre o programa da peça e um dossiê contra um dos personagens centrais da trama. A experiência também foi levada para um ambiente imersivo - o Second Life –, apresentando uma assembleia virtual que reuniu o elenco e o público atingido pela divulgação do evento nas redes sociais e sítio de hospedagem do material produzido. Com a aplicação dessa estratégia, o espectador é motivado a organizar mentalmente os fragmentos narrativos de situações pulverizadas através de canais de distribuições complementares, proporcionando a continuidade de imersão no universo ficcional mesmo após o término da experiência.
Using as a media-matrix “Ghosts – a family drama” (Gengangere, 1881) by Henrik Ibsen, this work analyzes the expansion of the fictional universe of a play by various media platforms. The composition of the play was developed through the application of strategies based on the explanations of Henry Jenkins and Stephen Dinehart, theorists of this new way of using the narrative according with the era of “Convergence Culture”. The project presented a work in which the viewer has multiple “entry points” into the fictional universe of Ibsen’s plot, accessible via electronically distributed content: videos, audio dramas, comic, a fictional newspaper which contains information about the program of the play and a dossier against one of the central characters of the plot. The experience was also taken to an immersive environment – the Second Life – featuring a virtual meeting that gathered the cast and the audience reached by the advertisement of this event through social networking and hosting website with the material produced. With the implementation of this strategy, the viewer is encouraged to mentally organize the narrative fragments of situations sprayed throughout additional distribution channels to provide continuous immersion in the fictional universe even the ends of the experiment.

Este estudo analisa três obras dramáticas de Sam Shepard: Curse of the Starving Class, Buried Child e Fool for Love dentro do contexto de sua obsessão compartilhada com o sonho americano sobre uma família harmoniosa mostrando um desvio do sonho o que também é predominante em peças de dramaturgos americanos, como O\'Neill e Miller, que antecedem Sam Shepard. Este estudo também investiga o conceito da identidade americana nas peças. Entre os trabalhos do dramaturgo Sam Shepard encontramos três peças que exploram o que significa ser o membro de uma família do meio oeste americano. Em Curse of the Starving Class, Buried Child, Shepard retrata a dor ecoando dentro do círculo familiar. Assim como os trabalhos iniciais de Shepard, essas peças familiares se revelam com um forte elemento biográfico, nascidas das experiências pessoais e persistentes preocupações do dramaturgo; através das peças, ele examina e reexamina o sistema familiar multigeracional do qual ele é oriundo. Por exemplo, o alcoolismo do pai e a forma como os pais são construídos em suas peças, a partir de uma perspectiva pessoal, são muito mais do que simples características das personagens, são uma condição que afeta a todos os personagens, seu relacionamento interpessoal e seus destinos. Além disso, podemos observar que o sonho americano, e sua relação com essa instabilidade familiar é um dos temas recorrentes nos dramas escritos pelo autor. Outra intenção deste estudo é, num primeiro momento analisar, o sonho americano sob uma perspectiva histórica para definir suas múltiplas facetas desde os tempos coloniais até o século XX, tal como apresentado no drama; em segundo lugar em um nível temático para identificar os vários temas que Sam Shepard usa em suas peças, tais como laços familiares adulterados, alienação, incapacidade de se comunicar, a violência, a relação esposa-amante surreal, e a busca de identidade e assim definir como eles impedem a realização do sonho; em terceiro lugar, as características usadas por Sam Shepard, que servem para apresentar as peças como instâncias do sonho de uma família harmoniosa tornando-se um pesadelo.Na peça Fool for Love analiso também a tirania exercida pela família sobre as vidas das suas crianças crescidas. De 1977 até 1985, Shepard distancia-se da aceitação fatalística e desse modo revela mudanças tanto na perspectiva autoral como no ambiente social. Como ele faz frequentemente em seus trabalhos, Shepard reflete o comportamento de uma época.
This study analyzes three dramatic works of Sam Shepard: Curse of the Starving Class, Buried Child and Fool for Love within the context of their shared obsession with the American dream of a harmonious family showing a deviation of the dream which is also predominant in plays of American playwrights such as O\'Neill and Miller, preceding Sam Shepard. This study also investigates the concept of American identity in the plays. Among the works of playwright Sam Shepard there are three plays that explore what it means to be a member of a family in the U.S. Midwest. In Curse of the Starving Class, Buried Child, Shepard portrays the pain echoing within the family. As the initial work of Shepard, these family plays reveal themselves with a strong biographical element, born of personal experience and persistent concerns of the playwright, through the plays, he examines and reviews the multigenerational family system of which he also derives from. For example, the father\'s alcoholism and how the fathers of his plays are constructed from a personal perspective are much more than simple features of the characters, it is a condition that affects all the characters, their relationships and their interpersonal destinations. In addition, we note that the American dream and its relationship with that family instability is one of the recurring themes in dramas written by the author. Another aim of this study is, at first look at the American dream from a historical perspective to define its many facets from colonial times to the twentieth century, as depicted in the drama, and secondly on a thematic level to identify the various themes Sam Shepard uses in his plays, such as family ties tampered with, alienation, inability to communicate, violence, wife-lover surreal relationship, and the search for identity and to define how they prevent the fulfillment of the \'dream\', and finally, the features used by Sam Shepard, which serve to make the plays as instances of the \'dream\' of a harmonious family becoming a nightmare. In the play Fool for Love we also analyze the tyranny exercised by the family on the lives of their grown children. From 1977 until 1985, Shepard is away from the fatalistic acceptance and thereby reveals changes in both the authorial perspective and the social environment. As he does often in his work, Shepard reflects the behavior of an era.

Resumo: Esta dissertação propõe-se a analisar dentro de uma perspectiva comparada as famílias das obras Lavoura arcaica de Raduan Nassar e Álbum de família de Nelson Rodrigues. O objetivo central é investigar de que maneira os autores dialogam com os conflitos familiares e desse modo apontar como a literatura tem o poder de desvelar os problemas sociais, culturais e religiosos, captando neste o processo a desestruturação da família. É a partir do diálogo entre recursos, temáticas e linguagens que as obras encontram sua expressividade. Dentre eles destacam-se o patriarcalismo, a burguesia, o incesto, a religiosidade, as fotografias, a dança de Ana, o isolamento.

Pour être compréhensible, la circulation d'enfants au Brésil doit être située dans le cadre historique de la culture populaire et analysée comme un élément de la dynamique familiale propre aux groupes urbains de bas revenu. L'étude ethnographique d'un quartier populaire à Porto-Alegre (RS), centrée sur l'observation du drame et de l'humour dans la vie quotidienne, révèle un contexte dans lequel l'Eglise, l'école et l'Etat ne jouent qu'un faible rôle. La vie familiale, caractérisée par la priorité attribuée au lien consanguin par rapport au lien conjugal, est régie par des principes culturels liés à des notions particulières de l'enfant, de l'individu et du temps. Les enfants sont placés par leus géniteurs non seulement pour des raisons ponctuelles - de survie ou de remariage de la mère; ils sont aussi placés parce que l'idée de l'inaliénabilité du lien consanguin garantit le droit parental des géniteurs. Les motifs qui amènent des parents "adoptifs" à prendre un enfant, malgré la précarité de leur rôle de tuteur, sont également liés à des
The circulation of children in Brazil, to be properly understood, must be situated within the historical reality of working-class culture and analyzed as an element in the family dynamics of lower-income urban groups. The ethnographic study of a working-class neighborhood in Porto-Alegre (RS), centered on the observation of drama and humour in everyday life, reveals a context in which the Catholic Church, schools and state have but little influence. Family life, characterized by the priority attributed to consanguineal relations over conjugal relations, is governed by cultural principles linked to particular notions of childhood, the individual, and time. The children are placed by their genitors not only for immediate reasons - survival or the mother's relariage; they are placed because the idea of the inalienability of the consanguineal tie guarantees the genitors' parental rights. The reasons that lead "adoptive" parents to take a child despite the precarity of their parental claims, are equally tied to working-class values such as the need to consolidate mutual-help networks, the taste for sociability and the desire for prestige built on a reputation for generosity

This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage

Dissertação (mestrado)—Universidade de Brasília, Departamento de Sociologia, Programa de Pós-Graduação em Sociologia, 2013.
Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-07-04T13:32:04Z No. of bitstreams: 1 2013_BrunaCristinaJaquettoPereira.pdf: 891496 bytes, checksum: 39a3cd6b2658904fa9a3e4eb1e76cef0 (MD5)
Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-07-04T13:54:19Z (GMT) No. of bitstreams: 1 2013_BrunaCristinaJaquettoPereira.pdf: 891496 bytes, checksum: 39a3cd6b2658904fa9a3e4eb1e76cef0 (MD5)
Made available in DSpace on 2013-07-04T13:54:19Z (GMT). No. of bitstreams: 1 2013_BrunaCristinaJaquettoPereira.pdf: 891496 bytes, checksum: 39a3cd6b2658904fa9a3e4eb1e76cef0 (MD5)
A presente dissertação tem por tema a violência doméstica e familiar contra mulheres negras. Promovo uma interlocução entre formulações teóricas e pesquisas empíricas consagradas sobre a violência doméstica e familiar contra as mulheres, inscritas no campo das ciências sociais, e o material recolhido em trabalho de campo, bem como busco reconstruir e perscrutar os cenários construídos pelas narrativas das informantes, com vistas a identificar práticas, dinâmicas, representações, sentidos e significados que digam respeito simultaneamente à cor/raça e ao gênero, que participem ou tenham implicações para a situação de violência doméstica. O objetivo foi investigar se e de que modo a cor/raça, em seu entrecruzamento com o gênero, participa da situação de violência doméstica e familiar contra as mulheres negras. Foi possível constatar que as interações pessoais no âmbito doméstico e familiar, bem como a violência travada em tal domínio, estão entremeadas por expectativas, significados e constituições identitárias que derivam da articulação entre as dimensões de gênero e de raça. De forma geral, foram encontradas convergências entre representações sociais das mulheres pretas e pardas e a forma como as mulheres negras inserem-se na situação de violência, bem como sentidos e modelos de feminilidade que destoam daquele que é tido como referencial e que é abordado hegemonicamente nos estudos de gênero. Adicionalmente, constatou-se a relevância da cor dos/das filhos/filhas como fator desencadeando da violência e também a ausência de referências às violências pautadas na cor/raça como violência doméstica e familiar – ainda quando decorrida neste âmbito. _________________________________________________________________________________________ ABSTRACT
This dissertation addresses the topic of domestic and family violence against black women. I promote an interlocution between theoretical formulations and empirical research dedicated to domestic violence against women, developed under the field of the social sciences, and the material collected during fieldwork, as well as I rebuild and analyze scenarios as described in the narratives of informants, in order to identify practices, dynamics, representations and meanings that relate both to color/race and gender, and which participate in or have implications for the situation of domestic violence. The main purpose is to investigate whether and how the color/race, in its intersection with gender, takes part in the situation of domestic violence against black women. It was found that the personal interactions in the domestic sphere and within the realm of the family, as well as the violence, are intertwined with expectations, meanings and identities that derive from the articulation between the dimensions of gender and race. It was possible to pinpoint that the personal interactions within the domestic and familiar realm, as well as the violence itself, are intertwined with expectations, meanings and identities constructions that stem from the intersectionality of gender and race. Generally speaking, the individual insertions in violent contexts analyzed were in convergence with social representation of black and brown women, and the prevalent meanings and models of femininity were found diverging from what is taken as referential and hegemonically addressed by gender studies. Additionally, the color of children was referred as an element of violence, and it was remarked that, even though racial violence can take place within domestic and familiar realm, it is not recognized as domestic violence.

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Direito, Curso de Pós-Graduação em Direito, 2016.
Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-07-18T14:04:41Z No. of bitstreams: 1 2016_RenataCristinaFariaGoncalvesCosta.pdf: 2396779 bytes, checksum: bacbc85a1ed2043e752947784260b2a2 (MD5)
Approved for entry into archive by Marília Freitas(marilia@bce.unb.br) on 2016-07-30T12:24:21Z (GMT) No. of bitstreams: 1 2016_RenataCristinaFariaGoncalvesCosta.pdf: 2396779 bytes, checksum: bacbc85a1ed2043e752947784260b2a2 (MD5)
Made available in DSpace on 2016-07-30T12:24:22Z (GMT). No. of bitstreams: 1 2016_RenataCristinaFariaGoncalvesCosta.pdf: 2396779 bytes, checksum: bacbc85a1ed2043e752947784260b2a2 (MD5)
Este trabalho tem como objetivo explorar as articulações entre teorias penais e criminológicas e representações sociais e de gênero na construção de práticas judiciárias que anunciam vítimas como parte da gestão processual. O contexto que justifica esse estudo se relaciona à emergência de novos papeis atribuídos às vítimas nos cenários contemporâneos e às inovações criadas pela Lei Maria da Penha (LMP) com o propósito de incrementar a visibilidade às mulheres, à sua proteção e às suas demandas. Para isso, foram etnografadas 60 audiências de ratificação realizadas entre os meses de novembro de 2014 e maio de 2015 no Juizado de Violência Doméstica e Familiar contra a mulher do Núcleo Bandeirante, Distrito Federal. Procuro nesse contexto problematizar as práticas cotidianas e os dramas sociais oriundos de interações sociais concretas onde a escuta e a tradução aparecem como elementos centrais. Analiso assim, i) entrevistas com juiz titular, promotora de justiça e assistente social para captar os repertórios profissionais que circulam em campo, ii) entrevistas com vítimas e dinâmicas vivenciadas nas audiências de ratificação, onde as mulheres são chamadas ao palco para expressar seus anseios perante os rumos do processo. A pesquisa demonstrou a existência de repertórios distintos que, em tensão, se encontram e se separam por linhas que se formam, sob o pano de fundo da racionalidade penal moderna, entre teorias penais e criminológicas críticas, e representações sociais sobre o gênero, a família, o conflito, a pacificação e a violência doméstica. A concretização desses discursos nas práticas judiciárias demonstrou o deslocamento de, ao menos, duas concepções de sujeito presentes na literatura penal e criminológica sobre o criminoso: a de indivíduos autônomos e liberais (oriunda da Escola Clássica e das perspectivas contratualistas presentes no saber penal moderno) e a de indivíduos doentes (influenciada pela Escola Positiva). Essas percepções são perpassadas por representações sociais que em conjunto com as teorias penais e criminológicas apontam elementos que impactam o caminhar de cada audiência. A etnografia demonstrou a necessidade de complexificar as noções de sujeito encontradas. Nesse sentido, as teorias feministas do sujeito contribuem para a construção de indivíduos múltiplos que experimentam diversas posições de sujeitos marcadas por relações sociais concretas e por agências diferenciadamente imperfeitas. Como conclusão, aponto que essas novas gestões apresentam paradoxos entre o que se propõe e o que tem efeito nas práticas judiciárias. Essas contradições sugerem disputas e fissuras ao movimento da justiça e à sensibilidade da percepção das vítimas como sujeitos subjetiva e socialmente informados por narrativas hegemônicas, de um lado, e, de outro, marcados por resistências, medos e impensados. Os resultados desse estudo apontam que o jogo das audiências permanece em movimento, indicando a importância da crítica e a relevância do apelo contínuo a novas maneiras de inclusão das vítimas nos processos judiciais. ______________________________________________________________________________ ABSTRACT
This study aims to explore the links between criminal and criminological theories and social and gender representations in the construction of judicial practices that intent to include victims’ participation in lawsuits. The context that justifies this study is related to the emergence of new victims’s roles in contemporary settings and innovations created by Maria da Penha Law (MPL) with the purpose of increasing the visibility of women, their protection and their demands. For this, I observed, with ethnographic methods, 60 ratification court hearings held between the months of November 2014 and May 2015 in Special Court of Domestic and Familiar Violence against Women in Núcleo Bandeirante, Federal District. I try to, in this context, problematize everyday practices and social dramas that come from concrete social interactions where listening and translation appear as central elements. I analyze thus i) interviews with the holder judge, a promoter of justice and a social worker to capture professional repertoires that circulate in the field, ii) interviews with victims and dynamics experienced in the ratification hearings, where women are called to the stage to express their wishes in the course of the process. Research has shown the existence of different repertoires live in tension, meet and separate itself by lines that, under the backdrop of modern penal rationality, between criminal and criminological critical theories, and social representations of gender, family, conflict, pacification and domestic violence. The implementation of these discourses in judicial practices demonstrated the displacement of at least two conceptions of the subject present in the criminal and criminological literature: the autonomous and liberal individuals (coming from Classical School and contractualism present perspectives on modern criminal knowledge) and the sick individuals (influenced by the Positive School). These perceptions pervaded by social representations in conjunction with the criminal and criminological theories identify elements that affect the hearings. This ethnography study has shown the need for complexifying the concept of subject. In this sense, feminist theories of the subject contribute to the construction of multiple individuals experiencing different subject positions marked by concrete social relations and differentially imperfect agencies. In conclusion, I point out that these new efforts have paradoxes between what is proposed and what is effective in judicial practices. These contradictions suggest a dispute to the movement of justice and the sensitivity of the perception of victims as subjectively and socially informed by hegemonic narratives, on one hand, and on the other, marked by resistance, fear and the unintended. The results of this study indicate that the game of the hearings remains in motion, demonstrating the importance of criticism and the relevance of the continued resource to new strategies of inclusion of victims in judicial proceedings.

p. 1-142
Submitted by Santiago Fabio (fabio.ssantiago@hotmail.com) on 2013-04-25T16:58:58Z No. of bitstreams: 1 1111.pdf: 901037 bytes, checksum: 654585456ee98f34845b433c84cd386c (MD5)
Approved for entry into archive by Maria Creuza Silva(mariakreuza@yahoo.com.br) on 2013-05-04T17:02:17Z (GMT) No. of bitstreams: 1 1111.pdf: 901037 bytes, checksum: 654585456ee98f34845b433c84cd386c (MD5)
Made available in DSpace on 2013-05-04T17:02:17Z (GMT). No. of bitstreams: 1 1111.pdf: 901037 bytes, checksum: 654585456ee98f34845b433c84cd386c (MD5) Previous issue date: 2007
Este trabalho aborda os possíveis nexos entre experiência de vida familiar e envolvimento juvenil com a criminalidade. A especificidade desta relação é analisada de um ponto de vista psicológico, porém inserido em um campo interdisciplinar. Através da discussão do conceito de drama, originalmente proposto por Politzer, e do conceito de intersubjetividade familiar, procura-se na esfera de narrativas de jovens e familiares alguns fios que tecem a trama dos vínculos entre o mundo juvenil e o da criminalidade.
Salvador

Orientador: Heloisa Andre Pontes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-02T14:34:47Z (GMT). No. of bitstreams: 1 Ferreira_MariaPatriciaCorrea_M.pdf: 9586873 bytes, checksum: dee51af3fa7d88fbca1ffab49e8656c0 (MD5) Previous issue date: 2002
Resumo: Este trabalho visa analisar as práticas e as representações sociáis sobre a família e violência doméstica por meio de processos criminais de homicídio, tentativa de homicídio e lesões corporais que envolveram casais em Belém nas décadas de 1960 e 1970. O objetivo é mostrar como se apresenta nos processos pesquisados a ação da Justiça Pública diante da violência doméstica, em que é evidenciada a grande impunidade dos agressores ao mesmo tempo em que os atores jurídicos proclamam o objetivo de promover o bem estar daqueles que compõem a família, e mostrar a complexibilidade das relações conjugais que envolveram violência, não as reduzindo à noção de agressor ativo e agredido passivo, por meio da análise das falas dos homens e das mulheres envolvidos nos processos, em que é evidenciado o contexto em que ocorreram alguns conflitos e a participação masculina e feminina nas relações de violência
Abstract: This paper aims to understand the practices and social representations about family and domestic violence using murder criminallawsuit, murder tentative and bodily harm what involved couples at Belém in 1960's and 1970's decades. The objective is show how is the judgment of the Public Justice about domestic violence crimes, where we observed a huge impunity in spite of their intentions to promote the goodness of who compose the family. Another objective is show the complexity of the marital relationship involving violence, not reducing it to an analysis at "aggression active" and "victim passive" using testimony of men and women, exalting the context of conflicts, and their participation in violence relations
Mestrado
Mestre em Antropologia Social

Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-14T23:03:19Z (GMT). No. of bitstreams: 1 Negrao_Liliane_M.pdf: 1156344 bytes, checksum: 68a307d57d206076b9af5d000049792f (MD5) Previous issue date: 2009
Resumo: Essa dissertação propõe uma leitura das peças Álbum de Família, Anjo Negro, Dorotéia e Senhora dos Afogados, de Nelson Rodrigues, com o propósito e analisar as obras enquanto textos, enquanto obras dramatúrgicas, e não enquanto espetáculos teatrais em que estas se concretizam. Restringe-se, pois, às obras nos termos dos diálogos, com seus silenciamentos, embates, exclamações; das indicações cênicas e rubricas, dos elementos constitutivos do gênero trágico, assim como da construção das personagens. Isso posto, essa dissertação propõe que, a despeito das obras dramatúrgicas em questão, seja possível demarcar um viés de leitura em que figuram conceitos e elementos oriundos da mitologia cristã. De todas as dezessete peças de Nelson Rodrigues,a leitura que propomos diz respeito a Álbum de Família, Anjo Negro, Dorotéia e Senhora dos Afogados por entendermos que elas se destacam das demais pela recorrência de referências e indícios de idéias de moralização oriundas do cristianismo. Além disso, entendemos que, nessas quatro peças, Nelson Rodrigues engendra um trabalho com os elementos do gênero trágico - que constitui parte importante da análise que fazemos - que não se acha tão marcadamente presente nas outras obras dramatúrgicas do autor. Através de gênero trágico peculiar, tipicamente rodriguiano, que se caracteriza, principalmente, pela ênfase no horror, entendemos que Nelson Rodrigues trabalha com elementos cristãos em um mecanismo de moralização, que pode ser percebido, nas quatro peças, por um engendramento de "não-ditos". Sendo assim, nossa leitura questiona a caracterização comumente aceita da obra rodriguiana como pornográfica, torpe, amoral e imoral. Essa dissertação aponta um caminho através do qual se pode identificar uma intenção moralizante de raízes cristãs na obra dramatúrgica rodriguiana em questão, em uma espécie de mecanismo de constatação à verificação, feita por George Bataille, de que "a literatura é, com efeito, o prolongamento das religiões".
Abstract: This dissertation proposes a reading of the plays Álbum de Família, Anjo Negro, Dorotéia and Senhora dos Afogados, by Nelson Rodrigues, with the puppose of analysing them as texts, dramaturgical works, not as the theatrical entertainment in which they come true. It is restricted, so, to the works in terms of dialogues, with silences, clashes, exclamations; in terms of stage indications and rubrics, of constitutive elements of tragic genre, as well as of the construction of the characters. Having all that in mind, this dissertation proposes that in spite of these dramaturgical works, it would be possible to mark out an approach of reading in which are present concepts and elements from christian mithology. Of all the seventeen Nelson Rodrigues' plays, the reading that we propose concerns Álbum de Família, Anjo Negro, Dorotéia and Senhora dos Afogados for the fact we conceive they stand out from the others due to the recurrence of references and evidences of ideas of moralization from christianism. Besides, we believe that in these four plays, Nelson Rodrigues comes up with a work with elements of tragic genre - what constitutes important part of the analysis carried out here - which is not so remarkably present in other dramaturgical works of the author. Through his peculiar tragic genre, typical of Nelson Rodrigues, which is mostly characterized by the emphasis in the horror, we see that Nelson Rodrigues works with christian elements in a mechanism of moralization, which can be realized, in the four plays, by an engendering of what is not said. Therefore, our reading questions the characterization normally accepted of Rodrigues' work as pornographic, vile, amoral and immoral. This dissertation points out a way through which it is possible to identify a moralizing intention with christian roots in the Nelson Rodrigues' work cited, in a sort of mechanism of observation to the checking, done by George Bataille, in what "literature is, with effect, the extension of religions".
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

Comment le drame familial est-il représenté chez deux romanciers français – François Mauriac et Hervé Bazin – et deux romanciers mauriciens – Loys Masson et Marie-Thérèse Humbert – du XXe siècle ? A partir d’un corpus de cinq romans français et de cinq romans mauriciens, cette étude propose une démarche à la fois comparatiste, thématique, psychanalytique, sociocritique, narratologique et énonciative pour cerner, d’une part, les points communs aux deux littératures : la manifestation similaire du drame familial chez les deux groupes de romanciers, avec la récurrence du drame du couple, du drame de l’enfant et des mêmes types de procédés narratifs qui font ressortir le caractère inéluctable du drame familial. D’autre part, le cadre géographique aussi bien que socio-historique constitue la distinction majeure entre les deux groupes de romans. Du point de vue du cadre de l’énoncé, Mauriac et Bazin dépeignent surtout des drames de la bourgeoisie provinciale ; Masson et Humbert, des drames du « mauricianisme ». Du point de vue du cadre de l’énonciation, la correspondance, ou non, entre le cadre de l’énoncé et le cadre de l’énonciation donne lieu à une impression d’enracinement, ou de déracinement, des personnages, narrateurs et auteurs. Le constat est le suivant : l’enracinement concerne les romanciers français ; le déracinement, les romanciers mauriciens. Par ailleurs, d’autres perspectives de comparaison, comme l’ouverture possible de notre corpus de romanciers et de romans, ainsi que les différences entre deux auteurs ayant pourtant le même pays d’origine, nous donnent une autre vision : celle de drames familiaux pas tant « nationaux » qu’« individuels »
How do François Mauriac and Hervé Bazin (two French novelists), Loys Masson and Marie-Thérèse Humbert (two Mauritian novelists) depict domestic tragedy ? The thematic, comparative, psychoanalytical, sociological, narratological, as well as enunciative interpretation, of a corpus of five French novels and five Mauritian novels, first gives rise to the following : certain similar characteristics can be found between the French and the Mauritian literary texts, in terms of recurrence of the same expressions of domestic tragedy, from the point of view of both the child and the couple, and backed by comparable narrative techniques. However, one main difference between the two groups of authors lies in their opposite geographical, historical and social background. And yet, the possibility of widening our corpus of novelists and novels, together with the dissimilarities between authors of the same origin, contributes to a new concept of less “national” and more “individual” domestic tragedy

FERNANDES, Ana Clara Vieira. Não será possível fazer rir sem fazer corar?: a analise do conceito de ironia nas comédias e nos dramas de José de Alencar. 2014. 93f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2014.
Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-21T11:28:05Z No. of bitstreams: 1 2014_dis_acvfernandes.pdf: 479466 bytes, checksum: 41540277ea7d439433ac2efacbb49825 (MD5)
Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-21T12:14:07Z (GMT) No. of bitstreams: 1 2014_dis_acvfernandes.pdf: 479466 bytes, checksum: 41540277ea7d439433ac2efacbb49825 (MD5)
Made available in DSpace on 2014-05-21T12:14:07Z (GMT). No. of bitstreams: 1 2014_dis_acvfernandes.pdf: 479466 bytes, checksum: 41540277ea7d439433ac2efacbb49825 (MD5) Previous issue date: 2014
Este trabalho, Não seria possível fazer rir sem fazer corar?: uma análise da forma irônica nas comédias e nos dramas de José de Alencar intenciona investigar nas peças alencarinas, O jesuíta (1875), Mãe (1860), O demônio familiar (1857) e O Rio de Janeiro verso e reverso (1857), a forma pela qual o conceito, ou os conceitos, de ironia se fazem presente nesses dramas e nessas comédias. Para melhor ordenação deste trabalho, dividimo-lo em três partes. Na primeira parte, trataremos dos elementos estéticos que estruturam essas obras, como dos fatores exteriores a elas, na tentativa de aprofundar um pouco mais a pesquisa que se faz deste teatro e seu autor. Na segunda parte, analisamos os dramas e as comédias escolhidas e sua relação com o discurso irônico. Para alcançar esse intuito, relacionaremos as peças contempladas aos estudos e análises de diversas teorias: literárias, filosóficas e psicológicas que tenham se debruçado sobre o estudo deste elemento, a ironia, enquanto artifício vário e configurador. Na terceira parte, avaliaremos a forma como a estrutura dessas peças estabelece uma relação com o entorno social, mostrando uma conexão entre o fator social e a dimensão estética das obras por uma perspectiva temática.
Este trabajo, Não seria possível fazer rir sem fazer corar?: uma análise da forma irônica nas comédias e nos drama de José de Alencar se propone a investigar en las obras teatrales alencarinas, O jesuíta (1875), Mãe (1860), O demônio familiar (1857) e O Rio de Janeiro verso e reverso (1857), la forma en que el concepto, o conceptos, de ironía están presentes en estos dramas y comedias. Para ordenar mejor este trabajo, lo dividimos en tres partes. En la primera parte nos ocuparemos de elementos estéticos que estructuran estas obras, así como los factores externos a ellas en un intento de profundizar un poco más la investigación que se hace de este teatro y su autor. En la segunda parte, analizaremos los dramas y comedias escogidas y su relación con el discurso irónico. Para lograr este objetivo, relacionamos las obras elegidas a los estudios y análisis de las distintas teorías: literaria, filosófica y psicológica que han estado trabajando en el estudio de este elemento, la ironía, como un concepto vario y configurador. En la tercera parte, evaluaremos la estructura de estas partes que establece una relación con el entorno social, que muestra una relación entre el factor social y la dimensión estética de las obras por medio de un perspectivismo temátic

Made available in DSpace on 2016-04-28T20:39:14Z (GMT). No. of bitstreams: 1 TESE- VOLUME 1 FINAL Ana Lucia.pdf: 635851 bytes, checksum: 7fbf828fbd20ea6a528c918408a0b6de (MD5) Previous issue date: 2006-05-12
In this study, the author seeks to present a new form of parental guidance, called Constructivist Socio-drama, for bringing up children. Based on the general current view that the process of bringing up children has become an obstacle race in addition to one having to assume other roles within the family boundaries, for which parents have not been trained -, husbands and wives are faced with increasing difficulties to transmit to their children basic breeding concepts, or even direct the breeding process towards a positive construction of the emotional, social and family identity. The main purpose of this work is to enable parents, by means of group sessions, to understand the inter-generational transmission in the breeding strategies, and to reconstruct those strategies deemed inadequate. Firstly, the author takes a theoretical approach to parenthood in post-modern ages, conducts a study of the historical aspects related to the process of bringing up children in Brazil, and finally a synthesis of parental role-models in different contexts. Bringing up children in different social levels and the development theory of families during the three phases of the vital cycle, namely, the formation of the couple, families with small children and families with adolescents, are chapters that elicit the theoretical body of this research. The author then reflects on the repetition of inter-generational role-models and on modern family themes, which were approached by means of questionnaires previously applied to each parent, and based on the answers they provided. In order to achieve the proposed goals, a qualitative study was conducted through Constructivist Socio-dramas with groups of parents. Such Constructivist Socio-dramas are described in their peculiarities as an instrument to be used for articulation, elaboration and review of the constructions used by human beings to reorganize their experiences and actions. In this study, the author also deployed a questionnaire to gather data on the difficulties parents face in bringing up their children. Fifteen Socio-dramas were conducted in different places: at a Pediatrics Clinic and at an NGO, both in São Paulo, and they were filmed and photographed upon authorization of the participants. Based on the narratives produced at the Constructivist Socio-dramas, the data analysis points towards an image of parents seeking behavioral and emotional growth in bringing up their children. It also points towards the perception of inter-generational repetitious situations, which were revised and made it possible to elaborate new models for the performance of the parental role
A autora, nesta pesquisa, visa mostrar uma nova forma de orientação de pais, denominada Sociodrama Construtivista. Baseada na visão geral corrente de que educar filhos transformou-se numa corrida de obstáculos além de ter que assumir outros papéis dentro da família, para os quais não foram treinados -, o homem e a mulher vêem crescer as dificuldades para transmitir aos filhos conceitos básicos de educação e até mesmo direcionar esta para uma construção positiva da identidade emocional, social e familiar. O objetivo geral do trabalho é dar condições aos pais, por meio do trabalho em grupo, de compreender a transmissão intergeracional nas estratégias educativas e de reconstruir aquelas julgadas inadequadas. Inicialmente faz uma abordagem teórica sobre a parentalidade na pós-modernidade, um estudo dos aspectos históricos relacionados à educação dos filhos no Brasil, e uma síntese dos modelos de educação em diferentes contextos. Educar filhos nos diferentes níveis sociais e a teoria do desenvolvimento das famílias nas três fases do ciclo vital: formação de casal conjugal, famílias com filhos pequenos e com filhos adolescentes são capítulos que elucidarão o corpo teórico desta pesquisa. A autora, em seguida, faz reflexões sobre a repetição dos modelos intergeracionais e sobre os temas da família contemporânea, abordados por meio de questionários previamente aplicados aos pais individualmente, e com base nas respostas fornecidas. Para atender aos objetivos propostos foi feito um estudo qualitativo através de Sociodramas Construtivistas com grupos de pais, descritos nas suas peculiaridades como instrumento acessível para articulação, elaboração e revisão das construções utilizadas pelo ser humano para reorganizar suas experiências e ações. Foi utilizado ainda, um questionário para coletar informações sobre as dificuldades encontradas entre os pais na educação dos filhos. Quinze Sociodramas foram realizados em locais distintos: numa Clínica Pediátrica e numa ONG, ambos em São Paulo, filmados e fotografados mediante a autorização dos participantes. A análise dos dados aponta para uma imagem dos pais buscando um crescimento comportamental e emocional na educação dos filhos através das narrativas produzidas nos Sociodramas Construtivistas, e também para a percepção das situações repetidas intergeracionalmente, que foram revisadas e possibilitaram a elaboração de novos modelos para o desempenho do papel parental

This paper addresses the centrality of families in our lives and the conflicts members experience that bring them into therapy. Such conflicts are addressed within the context of dysfunction, noted by a breakdown in the family's communication or an inpairment in inter-member relationships. Dysfunction is addressed in a thorough discussion of two conventional therapeutic approaches. Bowenian therapy-built on systems theory and CBT or cognitive behavioral therapy with families are outlined for their therapeutic benefits and limitations. Their limitations highlight the need for alternative, more innovative interventions in family therapy. Drama therapy and four of its interventions; play, psychodramatic and sociometric techniques, and sculpting are discussed for their creative and dynamic approaches to helping people make sense of their struggles. Social constructionism is also explored for its ability to help family members "re-author" the unit's current, troublesome life story. This paper explores the usage and benefits of combining drama therapy with social constructionism in family therapy and suggests new avenues to explore in further research and clinical practice.

碩士
淡江大學
教育心理與諮商研究所碩士班
98
This main discussion is for the influence of therapeutic elements on emotional competence of the high-risk families'' children. Six members are sifted and recommended from the teachers, who live in high-risk families and are fifth grade students in the elementary school. The group of eight sessions is conducted. The acquisition and analysis of data from the scale and team process records are in order to know what change of emotional competence in drama therapy group, and what kinds of therapeutic elements influence the change of emotional competence. The results are as follows: 1.Drama therapy group can arouse and repair emotional competence of members. 2.Therapeutic elements of drama therapy made influence on emotional competence of members repeat on three stages of the team process. For example, spontaneity, related to the events in the reality, play, transformation, the process of creativity and testimony. 3.The other four subjects are detected in the team process, like the issue of aggression and sex, negative self-evaluation, seeking for security, and the interaction of using negative language and behavior to someone. 4.The members show signs of the contradiction and separation anxiety in the team process.

by Wendy Wai Kui Man.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1996.
Includes bibliographical references (leaves 127-131).
Introduction --- p.1
Chapter Chapter 1 --- "Dominance and Destruction in The Room, A Slight Ache and A Night Out" --- p.5
Chapter Chapter 2 --- "Married Love and Reality in The Collection, The Lover, Landscape and Betrayal" --- p.22
Chapter Chapter 3 --- "The Human Connection and Its Limits in The Caretaker, The Homecoming and Family Voices" --- p.56
Chapter Chapter 4 --- "The End Of The Road in One For The Road, Mountain Language and Party Time" --- p.85
Chapter Chapter 5 --- Love and Death Wedded in Moonlight --- p.110
Conclusion --- p.122
Works Cited --- p.124
Bibliography --- p.127

碩士
國立中央大學
資訊工程學系
104
Contextual learning has been recognized as an important method for EFL learning. However, most contextual learning activities were pre-designed by teachers or researchers without much flexibility to allow learners to learn what they feel interested. Therefore, learner-centered contextual design for learning becomes vital since it can motivate learners to explore the contexts and apply what they learned into authentic contexts. Moreover, several researchers recently indicated that drama was a good activity for EFL learning because drama guided learners to interact with each other and using body language to express their ideas. In spite of the above mentioned advantages of drama and contextual learning, there is still no research focusing on using drama in authentic contexts to facility EFL learning with mobile devices. Therefore, we developed one contextual drama (CD) system in mobile devices to help students to learn English. Students can use the proposed CD system to prepare, make and conduct drama with voice, photos and texts in authentic contexts to improve English learning. This paper aimed to examine how our proposed CD system and collaborative contextual drama influenced students’ learning behaviors and achievement. After experiment, the results demonstrated that drama-based learning in authentic context could achieve better English speaking than traditional paper methods. Moreover, it was found that due to collaboration in drama-based EFL learning in authentic context could promote peer discussion and help, thereby significantly improving the abilities of describing a story by a picture and writing behaviors including sentence complexity and sentence pattern diversity. The further analysis by interview and observation also revealed that students’ body language and engagement in drama activities have significant influences on learning achievement.

碩士
玄奘大學
宗教學系碩士在職專班
102
This thesistakes the development of the clan system in Korean drama "Family's Honor" and the wedding and funeral rites of Zhu `s Family Rite as the scope of the study.The research method uses to collate previous research and literature review , and through presenting the film , in order to achieve and complement each other. This paper is divided into five chapters to analyze the research. The first chapter explains the research motive, purpose and literature review. The second chapter discusses the spread eastward of Confucian culture and the connotation of the clan system that presnted by Korean drama “Family’s Honor.”. The third chapter explores and collates the feature of “Zhu `s Family Rite–Wedding” and it presents the ceremony of “Zhu `s Family Rite –Wedding” by Korean drama “Family’s Honor”. The fourth chapter exploresand collates the feature of “Zhu `s Family Rite–Funeral” and it presents the ceremony of “Zhu `s Family Rite –Funeral” by Korean drama “Family’s Honor”. The fifth chapter summarizes the results and reflections of the research, and explains what is immature in the research. Korean discriminates and absorbs many beneficial factors of the traditional culture with positive transformation. They transform the traditional things into the integral part of modern civilization in order to construct the new national spirit and culture and promote social development. In view of the above, it can serve as a reference for us.

The family trilogy, Curse of the Starving Class, Buried Child and True West, presents Sam Shepard's strong bond with his culture and his people, illustrates an intense connection with the land, and reveals a deep longing for the traditions of the past, through the dramatisation of the betrayal of the American Dream. Although obviously part of the American tradition of family drama, Shepard never completely conforms, subverting the genre by debunking the traditional family in order to make a statement about the present disintegration of the bonds of family life and modern American society. In the trilogy Shepard decries the loss of the old codes connecting with his despair at the debasement of the ideals of the past and the demise of the American Dream. Finally, the plays insist on the importance a new set of tenets to supplant the sterile ethics of modern America
M.A. (English)