Teses / dissertações sobre o tema "Staging history"
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Veja os 49 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Staging history".
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O'Donnell, David O'Donnell, e n/a. "Re-staging history : historiographic drama from New Zealand and Australia". University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
Texto completo da fonteNewark, Cormac. "Staging grand opera : history and the imagination in nineteenth-century Paris". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312922.
Texto completo da fonteNewark, Cormac. "Staging grand opéra : history and the imagination in nineteenth-century Paris /". Boston Spa : British thesis service, 1999. http://catalogue.bnf.fr/ark:/12148/cb391434264.
Texto completo da fonteSchachnow, Ellionore. "The Staging of Nynäs Castle : From Private Home to Museum". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193261.
Texto completo da fonteMontez, Noe Wesley. "Staging post-memories commemorative Argentine theatre 1989-2003 /". [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380115.
Texto completo da fonteTitle from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4529. Adviser: Rakesh H. Solomon.
McFrederick, Matt. "Staging Beckett : a production history of Samuel Beckett's drama in London (1955-2010)". Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/78067/.
Texto completo da fonteBailie, Lindsey Leigh. "Staging Privacy: Art and Architecture of the Palazzo Medici". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.
Texto completo da fonteThe Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits.
Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member
Demetriou, P. A. "An exhibition of hidden stories : investigating methods of staging and performing oral history archives". Thesis, University of Bristol, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.701830.
Texto completo da fonteLee, Melissa. "Staging the Actress: Dramatic Character and the Performance of Female Identity". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.
Texto completo da fonteDyson, Jessica. "Staging legal authority : ideas of law in Caroline drama". Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.
Texto completo da fonteBabaee, Tamirdash Mohamadreza. "Staging Belonging: Performance, Migration, and the Middle Eastern Diaspora in the United States". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1593024898855739.
Texto completo da fonteSchoone-Jongen, Terence G. "Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.
Texto completo da fonteCaplan, Debra Leah. "Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10869.
Texto completo da fonteNear Eastern Languages and Civilizations
Nyberg, Madeleine. "MAKTSPEL : En studie om iscensättning av kunskap på Livrustkammaren". Thesis, Stockholms universitet, Avdelningen för teater- och dansvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-112623.
Texto completo da fonteThe thesis focus on the exhibition Power Games presented at the Royal Armoury in Stockholm during 14th of March 2014 until 5th of January 2015. It involves the practice of history in popular culture. The exhibition incorporates stories of Swedish Renaissance with the English Elizabethan period along with Shekhar Kapur's films about Elizabeth I as well as the dramatic fictional continent of Westeros in HBO's TV series Game of Thrones. The intention of Power games is for the visitor to question the usage of history as well as emphasizing dramatic elements within history. I´ve taken an interest in the different power plays within the exhibition. The thesis discusses museums and exhibitions ways of staging knowledge. My intention is to investigate the elements of this staging. The thesis is divided into four main thematic chapters: The power of exhibition, The power of costume, The power of museums and The power of expression. The aim with this thesis is to take a closer look at these specific contexts from a different angle and combine them by applying fashion studies, fieldwork and performance analysis. In my final chapter The changed costume of the Royal Armoury I comment on the accentuated development and the symbolic role that Power games have in this progress. The four rooms of the exhibition represent a new way of staging within museums. The power has gradually shifted from only involving objects and knowledge of the museum to including a narrative of visitors and different interpretations of history. The Royal Armoury has challenged old conventions of museum and started to question their power position.
Lee, Vanessa. "Women staging the French Caribbean : history, memory, and authorship in the plays of Ina Césaire, Maryse Condé, Gerty Dambury, and Suzanne Dracius". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:50c22b59-0d30-47f7-9325-f650904a89ae.
Texto completo da fonteBoland, Paul William. "Morphometric analysis of data inherent in examination by magnetic resonance imaging : importance to natural history, prognosis and disease staging of squamous carcinoma of the oral cavity". Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:934e1e5a-24db-40ab-ab54-5e58901a9c2a.
Texto completo da fonteVadnais, Matthew W. "According to the Scrippe: Speeches, Speech Order, and Performance in Shakespeare's Early Printed Play Texts". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342978643.
Texto completo da fonteBush, Jason Alton. ""Staging lo Andino: The Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru"". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308262142.
Texto completo da fonteSefel, John Michael. "Staging The [Disabled] Jew: The Thematic Use of Doctors, Disability, and Disease in Yiddish Plays on Modernization, 1790-1929". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618433569764629.
Texto completo da fonteGrandcamp, Gabrielle. "Enjeux de mise en scène dans les "Miracles de Nostre Dame par personnages"". Thesis, Normandie, 2017. http://www.theses.fr/2017NORMLH23/document.
Texto completo da fonteThe forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished
Cupido, Ynoma. "Waiting to die: staging of HIV positive people at the first HIV test - Region A, Nelson Mandela Metropole (January 1991-April 2000)". Thesis, University of the Western Cape, 2006. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_8832_1253846190.
Texto completo da fonteThis project suggested tha HIV people in Region A (Nelson Mandela Metropole, formerly Port Elizabeth) health districty of the Eastern Cape, seek HIV testing when they are already in stages three (late disease) and four (AIDS) of HIV infection. Data had been obtained from the AIDS Training Information and Counselling Centre in the Nelson Mandela Metropole in 2000. The consequences of diagnoses onlu in the advanced stages of HIV infection will have a devastating impact on case management. Therefore, this paper yielded important data for South African policy makers to write health and welfare policies that might improve the quality of life of those terminally infected with HIV.
Rodríguez, Garrido José Antonio. "El teatro cortesano en la Lima colonial: recepción y prácticas escénicas". Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/122338.
Texto completo da fonteDesde 1672 hasta 1747 se documenta en Lima un significativo conjunto de representaciones teatrales «a la italiana» (es decir, montajes que hacen uso de recursos escénicos espectaculares), vinculadas siempre a celebraciones de carácter imperial. A partir de un corpus de quince obras teatrales, se estudian en este trabajo algunas de las condiciones de recepción y los medios materiales que permitieron este particular desarrollo del teatro en la sede del virreinato del Perú: el contexto y los fines de estas representaciones, el lugar donde se levantaba el escenario, el público al que se dirigían y los medios escénicos que se emplearon.
Spedalieri, Francesca. "Seeing the Unseen, Staging the Unspoken: The Gender Politics and Political Language of Emma Dante’s Theatre in the Berlusconi Era (1994-2011)". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480594504188268.
Texto completo da fonteTourinho, Ligia Losada. "Dramaturgia do corpo : protocolos de criação das Artes da Cena : dialogos entre artistas". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284029.
Texto completo da fonteTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T20:22:16Z (GMT). No. of bitstreams: 1 Tourinho_LigiaLosada_D.pdf: 80716560 bytes, checksum: 7540f8bd1a3dfc7474f2b4453ea22dd0 (MD5) Previous issue date: 2009
Resumo: Esta pesquisa apresenta uma reflexão sobre as dramaturgias da contemporaneidade, entendendo que seus significados atuais não são sinônimos de texto dramático, mas suas acepções contemporâneas dizem respeito às estruturas artísticas que determinam a composição cênica. A primeira parte desta tese é destinada à apresentação do panorama atual das pesquisas sobre o tema e, a uma revisão histórica sobre o(s) conceito(s) de dramaturgia desde o início da civilização ocidental até os dias de hoje. Na atualidade, a dramaturgia passa a ser um campo de investigação presente nas Artes da Cena. Essas estruturas cênicas podem ser estabelecidas em diversas configurações dramatúrgicas. O texto dramático é entendido como uma das possibilidades de registro, documentação e estruturação cênica; mas, não como a única. O processo de estruturação cênica está diretamente atrelado à poética daquele que cria a obra artística, na figura do diretor, coreógrafo, de quem assina a concepção. As dramaturgias contemporâneas se manifestam como protocolos de criação dos artistas responsáveis pela autoria dos espetáculos. A segunda parte desta tese destina-se à reflexão sobre as perspectivas atuais de análise espetacular, sobre a conceituação de dramaturgia como protocolos de criação e à discussão de novas terminologias dramatúrgicas como dramaturgias do corpo, dramaturgia do ator, dramaturgias da dança, dramaturgias da forma, dramaturgia de tensões, etc.. Em uma última etapa da pesquisa, desenvolve-se uma reflexão sobre a pesquisa de campo desta tese, que envolveu a reflexão sobre um processo dramatúrgico laboratorial - Projeto Jogo Coreográfico - e, processos dramatúrgicos de quatorze artistas residentes na cidade do Rio de Janeiro. A pesquisa de campo se desenvolveu a partir de diretrizes de uma metodologia experimental qualitativa compreendendo entrevistas e observação de espetáculos.
Abstract: This research synthesizes the contemporary dramaturgy concepts, understanding that its current meaning is not synonymous of dramatic text, but its contemporary interpretation is about artistic structures that determine the scenic composition. The first part of this PHD research is destined to the presentation of the current panorama of research on the theme and a historical review of the dramaturgy concept since the first civilization up to now. In current days, dramaturgy starts to be a field of investigation present in all Performing Arts. These scenic structures can be established in different dramaturgy configurations, so the dramatic text is one way of record, documentation and scenic structuring, but it is not the only one. The process of scenic structuring is connected to the poetic of the one who creates the artistic work, in the role of the director, choreographer, of who signs the conception. Contemporary dramaturgies are manifested as creation protocols of the artists responsible for the authorship of the plays. The second part of this research is destined to the reflection over the current perspectives of spectacular analysis, over the concept of dramaturgy as creation protocols and to the discussion of new dramaturgy terminologies as dramaturgies of the body.
Doutorado
Artes
Doutor em Artes
Guerdin, Daphnée. "Puissance et persistance du mélodrame dans le cinéma sud-coréen : se raconter pour se réinventer". Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC008.
Texto completo da fonteThis work aims to question the omnipresence of melodrama in South Korean cinema, in order to identify the powers of the genre in the constantly changing fabric of a common imagination. It is a question of approaching melodrama according to the intertextual space that the works trace in order to detect the power relations – socio-historical, political, transnational – which are deployed at the heart of the forms that it takes or resumes during its history. We analyze the conditions that favored its emergence from the beginnings of cinema in Korea, question its conformist and subversive potential in contact with censorship, and its constant reinvention in a composite cinema, made of perpetual exogenous reappropriations. It is also a question of establishing a dialectic with the History of the country as well as of cinema, through the use of metaphors and allegories, and by the transformation of History into filmic material that nourishes the national imagination
Piqueux, Alexa. "Le corps comique. Représentations et perceptions du corps dans la comédie grecque ancienne et moyenne (étude littéraire et iconographique)". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040273.
Texto completo da fonteAnalysis of the body provides an effective means of capturing comic performances in classical Athens and Magna Graecia. Textual and iconographic sources ought to be considered together to shed light upon the staging of the comic body as it was perceived and imagined. In particular, the conclusions of this work are based upon the comparison of Greek comedies from the 5th and 4th centuries B.C. and South-Italian vase-paintings of comic subjects. The first chapter presents the two corpuses and the questions raised by their comparison. Chapter two describes the material characteristics of the comic costume. The third and fourth chapters focus on the semiotics of the costume ; the signs of the genre are treated first, followed by a discussion of the social and moral characterization of the personages. The final chapter pertains to the dramatic function of the comic gesture
Verstraeten, Alice. "La disparition sur la scène sociale argentine : modalités de résistance à l’impunité". Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20021.
Texto completo da fonteFrom 1976 to 1983 the military dictatorship in Argentina engineered the “disappearance” of an estimated thirty thousand people. Its aim was not merely to put people to death but to eradicate all forms of diversity and every trace of resistance in the living.By sketching the reign of terror and by proposing an anthropological analysis of the different possible forms of resistance, this thesis confronts the research to effacement, dismemberment and then to the possibilities of reconstruction. It is an explorative and involved research by the side of survivors who succeeded in reconstruct sense and social relationships and have thus contributed to a political renaissance. Their testimonies - with those of the “Mothers of the Plaza de Mayo” as a heart - are resisting to what is unspeakable, impossible to see and to portray: they are based on words, on bodies and on images. A network, whose utopian motto was “memory, truth and justice”, gradually emerged to fight against the concealment of every trace of evidence of the “disappeared”. Its members developed a form of indicative paradigm which serves as a constant reminder to the anthropologist of the importance of details and minor connections.If we see society as theatre we may understand the different ways the forced disappearance was staged, which illustrate the crucial importance of the links between the intimate and the collective in social reconstruction.The resistance network is still constantly subject to revisionist suspicion, because democratic governments have maintained the social representations which made this political extermination possible. Resistance has to bee constantly re-invented. The questions this movement raises are, for their part, still a burning issue
Tremblay, Donald. "Mgr Pellegrino Francesco Stagni, o.s.m. et l'Église canadienne, 1910-1918". Doctoral thesis, Université Laval, 1995. http://hdl.handle.net/20.500.11794/28397.
Texto completo da fonteBarut, Benoît. "Un Spectacle dans un fauteuil. Poétiques et pratiques didascaliques d'Axël à Zucco". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030134.
Texto completo da fonteBecause they seemingly have to make the dialog work as well as to construct theperformance, because they seem to encroach upon the director’s grounds and yet cannot level with the magic of the actual staging, because they are not a real piece of literature nor do they belong to the show, the stage directions have long been overlooked by theater studies. In the past few years, a mild interest has arisen. On the one hand, linguists describe in a synchronic fashion the generic features of this particular type of discourse. On the other hand, critics wish to seize the specificity of each author’s stage directions, with an emphasis on the breaches of their theoretical functional purity.In this thesis, we intend to go beyond this fragmented approach by offering an overall poetics of stage directions and, in order for it to carry meaning, weight and nuance, we choose to base it on history and, specifically, on XXth century theater, from Villiers to Koltès, an enlarged century, deeply rooted in the XIXth and already glancing at the XXIst. It is then that stage directions redefine themselves as a result of the advent of the director and his coming to power ;it is then that they spectacularly travel out of joint but appear, nonetheless, incapable or unwilling to get rid altogether of their fundamental usefulness. Unequivocally, they prove to be a form of speech limping “one foot in duty, on foot in desire”, an icarian discourse reconciling what is theoretically opposed.This study starts with the format of the stage directions, their territory, their enunciation (i.e. the exact role they play in the dramatic communication), their graphic characteristics (punctuation, typography, lay-out). Then, we investigate the very fabric of stage directions writing, the perpetual tension between the pact that rules them (clarity, economy) and a fundamental drive to become something else (to become stage, to become poem, to become novel…)
Fonseca, Marco. "Le conflit entre raison et irrationalité dans les romans et les essais d'Ernesto Sábato". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA022/document.
Texto completo da fonteThis research work deals with the staging of the conflict between reason and irrationality that occurs in the novels and essays of the Argentine writer Ernesto Sábato (1911-2011), from the point of view of the formation, consolidation and apparent synthesis of said symbolic confrontation. Our objective is primarily to examine the representation of this conflict, within which its particularities will be analyzed, as well as the relationship it established with topics such as the dichotomy between scientific knowledge and artistic creation, the literary representation of the irrational and the experimentation with the novelistic and essayistic genres that the author undertook throughout his literary career. In this context, our attention is focused in particular on the three novels by the author El Túnel (1948), Sobre Héroes y Tumbas (1961) and Abbadón el exterminador (1973), as well as in his four main essays, Uno y el universo (1945), Hombres y engranajes (1951), Heterodoxia (1953) and El escritor y sus fantasmas (1963). This study will be carried out through the connections and links established between the texts in question based on the common theme of the staging of the conflict between reason and irrationality, reflecting on the particular ways in which each one, in his own discourse and in relation to others, generates a common thread that connects and unifies them under the same thematic unit. This analysis will establish that the symbolic staging of the conflict between reason and irrationality in the novels and essays of Ernesto Sábato is the basis of his literary work. For this reason, a reflection on the aforementioned issues has been relevant, treated under the perspective of who was considered one of the most important and representative Latin American writers of the second half of the 20th century
Rezende, Claudinei Cássio de. "Suicídio revolucionário : a luta armada e a herança da quimérica revolução em etapas /". Marília : [s.n.], 2010. http://hdl.handle.net/11449/88781.
Texto completo da fonteAbstract: With the objective of explaining the drainage of the communist left in Brazil, this thesis analyzes the construct around the social revolution theory of defeated left by the military dictatorship, raising the last phase of Carlos Marighella's thoughts in prominence. Loosing the supremacy of the communist left for the first and final time after the instauration of Bonapartist military dictatorship in 1964, the Partido Comunista Brasileiro (PCB) rallied the last communist left members around the revolution, wich had substantially maintained for unionist insertions in support of the working classes, and the gravitational center of the social movements. At the start of process of prostration after the amplification of persecution, the PCB became diluted into a constellation of groupings, which rapidly became detached from the rational interlocutor work causing the emptying of the party in the social movements. Carlos Marighella at the head of the general immersion of the communist left in the armed struggle, formed the Ação Libertadora Nacional (ALN), the most significant branch originating from the PCB breakup. Due to the influence of the recent Cuban Revolution and due to the violent imposition of the military dictatorship the tactical rupture caused by Marighella counted as discredit within the party organizations, giving rise to the conviction that the war of guerrilla were nurturing the Brazilian revolution's vanguard. The ontological critical on the writings by Carlos Marighella reveals its breakup with the PCB's tactical matrix - tactical which the party had been following since its Declaration in March of 1958, the Soviet orientation of a pacific revolution and the binomial bourgeoisie-proletariat - does not contain a disruption of strategic contribuition, but maintain the PCB's theoretical more negative: the chimerical two stage theory
Orientador: Marcos Del Roio
Coorientador: Antonio Carlos Mazzeo
Banca: Antonio Rago Filho
Banca: Jair Pinheiro
Mestre
Haouachi, Dhekra. "Les personnages féminins chez Tite-Live : idéologie et art de la mise en scène". Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC019/document.
Texto completo da fonteIt is agreed to say that no other fresco as big and powerful as the Ab Vrbe condita has been conserved, even partially, in Roman history since the creation of the Ab Vrbe condita itself until the modern era of Livy dead in the 17th or the 19th century A.D. It might even be that such a fresco ; at least of the value of a Latin historian, has never existed. This monumental work of 142 books which only the preface and 35 books are known to have survived, contains an uncommon number of characters among which only two percent are female. These latters have never been subject of work of synthesis, apart from a certain number of brief articles. Only two overall works were dedicated to them ; one of T.D. Clain is part of the tradition of Anglo- saxon of gender studies. It first adopts therefore a sociological approach ; the other, B. Kowaleski’s work, is on the function of the female figures in Livy’s work . My work rests on a systematic reading and analysis of Livy’s text, however it uses other methods : comparative reading (comparison with corresponding texts of other historians ), semantic study (example : relations between pudicitia and pudor), stylistic study
Rezende, Claudinei Cássio de [UNESP]. "Suicídio revolucionário: a luta armada e a herança da quimérica revolução em etapas". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/88781.
Texto completo da fonteCom o objetivo de dilucidar o processo de exaurição da esquerda comunista no Brasil, esta dissertação analisa o construto acerca da teoria da revolução social na esquerda derrotada pela ditadura bonapartista, colocando em relevo a última fase do pensamento de Carlos Marighella. Perdendo pela primeira vez e definitivamente a hegemonia na esquerda comunista após a instauração, em 1964, da ditadura militar, o Partido Comunista Brasileiro (PCB) congregou a última esquerda comunista organizada – objetivando a revolução social – que ainda mantinha substantiva inserção sindical, apoio das classes subalternas e posição de centro gravitacional dos movimentos sociais. Ao entrar em processo de depleção após a exacerbação da repressão, o PCB se diluiu numa constelação de agremiações que intempestivamente se desvincularam do interlocutor racional do trabalho, provocando nos movimentos sociais uma ablação do partido. Coordenando a imersão geral da esquerda comunista na luta armada, Carlos Marighella estruturou a Ação Libertadora Nacional (ALN), a mais substantiva facção oriunda da fratura pecebista. Por influência da então recente Revolução Cubana e por imposição violenta da ditadura, a ruptura tática efetuada por Marighella teve como princípio seu descrédito diante das organizações partidárias, motivando a sua convicção de que a guerra de guerrilhas nutriria a vanguarda da revolução brasileira. A análise imanente da integralidade dos escritos de Carlos Marighella desvela que sua inflexão que rumou em oposição à matriz tática pecebista – tática que o partido seguia pelo menos desde sua Declaração de Março de 1958, ancorada na orientação soviética da revolução pacífica e do binômio proletariado–burguesia – não experimentara um rompimento de aporte estratégico, retendo intacto o núcleo teórico pecebista mais infesto: a quimérica...
With the objective of explaining the drainage of the communist left in Brazil, this thesis analyzes the construct around the social revolution theory of defeated left by the military dictatorship, raising the last phase of Carlos Marighella’s thoughts in prominence. Loosing the supremacy of the communist left for the first and final time after the instauration of Bonapartist military dictatorship in 1964, the Partido Comunista Brasileiro (PCB) rallied the last communist left members around the revolution, wich had substantially maintained for unionist insertions in support of the working classes, and the gravitational center of the social movements. At the start of process of prostration after the amplification of persecution, the PCB became diluted into a constellation of groupings, which rapidly became detached from the rational interlocutor work causing the emptying of the party in the social movements. Carlos Marighella at the head of the general immersion of the communist left in the armed struggle, formed the Ação Libertadora Nacional (ALN), the most significant branch originating from the PCB breakup. Due to the influence of the recent Cuban Revolution and due to the violent imposition of the military dictatorship the tactical rupture caused by Marighella counted as discredit within the party organizations, giving rise to the conviction that the war of guerrilla were nurturing the Brazilian revolution’s vanguard. The ontological critical on the writings by Carlos Marighella reveals its breakup with the PCB’s tactical matrix – tactical which the party had been following since its Declaration in March of 1958, the Soviet orientation of a pacific revolution and the binomial bourgeoisie–proletariat – does not contain a disruption of strategic contribuition, but maintain the PCB’s theoretical more negative: the chimerical two stage theory
Tanokuchi, Seigo. "Un théâtre de l'altérité : l'actualité politique de Jean Giraudoux, son interprétation scénique et sa réception critique sous la IIIème République". Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100022.
Texto completo da fonteThe thesis highlights the cosmopolitan dimension of Jean Giraudoux’s dramatic works, taking into account their staging, critical reception and the theatrical context of the Third Republic during the interwar period. Being responsible for promoting cultural exchanges at the Ministry of Foreign Affairs, Giraudoux, who was Germanist and an enthusiast of foreign literature, considers the theatre as a privileged means to show the different ‘voices’ of humanity and compose a universal song. Certainly, as the reading of his political writings reveals, Giraudoux defended national interests as the head of General Information Commission in 1939-1940, and echoed stubborn prejudices in his intellectual milieu. But at the same time, to concretize the conception of the theatre of alterity, he devoted himself to the renovation of the dramatic language in close association with Louis Jouvet at L’Athénée. The analysis of his characters and themes shows that Giraudoux has constantly sketched figures of the Other and referred to foreign cultures to demonstrate his philosophy of cosmopolitanism. Exploiting of Louis Jouvet’s archives in the National Library of France, concerning the stages produced by Jouvet, the thesis will think that Giraudoux’s dramatic world takes on an appearance both exotic and heteroclite that could disturb the Parisian public. While, exported outside of France during the tours of Jouvet’s troupe and adapted in foreign languages by his literary friends, Giraudoux’s theatre would be appreciated and recognized by various international audiences as a French attempt to represent the diversity of the world
Worms, Manon. "Face à la victime : émergence d’une figure et travail du regard sur les scènes contemporaines". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2059.
Texto completo da fonteThis thesis in Performative Arts explores the theatrical representations of the victim, which has become a central figure in European contemporary societies. Rooted in the foundations of occidental culture, from images of sacrificial rites to the figure of the Christ, the victim has evolved into a judicial category throughout modern history and later on emerged as a specific political subjectivity, in the end of the XXth century. Victims then began to acquire a form of legitimacy, through the social recognition of the violence they endured, as well as the possibility of repairing the harm done. The core of this paradigm is settled in the 1990’s, with a striking shift in public sensitivity and interest regarding experiences of oppression/suffering, thereby redefining democratic regimes and opening new fields of political resistance.This research studies this movement from the point of view of contemporary performative arts. It aims at renewing the recent history of dramatic arts, through the prism of the victim, seen as a figure. Based on a corpus of plays, playwriting, and artistic events that played a significant role between 1993 et 2000 in the European scene, the thesis assesses the figure of the victim in order to define the specific role of Theater in the construction of this new paradigm. The presence of victims on stage affects bodily representation, as well as the ways to stage political violence. It also leads contemporary theater to a new sense of realness, and to an organic link with performative systems. In order to analyze this shift in relation with contemporary history, the analysis of the corpus and of the theoretical framework is put in perspective by various references to other visual studies and social science
Özer-Chulliat, Sibel. ""Se mettre en scène" dans les adaptations contemporaines de textes classiques : un point tournant dans l'art de la mise en scène ?" Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA133.
Texto completo da fonteIn recent years, some European directors are taking particularly bold initiatives in their adaptations of classic texts, cutting the text, changing the order of monologues and even injecting pieces of texts written by them or from other literary works. They do not hesitate to "stage themselves", that is to say, to treat primarily their own existential questions through the classic texts, thus releasing any pressure exerted on them by the authoritative textual interpretations or by the representations of these texts in the collective imagination, and taking the classic texts in a very personal "elsewhere". Their stagings exceed the fragmentation and disorder specific to postmodern theater and focus instead on telling a coherent story, centered on the intimate concerns of the director. This new type of staging draws on diverse influences from André Antoine to Heiner Müller through Stanislavski, Brecht and Artaud, and represents a new stage in the empowerment process of the art of staging at work since the nineteenth century. The corpus of this thesis includes four recent adaptations (conducted between 2008 and 2011) of classic texts: Thomas Ostermeier’s Hamlet, Nikolai Kolyada’s Hamlet, Olivier Py’s Romeo and Juliet, and Krzysztof Warlikowski’s A Streetcar (from A Streetcar Named Desire by Tennessee Williams). It also includes a practical application in the form of an adaptation, Pygmalion - I Created A Woman (from Pygmalion by George Bernard Shaw), directed by the author of the thesis in 2014 in the Turkish State Theatres and having tested the arguments and conclusions from previous analyzes
Yu, Hui-Chu, e 余慧珠. "Staging the Monarchy:Iconoclastic Representation of Kingship in Shakespeare''s History Plays". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/25560119575821453518.
Texto completo da fonte國立中山大學
外國語文學系研究所
91
When investigating the connection between Shakespeare and the Reformation, many critics are concerned about the playwright’s religious stance. They rummage throughout his plays for traces that can manifest his religious inclination; however, they often fall easy preys of the theory of dichotomy. Among a great multitude of Shakespearean studies, many are devoted to the iconographical approach, but relatively few attempt to illustrate Shakespeare’s iconoclasm, particularly concerning the representation of kingship in history plays. In view of the two relatively unexplored fields, this dissertation purports to scrutinize how the egalitarian spirit of Protestantism, rather than Protestant theology, contributes to the new perception and iconoclastic representation of kingship in Shakespeare’s history plays. Based on a historical development of the idea of kingship, , this present study will elaborate from a dramatic perspective how Shakespeare manages to subvert the royal icons and spectacle that the ruling class used to rely on heavily. To assist readers with a comprehensive sense of the genre, I propose that the history play is a genre first initiated as part of the propagandistic program of the Henrician Reformation, whose impetus later changes into a driving force that facilities iconoclastic perception of the kingly image. Developed along with the public theater, the representation of kingship in Shakespeare’s history plays takes a secular turn, so the long sanctified image of monarch in royal iconography is challenged. However, the transformation does not take place simply out of political pressure, but dramatic concerns. A new system of imagery, developed on the theoretical basis of the king’s body natural, enriches the poetic language of political drama. Probing into the nature of kingship and the political issues of the Tudor reign, Shakespeare’s re-envision of the Tudor Monarchy is stripped off the allegorical signification of pageantry and then riddled with the medieval view of mutability. This present study will manifest how Shakespeare’s history plays reexamine the idealized royal image and take an aesthetic turn in representing historical events—featuring psychological complexity and rich verbal strategies. Further investigation is done to shed light on Shakespeare’s iconoclastic view of kingship to reveal the ways in which the dramatist redefines and demystifies monarchy.
"Staging New Orleans: The contested space of Congo Square". Tulane University, 2011.
Encontre o texto completo da fonteLa, Flamme Lisa Michelle. "Living, writing and staging racial hybridity". Thesis, 2006. http://hdl.handle.net/2429/18220.
Texto completo da fonteArts, Faculty of
English, Department of
Graduate
KRUMREY, Jacob. "Staging Europe : the symbolic politics of European integration during the 1950s and 1960s". Doctoral thesis, 2013. http://hdl.handle.net/1814/29612.
Texto completo da fonteExamining Board: Professor Kiran K. Patel, Maastricht University (EUI/External Supervisor); Professor Federico Romero, EUI; Dr. N. Piers Ludlow, LSE; Professor Johannes Paulmann, Leibniz Institute of European History Mainz.
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This PhD thesis explores the use of symbolism in European integration during the 1950s and 1960s. The thesis argues that political elites staged the early European Communities - the 1952 ECSC as well as the 1958 EEC and Euratom - as the representation of a united Europe and so tied them to a vision with much momentum in post-war Europe. This symbolic role of the Communities transcended their technocratic set-up and their narrow economic policies: it made them distinctive among the many post-war European organizations. Empirically, this thesis focuses, in separate parts, on three settings where the Communities were staged as the united Europe: the Communities’ parliamentary assem-blies (first part), the Communities’ diplomatic activities (second part), and the Communities’ polycentric seating arrangements (third part). This thesis deals with a wide array of actors who, for different reasons, participated, actively or tacitly, in the staging of the Communities: the news media and occasionally also civil society actors, governments and administrations, parties and parliaments across the original six member states as well as those of the Communities’ external partners, Britain and the United States. Conceptually, this thesis presents a cultural history approach to European integration. It aligns itself with a new strand of research in European integration history that aims to go beyond the much-advanced diplomatic history of the European Communities and to add to it an interest in discourses, identities, and symbols. With its study of symbolism, this thesis seeks to bring together the literature on the diplomatic history of the European Communities and the intellectual history of the European idea; it also seeks to help historians define the nature of the European Communities and assess their place in post-war European history. This thesis is based on the papers of Jean Monnet and Walter Hallstein, two key figures of the early European Communities, and archival materials from the Historical Archives of the European Union in Florence as well as the diplomatic archives of France and Germany, Britain and the United States.
Brady, Amy. "Staging the Depression: The Federal Theatre Project's Dramas of Poverty, 1935-1939". 2013. https://scholarworks.umass.edu/dissertations/AAI3603059.
Texto completo da fonteOsborne, Samuel. "Staging standpoint dialogue in tristate education: privileging Anangu voices". Thesis, 2016. https://vuir.vu.edu.au/32634/.
Texto completo da fonteRothe, Alexander Karl. "Staging the Past: Richard Wagner's Ring Cycle in Divided Germany during the 1970s and 1980s". Thesis, 2015. https://doi.org/10.7916/D86972PF.
Texto completo da fonteFalk, Andrew Justin. "Staging the Cold War negotiating American national identity in film and television, 1940-1960 /". 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120292.
Texto completo da fonteWinerock, Emily Frances. "Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640". Thesis, 2012. http://hdl.handle.net/1807/34965.
Texto completo da fonteTralongo, Stéphane. "Faiseurs de féeries : mise en scène, machinerie et pratiques cinématographiques émergentes au tournant du XXe siècle". Thèse, 2012. http://hdl.handle.net/1866/9698.
Texto completo da fonteThe goal of this dissertation is to renew our historical view of the exchanges occurring between theatre and early film practices at the turn of the twentieth century, by questioning the ideas of primitive cinema, credulous audiences and precinematic forms. Our research aims to put more specifically Georges Méliès’ féeries back into the institutional framework of the parisian theatre, in order to show how these films are part of the history of techniques which were used at the Châtelet, the Gaîté and the Folies-Bergère. Previous studies have generally postulated that theatre and cinema were, from the very beginning, two rival art forms. However, our historiographical approach differs from this assumption, seeing the relationship instead as that between an old cultural institution and a brand new technology. We think our understanding of early cinema could be improved if we acknowledge that the kinematographic technology belonged to the broad cultural series of luminous attractions appearing with the emergence of electric lighting. In the first part (« The spectacle of electricity »), we study lighting practices and habits of vision that helped féeries’ spectators to understand and enjoy early cinema. In the second part (« The illusion of technique »), we investigate how the integration and hybridization of technologies in féeries led theatre workmen to use the kinematograph on stage. In the third part (« The art of kinematography »), we prove that early cinema aesthetics has been shaped by rules of creation and assessment criteria belonging to the institution of theatre, such that films could already be seen by spectators and critics as artistic forms. The main challenge of this research is to offer a more accurate vision of the history of theatre in its relation to technologies and, in particular, to this new machine that was, at the time, the kinematograph.
Réalisé en cotutelle avec l’Université Lumière Lyon 2
Tarabulsy, Joseph. "The colonies of Andros: towards a socio-economic history of Sane, Akanthos, Stagira, and Argilos". Thesis, 1998. http://hdl.handle.net/1866/24047.
Texto completo da fonteThe present study on the colonies of Andros is driven by the need to increase our knowledge of the northern colonies as a whole. Northern Greece is the least well documented of the regions which were reached by the 8th and 7th c. B.C. Greek colonists. Not only does the study of the Andrian colonies augment the available documentation on the northern Greeks, it also provides an opportunity to examine one mother-city's overall colonization process. Through the sum of ancient sources and archaeological data pertaining to the four Andrian colonies, the study attempts to lay out the socio-economic history of the colonies as a whole and as separate entities. Such aspects as: 1) The foundation dates; the colonization process; 2) the relations with the indigenous populations; and 3) the economic relations with the other Greek colonies in the region, as well as the major centers of the Greek mainland, are examined. There is first question of the colonizing enterprises undertaken by Eretria, Chalcis, and Paros so that a general understanding of the overall colonization of the northern Aegean coast can be obtained. The resulting synthesis helps fill in the gaps in the history of the Andrian colonies caused by the lack of primary sources for the latter, whether they be literary or archaeological. The socio-economic history of the colonies from the time of their foundation to the end of the 5th c. B.C. which is based on the analysis of the preliminary study of the Parian and Euboean colonization in the north, the ancient sources, and the archaeological remnants, taken in conjunction with what is known of the indigenous population, is the end result of the study. Though literary sources date the foundation of the colonies to 655/54, based on the archaeological evidence available, it is established that the colonies were founded within the 3rd quarter of the 7th c. B.C. An orderly pattern of colonization seems to have prevailed in that the colonies were established successively in accordance with the previous colonization efforts by the city-states of Euboea and the pre-established sea route the geographical emplacement of Andros imposes. Therefore, Sane, situated on the isthmus of Acte, and apparently colonized with the help of the Chalcidians, was the first to be settled, then came in order, Akanthos, Stagira, Argilos, and perhaps Tragilos. It is concluded, with relative probability, That Tragilos was also an Andrian colony established in the lst half of the 6th century. It has also been deemed highly probable that the colonies, after the initial foundation of Sane, were in part settled by land and that Thracian tribes, residing at both extremities of the Andrian periphery, undoubtedly contributed in the actual colonization process. The 6th and 5th centuries witnessed the gradual increase of commercial importance of the northern colonies reflected, in the lst half of the 6th c. by the influx of Corinthian pottery, no doubt due to the foundation of Potidaea, and of Thasian pottery. The trend of growing commercial interactions is characterized in the 2nd half of the 6th c. with the marked presence of Athenian pottery and the start of coining at three of the four colonies. Spurred by the Persian and general eastern demand for silver, Stagira and Akanthos began to mint coins around 530 B.C. while Argilos, which never seemed to have direct access to silver mines, only began around 510 B.C. The fact that Sane seems to have remained coinless throughout its existence suggests that it was primarily a settlement of an agricultural nature and that Akanthos may actually have exerted a hegemony of sorts over it. Strong bonds with the east meant that the Akanthian coin production was dominant in the area as of the end of the last Persian War until their production ceased in 380 B.C., ousting Stagira out of the picture during the course of this period. Argilos ceased production as of the middle of the 5th century which is to be attributed to a shift in Athenian interest in the region represented by the drop of the tribute to be paid to Athens by Argilos from 10.5 talents to 1 talent in 116/5, the increase from 3 talents to 30 talents in the Thasian tribute for the same year, the foundation of Amphipolis, and the Athenian presence at Berge which has been closely linked to the minting of coins at Tragil os. As the Athenian empire began to dwindle following the Peloponnesian Wars, the history of the colonies becomes intertwined with that of the growing Macedonian power which, by the middle of the 4th century would control the entire region. Overall, it would seem that Sane was commercially inactive throughout its existence, Stagira was able to exploit and profit from the nearby silver mines from the middle of the 6th c. until about 480 when it gradually started to lose importance to Akanthos, which remained a strong and independent city well into the 4th century, while Argilos, though probably more important than Akanthos for part of the 5th c., regretfully became insignificant, especially after the foundation of Amphipolis in 437 B.C.
FRISONE, Anna. "Femminismo sindacale al di là dei confini : l’incontro tra politica sindacale e soggettività femminile, in Italia e in Francia, attraverso la ‘lunga stagione dei movimenti delle donne’ (1968-1983)". Doctoral thesis, 2017. http://hdl.handle.net/1814/45945.
Texto completo da fonteExamining Board: Professor Laura Lee Downs (Supervisor EUI); Professor Lucy Riall, EUI; Professor Michelle Zancarini-Fournel, Université Lyon 1; Dr. Maud Bracke, University of Glasgow
Dare una definizione o trovare una collocazione precisa al cosiddetto ‘femminismo sindacale’ è tutto fuorché un’impresa semplice. Come le due citazioni mostrano efficacemente, il suo stesso nome costituisce di per sé un elemento problematico. Il femminismo sindacale, infatti, si sviluppò tra gli anni Settanta ed Ottanta come esito - complesso e nient’affatto ‘risolto’ - all’incrocio tra la critica neofemminista al patriarcato e le lotte operaie che a partire dal decennio precedente avevano tentato di imprimere una svolta in senso progressista ed egualitario ai rapport di produzione tra capitale e lavoro. Le donne che negli anni Settanta si muovevano nello spazio sindacale, come delegate e militanti o semplicemente come lavoratrici, furono profondamente attraversate e coinvolte dalle riflessioni che il neofemminismo internazionale andava allora producendo e scelsero di utilizzarle per risignificare l’esperienza del lavoro dal punto di vista femminile. Il femminismo sindacale costituisce un oggetto di studio affascinante, collocato appunto all’incrocio tra due fenomeni internazionali di indiscussa rilevanza come il movimento delle donne ed il movimento dei lavoratori.
Berto, Tony. "Are We There Yet? Gay Representation in Contemporary Canadian Drama". Thesis, 2013. http://hdl.handle.net/10214/7372.
Texto completo da fonteThe author would like to sincerely thank Ann Wilson, Ric Knowles, Matthew Hayday, Alan Shepard, Sky Gilbert, Daniel MacIvor, Michael Lewis MacLennan, Conrad Alexandrowicz, Chris Grignard, Edward Roy, Brad Fraser, Cole J. Alvis, Jonathan Seinan, David Oiye, Clinton Walker, Sean Cummings, Darrin Hagin, and Chris Galatchian.
SSHRC, The Heather McCallum Scholarship, Lambda Prize for achievement in lesbian, gay, bisexual and trans-gendered studies.