Готові списки джерел за темами / Politisk teater

Добірка наукової літератури з теми "Politisk teater"

Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 29 липня 2024

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Статті в журналах з теми "Politisk teater"

Blekastad Watson, Anna. "Dokumentarteater, hyperteater og hverdagseksperter – i norsk politisk teater – 1930-2017." Peripeti 14, no. 27/28 (January 1, 2017): 142–55. http://dx.doi.org/10.7146/peri.v14i27/28.110435.

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Анотація:

Anna Watson ser i artiklen I Dokumentarteater, hyperteater og hverdags-eksperter – i norsk politisk teater – 1930-2017 på brugen af ikke-professionelle aktører og relationel æstetik i norsk politisk teater, med vægt på dokumentarisk teater i tre tidsperioder: 1930-tallet, 1970-tallet og 2010-tallet.

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Kuhlmann, Annelis. "Teater som interferens 1." Peripeti 6, no. 12 (January 1, 2009): 115–21. http://dx.doi.org/10.7146/peri.v6i12.107711.

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I en del år har interventionsbegrebet været benyttet, navnlig når performere med mere politisk orienterede dagsordner og mere aktionslignende handlinger er trængt ind på områder, som under normale forhold ikke anses for at være teatrale. I foråret 2009 så et forholdsvis nyt fænomen dagens lys på Odin Teatret i Holstebro, nemlig teater som interferens.

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Watson, Anna Blekastad. "Perleporten – et post-brechtiansk teater?" Teatervitenskapelige studier 4 (December 24, 2020): 25–51. http://dx.doi.org/10.15845/tvs.v4i0.2578.

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I denne artikkelen viser jeg til Perleporten Teatergruppes særegne formspråk i forestillingene Knoll & Tott (1975) og i Jug meg en saga (1976), og hvordan formspråket er et resultat av gruppens politiske ståsted og anarkistisk livssyn, samt deres bakgrunn fra dramalinjen på Hartvig Nissen skole. Gruppens mål synes å ha vært å invitere publikum til å gjøre opp sine egne meninger og holdninger til sosiale, kulturelle og politiske problemstillinger. Disse ble løftet fram gjennom en bruk av anti-autoritære virkemidler og en fragmentarisk dramaturgi. I analysen av Perleportens teater har jeg sett på mulige berøringspunkter mellom The Living Theatre og Perleporten, som begge hadde anarkistiske idealer. I tillegg gjør jeg en nylesning av Jug meg en saga hvor jeg sammenstiller Perleportens bruk av fragmenterte narrativer og montasje av kontrasterende scener med et post-brechtiansk uttrykk. Et slikt uttrykk er særlig Heiner Müller kjent for. Ved å diskutere likheter og forskjeller mellom bruk av sceniske virkemidler og dramaturgi i oppsettinger av Perleporten Teatergruppe, The Living Theater og Heiner Müller søker jeg å vise hvordan Perleportens teater står i en anarkistisk-politisk tradisjon, som på 1970- og tidlig 80-tallet var usedvanlig i en norsk kontekst, men ikke nødvendigvis i en amerikansk eller europeisk kontekst.

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Mejlgaard, Lærke. "Mellem værk og virkelighed." Peripeti 13, no. 25 (May 28, 2021): 109–15. http://dx.doi.org/10.7146/peri.v13i25.109581.

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To be a spectator is to be separated from both the capacity to know and the power to act. Sådan opridser filosof Jacques Rancière den kritik af tilskuerpositionen, som især avantgarden har givet stemme til. Dog påpeger Rancière, at der intet teater findes uden tilskuere, og heri ligger tilskuerens paradoks. Men kan det lade sig gøre at overkomme paradokset og opløse tilskuerpositionen fuldstændigt? Og hvilket værkbegreb efterlader det teatret med? Diskussionen er ikke ny, men der kommer stadig nye bud på, hvordan tilskueren kan inddrages i værket som deltager eller medskaber. Da jeg påbegyndte arbejdet med den afhandling, der senere skulle blive til dette essay, ville jeg undersøge, hvorvidt teaterkollektivet Rimini Protokoll tilsluttede sig et avantgardistisk frigørelsesprojekt eller stillede sig som modstander af et sådant. Det blev dog hurtigt klart, at jeg ikke skulle lede efter Rimini Protokolls værkbegreb på den ene eller den anden side af frigørelsen, men netop i den paradoksale grænseposition, mellem realitet og fiktiv realitet, mellem fastholdelse og frigørelse fra en passiv tilskuerposition og mellem værk og virkelighed. På de følgende sider vil jeg sætte fokus på, hvordan og hvorfor denne paradoksale position udnyttes og tydeliggøres gennem interaktivitet i forestillingen Home Visit Europe, men også udfordre Rimini Protokolls brug af interaktivitet, ved at se interaktivitet som et nyt ståsted for politisk teater.

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Wasari, Desi, Reni Triposa, and Yonatan Alex Arifianto. "Etika Guru PAK bagi Sikap Etis Politik Identitas Dalam Mereduksi Superioritas." Philoxenia: Jurnal Teologi dan Pendidikan Kristiani 1, no. 1 (November 7, 2022): 1–13. http://dx.doi.org/10.59376/philo.v1i1.6.

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This study aims to describe the ethical paradigm and the role of the Christian Religious Education teacher profession in addressing identity politics with ethical actions in an effort to reduce superiority. The ethical attitude and professionalism of Christian Religious Education teachers play an important role in educating and instilling Christian values in students. So that it can reduce the superiority in identity politics that often occurs in community groups. Identity politics occurs when minority identity groups are excluded from majority identity groups. Therefore, through this research, the author conveys that through the ethical paradigm and the teaching profession of Christian Religious Education, it will actually help efforts in reducing the superiority of identity politics. Using a descriptive qualitative method with a literature study approach, it can be concluded that the indicators of the paradigm and nature of ethics, as well as the role of the Christian Religious Education teacher presented in this study can assist the reader in understanding how the ethics and profession of Christian Religious Education teachers for the ethical attitude of identity politics in attempts to reduce superiority.AbstrakPenelitian ini bertujuan untuk mendeskripsikan tentang paradigma etika dan peranan profesi guru Pendidikan Agama Kristen dalam menyikapi politik identitas dengan tindakan etis dalam upaya mereduksi superioritas. Sikap etis dan keprofesinalitas guru Pendidikan Agama Kristen sangat memegang peranan penting dalam mendidik dan menanamkan nilai-nilai kekristenan kepada peserta didik. Sehingga dapat mengurangi superioritas dalam politik identitas yang sering terjadi dalam kelompok masyarakat. Politik identitas terjadi ketika kelompok identitas minoritas dikesampingkan dari kelompok identitas mayoritas. Oleh karena itu, melalui penelitian ini penulis menyampaikan bahwa melalui paradigma etika yang etis dan profesi guru Pendidikan Agama Kristen maka sejatinya akan membantu upaya dalam mereduksi superioritas politik identitas. Menggunakan metode kualitatif deskriptif dengan pendekatan studi literatur maka dapat disimpulkan bahwa Indikator-indikator paradigma dan hakikat etika, juga peran guru Pendidikan Agama Kristen yang dikemukakan dalam penelitian ini dapat membantu pembaca dalam memahami bagaimana etika dan profesi guru Pendidikan Agama Kristen bagi sikap etis politik identitas dalam upaya mereduksi superioritas.

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Soeryana, Dharminta. "Aspek Sosial dalam Pementasan Teater “Awak Tam Ong” oleh Kelompok Teater Kosong Aceh." GESTUS JOURNAL : PENCIPTAAN DAN PENGKAJIAN SENI 2, no. 1 (April 30, 2022): 58. http://dx.doi.org/10.24114/gsts.v2i1.36622.

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Drama “Awak Tam Ong” menarik diteliti karena berupaya memaknai situasi sosial, budaya, ekonomi, hukum, dan politik di tengah masyarakat terkait kehadiran para pendatang pasca tsunami di Aceh. Permasalahan yang diangkat dalam penelitian ini pertama, untuk mengetahui kondisi sosial historis pasca tsunami di Aceh yang mempengaruhi penciptaan naskah ATO. Kedua, mengetahui tema dan permasalan drama ATO. Penelitian ini menggunakan metode kualitatif dengan pengumpulan data melalui observasi, wawancara, dokumentasi. Selanjutnya data-data tersebut dianalisis dengan menggunakan teori struktur dan tekstur yang dirumuskan oleh George Kernodle. Selanjutnya menggunakan pendekatan semiotika teater yang dirumuskan oleh Peirce tentang semiotika didasari pada logika, yakni bagaimana logika orang bernalar berdasarkan tanda-tanda berkaitan dengan objek-objek yang menyerupainya. Penelitian ini juga menggunakan sosiologi teater yang dirumuskan Fortier tentang materialism Marxis tradisional.Hasil penelitian menunjukkan, bahwa (1) naskah ATO adalah garapan teater rakyat dengan sentuhan teater modern. (2) adanya penawaran agar memodifikasi pemulia jamee (memuliakan tamu) sebagai salah satu aplikasi budaya yang sesuai dengan perkembangan jaman tanpa menghilangkan nilai-nilai yang telah ada. (3) adanya usaha saling mempengaruhi antara kelompok Teater Kosong dengan masyarakat Aceh dalam proses penciptaan naskah ATO. (4) selain sebagai media hiburan, pementasan ATO juga media efektif sebagai ruang ekspresi dan komunikasi yang memuat unsur pendidikan (norma, historis, ekonomi, politik, dan religius), sarana pengembangan diri, pengembangan kemahiran bersosial dan berbudaya.Kata Kunci: Teater komedi, pendatang, kondisi sosial budaya dan politik

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Suryawan, I. Ngurah. "POLITIK DAN “TEATER RITUAL” DI BALI." Walisongo: Jurnal Penelitian Sosial Keagamaan 20, no. 2 (December 15, 2012): 305. http://dx.doi.org/10.21580/ws.2012.20.2.201.

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The relation between ritual and socio-political environment should become a deep reflection. Rituals which take place in order for salvation, harmony, and natural balance instead generate the ambigue and ironic situation. Rituals had been going on amazingly but the social as well as natural disasters seems go on continually. In Bali, religious rituals that formerly guarded by mantra-mantra (spiritual wordings) recently enstead by a group of Pecalang (tradition guardian in Bali) and metal detector (at the time of Pamarisudha Karipubhaya Bali Blast of 2002 and 2005). Nowadays Balinese are eager to perform rituals spectacularly. But instead, Bali now is struck by continous disaster, not only the disaster came from external sources but also the internal ones.***Hubungan antara ritual dengan lingkungan sosial politik harus menjadi bahan renungan yang dalam. Ritual yang dilakukan untuk tujuan keselamatan, harmoni, dan keseimbangan alam bahkan menimbulkan kondisi ambigue dan ironis. Ritual berjalan secara mengesankan namun bencana sosial maupun bencana alam terus menerus terjadi. Di Bali, ritual agama yang sebelumnya diwarnai mantra-mantra kini diisi oleh Pecalang (pengawal tradisi Bali) dan metal detector (pada saat Pamarisudha Kariphaya Bom Bali 2002 dan 2005). Kini orang Bali cenderung melaksanakan ritual secara spektakuler. Akan tetapi Bali seringkali didera bencana, baik bencana yang berasal dari dalam maupun luar.

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Suryawan, I. Ngurah. "POLITIK DAN “TEATER RITUAL” DI BALI." Walisongo: Jurnal Penelitian Sosial Keagamaan 20, no. 2 (December 15, 2012): 305–20. http://dx.doi.org/10.21580/ws.20.2.201.

Повний текст джерела

Анотація:

The relation between ritual and socio-political environment should become a deep reflection. Rituals which take place in order for salvation, harmony, and natural balance instead generate the ambigue and ironic situation. Rituals had been going on amazingly but the social as well as natural disasters seems go on continually. In Bali, religious rituals that formerly guarded by mantra-mantra (spiritual wordings) recently enstead by a group of Pecalang (tradition guardian in Bali) and metal detector (at the time of Pamarisudha Karipubhaya Bali Blast of 2002 and 2005). Nowadays Balinese are eager to perform rituals spectacularly. But instead, Bali now is struck by continous disaster, not only the disaster came from external sources but also the internal ones.***Hubungan antara ritual dengan lingkungan sosial politik harus menjadi bahan renungan yang dalam. Ritual yang dilakukan untuk tujuan keselamatan, harmoni, dan keseimbangan alam bahkan menimbulkan kondisi ambigue dan ironis. Ritual berjalan secara mengesankan namun bencana sosial maupun bencana alam terus menerus terjadi. Di Bali, ritual agama yang sebelumnya diwarnai mantra-mantra kini diisi oleh Pecalang (pengawal tradisi Bali) dan metal detector (pada saat Pamarisudha Kariphaya Bom Bali 2002 dan 2005). Kini orang Bali cenderung melaksanakan ritual secara spektakuler. Akan tetapi Bali seringkali didera bencana, baik bencana yang berasal dari dalam maupun luar.

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Foley, Kathy. "Teater Kontemporari Malaysia Pascakolonial: Mencari Titik Persamaan antara Teater Asal Usul dengan Teater Masyarakat." Melayu: Jurnal Antarabangsa Dunia Melayu 15, no. 2 (July 1, 2022): 223–42. http://dx.doi.org/10.37052/jm.15(2)no4.

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Pada penghujung abad ke-20, Malaysia pascakolonial, seperti bahagian lain di Asia Selatan dan Asia Tenggara penghasil teater mengkaji semula teater improvisasi tradisional bagi bahan yang boleh digunakan semula dalam drama moden. Pencarian teater asal usul dilakukan oleh pengarang berpendidikan bandar yang pada zaman lewat kolonial telah menghasilkan sastera dramatik berskrip yang dipengaruhi oleh model barat. Penghasil teater moden yang dilatih dalam genre tradisional telah bereksperimen dengan mengadaptasi bentuk drama tari Malaysia, mencipta contohnya mak yong untuk pentas proscenium moden menggunakan naratif barat, seperti karya Norzizi Zulkifli dan Zamzuriah Zahari atau bangsawan dalam karya Marlenny Deenerwan. Mod penerokaan kedua ialah "teater masyarakat" yang berkembang pesat di seluruh Asia Tenggara dari tahun 1970-an dan meminjam aspek gaya genre peribumi, tetapi mengambil isu sosial dan politik negara, mempertaruhkan penapisan seperti yang dilihat dalam karya Five Arts Center dan penulis drama Dinsman.

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Hoogland, Rikard. "Hatar män teater?" Peripeti 9, no. 18 (January 1, 2012): 90–99. http://dx.doi.org/10.7146/peri.v9i18.107359.

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The paper discusses why a majority of males no longer finds it important to take part in culture, and especially visiting theatre performances. This problem is not directly addressed by the Swedish cultural policy, in spite of the cultural goals that aims to involve all. Is the politics of equality leading to less value for theatre in terms of power structures? Is the hegemonic masculinity threatened by theatre, is it seen as something feminizing?

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Більше джерел

Дисертації з теми "Politisk teater"

Falcone, Maria Giovanna. "Verso una nuova (?) definizione di teatro politico: Strategie di scrittura scenica nelle creazioni multidiscilplinari di Motus." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/328412.

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Анотація:

In questo studio ci proponiamo di esplorare la definizione di “politico” nel teatro, applicandola all'intero percorso della compagnia italiana di teatro sperimentale Motus. L'ipotesi è rinvenire nell'opera del gruppo la “politicità” insita in vari livelli della sua produzione: in primis quello organizzativo, esplorato sin dal debutto nella scena contemporanea, in cui la definiamo insieme ad altri gruppi delle sua generazione come “isole nella rete”, fino alla recente occupazione di spazi come il teatro Valle a Roma e Macao a Milano. Nel primo segmento d'analisi esploreremo le opere degli esordi (1995-2002), caratterizzati da una forte ricerca sul linguaggio e dal rifiuto della dimensione mimetica: questa messa in discussione della poetica aristotelica rappresenta la cifra politica della prima fase indagata. La seconda è caratterizzata da istanze dove il discorso politico si fa più esplicito: dal progetto Pasolini alla rilettura del mito di Antigone, l'elemento ideologico ed il tema della Rivolta emergono con preponderanza, contribuendo a definire la compagnia dentro gli schemi di quello che definiremo come “terrorismo poetico”.
In this investigation we propose to explore the definition about the notion of “politic” in theatre, by his application on the entire accomplished of Motus, an italian experimental theatre group. The assumption is to recover in the work of this collective the “politcal level” inherent in the differents fields of his productions: in primis the organizational one, explored since the debut in the theatral contemporary scene ( phase that we define as “islands in the net”) till the late occupation of spaces as the Valle theatre in Rome and Macao in Milano. In the first segment of our analisys we explore the beginning works (1995-2002), with an essential characteristic: the strong research about languages and the disaffirmation of the mimetic dimension, that describes the politic magnitude of this first segment. The second one is emblematized by instances where the politic speech is becoming more explicit: from project Pasolini to the scenic construction about the mythe of Antigone (2004-2010), the ideologic item and the theme of rebellion appear preponderancly, determining the group in the patterns that we define as “poetic terrorism”.

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Rocha, Roberto Ferreira da. "Politics and performance." Florianópolis, SC, 2003. http://repositorio.ufsc.br/xmlui/handle/123456789/86271.

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Анотація:

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.
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O tópico desta tese é o contexto político e estético de três produções contemporâneas de Coriolano (circa 1608), última tragédia romana de William Shakespeare (1564-1616). O principal enfoque da análise é o contexto político e estético da encenação, pelo Berliner Ensemble (1964), da adaptação feita por Bertolt Brecht do texto de Shakespeare, da montagem brasileira (1974), dirigida por Celso Nunes e estrelada e produzida por Paulo Autran durante o período da ditadura militar, e da produção da Royal Shakespeare Company, de 1994-95, que se tornou grande êxito de público e crítica. As questões políticas presentes no original shakespeariano são tratadas em capítulo à parte. Os pressupostos teóricos que norteiam a análise das ditas montagens - a relação entre texto dramático e texto teatral, o interculturalismo teatral -também são expostos em capítulo próprio. Baseado nas teorias desenvolvidas de Marco de Marinis, Terry Eagleton, J. L. Halio, Patrice Pavis e W. B. Worthen, bem como os procedimentos da análise espetacular, proponho a tese de que o texto teatral não deva ser entendido como simples leitura ou interpretação do texto dramático, mas como obra autônoma, a exigir avaliação de suas qualidades intrínsecas. O texto teatral, no entanto, mantém com o texto dramático, que lhe serve de ponto de partida, relações complexas.

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Baumgärtel, Stephan Arnulf. "Body politics between sublimation and subversion." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101974.

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Анотація:

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente.
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Zamperini, Enrica. "Politica e corporeità sulla scena del teatro tragico: prospettive storico-religiose e antropologiche." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3426332.

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Анотація:

The idea that there is an analogical relationship between the human body and the body of the polis and that the relationship takes the form of a city as a living organism, healthy or diseased, arises in the ancient Greek texts, both in the epic poems and in the lyric compositions. The focus of this research is on those tragedies in which the relationship between the hero’s diseased body and the body of the city corrupted by the stasis is more evident. In those tragic plays, the relationship is stressed by the analogy between stasis and nosos, between the civic strife and the disorder of the body, and it is expressed through a language common to politics and medicine. The analysis of some tragic heroes (Prometheus, Ajax, Heracles, Oedipus, Philoctetes and Orestes), conducted in a multidisciplinary perspective involving philological, historical, religious and anthropological features, has highlighted not only the linguistic intertwining of medical and political lexicon, but also the conceptual implications which result from that, without ignoring the historical, religious and anthropological features that the tragedy implies.
L’idea che tra il corpo umano e la polis vi sia una relazione analogica che si esplica nell’immagine della città come corpo politico è presente nei primi testi greci antichi epici e lirici. Questa ricerca ha prestato particolare attenzione a quelle opere tragiche in cui tale rapporto si concretizza e dove l’analogia assume le forme del corpo malato dell’eroe tragico e del corpo della polis corrotto dalla stasis. Un intreccio tra dimensione politica e medicina reso visibile dall’uso di un lessico medico comune che si carica via via di significati e sensi diversi che concorrono a delineare la complessa figura dell’eroe tragico, la cui malattia (nosos), conseguenza di una colpa, si ripercuote sullo stato di salute dell’intera città. L’analisi degli eroi tragici (Prometeo, Aiace, Eracle, Edipo, Filottete e Oreste), condotta in una prospettiva pluridisciplinare, ha messo in rilievo non soltanto gli scambi linguistici tra lessico medico e lessico politico, ma anche le implicazioni concettuali che ne derivano, senza tralasciare gli aspetti di carattere antropologico e storico-religioso contenuti nel testo tragico.

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Monforte, Enric. "Gender, Politics, Subjectivity: Reading Caryl Churchill." Doctoral thesis, Universitat de Barcelona, 2000. http://hdl.handle.net/10803/1659.

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Анотація:

This doctoral dissertation approaches three plays written by British playwright Caryl Churchill (1938- ): Cloud Nine (1979), Top Girls (1982), and Blue Heart (1997). Her plays deal mainly with systems of oppression and their effects on the individual or on groups of people. These systems of oppression, reminiscent of the Foucauldian power structures, exert their restrictive power over the dispossessed -the working class, women, or gays and lesbians.

The main objective of this dissertation is to demonostrate how a gender and politics-oriented approach to theatre can help to subvert some of the patriarchal and conservative assumptions implicit in traditional theatre. In this respect, the three plays analysed share the presence of recurrent themes: patriarchal society, the nuclear family, colonisation at several levels (race, gender, sexuality), and the capitalist system.

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Vaccaro, Luca <1987&gt. " e : Francesco Maria Vialardi, fra filosofia, storia, politica e teatro." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8614/1/Luca%20Vaccaro.%20Tesi%20di%20dottorato%20in%20Culture%20letterarie%20e%20filologiche.%20Ciclo%20XXX.pdf.

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Questo lavoro ha l’obiettivo di descrivere la poco conosciuta biografia e attività letteraria del vercellese Francesco Maria Vialardi, attraverso documenti nuovi ed inediti. L’organizzazione formale dell’elaborato è suddivisa in tre parti: Una vita immaginata nella gloria dell’araldica imperiale (Parte I), Gli anni prima e dopo il carcere (Parte. II) e Lei che «spia sin quel, che si fa nel globo della Luna». Un esploratore del mondo sociale e politico (Parte. III). La prima prima parte del lavoro racchiude la descrizione degli anni dalla nascita alla maturità dell’autore. La seconda parte, costituita da cinque capitoli, affronta l’ingresso dell’autore nella prestigiosa Accademia della Crusca e il commento alla Conquistata del Tasso, terminando con il resoconto della prigionia dell’autore presso le carceri del Santo Uffizio di Roma. Il secondo e terzo capitolo della terza parte sono dedicati all’analisi del vivere politico-letterario dell’autore. Rimanendo nel contesto letterario dell’Accademia degli Umoristi, l’ultimo capitolo «AMOR SOL MERTA Amore» si distacca dalla biografia del Vialardi per abbracciare la relazione tra l’ambiente letterario romano e quello bolognese. Protagonisti di quest’ultimo capitolo sono l’inedito carteggio tra il cardinale M. Barberini e il poeta R. Campeggi e lo spettacolo teatrale bolognese dei Quattro elementi.
The objective of this doctoral thesis is to trace, by using new and unpublished documents, the less-known biography and literary work of Vercelli’s writer Francesco Maria Vialardi. The work is presented in three main Parts: Part 1. A life in the glory of imperial heraldry, Part 2. The years before and after imprisonment, and Part 3. Lei che «spia sin quel che si fa nel globo della Luna». An explorer of the social and political life. The first Chapter covers the author’s life from his birth to his transition to adulthood. The second five-Chapter Part elaborates the period when the author was accepted in the prestigious Accademia della Crusca and his comment to the Tasso’s Conquistata, closing up with the period of his imprisonment in the Rome’s Santo Ufficio Prison. The second and third Chapters of the last part are dedicated to the analysis of Vialardi’s political and literary work. Faithful to the literary context of the Accademia degli Umoristi, his latest contribution «AMOR SOL MERTA Amore». Among the letters of Ridolfo Campeggi to Maffeo Barberini, the revision of the poem of the Lagrime di Maria Vergine and the wonderful theatrical representation in Bologna of the Quattro elementi (Four Elements) is a distinguished piece of work that creates a literary bridge between the settings of Rome and Bologna. Key elements of this last chapter are the unpublished correspondence between Cardinal M. Barberini and the poet R. Campeggi, as well as the Bologna’s play Quattro elementi (Four Elements).

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Said, Ana Maria. "O projeto politico-pedagogico do Teatro de Arena de São Paulo." [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252232.

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Orientador: Evaldo A. Vieira
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-07-13T21:21:13Z (GMT). No. of bitstreams: 1 Said_AnaMaria_M.pdf: 7236029 bytes, checksum: 90cbffd910aeac201982a939a71bd63d (MD5) Previous issue date: 1989
Mestrado

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Hackman, Julia. ""We're none of us at peace" : Creating resistance through theatre." Thesis, Försvarshögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-4501.

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This essay aims to begin to fill a potential gap in previous research when it comes to studying the political content of specific cultural practices, in this case the Freedom Theatre in Jenin. The theatre expressively refers to itself as a political theatre, calling themselves freedom fighters and places itself at the forefront of they call "cultural resistance". The creation of this cultural resistance is investigated here. This essay aims to explores, through examining the theatre's methods of practice, how cultural resistance could be transformed into political action and what problems that may hinder their political aspirations from becoming a true potential for political influence. The essay concludes that the theatre uses identity and narrative for political purposes in order to unite and strengthen the Palestinian collective identity, creating a civil resistance towards the Israeli occupation. This is however not an unproblematic process, and many of the same problems facing other nonviolent resistance movements are also present within the theatre.
Minor Field Studies, SIDA

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Fonseca, Alexandre Torres. "Paulo Francis, do teatro à politica: "perdoa-me por me traíres"." Universidade Federal de Minas Gerais, 2001. http://hdl.handle.net/1843/VCSA-6UZQQ4.

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This work analyzes, with a political focus, the role of the Brazilian intellectual Paulo Francis in the period between the end of the 1950s and the beginning of the 1960s, until the military coup of 1964. Paulo Francis had a daily column in a major Brazilian newspaper, the Última Hora. First the concept of what it means to be an intellectual is discussed. Then Paulo Francis is shown as an intellectual during three different historical periods. First, at the beginning of his career as a journalist while working as a theater critic he built a cultural model to be followed and also influenced a change in the Brazilian theater scene. During the second period, after his success as a play reviewer, Francis tries to apply the same model to politics with poor results both for himself and for Brazil. We then consider how Francis showed disdain for democratic values, and we examine the pernicious influence of capital on the editorial line of Última Hora, and apparently, also on Francis as a columnist. Finally, we endeavor to show that while writing his memoirs from the 1950s and 1960s Francis twisted some historical facts. The objective of the distortion of reality was to paint with lighter colors his own actions and the action of his leftist-leaning friends' past behavior, thus manufacturing a small part of history in his own image. KEYWORDS: Intellectuals, Paulo Francis, Última Hora, press, 1964 coup d'etat.
Esta dissertação analisa, dentro de um enfoque político, a atuação de um intelectual brasileiro, Paulo Francis, no final dos anos 50 e início dos 60, especificamente até o Golpe de 1964. Um intelectual que escrevia diariamente em um jornal da grande imprensa, o Última Hora. É feita inicialmente uma discussão sobre o que é um intelectual. Depois, mostram-se três momentos da atuação do intelectual Paulo Francis. No primeiro, apresenta-se o começo da sua carreira como jornalista que, como crítico teatral, ergueu um modelo cultural a ser seguido e por meio da crítica conseguiu influir com sucesso na mudança do panorama teatral brasileiro. Em um segundo momento, demonstra-se como, após o sucesso com a crítica teatral, Francis tentou aplicar o mesmo modelo à política, com resultados muito pouco satisfatórios para ele e para o Brasil. Aponta-se ainda o descaso deste intelectual com a defesa das liberdades democráticas, e a influência negativa de interesses econômicos-financeiros na linha do jornal Última Hora e, aparentemente, também na atuação de Paulo Francis. Por fim, busca-se apontar como Francis, ao construir uma memória desses anos 50/60, distorceu alguns fatos. Essa tentativa teria como finalidade amenizar, ou mesmo desvirtuar, o seu comportamento e de seus companheiros de esquerda, tentando criar um novo passado que os redimiria de seus erros e enganos. Com isso, ele acabou por ajudar na criação de um lugar de memória.

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Rodríguez, Morales Verónica. "Globalisation in David Greig’s Theatre Space, Ethics and the Spectator." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401097.

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The present PhD thesis, entitled “Globalisation in David Greig’s Theatre: Space, Ethics and the Spectator”, aims to contribute to the field of contemporary British drama and theatre studies in the form of an extended monographic study of Greig’s theatre and globalisation with a particular focus on a triad of elements: space, ethics and the spectator. The thesis’s corpus spans two decades, from the 1990s to the present time. It examines Europe (1994), One Way Street (1995) [both under “Europe Plays”], The Architect (1996), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (1999) [both under “Vertical Plays”], Outlying Islands (2002), San Diego (2003) [both under “Bird Plays”], The American Pilot (2005), Damascus (2007) [both under “Encounter Plays”], Fragile (2011) and The Events (2013) [both under “Here Plays”], all of which are seen as prominently responding to globalisation. After articulating globalisation by drawing mainly on David Harvey, Zygmunt Bauman and Jean-Luc Nancy, the theoretical and methodological framework focuses on positioning Greig’s work in the context of contemporary British political theatre. Critical theories drawn from ethics (Emmanuel Levinas, Judith Butler), aesthetics (Nicolas Bourriaud, Claire Bishop, Jacques Rancière) and affect studies (Gilles Deleuze) are deployed in order to trace and attempt to explain the woundedness and porousness that characterises it. More specifically, the thesis lays out a theory of crosspollination between aesthetics, ethics and politics in order to address the co-work between world, playwright and play in Greig’s theatre, and uses affect theories in order to examine the transformative loop not just between world, playwright and plays, but also the spectator and the world-to- be-created (Nancy). It is claimed that by means of a complex experimentation with space, Greig’s plays represent all the above-named elements, including the spectator, as ‘holed’. This produces a sense of ‘aesthethic’ confounding and bleeding across that ultimately articulates the idea of an urgently interconnected ‘here’. Thus, Europe blurs the borders between two Europes (old and new), immigrants and locals, financial elites and economic pariahs, among others. One Way Street focuses on walking and destabilises space-times in several multivalent ways. The Architect engages with architectures of power, which eventually explode to reveal, perhaps, a new spatial understanding. Cosmonaut ingrains urban and outer spaces in an above-below dialectics wherein characters, despite communication failures, are able to reach out of themselves horizontally. Outlying Islands continues delving into the idea of ‘here’ through bird trajectories and the play’s insistence on the pervasiveness of water and the fluidity of watching acts. San Diego stitches up the whole globe, so that impossible connections are disclosed between supposedly distant occurrences. The American Pilot probes the concept of ‘here’ further through an emphasis on the space of the stage, where the entire cast remain visible throughout the performance. Gaining confidence in the power of both story and theatricality, Damascus acknowledges the presence of both performers and spectators through the use of music on stage, story-telling devices and a character that, by always being ‘here’, connects the worlds of the play and the spectator and the one ‘outside’. Fragile manages to render separate locations as one single space via Jack transcorporeally evoking all bodies and spaces and Caroline’s/the audience’s becoming part of that through the unusual conversation she/they establish(es) with Jack. Finally, The Events highlights ‘here’ via the highly a/effective strategy of having real local choirs participate in each performance so as to compellingly put forward the idea that events (albeit unevenly) always happen to all of us, in this cracked globe. The thesis concludes by confirming that Greig’s theatre does indeed respond to globalisation ‘aesthethically’, that is, by engaging with complex articulations of space that underline ethical questions by repeatedly and multifariously infusing the spectator with a sense of our irrepressible interconnectedness and co-responsibility.
El objetivo principal de la presente tesis, titulada “Globalisation in David Greig’s Theatre: Space, Ethics and the Spectator”, consiste en llevar a cabo un extenso estudio monográfico de la dramaturgia de David Greig y su imbricación con el fenómeno de la globalización, poniendo un énfasis particular en cuestiones de espacio, ética y espectador. El corpus de este estudio engloba aproximadamente dos décadas, desde los años 1990 hasta el momento actual. Específicamente, las obras estudiadas en relación al tema delineado son Europe (1994), One Way Street (1995) [ambas en la parte titulada “Europe Plays”], The Architect (1996), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (1999) [ambas en la parte titulada “Vertical Plays”], Outlying Islands (2002), San Diego (2003) [ambas en la parte titulada “Bird Plays”], The American Pilot (2005), Damascus (2007) [ambas en la parte titulada “Encounter Plays”], Fragile (2011) y The Events (2013) [ambas en la parte titulada “Here Plays”]. Tras introducir la globalización de la mano de David Harvey, Zygmunt Bauman y Jean-Luc Nancy, el marco teórico-metodológico se centra en posicionar el trabajo de Greig en el contexto del teatro británico contemporáneo de corte político a través de la utilización de enfoques crítico-teóricos provenientes tanto de corrientes éticas (Emmanuel Levinas, Judith Butler) y estéticas (Nicolas Bourriaud, Claire Bishop, Jacques Rancière) como de estudios de afecto (Gilles Delleuze) que permiten enmarcar de un modo adecuado la forma dañada y porosa que revelan las obras de Greig. Se trata no tan solo de explicar la entrada del mundo real en las obras, lo cual provoca rupturas en su forma, sino también de examinar y explicar la retroalimentación que se produce entre el mundo, el dramaturgo, la obra, el espectador y, de nuevo, el mundo, en un movimiento afectivo circular que puede, potencialmente, conducir a la creación de ese mundo en el sentido que le da Nancy. La conclusión principal del trabajo apunta a que el teatro de Greig responde a la realidad de la globalización mediante complejas articulaciones del espacio que subrayan cuestiones éticas, dado que sugieren continuamente al espectador la profunda interconexión que nos une y nos hace corresponsables.

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Книги з теми "Politisk teater"

Tim, Prentki, and Preston Sheila 1968-, eds. The applied theatre reader. New York: Routledge, 2008.

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Dahana, Radhar Panca. Ideologi politik dan teater modern Indonesia. Magelang, Indonesia: Yayasan Indonesiatera, 2001.

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Holm, Ingvar. Politik som teater: Från Bastiljen till Helgeandsholmen. Stockholm: Carlsson, 1991.

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Drachmann, Hans. Kongen & kejseren: En fortælling om det politiske teater. København: Møntergården, 1999.

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Engelstad, Arne. Poetikk og politikk: Augusto Boal og De undertryktes teater. Åbo: Åbo Akademis förlag, 2004.

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Weiss, Peter. Peter Weiss: Målningar, teckningar, collage, film, teater, litteratur, politik. Stockholm: Moderna museet, 1991.

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Weiss, Peter. Peter Weiss: Målninger, teckningar, collage, filmer, teater, litteratur, politik. Stockholm: Moderna Museet, 1991.

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Nalan, Arthur S. Suyatna Anirun: Salah satu maestro teater Indonesia. Bandung, Jawa Barat, Indonesia: Kelir, 2007.

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T, Benny Yohanes. Memahami politik estetika dalam teater pada masa orde baru: Penafsiran teks drama berdasarkan pendekatan praksis : laporan penelitian. [Bandung]: Departemen Pendidikan dan Kebudayaan, Sekolah Tinggi Seni Indonesia Bandung, 2000.

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Lart͡seva, N. V. Teatr rasstreli͡annyĭ. Petrozavodsk: Petropress, 1998.

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Smyth, John. "Cultural Politics of Student Voice." In Encyclopedia of Teacher Education, 1–5. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1179-6_23-1.

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Macías Cruz, Gabriel. "Rancière: Transmission, Politics, and Equality." In Encyclopedia of Teacher Education, 1523–27. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8679-5_132.

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Smyth, John. "Cultural Politics of Student Voice." In Encyclopedia of Teacher Education, 346–50. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8679-5_23.

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McIlroy, John. "Teacher, Critic, Explorer." In Raymond Williams: Politics, Education, Letters, 14–46. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22804-1_2.

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Walsh, Kieron. "The Politics of Teacher Appraisal." In Routledge Library Editions: Education Mini-Set N Teachers & Teacher Education Research 13 vols, Vol226:147—Vol226:167. London: Routledge, 2021. http://dx.doi.org/10.4324/9780203125526-137.

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Mayes, Eve. "Politics of Solidarity in Educational Partnerships." In Encyclopedia of Teacher Education, 1326–31. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8679-5_428.

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Mayes, Eve. "Politics of Solidarity in Educational Partnerships." In Encyclopedia of Teacher Education, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-13-1179-6_428-1.

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Schuck, Sandy, Peter Aubusson, Kevin Burden, and Sue Brindley. "Politics of Education: Tensions and Paradoxes." In Uncertainty in Teacher Education Futures, 27–41. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8246-7_3.

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Kablay, Sebiha. "Teacher Employment Under Neoliberalism." In Preparation, Practice, and Politics of Teachers, 161–73. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6209-077-4_9.

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Barkin, J. Samuel. "Strategies of a Boring Teacher." In Pedagogical Journeys through World Politics, 233–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20305-4_20.

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Тези доповідей конференцій з теми "Politisk teater"

Đorđević, Bojan. "Teatar u Splitu u doba Desničine mladosti: politika i kultura." In Split i Vladan Desnica 1918. – 1945.: umjetničko stvaralaštvo između kulture i politike: zbornik radova sa znanstvenog skupa Desničini susreti 2015. Filozofski fakultet u Zagrebu, FF-Press, 2016. http://dx.doi.org/10.17234/desnicini_susreti2015.13.

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Muslim, Jajang, and Dety Mulyanti. "THE EFFECT OF EDUCATION SUPERVISION BY THE PRINCIPAL OF MTS NU AL HAMIDIYAH LANGKAPLANCAR PANGANDARAN TEACHER PERFORMANCE IN SCHOOL." In Seminar Sosial Politik, Bisnis, Akuntansi dan Teknik (SoBAT) ke-3. LPPM USB YPKP, 2021. http://dx.doi.org/10.32897/sobat3.2021.28.

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This journal conducts research, which aims to find out and clarify how the effect of the implementation of educational supervision by the principal on the performance of teachers in schools. Conducting research using one approach, namely quantitative approach and expost facto type. Teachers in schools became the subject of research by taking a sample of 180 teachers, using proportional random sampling technique, and using a questionnaire about the implementation of educational supervision by the principal and data on the results of teacher performance assessments owned by the school. And from the research and assessment, it can be seen that the implementation of educational supervision by the principal does not have a positive effect on teacher performance and the implementation of educational supervision by the principal has a weak or even very weak effect on the performance of teachers in schools.

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Balčeva, Antoaneta. "Avantjurist't pred vratata na Milan Begovič v repertoara na Narodnija Teat'r v Sofija." In Znanstveni skup Hrvati i Bugari. Diplomacija, politika, kultura i znanost ; (2022 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2024. http://dx.doi.org/10.21857/m16wjcwgd9.

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Shelton, Stephanie Anne. "The Neutrality of "All": The Politics of Being a LGBTQ+ Teacher Ally." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1440244.

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Anderson, Jamie. "The Life and Politics of Passing: Gender, Professionalism, and the Queer Teacher." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1583963.

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Anagnostopoulos, Dorothea. "The Moral Politics of Teacher Evaluation: The Public Debate About D.C.'s IMPACT." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1574997.

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Mooney Simmie, Geraldine. "Interrogating Self-Evaluation Using a Freirean Lens: The Changing Politics of Teacher Reflection?" In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1682154.

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Du, Juan. "On Feasibility of Teacher Training Based on Moodle Platform." In Proceedings of the 2018 3rd International Conference on Politics, Economics and Law (ICPEL 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icpel-18.2018.71.

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Gacoin, Andree. "The Politics of Curriculum-Making: Understanding a "Teacher-Led" Curriculum in British Columbia, Canada." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1432520.

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Lopez, Patricia. "This Bridge Called Their Back: The Politics of Racial/Cultural Taxation and Latinx Teacher Retention." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1446537.

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Звіти організацій з теми "Politisk teater"

Bruns, Barbara, Ben Ross Schneider, and Jaime Saavedra. The Politics of Transforming Education in Peru: 2007-2020. Research on Improving Systems of Education (RISE), March 2023. http://dx.doi.org/10.35489/bsg-rise-wp_2023/135.

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Peru is one of a relatively small number of middle-income countries whose education strategy to raise student learning has involved significant reforms of teacher policy sustained over a sufficiently long period (more than 10 years). Global experience shows that core reforms of the teaching career are both politically and technically challenging. The focus of this paper is the content and implementation of reforms to raise teacher quality in Peru in the period 2007-2020 in the hope that other countries facing the same challenges can benefit from this experience. We conclude with some reflections on how education policy and education politics have contributed to the post-pandemic landscape.

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Chambers-Ju, Christopher, Amanda Beatty, and Rezanti Putri Pramana. Exploring the Politics of Expertise:The Indonesian Teachers’ Union and Education Policy, 2005-2020. Research on Improving Systems of Education (RISE), July 2022. http://dx.doi.org/10.35489/bsg-rise-wp_2022/101.

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Research on education politics often uses interest group pressure to explain the policy influence of teachers’ organizations. While acknowledging the power teachers’ unions have to articulate interests and shape labor policy, we explore how a less-studied variable–expertise (or the credibility of the claims they make to expertise)– shapes the policy process. In many low-and middle-income countries, teacher organizations struggle to demonstrate policy expertise and professional competence in core areas related to teaching and learning. Focusing on Indonesia from 2005-2020, we examine how the largest teachers’ organization influenced labor policy but was marginal in debates about professional standards, training, and evaluation due to its limited technical capacity and struggles to propose viable policy alternatives. Expertise is a critical policy input, and it deserves more attention in the education politics subfield. It is central for setting the agenda for policies to improve the quality of education and it has normative value for improving policy design overall.

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Gershberg, Alec, Asnake Kefale, and Belay Hagos Hailu. The Political Economy of Educational Reform and Learning in Ethiopia (1941-2021). Research on Improving Systems of Education (RISE), March 2023. http://dx.doi.org/10.35489/bsg-rise-2023/pe09.

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This report analyzes the trajectory of reforms to improve learning outcomes in Ethiopia across three regimes (HSI, Derg, and EPRDF) since 1941. It employs a political settlements approach to trace the motivations, interests, and actions that led to certain policy choices, and draws on primary and secondary data sources to assess impacts on the education sector. The analysis focuses on three themes in particular: the politics of educational (learning) policymaking; national (regional) examinations and teacher career paths. Ultimately, the report argues that improving learning outcomes would require professionalization of education policy-making along with an impetus to improve policy continuity.

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Arif, Sirojuddin, Risa Wardatun Nihayah, Niken Rarasati, Shintia Revina, and Syaikhu Usman. Of Power and Learning: DistrictHeads, Bureaucracy, and EducationPolicies in Indonesia’s Decentralised Political System. Research on Improving Systems of Education (RISE), September 2022. http://dx.doi.org/10.35489/bsg-rise-wp_2022/111.

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This paper examines the politics of education policies in a decentralised political system. Under what conditions does decentralisation promote learning-enhancing policies? Despite the numerous works that have been written on decentralisation and education, little is known about how politics influenced local education policies. To address this problem, this paper looks at the linkages between local politics, bureaucratic capacity, and the development of learning-enhancing policies in Indonesia’s decentralised political system. More specifically, it assesses how regional variation in the discretionary power of district heads over employment decisions in the state bureaucracy explains the variation in local education policies in four districts in Indonesia. The primary data were collected through in-depth interviews with political leaders, bureaucrats, district education councils, school principals, teachers, teacher organisations, parents, non-government and community-based organisations, journalists, academicians, and other relevant informants. Using Mill’s method of difference, the comparative analysis presented in this paper demonstrates that institutional constraints on the discretionary power of the district head over employment decisions in the state bureaucracy do matter for the development of learning-enhancing policies. Such constraints can pave the way for the development of the bureaucratic capacity required for governments to pursue learning-enhancing policies. Absent constraints on the discretionary power of district heads over employment decisions in the state bureaucracy, the extent to which districts implement learning-enhancing policies will depend on district heads’ commitment to student learning.

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Shtuni, Adrian. Imperativ Reintegracije: Deca Povratnici na Zapadnom Balkanu. RESOLVE Network, February 2021. http://dx.doi.org/10.37805/pn2021.6.wb.

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Od 2012. godine, 1070 državljana zemalja Zapadnog Balkana otišlo je da živi i bori se na teritorijama pod kontrolom terorističkih organizacija u Siriji i Iraku. Oko 200 njih su bili maloljetni u vrijeme odlaska. Tokom godina, u sirijskom i iračkom teatru sukoba rođeno je još mnogo djece čiji su roditelji državljani Zapadnog Balkana. Do kraja 2019. godine, oko 485 osoba se vratilo kući, što Zapadni Balkan čini regionom sa najvećom koncentracijom povratnika iz Sirije i Iraka u Evropi. Još stotine, uglavnom maloljetnika, ostaju zarobljeni u nesigurnim uslovima u Siriji, sa neizvjesnim izgledima za repatrijaciju. Brojne zemlje se bore sa tim šta da rade sa državljanima koji su otišli da žive i bore se u takozvanom „kalifatu“ Islamske države (IS). Međutim, iskustvo i razumijevanje onoga što omogućava efikasno angažovanje u pogledu povratnika iz Sirije, naročito djece povratnika, u ranoj je fazi. Ova napomena o politici pruža preporuke o načinima za pristupanje rehabilitaciji i reintegraciji (R&R) djece povratnika na Zapadni Balkan, kombinujući novonastale dobre prakse sa vodećim principima konvencija, sporazuma i protokola usmjerenih na prava djece.

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Shtuni, Adrian. Imperativ Ponovne Integracije: Djeca Povratnici Na Zapadnom Balkanu. RESOLVE Network, February 2021. http://dx.doi.org/10.37805/pn2021.5.wb.

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[Montenegrin] Od 2012. godine, 1070 državljana zemalja Zapadnog Balkana otišlo je da živi i bori se na teritorijama pod kontrolom terorističkih organizacija u Siriji i Iraku. Oko 200 njih su bili maloljetni u vrijeme odlaska. Tokom godina, u sirijskom i iračkom teatru sukoba rođeno je još mnogo djece čiji su roditelji državljani Zapadnog Balkana. Do kraja 2019. godine, oko 485 osoba se vratilo kući, što Zapadni Balkan čini regionom sa najvećom koncentracijom povratnika iz Sirije i Iraka u Evropi. Još stotine, uglavnom maloljetnika, ostaju zarobljeni u nesigurnim uslovima u Siriji, sa neizvjesnim izgledima za repatrijaciju. Brojne zemlje se bore sa tim šta da rade sa državljanima koji su otišli da žive i bore se u takozvanom „kalifatu“ Islamske države (IS). Međutim, iskustvo i razumijevanje onoga što omogućava efikasno angažovanje u pogledu povratnika iz Sirije, naročito djece povratnika, u ranoj je fazi. Ova napomena o politici pruža preporuke o načinima za pristupanje rehabilitaciji i reintegraciji (R&R) djece povratnika na Zapadni Balkan, kombinujući novonastale dobre prakse sa vodećim principima konvencija, sporazuma i protokola usmjerenih na prava djece.

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Maiangwa, Benjamin. Peace (Re)building Initiatives: Insights from Southern Kaduna, Nigeria. RESOLVE Network, September 2021. http://dx.doi.org/10.37805/pn2021.22.lpbi.

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Violent conflicts and crime have reached new heights in Nigeria, as cases of kidnapping, armed banditry, and communal unrests continue to tear at the core of the ethnoreligious divides in the country. Southern Kaduna has witnessed a virulent spree of communal unrest in northern Nigeria over the last decade due to its polarized politics and power differentials between the various groups in the area, particularly the Christians and Muslims, who are almost evenly split. In response to their experiences of violence, the people of that region have also shown incredible resilience and grit in transforming their stress and suffering. This policy note focuses on the transformative practices of the Fulani and other ethnic communities in southern Kaduna in terms of how they problem-solve deep-seated socio-political rivalries and violent relations by working through their shared identity, history, and cultures of peace. The note explores how peace practitioners and donor agencies could consolidate local practices of sustaining peace as complementary or alternative resources to the state’s liberal system.

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