My thesis journey was initially motivated by an interest in the individual’s search for God, the self and the other (neighbour, men/women and enemy) as represented in the play texts. This call for a personal relationship with the ‘other’ highlights the individual’s feelings of unease and strangeness at a time when, one might argue, the majority belittles the role of religion, in support of scientific discoveries and human rights. Here, the French philosopher René Girard - whose anthropological and scientific interest in violence, religion and human culture has shaped my research - argues that the progress of humankind would not have become a reality without what he terms sacrifice. Here, I should confirm that the main influence on the early steps of finding my research topic were Peter Shaffer, Slavoj Žižek, Julia Kristeva and Mikhail Bakhtin rather than Rene Girard. This thesis explores several interconnected relationships, the most important of which is between humour and violence or forms of ‘sacrifice’ in the plays of six British playwrights – Peter Barnes and Peter Shaffer, Howard Barker and Sarah Kane as well as Caryl Churchill and David Rudkin. It is this strange relationship which leads me later on to uncover and explore the representations of the stranger, the victim/iser and the foreigner in their works. The return of the stranger – the dead, the ashes of victims of extreme violence, the ghosts, the prisoners and the children - is inseparable from the search for individuality in a world ruled by the gods of war, money and dark humour. My research findings are viewed in the light of two narratives: the first is to do with the upper world and the second is to do with the lower as defined by Bakhtin’s idea of the carnival and the culture of folk humour in the Middle Ages. The upper is serious, official, exclusive and authoritative whereas the second is festive, comic, mythical and popular. It is hard to describe the relationship between these narratives as simply oppositional (some say iconoclastic) because they are coexistent and rely on one another. At this point, the different professional and ideological positions of the playwrights are important aspects in arriving at an understanding of the ways they collapse the borders between humour and terror, the banquet and the battle, carnivals and trials, the parade and economic exploitation, clownery and politics. Though these playwrights are not preachers or reformers, they challenge our easy laughter and our role as we witness the risen from the dead, those in the flames or in the future signalling to us to halt our participation and face responsibility for the victims.

This thesis proposes the samba enredo, a complex narrative composed by Rio de Janeiro samba schools for the annual Carnaval parade, as a vital primary source for understanding the construction of Afro-Brazilian identity in contemporary Brazilian society. Next, I provide an analysis of one specific samba enredo presented by the samba school Unidos da Vila Isabel in the 2012 Rio Carnaval, which portrays the cultural link between Angola and Brazil. I argue that the narrative Vila Isabel constructs is a thoughtful, albeit incomplete, alternative to the more common link drawn between Yoruba culture and Afro-Brazil. Furthermore, I ascertain that this samba enredo, and the academic sources used to compose it, lack a clear definition of the religious dimension of Angolan heritage in Afro-Brazilian culture because they place Central African conversions to Catholicism in the context of slavery and do not cite the impact that Catholicism makes in Angola before the context of slavery and the Diaspora encounter in colonial Brazil.

Purpose - Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches. Methodology/approach - This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene. Findings - Concepts such as carnival, jamming as an organizing process - and as an aesthetic moment - emerged through the research process. This ethnography found narratives constituted personal and communal identity. Research limitations/implications - As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences. Originality/value of paper - Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.

No description available.

När förskolebarn föreställer sig att de är vilda mustanger som hoppar runt stolar och bord, brukar läraren ingripa i dessa lekar. Styrningen av barns lek är så djupt förankrad i förskolans dagliga rutin att den tenderar att ses som normal och legitimerad, vilket föranleder behovet av att studera denna förgivet tagna praktik. Syftet med denna uppsats är tvåfaldigt. Först så ämnar uppsatsen studera barns karnevaliska lek inom ramen för förskolan. Vidare så syftar den problematisera den vardagliga styrningen av sådan lek genom ett alternativt perspektiv, nämligen governmentalitet – synonymt med styrnings-rationalitet. För att uppnå dessa mål har barns lek studerats genom observationer, tytts som karnevalisk, och därefter analyserats. Regleringen av lek styrs genom styrningsstekniker såsom disciplinering, tid, övervakning, dokumentation, vallning, samt syndabekännelse. De syftar till att forma ett barn som följer rutiner och bekänner sina synder. Trots att karnevalisk lek utsätts för dessa diskreta styrningstekniker, gör den att förskolans ordning omkullvälts via sina element av transgression, absurditet och spontanitet.

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This article proposes a way of understanding consciousness in both dialectical and dialogical terms. More particularly, Vygotsky (1978, 1934/1986) argues that consciousness involves a number of dialectical progressions (e.g., from primitive to cultural knowing, from basic to expert knowing). These dialectics involve a dynamic reorganization of the subcomponents of consciousness (e.g., memory, attention, perception) along a developmental continuum. Bakhtin (1975/1981, 1929/1984a), on the other hand, draws attention to the dialogical within consciousness; specifically the ideology and values that imbue consciousness as a type of knowing. This presents us with a more "vertical" continuum between "authoritative knowing" (knowledge tied to a figure of authority) and "carnivalistic knowing" (knowledge that subverts and de-crowns our taken-for-granted assumptions). I examine the dynamics between these ways of knowing in terms of both the development and the operation of consciousness. I argue that while there are substantial differences between these frameworks, they also mutually enrich each other. In particular, I argue that Bakhtin's dialogics draw attention to the presence of a sensing self within consciousness while Vygotsky's dialectical method can help make sense of a transformation of carnival and authority from an interpersonal to an intrapersonal relationship.

How to create a permanent house for a temporary event? How to provide a comfortable environment in an extreme climate? / Master of Architecture

1996--Zugl.: Diss., 1996. / Literaturverz. S. 283 - 291. Sachtitel des kommentierten Werkes: Canzone e mascherate di Firenze.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes. / Made available in DSpace on 2018-08-11T23:58:41Z (GMT). No. of bitstreams: 1 Nery_CristianeGusmao_M.pdf: 36680821 bytes, checksum: 930046f31abbf9f596389223bb69c1a1 (MD5) Previous issue date: 2008 / Resumo: Esse trabalho teve por finalidade rever e repensar o legendário carnaval do Recife com base em outros parâmetros heurísticos. O objetivo central aqui é arriscar e propor um modelo de estética que possa ser aplicado na editoração e finalização de pesquisas que tratam assuntos do viés da Antropologia Visual. O esquema proposto constitui-se das seguintes etapas: fotografias inseridas entre os parágrafos; fotografias organizadas em pranchas, sob as quais o texto insere-se como legenda; fotografias dispostas sem texto, o que instala uma narrativa visual; interpretação/expressão artística do material etnográfico; montagem de fotografias em suporte audiovisual. Na Introdução, descreve-se o processo de realização do trabalho de campo, desde a seleção das imagens à criação dos desenhos e editoração final. O primeiro capítulo aplica as três primeiras etapas do modelo para tratar do carnaval do Recife propriamente dito. No segundo capítulo, são apresentadas as imagens criadas como interpretação artística do material etnográfico; o terceiro capítulo oferece uma síntese da festa, sob a dupla mediação de sons e imagens fotográficas: imagens e sons que viajam na memória e no imaginário dos vivos. / Abstract: This work had as its purpose to review and rethink the legendary Carnaval of Recife in other heuristical parameters. The central objective is to risk proposing an aethestic model that can be applied in the editing and finalizing of research projects, one which see its subjects through a Visual Anthropology bias. The proposed scheme is made up of the following stages: photographs inserted between the paragraphs; photographs organized in plates where the text are captions; photographs placed without text creating a visual narrative; artistic interpetations/expressions of ethnographic material; assembled photographs with audiovisual support. In the introduction how the fieldwork was accomplished will be explained, from the selection of images to the creation of designs and to the final editing. The first chapter applies the first three stages of the model to examine the Carnaval of Recife. In the second chapter the images are presented as an artistic expression of ethnographic material, and the third chapter offers a review of the celebration that is Carnaval, through the double mediation of sounds and photographic images: images and sounds that travel in the memory and the imagination of the living. / Mestrado / Mestre em Multimeios