The objective of this thesis is to examine the impact audiences have on the director’s process of creating a mise-en-scène and to understand the ways in which we might begin to understand and articulate such impact. I argue that the influence audiences have on theatre directors' mise-en-scenes have been ambiguous, and therefore there is a lack in a systematic approach to theatre-making. Through a detailed investigation on the arbitrary methods employed by a selected group of theatre directors, I propose that a communicative approach in capturing audiences’ expectations is necessary in shaping mise-en-scenes, directly and indirectly. More specifically, this thesis makes explicit these cognitive processes through a technical investigation, a mechanism which I propose and have graphically represented that can be used to harness the impact audiences have on theatre-making. In this thesis, the historical role and influence of the audience is discussed in Chapter One. This is followed by focusing on different of aspects of the audience, such as the attraction and captivation of audience, reception and perception of audience, and audience and culture. In Chapter Two there are two sections to define dramaturgy and mise-en-scène. I also argue that there are three key points in the communication between the audience and the theatre group: (i) audience pleasure, (ii) deadness, and (iii) distance. I present a diagram in order to suggest the relationship between the director, audience and mise-en-scène with an emphasis on their pathways in receiving audiences’ expectations. The diagram is developed throughout the thesis. In Chapter Three the study is motivated primarily by the individual styles and mise-en-scenes of Augusto Boal, Eugenio Barba, Peter Brook and Robert Lepage. Here I explore specifically the ways in which they have imagined, created, and performed mise-en-scenes, and the role audiences play in impacting their mise-en-scenes. Chapter Four is based on three case studies with the final suggested diagram at the end. As part of my research, I created and examined three case studies to support the hypothesis that audiences have an important impact on directors’ mise-en-scenes, i.e. how and why the director controls and manipulates theatrical elements. In conclusion, four main pathways for receiving audiences’ expectations are suggested.

La situation de l'homme dans le monde pose l'interrogation fondamentale de l'émotion en rapport à la rationalité, Cette position dichotomique opère une transformation, positive ou négative, de l'action humaine dans l'histoire. Cependant, les sentiments sont un océan de tonalités affective variées, propres à la condition humaine de la sensibilité, ce qui place l'affectivité au coeur de l'existant. Ainsi, I'affectivité se traduit par un senti du corps, un processus psychosomatique,plongeant l'individu dans un désir d'être, pour une recherche du bonheur, dans un souci de paix de l'âme et corps. Or, aujourd'hui, ce désir d'être n'est plus un désir, un enthousiasme pour l'effort spirituel, vers la sagesse et la paix entre les hommes comme projet de réalisation ; la fin de l'homme devient le bonheur comme recherche du plaisir et contentement de soi. / The situation of man in the world raises the fundamental issue of the rapport between feeling and rationality, a dichotomy which transforms human action in history in positive or negative ways. However, the fact that feelings encompass a wide spectrum of emotional hues inherent to the human condition places affectivity at the core of reality. As affectivity manifets itself in the body as a psychosomatic experience, so it immerses the individual in a wish for being, in a search for hapiness and a desire for peace of mind and body. Yet in modern times, this desire to be no longer becomes a desire or enthusiasm for spiritual effort nor a striving toward wisdom and peace between men as a project for historical realisation; instead, the aim of mankind has become hapiness as the pursuit of pleasure and self-satisfaction.

Made available in DSpace on 2017-06-01T18:08:25Z (GMT). No. of bitstreams: 1 dissertacao_liana_feldman.pdf: 627132 bytes, checksum: cc883b9f02b87d2e64e53cb5f6cce517 (MD5) Previous issue date: 2008-04-04 / This research has the purprose to characterize the Jewish mood based on the Freudian psychoanalysis. For that, the concept of chistes and mood developed by Freud were explained. Aiming a theoretical complementation for this study, the references of the comic mood found in the work of Henri Bergson were also used, in order to promote a wider understanding on the topic of the Jewish mood. This reserach points out the need of the Jewish mood in three great areas: as a form of ego defense in difficult situations, as release of aggressiveness in a licit way and, finally, as a verbal narrative passed on from generation to genereation, thus carrying through a group identification among the Jewish people / Esta pesquisa tem como propósito caracterizar o humor judaico com base na psicanálise freudiana. Para tanto, o conceito de chistes e de humor desenvolvidos por Freud foram explanados. Visando uma complementação teórica para este estudo, as referências ao cômico encontradas na obra de Henri Bergson também foram utilizadas, de modo a promover uma compreensão mais ampla sobre a questão do humor judaico. Esta pesquisa situa a necessidade do humor judaico em três grandes pólos: como forma de defesa do ego em situações difíceis, como liberação de agressividade por uma via lícita e, finalmente, como narrativa oral passada transgeracionalmente, realizando assim uma identificação grupal no povo judeu

Gamification (spelifiering på svenska) är ett ämne i akademiska studier som ökar i popularitet och denna studie tar vid efter Treiblmaiers, Putzs och Lowrys (2018) upptäckter om förslag på forskningsagenda inom ämnet. En litteraturstudie utfördes i syfte att besvara forskningsfrågan ”Vilka resultat och slutsatser om spelifierings påverkan på spelares känsla av nöje och kul har presenterats i forskningspublikationer?”, som utfördes genom en sökning i världens största databas av forskningspublikationer. Sökträffarna filtrerades och analyserades för att identifiera dess upptäcker som sedan sammanfattades. Resultaten visar exempelvis att spelifiering gynnar känslor av nöje och kul, att spelifiering som erbjuder nöje och kul har påverkan på andra saker och individer som inte alltid är positiva. Det upptäcktes även studier som fokuserar på hur de individuella komponenterna som bildar spelifiering påverkar känslor av nöje och kul. Vidare forskning bör exempelvis fokusera på dessa komponenter då inte alla studier är överens om resultaten. / Gamification is a subject in academical research that is increasing in popularity. This study follows Treiblmaier’s, Putz’s and Lowry’s (2018) proposed research agenda on gamification. A literature study was made in an attempt to answer the research question “What results and conclusions about gamification’s influence on enjoyment and fun have been presented in research publications?”. A search for literature was conducted in the world's largest database of research publications. The search results were filtered and analyzed to identify its findings, which was then summarized. The results show, for example, that gamification benefits emotions of enjoyment and fun, that gamification that offer those feelings have an impact on other things and individuals that may not always be positive. Many studies focuses on the individual components that form gamification and how they affect feelings of enjoyment and fun. Further research should for example focus on these components, since not all studies agree on their influence.

How can architects design for coastal inundation caused by climate change, what are the methods and strategies currently being implemented as a response to coastal inundation, and how can these strategies influence the design approach for a self-sustaining community that can survive and thrive in a low-lying coastal area? Climate change is caused by an expenditure of planet-harming resources being improperly or inefficiently utilized and consumed. This can lead to a rise of global sea level and an increased severity of storm surges. Resilience is defined as the ability to overcome challenges and difficulties. Coastal resilience is the ability for a coastal community to independently withstand shocks caused by hazardous storms and coastal flooding, adapt to future occurrences, and rebuild when necessary. Incorporating resilient and adaptable design elements into architecture could help to create a more sustainable built environment that reacts more efficiently to challenges and difficulties that occur in the natural world. The intent of this thesis is to design a coastal community-living development that serves as a case study for how communities in low-lying areas can be elevated in order to sustain fluctuating coastal conditions. An ideal setting for the implementation of this thesis is Pleasure Beach Park, a low-lying barrier beach located on the coastline of Bridgeport, Connecticut. Through research and analysis of this location, this design responds to and includes essential programmatic elements deemed necessary for a community to exist in the area, as well as vital attributes that collectively form a resilient coastal community.

In Jane Austen’s renowned Pride and Prejudice, published in 1813, the reader encounters love and marriage in the British middle-class during the nineteenth century. While the main focus of the novel is the love story between Elizabeth Bennet and Mr. Darcy, the reader also encounters the youngest Bennet sister, Lydia. Lydia is depicted as loud, vain, rude and ignorant and even though this is a correct description of Lydia’s behavior, there are underlying reasons for that foolish and naïve behavior. Thus, the aim of this essay is to examine and explain the underlying reasons as to why Lydia behaves as recklessly and selfishly as she does. By close reading of the novel and by using psychoanalysis and relevant Freudian concepts, mainly the id, the ego and the super-ego, the analysis concludes that there is an evident connection between Lydia’s unruly behavior and her dysfunctional relationship to her parents. Due to the lack of parental guidance, Lydia has been left uncontrolled and heavily ruled by her id. Moreover, this essay will demonstrate that there is a shift in Lydia’s behavior as the novel progresses. As a result of certain events in the novel, Lydia’s behavior shifts even further towards her being driven by the pleasure principle and her id.

This qualitative study examines young adults’ expectations and experiences of consent and pleasure which result in a grey area. Based on focus groups and one-on-one interviews with 18 to 25-year-old women and men, I explore various experiences of consensual sex ranging from clearly consensual and pleasurable, consensual yet mediocre experiences, and those which reflect a grey area of consent. Whereas best and simply mediocre sex are characterized by clear feelings of consent, the grey area involves sex that is felt as less than fully consensual but not quite as sexual assault. I apply theories of expectation states, compulsory heterosexuality, and sexual script theories to the findings of this research to argue that adherence to traditional gender norms of heterosexual behaviour lead to greater social importance given to men’s needs for sexual pleasure. These inequalities and expectations surrounding sexual behaviour lead to feeling constrained in one’s ability to negotiate and interpret feelings of desire and consent, resulting in a grey area.

Denna studie granskar hur perspektiv på femininitet manifesteras i kvinnliga fotografers bilder av andra kvinnor på Instagram. En av de fundamentala drivkrafterna som kvinnliga fotografer på medieplattformen Instagram uppvisar i sitt arbete, är att förmedla ett kvinnligt perspektiv på världen. Genom kvalitativ semiotik undersöker studien de möjliga betydelser kring femininitet som går att utläsa i bilder vars teman berör upplevelsen av att vara kvinna. Den lyfter frågan om det egentligen finns ett enhetligt kvinnligt perspektiv - och i så fall, hur tar det sig uttryck? Resultaten indikerar att vad som definierar de kvinnliga blickarna i dessa bilder kan tolkas på ett antal sätt - som internaliseringar av patriarkala strukturer, som försiktiga brytanden mot normer av representationer av kvinnor i media, eller som ironiserande satirer. Men även att det finns en kvinnlig erfarenhet, som handlar om att växa upp som kvinna, bemötas och leva som kvinna, som syns i dessa fotografers arbete. / This study looks at how perspectives on femininity are manifested in female photographers’ images of other women on Instagram. One of the fundamental incentives that female photographers on the media platform Instagram show in their work is to convey a female perspective on the world. Through qualitative semiotics, the study explores the possible meanings about femininity that can be deduced in images with themes concerning the experience of being a woman. It raises the question of whether there actually is a homogenous female perspective - and if so, how is it expressed? The results indicate that what defines the female gazes in these images can be interpreted in a number of ways - as internalisations of patriarchal structures, as careful breaches against norms of female representation in the media, and as ironic satires. But also that there is a female experience that is about growing up defined as a woman— being treated as and living as a woman — that is visible in the work of these photographers.

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PhD, Faculty of Humanities, University of the Witwatersrand, 2011 / Exploring black lesbian sexualities and identities is a multifaceted in-­‐depth ethnographic study of black urban lesbian life in contemporary South Africa. This study, which focuses on lesbian women aged between 17 and 40 years, reads the term lesbian as both a political and a theoretical project. It speaks to current concerns, which raise questions related to the politics of inclusion/exclusion, love, sexuality, identity politics, violence, style and urban space while sensitively giving agency to women’s narratives. In many ways, it enriches and challenges conventional gay and lesbian studies and studies on sexuality in Africa by bringing meaning to the complex interplay between space, style, erotic practice and sexuality. It further illustrates the flexible practices and variable notions of sex, sexuality and gender categories. At the same time it tackles the precarious and painful position of black lesbian women whose lives are an ongoing maneuvering and negotiation between a potentially hostile or violent environment and a country with constitutional protections. The political and theoretical imperative of the study is evident in the representations of black lesbians as occupying subject positions in which they determine the structures and meanings of their lives. Their narratives show that they inhabit the world actively, not only as victims or in relation to others, but also as conscious subjects that make meanings of their lives: subjects who are actively and critically engaging with the world we inhabit.