In my thesis I focused on the matter of the relationship of Americans during the decades after World War II to their own identity, as well as to the myths of the West or consumer society. I wanted to compare these aspects on plays by Sam Shepard and David Mamet, two playwrights concerned with similar issues in 1960s and 1970s. In the theoretical part of the thesis I concentrated on the development of the American theater off Broadway. I described three significant theater groups of the era and the differences in their approach. I based the comparison of the plays on Richard Schechner's performance theory and J. L. Austin's theory of the so-called "performatives." Later I discussed the matters of rituals and myths in the postmodern society where I based my theory especially on Victor Turner's and Marie Maclean's work. The two main chapters are dealing with comparing two plays by each author with regard to the way Shepard and Mamet work with rituals and modern myths. Those are considered commonplace, insufficient, almost misleading in a modern society, and the plays' characters thus cannot cope with the society. They end up being on its outer edge and do not seem to be able to find the way back. As a result of the comparison of the plays based on the theoretical part I concluded that even though from the...

De ses œuvres de jeunesse jusqu’aux poèmes de l’exil, Ovide a progressivement construit une langue poétique propre, qui entremêle des stylèmes religieux appartenant à la langue liturgique de l’époque augustéenne, et des stylèmes purement poétiques, tantôt repris à la tradition littéraire, tantôt originaux : il joue ainsi de la frontière qui sépare le carmen religieux et le carmen poétique en faisant s’élever un chant nouveau, total, par lequel il sacralise la poésie, qui est bien alors la musique du monde, la musique créatrice, proprement poïétique, dont le souffle donne son sens, sa forme et sa beauté (forma) au monde. Le discours élégiaque est alors bien plus qu’un simple propos érotique, ou même métapoétique. Si Ovide nous parle d’amour, il nous parle aussi de poésie, mais pas seulement d’une poésie narcissique qui serait sa propre fin et son objet : ce qui se reflète au miroir de la poésie ovidienne, telle qu’elle se met en jeu dans les énoncés de prière, c’est une perspective, une perspective transcendante par laquelle le poète tente de contempler le Verbe divin, la Musique totale qui organise l’univers. Loin de jouer de manière parodique avec le discours sacré, qu’il subvertirait à des fins érotiques et humoristiques, comme l’ont écrit les partisans d’une élégie immanente, Ovide nous semble sublimer par un souffle sacré, et par l’apport de stylèmes religieux, la poésie élégiaque de manière à en faire le chant qui rejoue la création du monde en même temps qu’il la dit. / From his early works to the poems of exile, Ovid progressively constructed a personal poetic language, mixing religious stylemes belonging to the liturgical language of the Augustan age with purely poetic stylemes, some taken from literary tradition, others quite original: he thus plays on the borderline separating the religious carmen from the poetic carmen, giving birth to a new, total song endowing poetry with a sacred status, making it music of the world, the properly poietic music of creation whose breath gives the world its meaning, its form and its beauty (forma). Elegiac discourse is then more than a simple erotic, or even metapoetic statement. If Ovid speaks to us of love, he also speaks to us of poetry, but not just a narcissistic poetry taken as its own end and object. What is reflected in the mirror of Ovidian verse as it takes shape in the utterance of prayer is a perspective – a transcendental perspective through which the poet attempts to contemplate the divine Word, the total Music which organizes the universe. Far from playing on sacred discourse in an ironic mode, subverting it to erotic or humorous ends as partisans of an immanent elegy have written, Ovid seems to us to be sublimating elegiac poetry by instilling it with a sacred breath and importing religious stylemes into it, in such a way as to make of it the Song which replays the creation of the world at the same time as telling it.

For the realization of forest feast, I chose the form of a happening, and consciously find myself on the edge of art and ritual. I see art as both artifacts created a situation for forest receptions, so the process of formation and reflection receptions, concept or screenplay. Different variants of scenarios that stand in zákadě events I describe below in thinking about work. Also, the script for which I have reached the gradual development considerations, is to read the below invitation to the event, enclosed in the picture. A Feast For example, in ancient Greece began and ended the festival of sacrifice to the gods. I decided to accentuate this motive. The victim from receiving food, waiver of thanksgiving everyday dish deepens, it becomes a conscious activity. In the Christian world has in this sense, the greatest significance of the Last Supper, its symbolism are the most important ritual in the Christian Mass. The feast of Christ gradually became a major theme in the history of art to the modernist and contemporary design. However, I wanted to draw your own version of a symbolic feast as it is for me the key theme of the relationship between man and nature, I placed a feast to the natural landscape. That is my role model in the theater of orgies and mysteries Herman Nitsch and installation Woman House Dinner Party by Judy Chicago. My happening also counts with people, which is thought imminent. Already during previous meetings with small domestic fire, we realized that it is an intimate ritual and should be well participants choose to debate with them about the situation, well brighten intention. Some of the invited guests with my thoughts directly disagreed and refused to participate. That's why I later reviewed, it is a community event. Close relationships that are fundamental perception of that experience helps a reality shared apartment, in the city center on Minority 12. Here, daily life is characterized by the features of a small community. One of the reasons why some invitees refused participation is likely that not so common reality. They do not have a clear awareness of the artistic realities and contexts that allow action should be viewed with a certain detachment, as a result of some conceptual activity of the author. Flavor through community acquires a more significant role if Ideally happening repeat (turns into a ritual), but this time actually with cultivars, products directly in preparation for this purpose. So in terms of actual conscious experience of the origin of food and the principle of submission (the victim): That is their commitment to a particular location to maintain the robust earth energy. The issue of my presentation happening is an issue. I think there is a need, the essence lies in the internal happenings and common experiences of the people involved. Therefore I kept an open space, which form when presenting choose. During implementation, however, consistently work documents. Some moments, however, are not transferable camera. Thus documenting the needs of the thesis and its presentation. Ideally, in the future feasts I want to accentuate documentation retreat.

A Tataouine, le chant est profondément lié aux diverses activités quotidiennes, y compris les occasions de fêtes. Sa pratique témoigne d’un grand échange culturel. Cette recherche présente un genre vocal appelé naç, connu dans la région de Tataouine (Sud-est de la Tunisie). Elle a pour objectif de présenter le genre vocal naç, de mettre en valeur la production musicale de l’homme et de la femme et de présenter le rituel du mariage qui est une importante occasion de production musicale. La thèse se subdivise en quatre parties : Après une présentation géographique de la région, La deuxième partie présente le genre vocal naç. Elle interroge la pratique musicale dans la région de Tataouine en étudiant les thématiques abordées par la femme et l’homme. La troisième partie étudie la fête du mariage chez trois tribus : Ouled Dabbâb, Ouled Ch’hida et les Dghâghra. Nous examinons le déroulement des rituels en dégageant les chants qui les accompagnent. La quatrième partie comprend des analyses musicales du répertoire chanté. Cette analyse porte d’un côté sur les éléments musicaux (échelles, ambitus, intervalles..), de l’autre côté, elle étudie les rapports entre la musique et la poésie. Cela révèle deux différents types de chant : chants mélismatiques simples du domaine festif et chants mélismatiques riche en phonèmes significatifs du domaine privé. / In Tataouine, singing is deeply linked to various daily activities, including ceremonies. Its practice testifies big cultural exchanges. This research introduces a vocal called naç, known in the region of Tataouine (Southeast of Tunisia). It has as objective to introduce vocal type naç, to emphasize the musical production of men and women and to introduce the ritual of wedding which is an important opportunity of musical production. This Thesis includes four parts: the first one is a geographical presentation of the region; the second part introduces vocal type naç. It questions the musical practice in the region of Tataouine by studying themes approached by women and men. The third part studies the wedding ceremonies of three tribes: Ouled Dabbâb, Ouled Ch' hida and Dghâghra. We examine the sequence of rituals by clearing singing which accompany them. In The fourth part, we introduce a musical analysis of a selection of songs. This analysis, in one of its parts, focus on the musical elements (ladders, ambitus, and spaces). In another part, it studies the relationship between music and poem. It reveals two different types of singing: singing mélismatiques singing simple of festive domain and mélismatiques rich in significant phonemes of private domain.

Thesis is submitted in partial fulfilment for the degree: Master of Architecture (Professional) to the Faculty of Engineering and the Built Environment, School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, 2016 / The heritage and history of a city is often based on urban legend. These stories pertain the cultural rooting of the society that had lived within the cities from their founding and until today. Johannesburg or Egoli appears to have skipped this cultural rooting and instead stems from the political and commercial soil of the gold mines. If we excavate into the gold mining history of the city – and even into the history preceding it - we can find the hidden sacred and cultural beginnings embedded in our society today. Our society has been formed on the continual evolution of the ideas of the sacred and profane through practices of incorporation, salvation and adaptation. As the gold mines in the city shut down, in 1940, the migrant labourers were left in hostels in an unfamiliar terrain and little means to make a living (Potenze, 2015). This means that today, we can still find evidence of the importance of sacred rituals similar to those in the mining compounds. Religions and cultures in Johannesburg, that have been gradually changed overtime, are a result of the incorporation of mining labour, urban customs and western ideas (including religion and technologies). Although the city has clearly harmed the rural traditions, we can still see glimpses of the endurance of the sacred within the profane landscape. The profane is adapted by the different communities in the inner city – as will be discussed with reference to the Mai Mai and Shembe (Nazareth Baptist Church) communities – to express their cultures of the sacred, traditional and religious and to accommodate for ritual practices associated with them. Today’s societies of the inner city are a mix of cultures, religions, God, the ancestors and ritual practices - both sacred and profane. By learning from the way in which these communities continually evolved to incorporate their environments into their traditions, the city too must now incorporate these communities and their beliefs into its structure. If this is achieved, it could ignite a healing process through integration as opposed to replacement or removal of elements of the city or of its society. This report explores ideas of the importance of religion and culture in Johannesburg’s context. As it is an architectural analysis, the response will be a proposal for religious infrastructure and space within the area of City and Suburban, alongside the Kwa Mai Mai market and the gathering spaces of the Shembe / Nazareth Baptist Church. This will promote and retain the cultures, traditions and religions that were brought to the city and used as a tool of survival. / MT2017

Student Number: 9804661E Master of Arts: Social Work Faculty of Humanities / Given the high incidences of child abuse not only in informal settlements, but in South Africa as a whole. The present study looks at the social factors that contribute to child abuse in informal settlements. To identify specific social factors in an informal settlement i.e. Ivory Park, which make children in this community to be vulnerable to child abuse. The study aims to identify different forms of child abuse, which occur in Ivory Park, to develop an understanding of the family structure and the functioning of the families. The study further explored the perception of community members on child abuse, and their knowledge and awareness on children’s rights. The study also attempts to bring to our attention that concern about the problem of child abuse is not new. It acknowledges the historical context of this problem, that throughout history children world-wide have been subjected to domination, murder, abandonment, mutilations and forced labour. Practices that seem brutal and senseless today like infanticide and ritual sacrifices of children are actually recorded in the Bible. These were considered normal and acceptable practices at the time. The systematic study of child abuse is fairly a recent phenomenon, it’s only in the sixties that this issue has been discussed and debated in certain parts of the world. The study also points out that the problem of child abuse is not unique to South Africa, but it is a problem in many parts of the world. Also that the understanding of child abuse has shifted over time. The central force behind these changes has been the establishment of various organisations in North America and Europe. These organisations opposed violence against children and advocated for the rights of the children. In South Africa this change came about when the present South African government ratified the United Nations Convention on the Rights of the Children in 1996 and also when the Rights of the Child were enshrined in Section 28 of the Bill of Rights of the Constitution of the Republic of South Africa. The study poses a question as to why child abuse cases and statistics seem to be on the rise and understanding why children are being abused when there are so many pieces of legislation and human rights documents, that aims to safeguard the interest and the protection of children particularly in South Africa. The study also looks at different theoretical perspective on child abuse to help us in terms of explaining and understanding as to why children are abuse. Finally, the study looks at different social factors specific to South Africa that might contribute to child abuse, and the history and location of Ivory Park. On the basis of the findings of this study, the researcher makes some recommendations through which professionals in the helping professions together with community members can address the problem of child abuse in informal settlement.

The following statement supports the investigations that culminated in the body of sculptural work entitled “Daoist Garden”. It is an examination of the most basic sculptural issues of form and space, and reverses the roles of prototype and mold to give visual accounting of spaces created by curved planes. These spatial records allude to cycles of disintegration and reconfiguration of matter on various timelines and scales. The philosophical influence behind the work employs the concepts of yin and yang, which relate directly to the mold/positive relationship, and are essential to experiencing Dao, the eternally nameless underlying order of the universe. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

Este trabalho analisa três peças de Brian Friel - The Enemy Within (1962), Faith Healer (1979) e Dancing at Lughnassa (1990) escritas em um intervalo de quase trinta anos. Nossa tese é de que Friel escreve as três peças como rituais, o que, por sua vez, retira da concepção elaborada pelos ritualistas de Cambridge, na década de 1920, de que a tragédia grega e o drama se desenvolveram a partir dos rituais de fertilidade. Notamos que a influência da tragédia e dos rituais em Friel está consideravelmente mais vinculada à forma e à abordagem das peças enquanto um ritual que à reescritura de tragédias gregas ou mitos, muito embora alusões sejam recorrentes. Friel retrabalha mitos e rituais a fim de refazer e atualizar o drama enquanto um ritual em si mesmo, cuja razão de ser é permitir a significação e reorganização da vida individual e social no mundo moderno industrial, no caso específico, a vida na Irlanda contemporânea. Ocupamo-nos dos dramas sociais e dos rituais de passagem, com atenção especial ao período liminar, caracterizado pela transição entre papéis sociais envolvendo um período de não-pertencimento. Os três grupos envolvidos em cada uma das peças: os monges e noviços em The Enemy Within, a pequena trupe mambembe em Faith Healer e a família em Dancing at Lughnasa, vivem na periferia de suas sociedades sendo liderados por figuras vivendo uma situação liminar participando de dramas sociais que envolvem processos rituais tanto formais como não-institucionalizados. / This work addresses three plays by Brian Friel - The Enemy Within (1962), Faith Healer (1979) and Dancing at Lughnassa (1990) - written within a period of almost thirty years. Our thesis is that Friel writes all three plays as rituals, a conception taken from the Cambridge Ritualists, who in the 1920s assume that Greek tragedy and drama grew out of the ancient fertility rituals. We notice that the influence of tragedy and rituals on Friel\'s work is more connected to the form and approach to the plays as rituals than to the rewriting of Greek tragedies or myths. Friel reworks myths and rituals in order to update and remake drama as a ritual in itself, whose raison d\'etre for him is to allow the meaning and reorganization of individual and social life in modern industrial world, mainly life in contemporary Ireland. We deal here with social dramas and rites of passage, with special regard to the liminal period, characterized by the transition between social roles and involving a period of not belonging. The three groups involved in each play: the monks and novices in The Enemy Within, the small troupe in Faith Healer and the family in Dancing at Lughnasa, live on the boundaries of their societies and are led by men who are in a liminal situation in social dramas which involve both institutionalized and informal ritual processes.

A presente pesquisa tem como o objetivo apresentar parâmetros e avaliações possíveis sobre o conceito de TV cult aplicado às ficções televisivas brasileiras, especialmente às telenovelas. TV cult é uma noção que, com quase nenhuma teoria nacional e pouco consenso entre autores europeus e norte-americanos, refere-se ao caráter específico de determinadas produções ou comportamentos do público. O caráter cult refere-se a obras com alto valor ritual ou nostálgico, de conteúdo inovador ou fora do padrão e/ou a programas ou filmes que angariam fãs devotos e fieis. Para atingir o objetivo, a pesquisa reflete sobre o valor ritualístico e de culto da telenovela e investiga os usos do termo cult nas redes sociais, a partir de tweets, de questionário aplicado nas redes e de grupos focais, a fim de saber quais telenovelas são consideradas cult e por quê. As respostas ao questionário orientam a análise das telenovelas consideradas cult pelo maior número de pessoas e os motivos de terem sido citadas. Para tanto, foram criadas as categorias cult nostálgico, cult estético e cult contemporâneo, a fim de evidenciar os principais elementos que determinam o status de cada obra. O quadro teórico abrange estudos sobre TV cult por autores como Pearson (2004), Abbott (2010) e Hills (2012); estudos sobre comunicação como culto e ritual, especialmente por Carey (1992), Barbosa (2007) e Reis (2012); estudos de memória de Bosi (1987), Nora (1993) e Halbwachs (2006); e estudos de fãs, tanto por autores internacionais como Jenkins (1992), Hills (2009) e Booth (2010) quanto pela emergente teoria nacional com Lopes et. al (2015) e Jacks et. al (2015). Entre os principais resultados, destacamos a possibilidade de diálogo entre os estudos internacionais e os que nascem dentro do contexto televisivo brasileiro; a identificação de ficções consideradas como exemplares de TV cult e, por fim, mas não menos relevante, a crescente importância do senso comum para os estudos dos novos e ampliados conceitos no campo da Comunicação, especialmente pela expansão da cultura da participação que é a marca destes \"tempos de mídias digitais\", a que se refere o título desta tese. / This research aims to present the parameters and possible reviews of the concept of cult TV applied to Brazilian television fiction, especially telenovelas. Cult TV is a notion that, with almost no national theory and little consensus among European and North American authors, refers to the specific character of certain products or behaviors of the audience. The cult caracter refers to works with high value of ritual or nostalgia, that has innovative content and / or programs or movies that collect devoted and faithful fans. To achieve its goal, the research reflects on the ritualistic value of cult telenovelas and investigates the uses of the word ,,cult\"in social networks, analysing tweets, the responses to a questionnaire applied online and two focus groups in order to understand which telenovelas are considered cult and why. The responses to the questionnaire guide the analysis of the telenovelas considered cult by the higher number of people and the reasons they have been cited. To this end, categories were created to classify the productions on nostalgic cult, aesthetic cult and contemporary cult, in order to highlight the key elements that determine the status of each telenovela. The theoretical framework includes studies on cult TV by authors such as Pearson (2004), Abbott (2010) and Hills (2012); studies on communication as worship and ritual, especially by Carey (1992), Barbosa (2007) and Reis (2012); Memory studies Bosi (1987), Nora (1993) and Halbwachs (2006); and studies of fans, both by international authors as Jenkins (1992), Hills (2009) and Booth (2010) and the emerging national theory with Lopes et. al (2015) and Jacks et. al (2015). Among the main results, we highlight the possibility of dialogue among international studies and those born in the Brazilian television context; the identification of fictions considered examples of cult TV and, last but not least, the growing importance of common sense to the study of new and complex concepts in the field of communication, especially the expansion of the culture of participation that is the hallmark of these \"digital media\" times, referred to in the title of this thesis.

Investigamos abordagens de conceitos de física em aulas da educação básica, por professores de física em formação, do ponto de vista microssociológico dos encontros face a face e o papel das emoções nesses encontros. Analisamos como essas interações face a face ocorrem em aulas de física durante abordagens de conceitos e os rituais de interação colocados em jogo pelos professores em formação. Desta forma, por meio de um estudo de casos, identificamos alguns rituais de interação que ocorrem durante o processo de ensino e aprendizagem em aulas de física, identificados pelo clima emocional da classe. Utilizando uma abordagem fenomenológica e uma metodologia reflexiva na qual, a partir das observações in loco, focamos nossa atenção nas abordagens conceituais em aulas de física e utilizamos o clima emocional como heurístico na busca de eventos salientes. Nossa investigação mostra que abordagens conceituais não são apenas processos de trocas intelectuais, mas interações face a face características dos encontros sociais e repletas de emoções que constituem a linguagem dessas interações e podem alterar o clima emocional da classe. Constatamos que o professor, consciente ou inconscientemente, coloca em ação rituais de interação de salvamento da fachada como o aprumo e o processo de evitação, podendo até mesmo subverter conceitos científicos para salvar a fachada, o que evidencia a importância de uma atitude reflexiva na prática docente, para que o professor realize escolhas mais conscientes como utilizar mais processos corretivos. Propomos também a inovação na utilização de medidas do clima emocional por leigos como heurístico para encontrar eventos salientes, fundamentados na perspectiva das emoções básicas, na possibilidade de compartilhamento interacional das emoções e na sua relação com o clima emocional da classe. / We investigate approaches of physics concepts in basic education classes, by preservice physics teachers, from the micro-sociological point of view of face-to-face encounters and the role of emotions in these encounters. We analyze how these face-to-face interactions occur in physics classes during concept approaches and the interaction rituals put in place by the teachers in formation. In this way, through a case study, we identify some rituals of interaction that occur during the teaching and learning process in physics classes, identified by the emotional climate of the class. Using a phenomenological approach and a reflexive methodology in which, based on in situ observations, we focus our attention on conceptual approaches in physics classrooms and use the emotional climate as heuristic in the search for salient events. Our research shows that conceptual approaches are not only processes of intellectual exchanges, but face-to-face interactions characteristic of social encounters and full of emotions that constitute the language of these interactions and can alter the emotional climate of the class. We found that the teacher, consciously or unconsciously, put into action the interaction of salvage interaction of the facade as the mastery and avoidance process, and may even subvert scientific concepts to save the facade, which highlights the importance of a reflexive attitude in practice the teacher to make more conscious choices such as using more corrective processes. We also propose innovation in the use of measures of the emotional climate by lay people as heuristic to find salient events based on the perspective of basic emotions, the possibility of interactional sharing of emotions and their relation to the emotional climate of the class.