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The use of personal names in respect of the living-dead within traditional polygynous families in Kwamambulu, Kranskop.Ngidi, Evangeline Bonisiwe. January 2012 (has links)
The thesis underpinning this dissertation is based on the Zulu people’s belief in the living-dead and the fact that the latter control the lives of their living descendants. The living descendants use names to express their dissatisfaction with one another. The families perform rituals to appease the living-dead. The living-dead are perceived as guardian angels who are closer to God. They are believed to be able to reward good behavior and reprimand those who are not behaving in an acceptable manner. Names, as Bhengu (1975:52) states, connect people to their living-dead. It is therefore important that this relationship with the living-dead is maintained. Friction is always going to be a problem in polygynous families. Avoiding confrontation is important to people who want to appease their living-dead, who control their lives. Personal names act as a deterrent to angering the living-dead. In a situation where getting even is not an option, opting for a name to voice your disapproval is the easy way out. Names become communication channels between members of the family and the community at large.
This study is done from an ethnographic perspective with an attempt to fully describe a variety of aspects of a cultural group to enhance understanding of the people being studied. Spradley (1980:3) states that “The essential core of ethnography is the concern with the meaning of actions and events to the people we seek to understand”. This understanding may be seen as the basis of the method; through ethnographic study, the researcher comes to comprehend, through detailed observation, the existences of peoples and their cultures. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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Les zombies et le visible, ce qu'il en reste : une pratique artistique de la hantise cinématographique / The zombie and the visible, what is left of it : an artistic practice of the cinematografic hauntingCharredib, Karim 29 March 2013 (has links)
Cette thèse explore les figures de la revenance et de la hantise d'un point de vue politique et esthétique, c'est-à-dire dans leur rapport à la société et à l'image. A cette fin le cinéma est le champ d'expérimentation et de manipulation puisque le cinéma, et notamment le cinéma américain, fait partie de ces mythologies modernes qui ont bercé le XXe siècle, avec ses histoires, codes et figures imposées. Les images produites par le cinéma sont ancrées dans l'inconscient et l'imagerie collectifs des spectateurs. C'est donc toute sa grammaire qui est à l'étude sous l'angle du mort-vivant : du héros au second rôle, de la perspective saturée du décor au hors-champ mortel. Si le zombie est la figure de proue de cette thèse, il s'agit moins de l'étudier d'un point de vue ethnographique que d'user de ses particularités afin de questionner le visible sur le mode de la persistance, de la pratique du retour incessant et de l'envahissement, c'est-à-dire comme une forme de résistance. Les revenants dévoilent lentement mais inexorablement l'envers du décor et délimitent une nouvelle topographie, déplacent les seuils et les frontières convenus : entre morts et vivants, entre visible et caché, entre champ et hors-champ. Les limites de l'espace et du corps sont mises à l'épreuve. Dans ma pratique, cette redéfinition des limites transforme l'image et l'univers filmique en ce que l'on pourrait nommer des « limbes filmiques » par des actions simples dans et sur l'image cinématographique : envahissement, contamination, pourrissement, corruption, dévoration, prolifération, raréfaction. Les morts-vivants revisitent ainsi, tels de riches touristes, les mythologies du cinéma. / The thesis explores the concepts and figures of revenance and haunting from a political and aesthetic point of view that is to say in their relation to historical and social contingencies, the real and the image. Cinema, and in particular American cinema, forms a significant part of the modern mythologies that have rocked the cradle of the 20th century, with its stories, codes and figures. The images produced by cinema are seamlessly embedded and archived in the spectator's unconscious and the collective imagery. I aim to reconsider the grammar of cinema through the angle of the living dead: the supporting roles as well as the principal characters, the saturated perspective of the sets as much as the deadly off-screen. The zombie is the figurehead of the thesis, but my purpose is less about studying it from ethnographical point of view than of making use of its particularities to question the visible on the mode of persistence, of the practice of the unceasing comebacks and of invasion, that is to say as an act of resistance. The revenants unveil slowly but inexorably the secrets beyond the door, and mark the boundaries of a new topography, shifting and altering the seemingly fixed thresholds; accessing the space between the dead and the living, in between the visible and the hidden, and in between on-screen and off-screen. This redefining of the margins and the boundaries transforms the image and the filmic universe into what could be called « cinematic limbo » by simple actions in and on the image: invasion, contamination, rotting of, corruption, devouring of, proliferation. The living dead continuously revisit, like sad tourists, the mythology of the cinema.
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Creating an Audience for Community Theatre: A Case Study of <i>Night of the Living Dead</i> at the Roadhouse TheatreConnick, Robert 18 June 2007 (has links)
No description available.
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Mortuaires suivi de La mort-vivance comme motif d'écriture dans Aurélia de Gérard de NervalPhilippe, Jennyfer 04 1900 (has links)
Dans Mortuaires, une pièce de théâtre en fragments, deux soeurs se rencontrent
dans une chambre d'hôtel; Jiji, la plus vieille, vient de retrouver les cendres de leur mère, morte dix ans auparavant; elle voudrait enterrer l'urne définitivement, alors que la plus jeune, Ge, tient à la garder près d'elle. Ce sera l'occasion pour les soeurs de faire valoir leur propre désir et de célébrer la morte, de reprendre contact avec ce qui reste d'elle dans leur mémoire. Le texte se présente sous forme de mini-scènes sans continuité, bien qu’étant toutes reliées, comme un dialogue interrompu,
une cérémonie rejouant la mise en pièces du corps. La fragmentation de la mémoire
constitue le projet esthétique de la pièce, dont le ressort dramatique tourne autour
du souvenir endeuillé et du corps mort.
La mort-vivance comme motif d'écriture dans « Aurélia » de Gérard de Nerval est un essai portant sur le rapport qu'entretient Nerval avec les morts dans le récit, ceux-ci constituant son moteur d'écriture. Au moyen de théories telles que la psychanalyse (Freud, Jackson), la sociologie (Muray) et la théorie de la lecture (Picard), il sera démontré que Nerval, dans Aurélia, se fait spirite en faisant revenir les morts au moyen du rêve. L'écriture se pose comme un lieu de rencontre entre les vivants et les morts, un espace dans lequel chacun doit se faire mort-vivant pour aller retrouver l'autre. Les frontières se brouillent et il devient difficile pour Nerval, ainsi que pour le lecteur, de distinguer le rêve de la réalité. / In Mortuaires, a drama in fragments, two sisters meet in a hotel room; Jiji, the
oldest, has just found their mother's ashes, dead 10 years ago; she would like to bury the urn, but the youngest, Ge, intends to keep it. It will be the occasion for them to emphasize on their own desire and, much more, to celebrate the dead mother, to reconnect with what remains of her in their memory. The text presents small scenes without continuity, although linked, like an interrupted dialogue, a ceremony replaying the body's breaking into pieces. The memory's fragmentation is the esthetic project of the drama, whose basic dramatic's spring turns around remembering, mourning, and the place of the dead body.
La mort-vivance comme motif d'écriture dans « Aurélia » de Gérard de Nerval is an essay studying the connexion between Nerval and the dead ones. In the story, these ones are very important in the process of writing. Using theories such as psychoanalysis (Freud, Jackson), sociology (Muray) and reading theory (Picard), it will be shown that Nerval, in Aurélia, is a medium and tries to take the dead ones back through dream. The writing of his dreams creates for Nerval a place where the living and the dead ones can meet, a place where everyone has to become a living dead to be in contact with others. In that way, boundaries are blurring and it becomes increasingly hard for Nerval, as for the reader, to distinguish dream from
reality.
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Mortuaires suivi de La mort-vivance comme motif d'écriture dans Aurélia de Gérard de NervalPhilippe, Jennyfer 04 1900 (has links)
Dans Mortuaires, une pièce de théâtre en fragments, deux soeurs se rencontrent
dans une chambre d'hôtel; Jiji, la plus vieille, vient de retrouver les cendres de leur mère, morte dix ans auparavant; elle voudrait enterrer l'urne définitivement, alors que la plus jeune, Ge, tient à la garder près d'elle. Ce sera l'occasion pour les soeurs de faire valoir leur propre désir et de célébrer la morte, de reprendre contact avec ce qui reste d'elle dans leur mémoire. Le texte se présente sous forme de mini-scènes sans continuité, bien qu’étant toutes reliées, comme un dialogue interrompu,
une cérémonie rejouant la mise en pièces du corps. La fragmentation de la mémoire
constitue le projet esthétique de la pièce, dont le ressort dramatique tourne autour
du souvenir endeuillé et du corps mort.
La mort-vivance comme motif d'écriture dans « Aurélia » de Gérard de Nerval est un essai portant sur le rapport qu'entretient Nerval avec les morts dans le récit, ceux-ci constituant son moteur d'écriture. Au moyen de théories telles que la psychanalyse (Freud, Jackson), la sociologie (Muray) et la théorie de la lecture (Picard), il sera démontré que Nerval, dans Aurélia, se fait spirite en faisant revenir les morts au moyen du rêve. L'écriture se pose comme un lieu de rencontre entre les vivants et les morts, un espace dans lequel chacun doit se faire mort-vivant pour aller retrouver l'autre. Les frontières se brouillent et il devient difficile pour Nerval, ainsi que pour le lecteur, de distinguer le rêve de la réalité. / In Mortuaires, a drama in fragments, two sisters meet in a hotel room; Jiji, the
oldest, has just found their mother's ashes, dead 10 years ago; she would like to bury the urn, but the youngest, Ge, intends to keep it. It will be the occasion for them to emphasize on their own desire and, much more, to celebrate the dead mother, to reconnect with what remains of her in their memory. The text presents small scenes without continuity, although linked, like an interrupted dialogue, a ceremony replaying the body's breaking into pieces. The memory's fragmentation is the esthetic project of the drama, whose basic dramatic's spring turns around remembering, mourning, and the place of the dead body.
La mort-vivance comme motif d'écriture dans « Aurélia » de Gérard de Nerval is an essay studying the connexion between Nerval and the dead ones. In the story, these ones are very important in the process of writing. Using theories such as psychoanalysis (Freud, Jackson), sociology (Muray) and reading theory (Picard), it will be shown that Nerval, in Aurélia, is a medium and tries to take the dead ones back through dream. The writing of his dreams creates for Nerval a place where the living and the dead ones can meet, a place where everyone has to become a living dead to be in contact with others. In that way, boundaries are blurring and it becomes increasingly hard for Nerval, as for the reader, to distinguish dream from
reality.
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Impermanência entusiasta: transmutações do modelo romeriano de horrorPiedade Filho, Lúcio de Franciscis dos Reis 28 March 2012 (has links)
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Previous issue date: 2012-03-28 / Primeiramente, pretendemos analisar o filme A Noite dos Mortos-Vivos (Night of the Living Dead, 1968), de George A. Romero, observando o contexto histórico de sua produção, conectando-o ao espírito do tempo da era atômica e aos movimentos contraculturais de fins dos anos de 1960. Em seguida, realizaremos um estudo minucioso acerca do modelo romeriano de horror – a representação moderna do zombie e suas nuances. Por fim, identificaremos a permanência deste modelo na atualidade e as transmutações que vem sofrendo nas novas mídias, na esteira do desenvolvimento científico e tecnológico. Consideraremos, ainda, a perspectiva de retorno do gótico no fim do milênio e o subsequente período de crise política e econômica da primeira década do século XXI, marcado pelo surgimento de novos movimentos contraculturais de propagação viral. Dentro desse contexto, o zombie parece retornar, uma vez mais, enquanto representação das classes oprimidas na era do capitalismo “pós-industrial”. / Firstly, we intend to analyze George A. Romero’s Night of the Living Dead (1968) aiming at the historical context of the film, connecting it to the atomic age’s spirit of the time and the countercultural movements of the late 1960’s. Secondly, we will conduct a detailed study on the Romerian’s model of horror – the modern representation of the zombie and its nuances. Finally, we will identify the permanence of this model nowadays and the transmutations that undergoes in new media, following the scientific and technological development. We will also consider the return of the Gothic style at the end of the millennium and the subsequent period of political and economic crisis at 21st century’s first decade, characterized by the emergence of new countercultural movements of viral propagation. Inside this context, the zombie returns once more, as a representation of the oppressed classes, at the post-industrial capitalism era.
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Ancestral consultation : a comparative study of Ancient Near Eastern and African religious practices with reference to 1 Samuel 28:3-25Mulaudzi, N. (Nkhumiseni) January 2013 (has links)
The main purpose of this study was to investigate the relationship between the African and the
Ancient Near Eastern tradition with regard to the ancestral consultation. 1 Samuel 28:3-25 was used
as a point of departure. This text was used because it is the only text in the Hebrew Bible that shows
the act of consulting the dead except those texts explicitly condemning the act.
The study was divided into five chapters. Chapter 1 focused on the introduction and the research
problem. Chapter 2 focused on the study of 1 Samuel 28:3-25 and this was done via and intratextual
and intertextual analysis. The intratextual analysis of 1 Samuel 28:3-25 focused on the
interrelatedness of the text on its literally level. This was done by means of a morphological,
syntactical and structural analysis. The intertextual analysis focused on 1 Samuel 28:3-25 in relation
with other texts in the Hebrew Bible, especially with reference to the practice of ancestral
consultation.
In Chapter 3 the main focus was on the Ancient Near Eastern tradition with regard to ancestral
consultation and thus focused upon extratextual material. In this chapter, Mesopotamian and
Israelite cultural practices were mainly considered. Customs relating to the act of consulting the
dead were studied. It included funerary customs, death and mourning rites, the place and role of the
dead in society. The study concluded that the act of ancestral consultation in the Ancient Near East
was part of their religion. In Ancient Israel, however, it was prohibited by Yahwistic religion.
Chapter 4 focused on ancestral consultation in African tradition. In this chapter, personal
knowledge and experience were also important. Ancestral consultation in Africa is still a living
tradition. The role of the ancestors was studied and also the role that the living have in relation to
their ancestors. In this chapter the role of Christianity in Africa played pivotal role because
Christianity shaped African religion of today. It is clear from the study that African Christianity still
pays tribute to their dead relatives as they are believed to be closer to God. Both Christians and
those who practice traditional religion agree on the role of the ancestors.
In Chapter 5 the researcher brought together the information in Chapters 1 to 4. In that sense it can
be regarded as the climax of the investigation into ancestral consultation as an ancient and modern
cultural and religious practice. This chapter contains a comparison between African and Ancient
Near Eastern tradition regarding ancestral consultation. The chapter indicates that there is a lot to
compare between the two traditions, but one needs to consider the differences in time, religious
perceptions, geography, economic and political background of the two traditions. This should
especially be considered in evaluating the Ancient Near Eastern tradition because it is in the
“archive”; we can only read and learn about it with reference to available sources, while African
tradition is an existing one.
In Chapter 6 the researcher summarised the main findings of the study with special reference to the
research problem as discussed in the first chapter. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Ancient Languages / unrestricted
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Part I--Night of the Living Dead, the operaPart II--How Music Sounds: A Comprehensive Guide to the Grammar of MusicGoodman, Todd William 17 August 2017 (has links)
No description available.
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Le jour où la Terre en avait vu d'autres. Tome 1 ; suivi de La tension ajarienneLétourneau, Annie 04 1900 (has links)
La partie création de ce mémoire se veut soutenue par une tension narrative reliée à la
curiosité suscitée par le personnage principal, de prime abord énigmatique, qui se dévoile de
façon capricieuse par un changement constant de focalisation et de temporalité. Nathan vit à
une ère où l’humanité a frôlé l’extinction, et où tout est à repenser après l’annihilation du virus
ramenant les morts à la vie. N’ayant pas été témoin de ces horreurs, ses plus grandes
préoccupations concernent son cheminement vers l’authenticité. Saltimbanque de métier, il
voyage de communauté en communauté, où chacune a fait ses choix pour recréer le monde. Sa
volonté de prôner l’art dans un processus de reconstruction sociale et sa poursuite d’une image
perdue le pousseront toujours plus loin dans ses pérégrinations; vers des réalités qui le
conduiront à redéfinir son univers.
La partie essai s’interroge sur les procédés formant la tension narrative des romans
d’Émile Ajar, pseudonyme laissant deviner la plume expérimentée de Romain Gary qui se
réinvente dans l’anonymat. L’attention est centrée sur les jeux de narration, le rôle actanciel
des personnages et l’orchestration formelle des récits, à savoir s’ils sont assez similaires pour
lier les opus et les constituer en une série unifiée.
Cette réflexion à la recherche de l’essence de l’oeuvre ajarienne, touchante par ses
antihéros souvent démunis dans leur quête existentielle, a été une inspiration pour la rédaction
de Le jour où la Terre en avait vu d’autres. Les rêves de Nathan sont racontés à la première
personne, rejoignant certaines modalités ajariennes où la psyché des protagonistes se révèle
par une narration au “je”. Les questionnements sur la tension narrative ont été déclencheurs de
cette première démarche d’écriture romanesque, même si elle est située dans un cadre
complètement autre et use d’une plume bien différente de celle d’Ajar. / The creative part of this Master’s thesis is based on curiosity about the main character,
at first enigmatic, who is to be revealed in an unpredictable way with continuous focal and
temporal changes. Nathan lives in an era in which humanity came close to extinction, and
where everything is to be rethought after the annihilation of the virus that brings the dead back
to life. As a saltimbanco, he travels from community to community, in which each one has
made choices to recreate the world. His will to advocate art in the social reconstruction and his
pursuit of a lost image will always drag him further in his peregrinations, towards realities that
will lead him to redefine his universe.
The essay part examines the literary techniques that create the narrative tension of
novels authored by Émile Ajar, pseudonym of the accomplished writer, Romain Gary, who
reinvents himself anonymously. The attention is centered on the narration, actantial roles of
the characters and formal organization of the story, to ascertain if they are similar enough to
link them in a unified series.
This reflection searches for the essence of Ajar’s work which, along with the moving
existential quests of the characters, have been an inspiration for writing Le jour où la Terre en
avait vu d’autres. Nathan’s dreams are related in a first person narration, in accordance with
some of Ajar’s modalities where the characters’ psyches reveal themselves through that
perspective. The ponderings on the narrative tension have been the trigger for this first fiction
writing experience, even though it takes place in a completely different setting.
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Le jour où la Terre en avait vu d'autres. Tome 1 ; suivi de La tension ajarienneLétourneau, Annie 04 1900 (has links)
La partie création de ce mémoire se veut soutenue par une tension narrative reliée à la
curiosité suscitée par le personnage principal, de prime abord énigmatique, qui se dévoile de
façon capricieuse par un changement constant de focalisation et de temporalité. Nathan vit à
une ère où l’humanité a frôlé l’extinction, et où tout est à repenser après l’annihilation du virus
ramenant les morts à la vie. N’ayant pas été témoin de ces horreurs, ses plus grandes
préoccupations concernent son cheminement vers l’authenticité. Saltimbanque de métier, il
voyage de communauté en communauté, où chacune a fait ses choix pour recréer le monde. Sa
volonté de prôner l’art dans un processus de reconstruction sociale et sa poursuite d’une image
perdue le pousseront toujours plus loin dans ses pérégrinations; vers des réalités qui le
conduiront à redéfinir son univers.
La partie essai s’interroge sur les procédés formant la tension narrative des romans
d’Émile Ajar, pseudonyme laissant deviner la plume expérimentée de Romain Gary qui se
réinvente dans l’anonymat. L’attention est centrée sur les jeux de narration, le rôle actanciel
des personnages et l’orchestration formelle des récits, à savoir s’ils sont assez similaires pour
lier les opus et les constituer en une série unifiée.
Cette réflexion à la recherche de l’essence de l’oeuvre ajarienne, touchante par ses
antihéros souvent démunis dans leur quête existentielle, a été une inspiration pour la rédaction
de Le jour où la Terre en avait vu d’autres. Les rêves de Nathan sont racontés à la première
personne, rejoignant certaines modalités ajariennes où la psyché des protagonistes se révèle
par une narration au “je”. Les questionnements sur la tension narrative ont été déclencheurs de
cette première démarche d’écriture romanesque, même si elle est située dans un cadre
complètement autre et use d’une plume bien différente de celle d’Ajar. / The creative part of this Master’s thesis is based on curiosity about the main character,
at first enigmatic, who is to be revealed in an unpredictable way with continuous focal and
temporal changes. Nathan lives in an era in which humanity came close to extinction, and
where everything is to be rethought after the annihilation of the virus that brings the dead back
to life. As a saltimbanco, he travels from community to community, in which each one has
made choices to recreate the world. His will to advocate art in the social reconstruction and his
pursuit of a lost image will always drag him further in his peregrinations, towards realities that
will lead him to redefine his universe.
The essay part examines the literary techniques that create the narrative tension of
novels authored by Émile Ajar, pseudonym of the accomplished writer, Romain Gary, who
reinvents himself anonymously. The attention is centered on the narration, actantial roles of
the characters and formal organization of the story, to ascertain if they are similar enough to
link them in a unified series.
This reflection searches for the essence of Ajar’s work which, along with the moving
existential quests of the characters, have been an inspiration for writing Le jour où la Terre en
avait vu d’autres. Nathan’s dreams are related in a first person narration, in accordance with
some of Ajar’s modalities where the characters’ psyches reveal themselves through that
perspective. The ponderings on the narrative tension have been the trigger for this first fiction
writing experience, even though it takes place in a completely different setting.
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