Chu Chih-yu. / Thesis (M.Ph.)--Chinese University of Hong Kong, 1984 / Bibliography: leaves 138-140

The Hungarian-born Béla Balázs was an integral part of the film and media culture of the 1920s and 1930s. He is widely recognized as the author of three books of film theory. The three books are regularly excerpted in anthologies, two of them recently appeared in English translation (the third was translated in the 1952), and they have been the subject of several article-length studies. Few treatments of Weimar film and media fail mention them, even if only in passing. As unavoidable as Balázs has become, his books rarely withstand close analysis. Scholars tend to discuss his work in order to demonstrate the limits of “early” statements on film and often use Balázs as a foil to other, more conceptually mature film theorization. As a film theorist, Balázs did not amount to much. Still, no one has ventured an alternative lens through which to understand this seminal figure. This dissertation treats Balázs from the viewpoint of film production. While posterity has looked to Balázs to establish coherence within our conception of “classical” film aesthetics, his contemporaries had other reasons to read his work. During the 1920s, Balázs collaborated with several of the practitioners responsible for making the most definitive films of the Weimar era. He worked on approximately two dozen sets during this decade. His opinion was sought out by major production companies. His name was recommended for a range of genres. The films on which he worked had afterlives in remakes. He was invited to film schools, research labs and film congresses. Because of his skill set, Balázs was often brought in at pivotal junctures in film production. More than once his intervention rescued a film from financial ruin or censorship. The prominent name Balázs made for himself was made on the ground and in the film studio. The skills Balázs brought to the studio were related to his practice as literary author. The first chapter of the dissertation demonstrates that English-language scholarship has consistently ignored Balázs's literary work. Reviewing his reception within the discourse of the history of early film theory and Area Studies, it proposes that Balázs continued to self-identify as “author” [Filmautor] with reference to his function in the film industry. It ends by introducing the aspect of film production to which Balázs arguably most contributed: the film scenario. The second focuses on the scenario. Spanning the decade during which the scenario formally emerged as an operational document, Balázs's work proved invaluable to the German film industry as it introduced a bird's eye point of view from which total control could, in principle, be asserted. In practice, however, the command the scenarist had over the image was nominal, as Balázs experienced repeatedly when encountering the final version of his film. The scenarist's lack of authority is demonstrated in the legally ambivalent status of their claim to the film, as demonstrated by a discussion of Berthold Brecht's copyright dispute over Balázs's co-authored adaptation of his Threepenny Opera play. As with Brecht, Balázs's point of view as author gave him a false impression of command over image production. No matter how meticulous his plan for the film, the image on screen inevitably differed from his imagined version. Balázs's film aesthetics must be read with reference to his work as scenarist. Balázs repeatedly stresses that the film image is embodied. The last two chapters investigate the significance of the female body to this conception of film. One chapter responds to a crucial insight by the historian Erica Carter who proposes to read his books with reference to the phenomenon of the New Woman, a figure of emancipation she finds among his literary colleagues and partners. Broadening the range of work surveyed to include his literary and theatrical production in Hungarian, the chapter argues that while Balázs often forged literary partnership with women, he treated then not as equals so much as vessels, mediums of material surfaces for his intellectual and aesthetic expression. The brutal disregard Balázs had for his female partners is demonstrated in the final chapter with a close reading of a film scripted by Balázs, Miss Else (1929). Miss Else was the final film in a series of collaborations between Balázs and the Austrian actress Elisabeth Bergner. The film is a psychological portrait of a young woman who is emotionally and mentally destroyed by a set of instructions she receives in a telegram. Hit by a sudden bout of “hysterical” voicelessness, Else is demonstrated to mimic the condition of the silent film actress whose ability to act is destroyed by the fragmentary narrative format of the scenario.

Lung Chun Ming. / "July 2012." / Thesis (M.Div.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Abstracts in English and Chinese. / ABSTRACT --- p.II / INTRODUCTION --- p.6 / DEFINITION OF THE TERMS --- p.8 / Chapter 1 --- EARLY PENTECOSTAL EXPERIENCE --- p.9 / Chapter 1.1 --- CHARLES FOX PARHAM --- p.10 / Chapter 1.1.1 --- BRIEF ACCOUNT TO CHARLES FOX PARHAM --- p.11 / Chapter 1.1.2 --- PARHAM'S VIEW ON PENTECOSTAL EXPERIENCE --- p.12 / Chapter 1.2 --- WILLIAM J. SEYMOUR --- p.16 / Chapter 1.2.1 --- BRIEF ACCOUNT TO WILLIAM JOSEPH SEYMOUR --- p.16 / Chapter 1.2.2 --- SEYMOUR'S VIEW ON PENTECOSTAL EXPERIENCE --- p.17 / Chapter 1.3 --- G. S. CASHWELL --- p.19 / Chapter 1.3.1 --- BRIEF ACCOUNT TO GASTON BARNABAS CASHWELL --- p.20 / Chapter 1.3.2 --- CASHWELL'S VIEW ON PENTECOSTAL EXPERIENCE --- p.21 / Chapter 1.4 --- CONCLUSION --- p.24 / Chapter 2 --- CONTEMPORARY PENTECOSTAL HERMENEUTICS --- p.26 / Chapter 2.1 --- MENZIES'S VIEW POINT TO PENTECOSTAL HERMENEUTIC --- p.28 / Chapter 2.2 --- STRONSTAD'S VIEW POINT TO PENTECOSTAL HERMENEUTIC --- p.29 / Chapter 2.3 --- LEWIS'S VIEW ON PENTECOSTAL HERMENEUTIC --- p.31 / Chapter 2.4 --- CONCLUSION --- p.32 / Chapter 3 --- CRITICISM OF BULTMANN'S PROGRAM OF DEMYTHOLOGIZATION FROM A PENTECOSTAL PERSPECTIVE --- p.33 / Chapter 3.1 --- CRITICISMS OF BULTMANN'S PROGRAM OF DEMYTHOLOGIZATION FROM HOWARD M. ERVIN --- p.33 / Chapter 3.1.1 --- BRIEF ACCOUNT TO HOWARD M. ERVIN --- p.33 / Chapter 3.1.2 --- FIRST CRITICISM WORLDVIEW OF MODERN MAN NO LONGER HOLDS --- p.34 / Chapter 3.1.3 --- SECOND CRITICISM: DEMYTHOLOGIZATION IS ONLY A TASK OF ANTHROPOLOGICAL INTERPRETATION OF THE BIBLE. DEMYTHOLOGIZATION NEGLECTS DIVINE HERMENEUTICS DURING INTERPRETATION --- p.35 / Chapter 3.2 --- ANALYSIS OF BULTMANN'S PROGRAM OF DEMYTHOLOGIZING --- p.36 / Chapter 3.2.1 --- BULTMANN'S VIEW ON DEMYTHOLOGIZATION --- p.37 / Chapter 3.2.2 --- RICOEUR VIEW'S ON BULTMANN'S DEMYTHOLOGIZATION --- p.39 / Chapter 3.3 --- A CRITICAL DIALOGUE BETWEEN PENTECOSTAL HERMENEUTICS AND BULTMANN'S DEMYTHOLOGIZATION --- p.44 / Chapter 3.3.1 --- RESPONSE TO FIRST CRITICISM --- p.44 / Chapter 3.3.2 --- RESPONSE TO SECOND CRITICISM --- p.45 / Chapter 3.4 --- CONCLUSION --- p.46 / CONCLUSION --- p.47 / BIBLIOGRAPHY --- p.48 / BOOKS AND JOURNALS --- p.48 / ONLINE RESOURCES --- p.50

No description available.

Thesis--Cornell University. / Vita. Includes bibliographical references (leaves 291-305).

El proyecto propuesto busca unir variables tales como: lo innovador, lo lúdico y lo interactivo (digitalmente hablando, Interfaz usuario máquina), para generar interés por el conocimiento, a través de una forma diferente de entregar la información, complementando así la enseñanza tradicional. En consecuencia esta propuesta generara un sistema de información con contenido lúdico a través de la Interacción (digital), potenciada por el Diseño Gráfico, para motivar al individuo a explorar el contenido histórico, mejorar su disposición ante temas teóricos como la historia, innovando en el modo de transmitir la información

This diploma thesis contains the description of the polka dance, its origin and short history. The next part belongs to the opera of Bedřich Smetana „The Bartered Bride“ from its creation through to the next presentations in the National theatre in Prague until the actual performance. In the last part there are descriptions of three chosen choreographies of polka from this opera and their analysis according to the model of Janet Adshead – Lansdale. Supplements contain biographies of Bedřich Smetana and choreographers of chosen inscenations – Otto Šanda, Pavel Šmok and Ladislava Košíková.

A presente Tese de Doutorado tem como objeto central de análise a dinâmica de elaboração de um Vêneto imaginário entre os egressos da Península Itálica – na região serrana do Rio Grande do Sul, tendo como ponto de partida a própria experiência de expatriação – como estratégia mnemônica para a sublimação de um sentimento de nostalgia das experiências sensíveis do mundo paesano. Nesse intuito, discute-se os processos de ressemantização de diferentes práticas culturais vênetas – como o filò, as expressões de religiosidade popular, as canções, os provérbios, as fábulas – trazidas pelos emigrantes enquanto elemento de suas vivências e de suas formas de reconhecimento do mundo. Utiliza-se como documentação, além dos depoimentos orais, os jornais italianos e brasileiros do período da imigração, as publicações de época que comentam as práticas campesinas, os álbuns comemorativos dos cinqüenta e dos cem anos da imigração italiana e a literatura do século XIX e do primeiro quarto do século XX, sobre a experiência imigratória italiana e a ocupação de terras. Dessa forma, parte-se do resgate da trajetória da República de Veneza, desde sua queda – em 1797 – até a anexação do Reino da Itália – em 1866 – e as formas como os habitantes dos antigos protetorados da Dominante foram produzindo releituras sobre as suas experiências e modificando suas práticas culturais, construindo os lugares de memória da Unificação Italiana. Em solo brasileiro, apresenta-se o processo de produção de espaços rememoradores da terra de partida, a partir de uma ressignificação da experiência passada, elaborando – de certa forma – um imaginário sobre a imigração italiana no Rio Grande do Sul. Nesse sentido, entende-se que essa tradução das práticas culturais trazidas pelos imigrantes funcionou como elemento pacificador e sublimador de um sentimento de nostalgia das vivências anteriores ao processo de expatriação. / The present doctorate thesis has as central object of analysis the dynamic of elaboration of an imaginary Veneto among the people that came from the Italian Peninsula – in the mountain region of the Rio Grande do Sul, having as start point the own expatriation experience – viewed as a mnemonic strategy to the sublimation of a nostalgia feeling of the sensitive experiences of the “paesano” world. In this purpose it is discussed the new semantic processes of several cultural Veneto’s practices – as the “filò”, the popular religiosities’ expressions, the songs, the proverbs, the tales, – brought by the emigrants while they were an element of their experiences and their forms to recognize the world. It was used as documentation, farther the oral deposition, the Italian and Brazilian newspapers during the immigration’s period, the publications of this period that comment the rural practices, the commemoration’s album of the fifty years and of the one hundred years of the Italian immigration and the XIX century’s literature and the first quarter part of the XX century’s literature about the immigrate experiences and the land’s occupation. In this way, it starts by the rescue of the trajectory of the Venice Republic, since its fall – in 1797 – until the annexation to the Italy Kingdom – in 1866 and the way how the inhabitants of the ancient protectorates of the “Dominante” produced new readings about their experiences and modified their cultural practices, building the memory places of the Italian Unification. In Brazilian soil, the production process of memory spaces of the leaved land presents itself beginning from a new signification of the past experiences, making – in certain way – an imaginary about the Italian immigration in the Rio Grande do Sul. In the same sense, we understand that this expression of the cultural practices, brought with the immigrants, worked as pacifying and sublimating elements of a nostalgia feeling of the ancient experiences of the expatriation process.

MONTEIRO, Renata Felipe. Um monumento ao sertão: Ciência, Política e Trabalho na construção do açude Cedro (1884 - 1906). 2012. 200f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-11T10:57:52Z No. of bitstreams: 1 2012-DIS-RFMONTEIRO.pdf: 1667217 bytes, checksum: 8dd5d62e1b8b9ca3fc05151b995da2d4 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-11T13:11:16Z (GMT) No. of bitstreams: 1 2012-DIS-RFMONTEIRO.pdf: 1667217 bytes, checksum: 8dd5d62e1b8b9ca3fc05151b995da2d4 (MD5) / Made available in DSpace on 2013-10-11T13:11:16Z (GMT). No. of bitstreams: 1 2012-DIS-RFMONTEIRO.pdf: 1667217 bytes, checksum: 8dd5d62e1b8b9ca3fc05151b995da2d4 (MD5) Previous issue date: 2012 / A presente pesquisa teve por objetivo entender o processo de construção do Açude Cedro, entre 1884 e 1906, e as expectativas em torno dessa construção. Em 1884, aportou no Ceará a Comissão de Açudes e sua comitiva de engenheiros, com o propósito de construir um "grande açude" que resolvesse definitivamente o problema da seca, desenvolvesse as práticas agrícolas e melhorasse a vida da população. O sertão de Quixadá foi escolhido para abrigar esse grande monumento hidráulico. Para lá se dirigiram pessoas, com diferentes experiências, vindas de diversas localidades do país e do exterior. Mas, no decorrer da construção, foram inúmeras as críticas e as dificuldades para concluir essa obra pública: transporte deficitário, escassez de mão de obra, dentre outros. Além disso, o anseio do Governo de obter rentabilidade com as águas do açude Cedro não se concretizou imediatamente. Dessa forma, com o passar do tempo arrefeceram as expectativas das autoridades governamentais e dos engenheiros de concretizarem as propostas iniciais do projeto de açudagem.

In this work I wanted to focus on the personality of the Czech composer Bedrich Smetana, and analyze the composition " From my Homeland". I find this remarkable composition to be extremely important for the Czech violin repertoire. In my opinion, the significance mof Smetana´s music is still underrated.