Der 35. Mai, Erich Kastner's least popular young people's book, has received only little attention by critical reviewers, and is seldom included in comparative studies that deal with the body of his early young people's literature. Due to the existence of only a few critical secondary sources and convincing studies showing the works unpopularity, this thesis wants to add new critical insights and give reasons for the failure of this particular book. Secondly, this examination will question the rather uncritically and quickly affixed label young people's literature that haunts Der 35. Mai until today. This study reviews Kastner's biographic background until Der 35. Mai publishing date, summarizes its content, examines important social issues of the Weimar Republic, establishes national and international intertextuality highlighting Kastner' s intent and sources, and finally speculates on the author's intentions and hopes for the book. This work wants to rediscover Der 35. Mai as valuable social criticism that fell victim to its historical circumstances. Many textual examples will show that the social issues addressed require a mature, adult audience, and rather than calling this work an artistic failure, this analysis attributes Kastner' s mixing of social criticism and fantastic story line to his avant garde insights and pioneering intents for the German young people's literature genre. A combination of Kastner' s biography, close reading, and intertextual analysis reveals that Erich Kastner wrote a mixed-genre book, combining social criticism and fanciful narrative in a Neue Sachlichkeit language. Der 35. Mai is understood as the author's pedagogical intent to have parent and child interact and resolve intergenerational conflicts through enlightened discussions. By using the young people's literature genre as a vehicle, Kastner possibly tried to circumvent later censoring. Kastner' s proposed dialogue for conflict resolution came, nevertheless, too late in 1932 and could not fully spread its enlightening message. Der 35. Mai had missed its historical moment and has since been forgotten as a sincere and clever attempt to help change the course of history.

In 1917 the British Government gave its sanction to the establishmentof a Jewish National Home in Palestine. In 1948 the independentState of Israel came into existence as an outgrowth of that sanction.At the end of this thirty-one year period the Jews constituted aboutone-third of the population of Palestine, but their tremendous zeal,backed by a large financial outlay by the Jews of the Diaspora, madethem more than a match for the remainder of the population. During thethree decades of the Jewish National Home in Palestine, they had builta prosperous community in the midst of a conservative society.

The ideas of Hideo Saito regarding conducting and conducting pedagogy are a valuable addition to the field, an addition that English-speaking people are likely to be unfamiliar with. Besides devising a unique collection of terms for talking about conducting, and assembling a set of exercises designed to facilitate the practice of a variety of gestures, Saito develops and operates from a framework which allows for the description and evaluation of almost any conceivable rhythmic gesture. While he pays attention to time, space, direction, size, and expectations, he often explores the ways velocity and changes in velocity can be employed to elicit desired sounds from players and singers. He is certainly not the first teacher to focus on the role of velocity in conducting gestures. However, the level of sophistication and thoroughness of his examination of velocity, and changes in velocity, is unique. His diagrams are noteworthy as well.Saito's conducting method is very popular in Japan. Seiji Ozawa, the Music Director/Conductor of the Boston Symphony Orchestra for more than 25 years, is just one of Saito's students who have had very successful conducting careers.This dissertation, in combination with accompanying videotaped examples of Morihiro Okabe teaching in the authentic Saito tradition, will provide the reader with an introduction to and an evaluation of the Saito conducting method. The reader will learn how to interpret Saito's diagrams of conducting motions, discover who the key people are, and view a Saito teacher instructing students. The reader will be introduced to the core teachings of Professor Saito, see what Saito's primary musical exercises are, and see how these exercises are used to promote musical and technical competence in conducting. This dissertation seeks to give the reader a foundation for further investigation of Saito's ideas and practices.This dissertation proposes, and employs English names for many gestures Saito labeled in Japanese. The Japanese terms are very descriptive of the motions. Providing equally descriptive English terms should be helpful to readers who are not fluent in Japanese. / School of Music

Thèse--Sc. nat.--Montpellier II, 1972. / Bibliogr. p. 193-198. Index.

Texte remanié de: Th. doct.--Droit public--Paris 2, 1994. / En appendice, choix de documents. Bibliogr. p. 281-303.

Texte remanié de: Th. univ.--Droit public--Paris 1, 1997. / Bibliogr. p. 353-374. Index.

ZUPANC LOTKER, Sodja. The Escapologist Case: Transformations of Practice Towards Spatial Dramaturgy in Contemporary Theatre, PhD dissertation, Theatre Faculty of the Prague Academy of the Performing Arts, Prague 2017, 226 pages. This thesis aims to define a contemporary theatre practice, a new practice in dramaturgy influenced by some radical changes in theater since the 1980’s, I call this new practice ‘spatial dramaturgy,’ it includes: 1) a decentralization and fragmentation of narrative; 2) performing in found spaces; 3) using authentic material for creation of performance (space, community or events); and 4) physical and mental activation of audiences. My primary case study for spatial dramaturgy is Apology of the Escapologist performance by Hungarian Krétakör company from 2009, a performance that also marked a change in theatre making practice for this company. Apology of the Escapologist took audiences through eight separate spaces, with a variety of functions (a garage, hospital, offices, public square etc.), originally none of them built for theatre, in a series of events that took place in Budapest District 9 over the course of eight weeks from March 8th to May 1st, 2009. The Apology of the Escapologist performance had five parts consisting of eight scenes. The performance took place over the course of nine weeks in eight locations; each scene took place in a different location on a different day. The audience had to make sense of the fragmented story, had to choose how to follow the story physically - where and when to go, and had to dedicate a lot of time to do this. The audience also physically entered into the playing spaces. This thesis follows the project and proposes that contemporary theatre is a ‘shared space’ entered by audiences, that contemporary dramaturgy is becoming de-hierarchized and decentralized and is proposing forms of relating in-between the dramaturgical elements of the performance, and that by using authentic material (people, spaces, events), through this ‘spatial dramaturgy’ theatre is proposing new ways to perceive relationships between reality and fiction. This thesis also describes the political motivation behind the change in Krétakör’s work and focus. It provides background information about the situation in politics in Hungary at the time of the making of the Apology of the Escapologist that caused Árpád Schilling change the way he makes theatre. But it also looks at these new strategies of ‘spatial dramaturgy,’ that include: points of view, positioning and relating - as strategies that politicize the act and experience of theatre.

La presente investigación aborda el estudio de dos reconocidos compositores nacionales, los cuales a pesar de pertenecer a distintas épocas de la creación musical chilena, se ven conectados a través de su interés en la representación y evocación de elementos mapuche, a través de diversas obras de su catálogo musical. Para lograr conocer en parte su destacado trabajo creativo, ha sido necesario abordar el tema desde distintas perspectivas de estudio, comprendiéndose entre ellas aspectos biográficos, históricos, musicales, etc. Para dicho fin se ha escogido como eje central, el análisis riguroso de una obra hito en la trayectoria de cada uno de ellos. Es así, como se ha seleccionado el Friso Araucano, en el caso de Carlos Isamitt, y los Cantos Ceremoniales para Aprendiz de Machi, en el caso de Eduardo Cáceres A grandes rasgos, los principales objetivos de este trabajo consisten en el estudio de la representación y evocación musical del elemento mapuche en la música de arte chilena, en el rescate del trabajo musical de importantes figuras de la composición nacional, y finalmente, en el deseo de contribuir a la investigación y conservación del patrimonio cultural chileno

Sobreamargem – ações e revelações em território demarcado, é o resultado de minha pesquisa em poéticas visuais concentrada na produção de imagens e textos, que constituíram os trabalhos realizados ao longo dos últimos cinco anos (2000 – 2005). O pensamento que focaliza esta produção está estreitamente vinculado à minha relação com o lugar escolhido para uma série de ações e revelações que nascem de uma inserção direta na paisagem. O local demarcado para realizar este projeto é delimitado por uma enseada, que se estende do início da Avenida Guaíba até o Morro do Sabiá, na zona sul de Porto Alegre. Uma faixa de margem de rio de aproximadamente 400m.

202 f. / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-03-18T12:27:34Z No. of bitstreams: 1 Paula Oliveira.pdf: 3212259 bytes, checksum: a500caf96e07b1a00c32d749526c0dec (MD5) / Approved for entry into archive by Valdinéia Ferreira(neiabf@ufba.br) on 2013-03-18T16:11:35Z (GMT) No. of bitstreams: 1 Paula Oliveira.pdf: 3212259 bytes, checksum: a500caf96e07b1a00c32d749526c0dec (MD5) / Made available in DSpace on 2013-03-18T16:11:35Z (GMT). No. of bitstreams: 1 Paula Oliveira.pdf: 3212259 bytes, checksum: a500caf96e07b1a00c32d749526c0dec (MD5) / “Grupo de Compositores da Bahia (1966-1974): Desenvolvimento e Identidade” é uma pesquisa, concebida como um estudo de caso qualitativo-descritivo, de cunho históricoanalítico. O estudo focaliza a seguinte questão: qual o contexto, o processo de desenvolvimento e o perfil identitário do Grupo de Compositores da Bahia? Para tal, foram coletadas informações sobre os compositores, sobre o contexto sociocultural e político da época (1966-1974), assim como o processo de criação, visando descrever a identidade e o processo de desenvolvimento do Grupo. Examina-se a multiplicidade dos fenômenos que constituem a unidade em foco: o Grupo de Compositores da Bahia (GCB) no contexto da Escola de Música da UFBA e de Salvador. A proposta descreve esse mundo em ação, seus integrantes, a estética de sua produção e realidade histórica através de técnicas múltiplas de coleta de dados empíricos. Os procedimentos metodológicos constam de entrevistas semiestruturadas, observações do contexto, gravações em áudio e vídeo com atores envolvidos, análise de recortes de jornais, de programas de concertos, fotos, fitas gravadas e outros documentos relevantes para elucidação da questão. Resultados da pesquisa indicaram que a produção significativa na área de composição musical dos membros do Grupo de Compositores da Bahia e convidados, pode ser relacionada ao processo cultural inovador, patrocinado pela Universidade Federal da Bahia na época do Reitor Edgard Santos, assim como ao momento histórico político brasileiro e ao processo de formação composicional com ênfase numa educação com foco na consciência estético-musical-artística centrada na criatividade com liberdade de expressão e reciprocidade crítica nos momentos pertinentes, nas possibilidades que a diversidade cultural oferece, nos vários contextos e no respeito à individualidade posto em prática por Ernst Widmer naquele contexto universitário junto aos atores envolvidos. Os profissionais que participaram do GCB apresentavam diversas especialidades de conhecimentos e promoveram processos interdisciplinares e multidisciplinares que envolveram toda uma geração de professores estrangeiros e locais na Escola de Música da UFBA, em interação e sintonia com as vivências socioculturais de músicos e alunos nativos. O cruzamento multidisciplinar entre a vanguarda de origem européia e as experiências de vida e musicais nativas, entrosou de forma cidadã, professores e alunos, gerando ações de contestação das normas estabelecidas, questionamentos estéticos, mobilização social e político-acadêmica, além do estabelecimento de pontes com a sociedade,através da realização de cursos e concertos de música de vanguarda, visando à expansão das idéias defendidas pelo grupo. / Universidade Federal da Bahia. Faculdade de Comunicação. Salvador-Ba, 2011.