Doctor of Philosophy / School of Family Studies and Human Services / Jared R. Anderson / The current study proposes a theoretical model of Interracial Couple Relationship Success and empirically tests a portion of the model in which ethnic identity is linked to relationship satisfaction for Black-White interracial couples. Data were collected from 185 heterosexual Black-White marital couples in the United States. An actor-partner interdependence model (APIM) was used to test the direct and indirect effects of ethnic identity to relationship satisfaction via self-esteem and problem-solving skills. The results indicated ethnic identity of both Black and White partners was related to Black but not White partners’ self-esteem. Findings also revealed significant indirect pathways from Black partners’ self-esteem to their own relationship satisfaction via effective problem-solving skills. The indirect pathway from Black partners’ self-esteem to partner relationship satisfaction was also mediated by partner perceptions of problem-solving in the relationship. The results of this study informs the continued development of the of Interracial Couple Relationship Success model and offers data regarding the role of identity and individual well-being in the context of interracial relationships.

This paper seeks to describe and explain the social efficacy of art by addressing it as contemporary western infrastructure for social cohesion. Social cohesion refers here not to teleological status quo, but to pluralistic, yet fairly peaceful co-habitation, allowing for gradual change while preserving continuity of the group identity. Employing Actor-Network Theory, this paper views artistic practice as actor-network assemblage process making connections and vehicles that enable movement of ideas, values, visions and dissents throughout the community. Parallel memberships of the same actors in artistic and non-artistic actor-networks create conditions for artistic meanings to “bleed over” also into other spheres of the social life where they can gain efficacy far beyond the “art world”. Art infrastructure operates under particular “regime of art” that suspends some of the “real world” rules and sanctions ambiguity, facilitating less confrontational reconciliation of diverse and contradictory meanings than is customary in e.g. science, religion, politics, economy, railways, sewage or other infrastructures that also have impact on social cohesion. Debates about the definitions of “art” or particular objects’ belonging to “art” emerge in this perspective as debates on the scope of applicability of the “regime of art”, as it may have significant social consequences. By outlining an infrastructural theory of art this paper seeks to fill a theoretical gap in a rather fragmented field of anthropology of art and to propose novel ways to deploy insights from anthropological engagements with infrastructure. Empirical data of this paper come from a five weeks fieldwork in Alaska.

O principal objetivo desta pesquisa foi a verificação de caminhos para o desenvolvimento dos trabalhos de preparação e de criação do ator. Os estudos sobre a \"Metáfora\" (Lakoff & Johnson) foi chave para relacionar alguns aspectos observados no ar manifesto com os trabalhos de preparação e criação, estimulando impulsos criadores e delineando campos de ideias para o desenvolvimento de treinamentos psicofísicos e improvisacionais. Como síntese de todo o processo de pesquisa, as distintas camadas \"sistêmicas\" (Vieira, 2006) do fazer teatral aglutinaram-se em um resultado cênico no qual os procedimentos investigados serviram de base para a criação. / The main goal of this research was to check ways to develop the preparation and the creation actor´s work. The metaphor studies (Lakoff &Johnson) was the key for a relationship between some aspects observed of the air manifest and the preparation and creation work, stimulating creators impulses and outline idea fields to develop a psychophysical and improvisational training. As a synthesis of the whole research process, the distinct \"sistemic\" layers (Vieira, 2006) of the theatrical composition agglutinated in a scenic result in which the procedures investigated assisted as a creation basis.

O presente estudo procura descrever os usos da voz nas encenações teatrais, colocando em relevo suas especificidades enquanto objeto sonoro, bem como as marcas deixadas na esfera acústica pela instância do sujeito da enunciação. Como metodologia de análise, contemplamos o arcabouço teórico da semiótica de filiação estrutural e francesa, de modo que buscamos uma primeira aproximação entre os processos de significação mobilizados pela voz do ator teatral e o modelo tensivo desenvolvido atualmente. Para chegar à parte empírica de nosso estudo, refletimos sobre as bases fundamentais da teoria, revisitando o debate sobre as definições de teatralidade contemporânea e, assim, sobre as possibilidades de análise da gestualidade vocal produzida no momento de atuação. Para a descrição de um corpus, selecionamos determinadas cenas a partir de duas elaborações cênicas diferentes, ambas concebidas por Antunes Filho, sobre uma mesma obra trágica, Medeia de Eurípides. Comparamos os usos da voz em relação às construções das personagens e aos seus posicionamentos nas situações dramáticas, observando desse modo as qualificações modais e passionais sugeridas pelas encenações. / This study tries to describe the uses of voice in theatrical performances, emphasizing their specificities as a sound-based object, as well as the imprints left in the acoustic field because of the urgency of the subject of enunciation. As an analysis methodology, we considered the theoretical framework of structural and French-based semiotics, in order to seek a closer relationship between the processes of meaning mobilized by the theatrical actors voice and the currently-developed tensive model. To reach the empirical part of our study, we considered the foundations of the theory, revisiting the debate on the definitions of contemporary theatricality, and therefore, on the possibilities of analysis of the vocal gestures produced at the time of the performance. For the description of a corpus, we selected certain scenes from two different scenic constructions, both devised by Antunes Filho, on the same tragic work, Medea by Euripides. We compared the uses of voice concerning the construction of the characters and their positioning in dramatic situations, thereby observing the modal and passionate qualifications suggested by the acting.

Esta pesquisa investigou a possibilidade da utilização de máscaras como um caminho pedagógico, facilitador e fomentador para o processo criativo do ator, propiciando a percepção do seu próprio processo de criação e os caminhos metodológicos adquiridos. Os estudos se apoiaram nas pesquisas pedagógicas de Constantin Stanislavski, Jacques Copeau, Jacques Lecoq e Armando Sérgio da Silva, estabelecendo identificações e fusões, ressignificando e ampliando - tudo o que pudesse vir a ser máscaras. Utilizando-se do jogo entre as \"máscaras\", a presente pesquisa teve como intuito promover improvisações e descobertas, que pudessem contribuir com a maneira de compreender e utilizar a ideia de \"máscaras\" na pedagogia teatral contemporânea. Além de amplificar e ressignificar o conceito de \"máscara\", também apresenta a ideia de se institucionalizar esses procedimentos como ferramenta pedagógica para qualquer prática teatral - seja ela o treinamento do ator, a construção de personagens ou a criação de um espetáculo teatral -, tanto para o autoconhecimento e evolução artística, como para a expansão da visão de mundo. / This research has investigated the possibility of the use of masks as a pedagogical, facilitator and stimulating way, for the actor\'s creative process, providing the perception of his own process of creation and the methodological approaches acquired. The studies were supported in pedagogical researches developed by Constantin Stanislavski, Jacques Copeau, Jacques Lecoq and Armando Sérgio da Silva, establishing identifications and mergers, resignifying and expanding - everything that could turn out to be a mask. Using the play provided by the \"masks\", the present study was aimed to promote improvisation and discoveries that could contribute with the way of understanding and using the idea of \"masks\" in contemporary theater pedagogy. In addition to amplify and resignify the concept of \"mask\", this research also presents the idea of institutionalizing these procedures as a pedagogical tool for any theatrical practice - be it for the actor´s training, characters\' building or creation of theatrical performance -, to self and artistic evolution and for the expansion of world view.

Esta dissertação busca mostrar as questões envolvidas no teatro de Sartre. Para tanto, partese de uma descrição da consciência em geral para atingir uma caracterização da consciência imaginante - é esta consciência que toma o objeto estético como tal, posto que tal objeto é um objeto imaginário. A partir dessa caracterização da obra de arte em geral, busca-se descrever a especificidade da obra de arte teatral, de forma a mostrar a formulação do gênero teatral proposto por Sartre, o teatro de situações, a maneira como sua descrição sobre o evento teatral lhe serve como recusa do teatro burguês e para a crítica da produção dramatúrgica de sua época, e como o teatro opera uma descrição da vivência humana concreta que a filosofia descreve de forma estrutural. / This dissertation aims at opening up questions involved in Sartre\'s theatre. Firstly, beginning with a description of the consciousness in general one comes to a characterisation of the imaging consciousness - the one that takes into account the aesthetic object as such, given that this is an imagined object. Secondly, considering this characterisation of the work of art in general one intends to point out the characteristics of the theatrical work of art. The elaboration of the theatrical genre proposed by Sartre, i.e., the theatre of situations, is a description of the theatrical event that allows him to refuse the bourgeois theatre and to criticise the dramaturgical production of his period. For the French philosopher, the theatre operates a description of the concrete human lived experience that philosophy can only describe in a structural way.

A proposta da presente pesquisa é a prática corporal da Eutonia como ferramenta de suporte para o trabalho do ator, exemplificado pelo Sistema de K. Stanislavski. Sua leitura permite a assimilação dos conceitos teóricos da Eutonia criada por Gerda Alexander e a compreensão dos resultados práticos, descritos através de um experimento com um grupo de atores em formação. O estudo realizado em uma etapa literária e outra vivencial demonstra as possíveis conexões entre Alexander e Stanislavski. Deste modo, algumas lacunas são preenchidas e novos instrumentos são conectados a antigos conceitos que se atualizam e vivificam na prática do ator do século XXI. / This research looks into the corporal practice of Euthony as a support tool for actors, exemplified by the system used by K. Stanislavski. It allows the assimilation of theoretical concepts of Euthony created by Gerda Alexander and the comprehension of practical results described by way of an experiment with a group of undergraduate actors. The studies, carried out in a literary stage and a practical one, demonstrate the possible connections between Alexander and Stanislavski. In this way some gaps are filled and new instruments are connected to old concepts which are updated experienced in practice by actors in the 21st century.

Fundamentado em modelos de análise produzidos pela semiótica greimasiana, este estudo da gestualidade sob o domínio teatral observa diferentes usos da expressão corporal, apresentados de maneira independente da manifestação verbal ou em simultaneidade. Nosso ponto de partida metodológico vem a ser a classificação das dimensões da comunicação gestual proposta por Algirdas Julien Greimas em \"Condições para uma semiótica do mundo natural (1970). Considerando as dimensões gestuais atributiva, dêitica, modal e mimética, contemplamos o plano do conteúdo organizado em níveis e patamares que descrevem e explicam os processos de significação, a partir do percurso gerativo do sentido. A fim de destacar a aplicabilidade das categorias, por meio das quais a gestualidade se define enquanto objeto semiótico, procedemos às análises de trechos selecionados de espetáculos teatrais, de acordo com os níveis discursivo, sêmio-narrativo e profundo ou, de maneira correlata, com o patamar missivo que, por sua vez, nos insere na tensividade, mote para os desenvolvimentos atuais da teoria. Nesse sentido, as espacialidades tensivas merecem ser evidenciadas, conforme a circulação das aberturas e dos fechamentos corporais é associada aos paradigmas da coerência e da consistência, necessários ao desvelamento da pessoa em seu espaço da significação. Nosso objeto de estudo se constitui em três espetáculos: Cravo, Lírio e Rosa (1996), Café com Queijo (1999) e Kelbilim, o cão da divindade (1998). Com essas montagens, o grupo Lume de Campinas desenvolve respectivamente três eixos no trabalho do ator: o corpo cômico, a mimese corpórea e a dança pessoal. / Based on the analytical model produced by Greimasian semiotics, this study of gestures in the theatrical domain looks at different uses of body language, presented independently of verbal manifestation or simultaneously. Our methodological starting point is the classification of the gestural communication dimensions proposed by Algirdas Julien Greimas in \"Condições para uma semiótica do mundo natural (1970). Taking into account the attributive, the deictic, the modal and the mimetic gestural dimensions, we contemplate the plan of content organized into levels and scales, which describe and explain the processes of meaning effects, from the generative path of meaning. In order to highlight the applicability of the categories, through which the gesture is defined as semiotic object, we proceed to the analysis of selected excerpts from theatrical performances, according to the discursive, semio-narrative and fundamental levels or, in a correlative way, to the missive level which, in its turn, inserts us in the tensivity, motto to the current developments of the theory. In this sense, the tensive spatialities deserve to be highlighted according to the circulation of body openings and closings, which is associated with the paradigms of coherence and consistency, necessary for the persons unveiling in its place of meaning production. Our study object is constituted by three plays: Cravo, Lírio e Rosa (1996), Café com Queijo (1999) and Kelbilim, o cão da divindade (1998). With them, Lume group from Campinas develops three axes in the actors work, respectively: the comic body, the bodily mimesis and the personal dance.

The scientific and socio-political dimensions of volcanic hazards have been realigned since the eruption of Eyjafjallajökull in 2010, and have highlighted the need for volcanic activity to be studied from interdisciplinary perspectives. By focussing on communication, adaptability and resilience, this research explains the links between hazard management and social constructivism. The research question asks how Iceland’s networked approach to managing volcanoes can be understood by analysing the development of communication channels between human stakeholders and non-human technical devices and systems. Fieldwork was conducted in both Iceland and the UK, and a mixed methods approach was used to engage with the network. Research methods consisted of semi-structured interviews, participant observations and archival research. Findings explain the evolution of knowledge exchange, the value of technical innovation, and the need for interactions between local, national and international stakeholders. The study concludes that actors are increasingly empowered by the use of participatory technologies within hazard management, and the development of collaborative engagements between stakeholder communities from scientific and socio-political backgrounds. This research is relevant as it illustrates how the adaptive capacity of hazard networks can be expanded, potentially influencing the approaches that are taken to manage volcanic hazards in less economically developed contexts. In addition, this study can encourage continued interaction between scientists, at-risk communities and the aviation industry in multi-hazard environments such as Iceland.

Les opportunités en matière de modélisation et de représentation numérique de territoire en 3D sont démultipliées par les évolutions dans les domaines de la cartographie, de l'infographie, de l'animation ou encore de la CAO/DAO. Dans ce contexte de foisonnement technologique, il a été maintes fois constaté un manque crucial d'études empiriques permettant d'évaluer les utilisations de même que les apports et/ou limites des dispositifs géonumériques 3D dans le champ de l'aménagement. C'est pourquoi une enquête ethnographique a été menée. en participant à la production et à l'utilisation de géovisualisations 3D aux côtés d'aménageurs et en contribuant au développement du champ professionnel associé. La participation à l'action permet d'expérimenter différents outils 3D ainsi que d'observer,d' analyser et de documenter leur production, de même que leurs utilisations. par différents acteurs (producteurs,présentateurs, public). Les études de cas menées dans divers contextes (projets routiers, de développement urbains, de parcs éoliens. PPRi. etc.) montrent les utilisations multiples et successives de maintes géovisualisations 3D. Au·delàdes principes de la Grounded Theory mobilisés pour exploiter les données empiriques, l'analyse repose sur le cadrethéorique de l'Actor-Network Theory ainsi que sur la notion d'objet intermédiaire afin de rendre compte des diverses utilisations des géovisualisations 3D, notamment en contexte collectif, collaboratif et de concertation. Au final, ce travail fournit des outils théoriques et des méthodes pour aborder les géovisualisations 3D et leurs usages et propose des pistes pour faire évoluer l'analyse des représentations spatiales. / Opportunities in terms of digital modeling and representation of territories in 3D have risen with the technological developments in the fields of cartography, infographics, animation and CAD. Within this flourishing technological context. the lack of empirical studies ollowing to evaluate the upsides and downsides of the uses of 3D geoferencedmodels has often been highlighted. Hence an ethnographie study has been conducted by participating in the production processes of 3D geovisualisations and contributing to their uses by urban planners as weil as to the development of the''3D" professional field (through communications, formations, articles, etc.). Taking part in planning projects has been used as a way of experimenting. observing, documenting and analyzing the uses of 3D georeferenced models by their producers. presenters and audiences. Case studies in various contexts {urban development, windfarms development, flood mitigation planning. etc.) show that 3D geovisualisations have myriad and heterogeneous uses. Empirical data have been processed using sorne of the Grounded Theory Principles. Actor Network Theory and the notion of "intermediary object'' allow to analyze the uses of 3D geovisualisations in collective and/or collaborative contexts. Finally. theoretical tools and methods to apprehend 3D geovisualisations and their uses are described and new perspectives on how to anlayse spatial representations are opened up.