As a practice, archiving preserves and protects information that would otherwise be lost, offering important resources to researchers to interpret, chart and define what the archives represent, allowing the public to reflect on records held within them. Archiving is open to many disciplines, organisations and institutions with distinctions made in the care and organisation of records maintained under these disciplines. In terms of animation, archiving finished films on various formats is an established practice, and researchers interpret those films within their own research, but the animation production materials, used in the creation of the films are not privy to an established form of archival practice. Whilst these archives – or collections of materials do exist, they are archived without any unified, peer reviewed specialist interpretation of the care and organisation of the collections using a taxonomy that reflects the unique aspects of animation production. There is a clear need to establish the archiving of animation production materials as a distinct practice with its own taxonomy and philosophy. Examining the current practices from other forms of archiving that are applied to animation production collections and developing a distinct model of practice from these models can achieve this. Once archiving animation materials is an established practice and data is managed in a way that reflects the acknowledges the distinctive aspects of animation as a form, data and records created from the collections can then be used as empirical evidence to enhance the study of animation. This thesis begins that work by developing and applying a model of practice, using a collection of previously uncatalogued materials to explore the possible ways in which an animation production archive would best be used as primary research material. The collection is used to conduct an investigation into British children's television animation. As a form, animation is often neglected and often lost in semantics as a children's genre and within that neglect is a disregard even within the study of children's programming itself, a body which would claim to take children's televisual content seriously. Even bodies such as the Office of Communications (Ofcom) and the British Audience Research Board (BARB) have no definition of what an animated television show for children is, and yet continues to provide data with this absent definition present in their research. By using a collection of animation materials to create a taxonomy and studying the records created whilst using this taxonomy it is possible to define the form of children's television animation and in doing so prove the use of a collection of animation materials as a model of research and the practice of animation archiving as worthy of its own district identity, philosophy and practice which can continue to be developed for all types of animation.

The topic of my master's thesis is the musical Cabaret, written by the original writer of the book Berlin Stories by Christopher Isherwood. The Cabaret musical has been created through collaboration of John Kander (music), Fredd Ebb (lyrics) and Joe Masteroff (libretto). At the beginning of my thesis I mention history of the cabaret and its development. Then I try to explore the origin of the cabaret in Paris, its birthplace, and also in Germany and in Bohemia. Another topic is the history of the musical, its principles and operations. In the next part of my thesis I analyze theatrical terminology which is closely associated with the Cabaret. In the practical part, I solve questions of the musical's storyline; this part also includes solutions to every piece of the story-pictures and also my own custom concept of set design and a space. The thesis also includes inspirational materials that assisted me to find the final solution.

O principal objetivo deste trabalho é, primeiramente, o levantamento de versões brasileiras para canções de Bob Dylan e, posteriormente, a análise das letras dessas versões. A intenção é compreender como os compositores brasileiros fizeram a leitura do compositor americano. O resultado mostra um quadro com 46 versões, realizadas no período de 1968 a 2008, que se referem a três períodos da obra de Bob Dylan, antes, durante e depois do que o biógrafo Robert Sheldon denominou Primeiro Ciclo Rock. Os dados permitem separar dois grandes grupos de compositores brasileiros: um contém aquelas versões feitas a partir dos álbuns pertencentes ao Primeiro Ciclo Rock de Dylan, gerando a estatística de mais de 52% dos casos, e o outro contém versões que focaram nas outras fases do músico. / The main purpose of this research was to collect Brazilian versions of Bob Dylan’s songs and analyze both Portuguese and English lyrics, searching for evidences on how Brazilian songwriters have interpreted Dylan’s work in their cultural context. Results show a table with 46 Brazilian versions made from 1968 to 2008. They were analyzed according to what the biographer Robert Shelton called Rock Cycle. Statistics show more than 52% of those versions referring to pre-rock cycle and rock cycle, aiming the musician’s production from 1963 to 1965, mainly. This paper analyses Brazilian version lyrics in comparison to original lyrics.

O presente trabalho tem como objetivo compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango e I Want You) e baseada nas abordagens adotadas pelos mesmos, compor uma versão de uma canção do vasto repertório dylaniano. A partir disso, procurei traçar os rumos que levaram ao primor das três versões Negro Amor, Romance no Deserto e Tanto, focando não apenas na mera tradução, mas na transposição para a língua portuguesa brasileira da lírica dylaniana mantendo para tal o formato da canção. As canções, apresentadas na ordem cronológica do lançamento das versões, são cotejadas com suas respectivas originais e os panos de fundo dos quatro versionistas, procurando analisar o caminho que cada um trilhou para chegar a sua interpretação. Ao final, tendo como enfoque as abordagens colhidas, apresento uma versão de própria lavra de uma canção do cancionista americano. / The present work aims to trace the approaches which led to the perfection of Negro Amor, Romance no Deserto and Tanto, three versions to songs of singer-songwriter Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango and I Want You respectively) e, focusing not merely on translation, but in the transposition of Dylan’s lyric into Brazilian Portuguese in which the song format has been maintained intact. The songs, presented in the chronological order of the versions, are collated with their corresponding originals and backgrounds of the four Brazilian composers, looking to analyze the way in which each one of them was able to reinterpret a Dylan song. At the end, taking into account the approaches gathered along this study, I present my own version of a Bob Dylan song.

O principal objetivo deste trabalho é, primeiramente, o levantamento de versões brasileiras para canções de Bob Dylan e, posteriormente, a análise das letras dessas versões. A intenção é compreender como os compositores brasileiros fizeram a leitura do compositor americano. O resultado mostra um quadro com 46 versões, realizadas no período de 1968 a 2008, que se referem a três períodos da obra de Bob Dylan, antes, durante e depois do que o biógrafo Robert Sheldon denominou Primeiro Ciclo Rock. Os dados permitem separar dois grandes grupos de compositores brasileiros: um contém aquelas versões feitas a partir dos álbuns pertencentes ao Primeiro Ciclo Rock de Dylan, gerando a estatística de mais de 52% dos casos, e o outro contém versões que focaram nas outras fases do músico. / The main purpose of this research was to collect Brazilian versions of Bob Dylan’s songs and analyze both Portuguese and English lyrics, searching for evidences on how Brazilian songwriters have interpreted Dylan’s work in their cultural context. Results show a table with 46 Brazilian versions made from 1968 to 2008. They were analyzed according to what the biographer Robert Shelton called Rock Cycle. Statistics show more than 52% of those versions referring to pre-rock cycle and rock cycle, aiming the musician’s production from 1963 to 1965, mainly. This paper analyses Brazilian version lyrics in comparison to original lyrics.

O presente trabalho tem como objetivo compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango e I Want You) e baseada nas abordagens adotadas pelos mesmos, compor uma versão de uma canção do vasto repertório dylaniano. A partir disso, procurei traçar os rumos que levaram ao primor das três versões Negro Amor, Romance no Deserto e Tanto, focando não apenas na mera tradução, mas na transposição para a língua portuguesa brasileira da lírica dylaniana mantendo para tal o formato da canção. As canções, apresentadas na ordem cronológica do lançamento das versões, são cotejadas com suas respectivas originais e os panos de fundo dos quatro versionistas, procurando analisar o caminho que cada um trilhou para chegar a sua interpretação. Ao final, tendo como enfoque as abordagens colhidas, apresento uma versão de própria lavra de uma canção do cancionista americano. / The present work aims to trace the approaches which led to the perfection of Negro Amor, Romance no Deserto and Tanto, three versions to songs of singer-songwriter Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango and I Want You respectively) e, focusing not merely on translation, but in the transposition of Dylan’s lyric into Brazilian Portuguese in which the song format has been maintained intact. The songs, presented in the chronological order of the versions, are collated with their corresponding originals and backgrounds of the four Brazilian composers, looking to analyze the way in which each one of them was able to reinterpret a Dylan song. At the end, taking into account the approaches gathered along this study, I present my own version of a Bob Dylan song.

O principal objetivo deste trabalho é, primeiramente, o levantamento de versões brasileiras para canções de Bob Dylan e, posteriormente, a análise das letras dessas versões. A intenção é compreender como os compositores brasileiros fizeram a leitura do compositor americano. O resultado mostra um quadro com 46 versões, realizadas no período de 1968 a 2008, que se referem a três períodos da obra de Bob Dylan, antes, durante e depois do que o biógrafo Robert Sheldon denominou Primeiro Ciclo Rock. Os dados permitem separar dois grandes grupos de compositores brasileiros: um contém aquelas versões feitas a partir dos álbuns pertencentes ao Primeiro Ciclo Rock de Dylan, gerando a estatística de mais de 52% dos casos, e o outro contém versões que focaram nas outras fases do músico. / The main purpose of this research was to collect Brazilian versions of Bob Dylan’s songs and analyze both Portuguese and English lyrics, searching for evidences on how Brazilian songwriters have interpreted Dylan’s work in their cultural context. Results show a table with 46 Brazilian versions made from 1968 to 2008. They were analyzed according to what the biographer Robert Shelton called Rock Cycle. Statistics show more than 52% of those versions referring to pre-rock cycle and rock cycle, aiming the musician’s production from 1963 to 1965, mainly. This paper analyses Brazilian version lyrics in comparison to original lyrics.

Introdução: Os crustáceos ocupam o quarto lugar em volume de captura no mundo e o seu elevado valor comercial, os tornam relevantes em relação ao montante financeiro gerado pela atividade pesqueira. Atualmente, a garantia da qualidade é requisito para a permanência no mercado, sendo exigida dentro de especificações previamente estabelecidas, tanto pelas autoridades sanitárias brasileiras como dos países para os quais o pescado é exportado. Objetivo: Caracterizar a qualidade dos camarões sete-barbas desembarcados na região Metropolitana da Baixada Santista, visando a segurança alimentar e a sustentabilidade da cadeia produtiva e, a partir do método do índice de qualidade (QIM), desenvolver um protocolo de avaliação do frescor para o camarão marinho Xiphopenaeu kroyeri inteiro armazenado em gelo. Métodos: Após o levantamento dos principais pontos de desembarque do camarão sete-barbas na região Metropolitana da Baixada Santista, SP., considerando a produção e frota pesqueira; realizou-se a caracterização da qualidade do camarão desembarcado na região pela determinação da biometria e dos parâmetros físicos, químicos e microbiológicos regulados (pH, bases nitrogenadas voláteis totais (BNVT), trimetilamina (TMA), residual de dióxido de enxofre, mercúrio e pesquisa de Staphylococcus aureus e Salmonella spp). Foi realizada a determinação instrumental de cor e textura; a quantificação das substâncias reativas ao ácido tiobarbitúrico (TBARS), as contagens de coliformes totais e termotolerantes, de clostrídios sulfito redutores e testes sensoriais de aceitação. Para otimizar o protocolo de avaliação do frescor do camarão X. kroyeri armazenado em gelo, com e sem o uso de sulfito, foram conduzidos ensaios de vida útil empregando-se as análises física e químicas (pH, BNVT, TMA, TBARS e aminas biogênicas), microbiológicas (S.aureus, Salmonella spp, coliformes totais, bolores e leveduras, contagens padrão de bactérias heterotróficas aeróbias psicrotróficas e mesófilas) e testes sensoriais, onde se utilizou o protocolo elaborado. Resultados: A análise global dos parâmetros de qualidade de 20 desembarques mostra que os camarões apresentavam-se em desacordo com os limites propostos pelo Regulamento de Inspeção Industrial e Sanitária de Produtos de Origem Animal, embora atendessem aos padrões microbiológicos do Ministério da Saúde e, em alguns casos, foram qualificados sensorialmente como muito bons. Indicando a necessidade de adequação dos limites estipulados para os parâmetros físico e químicos nacionais vigentes para o consumo do camarão sete-barbas. Os padrões de coloração para a espécie parecem bem promissores, mas devem ser mais estudados, frente a gama de fatores que afetam a mesma. A rejeição sensorial do produto sem sulfito ocorreu primeiro, pelo escurecimento do cefalotórax do camarão (melanose) no 2° dia de armazenamento em gelo, tanto para o produto cru como para o cozido. A eficiência do uso de sulfitos, em solução a 1,25 por cento , na conservação do camarão foi indicada pela rejeição sensorial que ocorreu com 3 ou 4 dias e foi determinada pela presença de odores não característicos (amoniacal, ácido e/ou sulfídrico) no camarão cozido, os quais apresentaram correlação com o período de armazenamento em gelo (r= 0,70; p < 0,05). O limite residual de dióxido de enxofre em camarões provenientes de pescas longas (3 a 10 dias) apresentou-se sempre acima do limite permitido pela Agência Nacional da Vigilância Sanitária, confirmando que o uso do metabissulfito de sódio para retardar o aparecimento da melanose, deve ser cauteloso, com vistas a não causar prejuízos à saúde do consumidor. A regressão linear dos parâmetros sensoriais propostos no protocolo QIM (cor, odor, melanose, aderência do cefalotórax ao corpo e aderência da carapaça) mostrou a correlação dos mesmos com o período de estocagem em gelo, tanto para os camarões do controle, como para os tratados com sulfito. Conclusão: Com vistas à classificação de um lote de camarão sete-barbas como aceitável para o consumo são sugeridos os seguintes limites: pH 7,7; BNVT 35 mg.100 g -1 de músculo; firmeza muscular (entre os 2 primeiros segmentos da cauda) > 6 N, sendo desejável valores superiores para o camarão recém desembarcado. Há necessidade de melhorias nas práticas a bordo das embarcações pesqueiras. O protocolo QIM para o camarão X.kroyeri inteiro e conservado em gelo, consiste de 5 parâmetros e seus descritores, os quais somam 11 pontos de demérito e pode ser utilizado em camarões tratados ou não com sulfitos / Introduction: Crustaceans occupy the fourth place in world capture volume and their high economic value makes them relevant fishery activity in the market share. Nowadays, quality assurance is a mandatory requirement to be kept in market, due specific established requirements from national sanitary authorities or from imported countries. Objectives: Characterize the quality of the seabob-shrimp landed in Santos, SP (BR), to food security and sustainability of supply chain and, using the quality index method (QIM) to develop a protocol for freshness evaluation of Raw whole Xiphopenaeus kroyeri shrimp stored on ice. Methods: After the assessment of the main landing points of the seabob-shrimp in the metropolitan area of Santos, SP (BR), considering the production and shipping fleet; the characterization of the shrimp quality landed in the region was carried out by biometry determination and physical, chemical and regulated microbiological parameters (pH, total volatile basic nitrogen (TVB-N), trimethylamine (TMA), sulfur dioxide residue, mercury, S. aureus and Salmonella spp,). Instrumental determination of the color and texture, substances thiobarbituric acid reactive quantification (TBARS), total and fecal coliforms counts, Clostridium sulfide reductors and sensory acceptance tests were also performed. To optimize the protocol for the evaluation of ice stored X. kroyeri shrimp freshness, treated or not with sulfite, trials of shelf life were conducted using physical and chemicals analyzes (pH, TVB-N, TMA, TBARS and biogenic amines), microbiological (S.aureus, Salmonella spp, total coliforms counts, molds and yeasts, Mesophilic and Psychrotrophic Bacteria) and sensory analysis, where established protocol was used. Results: Overall analysis of the quality parameters of 20 landings has shown that the shrimps were in disagreement with limits proposed by the Regulation of Industrial and Sanitary Inspection of Animal Products, although the microbiological standards requirements of the Ministry of Health were attended and, in some cases, were sensorially qualified as \"very good\". This implies the necessity of physical and chemical parameters adequacy for the current national seabob-shrimp consumption. The staining patterns for the species look very promising, but should be further studied, since the great range of factors that affect it. The sensory rejection of products without sulfite occurred first with a darkening of the shrimp carapace (melanosis) in the 2nd day of storage on ice, as much to the crude product as cooked one. The efficiency of the sulphites, in solution at 1.25%, in the seabob-shrimp conservation was indicated by the sensory rejection that occurred in 3 or 4 days and was determined by the presence of uncharacteristic odors (ammonia, acid and/ or hydrogen sulfide) in cooked shrimp, that showed correlation with ice storage period (r = 0.70, p < 0.05). Results of residual sulfur dioxide in shrimps from long fisheries (3 to 10 days) were always above the limit allowed by ANVISA, which confirms that the usage of sodium metabisulfite to delay the onset of melanosis should be cautious to avoid consumer health. The linear regression of the parameters proposed in the protocol QIM (color, odor, melanosis, adhesion of the cephalothorax and of the carapace to the body) showed a correlation between the period of storage on ice for both, control shrimps and treated with sulphite. Conclusion: In order to classify a batch of seabob-shrimp as acceptable for consumption the following limits are suggested: pH 7.7; TVB-N 35 mg.100 g-1 of muscle; muscle firmness (between the first and second segment of tail) > 6 N, with higher values for freshly landed shrimp. It is necessary to improve practices onboard of fishing vessels. The Quality Index protocol for shrimp X. kroyeri \"in natura\" consists of five parameters and their descriptors, with total 11 demerit points and can be used in shrimps treated or not with sulfite

Opposed to the repressive socio-economic political climate that resulted in the impoverishment of masses of Jamaicans, the Jamaican Rastafarians developed a language to resist societal oppression. This study examines that language--Dread Talk--as resistive language. Having determined that the other variations spoken in their community--Standard Jamaican English and Jamaican Creole--were inadequate to express their dispossessed circumstances, the Rastafarians forged an identity through their language that represents a resistant philosophy, music and religion. This resistance not only articulates their socio-political state, but also commands global attention. This study scrutinizes the lexical, phonological, and syntactical structures of the poetic music discourse of Dread Talk, the conscious deliberate fashioning of a language that purposefully expresses resistance to the political and social ideology of their native land, Jamaica.

One of the most compelling contemporary Native artists whose work challenges assumptions about Native art is Bob Haozous, who has been creating socially conscious art since 1971. He is known for his monumental steel structures; simplified visual language, controversial subject matter, and ironic humor that engages and sometimes enrages the viewer. Haozous faults contemporary American Indian art as a commodity for the dominant consumer culture, stating, "Indian artists are just glorified interior decorators." This statement reflects the market norm that Native art must embody meaningless stereotypes of Indian culture and must function in the art and culture system in order to be commercially viable.Haozous's work challenges these assumptions about Native art and, for the most part, operates outside of this system. Most of Haozous's work offers the viewer a cultural critique, one that some might consider ideologically dangerous: dangerous because it questions the status quo, dangerous because it exposes the dominant culture from the point of view of the margin, and dangerous because it is in a permanent state of ambiguity, perpetually liminal. Often his work demonstrates borders, borderlands, or liminal places, both ideological borders and physical borders. The emotional affects of Haozous's art on the viewer range from discomfort to anger, from indifference to infuriated. Given the fact that much of his work is public art, it is broadly seen and many viewers can not ignore the dialogue that takes place in his art.I examine how Bob Haozous's art depicts and critiques issues such as cultural assimilation, Indian identity, genocide, loss of language, and destruction of the earth, using humor and irony or trickster discourse, as a part of his visual language. What I propose in this dissertation is that Haozous's concept of "indigenous cultural dialogue," as expressed in his art, using visual and written language with trickster traces, provides a critical language with which to discuss Native art, cross culturally. Furthermore, that the recognizable element that can be use in the critical discussion or examination, is tricksternot trickster in corporeal form, but in subtle or obvious uses of humor or irony or in trickster's reversal of ideas.