Abstract It¡¦s a radio revolution, Has always been absolute leadership - the China Broadcasting and the traffic professional radio stations, beginning at the third quarter of 2009. For the first time, they stand behind the BEST RADIO (Taipei best 98.9, Taichung best radio 90.3, Hualien best 93.5) according AC Nielsen survey of audio-visual, listening to the population and total listening time is also lagging behind. The writer Study on the long-term observation of engaged in full-time research and development of broadcasting, This made observation of visions and recommendations. Researches have shown, being able to follow the rules of Format radio, at the time of operation, step by step without hesitation, the commercially successful is not too difficult. However, we also feel to, AC Format broadcasting company will program production simplified for digital system, is from which lost some human nature, deny audience self-control of rights. And changed artist characteristics. Broadcasting company decided has social of collective interest and collective hobby. Format radio told audience to listening to of is what, and what they should like. This is worth discussion of issues.

This report offers analysis of two contemporary zombie apocalypse novels that imagine the future for the United States. By considering how Max Brooks’ World War Z and Colson Whitehead’s Zone One participate in critical conversations regarding postmodernity, this report reveals that these authors use the zombie apocalypse narrative to express concerns about social and cultural pathologies, as well as possibilities for utopian reform in the twenty-first century. By imagining the zombie horde as the radical other, the novels engage in discussions regarding racial and class inequalities in contemporary America. Ultimately, my analysis of these two texts reveals a disturbing tendency to imagine the zombie apocalypse as the solution to America’s persistent social and political dilemmas. / text

This commentary supports my PhD composition portfolio. The composition processes of each piece are related to my central research questions, which concern the creation of new sounds using overtone-based scales and extended instrumental techniques. I have developed four main conceptual composition themes and these are represented in the thirteen compositions in the portfolio. In this commentary I consider how each composition was developed around these conceptual themes.

The following Master’s Thesis aims to describe the social and intellectual state of Austrian and German society after World War II through the perspective of two internationally renowned modern playwrights - Peter Turrini and Rainer Werner Fassbinder. As part of the Postmodern movement, the two authors share the view that “modern man” is in a state of self-alienation and strive, through exaggeration and an emphasis on travesty, to bring the intellectually and socially impoverished condition of modern society on stage. Both plays analyze the discrepancy between Europe’s democratic spirit in the mid-sixties and the mentality of everyday individuals (“Katzelmacher”; 1968), as well as the institutional-representatives nearly forty years later (“Ich liebe dieses Land”; 2001), who continue to consider foreigners as a threat and devalue those individuals as outsiders and marginal figures.

This dissertation seeks to read contemporary films as symptoms of the societies they are made in, mainly contemporary Western societies, which I argue to be subtly but intensely homophobic. Films imagine/represent their own subject matter in terms of symbolic, encoded scenes. The decoding for the films I chose occurs through a use of very specific, heavily coded spaces as visualisable shorthand for a complex of homophobic reactions. Filmic texts do not have to have denotative non-heterosexual elements to be termed 'queer'. These texts become queer often in their reception by non-heterosexual audiences. In 'queering' these spaces and films, I extensively make use of tools of social geography, film studies and cultural studies The films I chose are not random choices, but they include certain themes that I believe to reflect the subtle homophobia in our societies. In the first chapter, Geographies of Cruising, I analyze the representation of streets and the leading character's cruising on the streets in Eyes Wide Shut (Stanley Kubrick, 1999). The second chapter, Geographies of Effeminacy, concentrates on the denial of space to non-masculine men exemplified in The Talented Mr. Ripley (1999). In the third chapter, Geographies of Exclusion, the representation of a cellar in Mystic River (Clint Eastwood, 2003) serves to display the links between paedophilia and homosexuality. The fourth and final chapter, Geographies of Abuse and Rape, is an exercise on “out of placeness” and examines the connections made between male/male rape and homosexuality in I’ll Sleep When I’m Dead (Mike Hodges, 2003). The last chapter is an extended reading of Brokeback Mountain (Ang Lee, 2005), in which the tension between closed spaces and wild spaces leads to a discussion of contemporary representation of homosexuality and a summary of the chapters.

This collection of contemporary fiction explores a diverse set of themes and characters, and utilizes a variety of stylistic elements.

No description available.

Land Incorporated is a practice-based investigation into the relation between the land, the body and its representation. The textural and haptic nature of light, philosophical notions of reflection and the embodied and phenomenological experience of movement through the landscape are explored via mediums of incised paper, etched mirror and line drawing. Studies in philosophy, film theory and anthropology into the structure of vision in space, the touch of the eye upon an object and the haptic nature of the mark that in-scribes a surface, have illuminated bodily perceptual relationships to the land and informed an understanding of 'inscription' that incorporates mobile narratives of the artist and the viewer.

Research Doctorate - Doctor of Philosophy (PhD) / A personal experience of migration provides the content for this exegesis research and exhibition titled A Long Road Home. Narratives of identity, displacement and loss, common to the migrant experience are translated as concept and inspiration for this research. Exploring an attachment to my cultural past highlights a disrupted sense of place, which is examined within the context of personal experience. Movement as a condition of migration is a developed theme in this thesis, which is described through a shared sense of place between the Northern and Southern hemispheres, Scotland and Australia. The exhibition A Long Road Home is developed from studio-based research and journeys into past and present landscapes over a period of three and a half years. Accompanying this exegesis is an exhibition of four components: Painting and drawing, a book of self-published poems and memories, after before white rabbits, 2009 [appendix i]. A self-published book of documentary photography of Glasgow’s East End, 2007, the dead end of culture, 2009, [appendix ii]. This exegesis and exhibition component employs mnemonic notations to explore memory as [re] remembering to conceptually underpin this thesis and also to prompt an emotive response. As an abstract concept, memories encompass an itinerant history that is teased from beneath the surface of the skin to extend the narrative of personal experience. after before white rabbits, a series of memories and recollections, reinterpret the past to inform the present, suggesting mindscape as an alternate landscape. A series of mnemonics invite the reader to participate on a journey that is in a continuous state of flux and transformation that moves between one horizon and another.

Orientador: Kathya Maria Ayres de Godoy / Banca : Karen Astrid Müller Pinto / Banca : Milton Terumitsu Sogabe / Resumo: O objetivo desta pesquisa é fundamentar como os Princípios da Eutonia e os Fatores do Movimento de Laban se conectam em um processo criativo da dança contemporânea, não visando a conclusão de uma obra artística, mas proporcionando uma reflexão a respeito do processo criativo e da articulação de duas teorias. A pesquisadora/dançarina investiga os Princípios da Eutonia (pele- tato consciente, espaço interno e volume corporal, ossos - transporte, contato consciente e movimento eutônico) e os Fatores do Movimento (peso, espaço, tempo e fluência) e estabelece suas conexões durante o processo criativo da dança. Utiliza o elemento pedra com o intuito de alcançar a simbiose Pedra/Osso, possibilitando o encontro de novas células de movimentos expressivos que são realizadas com o equilíbrio do tônus e com menos desgaste de energia. Para tanto foi adotado a metodologia do estudo de caso: uma investigação das duas teorias em que a pesquisadora vivencia e interpreta os seus movimentos criativos realizados nos laboratórios de dança, definindo quatro momentos de Captura e posteriormente aplicando-os em três colaboradoras para fidedignar o processo criativo da dança em particular. Dessa maneira a pesquisadora justifica a importância do estudo das duas teorias, Princípios da Eutonia e Fatores do Movimento, e das conexões estabelecidas entre elas, para um processo criativo da dança contemporânea como meio de alcançar o movimento qualitativo e expressivo. / Abstract: The purpose of this research is to determine how the Principles of Eutonie and the Laban Movement Factor connect to a creative process of contemporary dance. The focus is not on the artistic work but promotes a reflection on the creative process and in the interaction of the two theories. The researcher/dancer investigates the Principles of Eutonie (skin - consciously touch, internal space and corporal volume, bones - transport, consciously contact and Eutonic movement) and stabilizes its connections during the process of creative dancing. The researcher uses the rock element with the aim to achieve the conjunction of Rock/Bones giving the possibility to meet new cells of expressive movements that are realized with balance of tonus and less use of energy. The case study methodology was used to reach these results: an investigation of the two theories in which the researcher experienced and interpreted the creative movements realized during dance labs, defining four capture moments and applying them to three co-workers to sustain the creative dance in particular. In this way, the researcher justifies the importance to study the two theoriesd: the principles of Eutonie and the movement Factor, and the connection between them for a creative process of contemporary dance as a way to reach the expressive and qualitative movement. / Mestre