Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 188-192).

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 188-192).

Thesis (Ph.D.)--Washington State University, May 2006. / Includes bibliographical references (p. 179-192).

Orientador(a): Wagner Francisco Araújo Cintra / Banca: Agnaldo Valente Germano da Silva / Banca: Luís Carlos Ribeiro dos Santos / Banca: Dalmir Rogério Pereira / Banca: Reynúncio Napoleão de Lima / Resumo: O grupo Sobrevento é um dos grandes expoentes do Teatro de Animação brasileiro e, em 2016, completou 30 anos de história conduzido por uma ideologia particular que preconiza a busca pelo constante desafio artístico. Por mais de duas décadas, o coletivo dedicou-se ao estudo de diferentes técnicas de manipulação de bonecos, com o intuito de reinventar seu teatro a cada espetáculo, e se tornou referência na arte da animação. Contudo, após 25 anos, passou a se dedicar ao Teatro de Objetos, vertente que utiliza o objeto puro, abandonando o boneco e o intuito de conferir-lhe vida. O presente trabalho propõe uma investigação da trajetória do grupo Sobrevento com o objetivo de evidenciar as motivações estéticas e ideológicas que causaram a transição do Teatro de Bonecos ao Teatro de Objetos. Para tanto, analisa a primeira década da companhia, abordando os principais aspectos que influenciaram sua formação e suas escolhas estéticas. Examina as técnicas utilizadas no decorrer da carreira do grupo, destacando o estudo da Manipulação Direta, inspirada no Bunraku, bem como as experiências realizadas com o Boneco de Luva Chinês e com o Mamulengo. A discussão sobre o abandono da animação na história da companhia ocorre por meio do estudo dos espetáculos São Manuel Bueno, Mártir (2013), Sala de Estar (2015) e Só (2016). À luz da trajetória do objeto no teatro moderno e contemporâneo... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Sobrevento theater group is one of the great exponents of the Brazilian Puppet Theater. In 2016, it has completed 30 years of history driven by a particular ideology that advocates the search for constant artistic challenge. For more than two decades, this group has dedicated itself to the study of different puppet manipulation techniques. Its intention has always been the reinvention of its own theater in each play, and it has become an important reference in the art of puppetry. However, after 25 years, the group began to explore the Theater of Objects, which uses the pure object, abandoning the puppet and the purpose of giving life to it. The present work proposes an investigation about the trajectory of Sobrevento group in order to highlight the aesthetic and ideological motivations that caused the transition from Puppet Theater to Theater of Objects. Therefore, it analyzes the first decade of the company, addressing the main aspects that influenced its formation and its aesthetic choices. All techniques handled during the group's career are considered, but there is further explanation about the study of Direct Manipulation, inspired by Bunraku, as well as the experiments with Chinese Glove-Puppet and Mamulengo. The discussion about the abandonment of puppetry in the company's history happens through the study of three plays, Saint Manuel Bueno, Martyr (2013), Living Room (2015) and Alone (2016). In the light of object trajectory in modern and contemporary theater... (Complete abstract click electronic access below) / Doutor

South Africa is a nation that was born from a struggle that can be said to have turned racial divisions and discrimination into a diversity of heritages. Thus, contemporary South Africa has become a country recreated in such a way that its people are able to embrace diversity freely. This research study aimed to provide insights into South Africa’s diversity in culture and linguistics that were moulded into a single song, the South African National Anthem. The research study aimed to determine the selected sample’s (Nelson Mandela Metropolitan University Staff and Students) responses to the representation of the South African National Anthem based on two specific performances. The research study aimed to determine how the two online videos affected the perceptions of NMMU Staff and Students of the South African National Anthem and South Africa as a brand. The research study aimed to determine how the two performances of the South African National Anthem under study were received by Staff and Students at NMMU. The study also aimed to highlight the similarities and differences in the sample’s responses, based on this reception. The selected YouTube videos under study are: SA anthem destroyed URL: http://www.youtube.com/watch?v=beg0-kMN3fM Ard Matthews ruins the SA national anthem URL: http://www.youtube.com/watch?v=fu6IG0Wx19w. An electronic questionnaire with both closed and open-ended questions was used to draw a conclusion regarding the selected sample’s perceptions of the South African National Anthem. Following the questionnaire results, a rhetoric analysis of the sample’s questionnaire responses was conducted. This text analysis and interpretation was conducted to gain insight into themes that were labelled based on the questionnaire responses, thus affecting perceptions of the sample and determining whether the South African National Anthem was perceived as a tool for division or unification.

‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.

This thesis uses graphic design to explore the experience of an individual attempting to bridge two countries’ distinctly different cultures: Iran and the United States. Each has a particular political relation to the other in history. I am using graphic design as a tool to compare specific and various aspects of the two cultures and how these aspects impact each other based on my personal experience. I use design to explore my place in between two cultures and as a way to make sense of the exchange or replacement of culture that I perceive. Another aspect of my thesis emphasizes how western influences and technology are altering or eradicating traditions in Iran. This thesis demonstrates collation and confrontation of cultural and social elements through the application of design to a set of culturally symbolic objects. The goal is to utilize graphic design tools to elevate awareness about illustrating the cultural and traditional aspects of the two countries. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-24T09:36:25Z No. of bitstreams: 1 Ricardo Assarice dos Santos.pdf: 1434727 bytes, checksum: 4730a0dedbbf9e1d836fe58c3addb6cd (MD5) / Made available in DSpace on 2018-01-24T09:36:25Z (GMT). No. of bitstreams: 1 Ricardo Assarice dos Santos.pdf: 1434727 bytes, checksum: 4730a0dedbbf9e1d836fe58c3addb6cd (MD5) Previous issue date: 2017-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / Created in 1945 in Rio Branco (AC) by Daniel Pereira de Mattos (1888-1958), the Barquinha is a highly complex and little studied religious movement that is influenced by black, white and amerindian religious matrices. Through the drinking of the Daime (ayahuasca), rituals of mediumistic trance, intense Christian devotion, altruistic ideals, and an ample marine and esoteric imagery, this ayahuasca line flourished in several ramifications after the death of its founder and, although discreet, has been gaining adherents of diverse brazilian localities and social contexts. The main objective of this work was to identify and present the history; the main religious influences and the fundamental rituals of the Barquinha line. In addition, the dissertation sought to point out and expand the main concepts used by the researchers of this religious movement, in order to foster some reflections previously presented by them. For this, a systematic bibliographical survey was carried out on the Barquinha literature, which contents had been analyzed and organized in four chapters, in the light of the concepts like symbolic anthropology, from Clifford Geertz, and cultural hybridism, from Peter Burke. In addition to updating the literature on the timeline of this religious movement and identifying its main rituals and religious influences, it was possible to recognize that most of the authors who study Barquinha use the concepts of syncretism and eclecticism to define this religious movement. It was possible to note that most of the authors emphasize the use of ayahuasca in their reviews, not reliably highlighting the influence of esotericism on the symbolic constitution of this religious movement. Finally, through the concept of cultural hybridization, it was possible to broaden the understanding of the constituent processes of this religious movement / Criada em 1945 em Rio Branco (AC) por Daniel Pereira de Mattos (1888-1958), a Barquinha é um movimento religioso altamente complexo e pouco estudado que tem influência de matrizes religiosas negras, brancas e ameríndias. Através da beberagem do Daime (ayahuasca), rituais de transe mediúnico, intensa devoção cristã, ideais altruístas, e um amplo imaginário marinho e esotérico, esta linha ayahuasqueira floresceu em diversas ramificações após a morte de seu fundador e, apesar de discreta, vem ganhando adeptos de diversas localidades brasileiras e contextos sociais. O principal objetivo deste trabalho foi identificar e apresentar a história, as principais influências religiosas e os rituais fundamentais da linha da Barquinha. Complementarmente, a dissertação buscou apontar e ampliar os principais conceitos utilizados pelos pesquisadores deste movimento religioso, a fim de fomentar algumas reflexões apresentadas previamente pelos mesmos. Para tal, foi realizado um levantamento bibliográfico sistemático acerca da literatura da Barquinha, cujo conteúdo fora analisado e organizado em quatro capítulos, à luz dos conceitos de antropologia simbólica, de Clifford Geertz, e do hibridismo cultural de Peter Burke. Além de atualizar a literatura acerca da linha do tempo deste movimento religioso e identificar seus principais rituais e influências religiosas, foi possível reconhecer que a maioria dos autores que estudam a Barquinha utilizam os conceitos de sincretismo e ecletismo para definir este movimento religioso. Foi possível notar que a maioria dos autores enfatiza o uso da ayahuasca em suas análises, não destacando, de maneira fidedigna, a influência do esoterismo na constituição simbólica deste movimento religioso. Por fim, através do conceito de hibridização cultural, foi possível ampliar a compreensão dos processos constituintes deste movimento religioso

This article explores the roles that porcelain portraits on grave markers play in identity construction and performance. Through semi-structured interviews, the biographies of five individuals are examined and then compared to determine norms or differences regarding their views on sepulchral photographs as a form of memorialization. While the decision to display a gravestone portrait could simply be a long-standing cultural practice, this interpretivist study indicates that the role of photo-tombstones is negotiated through a hybridization process involving religious syncretism, cultural convergence, or familial expectations. The role of photography as material culture is also examined, both as a metonymic replacement for the deceased and for its links to memory recall and remembrance.

Thesis submitted in partial fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology / In today’s world of mass production, many traditional craft expressions are being forgotten and techniques are getting lost. Thereby, this research proposes to deal with selected traditional African textile design and Chinese folk (fabric) craftwork technique, in order to create unique children’s products. As a designer of Chinese origin studying in South Africa, I have been drawn to Africa’s traditional material culture. I have designed some interior products for children, which combined two different traditional cultures; African and Chinese. My research focuses on the importance of cultural specificity amidst globalisation trends that affect design, and how the development of a range of design products based on the fusion of the two different traditional craft techniques can effectively be marketed locally and in China. The research methodology is exploratory; field work was conducted in China and South Africa and the theoretical component dovetails with the practicum to inform an iterative process of design, development, and prototype production.