abstract: You Are Here: A choreographic memoir exploring anxiety in the YouTube generation is an evening-length performance which began as an interdisciplinary exploration of the therapeutic properties of creative writing and creative movement. Throughout the creation of this performance, the choreographer engaged in self-reflection from which arose the themes of anxiety, the Internet, and identity. As a result of this experience, she reached conclusions regarding her personal voice and agency, interdisciplinary art as therapy, the importance of dance as a coping mechanism in digital cultures, and a definition of the therapeutic process of choreographic memoir. / Dissertation/Thesis / Masters Thesis Dance 2017

How do participants in communities of play centered around digital games engage with history? The historiographic influences of ludic form have been closely scrutinized in recent years, but little attention has been paid to the digital cultures—to the communities of play— which center the discussion and play of these historical games. My study aimed to closely examine one such community centered around the grand strategy game Crusader Kings III, released by Paradox Interactive in 2020. I use discourse analysis together with grounded theory to examine the game Crusader Kings III alongside two primary sites found on reddit and Paradox Interactive official forum. Chapter 1 provides the literature review alongside the project's methodology, and chapter 2 analyzes the artifact at the center of the study—Crusader Kings III itself. Chapter 3 moves to examine the first major site, the r/CrusaderKings subreddit, and presents the heuristics developed to identify historical discourse alongside the primary discursive genres involved. Chapter 4 focuses on the second major site, the Paradox Interactive official forum, and places the game and community in a temporal context in order to explore how the cyclical and iterative nature of the Games-as-a-Service model acts as a new mode of game production that shapes historical discourse and historiographic consciousness in the community. Chapter 5 then revisits the research questions at the heart of this study, discussing the dominant discourses of historioludic critique and imaginative (a)historical roleplay narration which weave history into play and play discourse. Finally, I present the synthesis of each chapter's methodological work, a form of discourse analysis—historioludic discourse analysis—that operationalizes historical game studies' grammars of form into those of mode within the assemblage of play.

The present work explores my practice as a photojournalist researching anthropological issues in the Muslim world. I use the Hawzas, the Muslim Shi’a seminaries, as my case study to invite a visually informed approach to the human sciences, and promote a practical usage of aesthetics. Because of the dramatic disproportion between socio-cultural relevance and under-representation, the Hawzas offer an extremely valuable opportunity to research issues of Orientalism and Orientalist visual archives. By questioning my own fieldwork practice alongside the visual signification of the Hawzas, I reconnect the pre-production to the post-production phase, and encompass within it a shared outlook issues of both the Real and the represented. I posit the photograph within wider multimedia and multi-audience practices as a stand-alone communicative device and part of a montage to assess its communicative features in relation to the verbal as a caption, and to the visual, in montage. Through this, I distinguish a phenomenological framework of analysis to urge a radical rethinking of personal and social agencies, and suggest the notion of communicative hubs for today’s globalised identities. I evince the extent to which the digital is reshaping forms of visual-led and multimedia production, knowledge distribution and media consumption to finally contextualise the photograph as ‘semantics without ontology.’ I conclude by advocating my ideas of the ‘Meta- Image’ and ‘Public Cultures 2.0’ as two integrated formats for visual-led communication, digital media practice, social engagement and public impact as specifically addressing Muslim cultures.

[pt] Pesquisou-se as práticas culturais dos estudantes dos cursos de licenciatura da UFRJ com o objetivo de verificar a hipótese de que as variáveis nas práticas culturais destes jovens estudantes universitá¡rios, analisadas segundo suas inserções na universidade por centros universitários (CFCH, CCMN, CCS e CLA), podem ser atribuídas também ao que se propôs como variáveis de convivialidades, além das variáveis explicativas tradicionais (sócio-econômicas e demográficas). O questionário, respondido por 369 estudantes dos cursos de licenciatura da UFRJ alunos do curso de Psicologia da Educação II em 2003/2, com pelo menos dois anos de vida universitária, foi construído a partir de 4 constructos: Protoculturas, Culturas de volume, Culturas de lazer e Culturas sóciodigitais. A análise, descritiva simples, seguida por análise descritiva discriminante, multivariada, em caráter exploratório, indicou que aqueles 4 constructos não chegam a discriminar as práticas culturais dos estudantes, por centro universitário, o que impediu que a hipótese fosse comprovada. Esta mesma análise indicou outras possibilidades de agrupamento das variáveis, nas quais o contato com a cultura linguí­stica (lecto-escrita) e a cultura tecno-cientí­fica (sociodigital) podem ter importante papel na comprovação da hipótese. A leitura e o contato com a música permitiram indicar alguns perfis da(s) juventude(s), por centro, porém sem dimensão conclusiva. / [en] The Cultural practices of future teachers attending Education courses at UFRJ were studied in order to verify the hypothesis that the variations of the cultural practices of these young students, analyzed according their university centers (CFCH, CCMN, CCS e CLA), can also be attributed to what is being proposed here as variable of acquaintanceship, besides the traditional (socioeconomic and demographic) explanatory variables. The questionnaire, answered by 369 students attending the Psychology of Education II course, in the year 2003, with at least two years of university experience, was designed based on 4 constructs: protocultures; culture of volume; leisure cultures; and socio-digital cultures. The simple descriptive analysis was followed by the discriminative descriptive analysis, multivariated, which at least in an exploratory basis avoided that the hypothesis should be confirmed. That analysis indicated another possibilities to group the variables where the linguistic cultures (written- reading matter) and the techno-scientific cultures (socio- digital) can play an important role to the confirmation of the hypothesis. The reading matter and the link with music were aspects that allowed develop some profiles of the several youths, by center, however without conclusive dimension.

Idiom is the fruit of the minds of mankind in the process of its production activities and life experience. It can figuratively and logically express the ideas of people and the deep meaning of life. Due to the difference in construction between Chinese and Russian idiom units, great importance is attached to the analysis of the features of both the semantic and structural (or formal) construction of both languages, which contributes to the correct understanding of the meanings of idiom units and their accurate translation. At the same time, Chinese and Russian languages contain a large number of digital idiom. These idioms are not only often used in everyday life, but also largely reflect the thinking style, life habits and cultural identity of the nation. In order to propose the correct translation as possible, one must take into account both the culture, history, tradition, customs and manners of the people who speak this translated language, as well as stylistic and expressive colors of the language units themselves, etc. Based on the comparison and analysis of the formation, origin, nature, scope of use and structural characteristics of the Chinese and Russian digital idioms, we have summarized the translation methods based on the translation theory. This is very important for establishing the theory of digital idiom translation methods, and is applied in daily life and literary works. / Фразеологизм является плодом умов человечества в процессе его производственной деятельности и жизненного опыта. Он может образно и логично выражать идеи людей и глубокий смысл жизни. В связи с различием конструкции между китайскими и русскими фразеологическими единицами в работе придаётся большое значение разбору в особенностях как смысловой, так и структурной (или формальной) конструкции обоих языков, что способствует правильному пониманию значений фразеологизмов и их точному переводу. В то же время, китайский и русский языки содержат большое количество фразеологизмов с числительными. Эти фразеологизмы не только часто используются в повседневной жизни, но также в значительной степени отражают стиль мышления, жизненные привычки и культурную самобытность нации. Чтобы предложить как можно правильный перевод, нужно учитывать как культуру, историю, традицию, обычаи и нравы народа, владеющего данным переводимым языком, так и стилистические и экспрессивные окраски самих языковых единиц и др. При сопоставлении и анализе формирования, происхождения, характера, сферы употребления и особенностей конструкций китайских и русских фразеологизмов с числительными, а также с учетом теории перевода, работа обобщила и подытожила правила перевода, обосновала наилучший, как нам представляется, метод перевода фразеологизмов с числительными с китайского языка на русский, что будет иметь большое значение как для создания теории по переводу фразеологизмов с числительными, и будет находить практическое применение в переводе как устной речи, так и литературных произведений.