Thesis (M.A.)--Miami University, Dept. of Theatre, 2009. / Title from first page of PDF document. Text in English and Korean. Includes bibliographical references.

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Audit is a bilateral task where the auditors are required to socially interact with their clients during the audit process. The auditor and client may encounter different expectations that could lead to challenges in their social interaction. Thus, the purpose of this study is to explore the challenges in the social interaction between the auditor and client during the audit process. Prior literature has applied versions of agency that are implicitly based on classic contract law and virtually ignored clients as a research object. The original value of this study lies in the adoption of the dramaturgical analysis into the context of audit. This study employs a qualitative research method. Semi-structured interviews were conducted with seven real auditor-client dyads in Scania, Sweden. The findings suggest that clients are fixated on the price tag of an audit and do not consider the person delivering the audit service. This puts the auditor and client at risk as the findings suggest that the social interaction is important whereby a similarity attraction in sociodemographic space facilities the social interaction. Asset evaluations can create challenges in the social interaction which are solved with residual control stemming from ownership as well as social status. The seven auditor-client dyads in this study deals with their own unique challenges that resulted in seven prototypes. This study fills in a gap in the literature by interviewing and analyzing the auditors’ respective client expectations on one another. To fulfil each other’s diverse expectations, both must embody different roles.

關於外交官場陞遷競賽與外交官僚內外形象經營，本研究藉由Goffman（1959）的劇場理論，將陞遷當作是整場戲劇的主軸，由外交官僚們擔綱演出角色，在有民眾的公開場合展演前臺形象，在有長官的內部環境展演後臺形象。仿效Goffman類比戲劇分析劃分完各種戲劇元素後，本文進入討論外交官僚的印象管理，與以陞遷為主題的互動秩序，依序由正式陞遷制度規範、對外形象展演到官僚間互動潛規則來分層討論外交官場陞遷競賽。此外，在論及與上級的互動秩序時，加入了Scott（1990）討論權力不等的兩群體互動模式，以公開劇本的權力觀點來進一步討論基層外交官僚與高層長官間的互動。 / This research is based on Erving Goffman’s (1959) dramaturgical analytical approach to explore the promotion emulation of diplomats of the Republic of China and their image management strategies to the public as well as to the colleagues. With promotion being the main theme of the play and diplomats as performers, this research reasons by analogy with Goffman’s dramaturgical analysis to discuss how diplomats present themselves in the public sphere where citizens are watching and how they manage their image within their organization among colleagues. After differentiating key elements of the play, the discussion moves onto the interactive manner within diplomatic bureaucratic organization shaped by promotion path, image management and tacit knowledge of interaction among colleagues with a particular focus to identify the promotion competition.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-21T18:09:20Z No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-25T12:47:15Z (GMT) No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / Made available in DSpace on 2018-09-25T12:47:15Z (GMT). No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / A presente tese tem como objetivo analisar dramaturgicamente o Massively Multiplayer Online Roleplaying Game (MMORPG) World of Wacraft (WoW), identificando e sistematizando seus aspectos estruturais. Este trabalho sustenta a hipótese de que a dramaturgia de WoW é estruturada de modo a dar suporte ao processo contínuo de expansão do jogo ao longo dos últimos 10 anos (do jogo base ao pacote de expansão Mists of Pandaria). A tese nomeia dramaturgia da expansão, o tipo de construção dramatúrgica que, tal como a de World of Warcraft, é orientada pela necessidade expandir o espaço e o tempo ficcionais, ampliar o número e a extensão das suas ações dramáticas, além de incorporar novos personagens a fim de criar novas experiências narrativas e de jogo (referindo-se ao universo dos jogos digitais ou analógicos). Esse tipo de dramaturgia não surge com WoW, afinal o referido MMORPG possui uma evidente filiação a jogos de interpretação de personagens, os Role-Playing Games (RPG) de mesa e digitais, os quais já apresentam estratégias de expansão do seu universo ficcional e experiências de jogo com fins comerciais. Assim, o presente trabalho se configura como um estudo de caso e, portanto, verifica particularidades da dramaturgia de WoW ao mesmo tempo que aponta generalizações possíveis. A pesquisa adota uma metodologia pautada na observação direta e participante (na medida em que é preciso jogar para analisar o objeto). O próprio jogo constitui a principal fonte de dados da pesquisa. Dados estes obtidos a partir de cerca de 700 horas de jogo com 19 personagens jogáveis por parte do pesquisador e cruzados com um aparato teórico multidisciplinar advindo dos media studies, games studies, teorias do imaginário, teorias dos gêneros literários e estudos teatrais para serem enfim sistematizados na presente tese. Como resultado foi possível confirmar a hipótese defendida, verificando como cada um dos aspectos estruturais analisados (Ação, Composição de personagens e organização espacial dos signos) colabora para o contínuo processo de expansão do jogo. / This thesis aims to analyze dramaturgically the Massively Multiplayer Online Roleplaying (MMORPG) World of Wacraft (WoW), identifying and systematizing its structural aspects. This work sustains the hypothesis that the dramaturgy of WoW is structured to support the ongoing process of expansion of the game over the last 10 years (from the base game to the expansion pack Mists of Pandaria). The thesis names dramaturgy of the expansion, the type of dramaturgical construction which, such as World of Warcraft, is guided by the need to expand the fictional space and fictional time, increase the number and the extent of their dramatic actions, as well as incorporate new characters to create new narratives and game experiences (referring to the universe of digital or analog games). This type of drama does not come with WoW, after all the said MMORPG has an obvious affiliation to the interpretation of characters games, table and digital Role-Playing Games (RPG), which already have expansion strategies of their fictional universe and experience game for commercial purposes. Thus, this study is configured as a case study and therefore, verifies dramaturgy of particularities of WoW while pointing possible generalizations. It adopts a guided methodology in direct and participant observation (to the extent that is necessary to play to analyze the object). The game itself is the main source of research data. These data obtained from about 700 hours of playing with 19 playable characters from the researcher and crossed with a multidisciplinary theoretical apparatus arising from media studies, games studies, imaginary theories, theories of literary genres and theater studies to be finally systematized in this thesis. As a result it was possible to confirm the hypothesis defended by checking how each of the structural aspects analyzed (Action, composition of characters and spatial organization of the signs) contributes to the continued expansion of the game process.

The Czech opera production of the so called "Pre-Smetanian" era represents a topic quite neglected by music historians. It is therefore the goal of this master's thesis to repay this debt by showing Kittl's opera, Bianca und Giuseppe oder Die Franzosen vor Nizza, (the libretto, written by Richard Wagner, based on the novel, Die hohe Braut, by Heinrich König) as a work of art which illustrates the high quality of the Prague opera scene in the mid-1800s. The core of this thesis consists of a dramaturgical analysis of the final form of the mentioned opera. This analysis advances in three steps. 1. The main idea of König's novel and its aesthetic are presented in the light of his life. 2. The following chapter concerns Wagner's libretto. Apart from showing the differences between the novel- and opera aesthetics, the emphasis is on the dramaturgical means which Wagner employs: various usage of the couleur locale, ensemble of the pezzo concertato type, working with specific time structures in the opera or allegorical usage of the so called - as Frenchmen say - spectacle d'optique. 3. The next chapter strives to assess the extent to which Kittl succeeded in expressing Wagner's intentions or, in another words, the extent to which Wagners's "poetic intention" (dichterische Absicht) came true in Kittls's music....