Thesis (M.A.)--Catholic Theological Union at Chicago, 2003. / Vita. Includes bibliographical references (leaves [105]-108).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2003. / Vita. Includes bibliographical references (leaves [105]-108).

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Le Kutiyattam du Kerala est un théâtre épique qui entremêle drame et récit et dont le jeu d’acteur, central, se caractérise par une constante distanciation. Cette hypothèse d’ordre esthétique – l’« épique » renvoie à Brecht – est démontrée dans une approche pluridisciplinaire, ethnoscénologique. Tout commence par une « première scène » et un enfant jouant un rôle d’Acteur, puis devenant acteur-conteur. Fil conducteur de la thèse, cette cérémonie contient « tout », tous les fondements et les ingrédients de l’esthétique épique, ensuite explicités par l’exemple du Ramayana, l’épopée que le Kutiyattam porte en scène, entre autres œuvres anciennes en sanskrit. Le Livre I traite des « compétences », et tout d’abord du je des concepteurs et maîtres du Kutiyattam, les Cakyar (première partie). Après cette ethnographie, il s’attache aux apprentissages sous-tendant la formation du corps-acteur, véritable enjeu en soi par son extrême codification (deuxième partie). Le Livre II, dédié aux « performances », étudie les textes en jeu (troisième partie) dans les cinq cycles performatifs ramaïques représentés dans les temples : cinq actes dramatiques en sanskrit et les longs récits en malayalam qui s’y enchâssent, consignés dans les manuels scéniques des praticiens. Ces textes forment un répertoire unifié présentant des structures d’emboîtements multiples où se combinent des principes d’arrêt du temps, de changement de perspective et de retour en arrière générateurs de distanciation. Le jeu scénique (quatrième partie) exalte cette dramaturgie : performeur aux multiples fonctions – personnage, conteur, danseur et surtout régisseur –, l’acteur jongle en maître avec ces principes lorsqu’il entre dans la « substitution », jeu de rôles aux saisissants effets de simultanéité. Les annexes (vol. 3) contiennent des analyses complémentaires (annexes I) et les textes (annexes II) et supports audiovisuels (3 DVD-DL avec livrets) nécessaires à l’étude des performances. La forme de la thèse et le montage des films reflètent la dramaturgie étudiée en procédant à des arrêts et à des extensions du temps. Note : Les titres, résumés et mots clés figurant sur version originale de la thèse portent une accentuation qui, pour des raisons techniques, n’a pas pu être reproduite ici. / Kutiyattam of Kerala is an epic theatre that interweaves drama and narrative, characterized by an acting technique wherein the performance of the central actor makes constant recourse to a distancing effect. This hypothesis – esthetic in nature while "epic" refers to Brecht – is demonstrated through a multidisciplinary, ethnoscenogical approach. Everything begins with a so-called "first performance" in which a child plays at being an Actor-character, and then becomes a storyteller. This ceremonial, which serves as a common thread throughout our study, contains "everything", i.e. all of the foundations and ingredients of the epic esthetic, which we go on to explain using the example of the Ramayana – one of the numerous ancient Sanskrit texts that Kutiyattam brings to the stage. Book I first proposes an ethnography of the Cakyar-masters of Kutiyattam (first part), emphasizing their unique skills. It then analyses the training that underpin the codification of the actor’s body, demonstrating the challenge of being an actor in itself, before even assuming a character/persona (second part). Book II is dedicated to the performances. It begins by examining the texts (third part) of the five Ramayana cycles that are performed in the temples: five acts in Sanskrit into which are interwoven narratives in Malayalam, written in performers’ acting manuals. Taken together, these texts form a unified repertoire characterised by iterative embedded structures that interlock the principles of stop-in-time, change in point of view and flash-back. The acting (fourth part) enhances this dramaturgy. The performer who has multiple functions – character, storyteller, dancer, and director – juggles these principles, especially when he enters into the "substitution" process, a role-play that engenders striking effects of simultaneity. The annexes (Book III) contain the additional analyses (annex I) and the texts (annex II) and audiovisual materials (3 DVD-DLs with booklets) related to the performances. The thesis itself, including the montage of the films, is structured in such a way that it reflects the dramaturgy of Kutiyattam, and notably its use of stop-in-time. Note : Titles, summaries and keywords appearing in the dissertation contain accents, which, because of technical reasons, could not be reproduced here.

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This study was conducted in the Indian state Kerala, among 15 physical education (PE) teachers. The aim of this study was to investigate intergenerational touch in the daily work of Indian PE teachers, and more precisely whether or not the teachers thought intergenerational touch was an issue and what their views on this subject were. The data was generated through semi-structured interviews with teachers from Keralan primary, secondary and upper-secondary schools. Collected data was analysed by using Michel Foucault’s theoretical concepts of discourse, power/knowledge, bio-power, governmentality, normalisation and panopticism. The study identifies a number of different discourses, in which physical interaction emerged as a dilemma for Indian PE teachers. Two of the most distinct ones were, what we refer to as, the “no touch”- and “risk”-discourses. Based on the findings of this study we conclude that the gender of the PE teacher plays a crucial role in whether a teacher choose to physically interact with their students or not. Societal norms have a great influence on PE teachers’ actions concerning intergenerational touch, which in this context cohere around no touch.

This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit. The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge. In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?

Agriculture is not only a country’s backbone of food, livelihood and ecological security systems, but is also the very soul of its sovereignty. In Kerala population density is high and land is scarce. To achieve sustainable advancement in quality of human life, meeting the domestic food requirement is to be given foremost priority in development plans. As the area of cultivation cannot be increased and growth of population cannot be controlled growth in food production is to be achieved by qualitative improvement in farming. This requires improvements in material inputs, farming techniques, storage technology and research. Effective integration of these factors is tied closely to adequate information flow, which can be ensured only by an efficient information system for agricultural education, research, extension and development. So evaluation and improvement of existing information services is very crucial for sustainable agricultural growth. The study evaluates the existing information resources, facilities, services, possibilities for resource sharing, accessibility of external sources, and the factors that affect the quality and efficiency of information services in agricultural sector. Coverage is limited to the State of Kerala. Sample consist 105 institutions of different levels, and information users consisting of 426 scientists and 220 farmers. Different sets of questionnaires and interview schedule were used to elicit information. The study found that agricultural research conducted at various institutions in the region at huge public expense has generated knowledge for improving production. Along with these huge collections of acquired content is also stored in the sector. But when a farmer, an extension worker, a scientist or an administrator needs information it is not easily accessible. The study found that agricultural sector fails to effectively bank on information resources available due to the lack of an information system and network. Recommends an Agricultural and Farm Information System for Kerala. Suggests a model plan for a computer communication network for resource sharing between the agricultural institutions in the State, which will also ensure, smooth flow of results of research down to the grassroots level to achieve maximum productivity in agriculture.

Large underfunded classrooms are indicative of the situation found in many developing countries. These limitations often lead to the ineffective teacher-centred approach dominating classroom instruction in these countries. The aim of the study was to examine active learning strategies used by teachers in large unfunded Physics classrooms, in Kerala, India. This study used a qualitative approach utilising a case study method. The data collection process involved mainly unstructured interviews, lesson observations and the analysis of documents. The results of the study indicate that despite the difficulties faced in India, similar to those faced by other developing countries, the Indian state of Kerala implements and supports active learning rather than the more common teacher-centred approach. The research defines the common forms of active learning in the Physics lessons and critically examines the core elements of the learner-centred teaching approaches. Successes have been found in the implementation of active, collaborative, cooperative and problem-based learning in the large underfunded Physics classes. The results of the research suggest that teachers need to be highly trained, resourceful, creative, hardworking and sometimes go above and beyond the required duties to make active learning in large underfunded Physics classroom a success. / Science and Technology Education / M. Ed. (Natural Science Education)

Large underfunded classrooms are indicative of the situation found in many developing countries. These limitations often lead to the ineffective teacher-centred approach dominating classroom instruction in these countries. The aim of the study was to examine active learning strategies used by teachers in large unfunded Physics classrooms, in Kerala, India. This study used a qualitative approach utilising a case study method. The data collection process involved mainly unstructured interviews, lesson observations and the analysis of documents. The results of the study indicate that despite the difficulties faced in India, similar to those faced by other developing countries, the Indian state of Kerala implements and supports active learning rather than the more common teacher-centred approach. The research defines the common forms of active learning in the Physics lessons and critically examines the core elements of the learner-centred teaching approaches. Successes have been found in the implementation of active, collaborative, cooperative and problem-based learning in the large underfunded Physics classes. The results of the research suggest that teachers need to be highly trained, resourceful, creative, hardworking and sometimes go above and beyond the required duties to make active learning in large underfunded Physics classroom a success. / Science and Technology Education / M. Ed. (Natural Science Education)