[Abstract]In the 1990s Australia’s poetry milieu was enlivened by the emergence of a number of new poets and their poetry. This study groups these poets together under the title of ‘new nineties poets and poetries’. For the purposes of this study ‘new nineties poets and poetries’ refers to poetry written for the page by poets who published their first collection between 1990 and 2000 and who continue to write into the twenty-first century. New nineties poets and their poetry are not a new ‘movement’ or ‘school’ of poets; the poetry is characterised by diverse forms, styles, approaches and practices. Within these eclectic poetic practices emerge shared concerns with the issues of embodiment, language, cultural difference and violence. As John Leonard discusses, the “new poets evade categorization” (New Music xv) and it is the premise of this study that appropriate poetry criticism needs to respect and celebrate the eclecticism of new nineties poetries by resisting the convenient application of categories and divisive labels. This study attends to the critical question of what type of poetry criticism is appropriate for new nineties poetries. One answer to this question emanates from what Leonard describes as the “spirit of eclecticism” that characterises this new poetry (New Music xv). Criticism that works with this “spirit of eclecticism” will be as eclectic as the poetry itself. Antithetical to critical approaches that homogenise poetry with unifying frameworks, this study advocates multiple critical approaches. Working respectfully in relation and in conversation with new nineties poets, the eclectic critical engagements of this thesis are connected by the equally eclectic theories of postmodernism.

This thesis places a selection of performances that took place in Toronto’s commercial theatres during the eighteen nineties in their historical context in order to consider determinants of meaning that influenced the social practice in one Canadian city - Toronto. These performances are selected to explore a range of performance activity across the decade and include: the debut performance by Canadian violinist Nora Clench at the Academy of Music in 1889; a fund-raising amateur “entertainment” The Marriage Dramas, performed for local adolescents at the Grand Opera House in 1892; The Second Mrs. Tanqueray, an example of the touring legitimate drama, performed by veteran acting couple the Kendals in 1894; another touring performance , in this instance a popular- theatre favorite, True Irish Hearts, by Dan McCarthy at the Toronto Opera House in 1893 and a rare example of Canadian playwriting from the decade, a performance of Catherine Nina Merritt’s United Empire Loyalist history play When George the Third was King in 1897. The analysis of all performances in this dissertation considers a range of determinants of meaning that Toronto audiences may have drawn upon when viewing a given performance and argues that the following constraints not only influenced the construction of a situated identity in Toronto but also suppressed domestic professional theatre production: a) a system of patronage that stigmatized the professional commercial theatre as frivolous or decadent; b) a utilitarian bias that was at odds with the post-materialist sensibilities of newer and more innovative forms of the late nineteenth-century drama; c) an economic and business practice that centralized production outside of the country to assure profit; and perhaps most significantly: d) a cultural hegemony that deemed Canadian drama to be immature and thus deterred works of aesthetic expression. This thesis is further informed by an understanding that history is written under the influence of the author’s own situated set of determinants and its goal in conducting an associative reading of Toronto’s nineties theatre practice is to locate theatre and performance history as part of a struggle among social, economic, cultural and political hierarchies.

This thesis places a selection of performances that took place in Toronto’s commercial theatres during the eighteen nineties in their historical context in order to consider determinants of meaning that influenced the social practice in one Canadian city - Toronto. These performances are selected to explore a range of performance activity across the decade and include: the debut performance by Canadian violinist Nora Clench at the Academy of Music in 1889; a fund-raising amateur “entertainment” The Marriage Dramas, performed for local adolescents at the Grand Opera House in 1892; The Second Mrs. Tanqueray, an example of the touring legitimate drama, performed by veteran acting couple the Kendals in 1894; another touring performance , in this instance a popular- theatre favorite, True Irish Hearts, by Dan McCarthy at the Toronto Opera House in 1893 and a rare example of Canadian playwriting from the decade, a performance of Catherine Nina Merritt’s United Empire Loyalist history play When George the Third was King in 1897. The analysis of all performances in this dissertation considers a range of determinants of meaning that Toronto audiences may have drawn upon when viewing a given performance and argues that the following constraints not only influenced the construction of a situated identity in Toronto but also suppressed domestic professional theatre production: a) a system of patronage that stigmatized the professional commercial theatre as frivolous or decadent; b) a utilitarian bias that was at odds with the post-materialist sensibilities of newer and more innovative forms of the late nineteenth-century drama; c) an economic and business practice that centralized production outside of the country to assure profit; and perhaps most significantly: d) a cultural hegemony that deemed Canadian drama to be immature and thus deterred works of aesthetic expression. This thesis is further informed by an understanding that history is written under the influence of the author’s own situated set of determinants and its goal in conducting an associative reading of Toronto’s nineties theatre practice is to locate theatre and performance history as part of a struggle among social, economic, cultural and political hierarchies.

IN BETWEEN DAYS is a novel about a young queer shapeshifter coming of age in the 1990s.

This work focuses on the issue of the skinhead subculture in the former Czechoslovakia and monitors roots and developments, which are developed, especially in relation to social changes after 1989. Attempts to clarify the profiles of individual streams, characterized by its social and cultural positions. Finally, it deals with relationships and understandings of the subculture majority.

This diploma thesis "The Image of Lifestyle in Magazine Vlasta between 1990 and 1999" is focusing on media image of lifestyle in the nineties in Czechoslovakia, later Czech republic. The subjects which were investigated in terms of a lifestyle were: housing, fashion, health, eating, weight loss, sport, traveling, new technologies, consumer goods and beauty. The thesis is divided into two parts - theoretical and empirical part. In the theoretical part there is a political, historical, cultural and media environment in nineties. Empirical part describes a history and editorial staff of the magazine Vlasta. A content analysis was chosen for examining the magazine and it is described in methodological part. The goal of a quantitative and qualitative analysis is to prove stated hypotheses. The nineties meant for Czech people a lot of social changes and also everyday life was affected. The transformation involved habits and interests of people which can be observed during the decade. This diploma thesis is focusing on changes in lifestyle because of commercialism. Observes how much more people were interested in traveling considering new possibilities and aims also on health lifestyle.

The desintegration of the USSR, the resulting release of censorship, and the related publication of earlier prohibited texts, as well as the new charakter of the book market entirely tranformed the shape of the literary field of the nineties. This thesis concerns itself with a specific segment of the professional literary production of this period. With its topic, this work aspires to contribute to the serious research of the little explored postcommunist period in the Russian literature. In order to assess and interpret the evolution of opininions in this period of time, the chosen method is the one of commented overview of literary criticism and of literary-theoretical texts published mainly between 1986 and 2000 in Russian publications (mostly in so-called "thick magazines"). The thesis focuses on studies interested in the work of the middle and younger generation of the Russian prose writers, and more precisely on studies concerning the structural aspects of the literary situation in the nineties. On the background of the specific cultural and social situation, the method of the ample commentary is an appropriate way regarding how to interpret the literary theorists' basis of thoughts and opinions, and at the same time how to affect these experts' relationship to the new tendencies in the...

Made available in DSpace on 2010-04-20T21:00:29Z (GMT). No. of bitstreams: 3 renatomendoncaturma2004.pdf.jpg: 14289 bytes, checksum: e401576031e5c1c50ba4a9ada4a4d4b7 (MD5) renatomendoncaturma2004.pdf: 535549 bytes, checksum: 3cef20e2f522db040748abfe93126f63 (MD5) renatomendoncaturma2004.pdf.txt: 162025 bytes, checksum: 50e9fa26b8d6c10a0671dfd276849f24 (MD5) Previous issue date: 2007-03-09T00:00:00Z / This work has the purpose to analyze whether the Brazilian automotive production was influenced by specific segment agreements that took place during the 90’s. For that, over the automotive monthly production series are applied the Dickey-Fuller Augmented test, in order to verify the existence of unit root, and then the ZivotAndrews test, to find endogenously the presence of structural break in the series. These tests conclude that there was a structural break in the end of 1997, when a change of intercept in the series occured, although due to factors with no relation with the adopted measures. However from 1997, a new investment cycle starts in the car makers industry, and these new investments were not directed to States where there had already been investments before such as São Paulo and Minas Gerais. After the study of the main theories of Economical Geography, this work identifies and explores three important variables that influenced the definition for these new regions: labor, transportation costs and public incentives. / Esta dissertação tem como objetivo analisar se determinadas políticas setoriais realizadas na indústria automobilística brasileira na década de 90 provocaram impacto na série de produção de veículos. Para tanto são aplicados o teste de Dickey-Fuller Aumentado, para verificar a presença de raiz unitária, e o teste de Zivot-Andrews, para verificar endogenamente a existência de quebra estrutural da série. Após a aplicação desses testes, observa-se a presença de quebra estrutural ao final de 1997, quando acontece alteração de intercepto na série, porém devido a fatores sem relação com as políticas adotadas. Também a partir de 1997 tem início um novo ciclo de investimentos na indústria montadora, sendo que se verifica que esses novos investimentos acontecem principalmente em locais que não possuíam tradição no segmento, como era o caso dos Estados de São Paulo e Minas Gerais na época. Após estudo da evolução das principais teorias de Geografia Econômica, o trabalho identifica e explora três importantes variáveis que impactaram a definição por essas novas regiões, sendo elas: mão-de-obra, custos de transporte e incentivos governamentais.

This dissertation examines experimental dance in New York City in the 1990s. Earlier periods of American concert dance have received significant scholarly attention to the historical, political, and aesthetic aspects of dance practice. Moreover, certain periods of modern dance — especially the 1930s and the 1960s — have been analyzed as moments of significant change, and the artists that emerged from the Judson Dance Theater in particular have held a significant place in the theorizing and historicizing of dance in the United States. However, experimental dance practices of the early 21st century demonstrate dramatically different aesthetics, approaches, and circumstances of production than those of earlier periods, including their Judson forebears. This project argues for understanding the 1990s as a period of significant change for dance, one with continuing resonance for the decades that follow.This project uses the term "downtown dance" to situate experimental dance in New York City as a community of practitioners, rather than as a particular set of aesthetic or artistic practices. Each of the four chapters focuses on an aspect in this period that would define how dance looked, how dancers practiced, and what shaped the artistic values and priorities of this community. The first chapter presents a history of the dance-service organization Movement Research. Tracing the history of the organization from its founding in 1978 through the establishment of its most influential programs in the 1990s — including the Movement Research Performance Journal and the performance series Movement Research at the Judson Church — the chapter locates Movement Research as a central entity in building the community and shaping theaesthetics of downtown dance. The second chapter examines the effects of the AIDS crisis on dance in the 1990s. As AIDS entered its second decade, it collided with and magnified downtown dance's complex relationship with emotion. This chapter draws on scholarship of AIDS' relationship to visual art, theater, and activism, as well as close readings of several works — by artists including Donna Uchizono, Neil Greenberg, John Jasperse, RoseAnne Spradlin, Jennifer Monson, and DD Dorvillier — most not generally understood as "AIDS dances," to argue that AIDS' impact generated a fundamental shift in the role of emotion in downtown dance. The third chapter examines how shifts in arts funding in the 1990s connected to a major restructuring in production models for dance. This chapter connects the history of the modern dance company with both aesthetic and economic developments over the course of the 20th century, arguing that the company should be understood as a combined economic-aesthetic system. Furthermore, the chapter demonstrates the new model for dance production that began to take hold in the 1990s in the wake of widespread funding and economic shifts: the project model. Teasing out the complex web of funding for dance, this chapter makes extensive use of dance periodicals; several funding trend analyses from organizations including Dance/USA, National Endowment for the Arts, Dance/NYC, and private corporate and foundation reports; and the archives of the presenting institution Danspace Project. The final chapter looks at how the shifts in economic models for dance discussed in the previous chapter connected to changes in training and bodily technique of dancers and performers. Specifically investigating the history of "release technique," this chapter examines how attitudes toward technique and training in downtown dance in the 1990s shifted the connection between movement practices and creative output, reconceiving the role of the dancer in the dancer-choreographer relationship.

Face à l’opacité interprétative et la faillite du langage auxquelles nous nous heurtons dans l’analyse des œuvres-chocs de Sarah Kane, quelle approche nous permettrait de commenter exhaustivement les formes et les moyens mis en œuvre par la dramaturge pour imprimer sa marque dans l’esprit du spectateur contemporain? Le théâtre postdramatique, paradigme élaboré par Hans-Thies Lehmann, présenterait a priori un dispositif pertinent pour faire lumière sur des problématiques contemporaines cruciales en jeu dans l’œuvre de Kane. Aucunement univoque, car soumis à l’interprétation et à l’engagement du spectateur, le caractère politique des pièces, pourtant spectral, s’avère ici essentiel. Ce spectre politique se laisse percevoir à travers le prisme de la violence et la nécessité du choc semble être son parti pris pour redéfinir le rôle du théâtre dans nos sociétés modernes caractérisées par la circulation massive des images à travers les nouveaux médias. Un lien de coresponsabilité de l’artiste et du spectateur se crée: l’œuvre nous interroge, spectateur/lecteur, sur la part mystérieuse de ce fond de cruauté humaine et sur notre complicité dans l’omniprésence de la violence à travers la consommation de ses produits. Mettant en relief les caractères transgressifs venant bousculer nos affects à travers des références à la « culture d’en bas » et un exercice des limites du spectaculaire centré sur l’obscène et le détournement des codes de la pornographie, cette lecture postdramatique de Cleansed et de Phaedra’s love entend restituer à l’œuvre de Kane son énergie pour un changement qui passe par un éveil des sens. / Faced with the interpretive opacity and failure of language in the analysis of Sarah Kane’s violent plays, what approach could allow us to review the forms and means used by the playwright in order to leave her mark in the mind of the contemporary viewer? The paradigm of the post-dramatic theater, proposed by Hans-Thies Lehmann, constitutes an appropriate device for highlighting the contemporary issues at stake in the work of Kane. Since it strongly depends on the interpretation and the engagement of the viewer, the meaning of the plays are not univocal. Their spectral political nature proves essential here. This political spectrum reveals itself through the prism of violence. The necessity of shock appears to be its bias to redefine the role of theater in modern societies characterized by the flow of images through mass media. A link of co-responsibility between artist and viewer is created. Indeed as viewers/readers, Kane’s plays lead us to question ourselves on the mysterious and intimate depths of human cruelty and our complicity with the omnipresence of violence through consumption of its products. By focusing on the transgressive characteristics of Kane’s dramatic art that shake viewers out of their affective complacency through the references to "culture from below" and through the use of an obscene language and imagery, and through the diversion of pornography’s codes, this postdramatic reading of Cleansed and Phaedra's love intends to restore the energy inherent in Kane’s work. It is an energy that aims for radical change by awakening our senses.