Thesis (Ph. D.)--Indiana University, 1986. / Vita. Discography: leaf 250. Filmography: leaf 251. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 232-249).

Thesis (M.A.)--University of Iowa, 2002. / Typescript. Includes bibliographical references (leaf 11).

Orientador: José Manuel Lázaro de Ortecho Ramirez / Banca: Carminda Mendes André / Banca: Renato Ferracini / Banca: Rute Rodrigues dos Reis / Resumo: Como resumir a poesia? Com um verso?... Como resumir uma carta? Com um telegrama?... Como resumir um manifesto? Com um grito ou um sussurro?... Como resumir uma história? Com uma memória?... Como resumir uma experiência? Com um breve relato?... Tudo isso com nada... Peço desculpas!... Pela prepotência de negar e pela incapacidade de dobrar o discurso para colocar dentro de uma pequena caixa de insanidade burocrática... O que temos adiante é a tradução incompetente de uma experiência inimaginável. É um convite a uma experiência discursiva caótica... Uma experiência teórica, prática, política, existencial... Entramos em transes fugidios e atravessamos rios... Penetramos o teatro, para negá-lo, afirmando-o... Somos corpos habitados por outros tempos, outros espaços... Somos entes-ação... Na companhia de Grotowski, Artaud, Barba, de algumas epistemologias vindas com os negros de África e de heroínas maravilhas, a experiência ganhou contornos de êxtase... Não há como dizer de outra maneira, em outras linhas. Somente o mergulho na experiência da leitura é possível... Perdoem-me! / Abstract: How to summarize poetry? With a verse?... How to summarize a letter? With a telegram?... How to summarize a manifest? With a scream or a whisper?... How to summarize a story? With a memory?... How to summarize an experience? With a brief account?.. All this with nothing... Apologize!... By the arrogance to deny and the inability to bend the discourse, to put inside a little box of insanity bureaucratic... What we have below is the translation incompetent for an experience unimaginable. It's an invitation to a discursive experience chaotic… A theoretical, practical, political, existential experience... We enter into fleeting trances and cross rivers… We penetrate the theater, to deny it, saying it... We are bodies inhabited by other times, other spaces... We are beings-action... In the company of Grotowski, Artaud, Barba, some epistemologies come with the blacks of Africa and heroines wonders, the experience gained contours of ecstasy… There is no how to say it another way, in other lines. Only the dip in the experience of reading it is possible to... Please forgive me! / Resumen: ¿Cómo resumir la poesía? ¿Con un verso?... ¿Cómo resumir una carta? ¿Con un telegrama?... ¿Cómo resumir un manifiesto? ¿Con un grito o un susurro?... ¿Cómo resumir una historia? ¿Con una memoria?... ¿Cómo resumir una experiencia? ¿Con un breve relato?... Todo esto con nada... ¡Pido disculpas!... Por la prepotencia de negar y por la incapacidad de doblar el discurso para poner dentro de una pequeña caja de locura burocrática... Lo que tenemos delante es la traducción incompetente de una experiencia inimaginable. Es una invitación a una experiencia discursiva caótica... Una experiencia teórica, práctica, política, existencial... Entramos en trances fugaces y atravesamos ríos... Penetramos el teatro, para negarlo, afirmándolo... Somos cuerpos habitados por otros tiempos, otros espacios... Somos entes-acción... En la compañía de Grotowski, Artaud, Barba, de algunas epistemologias venidas con los negros de África y de heroínas maravillas, la experiencia ganó contornos de éxtasis... No hay como decirlo de otra manera, en otras líneas. Sólo la inmersión en la experiencia de la lectura es posible... ¡Perdóname! / Mestre

While the negative effects of the terrorist attack of September 11, 2001 are still permeating throughout the United States, a few novelists have taken on the extreme task of writing about this historic event. Richard Gray describes the failure of language after the attack took place, yet novelists wanted to write about this tragedy anyway. Reading trauma in 9/11 is inevitable as it is important. In looking at three novels that deal with the events during and the aftermath of 9/11, I hope to consider the way art is used in these texts. In doing so, my thesis will look at the possibility of art being able to heal the wounds of this traumatic event. My second chapter will focus on the novel Extremely Loud and Incredibly Close by Jonathan Safran Foer. This novel depicts the effect 9/11 had on the child protagonist, Oskar, and follows him as he works through the trauma of losing his father in the South Tower. The third chapter of my thesis will discuss Don DeLillo's Falling Man, which offers a depiction of the powerful effect trauma has on the main characters in the novel, particularly Lianne. The performance artist is discussed at length. My fourth chapter will discuss the novel The Submission by Amy Waldman. Just as Maya Lin's submission for her Vietnam memorial sparked controversy, Waldman takes the same approach by casting an American Muslim as the artist and memorial architect for 9/11. While the previous novels focus on the personal effects of trauma on the characters, my chapter on The Submission will elucidate how trauma is negotiated on a national scale. I hope to answer such questions as: What do we expect in a memorial? What should we expect? What are the various demands survivors place on memorials?

Made available in DSpace on 2015-04-09T12:28:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-06-30Bitstream added on 2015-04-09T12:47:42Z : No. of bitstreams: 1 000817731.pdf: 4540435 bytes, checksum: 34af4b40379e0b0927d0fb46fcda2695 (MD5) / Esta dissertação tem dois resultados distintos: minha produção artística, envolvendo esculturas, objetos, instalações, pinturas, performances, vivência artística e um texto teórico. Em ambos os casos, o assunto da pesquisa é sobre o espaço de exposição e o modo como as obras de arte são exibidas, comparando os locais expositivos atuais e suas especificidades aos chamados Gabinetes de Curiosidades – coleções privadas exibidas a um público seleto, sobretudo entre os séculos XVII e XVIII, que podem ser considerados precursores dos museus modernos / The present dissertation has two different purposes: to register the artist’s production – including sculptures, objects, installations, paintings, performances, artistic experiences – and to present a theoretical text. For both cases, the research focuses on the exhibition space and how art works are exhibited, comparing the present spaces for exhibition and the Cabinets of Curiosities – private collections presented to a selected public, mostly during the 17th and 18th centuries, which can be regarded as the predecessors of modern museums

Submitted by VAGNER LOPES ROMAN JUNIOR null (vlrjr@usp.br) on 2017-10-04T10:36:06Z No. of bitstreams: 1 ÀṢẸ GROTOWSKI! O TRANSE NO CORPO DO ATOR CONTEMPORÂNEO - ROMAN LOPES.pdf: 1461945 bytes, checksum: 54dbe50060252709057a1a58dcdd8e66 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-10-04T17:27:14Z (GMT) No. of bitstreams: 1 romanjunior_vl_me_ia.pdf: 1461945 bytes, checksum: 54dbe50060252709057a1a58dcdd8e66 (MD5) / Made available in DSpace on 2017-10-04T17:27:14Z (GMT). No. of bitstreams: 1 romanjunior_vl_me_ia.pdf: 1461945 bytes, checksum: 54dbe50060252709057a1a58dcdd8e66 (MD5) Previous issue date: 2017-08-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Como resumir a poesia? Com um verso?... Como resumir uma carta? Com um telegrama?... Como resumir um manifesto? Com um grito ou um sussurro?... Como resumir uma história? Com uma memória?... Como resumir uma experiência? Com um breve relato?... Tudo isso com nada... Peço desculpas!... Pela prepotência de negar e pela incapacidade de dobrar o discurso para colocar dentro de uma pequena caixa de insanidade burocrática... O que temos adiante é a tradução incompetente de uma experiência inimaginável. É um convite a uma experiência discursiva caótica... Uma experiência teórica, prática, política, existencial... Entramos em transes fugidios e atravessamos rios... Penetramos o teatro, para negá-lo, afirmando-o... Somos corpos habitados por outros tempos, outros espaços... Somos entes-ação... Na companhia de Grotowski, Artaud, Barba, de algumas epistemologias vindas com os negros de África e de heroínas maravilhas, a experiência ganhou contornos de êxtase... Não há como dizer de outra maneira, em outras linhas. Somente o mergulho na experiência da leitura é possível... Perdoem-me! / How to summarize poetry? With a verse?... How to summarize a letter? With a telegram?... How to summarize a manifest? With a scream or a whisper?... How to summarize a story? With a memory?... How to summarize an experience? With a brief account?.. All this with nothing... Apologize!... By the arrogance to deny and the inability to bend the discourse, to put inside a little box of insanity bureaucratic... What we have below is the translation incompetent for an experience unimaginable. It's an invitation to a discursive experience chaotic… A theoretical, practical, political, existential experience... We enter into fleeting trances and cross rivers… We penetrate the theater, to deny it, saying it... We are bodies inhabited by other times, other spaces... We are beings-action... In the company of Grotowski, Artaud, Barba, some epistemologies come with the blacks of Africa and heroines wonders, the experience gained contours of ecstasy… There is no how to say it another way, in other lines. Only the dip in the experience of reading it is possible to... Please forgive me! / ¿Cómo resumir la poesía? ¿Con un verso?... ¿Cómo resumir una carta? ¿Con un telegrama?... ¿Cómo resumir un manifiesto? ¿Con un grito o un susurro?... ¿Cómo resumir una historia? ¿Con una memoria?... ¿Cómo resumir una experiencia? ¿Con un breve relato?... Todo esto con nada... ¡Pido disculpas!... Por la prepotencia de negar y por la incapacidad de doblar el discurso para poner dentro de una pequeña caja de locura burocrática... Lo que tenemos delante es la traducción incompetente de una experiencia inimaginable. Es una invitación a una experiencia discursiva caótica... Una experiencia teórica, práctica, política, existencial... Entramos en trances fugaces y atravesamos ríos... Penetramos el teatro, para negarlo, afirmándolo... Somos cuerpos habitados por otros tiempos, otros espacios... Somos entes-acción... En la compañía de Grotowski, Artaud, Barba, de algunas epistemologias venidas con los negros de África y de heroínas maravillas, la experiencia ganó contornos de éxtasis... No hay como decirlo de otra manera, en otras líneas. Sólo la inmersión en la experiencia de la lectura es posible... ¡Perdóname!

In this study I outline seven characteristics of a traditional Happening (the use of games and play, an inherent intertextual element, an emphasis on place/space, an element/spirit of anarchy, an element of chance, an emphasis on the fusion of art with everyday life, and the existence of both a purpose and a meaning) and seek to determine which characteristics contribute to the Happening's current usage as a rhetorical tool. I created a traditional Happening containing a message of environmental consumption and destruction, and surveyed audience members regarding their interpretation and experience. The survey responses were coded using a top-down narrative analysis. I discovered that intertextuality, place/space, and the fusion of art with everyday life are particularly effective communicators of a message in a socially or politically conscious Happening.

Black woman as a symbol. Black woman as the dark side, as a shadow. Black woman as extinction, destruction, death. Black woman as a manifestation of the archetype.

No description available.

Finger Spirits is a concerto for piano and orchestra. The traditional concerto form of three, large, separate movements is not present here. It is a one-movement work in three continuous sections. Certain premises of the concerto are retained: (1) the interplay of soloists and orchestra; (2) the display of vistuosity; and (3) the use of fixed thematic elements. Throughout the performance, the pianist alternates playing actual notes with gestures used in manual communication and mimetic elaborations created by the composer. The gestures delineate shapes of particular objects and depict emotions that are present in the work as it unfolds. Finger Spirits explores the act of performance and alters the traditional concert ritual of audience-performer opposition. In addition, it incorporates gestures as an extension of the role of the pianist and thus represents a form of music theater.