This paper accompanies the show “Mise-en-Scène of Desire” that took place onMay 21st, 2010. Both the show and the paper deal with the subject of female hysteria,explored from both a historical and contemporary perspective. My aim is to look at howour ideas of female hysteria have been mediated, and how the representations haveproduced an incomplete picture into the experience of the actual female hysterics.

This thesis sets out to display the dynamic role fragmented rituals have in the plot of tragedy. It contends that the tragedians deployed fifth-century ancient Greek religious practices from their cultural milieu as independent objects in their plots. Whether concise or fragmented, enacted or reported, they are modified into dramaturgical tools that move the story forward by effecting chains of reactions and link the past and the present with the aim of enhancing the critical ability of the audiences. These ritual representations in performance are most often either perverted or fail for various reasons. This thesis contends that this fragmentary re-imagining of cultural practices are an essential part of the tragic texts. However, rituals by nature are complex modes of actions and it seems that they retain much of their purposes, intentions and performativity within the texts. This complexity draws the attention to their individual treatment when they go through the process of translation, the expected reconstruction of the text to fit in the time limit of a performance, the editing and the directorial decisions for their staging. This research does not call for a 'historically authentic' performance of the rituals within the plays. Indeed, the lack of evidence makes it impossible to articulate with accuracy any elements of those early performances, and it is not the purpose of this thesis. This study strives to establish an analytical basis for understanding the balance between the demands of the play-text of the tragedians and the productions of a director from the perspective of the ritual content. This analysis is a response to a gap in scholarship concerning this aspect of the performative turn in the studies of ancient Greek texts. This thesis analyses, as far as we can determine, the classical Athenian rituals that were deployed in tragedy and fills in the scholarly gap created by the performative turn with regard to the historical awareness one needs as a tool to perceive the embedded functional role of rituals in tragedy. Their defining role in the story-line is then demonstrated with the textual analysis of rituals in five tragic plays. These plays are then studied in performance terms through analysis of three productions by the Theatrical Organisation of Cyprus. The discussion analyses the extent to which the ritual fragments dramaturgical functions were preserved in the productions, and the effects of their treatment in the experience of the spectator. The textual analysis and the performance analyses both concentrating on the ritual content, reveal the way in which rituals constitute the substrata in tragedy, and as such they require special attention in both a textual analysis and for a text-based production. The concluding discussion analyses the implications of the relationship between rituals and tragedy for contemporary performances, and suggests ways in which one might stage these ritual fragments today for contemporary audiences.

Thesis (Ed.M.)--Boston University / The purpose of this study was to determine the effect that previewing timed writing material has on speed and accuracy in beginning typewriting. In other words, to what extent does practice on difficult words, frequently used words, or phrases affect the students' typewriting performance.

abstract: The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource in learning improvisation, and then, through music analysis, provide examples of how that process can develop. The result of the ideas presented here is a pathway whereby any disciplined organist can learn to imitate composed music, assimilate the musical ideas, and innovate through the act of spontaneous improvisation. / Dissertation/Thesis / D.M.A. Music 2012

Organisations exist in a vast range of types and sizes. While it is generally known that start-ups suffer a high rate of infant mortality for various reasons, it is clear that there are many different successful approaches to achieving stability and worthwhile contribution. Even the fortunes of large companies are not immune to ebb and flow, and these phenomena are manifested in the effects they have, both on the communities in which they are placed, and on their trading partners. Therefore there is more to sustainable success than size or other traditional financial measures such as turnover, profit, return on investment etc. This thesis is inspired by the need to identify a way of characterising the contributions of organisations as a framework of performance measurement that is meaningful to all organisations regardless of type or size, and systematically relating that view of contributions to organisations' strategic and operational activities. Business processes are used within organisations to control productive activity and therefore are at the root of all aspects of an organisation's output. There are, however, a number of reasons for processes to be disconnected from the strategic intentions of an organisation, whereupon the processes, and the activities within them, become less efficient and effective in serving the needs of the organisation than they should be. Traditional methods of performance measurement do not adequately address this problem, so a new model for the measurement and improvement of organisational performance is required. In reviewing theories and empirical viewpoints concerning stakeholders it is found that there are several distinct topics of interest within that field. These are brought together in the form of a standardised list of stakeholder groups, which is then field tested for general applicability. A method for expressing the strategic intentions of an organisation, based on this standardised list, is then developed and is also field tested. The group structure is extended by identifying a number of factors that determine the satisfaction of stakeholders, and these are also field tested for applicability. Using the structured analysis of stakeholders by groups, and the factors that determine their satisfaction, a model is proposed (the Performance Boundary Model) that shows stakeholders and the organisation itself as distinct but connected domains. This concept is developed, by building on established theory and the findings of the field research, into a representation or model. This model provides a structured connection between strategic intentions and measured operational performance, and these are connected into the organisation through its processes. The model thus provides structured links between organisational strategy, operational processes and objective performance measures.

This study investigated whether pupils hold personal beliefs and attitudes which could affect their performance in mathematics lessons in such a way as to either facilitate or impede learning. There were four parts to the study which took place over three years. In the first part, personal constructs about all school subjects were elicited from a group of pupils in their first year of comprehensive school. The interviews were recorded and provided background data for the study. One year later, the same pupils were asked to rate eighteen mathematics topics on the constructs of like/dislike; easy/difficult and useful/not useful. The interviews were again recorded and used to develop categories of pupil beliefs. These were used to develop a number of questions which were later put to the same group. Six weeks later the pupils divided into groups of three and took part in videorecorded problem solving sessions. This provided triangulated observational and oral data to corroborate or refute data from other parts of the study. Finally, approximately one year later, each pupil was asked the questions developed from the second interview categories. These were posed in an open ended form and were also used to develop belief categories. These final categories provided the information on which to compare the beliefs of the study group pupils. The basis for comparison was the pupils' mathematical setting and their positions in yearly examinations. Data from across the study were used to provide case studies of three pupils. The main conclusions were that beliefs and attitudes do affect mathematics performance, but that the effect was not the same for high and low settings; that problem solving ability correlated poorly with setting, and that for individuals it was necessary to examine a constellation of beliefs rather than any single ones.

Corpo, Fenômeno e Manifestação: Performance é uma pesquisa em Poéticas Visuais onde convergem questões de um processo artístico de performance, respaldado por uma prática intensa na dança, experimentações, apresentações, leituras filosóficas e reflexões. Dessa confluência de fatores originou-se a produção textual que investiga e traz à tona as questões do corpo enquanto fenômeno e manifestação na arte da performance. As performances feitas, no decorrer do processo de pesquisa, bem como a observação de performances de outros artistas e estudos sobre teorias da arte, propiciaram o embasamento para a escrita. Puderam ser observados procedimentos operatórios similares, que me levaram a diferentes configurações, em distintas circunstâncias. Por exemplo, a toda performance apresentada foi fundamental o trabalho perceptivo corporal envolvendo todas as articulações de meu corpo, bem como sua musculatura; nesse sentido podia me assegurar que um ser sensível e responsivo surgisse para a atuação, que estivesse ali – o ser -, em pleno domínio de seu estado de presença. A tal procedimento deu-se o nome de corpo percepcionado. A preparação do ambiente, onde a ação performática seria realizada, isto é, o ambiente que receberia o meu corpo, também passou a fazer parte de um regramento para atuar. A esse procedimento chamei espaço preparado. Ao espaço preparado se trouxe a luz, elemento que passou a gerar influência sobre minha poética e sobre a estética que se fazia surgir. O corpo vivo, na performance, é elemento plástico; sua presença interfere no espaço. Percebi que a luz intensificava o lugar do espaço e o lugar do corpo que se pretendia em evidência; era um desencadeador perceptivo. Uma via dupla se estabelecia, entre a ação do corpo e o olho do receptor, através dos recortes de luz no espaço e no corpo, durante as ações realizadas. O corpo, no que lhe cabia, operava o procedimento de reunir as informações colhidas e os elementos trazidos, a cada performance realizada. Nessa questão se estabeleceu a proposta de uma dialética entre corpo e espaço; enquanto isso, no corpo, sínteses se pronunciavam e determinavam a configuração apresentada. Cheguei à conclusão que é justamente assim – em plena percepção de suas possibilidades de ação sensorial e motora, e na preparação e apropriação do ambiente imediato que o circunda - que meu corpo, em sua temporalidade, assume o espaço e, juntamente com suas memórias – e grande parcela de intencionalidade – configura uma aparência. Mais do que na aparência, centra-se o objeto do presente estudo na questão do fenômeno; do que permite o corpo fenomenal engendrar uma manifestação. Palavras-chave: percepção, corpo, espaço, ação, configuração, performance.

This diploma thesis deals with research in global microfinance sector. Currently the paper is focused at techniques of audit used by microfinance investment vehicles to control or to check the transparency or reliability of microfinance institutions. Also, this audit techniques could be used to check achievement of the social goals of microfinance institutions. The analyzed data are from last decade (between 2005 and 2015) provided by microfinance institutions to microfinance web based platform Microfinance Institution Exchange Market. The audit techniques examined in this thesis are the following: due diligence, rating and social performance. This paper insists on objective assessment of all data and information provided freely which relate to audit of microfinance institutions. These data and information are progressively investigated through the whole thesis in two main areas, i.e. quantitative and qualitative. The main objective of this paper is to find the most effective way how to do audit in microfinance or to find out the combination of the available methods.

93f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-25T15:12:55Z No. of bitstreams: 1 Bittencourt%20Dissertacao%20seg.pdf: 682176 bytes, checksum: d74faf6f6b1dc47296e18dc47d5adfc9 (MD5) / Approved for entry into archive by Fatima Cleômenis Botelho Maria (botelho@ufba.br) on 2013-04-09T14:16:14Z (GMT) No. of bitstreams: 1 Bittencourt%20Dissertacao%20seg.pdf: 682176 bytes, checksum: d74faf6f6b1dc47296e18dc47d5adfc9 (MD5) / Made available in DSpace on 2013-04-09T14:16:14Z (GMT). No. of bitstreams: 1 Bittencourt%20Dissertacao%20seg.pdf: 682176 bytes, checksum: d74faf6f6b1dc47296e18dc47d5adfc9 (MD5) Previous issue date: 2008 / Esta dissertação descreve o comportamento de pessoas sob vigilância eletrônica, mais especificamente dos moradores do Condomínio Vila Egípcia, situado no Caminho das Árvores, Salvador/BA, os quais têm ciência das câmeras de segurança e vigilância patrimonial por ele espalhadas. Trata do estudo de manifestações dessas performances, assim como da auto-vigilância que surge a partir de determinada estratégia de segurança eletrônica e descreve passos e posturas dessas pessoas, considerando, como performance, o seu comportamento. Sobre a contribuição desse estudo nas Artes Cênicas, a pesquisa se destaca como forma de trazer à luz estudos sobre performance, teoria queer, gênero, etnografia autoreflexiva,subjetivação e performatividade - diálogos que se entrecruzam na construção de cenas do cotidiano, quando se coloca em questão o olhar do outro. Os pontos de partida são a teoria queer e os estudos da performance, vias que possibilitaram a compreensão da alteração de comportamentos organizados estrategicamente para uma circulação pacífica, omissa e oculta no contexto urbano, virtual e social e tornaram possível o desenvolvimento do raciocínio e da análise realizada. Este trabalho re-significa procedimentos performativos ligados à cena contemporânea e contextualiza a performance em sua função teórica, na busca do entendimento da atitude de pessoas nas performances a que se refere aqui. Compreende também a auto-vigilância como afirmação e negação de pessoas inscritas em uma sociedade vigiada. A escrita performativa funciona, nesta dissertação, como possibilidade metodológica, cujo caráter de pertencimento ao objeto pesquisado constitui-se elemento fundante da análise das performances descritas e analisadas. / Salvador

222f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-27T15:44:32Z No. of bitstreams: 1 MakariosComSeg.pdf: 7395265 bytes, checksum: a00d72ba0478b363ba100e60e2914f04 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-05T14:51:22Z (GMT) No. of bitstreams: 1 MakariosComSeg.pdf: 7395265 bytes, checksum: a00d72ba0478b363ba100e60e2914f04 (MD5) / Made available in DSpace on 2013-04-05T14:51:22Z (GMT). No. of bitstreams: 1 MakariosComSeg.pdf: 7395265 bytes, checksum: a00d72ba0478b363ba100e60e2914f04 (MD5) Previous issue date: 2005 / A presente dissertação descreve e analisa o carnaval transformista das Kengas, um bloco de rua que ocorre no carnaval potiguar, ou seja, na cidade de Natal, capital do Estado do Rio Grande do Norte, no Nordeste brasileiro. Consideram-se, como corpus desta pesquisa, os acontecimentos espetaculares vivenciados no dia 22 de fevereiro de 2004, antes, durante e depois do desfile do bloco carnavalesco das Kengas. A descrição do referido desfile e seu entorno é a base de dados válidos analisáveis desta pesquisa, que considera ainda as ocorrências deste festejo em carnavais de anos anteriores e seus respectivos contextos histórico-socioculturais. A prática analítica faz uso de arquivos da memória do pesquisador e de dados coletados em entrevistas e discussões com participantes e informantes deste fenômeno. Esta pesquisa contribui para os estudos nas Artes Cênicas, especificamente com diálogos interdisciplinares sobre a construção do espetáculo. A espetacularidade é aqui entendida a partir da etnocenologia, da compreensão das matrizes culturais que fomentam o fenômeno das kengas e da teoria queer. As Kengas, enquanto fenômeno espetacular, são compreendidas, nesta pesquisa, considerando a maneira como nelas se organizam o carnaval, a folia de rua, o teatro popular, o desenvolvimento de personagens-tipo, a caracterização, a performance, a diversidade de gênero, enfim, algumas de suas matrizes culturais. Este trabalho busca ainda atualizar procedimentos de análise da cena a partir dos estudos da performance como teoria crítica contemporânea. Considera-se, como ponto central dos resultados obtidos com esta investigação, o entendimento da atitude do transformismo como estratégia de agrupamento de sujeitos minoritários em torno da ocupação da cena festiva do espaço público para o favorecimento da divulgação de idéias e atitudes referentes à diversidade de gênero. Compreende-se ainda que estas atitudes de afirmação da diversidade de gênero são construtos corporais destes sujeitos em espetacularidade. A etnocenologia e os estudos da performance são, nesta pesquisa, possibilidades interdisciplinares de constituição metodológica, visando à compreensão do fato espetacular das kengas como fenômeno multirreferencial localizado nos limites entre o estético e o político. / Salvador