Depuis maintenant près de trois décennies, les parcs des villes chinoise constituent des lieux de rassemblement pour les retraités qui, collectivement, s'adonnent à diverses activités :taiji quan, chorales de « chant rouge », danses, opéra de Pékin, traditionnel et révolutionnaire, pratique collective d'instruments de musique, récitation. Appartenant aux générations qui ont grandi durant la période maoïste, ces individus ont en commun d'avoir vécu la Révolution culturelle (1966-1976) et le passage à la Réforme (1978), avec les transformations qui en ont découlé. A partir d'une ethnographie conduite dans les parcs de Pékin entre 2011 et 2014, cette thèse analyse ces formes de présence en public qui prennent souvent la forme de performances culturelles. A travers des descriptions fines des situations observées, elle montre que les rassemblements dans les parcs peuvent être vus comme des espaces-temps interstitiels, des événements publics à la fois distincts du quotidien et ancrés dans celui-ci, faisant la part belle à des comportements théâtraux, parfois excentriques. Si ces modes de surexposition de soi en public s'inscrivent dans la continuité d'une « politique de la présence », caractéristique de l'époque maoïste, ils font aussi l'objet d'une réappropriation à d'autres fins, dans d'autres espaces-temps. Cette question des transformations du cadre de la performance publique et, par conséquent, de l'expérience que celui-ci implique, figure au centre de ma réflexion. La possibilité de « s'amuser » en prenant part à des activités qui, pour certaines, sont structurées autour de l'expression de messages politiques ne constitue pas seulement un attrait important de ces situations pour les habitués des parcs, elle peut être vue comme un accomplissement. Cette thèse contribue notamment aux travaux portants sur l'appropriation des espaces publics urbains, mais aussi à l'anthropologie de la performance et aux études sur la nostalgie post-communiste. Discutant les interprétations avancées par d'autres chercheurs sur la performance publique de chants révolutionnaires, elle apporte une analyse plus nuancée de la dimension (non) politique de ces pratiques, en insistant sur leurs aspects sensoriels et affectifs plutôt que sémiotiques et discursifs. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

It is estimated that nearly two in three people will live in urban areas by 2045. The city is increasingly seen as a place of opportunity. It has become a receptacle for new social, cultural and economic strata. The urban environment is converted and mutated by everyday public performances. This condition becomes evident when the street is inhabited as a space that connects the workplace, the home and institutions. The built wall often attracts and establishes these new activities.It is here that conventional architectural typologies are challenged. This dissertation explores the notion of the wall in an attempt to reconfigure the sidewalk. A conceptual network of interfaces that contain infrastructure, public services and urban armatures is proposed. Within this context, it is argued that architecture should support these everyday performances as well as define a new spatial identity, within the urban environment. / Dissertation MArch(Prof)--University of Pretoria, 2012. / Architecture / MArch(Prof) / Unrestricted

“Desifying Shakespeare” focuses on the sharp spike in Shakespeare performances in India in the last three decades (1993-2018), a period of time that coincides with the advent of globalization, the liberalization of India’s economy, and the emergence of the field of Global Shakespeare. By mobilizing the bilingual portmanteau desify, a word that simultaneously references the abstract and aspirational nation (des) and the quotidian process of making local or native in popular culture, this project argues that these self-consciously Indian productions or “desified Shakespeare” disclose contemporary Indian ideas and inquiries of the nation. The dissertation thus works to demonstrate the discursive overlaps and tensions between race, caste, religion, gender, language, color, and nationality, categories that are historically contingent, fluid, and performative. Each chapter centers around the affordances and appropriations of a different Shakespeare play and its iterations in contemporary India: Romeo and Juliet and the neighborhood as nation, Othello and the performativity of caste, Hamlet and the borderlands,Twelfth Night and diaspora space. “Desifying Shakespeare” thus marks the overlap and tension between the intensely local, the triumphantly national, and the universally global. Over the past two decades, the rise of the Hindu Right in India has resulted in Indian public discourse marking a return to and renewed investigation of the nation and its paronyms: national and nationalism. While the Hindu Right propounds a triumphalist and homogenous narrative of the nation, “Desifying Shakespeare” troubles this narrative by turning to performance, which I argue negotiates the tension between the des or the nation and desifying or the process of making local, concepts that both overlap and oppose each other. Prior studies on Shakespeare in India have relied heavily on the consequences of Shakespearean adaptations’ colonial origins, often restricted to analyses of single productions. However, “Desifying Shakespeare” shifts, in its methodology, to emphasize a synoptic view of Shakespeare in India, its multiple vectors of influence—colonial, global, postcolonial, and transnational—and its diverse areas of overlap. While the tendency within the field of Global Shakespeare is to dismiss the nation in favor of the local and the transnational, this project argues that the local and the transnational are entwined in the contemporary notions of the nation. “Desifying Shakespeare” works to provide an alternative theorization of adaptation by using the portmanteau desify—a word that performs the very action it describes. A combination of des, the Hindi word for country/nation (implicitly understood to mean Indian), and the English suffix “—fy” denoting the transformation or the process of making into, desify is itself a word that desifies the English for change. An analysis of desification, thus involves a shift from a privileging of the putative original to an approach that considers a wider web of influences spanning different media, genres, languages, and sources. Running through this dissertation is a theorization of language in performance, moving between the concepts of neighboring, regional, vernacular, and dialect. “Desifying Shakespeare” thus shifts away from the dominant postcolonial metaphors of narration and imagination to emphasize the role of embodied performance in determining and upending a national identity. How the des is constructed in these productions provides an alternative to a neat narrative of the nation that moves beyond the Indian context to provide a model for Global Shakespeare criticism more broadly.

Submitted in fulfillment of the requirements for the degree Of DOCTOR OF PHILOSOPHY In the Department of IsiZulu Namagugu At the University of Zululand, 2009. / This study focuses on the circular orientation in performances by Abathwa and Abantu speaking people of central and southern Africa. This notion is explored through close examination of space, movements, time and objects used during ritual and recreational performances. The study is informed by the meaning contained in symbolism rooted in Africans’ perception of culture, religion, language, cosmos, science and artistic aesthetics. The first chapter is the general introduction to the study covering aspects such as statement of the problem and hypothesis, rationale, methodology and literature review. It also attempts to give an in depth explanation of the African conception of the circle, the centre and the cycle. It explains how these three concepts are applied in social structure, architecture and ritual performances. The chapter also explains the African cyclical perception of time and life. The second chapter looks at the historical perspective of dance performances by indigenous peoples of southern Africa. The histories and the cultural backgrounds of the Khoisan and the Bantu speaking people, form the bases for the interpretation and understanding of dance performances during rituals, recreation and children games. The third chapter investigates the thematic approach towards the interpretation of dance performances by the Bantu and the Khoisan speaking people of Africa. The emphasis is on the theme of gender and sexuality since it is the theme that plays a central role in most of the ritualistic performances among the Africans. While the emphasis on relationship between genders in the performances, the attention is also paid towards the metaphoric, symbolic and paradoxical representations of African world view through the juxtaposition of gender and sexuality during performances. The fourth chapter examines the use of elements of dance performances in relation to themes of fertility (human and soil) and curing. These themes are discussed because they are the themes that apply to all the people being studied where as themes such as animal (hunting) and acrobatic (masks) can only apply to certain peoples not to the other for one reason or the other. The fifth chapter deals with the aesthetic principles as they apply to African dance forms and performances. It focuses on the application of the elements of space and symbolism contained in other elements of performance such as timing, costume, crafts and objects. The sixth chapter is an investigation of the circular orientation in modern performances and children games. It also examines the continuation of the circular orientation in religious worship-performances. The seventh/the last chapter is about the findings, recommendations and the general conclusion of the study.

Dans cette thèse, nous étudions le problème de l'allocation de ressources dans le cadre des réseaux 4G LTE. La méthode d'accès OFDMA qui est utilisée partage les ressources radios à la fois dans le domaine fréquentiel et temporel. En raison des déficiences du canal, les utilisateurs ne bénéficient pas toujours des mêmes débits d'émission/réception sur chacune des ressources. Dans ce cadre, notre problème consiste à distribuer ces ressources radios aux mobiles afin de leur permettre de transmettre/recevoir des données. L'algorithme utilisé pour allouer les ressources a une importance fondamentale sur les performances du système. La norme LTE ajoute des contraintes supplémentaires à ce problème et rend l'exploitation de la diversité fréquentielle et de la diversité multi-utilisateurs plus difficile. En effet, sous ces contraintes, nous montrons que le problème de l'allocation de ressources fait alors partie de la classe des problèmes « difficiles ». Par conséquent, les algorithmes classiques de la littérature sont souvent inadaptés à un réseau LTE réel. Nous proposons des algorithmes d'allocation de ressources à la fois pour le sens montant et descendant de LTE. Les contraintes de la norme sont rigoureusement prises en compte afin de construire des solutions efficaces. De plus, les algorithmes proposés sont génériques et peuvent donc s'adapter à une grande variété d'objectifs. En particulier, nous nous attachons à prendre en charge les trafics multimédias dont les débits et les besoins en qualité de service sont très hétérogènes (taux d’erreurs binaires, retard, gigue, etc.). En effet, l'augmentation progressive des débits et la forte popularité des équipements mobiles intelligents amènent à une utilisation toujours plus massive des applications multimédias. Tous nos algorithmes sont validés par simulation. Par ce biais, nous montrons que la prise en compte des contraintes de LTE est essentielle à l'obtention de performances élevées. / In this thesis, we study the resource allocation problem within the framework of 4G LTE networks. The OFDMA access method divides the radio resources both in the frequency and time domains. Due to channel impairments, users do not always have the same transmit/receive rates on each resource. In this context, our problem is to share the radio resources between users and enable them to transmit/receive data. The algorithm used to allocate resources is of fundamental importance on system performance. The LTE standard adds constraints to this problem and makes harder the exploitation of the frequency and the multi-user diversity. Indeed, under these constraints, we show that the resource allocation problem becomes part of the « most difficult » problems. Therefore, the conventional algorithms are often not adapted to a real LTE network. We provide resource allocation algorithms for both the uplink and downlink of LTE. The constraints of the standard are rigorously taken into account in order to build effective solutions. In addition, the proposed algorithms are generic and can adapt to a wide variety of objectives. In particular, we focus on the support of multimedia traffic with heterogeneous quality of service requirements (bit error rate, delay, jitter, etc.). Indeed, the gradual increase of the offered throughput and the strong popularity of smart mobile devices lead to a massive use of multimedia applications. Our algorithms are validated through extensive simulation. By this means, we show that the inclusion of LTE constraints is essential to achieving high performance.

京都大学 / 0048 / 新制・課程博士 / 博士(農学) / 甲第20443号 / 農博第2228号 / 新制||農||1050(附属図書館) / 学位論文||H29||N5064(農学部図書室) / 京都大学大学院農学研究科森林科学専攻 / (主査)教授 神﨑 護, 教授 北島 薫, 教授 大澤 晃 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DGAM

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The mental and physical health issues faced by musicians are multifaceted and generally poorly understood by most musicians, teachers and medical professionals. This monograph will provide students, educators, and institutions with a model to implement a proactive physical and mental health plan. If followed this should ensure a more positive and supportive environment for student musicians. Not only will this help students during their studies, but it will also equip them with resilience as they pursue their careers. Effectively incorporating health education and support within our education system will also benefit this generation of musicians, and every subsequent one. This will lead to a healthier environment within the music profession.In an ideal world, every music school would have a specialized team of health professionals to help address the issues faced by students, including Music Performance Anxiety and its comorbidities, such as anxiety and depression, along with Performance-Related Musculoskeletal Disorders. These common problems, many of which are inextricably linked to their chosen profession, are often dealt with poorly or ignored completely. As musicians, we study our instruments with specialists, at centers of excellence, doing research into the schools we apply for to get the best fit and highest level of education possible. The same priority should be given to our physical and mental health. Specialized treatment is available to musicians often at a prohibitive cost, creating barriers for many students. By introducing personalized care for music students within educational institutions, these resources become available to everyone who needs them. / Music Performance

Undergraduate cellists from diverse pedagogical backgrounds with various levels of technical proficiency often struggle to adapt to the demanding performance standards of the university environment. Frequently, these challenges are caused by technical concepts that have been incorrectly learned or unaddressed in the cellist's previous educational experience. Designed for university cello professors and undergraduate cello students, this study is a remedial and enhancement technical method for developing efficient performance habits; it presents a synthesis of cello performing ideologies, comprehensive technical analysis, physical conformation solutions, original sequential exercises, practice models, and recommendations for supporting literature. The method provides a structured path to expressive mastery and artistic freedom in performing advanced cello repertoire.

In this dissertation, I explore the ways in which contemporary theatre stages possibilities and crises of embodiment. In order to penetrate the complex relationships between character, performer, text, and production, I coin a critical term: theatrical bodysnatching. This term refers to a dissonance or power struggle made manifest in performance, in which a performer’s body seems to resist the character it inhabits in ways that enhance, rather than detract from, the thematics of a theatrical production. In order to demonstrate the power of theatrical bodysnatching, I analyze playtexts, theatrical performances, reviews, and performer interviews. I argue that theatre is a medium optimally suited for staging sociopolitical dialogue because it models a kind of self-reflexive critique, in which performing bodies both embrace and resist the demands of the playtext. As a result, theatre creates a provocatively charged experience for spectators and performers, in which both parties are thematically implicated in the aims and preoccupations of a given play. Just as the performer’s body does not dissolve but instead accomplishes the crucial work of ideological exposure, the audience also becomes a marked, integrated presence and source of commentary in these bodysnatching plays. In this dissertation, I harness a particular selection of Anglophone drama from the late 20th to early 21st century in order to demonstrate how the often uncanny, subversive nature of live performance allows for radical reconsiderations of embodiment. By examining the ways in which these strangely iterated characters— and the performers who portray them— unfold onstage, theatrical bodysnatching poses urgent questions of exploitation, agency, and resistance.