This thesis paper is meant to serve as a supporting document for a thesis exhibition that was held the University of Waterloo Art Gallery. The show consisted of paintings on Plexiglas and sculptural installations with fluorescent lights. <br /><br /> The aesthetic style of my paintings makes a strong reference to the visual vocabulary of computer software. More specifically, it mimics architectural computer vector graphics from the 1980s. There is a visual metaphor created in my paintings where it blueprint drawing has 'evolved' into computer vector graphics, ultimately though, nothing has changed. The images are still hand drafted with pencils and then hand painted. The lexicon of digital software is appropriated, but by transferring the images from the virtual space of the screen to a literal three-dimensional space, the meaning is discarded. They become generalized abstract signs that retain their connotations, but not their meaning and function. The work thus makes a simple point in its refusal to 'get digital. ' There is a fetishization of technology, yet simultaneously a refusal of it. <br /><br /> Other concerns that I deal with in my work and thesis paper, include notions of good and bad taste, kitsch and the Camp aesthetic, science-fiction, nostalgia, representations of the 'future,' Suprematist painting, Minimalism, Design, and the utopian ideals of Modernism.

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D.Ed. (Educational Psychology) / Children do not exist in isolation of their families and communities. Grief and loss therefore affect them on multiple levels, depending on their personal, social, communal, cultural and economic circumstances. The loss of one or both parents to AIDS in South Africa renders orphaned children and adolescents vulnerable. In addition their grief experiences are influenced by the personal, cultural and communal factors which determine how their feelings of grief and loss are understood and expressed. In certain contexts and cultures, their stories of grief and loss remain unheard and unacknowledged. In many instances, these stories are tucked away in the open spaces and silences of their thoughts and expressions. The purpose of this inquiry is to explore, through creative expressive arts in therapy, the stories of grief of adolescents orphaned by AIDS living in a South African children’s home. This critical ethnographic study describes how a qualitative arts based research method was used to integrate creative expressive arts modalities into therapy sessions as a method of data collection for the study. As such, the critical ethnographic design was employed in order to give attention to the cultural context of the 16 adolescent participants and how this context influenced their sharing of their grief experiences, following the loss of one or both parents to AIDS. This was done in order to answer the research question: ‘What is the story of grief as experienced by the adolescents orphaned by AIDS living in a South African children’s home, as explored through creative expressive arts in therapy?’ In light of this, the research aim of the study was to give an ethnographic account of grief as experienced by adolescents orphaned by AIDS living in a South African children’s home, as explored through creative expressive arts in therapy. Group therapy sessions using creative expressive arts facilitated the development of various data sets which were analysed by means of discourse analysis, in order to derive common themes relating to their stories of grief and loss. The adolescents storied their thoughts and feelings about grief in therapy, through creative expressive arts modalities, demonstrating how their bereavement is impacted by the personal, cultural and social context of the South African children’s home in which they live. The findings and practical implications of this qualitative, critical ethnography provide insight into the grief experienced by South African adolescents orphaned by AIDS. This research endeavour will also expose some of the underlying assumptions about grief of adolescents who have lost one or both parents to AIDS. The study will also indicate how their v life circumstances and grief experiences are subject to elements of power, control and even religious orientation in their culture and community. In order to give voice to the grief experiences of children and adolescents as forgotten mourners, recommendations advocate further research be conducted on the grief experiences of adolescents orphaned by AIDS in South Africa. This can be done in the form of in-depth case studies or larger studies which make use of one or more creative expressive arts modalities in therapy.

Scholarship on Victorian productions of Shakespeare typically isolates Shakespeare from the rest of the repertory. My thesis illuminates how late-Victorian performances of Shakespeare and contemporary Victorian drama conditioned each other. I re-interrogate iconoclastic performances of Shakespeare’s heroines to reveal actresses’ performance networks, showing how actresses’ movements between fin-de-siècle roles created consonances between ostensibly antithetical areas of the repertoire. The performances and receptions of British actresses with high cultural capital reveal Shakespeare’s interventions into fin-de-siècle debates on gender and sexuality. Highlighting female performance genealogies, I offer the first narrative of women’s acting traditions in Shakespeare. I explore actresses’ commercial strategising, celebrity personae, theatrical innovations and contributions to Shakespearean hermeneutics. The thesis draws on significant unpublished archival material, including from private collections. Chapter One examines how the ostensibly puritanical Madge Kendal and Royal mistress Lillie Langtry used the role of Rosalind (As You Like It) within a portfolio of self-promotional strategies, inscribing their professional legitimacy and dramatising different sexual identities. Chapter Two explores how Terry’s Lady Macbeth (1888–9), interpreted as a loving wife, challenged theatrical semiotics, contemporary ideals of marriage, and perceptions of ‘good’ and ‘bad’ women. Chapter Three, on Mrs Patrick Campbell, demonstrates the success of her movements between the ‘sex-problem play’ and Shakespeare, revealing how her Shakespeare reception reflected fin-de-siècle concerns as the unwell body and mind, the figure of Salome, and the child – as both a sexual object and potentially suicidal. Chapter Four, on Terry’s Imogen (Cymbeline) discusses Shakespearean actresses’ contribution to ideas of national character and queenship, as Queen Victoria’s reign neared its end, including specific milestones such as the 1897 Diamond Jubilee. Chapter Five examines Shakespeare’s intersections with the ‘New Woman’, commodity culture and politics, as suffragists co-opted Shakespeare as a ‘suffrage’ playwright, with The Winter’s Tale’s Paulina as their icon.

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This thesis investigated communicational processes of text interaction between the so called novela das oito (lit. eight o’clock soap opera) or the prime-time Brazilian soap opera – also known as telenovela or simply novela – and different groups of viewers, for the purposes of informing communication theory, on the one hand, and critical literacy practices, on the other. The investigated groups of viewers continually consumed this highly popular genre of serialised fiction, whilst also participating in online communities about novelas from a pioneering social network service called Orkut. Selected social theories of language and communication were used to investigate the primary text genre (i.e. the prime-time Brazilian telenovela) and the context where it originates, in relation the secondary communicational genres (i.e. selected Orkut communities about telenovelas) and the respective context where they emerged out of these intertextual interactions. To conduct this investigation, specific notions of text and genre were established in terms of their affordances and limitations, as discussed in Kress and Van Leeuwen (2001) and in Kress (2003, 2010) with respect to textual modes of representation, and as developed in English (2011) with respect to genre itself. As such, novelas and online discussions about novelas were analysed here in terms of the specific ways in which genre afforded as well as it limited not only the design, the production and the distribution of both primary and secondary texts, but also their reception (i.e. consumption). For this, an adapted version of English’s analytical framework (ibid.) was developed and employed, with these multimodal texts and genres found to be oriented in specific terms with regard to their social aspects (contextually and discursively), on the one hand, and their material aspects (thematically and semiotically), on the other hand. As a result, a detailed understanding was provided, not only in terms of the specific ways in which these popular texts and genres oriented interactions, but also in terms of the specific ways in which these interactions oriented these texts and genres in turn. As these crucial points were carefully laid out, this research was able to suggest that the secondary texts and genres arising in the form of spontaneous interactions with widely popular television programmes, such as novelas, appeared to demonstrate, in practical terms, their potential to foster critical literacy practices – defined here as the progressive ability to interact with and make sense of different texts and contexts, discourses and genres, and their representational modes used through the means of different media. The research is therefore original at two levels. Firstly, by providing a detailed exploration of the prime-time Brazilian telenovela in relation to some dimensions of its reception – at the same time also seen as dimensions of (re)design and (re)production of secondary texts and genres from a multimodal social semiotic perspective – it offers a multidisciplinary approach through an attempt at combining Media and Communications with Applied Language Studies. It is in this sense that the extension and subsequent employment of a multimodal analytical framework inform and contribute to communication theory. Secondly, by considering the implications of this empirical study in terms of how we learn and improve our abilities to communicate more effectively for a multitude of purposes, this research promotes a wider notion of literacy in practical terms. This is also seen as representing an original contribution towards critical approaches to pedagogy in specific terms.

The following report describes the activities and outcomes of a fourteen-week internship in the fall of 2004 in the Marketing, Booking & Special Events and Group & Corporate Sales Departments of the Saenger Theatre. The first section contains an organizational profile. The second is a detailed description of the internship. The third section is an analysis of the internal and external problems within the organization. The fourth is an explanation of the Best Practices found within the organization and any recommendations for the resolution of challenges. The conclusion of the report contains a discussion of the short and long term effects of the intern's contributions to the organization.

The warrior has played an important role in most societies, often representing power. The military/ defence system is founded more or less on the ideal of the good and noble warrior. The aim of the thesis is to examine how the warrior's power has been expressed on stage in different times and different contexts. Three perspectives are discussed: 1) The warrior in society, 2) The warrior's self-image (ethos and warrior virtues), 3) The warrior in drama and on stage. In society, warriors in uniform are one means to increase dignity and give credibility to ceremonies. Society uses the same actions as theatre – music, choreography and costumes (parade uniforms). In the thesis there are some examples from the cultural history of the warrior (uniforms, gestures, music etc.). The principal part of the thesis is a study of the warrior as theatrical motif and a discussion of a series of warrior figures in literature and drama on stage. These figures are analysed from the perspectives of masculinity, play and historiography. The warrior in literature and drama is rarely a hero. The thesis gives examples under the following headings. The submissive warrior: Catherine de Medici used the warrior as a pliable tool to reduce internal court quarrels, when they were commanded to participate in the court ballets. A different kind of docility in warriors is found in the nineteenth century English melodrama. The false and coward warrior: Ancient writers often used satire in their plays, and warrior figures were easy prey for this. Miles Gloriosus and the Capitain in Commedia dell’arte are two examples. The weak warrior: Anthony, in Anthony and Cleopatra by Shakespeare, is a warrior hero who abandons his wife and family to live with the Egyptian queen, attracted by the luxury and refined lifestyles at her court. The oppressed warrior: The Good Soldier Schweik, created by Bertolt Brecht after a story by Jaroslav Hasek, is an oppressed ordinary soldier in the Czech army, who faces oppression by doing exactly as he is told, and consequently is creating confusion. Georg Büchner’s drama Woyzeck contains an altogether deeper darkness. The outmanoeuvred warrior: The captains in August Strindberg’s two plays The Father and The Dance of Death are both in conflict with their wives but lose their fights. The optimistic warrior: Chekhov introduces in the play Three Sisters two warriors with bright visions of the future but also tells the audience that life can be a tragedy. To portray the good and noble warrior is of course possible but it is seldom dramatic, whilst weak and lovesick, false and treacherous warriors are dramatically effective. The theatre's tradition of subversion is a variety of the ancient custom of 'turning society upside-down' during Lent, analysed by Michail Bakhtin in Rabelais and his World. The theatre is also a microcosm. The performing arts make use of the individual to criticize the whole. In drama, it is the individual warrior who bears the responsibility without the need to say anything about the armed forces. Sometimes this is done through the mirror of laughter. When the warrior is seen through the theatre's lens, the picture is enlarged and – according to physical principles, at a certain distance – shows the warrior as part of the upside-down world.

ABSTRACT The purpose of the project research was to investigate the impact of the Zambian 2003 national cultural policy on the performing arts industry with specific reference to working conditions both in the public and private domains in Zambia. It is also an effort to assess the efficacy of the cultural policy within a broader policy environment. Generally, two categories of performing artists namely the publicly and privately sponsored exist in Zambia. Two sample groups representing the two categories of performing artists were consulted in the study. The publicly sponsored sample was drawn from the uniformed services and the national dance troupe while the privately sponsored performers were represented by a selection of performers who do not work in the civil service. The methodology included field and desk research in which social-scientific and humanistic methods involving structured and semi-structured interviews were used, coupled with the use of textual materials from employment and performance contracts, civil service terms of employment, the National Arts Council Act, national arts associations’ constitutions, cultural and labour policies among others. The results revealed mixed reactions from all the respondents with regard to the research question; however it became apparent that the policy had not positively impacted on the industry as the negative responses outweighed the positive feedback. Despite the policy theoretically addressing a number of issues in the arts industry, it was very difficult to practically implement the strategies therein successfully. A number of reasons can be advanced for the inefficiency such as lack of matching sectoral legislation to enforce the policy and the absence of a union to complement government’s efforts. It was further discovered that to some extent, the formulation of the policy was rushed and did not very well fit into the traditional perspectives of the people about the arts industry. This reinforces the question of whether is it necessary for all nations to have cultural policies when supporting institutional and legal frameworks are not in place. The Zambian case reveals the pitfalls in legislating culture. 1