Notre étude repose sur la mise en rapport de deux phénomènes qui ont marqué la production cinématographique anglo-saxonne et française de ces vingt dernières années. L'un économique et technique, est l'avènement de l'imagerie numérique remplaçant peu à peu le support argentique bouleversant les modes de composition, de diffusion et de réception des films. L'autre, esthétique et poétique, est la recrudescence et la popularité d'œuvres appartenant à un genre de récit de fantasy - ou de merveilleux. Comment comprendre la corrélation de l'innovation technique et du conservatisme narratif sans n'y voir que la manifestation d'un raidissement idéologique de la culture occidentale ? Celle-ci nous apparaîtra comme un rapport de forces essentiel entre les images cinématographiques et numériques, une hybridation. Si l'art du récit gagne en hyperréalisme grâce au potentiel de simulation de l'informatique, il réinjecte le sens de la durée, du temps traditionnel, dans l'image quand l'intelligence de l'imagerie numérique est régie par l'urgence d'un temps réitératif amnésique. Nous nous attacherons donc à définir le genre de la fantasy et ses propriétés dans le langage cinématographique poétique. Déterminant la différence spécifique de ce genre comme étant un certain usage des effets spéciaux, nous étudierons ceux-ci et leur emploi dans la fantasy comme effets de merveilleux. Enfin nous montrerons comment la mutation numérique de l'industrie et de l'imaginaire cinématographique met en crise le récit filmique et pourquoi nous pouvons considérer le retour de ce type de narrations comme une forme de résistance face à la nouvelle image, le néotraditionnalisme.

This is the documentation of my thesis -in which the project designed was a performing arts center for Muncie, Indiana. The project includes a 1,000 seat theatre, a gallery, several shops and studios, exhibition areas, restaurants, stores, offices, and a parking structure.The art center is proposed for the southern end of Walnut Plaza in Muncie. It is bounded by Howard Street on the north, High Street on the west, Mulberry Street on the east, and Seymour Street on the south.The site chosen was of particular importance, since the activities that would take place in the Muncie Art Center would attract more people to Walnut Plaza. Also the relocation of the Muncie Civic Theatre into the Muncie Art Center would offer more cultural services to its patrons.The Muncie Art Center would act as a catalyst for the cultural development of the greater Muncie area. / Department of Architecture

The performance of my opera/art installation, Ariadne, on April 2 and 4, 1993, in Recital Hall, culminated a year of research, composition, production, and rehearsal upon the Ariadne Project, an interdisciplinary art collaboration. My project brought together the research, creative, and performance skills of many individuals throughout the university community and beyond. Designed as a companion paper to this composition and performance, this paper documents the inception, creation, production, and performance of the Ariadne Project. It also addresses the issues and sources dealt with and assessess the effectiveness of the product and the process. / Department of Art

The research examined the links between intuition, interest in creative thought and the artistic interests of students. Most literature in the past linked intuition with creativity and artistic aptitude, but the question about the specific influence thereof on choosing an artistic career led to many different perspectives. The influence of thoughts and feelings on intuition was examined, as well as their connection to artistic inspiration. The researcher proposed that these factors provide a basis for an artistic career. Research was done on the links between interest in creative thought, artistic interest and intuition. The difference in correlation between intuition and Fine Arts and Performing Arts was also examined. The literature study focused on Jung's typology of personality, and his descriptions of intuition, feelings, thoughts, creative thoughts, art, artistic interest and inspiration, fine arts and performing arts, and their links with intuition. Quantitative research was done as a once-off cross-sectional design. Eight hundred and sixteen students of the University of Pretoria were included in the quantitative research. Intern Psychologists of Student Support Services evaluated these participants with the Jung Personality Questionnaire (JPQ), the South African Vocational Interest Inventory (SAVII) and the 19-Field Interest lnventory (19-FII). Two-directional frequency analyses were used to determine the links between the results of the intuition factor and the feeling and thought factors of the JPQ. The Spearman correlation coefficients were used as measures of the strength of general relation between the results of the intuition factor of the JPQ and the results of Fine Arts, Performing Arts and Creative Thought of the 19-FII and the A 2 (Creative design) and A 3 (Entertainment) of the SAVII. Variance analyses were used to determine the influence of intuition on interest in Fine Arts and Performing Arts. The responses to interview schedules by participants from two focus groups, namely 5 second year Drama students and 5 Fine Arts students, were analysed in the qualitative research. Most participants from the quantitative study fell within the intuition-feeling category and the percentage of participants in the intuition-feeling category was greater than those in the intuition-thought category. Results were supported by the qualitative study. The conclusion was drawn that intuition is more linked to feeling than is thought. Inspiration for art does develop from feeling, but it will be communicated by thoughts, after interplay between intuition and feeling. The quantitative study confirmed that intuition plays a bigger role than sensation when there is interest in careers requiring creative thought. Interest in creative thought also showed a positive link with interests in fine arts and performing arts. The conclusion was drawn that intuition plays an important role in occupations involving interest in creative thought. However, interest in creative thought is still dependent on feeling for verification in the creative process. The research showed that intuition, a personal life-long passion, or love of art were determining factors when an artistic career choice was made. It was therefore concluded that intuition has a strong relation to artistic interest. It was determined that intuition, as well as factors such as a person's strengths and weaknesses, and knowledge of the requirements and demands of success, work together in shaping an artistic career choice. Intuition showed a tendency for a greater correlation with Fine Arts than with Performing Arts. The research had certain deficiencies, as it was only conducted on university students and it did not make provision for environmental influences. The qualitative research was too structured and the JPQ was not developed initially for quantitative analyses. The examination of interest in creative thought could not provide an explanation of the complete creative process. However, the research was of value to counselling psychologists for making career recommendations, as it provided valuable information in artistic careers. It also created a possible framework for future research on the assessment of artists to assist them in developing and reaching their full potential. / Thesis (M.A. (Psychology))--North-West University, Potchefstroom Campus, 2004.

On 2 July 2005, the Saturday before a summit of world leaders at Gleaneagles in Scotland, Live8 took place. Organised by Bob Geldof, the event brought together many high profile rock and pop performers to highlight the extreme famine conditions in Africa. Live8, however, was purportedly not in the business of promoting new albums, selling a range of merchandise or even raising charitable funds: indeed, tickets for the Live8 concerts were free. Rather, the event was intended to lead on to a rally in Edinburgh, forty miles from Gleneagles, calling on the summit attendees to cancel debt, double aid packages and remove trade barriers which hinder sustainable development on the African continent. As such, Live8 represents a strategic intent by rock and pop culture to ‘engineer’ a flow from the concert platform into the everyday. Conscious of the issues Live8 raises, this project looks at the different kinds of aesthetic event, from the contingent to the ‘pre-scripted’, which have over time become a feature of rock and pop culture. Through three distinctive case studies, whose subjects encompass both performers and their fan culture, concepts of narrative, spectacle and performance are discussed in order to understand, from a dramaturgical perspective, how rock and pop culture deals with representational schisms, particularly where the social world is implicated, and the role an aesthetic event (often a rock or pop concert) plays in the course of redress. Eschewing the limitations of musicology and media studies, which have often beset earlier investigations into rock and pop culture, this project’s overarching objective is to offer innovative thinking about the evolving state of the relationship it can, and does, facilitate between the ‘staged’ and the everyday.

No description available.

This thesis will examine theatrical changes which were taken place in Britain in the 1990s as an influence of Thatcherite capitalism. There are two bases in developing that subject. The first is that arts subsidy, namely, money, has been more responsible for the changes than directors and playwrights have. The second is that the changes were basically undesirable, because they resulted in the dominance of capitalist values in theatre, under which theatre companies inevitably compete with each other, and are, thereby, increasingly inclined towards safe, popular, commercial products. By contrast, alternative oppositional activities that can play a role in checking and balancing the dominant capitalist cultural values becoming marginalised. It can be, thus, said that this thesis will critically explore the undesirable legacy of Thatcherism on the theatre economics and management of the 1990s.To this end, it will examine several sub-subjects. Chapter I deals with the British politics and economics of the 1980s and 1990s as background for the changes which also took place in theatre during the 1980s and 1990s. Chapter II will explore the two different attitudes of the Arts Council which has been in charge of distributing money [arts subsidy] to theatre companies since its formation in 1946; one prior to Thatcher's government and the other during Thatcher's government of the 1980s. Chapter III will examine the general theatrical economics and management of the 1990s. Chapter IV will deal with money from the national lottery in order to see how much it has contributed to theatre companies in terms of theatre economy. Chapter V is a case study to illustrate how the West Yorkshire Playhouse as one of the leading regional theatre companies has been managerially affected by post-Thatcherite theatre economy. Chapter VI is another case study to illustrate how Red Ladder as one of the leading political theatre companies in the 1970s has been deradicalised by Thatcherite capitalism in the 1980s and post-Thatcherite theatre economy of the 1990s.This thesis, with its critical tone on the changes, will illustrate, implicitly or explicitly, ways by which the undesirable state of the British theatre in the 1990s may be rescued. At the same time, I hope this thesis to serve as a ground for debates for the betterment of the British theatre in the future.

The thesis enters several under-examined areas. First, improvisatory music will be considered as a human phenomenon in the widest sense (Chapter 1 ), and a phenomenon destined to suffer relative decline in the cultural environment of the modern West (Chapter 2). In consequence, the language in which improvisatory music is now discussed in the West will be shown to carry a negative charge (Chapter 3). Among various philosophies of music in the Western tradition, none appears to have foregrounded improvisatory music specifically. However Heidegger's philosophy, it will be suggested, harbours inner trends which favour the idea of music as a central component in philosophical discourse (Chapter 4) and may be used as a starting point for a re-emergent understanding of musical improvisation as a metaphysical principle (Chapter 5). Improvisation in music will be seen to be linked to the centrality of hope in human experience, and this will be exemplified in relation to certain cultures and twentieth-century composers (Chapter 6). Further to this connection between improvisation and hope, improvisation in a Christian liturgical context will be examined. There is a dearth of existing discussion, not only regarding improvisatory music in Christian liturgy, but liturgical spontaneity in general (Chapter 7).

No description available.

No description available.