This project was written to tap the creative potential in children and to familiarize them with the medium that is so close to their daily lives -- television.Daily instruction included lessons in creative expressions and music experiences, as well as television production and programming. Activities in creative expression included pantomine, role-play, clowning, and puppetry. An introduction to music instruments, exercises in solo and group singing, and opportunities for creative dance were among the music experiences offered. Daily lessons in television production and programming comprised instruction in script writing, an introduction to studio equipment, crew roles, production teminology, as well as "hands on" experiences with video equipment. Children were given opportunities to apply their learned skills by writing original scripts and assuming positions as technical members and talent during video taping sessions. The video tapes that resulted were samples of what a program such as this can produce in our children today.

Prostaglandin E2, postulated to be immunosuppressive to the tumor bearing host, is produced and excreted in elevated quantities by many tumors. Arachidonic acid, the precursor molecule for PGE2, is released from membrane phospholipids by phospholipase A2. Phospholipase A2 has been proposed as the rate limiting enzyme in the production of prostaglandin E2.Phospholipase A2 from different sources varies in substrate specificities, pH optima, and Ca ++ concentration requirements. Therefore, the determination of its specific activity depends on the development of appropriate incubation, extraction, and identification methodologies.This study attempted to develop methodologies for determination of PLA2 activity using enzymes from snake venom, mouse liver, and normal and tumored mouse mammarytissue. The method of substrate preparation, kind of substrate, amount of protein, length of incubation, and addition of KC1 and deoxycholate were varied. Reaction products were extracted and isolated with hexame, and methylated with diazomethane. The methyl esters were identified by gas liquid chromatography. Quantitative analyses were based on proportionality of experimental peak areas to internal standard peak area.Activity could not be demonstrated with snake venom or liver PLA2 preparations. Low specific activity was obtained in some tumor and normal mammary tissue extracts. These studies will be used as a basis for developing an optimal assay system for PLA2 from normal and tumored mouse mammary tissue.

The purpose of this study was to provide an analysis of the major arias and ensembles of Jody Nagel's Fifty-Third Street for performance practice, drawing upon a case study of the premiere. The opera Fifty-Third Street was composed in 1992 by Nagel for his dissertation project at the University of Texas at Austin. The librettist is Seth Wolitz, then a University of Texas faculty member. The opera examines the lives of two homeless men on 53rd Street in New York City, between 5th and 6th Streets, and the reactions toward them from various facets of society, including the church, art institutions, businesses and tourists. The opera was premiered at Sursa Performance Hall on the campus of Ball State University on April 12, 2007 with a subsequent performance on April 15, 2007.Both the piano/vocal score and the chamber orchestra score from the premiere have been examined in the analysis of the opera, in addition to the original treatise by Jody Nagel. The analysis is conducted from a performer's perspective and examines vocal aspects, including potential technical challenges, range and tessitura; musical aspects, including formal analysis, tonality, melody, harmony and rhythm in relation to the text; drama and staging, and character motivation for each of the major arias and ensembles. Suggestions are offered for practice and performance based upon the analysis and informal interviews with the composer, conductor, directors, cast and crew of the premiere performance. Appendices include scene charts, costume lists, lighting and projection cues, original set and publicity materials, and a DVD recording of the world premiere performance.Many composers throughout the centuries have used opera as a way to comment on the world in which they lived and to challenge the status quo: Mozart, Le nozze di Figaro; Verdi, Un ballo in maschera; Berg, Wozzek; Britten, Peter Grimes. Jody Nagel has continued this tradition in a way that is powerful and compelling. Future directors will discover that Fifty-Third Street offers an invaluable tool for the musical development of students and professionals, for the growth of the American opera repertory, and for challenging the American way of life. / School of Music

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

A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.

Doctor of Philosophy / 'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

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Esta pesquisa trata da prática de fazer vídeos no Colégio Estadual Professora Ottília Homero da Silva, cidade de Pinhais, região metropolitana de Curitiba; diferenciando o que se pode perceber a partir da comparação entre dois gêneros distinguidos como: um vídeo-ficção experimental e outro, um vídeo-documentário institucional. Aborda a produção de vídeos no âmbito de uma escola pública, partindo da concepção da pesquisa como prática social tendo como aporte teórico os estudos da cultura, da arte e da tecnologia como ação coletiva, com ênfase nos processos de ensino-aprendizagem. Nesta pesquisa o estudo se concentra na prática de fazer vídeos por um grupo de alunos de uma escola pública, com o objetivo de encontrar algumas evidências das implicações geradas por tal prática como construção simbólica e ruptura de determinadas situações impostas pelo cotidiano compreendendo-a como um ato cultural complexo e transformador. Por que essas pessoas fazem vídeos? Como se dá esta prática nestas circunstâncias? Como se dá este processo de construção cultural simbólica? Entre as evidências encontradas figuram a busca pela inserção social, e a ampliação da reflexão crítica, quando as pessoas envolvidas na prática passaram a questionar suas posições na construção de suas identidades, reflexo e refração do contexto em que estão imersas. / This research deals with the practice of making videos at the Colégio Estadual Professora Ottília Homero da Silva, in Pinhais city, in the metropolitan region of Curitiba, differentiating what you can see from the comparison between two different genres: one, a experimental video-fiction, another, a institutional video-documentary. It addresses the production of videos at a public school, based on studies of culture and art and technology as a collective action, with emphasis on the teaching-learning processes. This research study focuses on the practice of making videos by a group of students at a public school, with the goal of finding some evidence of the implications generated by such practice as a symbolic construction and disruption of daily life imposed by certain situations, as a complex act cultural and process. Why do these people make videos over there? How this practice occurs in theses circumstances? How we give this process of building cultural symbolic? The evidence founded included the search for social integration, and extension of critical reflection, when people involved in the practice began to question their positions in the construction of their identities.

Esta pesquisa trata da prática de fazer vídeos no Colégio Estadual Professora Ottília Homero da Silva, cidade de Pinhais, região metropolitana de Curitiba; diferenciando o que se pode perceber a partir da comparação entre dois gêneros distinguidos como: um vídeo-ficção experimental e outro, um vídeo-documentário institucional. Aborda a produção de vídeos no âmbito de uma escola pública, partindo da concepção da pesquisa como prática social tendo como aporte teórico os estudos da cultura, da arte e da tecnologia como ação coletiva, com ênfase nos processos de ensino-aprendizagem. Nesta pesquisa o estudo se concentra na prática de fazer vídeos por um grupo de alunos de uma escola pública, com o objetivo de encontrar algumas evidências das implicações geradas por tal prática como construção simbólica e ruptura de determinadas situações impostas pelo cotidiano compreendendo-a como um ato cultural complexo e transformador. Por que essas pessoas fazem vídeos? Como se dá esta prática nestas circunstâncias? Como se dá este processo de construção cultural simbólica? Entre as evidências encontradas figuram a busca pela inserção social, e a ampliação da reflexão crítica, quando as pessoas envolvidas na prática passaram a questionar suas posições na construção de suas identidades, reflexo e refração do contexto em que estão imersas. / This research deals with the practice of making videos at the Colégio Estadual Professora Ottília Homero da Silva, in Pinhais city, in the metropolitan region of Curitiba, differentiating what you can see from the comparison between two different genres: one, a experimental video-fiction, another, a institutional video-documentary. It addresses the production of videos at a public school, based on studies of culture and art and technology as a collective action, with emphasis on the teaching-learning processes. This research study focuses on the practice of making videos by a group of students at a public school, with the goal of finding some evidence of the implications generated by such practice as a symbolic construction and disruption of daily life imposed by certain situations, as a complex act cultural and process. Why do these people make videos over there? How this practice occurs in theses circumstances? How we give this process of building cultural symbolic? The evidence founded included the search for social integration, and extension of critical reflection, when people involved in the practice began to question their positions in the construction of their identities.

Orientadores: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T01:26:07Z (GMT). No. of bitstreams: 1 Mendes_MarcosdeSouza_D.pdf: 52868204 bytes, checksum: aa6a12009464b94e715ad9e28bc611d3 (MD5) Previous issue date: 2006 / Résumé: Cette recherche étudie le travail conjoint réalisé entre le photographe et cinéaste Heinz Forthmann (1915-1978), Brésilien par option, et l¿anthropologue Darcy Ribeiro (1922-1997) à la Seção de Estudos, SE, du SPI. Fondée en 1942 par l¿indigéniste Cândido Mariano da Silva Rondon, la SE avait pour but, entre autres, de rechercher et de documenter ¿ au moyen de photographies, du cinéma et d¿enregistrements sonores ¿ la vie, les rites et les manifestations culturelles des peuples indigènes du Brésil. Les directives de documentation ethnographique, créés tout d¿abord par Harald Schultz, furent développées dès 1949 par Darcy Ribeiro, lequel rechercha l¿intégration entre les investigations ethnologiques et linguistiques et la réalisation cinématographique. Ce cycle de travail s¿est prolongé jusqu¿en 1959 et généra d¿importants films documentaires qui se sont aujourd¿hui dispersés, fragmentés ou perdus, dont: Os Índios Urubus, 1950; Funeral Bororo, 1953; Txukahamãe, 1955, et Jawari, 1957. C¿est la mémoire de ces films, la connaissance de leur art et de leur méthode de réalisation ethnographique que ce travail tâche de récupérer / Resumo: Esta pesquisa estuda o trabalho conjunto realizado pelo fotógrafo e cineasta Heinz Forthmann (1915-1978), brasileiro por opção, e pelo antropólogo Darcy Ribeiro (1922-1997) na Seção de Estudos, SE, do SPI. Criada em 1942 pelo indigenista Cândido Mariano da Silva Rondon, a SE tinha entre seus objetivos pesquisar e documentar em fotografia, cinema e gravação sonora, a vida, os ritos e as manifestações culturais dos povos indígenas do Brasil. As diretrizes de documentação etnográfica, criadas inicialmente por Harald Schultz, foram desenvolvidas, a partir de 1949, por Darcy Ribeiro, que buscou a integração entre pesquisas etnológicas, lingüísticas e a realização cinematográfica. Este ciclo de trabalho se estendeu até 1959, e gerou importantes filmes documentários que hoje se encontram dispersos, fragmentados ou perdidos, entre os quais: Os Índios Urubus, 1950; Funeral Bororo, 1953; Txukahamãe, 1955, e Jawari, 1957. É a memória desses filmes, o conhecimento de sua arte e método de realização etnográfica que este trabalho procura recuperar / Doutorado / Multimeios / Doutor em Multimeios