The problem with which this investigation is concerned is that of determining the merit of the works of the contemporary Spanish playwright Carlos Muñiz in the area of social drama.

This thesis will examine the negotiation of kayfabe within the context of professional wrestling using a 2014 WWE storyline that arose from fan backlash as a primary text. The perceived marginalization of wrestler Daniel Bryan by the fans led to a disconnect between the narratives that were performed in-ring and the counter-narratives produced by the fans, which in turn led to an overtly co-authored narrative between in-ring performers and fans. In addition to studying the television narratives that characterize the “Yes Movement,” in WWE, I will analyze archived social media responses within fan communities on Twitter and Reddit to make sense of how professional wrestling fans constitute their collective identity and act upon their agency to alter live performances and narratives. This thesis will contribute to literature on professional wrestling specifically as well as performance studies and media studies about fandom in Communication. By analyzing the negotiation of kayfabe between professional wrestling audiences and performers, I will demonstrate how the Yes Movement backlash and eventual storyline illustrates the malleability of shared realities within subcultures.

In order to foster social reconciliation in the aftermath of the 1994 genocide, the Rwandan government has implemented a judiciary system and established a national commemoration period. More importantly, in order to eradicate the ideological foundation of the genocide, the government has outlawed ethnicity as a cornerstone of genocidal propaganda. Ethnography shows that these efforts have been only partially successful and that ethnicity occupies a central, silent space at the centre of Rwandan national politics and social interaction. In this work, I shed light over the entanglement between the memory of the genocide and social identities in Rwanda. I explore the ways in which ordinary Rwandans re-situate their ethnic background through moral categories that surface from the government’s historical narrative of the genocide and of the events that led to it. I analyse the means through which this narrative is established, the judicial enforcement and the memorialisation of the genocide, to illustrate the patterns of blame and legitimacy that saturate these historical constructions. Within these contexts, I explore the ways in which individuals exercise tactical agency in order to re-place their ethnic past in relation to these narratives. Drawing on in-depth ethnographic fieldwork, I argue that the government’s narrative of the genocide constitutes a moral landscape in relation to which actors acquire — or are denied — instances of victimhood. Negotiation over these instances take the form of accusatory practices which, more or less explicitly, are used in everyday life to define selfhood and otherness with respect to the genocide. My research shows how, cutting across former ethnic boundaries, the category of victimhood represents a form of empowerment, which dialectically depends on the identification of perpetratorship.

This interpretive study uses hermeneutic phenomenological methodology to understand the experience of six college students in Taiwan who participate in TV talk show as studio audience. Texts were collected from in-depth interviews. The result indicated a dramatic interaction framework toward the whole experience: participants as performers must ¡¥act¡¦ like undergraduate students, though the show ¡V from script, setting to personal front ¡V must be ratified by producer. Furthermore, two transformative effects are found in participants. First, they were socialized in the studio through the performance, and learned more social-performing skills and scripts. Second, they are bothered by mixing up their drama-roles with social-roles. It was the producer¡¦s purpose to represent ¡¥a world beneath¡¦ of college students in University. However it became ¡¥a public trial¡¦ on TV after excessive entertainment manipulation.

This study investigates forms of theatre/performance practice and training that can be seen to employ ‘trance’ states or engage the concept of ‘states of consciousness’ as performative practice. Trance is considered to be the result of sustained involvement with detailed information that is structurally organised, invoking imaginative and affective engagements that are maintained as interactions between the performer, other performers, the environment and audience of the performance. This thesis investigates trance performance through the conceptual lens of dramatic arts practice. In their respective cultural contexts, trance and theatre attain qualities considered as sacredness. Trance practice and performance, across a range of cultural contexts, are analysed as social processes - as elements of power relations that influence the performer, audience and environment of the performance. As performance traditions and events, this study will examine strands of praxis that can be drawn from Constantin Stanislavski to Lee Strasberg to Mike Leigh; from Antonin Artaud to Samuel Beckett and Jerzy Grotowski; from the Balinese trance performance form of Sanghyang Dedari in the 1930s to the 1990s; from the Channeling practitioners in the U.S. in the 1930s to Seth and Lazaris in the 1970s to the 1990s; and from traditions of military training, performance violence, and rhetoric associated with the attacks of the 11th of September 2001 in the U.S. and its aftermath.

No description available.

Des groupes de femmes et d'enfants mendient aux carrefours de la capitale iranienne. Ces individus sont systématiquement méprisés et appelés sous le terme vague et général de Kowli (bohémien, Tsigane), tandis qu'ils font partie d'un groupe ethnique et d'une communauté linguistique, méconnus entièrement par les Iraniens et les universitaires. Cette étude entame pour la première fois une recherche ethnographique de ce groupe "péripatétique", qui se nomme, Gorbat, voulant dire : le pays étranger, l'exile. Quelles sont les origines de cet ethnonyme et les modes de son appropriation par ce groupe ? Comment ce groupe survit-il culturellement ? Comment entretient-il ses frontières avec la société majoritaire et d'autres communautés minoritaires ? Cette étude s'est concentrée sur l'un des groupements de ce groupe ethnique, originaire de la ville de Babol au nord de l'Iran. Elle propose comme porte d'entrée à la vision du monde des Gorbat de Babol, l'analyse de la pratique d'aduri.Il s'agit d'une étape incontournable dans la vie de tous les jeunes gorbat de Babol.Cette étape consiste en le travail de la mendicité (aduri) pratiquée quotidiennement par tous les enfants, aux carrefours de Téhéran, et sous la surveillance d'au moins l'une des femmes de leur lignage. Cette pratique engage donc certains liens de parenté et met notamment en exergue la structure patrilinéaire du lignage gorbat. Elle révèle, à son tour, l'importance de cette structure dans l'imbrication identitaire de l'individu. La pratique d'aduri est décrite d'après le concept de Clifford Geertz ; « thick descriptions ». Chaque strate de signification menant à la production, l'aperception et l'interprétation du comportement significatif (ici l'aduri) est décrite et mise en examen. Cette analyse minutieuse ouvre la vision sur une lecture dramaturgique de la mendicité, à la manière de "social drama" de Victor Turner. La mendicité se réalisant dans une forme de rite et d'une manière dramaturgique, le cadre culturel et les symboles qui le constituent surgissent à un niveau visible de l'interaction sociale entre l'individu gorbat et l'individu non-gorbat. Ce phénomène s'impose comme un évènement central dans la vie sociale gorbat et la construction de l'identité communautaire de l'individu. Il est dès lors impossible d'observer la société gorbat, prise isolément. L'autre (le non-gorbat) y est constamment présent. Comme paradigme sociologique, et à la suite de la théorie d'"ethnic boundaries" de Fredrik Barth, cette étude suggère d'observer la société gorbat à travers les rapports qu'elle entretient avec le non-gorbat. Or, ces rapports ne s'expliquent pas seulement par l'économie, ni par la politique mais par le culturel. L'identité et l'altérité se jouent au niveau des interactions sociales de la vie quotidienne, donc en oscillation entre deux cadres moraux et deux systèmes de valeurs. C'est dans un va-et-vient entre deux sphères de construction et de déconstruction de sens que se dessinent ces rapports à soi et à l'autre. C'est au niveau intermédiaire entre les deux sphères qu'il est possible d'observer les points de divergence, ainsi que les sphères où le gorbat ne fait qu'un avec la société globale. / Groups of women and children beg regularly at intersections in the Iranian capital. These individuals are commonly despised and referred to as Kowli (Bohemian Gypsy), while they are part of an ethnic group and a linguistic community, completely ignored by the Iranians and scholars. This study introduces for the first time an ethnographic research of this "peripatetic" group named, Gorbat, meaning: the foreign country, the exile. What are the origins of this ethnonym ?How this group have come to take this name? How does he survive culturally? How does he keep its borders with the global society and other minorities? This study focuses on one of the agglomeration of this ethnic group, originally from the city of Babol in northern Iran. It offers a gateway to the world view of Gorbat of Babol, through the study of a relevant step in the life of every young Babolian Gorbat.This step consists of begging (aduri) practiced daily by all children, at the crossroads of Tehran, under the supervision of at least one of the women of their lineage. This practice therefore reveals certain kinship relations and highlights in particular the structure of the patrilineal lineage in the Gorbat community. It also reveals the importance of this structure in the embedded identity of the individual. The practice of aduri is described according to the concept of Clifford Geertz; "Thick descriptions". Each stratum of meaning leading to the production, perception and interpretation of significant behaviour (here aduri) is described and analysed. This meticulous analysis opens our vision to a dramatic view of begging, in the sense that Victor Turner employs this paradigm in "anthropology of performance". Begging is performed as a rite and produces a drama through which the cultural framework and symbols engaged become visible in the social interaction between the Gorbat and the non-gorbat. This phenomenon emerges as a central event in the social life of the Gorbat and the construction of the collective identity of the individual. It is therefore impossible to observe the Gorbat society in isolation.The other (non-gorbat) is constantly present. As sociological paradigm, and following the theory of "ethnic boundaries" by Fredrik Barth, this study suggests to observe the Gorbat society through its relations with the non-gorbat. However, these relations are not only based on economy nor on politics but on cultural features.The identity and otherness are defined through social interactions of everyday life, by oscillation between two moral frameworks and two value systems. It is through this back-and-forth between two spheres of construction and deconstruction of meaning that the definition of self and of the other emerges. This is at this intermediate level between the two spheres that it becomes possible to observe the points of divergence, but also the spheres where the Gorbat is unified with the global society.

abstract: Since the 1960’s and 1970’s, ethnographic research on Jewish menstrual rituals known as niddah, Taharat HaMishpacha, or Family Purity has associated their practices with religious behavior. Much of this research organizes around questions of women’s agency within ostensibly patriarchally constructed religious practices that carry the potential to oppress its women practitioners. This premise is built upon a number of implicit assumptions about the history of today’s niddah practices: that niddah is observed exclusively by Orthodox Jews; that increasing rates of niddah observance correlate exclusively with the trend toward stricter observance levels among the Orthodox since the 1960s; and that this increasingly strict observance itself reflects a reactionary trend among the Orthodox community (a.k.a. tradition versus modernity). All these assumptions currently circulate, in various degrees, among the American Jewish lay community and are shared by a significant number of congregational rabbis. Until the 1990s, no history of niddah existed to either support or refute these assumptions. I initially intended that this project would provide future ethnographers with a comprehensive history of niddah in America during the past one and a half centuries. I engaged Victor Turner’s theory of Social Drama as a framework for understanding this history as a socio-cultural process, rather than as a series of less than related events. However, this study h*as resulted in the identification of many more specific assumptions about the decline and revival of niddah observance in the twentieth century, which are not supported by the scant evidence available. These challenged assumptions beg new directions for research; a thorough reworking of the history of niddah in America; and a fresh look at the literature advocating niddah produced in the 1990’s and early 2000’s. This genealogy as Social Drama presents niddah in twentieth century America as undergoing periods of crisis, negotiation, and reintegration. This drama was triggered by late nineteenth century concepts of religion, body, and ritual that undermined and ruptured the integrity of niddah as a bodily religious ritual practice. Niddah’s twentieth century social drama culminated in fresh articulations of a unique Jewish sexuality and Jewish marital ethic. / Dissertation/Thesis / Masters Thesis Religious Studies 2015

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-21T11:50:50Z No. of bitstreams: 1 arquivo total.pdf: 1337450 bytes, checksum: e3fe65ca349fb0f55797ab50469a23b7 (MD5) / Made available in DSpace on 2016-06-21T11:50:50Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1337450 bytes, checksum: e3fe65ca349fb0f55797ab50469a23b7 (MD5) Previous issue date: 2016-12-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Willy Loman, the protagonist of Arthur Miller’s Death of a Salesman (1949) is a simple, flawed, middle class salesman. Can a common man such as Willy Loman be considered as a tragic hero? Does tragedy still exist in modern drama? Could the dark side of the “American dream” be the external flaw that provoces Loman’s fall? The objective of studying Arthur Miller’s play Death of a Salesman is focused on the possibility whether the protagonist, Willy Loman, can be considered a tragic hero. This study consists of a literary and historical perspective and is of a qualitative-descriptive character. The problem focuses on the question: what could be the influence, or rather, the illusion of the “American dream” that causes Willy’s tragic fall? This study is constructed by three cornerstones: first, the analysis of drama and tragedy from the perspective of Aristotle’s theory; second, the analysis of social drama and ultimately, the historical and literary perspective of the concept of the “American dream” as a reason for Willy Loman’s fall. The results of this study indicate that Death of a Salesman is not a period piece and that this play highlights issues from the past that are still current. It is noticed that Willy Loman meets his inglorious end because he is fooled and deluded by the “American dream”. The development of tragedy, culminating in modern social drama, indicates that a common man can be tragic, exactly because of the fact that Willy is an ordinary human being, which even more provoces feelings such as fear and pity, once what happened to him can happen to anyone of us. / A Morte de um Caixeiro-Viajante (1949) de Arthur Miller tem como protagonista Willy Loman, um simples vendedor fracassado da classe média baixa. Um homem comum como Willy Loman pode ser considerado como herói trágico? Existe ainda tragicidade no drama moderno? Seria o lado sombrio do “sonho americano” a falha trágica externa para a queda de Loman? O objetivo do estudo da peça de Arthur Miller, A Morte de um Caixeiro-Viajante, está centrado na possibilidade do protagonista, Willy Loman, ser considerado um herói trágico. Esta é uma pesquisa que abrange a perspectiva históricoliterária, bibliográfica e de carater qualitativo-descritiva. A problemática trabalhada centra-se na questão: qual seria a influência, ou melhor, a ilusão, do “sonho americano” que provoca a queda trágica de Willy? O estudo é desenvolvido sob três frentes: em primeiro lugar, a análise da dramaticidade e tragicidade sob a ótica da teoria de Aristóteles; em segundo lugar, a análise do drama social e, finalmente, a perspectiva histórico-literária do conceito do “sonho americano” como uma razão para a queda de Willy Loman. Os resultados do estudo apontam na direção de que A Morte de um Caixeiro-Viajante não é uma peça de época, e que esta peça ressalta questões do passado, ainda atuais. Percebe-se que Willy Loman encontra seu fim inglório porque é enganado e iludo pelo “sonho americano”. O desenvolvimento da tragédia culminando no drama social moderno mostra que um homem comum pode ser trágico, pois, o fato de Willy ser um ser humano comum, provoca sentimentos tais como terror e piedade, e estes ficam maiores, uma vez que aconteceu com ele pode acontecer a qualquer um de nós.

Made available in DSpace on 2014-12-17T14:20:27Z (GMT). No. of bitstreams: 1 VioletaMSH_TESE.pdf: 2999264 bytes, checksum: 17887d99e733ff550e080e54e26bd5c3 (MD5) Previous issue date: 2013-03-20 / The tradition and living in African-Brazilian religious spaces, called yards, reveal how dynamic the reproduction and exchange of knowledge are, and that through their worldview, reveal ways of dealing with health and disease. The yards are culturally rich territories, in which people shape concepts, practices, and beliefs about health, disease and forms of healing, passed on from generation to generation through oral tradition. With the advent of HIV/AIDS from the 80s, a new challenge is established in the community of the yards and in the individual trajectories of people affected by the disease, who since an early age participate in this religious practice. The objective of this research is the analysis on the stigma in living with HIV/AIDS in yards of Umbanda in Fortaleza-Cear?, considering the (re)production of social dramas experienced by the community in question. During the investigation we adopted two basic parameters: the first one considers the understanding of the reproduction of stigma (or deteriorated identity) in relation to HIV/AIDS in its socio-historical dimension and its effects in the investigated context (Goffman, 1988). And the second one refers to the creation and reproduction of social dramas as a social experience carried through learning, handling and symbolic performance, which is reproduced in four stages: rupture, crisis, corrective action and reintegration (Turner, 1971) / A tradi??o e a viv?ncia nos espa?os religiosos afro-brasileiros, denominados terreiros, revelam o qu?o din?mico ? a reprodu??o e troca de saberes e conhecimento que, atrav?s de sua vis?o de mundo, revelam formas de lidar com a sa?de e a doen?a. Os terreiros constituem territ?rios ricos, culturalmente, em que pessoas moldam concep??es, pr?ticas e cren?as a respeito da sa?de, das enfermidades e das formas de cura, repassados de gera??o a gera??o, atrav?s da oralidade. Com o advento do HIV/Aids a partir dos anos 80, um novo desafio se estabelece na comunidade dos terreiros e nas trajet?rias individuais das pessoas afetadas pela doen?a que desde idade tenra participam dessa pr?tica religiosa. O objetivo desta pesquisa ? a an?lise sobre o estigma no conv?vio com o HIV/Aids em terreiros de Umbanda na cidade de Fortaleza-Cear?, considerando a (re)produ??o dos dramas sociais vivenciados pela comunidade em quest?o. Durante a investiga??o foram adotados dois par?metros fundamentais: primeiro, que considera a compreens?o da reprodu??o do estigma (ou da identidade deteriorada) em rela??o ao HIV/Aids em sua dimens?o s?cio-hist?rica, e seus efeitos no contexto investigado (GOFFMAN, 1988). E segundo, que se refere ? cria??o e reprodu??o dos dramas sociais, enquanto experi?ncia social realizada atrav?s do aprendizado, manuseio e atua??o simb?lica, que se reproduz em quatro fases: ruptura, crise, a??o corretiva e reintegra??o (TURNER, 1971). PALAVRAS-CHAVE: