My argument is that gender visibility in live and mediated performance can be enhanced by the use of the dramaturgical toolkit. The thesis as a whole offers a body of work and a method for recontextualising that work, and for reframing it in multimedia format. The visual and written texts on the DVD-Rom give equal weight to the performance and written research comprising this submission. Building upon that set of materials and meanings, but leaving deliberate gaps and spaces for debate and interpretation between them as well, I have attempted to offer a useful but also a flexible toolkit for use by future practitioners and scholars. Method: Taking as my case study Di's Midsummer Night Party, a site-based devised performance (this collaboration in 2000 was created with a scenographer, five professional actors and 20 extras, performed over five nights in an 18th-century house), I design and theorise a dramaturgical toolkit. The theoretical base is developed from established theoretical concerns, feminist performance theory and social semiotics to analyse an original contemporary performance work. Original contribution: The dramaturgical toolkit is designed to be used by artists, students and academics. My analytical tool is being used in teaching and is valuable to others who want to teach/research gender representation in live and mediated performance. Tests during development and subsequently have taken place with performance design and fashion students at Central Saint Martins College of Art and Design, where the kit encouraged the articulation and analysis of student work. The dramaturgical toolkit helps the facilitator to push students towards articulation and analysis of "bite-sized" bits that are distilled enough to be clear, and therefore useful for making and analysing performance. This process of distillation helps artists and students to focus down and to reach new levels of understanding.

This paper reviews and summarises the results of selected studies on performance gaps between multinational enterprises and their domestic counterparts. Performance gaps arise in such fields as productivity, technology, profitability, wages, skills and growth. While these gaps are often attributed to foreign ownership of the affiliates, the theory of the Multinational Enterprise argues that these gaps are due to being a Multinational rather than the nationality of the firm. Empirical evidence on the existence of performance gaps between foreign and domestic firms is supportive of this view: foreign ownership turns out to be a much less important explanatory factor than normally assumed. Firm-specific assets and firm characteristics like industry, size, parent country and multinationality per se are more important. Such results are broadly consistent with those derived in the literatures on ownership change, on foreign entry and on spillovers. We conclude that there is little case for foreign direct investment promotion policies to discriminate between firms on the basis of ownership. / Series: Department of Economics Working Paper Series

This thesis examines creativity as manifested in an online and transnational network of musicians who compose chipmusic, a kind of electronic music characteristic of 1980s early home computers and videogame sounds. The primary argument is that creativity in chipmusic worlds is networked, meaning that it is dispersed across various activities that are labelled as creative: chipmusic-making, technology-hacking practices that underpin the music, digital cultural practices such as use of social media, online releases, crowdsourcing, staged and screened performances, and any other activity related to chipmusic. The thesis examines the ways in which networked creativity is mediated in the chipscene from an interdisciplinary methodological viewpoint informed by ethnomusicology, anthropology, and sociology. Although the chipscene is geographically dispersed across more than thirty countries worldwide, the chipscene network is well-connected. Communication and music circulation practices of chipmusicians are enabled by the internet. This thesis primarily discusses chipmusic culture that suggests a rich context where creativity discourse is as intensely diverse as the chipscene itself, in which it is embedded. In looking at the creative process and performance practices, I employ a mixed methods approach based on ethnographic research methods and social network analysis, to examine how intrinsic and extrinsic aspects of chipmusic-making, such as ideology, cultural values, network infrastructure, chiptune poetics and aesthetics, distribution of creative roles, authenticity, differentiation, genre dynamics, and intellectual property issues, shape creativity.

This thesis is about the ways in which Thomas Middleton and William Rowley’s play The Changeling has been edited, performed, and archived in the twentieth and twenty-first centuries. It proposes a more integrated way of looking at the histories of performances and texts than is usually employed by the institutions of Shakespeare and early modern studies. Crucially, it suggests that documented archival remains of performance should be admitted as textual witnesses of a play’s history, and given equal status with academic, scholarly editions. I argue that—despite at least a century of arguments to the contrary—performance is still considered secondary to text, and that this relationship needs to become more balanced, particularly since the canon has begun to expand and early modern plays beyond Shakespeare have begun to see more stage time in recent years. In addition, I begin to theorise social media as archives of performance, and begin to suggest ways forward for archiving the performance of early modern drama in the digital turn. In order to support these arguments, I offer a series of twentieth- and twenty-first-century productions of The Changeling as case studies. Through these case studies, I seek to make connections between The Changeling as text, The Changeling as performance, and the various other texts and performances that it has interacted with throughout its life since 1961. In presenting analyses of these texts and performances side-by-side, within the same history, I aim to show the interdependency of these two usually separated strands of early modern studies and make a case for greater integration of the two in both editorial, historiographical, and performance practices.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work consists of ethnographic study on two theater groups of Santa Maria RS, the group EMAET and the TeatroVagaMundo. These groups have distinct features: the former is a theater school for people who are not actors/actresses and the latter constitutes itself as a professional/independent theater group. However both also carry out their works beyond the theater building, conventional space of the theater. It is mainly due to this characteristic that these groups were chosen for this study. Therefore the objective of this work is to understand the theatrical productions of these groups through participant observation in their quotidian of classes and/or rehearsals and performances, as cultural performances based on the theoretical scope of the performance studies at theater and anthropology and in discussions about street, street theater and alternative space categories. / Este trabalho consiste em um estudo etnográfico sobre dois grupos de teatro de Santa Maria RS, o Grupo EMAET e o Teatro VagaMundo. Estes grupos possuem características distintas: o primeiro se trata de uma escola de teatro para não atores e o segundo se constitui como um grupo de teatro profissional/ independente. No entanto, ambos realizam seus trabalhos também para além do edifício teatral, espaço convencional do teatro. É, sobretudo, devido a esta característica que estes grupos foram escolhidos para este estudo. O objetivo deste trabalho, portanto, é compreender as produções teatrais destes grupos através da observação participante em seus cotidianos de aulas e/ ou ensaios e apresentações, como performances culturais, com base no escopo teórico dos estudos da performance no teatro e na antropologia e em discussões sobre as categorias de rua, teatro de rua e espaço alternativo.

Considerable research is being carried out into the parameters that affect catalyst performance in order to meet the latest emission regulations. The conversion efficiency and the durability of automotive catalytic converters are significantly dependent on catalyst flow performance. Related investigations are commonly conducted using CFD techniques which represent an inexpensive and fast alternative to experimental methods. This thesis focuses on the flow performance of automotive catalytic converters using both experimental and computational techniques. The work describes the effects of inlet flow conditions on catalyst performance, the application of radial vanes to catalyst systems and the refinement of the CFD flow model which increases the accuracy of the predicted catalyst flow performance. the effects of inlet flow conditions on the flow maldistribution across the catalyst face and the total pressure loss through the system were assessed using a steady air flow rig. Tests were conducted over a range of Reynolds numbers typically encountered in automotive catalytic converters using a uniform and a fully-developed inlet flow condition. The results showed that the flow maldistribution significantly increases with Reynolds number notably in wide-angled diffusers. The catalyst flow performance is considerably improved when the inlet flow is uniform rather than fully-developed, the non-dimensional total pressure loss is reduced by 8% at Re=60000 and the flow maldistribution across the catalyst face is decreased by 12.5% and 15% respective Reynolds numbers of 30000 and 60000 when using a 60 degree diffuser. The total pressure loss through the system was found to be mostly associated with the monolith brick resistance. When the flow maldistribution is approximately 2, the pressure loss across the monolith brick represents 80% of the system pressure loss. The flow maldistribution across the catalyst face was improved by locating a system of radial splitters in the diffuser. The optimum flow performance was found to be a complex function of the vane design. A maximum improvement in the flow maldistrution indices M and Mi of 25% and 50% respectively was achieved at the expense of an increase in total pressure loss of 13.5% at Re = 60000. Both CFD and flow visualisation techniques were used as an aid to interpreting the flow field in the diffuser. Although a qualitative agreement was obtained using CFD, the flow maldistribution across the catalyst face was underpredected by up to 20%. The accuracy of the flow predictions was significantly improved by investigating the flow field in the monolith channels. Flow recirculation occurs in the channel entry length when the flow approaches the monolith channels at an angle which induces an additional implemented into four models of the flow through axisymmetric catalyst assemblies using various diffuser geometries and inlet flow conditions. By including the flow entrance effects in the porous media approach, the flow maldistribution was predicted within 8% instead of 15% when these effects are neglected. Further investigation of the flow in the monolith channels will be required to accurately model three-dimentional flows (racetrack catalysts) and to include various channel geometries and system flow rates.

This thesis looks at occurrences of "living death" – a liminal state that exists between life and death, and which may be approached from either side – in early modern English drama. Today, reference to the living dead brings to mind zombies and their ilk, creatures which entered the English language and imagination centuries after the time of the great early modern playwrights. Yet, I argue, many post-Reformation writers were imagining states between life and death in ways more complex than existing critical discussions of “ghosts” have tended to perceive. My approach to the subject is broadly historicist, but informed throughout by ideas of stagecraft and performance. In addition to presenting fresh interpretations of well-known plays such as Thomas Middleton’s The Maiden’s Tragedy (1611) and John Webster’s The White Devil (1612), I also endeavour to shed new light on various non-canon works such as the anonymous The Tragedy of Locrine (c.1591), John Marston's Antonio's Revenge (c.1602), and Anthony Munday's mayoral pageants Chruso-thriambos (1611) and Chrysanaleia (1616), works which have received little in the way of serious scholarly attention or, in the case of Antonio's Revenge, been much maligned by critics. These dramatic works depict a whole host of the living dead, including not only ghosts and spirits but also resurrected Lord Mayors, corpses which continue to “perform” after death, and characters who anticipate their deaths or define themselves through last dying speeches. By exploring the significance of these characters, I demonstrate that the concept of living death is vital to our understanding of deeper thematic and symbolic meanings in a wide range of dramatic works.