Thesis--Basel. / Vita. Includes indexes. Includes bibliographical references (p. 350-368).

Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 260-280).

M.A. (Communication Studies) / The purpose of this study is to investigate the relatively undeveloped field of art journalism in South Africa through in depth research focusing on one aspect within this field namely the art review. In researching this topic attention was initially given to the entertainment sections of popular publications in general in order to determine which sub sections occur in these entertainment sections} as well as the amount of space given to each sub section. Hereby a rich field of future research in art journalism has been established. The focus was then moved to the art review as a critical evaluative report of the arts. Although not much space is generally given to the art review in the entertainment section, it is still an indispensable part of this section of art journalism. A theoretical study has been conducted on the nature, function and requirements of the art review as (1) a report on the arts, (2) as a component of journalism and therefore subject to the general principles of the functioning of the press, (3) as a message subject to semantic and semiotic processes within the communications model...

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 61).

Orientador: Carolina Cantarino Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T16:59:38Z (GMT). No. of bitstreams: 1 Lima_RodolfoPereirade_M.pdf: 13333600 bytes, checksum: 6f14916c85f45c014392f1802fab932e (MD5) Previous issue date: 2015 / Resumo: A dissertação propõe uma intersecção entre teatro e homossexualidade a partir da produção dramatúrgica do autor Newton Moreno, produzida no começo do século XXI. Peças em que homossexuais masculinos e travestis tiveram suas idiossincrasias reverenciadas através de esquetes permeados por (des)amor, violência e preconceito. A dissertação apresenta-se em ensaios interdependentes, apoiados nos textos de Theodor W. Adorno e Jorge Larossa que arejam o conceito de ensaio, bem como os conceitos de obsceno e pornográfico, defendidos respectivamente por Eliane Robert Moraes e Susan Sontag. Não esquecendo de autores como Michel Foucault, José Antônio Marina, Wilton Garcia, Denilson Lopes e Gilles Deleuze, entre outros, para fomentar a discussão em torno desse suposto "teatro gay". A relação teatro/gay não é comum no meio acadêmico. Por isso, o intuito de que parte da memória teatral gay não se perca com o tempo / Abstract: The dissertation proposes an intersection between theater and homosexuality from the theatrical production of the author Newton Moreno, produced in the early twenty-first century. Texts on homosexuals and transvestites which has its idiosyncrasies revered through skits permeated by disaffection, violence and prejudice. The dissertation is presented in interdependent trials supported in the writings of Theodor W. Adorno and Jorge Larossa airing the concept of study, and the concepts of obscene and pornographic, defended respectively by Eliane Robert Moraes and Susan Sontag . Not forgetting of authors like Michel Foucault, José Antonio Marina, Wilton Garcia , Denilson Lopes and Gilles Deleuze , among others, to encourage discussion around this supposed "gay theater " . The relationship theater / gay is not common in Brazilian academia. Therefore, in order that the gay theater memory is not lost with time. Keywords ¿ Newton Moreno, Gay Theatre, homoeroticism, dramaturgy / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural

Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.