This thesis aims to investigate the question of reality in Tom Stoppard&rsquo / s plays Rosencrantz and Guildenstern are Dead, The Real Inspector Hound, and Travesties. Each of these plays closely examines the nature of reality and certainty and shows Stoppard as the critique of grand narratives of Reality, Truth, and Art. By deconstructing these master narratives, Stoppard attempts to invalidate the convictions that reality is fixed and that art should faithfully reproduce the material world in which reality is perceived as permanent. His challenge creates a realization in the audience and makes them question the issues they previously took for granted. To divest the audience of certainty and to display the endless pursuit of reality both in life and in art, Stoppard, in his plays, makes use of some metadramatic devices. Stoppard&rsquo / s distinctive use of the metadramatic devices which reveal the unaccountable nature of reality and the limits of knowledge is the core of this study

Thesis (M. Phil.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves leaves 122-134).

Title: The representation of gender: A semiotic study of Tom Ford's Gucci campaign 2003 and Frida Gianninis Gucci Campaign 2013. Number of pages: 73 (79 including enclosures) Author: Sara Andréasson Tutor: Anne-Marie Morhed Course: Media and Communication Studies D (2IV091) Period: VT 2013 University: Division of Media and Communication, Department of Informatics and Media, Uppsala University. Purpose/ Aim: The aim of this study was to examine the representation of gender in advertising that has both men and women as the primary audience. The aim of the study was to investigate how Gucci has chosen to represent men and women in their advertising campaigns 2003 and 2013. Material/ Method: A semiotic analysis was performed by using three images from Gucci's spring/ summer campaign for Tom Ford in 2003, and three images from Gucci's spring/ summer campaign for Frida Giannini in 2013. Main result: The results showed that there was a clear difference between Ford and Gianninis ways of representing women and men in the two advertising campaigns. The women in Fords campaign 2003 are presented as sexual objects and represented by the male pornographic imagination and portrayed as sexual eye-catchers while the men are portrayed as addicted to sex. Frida Gianninis advertising images is a contrast of Ford pornographic portrayal of women. Giannini presents women as confident individuals while the man is represented as feminized and androgynous in his appearance.

Zugl.: Düsseldorf, Univ., Diss., 2007

Frankfurt (Main), Univ., Diss., 2009

Zugl.: Düsseldorf, University, Diss., 2007.

Thesis (M.A.)--Trinity Evangelical Divinity School, 1993. / Abstract. Includes bibliographical references (leaves 149-157).

Submitted by Lucas Jurado Taoni null (lucas.taoni@gmail.com) on 2018-01-19T17:30:09Z No. of bitstreams: 1 TAONI, Lucas Jurado. Dissertação de mestrado, 2017..pdf: 19619562 bytes, checksum: e9045a5a2a6653c7c4dc9bfba7c90fab (MD5) / Approved for entry into archive by Laura Akie Saito Inafuko (linafuko@assis.unesp.br) on 2018-01-22T11:27:48Z (GMT) No. of bitstreams: 1 taoni_lj_me_assis.pdf: 19619562 bytes, checksum: e9045a5a2a6653c7c4dc9bfba7c90fab (MD5) / Made available in DSpace on 2018-01-22T11:27:48Z (GMT). No. of bitstreams: 1 taoni_lj_me_assis.pdf: 19619562 bytes, checksum: e9045a5a2a6653c7c4dc9bfba7c90fab (MD5) Previous issue date: 2017-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A música, desde pelo menos meados do século XIX, cumpriu um importante papel para a organização simbólica da cidade de São Sebastião do Rio de Janeiro, qual seja, ajudar a construir sua identidade, sua versão comunitária a ser consagrada. Nesse sentido, é sintomático observar que o rótulo histórico de “Cidade Maravilhosa” é, na verdade, trecho de uma marchinha carnavalesca, de autoria de André Filho (1934). Assim, esta dissertação de mestrado aborda uma continuidade desta tradição identitária, a partir de análises da fonte “Sinfonia do Rio de Janeiro” (1954), autoria de Billy Blanco e Tom Jobim, no sentido de entendê-la no seu contexto e refletir sobre suas mensagens. / The music, since at least the mid-nineteenth century, has played an important role in the symbolic organization of the city of São Sebastião do Rio de Janeiro, which is to help build its identity, its community version to be consecrated. In this sense, it is symptomatic to observe that the historical label of "Cidade Maravilhosa" is, in fact, an excerpt from a carnival music, by André Filho (1934). So, this master's thesis addresses a continuity of this identity tradition, based on the analysis of the source "Sinfonia do Rio de Janeiro" (1954), written by Billy Blanco and Tom Jobim, in order to understand it in its context and to reflect on your messages.

Submitted by Suemi Higuchi (suemi.higuchi@fgv.br) on 2008-11-11T14:05:04Z No. of bitstreams: 1 CPDOC2008GleiseAndradeCruz.pdf: 1829234 bytes, checksum: 794d190a88e7ca5fa2996d6895cebf82 (MD5) / Made available in DSpace on 2008-11-11T14:05:05Z (GMT). No. of bitstreams: 1 CPDOC2008GleiseAndradeCruz.pdf: 1829234 bytes, checksum: 794d190a88e7ca5fa2996d6895cebf82 (MD5) / Antonio Carlos Jobim archive as well as his personal archive was collected and arranged to fulfill the desire of a man concerned with his image. This work reveals the history underneath the organization of his private documents. Also, it presents proofs of an autobiographical intent. I approach the construction of Jobim archives at Instituto Antonio Carlos Jobim and I emphasize the sub series Caderno de AnotaÁıes óNotebooksó in the serie Produção Intelectual do Titular; those notebooks can be considered unique documents and they are an important evidence of his daily use and memorial practice. The study of primary sources of this nature allows us to infer the image constructed by Jobim as well as the plans of the guardians of his legacy. The maintenance of his personal and musical archive highlights the composer's purpose of preserving his works to future generations. Jobim¥s musical and personal archives are under his family responsibility at Instituto Antonio Carlos Jobim in Rio de Janeiro. / O arquivo de Antonio Carlos Jobim, assim como todo arquivo pessoal, foi colecionado e mantido para satisfazer o desejo de um homem que sempre se preocupou com sua imagem. Este trabalho demonstra a história da construção e organização desse acervo, além de fortalecer a hipótese de que o arquivo, em sua integridade, configura-se como uma escrita autobiográfica. Abordo a organização arquivística do fundo Antonio Carlos Jobim, dentro do Instituto que leva seu nome, e dou ênfase na subsérie Cadernos de anotações, da série Produção Intelectual do Titular. Esses cadernos são um tipo de documento singular, quer pelo uso que deles fazia o maestro, quer pela sua prática memorial. O estudo destas fontes primárias nos permite inferir a imagem construída pelo próprio titular, e também evidencia o plano dos guardiões dessa memória em perpetuá-la: Jobim decidiu manter um arquivo pessoal com o claro propósito de preservar sua obra e projetá-la para o futuro. Esse cuidado foi transmitido para seus herdeiros, que além das obras musicais, cuidam, hoje, de seu legado arquivístico dentro do Instituto Antonio Carlos Jobim.

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