Thesis (M.A.) in Communication--University of Maine, 2002. / Includes vita. Includes bibliographical references (leaves 126-137).

Thesis (Ph. D.)--University of Tennessee, Knoxville, 2007. / Title from title page screen (viewed on June 4, 2008). Thesis advisor: Craig A. Wrisberg. Vita. Includes bibliographical references.

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Thesis (M.A.)--University of Colorado, 2005. / Includes bibliographical references (leaves 114-118). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (M.A.)--University of Colorado, 2005. / Includes bibliographical references (leaves 114-118).

Through a combination of stringent and deceptive corporate control of sources, as well as an academic blind spot on certain low-brow subcultures, there has been a lack of serious study of the various regional professional wrestling traditions that crossed the United States until the end of the 1980s. An in-depth examination of a wide range of books, newsletters, and interviews shows a rich history with a deep economic, social, and creative diversity that has been largely ignored as the industry has moved towards monopolization under Vincent Kennedy McMahon. The various regions are divided into three groups: those that closed on their own, those that fell in competition with McMahon, and those that survived into the era of national corporate pro wrestling. This organization challenges the narrative that regional pro wrestling came to an end solely due to the business power of McMahon. The first group looks at Northern California, Southern California, Georgia, and North Texas. The second group examines the independent wrestling companies Mid-South Wrestling and the American Wrestling Association, and their attempts to compete with McMahon on a national level. The group also explores how the intense local fan bases in Portland and Memphis buoyed the local pro wrestling promotions for a time from outside competition from McMahon. The third group contains Jim Crockett Productions and the World Wide Wrestling Federation. These two organizations eventually became the two major corporate wrestling entities World Championship Wrestling and the World Wrestling Federation, respectively. A glossary of terms is included.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-15T12:20:07Z No. of bitstreams: 1 Osmar Guerra Junior.pdf: 44268628 bytes, checksum: b031b731607b44e9cc8983d71ddcacea (MD5) / Made available in DSpace on 2018-08-15T12:20:07Z (GMT). No. of bitstreams: 1 Osmar Guerra Junior.pdf: 44268628 bytes, checksum: b031b731607b44e9cc8983d71ddcacea (MD5) Previous issue date: 2018-06-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The current research intends to investigate Vince Gilligan’s creation paths during the development of the character Walter White in the series Breaking Bad. A serial work created for the television is an open work, in constant evolution and development and subject to drastic interventions in its narrative path. The author who draws upon an initial proposition to develop such path must consider possible incoherences throughout the story, which could occur due to external interferences and characteristics of the market. Such aspect is not found in the story and this fact instigates is to investigate the paths which were created by the author in order to establish a natural progression for the character, without losing, however, the identity and the coherence of the narrative. Our focus is on the analysis of episodes of the series, as well as interviews given by the author and specific publications on the backstage of the creation processes, aiming to understand the interactions between script creation procedures and choices regarding the audiovisual resources adopted by the author throughout the seasons. We also discuss the series as a genre in the audiovisual context under the perspective of coherence development throughout time. Our theoretical approach is based on the concepts of author from Machado (2011) and Bakhtin (2010) in relation to criticism of creation process and networks of creation (Salles, 2000; 2006; 2008; 2013; 2017) as well as the semiotic signs developed by Charles Peirce / Esta pesquisa pretende investigar os percursos de criação de Vince Gilligan na construção e desenvolvimento do personagem Walter White, na série Breaking Bad. Uma obra seriada feita para a televisão é uma obra aberta, em constante evolução e construção, e sujeita a intervenções drásticas em seu percurso narrativo. O autor que se vale de uma premissa inicial para a construção deste percurso deve atentar-se para a possibilidade de incoerências no decorrer da história, dado as interferências externas e características deste mercado, fato este que não encontramos no decorrer da narrativa da série e que nos instiga a investigar quais foram os percursos criados pelo autor para estabelecer a evolução natural do personagem, sem perder, porém, a identidade e coerência narrativa. O foco do estudo está na análise dos episódios da série, de entrevistas dadas pelo autor e por publicação especifica sobre os bastidores dos processos de criação da série com a intenção de entender as interações entre os procedimentos de construção de roteiros e as escolhas de recursos audiovisuais adotados pelo autor ao longo das temporadas, adotar a perspectiva de processo para discutir a série ao longo das temporadas e fazer uma reflexão sobre o gênero série no contexto do Audiovisual sob o ponto de vista da construção da coerência narrativa ao longo do tempo. Para tal, a fundamentação teórica apoiar-se-á nos conceitos de autor encontrados nos estudos feitos por Machado (2011) e Bakhtin (2010); em interação com os conceitos da crítica de processos e redes de Criação (SALLES, 2000; 2006; 2008; 2013; 2017); e com os conceitos sobre signos semióticos de Charles Peirce

Vince Guaraldi (1928-1976) was a jazz pianist who achieved tremendous financial and commercial success in the 1960s with his popular recordings and his work for the Peanuts animated shorts. He cultivated a musical style that drew from several identifiable sources: boogie-woogie, bebop, Brazilian and Afro-Cuban jazz, and rock ‘n' roll. The result was a distinct approach to jazz which, although it may not have been as influential as that of some of his contemporaries, nevertheless constituted a unique and personal voice—what several commentators have referred to as the "Guaraldi sound." This dissertation considers the entire range of Guaraldi's recorded output in order to define and catalog many elements that contributed to Guaraldi's musical style. Using an analytical framework drawn from the work of Leonard Meyer and Benjamin Givan, this study describes both Guaraldi's improvisational style—the licks, patterns, and phrases that he plays while soloing—and common elements of his compositions—the chord progressions, grooves, and other features that are particularly idiomatic. Also discussed are Guaraldi's status within the established jazz canon and the disparity between his widespread popularity and his lukewarm critical reputation. The discussion and analyses provide useful insights for fans of Guaraldi, fans of Peanuts music, jazz musicologists, and any seeking to emulate the Guaraldi sound.

My diploma thesis discusses the power and importance of money management when trading foreign exchange market. With the help of real examples it aims to demonstrate the difficulty of the future foreign exchange rate estimation and the ambiguousness of the market analyses results. Comparing the results of real trading in the spirit of diversification to the actual results of Vince's model, the thesis points out whether the application of diversification is a real necessity or not. The thesis also highlights the impact of diversification on the trading system performance compared to Vince's model. The final part proposes a possible practical accounting solution to the foreign exchange speculative trades.