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151	Werner Herzog em busca da compreensão humana Leão, Rita de Cássia da Silva 18 May 2015 (has links) Made available in DSpace on 2016-04-26T14:55:24Z (GMT). No. of bitstreams: 1 Rita de Cassia da Silva Leao.pdf: 5297903 bytes, checksum: 365d1ce161ffb73142a6ebc13ab0e302 (MD5) Previous issue date: 2015-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / All movie-making has an anthropological character, as it is as open-ended as humankind itself. The works of Werner Herzog run parallel with fundamental anthropology, which seeks to understand the process of penetration of man into the world and the inseparable process of penetration of the world into man. The first movie that is analyzed, Wodaabe: Herdsman of the Sun, deals with love of beauty among beings who feel despised by neighboring peoples. The second, Grizzly Man, is about a man who wanted to be a bear, as he could not stand living among humans. The third, The Cave of Forgotten Dreams, tells us how humankind dreamed 32 thousand years ago; how it projected its double on cave walls and small statues. Paintings and statues feature at the same time a penchant for both the fantastic and the reality of shapes and forms. It is not Herzog´s movie settings or themes which are anthropological; it is his view of the world and his way of making movies, which transmutes real into imaginary, and imaginary into real / Todo cinema contém um caráter antropológico, por ser aberto como a própria humanidade. A obra de Werner Herzog é contigua à antropologia fundamental, que busca compreender o processo de penetração do homem no mundo e o processo inseparável de penetração do mundo no homem. O primeiro filme analisado, Wodaabe: Os pastores do sol, trata do amor à beleza entre seres que se sentem desprezados pelos povos vizinhos. O segundo, O homem urso, de um humano que queria ser urso e não suportava o mundo dos humanos. O terceiro, A caverna dos sonhos esquecidos, conta como sonhava a humanidade há 32 mil anos, como projetava seu duplo nas paredes das cavernas e nas pequenas estátuas. Nas pinturas e estátuas estão presentes, ao mesmo tempo, uma tendência para o fantástico e para a realidade das formas. Não são os locais de filmagem e tampouco os temas de Herzog que são antropológicos, mas sim a sua visão de mundo e o modo de fazer cinema, que transmuta o real em imaginário e o imaginário em real Cinema Antropologia Werner Herzog Os pastores do sol O homem urso A caverna dos sonhos esquecidos Movie-making Anthropological Wodaabe Herdsman of the Sun Grizzly Man The Cave of Forgotten Dreams CNPQ::CIENCIAS SOCIAIS APLICADAS
152	Teorie sociální paměti jako alternativa k přístupu z hlediska kritérií autenticity v ježíšovském bádání / Social memory theory as an alternative to the authenticity criteria approach in Jesus research Langhammer, Pavel January 2018 (has links) The topic of social memory has been discussed for almost 20 years in the international field, but it hasn't been reflected in the Czech environment yet. This master thesis tries to introduce the topic of social memory theory to the Czech theological audience. It concentrates on the critique of the "criteria approach" in the historical Jesus research from the social memory theorist, esp. Chris Keith. It also tries to find roots of this way of thinking either among theorist of social memory like its "father" late Maurice Halbwachs and our contemporary Jan Assmann, or among New Testament scholars like Birger Gerhardsson and Werner Kelber who challenged the development model of the gospel tradition presented by Rudolf Bultmann. The critique of Bultmann is the basis of Keith's critique of the "criteria approach". This thesis presents Keith's concepts of "Jesus-memory approach" and "New historiography" and presents critiques of it both from the international scholars and its own. This thesis is a contribution to the field of hermeneutics and the development of methodology.
153	Cinematic Theatricality: The Aesthetics of Excess Sirmons, Julia January 2022 (has links) “Cinematic Theatricality” is the combination of conventionally “cinematic” and “theatrical” styles. It occurs on both screen and stage, and in intermedial performances. Despite their entwined histories, cinema and theater often define their aesthetics against each other. This dissertation posits that “cinematic theatricality,” in combining these allegedly “oppositional” aesthetic codes, actually intensifies the effects of both media. It is a dynamic that prompts explorations of relationship between intellectual and affective spectatorship in each medium. My definition of “cinematic theatricality” moves beyond dominant Brechtian conceptions of theatricality in cinema, and incorporates theater and performance scholarship that develops different understandings of theatricality as dynamic and affective. These other definitions of theatricality enable more sympathetic and mutually enhancing dialogues with cinema. I locate this cinematic theatricality in the work of four queer directors—Luchino Visconti, Patrice Chéreau, Werner Schroeter and Ivo van Hove—who were active in both European film and theater from the 1950s to the present. These directors’ works are often dismissed as “excessive” because they go “over-the-top” of realist aesthetic norms. The plenitude arising from the combination of cinematic and theatrical effects produces these aesthetic “excess,” styles of surplus that foreground the links between intellectual and emotional experiences of a medium. Different theatricalities produce different variants of excesses, each of which has its own aims and is rooted in these directors’ theatrical careers and their participation in the Regietheater (Director’s Theater) movement in post-war European theater. Nietzsche’s characterization of the “gestural,” decadentist excesses of Wagner’s theater suggests how editing can theatricalize the norms of cinematic continuity editing, creating simultaneous narcotic absorption in and critical distance from historical narratives. Opera’s tension between mimetic representation and “over-the-top” bodily and vocal expressivity leads to rhythmic, melodramatic relationships between the moving camera and the expressive performing body in the transmission of meaning. The queer traditions of camp theatricality, combining both ironic theatrical references and the sincerity and sensual intensity of performances, tie the signifying and sensorial aspects of cinematic spectatorship. In contemporary theater, screen-to-stage adaptations and productions with video and projection are often dismissed as overblown spectacles, too distracting to be meaningful or valuable. Cinematic theatricality on the stage makes video and projection intentional distractions. It forces the spectator to choose where to (not) look, to experience complex phenomena of intermedial “absence” and “presence,” in ways that challenge the norms and ethics of different mediated modes of showing and not showing. Cinema and theater have long expanded their senses of themselves beyond strict ontological characteristics, and our contemporary mediascape further encourages more dynamic understandings of both the cinematic and the theatrical. Cinematic theatricality, in its doubled entwinings, opens a way to combine formalist with affective readings of each medium, thus providing a richer understanding of each medium’s powers and effects. Cinematic theatricality’s permutations—the decadent, operatic, camp, and spectacular—suggest new ways of taxonomizing the “aesthetic categories” of contemporary intermediality’s ardor for excessive aesthetics, and its embrace of excess as a mode suitable for asking serious questions about history, politics, and identity. Motion pictures Theater Arts, European Aesthetics, Modern Decadence in art Visconti, Luchino, 1906-1976 Chéreau, Patrice Schroeter, Werner, 1945-2010 Nietzsche, Friedrich Wilhelm, 1844-1900
154	Können Dramen und Theateraufführungen als Schrift begriffen werden? Bitterlich, Thomas January 2012 (has links) Der Artikel beschäftigt sich mit der Frage, inwiefern Theater und Drama als Schrift begriffen werden können. Dabei wird auf den Schriftbegriff Bezug genommen, der in der Diskussion um die "Kulturtechnik Schrift/Schreiben" propagiert wurde.:Miniexkurs: Zur Problemgeschichte aus Sicht der Theaterwissenschaft Drama als Schriftvariante Ist die Theateraufführung als „Schrift“ begreifbar? Gedanken zum Schreiben info:eu-repo/classification/ddc/792 ddc:792 Drama; Theater; Schrift; Schreiben
155	Weltoffen– weil's vernünftig ist 02 September 2020 (has links) Rede von Werner D’Inka im Rahmen der `Wolfgang Donsbach Perspectives` am 26. Mai 2016. Redaktionsschluss: 13.01.2017 info:eu-repo/classification/ddc/380 ddc:380
156	Texte für das Theaterspiel von Kindern und Jugendlichen im ‚Dritten Reich‘ / Eine exemplarische Untersuchung verschiedener Spielreihen / Stage plays for children and adolescents in the 'Third Reich' / An exemplary study of several series of plays Korte, Barbara 10 April 2017 (has links) No description available. 400 800 Kindertheater Jugendtheater Kinder- und Jugendtheater Geschichte des Kindertheaters Geschichte des Jugendtheaters Nationalsozialismus Drittes Reich Hitlerjugend Reichsjugendführung Nationalsozialistischer Lehrerbund Deutschland 1933-1945 Laienspiel Laientheater Amateurtheater Schultheater Mirbt, Rudolf Luserke, Martin Colberg, Erich Wiemer, Rudolf Otto Magiera, Georg Adalbert Cordes, Margarethe Seidat, Oskar Förster, Wolfgang Altendorf, Werner Spiele der deutschen Jugend Spiele und Feste der deutschen Schule Münchener Laienspiele children's theatre youth theatre history of children's theatre history of youth theatre National Socialism Third Reich Hitler Youth Reich Youth Leadership National Socialist Teachers Assocation Germany 1933-1945 amateur theatre school theatre Mirbt, Rudolf Luserke, Martin Colberg, Erich Wiemer, Rudolf Otto Magiera, Georg Adalbert Cordes, Margarethe Seidat, Oskar Foerster, Wolfgang Altendorf, Werner Philologien (PPN621711713)
157	Intertextualitet, satir och Heimat i Heinrich Bölls Wanderer, kommst du nach Spa … Eng, Tord January 2016 (has links) This thesis deals with the short story “Wanderer, kommst du nach Spa ...” (1950) by the German author Heinrich Böll (1917-1985). The well-established interpretation of this famous short story is that it deals with the dismal fact that the Nazis ended the development of Western culture, which cumulatively had been on its way since Greek antiquity. In this paper another reading is proposed, namely that the short story sheds light on the influence of the Romantic era in Germany and that a certain interpretation and use of Romanticism provided some of the seeds to the obscure ideas of the Nazi era. Research on Böll´s early writings is presented. The notion of cultural memory is introduced. The intertextual connections between Bölls text and other texts are being uncovered. Most fruitful proves the connection between “Wanderer” and the poem “Der Spaziergang” (1795) by Friedrich Schiller (1759-1805) to be. “Wanderer” can be read as a satirical version of Schillers poem. Reasons for Böll to choose Schiller’s elegy as a target are discussed at length. A parable in the story, ”wie ein Gesicht eines Schlafenden” / like a face of a sleeping person, unfolds an undertext to the short story, a Catholic text. Jesus, the Holy Communion, prayers and the eternal cross are present. Wanderer can be read as a requiem over the young soldier. Further, the inability of the wounded soldier to connect to his surroundings is interpreted as a parallell to Germany at the end of the war; the Nazis had stolen the Heimat from the people and it was no longer possible to interpret the world as something you belonged to. While Heinrich Böll on the surface of the text tries to recapture the German language from its nazi-poisend condition, the protagonist within the text regains his identity by means of his own handwriting - a part of his language. Heinrich Böll Friedrich Schiller Tord Eng Wanderer kommst du nach Spa Der Spaziergang Hus utan väktare Biljard klockan halv tio Ungdomens bröd Heimat intertextualitet satir Werner Bellman Rainer Nägele kulturellt minne Renate Lachmann David J. Parent Rüdiger Safranski Sturm und Drang förromantik romantiken Bölls katolicism
158	Taking Mormons Seriously: Ethics of Representing Latter-day Saints in American Fiction Williams, Terrol Roark 10 July 2007 (has links) My paper examines the ethics of representing Mormons in serious American fiction, viewed through two primary texts, Bayard Taylor's nineteenth-century dramatic poem The Prophet and Maureen Whipple's epic novel The Giant Joshua. I also briefly examine Walter Kirn's short stories “Planetarium” and “Whole Other Bodies.” Using Werner Sollors' and Matthew Frye Jacobson's writings on ethnicity as foundational, I argue in that Mormonism constitutes an ethnicity, which designation accentuates the ethical demands of those who represent the group. I also use W.J.T. Mitchell's theories of representation as the basis of my arguments of the ethics of representing ethnicity. As ethical theorists, Emmanuel Levinas and Edward Said inform the theoretical framework of my project, and I place their theories both in opposition to and harmony with each other in terms of what it means to be truly “Other” and the responsibility of those who view, represent, project, or accept otherness as essential to being. I also borrow from Wayne C. Booth, particularly in his practical application of ethics theory. I employ Terryl Givens, Michael Austin, Bruce Jorgensen, and Gideon Burton to help bring the theory into the field of Mormon studies. In applying all these theorists to Taylor and Whipple I examine Taylor's exoticizing, “Othering” Mormons, creating an “Oriental” version of the rise of Mormonism, parallel to some of his Middle Eastern travel writing. Taylor also makes the remarkable ethical step of being the first non-Mormon to “take Mormons seriously” in literary fiction. I demonstrate how his use of classical literary forms and themes moves the ethical treatment of Mormons forward in an unprecedented way. Maureen Whipple relies on some of the sensational, romantic tropes in common use, but overall she also moves forward ethical representation of Mormons in serious literature, being the best-received of “Mormondom's Lost Generation” of literary writers. In conclusion I argue that these texts, along with the more problematic Kirn stories, help create a positive ethical climate for Mormon representation. Mormonism ethics representation Bayard Taylor Maureen Whipple Walter Kirn Emmanuel Levinas Edward Said Wayne C. Booth Orientalism alterity ethnicity American literature culture polygamy Werner Sollors W.J.T. Mitchell Joseph Smith Mormon history Latter-day Saints The Prophet The Giant Joshua Whole Other Bodies Planetarium multiculturalism race English Language and Literature
159	Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance Johnston, Emma Anne January 2014 (has links) This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life. This thesis comes out of my own experience as a performer and is informed both by theoretical discourse and practical experimentation in the theatre. Exploring the voice as a liminal, transgressive force requires analysis from an experiential perspective. Theatre Performance Avant-garde Experimental voice Liminality Liminoid Ritual Psychoanalysis Cyborg Electroacoustic Acousmatic Uncanny Greek lament Lullaby hereafter Artaud Alfred Wolfsohn Diamanda Galas Patty Waters Cathy Berberian Luciano Berio Visage Jenseits Werner Fritsch Peter Falkenberg Free Theatre Christchurch Bjork Laurie Anderson
160	"Ich dichte in die wüste Zeit" - Ich-Konstruktionen in der Lyrik der deutschsprachiger Schriftsteller_innen Israels / "I am writing into deserted times" - Constructions of the I in the German poetry of the Israeli writers Netti Boleslav and Jenny Aloni Poppe, Judith 27 August 2015 (has links) Die vorliegende Arbeit untersucht eine in der bisherigen Literaturgeschichtsschreibung unbeachtete Literatur – die deutschsprachige Literatur Israels. Exemplarisch wird dafür die Lyrik zweier Autor_innen, Jenny Aloni und Netti Boleslav, in den Blick genommen. Jenny Aloni und Netti Boleslav emigrierten Ende der 1930er Jahre aus dem nationalsozialistischen Deutschland bzw. Prag nach Israel, fanden dort eine neue Heimat und verfassten bis zu ihrem Tod in den 1980er bzw. 1990er Jahren in deutscher Sprache Lyrik und Prosa. Leben und Werk der Autor_innen werden in der Arbeit auf der Basis von Dokumenten wie Tagebüchern, Briefen und unveröffentlichten Manuskripten rekonstruiert, die hier zum Teil erstmals aus dem Nachlass gezogen und in die literarische Öffentlichkeit eingebracht werden. Die hermeneutische Untersuchung der Gedichte in ihrem poetischen Eigenwert wird durch die Einbeziehung poststrukturalistisch-kulturwissenschaftlicher Methoden ergänzt. Die Studie rückt die Ich-Konstruktionen in den Fokus – sowohl die der empirische Autor_innen als auch die der literarischen Ichs – und verfolgt damit die Fäden an unterschiedliche Zeiten und Orte zurück, in und an denen die Literatur ihre Spuren hinterlassen hat. Auf der Basis der Analysen wird die untersuchte Literatur, basierend auf Konzepten von Deleuze/Guattari und Kühne, schließlich als „Kleine Zwischenliteratur“ bezeichnet. Die Literatur Alonis und Boleslavs erscheint in Spannungsfeldern zwischen deutschem und israelischem Literaturbetrieb, mäandert zwischen Einheiten wie Böhmen, dem nationalsozialistischen und postnationalsozialistischen Deutschland, dem Staat Israel, der CSSR aber auch zwischen „jüdischer“ und „israelischer“ Literatur, deutscher Popkultur, Naturlyrik und zionistischer Geschichtsschreibung. Die Literaturgeschichte hat diese einmalige Positionierung der deutschsprachigen Literatur bisher nahezu unbeachtet gelassen. Mit der vorliegenden Arbeit wird dieser blinde Fleck geschlossen. Um dieser Literatur ihr Zuhause zu geben, so die abschließende Forderung der Arbeit, sind transdisziplinär und transnational Überlegungen anzustellen, wie die Literaturwissenschaft den Schnittmengen zwischen diesen zwei Literaturgeschichten institutionell und konzeptionell gerecht werden kann. 100 Deutschsprachige Literatur Israels Deutschsprachige Lyrik Israels Lyrik Israel Netti Boleslav Jenny Aloni Benno Fruchtmann Mirjam Michaelis Werner Bukofzer Sechstagekrieg Literatur Sechstagekrieg Lyrik Holocaust Shoah Eine kleine Literatur Lyrik nach der Shoah Literatur nach der Shoah Jerusalem Lyrik Jerusalem Literatur Alte Heimat Lyrik Israelische Lyrik Leerstellen deutsche Literaturgeschichte Max Brod Krieg 1948 Israel Literatur Krieg 1948 Israel Lyrik deutsche Literatur Israel Jeckes Israel Literatur Jekkes Israel Literatur Zwischenliteratur Theodizee Literatur Israeli literature German language Israeli poetry German poetry Israel Netti Boleslav Jenny Aloni Benno Fruchtmann Mirjam Michaelis Werner Bukofzer Six Day War literature Six Day War poetry Holocaust Shoah poetry after the Shoah literature after the Shoah Jerusalem poetry Jerusalem literature Israeli poetry blind spots German history of literature Max Brod war 1948 Israel literature war 1948 Israel poetry Jekkes literature Israel Jekkes poetry Israel Theodizee literature Philosophie (PPN619942320)

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