O objetivo desta pesquisa é examinar o conceito de liberdade no pensamento de Hannah Arendt. Para tanto, inicio este estudo com o ensaio Que é liberdade?. Nele a autora apresenta a liberdade como pertencente ao domínio da política e recusa a noção de liberdade cristã e liberal, isto é, nega a liberdade como livre arbítrio e como área de não interferência. Embora este seja o principal texto da autora sobre o tema, ele não é suficiente para se entender todas as dimensões de seu conceito de liberdade. Nesse sentido, é preciso recorrer a outros textos da autora, como o livro A Condição Humana. Nesta obra, Arendt analisa como o trabalho e as questões econômicas foram valorizados na Modernidade, trazendo sérias dificuldades para o exercício da ação livre. Ainda, em Origens do Totalitarismo, a autora apresenta a radicalidade da experiência totalitária. De acordo com ela, os regimes totalitários contribuíram para reforçar a idéia de que a liberdade não é vivenciada no domínio político. A despeito disso, Arendt afirma a ligação entre ser livre e agir no domínio político analisando a experiência da Democracia Ateniense, da República Romana e das revoluções modernas. Ela escreve Sobre a Revolução para tratar do aparecimento da liberdade na Modernidade e das dificuldades de se fundar e conferir durabilidade a espaços onde a ação livre seja possível. Ao longo da exposição das principais obras da autora, apresento diversas manifestações do conceito de liberdade, assim como as relações entre este conceito, o pensamento político arendtiano e a tradição filosófica. Dessa forma, ao fim da dissertação, retomo tais manifestações e relações para interpretar a concepção de liberdade em Hannah Arendt como um conceito multifacetado. / This research aims at examining the concept of freedom in Hannah Arendts thought. For this reason, I start this study with the essay What is Freedom?. In this text, the author presents freedom as belonging to political domain and refuses the Christian and liberal notion of freedom. That is, she denies freedom as free will or absence of constraints. Even though this is the authors most important text on the subject, it is not enough to understand all the properties of her concept of freedom. Therefore, we have to search for other author´s texts, like the book The Human Condition. In this book, Arendt analyses how work and economic issues were valued in the Modernity, bringing serious trouble to free acting. Yet, in The Origins of Totalitarianism, the author shows the radicalism of the totalitarian experience. According to her, the totalitarian regime contributed to amplify the idea that freedom is not experienced in the political realm. In spite of this, Arendt affirms the connection between freedom and acting in a public scene based in the experiences of the Athenian Democracy, the Roman Republic and the modernity revolutions. She writes On Revolution to treat the freedom´s emergence in the Modernity and to show the hardness of founding and giving durability to the area where the free action is possible. I manifest throughout this dissertation several characteristics of the freedom concept, such as the relationship between this concept and Arendt´s political thought and between it and the philosophical tradition. Therefore, in the end of the text I resume this characteristics and relationship in order to interpret Arendt´s concept of freedom as a multifaceted conception.

O sistema dos Viewpoints é o ponto de partida para uma investigação teórico-prática que transita por entre a bibliografia desenvolvida por Anne Bogart e a experiência prática em sala de ensaio. O objetivo principal é apontar algumas pistas para o trabalho do ator a partir de três recortes: o mapeamento inicial do sistema, a descrição das práticas realizadas em sala de ensaio e, ainda, a exploração do conceito de escuta-ação enquanto estratégia metodológica para a criação atoral. Os Viewpoints são compreendidos como um dispositivo a ser difundido, e a metodologia procurou friccionar o procedimento em questão com alguns dos temas presentes na cena contemporânea, como a performatividade e o desempenho espetacular. A análise do papel determinante da escuta-ação, na hipótese original da pesquisa, afirma ser a dramaturgia do ator o espaço da experiência, uma atividade permanentemente provisória, propositadamente lacunar e, em suma, ensaística, vista aqui a partir da perspectiva de Jorge Bondía. / The Viewpoints System is the starting point for a theoretical-practical investigation that includes the bibliography developed by Anne Bogart and the practical experience in rehearsals. The main objective of this study is to indicate some signs to the actor\'s work through three approaches: the initial mapping of the system, the description of practices applied in rehearsals, and the exploration of the listeningaction (escuta-ação) concept as a methodological strategy for acting creation. The Viewpoints are understood as a device yet to be disseminated, and the methodology has sought to relate this procedure with some subjects present in the contemporary scene, such as performativity and perfomative performance. The analysis of listenact\'s determinant role, according to the original hypothesis of this research, sustains that the dramaturgy of the actor is the experiencing space, a permanent provisional activity, purposely empty, and essentially essayistic, viewed here from Jorge Bondía\'s perspective.

This thesis offers a materialist account of dramatic genre. It shows how English revenge tragedies were mediated by the social circumstances of their early modern dramatic production, and how in turn such circumstances found expression in dramatic form. Its method draws on Marxist critical theory, but the work also makes extensive use of traditions in English social history and more conventional literary criticism. Influenced by Walter Benjamin’s early work, 'Urprung des deutschen Trauerspiels', in which ‘origin’ (Ursprung) is distinguished from ‘genesis’ (Entstehung), the dissertation offers an account of the genre’s dialectical relationship with the social realities and legal circumscriptions accompanying theatrical performance at the time revenge plays became popular. Focusing on the characterization of avenging protagonists, the dissertation suggests how the ambivalent disposition of such figures to narrative and scene drew on historical problems of social and occupational identity in early modern England. The first chapter dwells on the ambiguities of the avenger’s marginalisation in Thomas Kyd’s seminal revenge play, The Spanish Tragedy. This chapter realizes the problem of revenge as one relating to the household, and in turn connects this to the image of the early professional theatre as a disorderly house. Building on this analysis of the historical grounds of Hieronimo’s disenfranchisement and revenge, the second chapter explores the resources of characterization provided for such avengers by the dramatic tradition of the Vice which, by the 1570s and 1580s, had become associated with the professional actor. The third chapter examines how the idiom of the ruin in the two tragedies of John Webster might invite a Benjaminian analysis of the revenge play as a vulnerable allegory of production. This chapter looks to link revenge plays’ representations of death to contingencies of performance. The final two chapters are connected by an interest in the relationship between characterization and forms of historical risk. Chapter 4 explores the duel at Hamlet’s climax from a variety of perspectives, arguing that its debased nature as a ritual of valour interacted in highly sophisticated ways with the problems of intentionality and invention associated with earlier revenge plays as well as with performance itself. The final chapter builds on the arguments of Chapter 4 while recalling many of the arguments made earlier in the thesis. Demonstrating the dialectical interaction of the actor-as-servant and the servant-intriguer, this fifth chapter situates the study of such characterization within the historiographical controversies surrounding the early-modern wage labourer. This dissertation aims (i) to provide innovative criticism of English revenge tragedy, insisting upon the genre’s dialectical foundation in processes of dramatic production; (ii) to outline a viable, dialectically materialist genre criticism; (iii) to show how changes in socio-economic dependencies produced specific dramaturgical effects, particularly as these related to the process of characterization.

Thesis (M.F.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

ADAR (Adenosine Deaminases acting on RNA) family proteins are double-strand RNA binding proteins that deaminate specific adenosines into inosines. This A-to-I conversion is called A-to-I RNA editing and is well conserved in the animal kingdom from nematodes to humans. RNA editing is a pre-splicing event on nascent RNA that may affect alternative splicing when the editing occurs in the exon-intron junction or in the intron. Also, editing may change biological function of small RNAs by editing the premicroRNAs or other noncoding RNAs. Editing also alters protein amino acid sequences because inosine in the mRNA base pairs with cytosine and is therefore read as guanosine. In mammals, there are three ADAR family proteins, ADAR1, ADAR2, and ADAR3, encoded by three different genes. So far, no enzymatic activity of ADAR3 is detected. The most frequently edited targets of ADAR1 and ADAR2 are regions covering copies of Alu transposable elements in primates. In addition, loss of some specific editing events leads to profound phenotypes when the editing does not occur correctly. For example, some human neural disorders – such as epilepsy, forebrain ischemia, and Amyotrophic Lateral Sclerosis – are known to be associated with abnormally edited ion channel transcripts. Drosophila has a single ADAR protein (encoded by the Adar gene) that is highly conserved with human ADAR2 (encoded by the ADARB1 gene). To date, 972 editing sites have been identified in 597 transcripts in Drosophila, and approximately 20% of AGO2-associated esiRNAs are edited. Similar to mammals, many ion channel-encoding mRNA transcripts undergo ADAR-mediated A-to-I editing in Drosophila. While Adar1 null mice die at the embryonic stage and Adar2 null mice die shortly after birth due to seizures, Adar null flies are morphologically normal and have normal life span under ideal conditions. However, Adar null flies exhibit severe neurodegeneration and locomotion defects from eclosion, whilst Adar overexpression (OE) is lethal. To better understand the physiological role of RNA editing and ADAR, and to shed light on ADAR-related human disease, I used Drosophila Adar mutant flies as a model organism to investigate phenotypes, and to find chromosomal deletions and specific mutations that rescue the neural-behavioural phenotype of the Adar null mutant flies. Using the publicly available chromosomal deletions collectively covering more than 80% of the euchromatic genome of Chromsome III, I performed a genetic screen to find rescuers of the lethality caused by Adar overexpression. I confirmed that mutation in Rdl (Resistant to dieldrin, the gene encoding GABAA receptor main subunit) rescues. This rescue was not likely caused by effects on Adar expression level or activity. Driven by the hypothesis that the rescue may be due to reduction in GABAergic input to neurons, I recorded spontaneous firing activity of Drosophila larval aCC motor neurons using in vivo extracellular current recording technique. As expected, the neurons overexpressing Adar had much less activities compared with wild type neurons. Also, I found that Adar null fly neurons fired much more and showed epilepsy-like increased excitability. Although feeding PTX (Picrotoxin), a GABAA receptor antagonist, failed to rescue the lethality, reducing the expression of GAD1 to reduce synthesis of GABA was able to rescue the ADAR overexpression lethality. These results suggest that ADAR may finetune neuron activity synergistically with the GABAergic inhibitory signal pathway. I used MARCM (mosaic analysis using a repressible cell marker) to detect cellautonomous phenotypes in Adar null cells in otherwise wild type flies. Although neurodegeneration, observed as enlarged vacuoles formation in neurophils, was detected both in histological staining and EM images, the Adar null neurons marked with GFP from early developmental stages were not lost with age. Nevertheless, swelling in the axons or fragmentation of the axon branches of Adar null neurons was sometimes observed in the midbrain. By comparing the Poly-A RNA sequencing data from Adar null and wild type fly heads, we detected significant upregulation of innate immune genes. I confirmed this by qRT PCR and found that inactive ADAR reduces the innate immune gene transcript levels almost as much as active ADAR does. Further, using the locomotion assay, I confirmed that reintroducing inactive ADAR into Adar null flies can improve the flies’ climbing ability. Based on the Adar null flies having comparatively low viability, I performed a second deficiency screen to find rescuers of Adar null low viability using the same set of deficiencies as in the lethality rescue screen described above. I found seven deletions removing 1 to 37 genes that significantly increased the relative viability of the Adar null flies. However, not all the rescuing deficiencies also improved the Adar null locomotion. One rescuing gene, CG11357 was mapped from one of the rescuing deficiencies, and some mutant alleles of cry, JIL-1 and Gem3 also showed significant effects on the Adar null fly viability. The single gene viability rescuers were also not necessarily locomotion or neurodegeneration rescuers. Although the initial aim was to find neural-behavioural rescuing genes from the viability screen, the viability rescuers found in the screen are more likely to play a role in different aspects of stress response for survival.

Este estudo realiza uma reflexão sobre a teatralidade existente na dança do Grupo Primeiro Ato. Tem início em uma breve retrospectiva histórica da dança moderna brasileira, atravessando o período que vai dos anos vinte aos anos setenta do século passado, quando experiências de dança contemporânea começaram a surgir no cenário artístico nacional, traçando assim, um percurso do macro para o micro, do Brasil para a cena mineira e depois para o Primeiro Ato. Um duplo olhar, então, é construído. Primeiramente aquele que parte da dança em direção ao teatro, analisando alguns de seus criadores mais significativos, e em seguida do teatro para a dança, para chegar assim ao amálgama entre essas formas artísticas. Na parte final deste estudo, o espetáculo Sem Lugar foi escolhido como referência através da qual a teatralidade pode ser reconhecida como produto de um diálogo profundo com a dança, processo esse que é gerador, por sua vez, de diferentes dramaturgias que se interrelacionam, caracterizando um tecido poético que torna específico o trabalho do Primeiro Ato. / This study represents a reflection on the theatricality developed by the Primeiro Ato Dance Group. It begins with a short historical retrospective of Brazilian Modern Dance, going through a period from the twenties to the seventies of the past century, a moment when aspects related to contemporary dance emerged in the Brazilian dance scene. In this way, a path was designed, from a macro to a micro point of view, from events occurred throughout Brazil to the State of Minas Gerais, and then to the work created by Primeiro Ato specifically. Then, a kind of Double approach was explored. Firstly from dance to theatre, analyzing some of its most important creators, and secondly from theatre to dance, in order to achieve what was called here the amalgam between these art forms. In the final part of this study, a production named Sem Lugar was chosen as a reference through which theatricality can be recognized as a result of a deep dialogue with dance, a process which generates, in turn, different dramaturgies that intertwine, characterizing a poetic layer which makes the work created by Primeiro Ato truly unique.

Performing the work of William Shakespeare can be daunting to new actors. Author Herb Parker posits that his work is played easier if actors think of the plays as happening out of outrageous situations, and remember just how non-realistic and presentational Shakespeare’s plays were meant to be performed. The plays are driven by language and the spoken word, and the themes and plots are absolutely out of the ordinary and fantastic―the very definition of outrageous. With exercises, improvisations, and coaching points, Acting Shakespeare is Outrageous! helps actors use the words Shakespeare wrote as a tool to perform him, and to create exciting and moving performances. / https://dc.etsu.edu/etsu_books/1138/thumbnail.jpg

Thesis (M.Ed.) --University of the North, 1992. / Refer to the document

This is the thorough examination of Allyson Malandra's process of becoming a character, and the many different challenges and triumphs she has faced throughout the past three years of developing her craft. It also aims to bring into focus where the work will be headed throughout the many years to come. The goal of this process paper is to examine the many different details and intricacies that go into a role, and also how to troubleshoot problems that may arise throughout the journey. Our process is how we, as actors, attempt to create life on stage, and discover and unfold the underlying truth that connects all human beings. It is understood that each role for an actor will present a different set of chges, and therefore it is important to understand a baseline process that gets at the core of the actor's work. Through examination of this process, previous and current chges in the work will be discussed, as well as ways to move through these issues. Ideas on what is valuable in acting will be discussed, as a way of staying centered and focused, and also retaining quality in the craft. The examination will also explore three main pillars of the work--breathe, listen, and play--and how these anchor Allyson's artistry. The ultimate goals of this examination are to create a support for the process, to chge her work in the future, and to help her continue to grow and expand, both as an artist and as a person.

Nurses working in an acute psychiatric setting within a veterans' administration hospital must maintain a therapeutic milieu by recognizing and managing aggressive behaviors before violence ensues to reduce injuries to staff nurses and patients. The purpose of this project was to develop an evidence-based and theoretically grounded educational program that will help staff nurses manage escalating aggression, violence, and acting out behaviors to provide a safe environment for patients and staff through high risk identifier recognition and intervention training. During the data and information gathering stage, 23 articles were reviewed, rated, and graded to provide the most significant information used to complete the project. The project is a workshop made up of a 6-module curriculum that will be used to train staff nurses. This workshop will be shared with the partnering organization including the recommendation that it is adopted and implemented at a later date. The educational training program will have the potential to become a practice standard for other acute psychiatric settings within the Veterans Integrated Service Network to provide a tool that will assist the nurses as they care for the patient and maintain safety. Social change will occur through the empowerment of nurses who interact with veterans to bring them better and safer care.