Syftet med detta examensarbete är att undersöka hur utomhusleken har tagit plats i lekläroböcker mellan år 1990 och 2020. Studien har sin koppling till fritidshemmet då lekläroböcker har samma åldersspann som fritidshemmet. Studien är grundad i kvalitativ forskningsmetod där vi använt oss av dokumentanalys som metod för insamling av empirin. Det empiriska materialet har vi sedan valt att tolka och analysera utifrån Øksnes (2011) tolkning av den karnevalistiska lekteorin. Resultatet av studien är att leken sker både inomhus och utomhus i olika konstellationer. Leken styrs av olika personer, allt från barn/eleverna själva till skolpersonal och föräldrar. Det finns olika syn på lek, vissa böcker ser lek som ett verktyg, andra som nöje och vissa nämner inget om detta. De olika böckerna har olika perspektiv på deltagarantal, där de olika böckerna benämner grupplek, parlek och ensamlek. Lekläroböckerna beskriver lek som kultur, lek som någonting gammalt eller benämns inte det. Studien avslutas med en diskussionsdel där resultatet sätts i relation till tidigare forskning. / The purpose of this degree paper is to study how outside play has been described in play-educational books between the years 1990 and 2020. The study has a connection to leisure-time centers because the play-educational books have the same age span as the leisure-time centers. The study is based on a qualitative research method as we have used document analysis as our method for gathering empirics. We have chosen to interpret and analyze the empirical material based on Øksnes (2011) interpretation of the carnival play theory. The results of the study are that play may occur both inside and outside in different constellations. The play is controlled by different people, from children/pupils themselves to school personnel and parents. There exist different views of play, some books view play as a tool, others as pleasure and some don't mention it at all. The books have different perspectives on the number of the participants, where the different books mention group play, pair play, or playing alone. The play- educational books describe play as culture, play as something ancient or doesn't mention it. The study is concluded by a discussion where the results are placed in relation to earlier research.

The dissertation focuses on the impact of authority and grotesque in the U.S. literature of the 1960s. The key theoretical approaches used for the analysis were: Bakhtinian theory concerning popular carnival culture and Vizenor's theory concerning tricksters, Deleuzian notion of repetition and schizoanalysis and the theory of Foucault concerning power and anti- authority struggles. The main task of the analysis was to trace the common and differentiating features which were demonstrated in the novels in the form of anti-authority struggles and forms of madness, which is viewed as a deliberating force. The authors were chosen for their challenging attitudes toward the forms of power exercised over the American society and for the usage of the grotesque as a tool to convey a subversive message. The analysed authors were John Kennedy Toole and his A Confederacy of Dunces, Kurt Vonnegut Jr. and his Slaughterhouse 5 and Ken Kesey's One Flew Over the Cuckoo's Nest.

[pt] O presente estudo se propôs a investigar as possibilidades de uso do gênero musical samba-exaltação como ferramenta didática em aulas de Português como Segunda Língua para Estrangeiros. Ressaltamos que nosso enfoque se voltou aos sambas-exaltação provenientes das agremiações carnavalescas as quais promovem desfiles de escolas de samba durante os festejos do carnaval, celebração conhecida internacionalmente. Iniciamos o estudo tendo em mente o objetivo de observar as identidades dos sujeitos presentes nos sambas-exaltação, música que faz parte do carnaval e possui forte representatividade para os brasileiros frequentadores de escolas de samba. Defendemos que a leitura desse gênero textual pode ser uma ferramenta para conhecer as subjetividades do brasileiro nesse contexto, compreendendo, outrossim, sua relação com o carnaval protagonizado pelas escolas de samba e as razões que o levam a fazer parte deste grupo social. Realizamos uma análise qualitativa, de cunho exploratório, em sambas-exaltação de escolas provenientes das cinco regiões do Brasil, contemplando diferentes cidades: Rio de Janeiro, São Paulo, Recife, Corumbá, Uruguaiana e Manaus. A fim de esmiuçar as letras, organizamos a pesquisa em quatro categorias, investigadas separadamente: Relação estabelecida entre o sujeito e a escola; Relação estabelecida entre passado e presente; Sentimentos que conectam o sujeito à escola; Relação entre sujeito e espaço. Os resultados finais indicam o potencial do gênero musical para o ensino de Português como Segunda Língua para Estrangeiros, razão pela qual propomos que seja uma possível ferramenta de trabalho disponível para o docente. Concluímos que as letras estudadas oferecem um rico recurso para unir o ensino da gramática e do léxico aos processos de (des)construção da imagem que o estrangeiro pode realizar sobre os brasileiros, ressaltando que o samba-exaltação revela identidades e emoções compartilhadas coletivamente pelos componentes, nos bastidores do carnaval, longe do espetáculo. Como referencial teórico, baseamo-nos nas concepções de Cultura abordadas por Hall (1959), Singer (2000), Laraia (2002), Williams (2007) e Hofstede, Hofstede e Minkov (2010). Para tratar de Interculturalidade, contamos com as abordagens de Peterson (2004), Bennett (1998) e Hofstede, Hofstede e Minkov (2010). As noções de Identidade são embasadas nas perspectivas de Bauman (2005). / [en] The present study aimed to investigate the possibilities of using exultation samba as a didactic tool in classes of Portuguese as a Second Language for Foreigners. We emphasize here that our focus turned to exultation sambas from carnival associations which promote samba school parades during the carnival festivities, a celebration known internationally. This study was designed to observe the identities of subjects who are part of exultation samba, a kind of music that is deeply representative of Brazilian carnival. We argue that reading the lyrics of this textual genre can be a tool to understand the subjectivity of Brazilians in this context and their reasons for participating in this social group. We conducted qualitative and exploratory analysis with exultation sambas that represent samba schools from five regions of Brazil, looking at different Brazilian cities: Rio de Janeiro, São Paulo, Recife, Corumbá, Uruguaiana and Manaus. Considering our objectives of observing the lyrics, we organized the research into four categories, investigated separately: Relation established between the subject and the samba school, Relation established between past and present, Feelings that connect subject and samba school, Relation between subject and space. The final results indicate the potential of exultation samba to teaching Portuguese as a Second Language to Foreigners, which is the reason why we propose that exultation samba is a possible tool for teachers. We conclude that the lyrics studied offer a rich resource to unite the teaching of grammar and lexicon to the processes of (de)construction of the understanding that the foreigner has about Brazilians. It emphasizes that the exultation samba reveals identities and emotions shared collectively by the components, backstage at carnival, away from the show. As a theoretical framework, we are based on the conceptions of Culture addressed by Hall (1959), Singer (2000), Laraia (2002), Williams (2007) and Hofstede, Hofstede and Minkov (2010). To deal with Interculturality, we rely on the approaches of Peterson (2004), Bennett (1998) and Hofstede, Hofstede and Minkov (2010). The notions of Identity are based on Bauman s (2005) perspectives.

No description available.

This thesis is an exploration of tabooed literary creations that it terms carnival literature. To achieve the objective of establishing the effectiveness of posting material on Facebook walls of the selected group and individual accounts to escape censorship, the thesis compared traditional graffiti, particularly latrinalia, to ‗cyber‘ graffiti (social media) with Facebook as a case study. Lev Vygotsky‘s Activity Theory helped the study link graffiti, vulgarities, humour and Facebook to the Ndebele society‘s response to tabooing of carnival literature. The thesis argued that participating in traditional graffiti production and coming up with posts on a Facebook wall is a deliberate effort with a target audience just as other genres of literature have. However, society tends to condemn carnival literature as a rebellious genre that deserves exclusion from ‗normal‘ interaction. Carnival literature is therefore censored through tabooing its themes and language. The term carnival literature is derived from medieval performances that were named the ‗carnivalesque‘ by Bakhtin and have equivalents in Africa as a continent and in Zimbabwe as a nation. The characteristics of carnivality are found in both traditional graffiti and ‗cyber‘ graffiti. These, among others, include sex and sexuality as themes, obscenities, vulgarities, and all language that is considered offensive. Interestingly, these elements of carnivality evoke laughter of one kind or another. Latrinalia from selected public toilets from the city of Bulawayo was photographed and subjected to Critical Discourse Analysis with attention being paid to carnivality, Bakhtinian dialogism and humour and its impact on the interaction process. Posts on walls of the selected Facebook group and individual accounts were subjected to the same treatment that was given traditional graffiti. The thesis argues that social media can perform a similar function to that of traditional graffiti with added advantages. Social media has created world communities that are brought together by common interests and platforms where they meet and share ideas. The study also established that messages have layers of meaning, making it unreasonable to ban certain messages since they serve a particular purpose. Social media, particularly Facebook, provides pockets of privacy for candid and unfettered interaction that service specific audiences among the Ndebele; hence can function as the escape route for carnival literature from cultural censorship in Zimbabwe. / African Languages / D. Phil. (African Languages)

本研究旨在從俄國學者Mikhail Bakhtin（1895-1975）狂歡節語言與身體論述的觀點探討「抵抗如何可能？」的問題，並且以台灣當代女性主義小說家李昂於1999年出版的《自傳の小說》為主要的案例，重新思索和說明語言／意義的民主化（democratization）意涵與可能性。 有別於過去論述分析雖然言明語言／意義與政治社會之間並非單向的因果關係，而是相互影響、建構的辯證關係，但在實際進行案例分析時，卻較少著墨於語言如何「由下而上地」對象徵秩序進行意義的顛覆，本研究以Bakhtin對狂歡節語言與身體論述的說明，依序對抵抗的意涵、抵抗的可能性以及抵抗如何在文本中呈現，提出理論性的再詮釋。本研究發現，Bakhtin對於抵抗的想像，乃是一種在傳播／溝通與對話中，藉由特定語言形式而動員的意識形態鬥爭。積極而言，抵抗旨在透過言說主體的表述建構自己的意義系統；消極而言，抵抗至少具有解構他人意義系統的政治意圖。 然而，由於Bakhtin在狂歡節研究中，並未確實回應他企圖探討的「抵抗如何可能？」的問題。因此，本研究融入Laclau與Mouffe的「接合實踐」、Butler的「論述行動」與「身體展演」，從「形式層面」推敲Bakhtin在「眾聲喧嘩」對話模式中所暗示的政治機會，並對「抵抗如何可能？」提出具體的政治方案，包括：眾聲喧嘩的文本空間、對話與敵對關係中的再意義化、諧擬的身體展演、策略性的本質主義。本研究並且藉由對李昂情慾書寫中的抵抗策略進行「書寫形式的意識形態分析」，具體說明「抵抗如何可能？」的理論／概念架構。 本研究發現，李昂的情慾書寫呈現出「歷史書寫的性別化」與「性別論述的狂歡化」這兩個主要的特性。藉此，李昂一方面揭露了父權意識形態的意義生產邏輯，另一方面也藉由批判父權意識形態建構另類的意義系統或敵對／反對論述。從這點回過頭來再詮釋「抵抗如何可能？」的問題，本研究認為抵抗的可能性可說是在眾聲喧嘩或「弱敘事性」的文本空間中，藉由「接合實踐」動員由下而上的「論述行動」，並以「策略性的本質主義」此一政治方案建構霸權化論述的意識形態鬥爭過程；而「身體論述」所誇大展演出的敵對關係，則是最具渲染力也最為具體的例說。

Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. Ma dissertation inclut plusieurs traditions culturelles de manière à réorienter la recherche ethnographique qui décrit la dance comme articulation codée par une culture postcoloniale spécifique. Mon étude montre comment le corps colonisé produit un savoir culturel à partir de sa différence. Cette forme de savoir corporelle présente le corps colonisé en tant que sujet et non seulement objet du désir colonial. Méthodologiquement, cette dissertation rassemble des théories occidentales et autochtones de la danse. Mon étude considère aussi les théories postcoloniales du corps dansant à partir des perspectives hétérosexuelles et homosexuelles. En outre, mon étude examine les manières dont les quelles les théories contemporaines de la danse, postulées par Susan Foster et André Lepecki par exemple, peuvent être pertinentes dans le contexte postcolonial. Mon étude explore également le potentiel politique de l’érotique dans la danse à travers des représentations textuelles et cinématographiques du corps. L’introduction de ma dissertation a trois objectifs. Premièrement, elle offre un aperçu sur les théories postcoloniales du corps. Deuxièmement, elle explique les manières dans lesquelles on peut appliquer des philosophies contemporaines de la danse dans le contexte postcoloniale. Troisièmement, l’introduction analyse le rôle de la dance dans les œuvres des écrivains postcoloniales célèbres tels que Frantz Fanon, Wole Soyinka, Arundhati Roy, et Wilson Harris. Le Chapitre un remet en question les théories de l’ambiguïté et de l’insaisissabilité de la danse à partir de la théorie de l’érotique postulé par Audre Lorde. Ce chapitre examine le concept de l’érotique dans le film Dunia de Jocelyne Saab. Le Chapitre deux ouvre un dialogue entre les théories occidentales et autochtones de la danse à partir d’une étude d’un roman de Tomson Highway. Le Chapitre trois examine comment l’écrivain Trinidadien Earl Lovelace utilise la danse de carnaval comme espace culturel qui reflète l’homogénéité raciale et l’idéologie nationaliste à Trinidad et en les remettant également en question. / Classical texts of postcolonial theory rarely address the embodied expression of dance as they examine the colonial body only through the imperial discourses about the Orient (Said), the construction of the Subaltern subject (Spivak), and the ambivalent desire of the colonial gaze (Bhabha). The Cyprian theorist and dancer Stavros Stavrou Karayanni has emphasised the centrality of dance as a key category of analysis through which discourses of resistance can be articulated from the perspective of the colonial heterosexual and queer body. However, Karayanni adopts the psychoanalytic method according to which the dancing body of the colonised subject has an ambivalent effect upon the Western traveller and / or coloniser who both desires and derides this body. In contrast to this approach, my study examines dance as a space in which the colonial body choreographs its collective history which colonial amnesia suppresses so as to de-historicise colonised subjects and disfigure their cultures. Departing from Frantz Fanon’s emphasis on the relevance of dance in colonial studies, I argue that the colonial body choreographs its collective memories in dance and prompts us to rethink hegemonic discourses of postcolonial identity formation that revolve around ambivalence and elusiveness. I borrow the notion of “choreographing history” from the Western contemporary discipline of dance studies which has integrated cultural studies since mid 1980s and influenced postcolonial inquiry of dance over the last decade. I include various cultural traditions in my project so as to re-direct today’s predominantly ethnographic research which describes dance as an encoded articulation of culture in specific postcolonial societies. I also include different cultural traditions to show that while choreographing silenced memories in various historical experiences of colonial violence, the dancing body allows us to construct discourses of resistance in ways that postcolonial theory has not addressed before. The re-choreography of postcolonial theories of the body, as developed in this dissertation, articulates an ethical imperative because it shows how the subaltern body not only choreographs memories that colonial amnesia silences but also produces cultural knowledge with a difference. Methodologically, this study brings together Western and indigenous theories of dance as well as postcolonial theories of the dancing body from both heterosexual and queer perspectives. My study discusses Susan Foster and André Lepecki’s contemporary theories of dance and the body in the context of postcolonial theories of Oriental dance and eroticism. It also examines the socially and politically transformative potential of the erotic in dance through textual and cinematic representations of the body. My study equally opens a dialogue between Western and indigenous theories of dance in the context of Canadian indigenous literary work of Tomson Highway. A critical examination of Trinidad Carnival and Calypso in a novel by Earl Lovelace demonstrates that dance is a central paradigm of analysis for a postcolonial critique of the body and the categories of identity that inscribe it.

Thesis deals with the theme of ballroom dancing in Prague bourgeoisie society in the 2nd half of the 19th century. The theme is situated in social and historical context and contemporary political situation. The second part is dedicated to prague associations, Sokol of Prague and sokol festivities. That part of the text proceeds from analysis of the articles and contributions of the journal Sokol (from years 1871-1895). The following chapter about ballroom dancing tries to focus on the types of free time activities which are connected with dancing in the milieu of Prague Czech-speaking society in the 2nd half of the 19th century. It also characterises favourite ballroom dances at that time in the context of social and cultural life. One of the last chapters is dedicated to the relationship of a significant public figure of that time, Jan Neruda, with ballroom dancing. These passages are based on selected examples of Neruda's texts, adopted mostly from Národní Listy. The main intention of the extracts is to complete the picture of ballroom dancing with personal reflection of Neruda as a great dancer, expert on literature and artist. Key words: 2nd half of the 19th century, Prague, czech society, ballroom dancing, associations, national festivities, thematic carnival ("šibřinky").

Es zeichnet sich seit den 1990er-Jahren die Tendenz ab, dass sich viele Künstler/innen verstärkt mit Subjekten statt mit Objekten beschäftigen. Hinzu kommt eine zunehmende „Kollektivierung und Theatralisierung der einst auf Singularität und Präsenz setzenden Performance“. In diesem Zusammenhang sind auch immer mehr künstlerische Arbeiten zu registrieren, die mit Prozessionen und Paraden eine Vielzahl von Menschen auf die Straße bringen und in Bewegung versetzen. Dies spiegelt sich auch in einer immer größer werdenden Zahl thematischer Ausstellungen wider, die sich diesen Arbeiten widmen. Bereits 2004 konstatierte Pablo Lafuente in seinem Essay „Art on Parade“ in Art Monthly: „That ability of the parade to create subjectivity is where the artist’s political aspiration lies.“ Die künstlerisch-ästhetischen Praktiken von Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles und Jeremy Deller, die Gegenstand der vorliegenden Untersuchung sind, könnten unterschiedlicher nicht sein. Ihre Gemeinsamkeit liegt in der performativen Verwendung eines sehr alten traditionellen Handlungsmusters, das den meisten Menschen vertraut ist. Die Prozession ist eine ritualisierte Handlung, die in unseren Breiten zuallererst mit der christlichen beziehungsweise der katholischen Liturgie in Zusammenhang gebracht wird. Die Grundbedeutung des Begriffs (von lat. processio = Zug, Geleit) als ein zielgerichtetes, geordnetes, gemeinsames Gehen, das den Raum gliedert und ihm dabei Bedeutung verleiht, umfasst jedoch den kultischen ebenso wie den profanen Umzug. So begegnen uns Prozessionen in vielen Bereichen des kulturellen Lebens. Dementsprechend beschäftigt sich diese Dissertation mit Prozessionen, Paraden und Karnevalsumzügen, deren Grundmotiv das gemeinsame, öffentliche, oftmals um einen Gegenstand herum organisierte Gehen, also die Prozession in ihrem allgemeinen Sinne ist. / Ever since the 90s, the tendency of many artists increasingly dealing with subjects instead of objects has become apparent. In this context, more and more artistic works that take a multitude of people to the streets or set them in motion as part of a procession or parade can be registered. This is also reflected in a growing number of themed exhibitions exploring these works. The artistic-aesthetic practice of Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles and Jeremy Deller could hardly be more different. Their common ground can be found in the performative use of a very old traditional pattern of action that most people are familiar with. The procession is a ritualised act, which - in this part of the world – is first and foremost implicated in Christian respectively Catholic liturgy. The basic meaning of this term (derived from Latin processio – progression/cortege) as a purposeful, orderly, collective walk structuring and thus giving meaning to a certain space comprises, however, the sacral as well as the profane procession. This is way we can encounter processions in many parts of cultural life (and in almost every culture). This dissertation accordingly explores processions, (carnival) parades and demonstrations which all share the basic motif of a collective, public organised walk, often around an object, i.e. a procession in its general sense.

Made available in DSpace on 2016-04-28T19:59:12Z (GMT). No. of bitstreams: 1 Sergio Manoel Rodrigues.pdf: 2755114 bytes, checksum: 73bacfe9b4179d5cf75b98a6019e5a8e (MD5) Previous issue date: 2008-08-27 / The present work studies the dramatic gender, since its origins, the ritual stages of the old ones, until the main theatrical manifestations of the contemporaneity. It is centered, afterwards, in the Brazilian context, when dealing with the theatrical workmanship by Nelson Rodrigues, playwright that innovated the scenic language and restored modernity in the national theater, a time that, before this, the stages in our country only appropriated of comedies or foreign texts. By means of the inquiry and of the analysis, this research aims at to develop a critical study of Album of family (play written by related author, in 1945), with the objective to bring specific aspects of the dramatic action of the mentioned theatrical text into the open, that divides itself in two narrative plans that contradict themselves. The duality and ambiguity, enrolled in the text of the play, are argued and analyzed for the point of view of certain universal subjects (adultery, incest, violence, homosexuality, prostitution, preconception, maleness and paedophilia), considered taboos for the more conservatives and ranks in prominence by means of literary procedures over all the carnival theory and the parody , with which the author intends to show the chaos that afflicts the contemporary society and the man. Such procedures disclose a peculiar universe, where institutions, as the family and the Church, have its functions put in check for social and human blemishes. Moreover, by means of the criticism to the society and the family, Nelson Rodrigues looks for to distort myths, subjects and ideologies that serve of ground to the classic theater and to the bourgeois society too, at the same time where he dialogues with other theatrical manifestations, imposing himself thus, as the creator of an authentic Brazilian tragedy, in agreement with the carnival theory and the parody and, above all, morality / O presente trabalho estuda o gênero dramático, desde suas origens, as encenações ritualísticas dos antigos, até as principais manifestações teatrais da contemporaneidade. Centra-se, a seguir, no contexto brasileiro, ao tratar da obra teatral de Nelson Rodrigues, dramaturgo que inovou a linguagem cênica e instaurou a modernidade no teatro nacional, uma vez que, antes disso, as encenações em nosso país se apropriavam somente de comédias ou de textos estrangeiros. Por meio da investigação e da análise, esta pesquisa visa a desenvolver um estudo crítico de Álbum de família (peça escrita pelo referido autor, em 1945), com o objetivo de lançar luz sobre aspectos específicos da ação dramática do mencionado texto teatral, que se divide em dois planos narrativos que se contradizem. A dualidade e ambigüidade, inscritas no texto da peça, são discutidas e analisadas do ponto de vista de certos temas universais (adultério, incesto, violência, homossexualismo, prostituição, preconceito, machismo e pedofilia), considerados tabus pelos mais conservadores e postos em destaque por meio de procedimentos literários sobretudo a carnavalização e a paródia , com os quais o autor pretende desnudar o caos que aflige a sociedade e o homem contemporâneos. Tais procedimentos revelam um universo peculiar, em que instituições, como a família e a Igreja, têm suas funções postas em xeque pelas mazelas sociais e humanas. Além disto, por meio da crítica à sociedade e à família, Nelson Rodrigues procura desconstruir mitos, temas e ideologias que servem de fundamento ao teatro clássico e também à sociedade burguesa, ao mesmo tempo em que dialoga com outras manifestações teatrais, impondo-se, assim, como o criador de uma autêntica tragédia brasileira, carnavalizada, paródica e, acima de tudo, moralizante