AN ABSTRACT OF THE THESIS OF Lillian Casey Watkins, for the Masters in Fine Arts degree in Theater, presented on May 2, 2014, at Southern Illinois University Carbondale. TITLE: DIE FLEDERMAUS: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE TRIM MAJOR PROFESSOR: Wendi Zea In February of 2014, the School of Music and the Department of Theater at Southern Illinois University presented a production of the operetta Die Fledermaus. This thesis is a presentation of the process and final product of the costume design of that production. Die Fledermaus exhibits the best of carnival escapism, with daring disguises, topsy turvy scenarios, opulent scenes and extravagant use of alcohol. This design project was an attempt at capturing that escapism and expressing it through costuming, paying particular attention to detail and trim and actor movement and dance, creating the bubbly, champagne-filled fantasy that is Die Fledermaus. Chapter 1 contains research and analysis of the script, including information about the composer, cultural and historical occurrences that inform the script and previous production history and critical analysis. Chapter 2 focuses on analysis of the characters and their relationships, and how those inform the design of their costumes. The goals that I wished to accomplish with the design and production of the show are covered within Chapter 3. Chapter 4 documents my design process, leading to Chapters 5 and 6, which document the build and production processes, respectively. Chapter 7 is an analysis of the full process and production itself, in regards to the fulfillment of the aforementioned goals. The appendices contain renderings, research, production paperwork and photos.

Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-04-20Bitstream added on 2014-06-13T19:13:39Z : No. of bitstreams: 1 bezerra_da_me_assis_parcial.pdf: 100200 bytes, checksum: 6b2caa7b3c42948120d1a8da1f4e69c4 (MD5) Bitstreams deleted on 2015-06-30T11:22:09Z: bezerra_da_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-30T11:23:05Z : No. of bitstreams: 1 000689779_20170420.pdf: 99951 bytes, checksum: 5451cfb1ef4a589fe4a025c1d34c2ccd (MD5) Bitstreams deleted on 2017-04-24T11:16:43Z: 000689779_20170420.pdf,. Added 1 bitstream(s) on 2017-04-24T11:17:28Z : No. of bitstreams: 1 000689779.pdf: 4471689 bytes, checksum: d12bfcf769ce7aee42eaf47acb85d85b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho discute os carnavais brincados na cidade do Rio de Janeiro entre os anos de 1934-1945 e a relação deles com o poder público. Para tanto, reportagens e imagens produzidas pelo jornal Correio da Manhã e pela revista O Cruzeiro – importantes órgãos da imprensa do período – foram analisadas no intuito de rastrear as diversas manifestações dessas folganças na cidade e os interesses destes e do poder público em demarcar os seus sentidos, articulados à brasilidade sonhada, ideário que era amplamente disseminado. Essa perspectiva se projeta na imprensa que se engaja, à sua maneira, para sua consecução. O Correio da Manhã participou ativamente desse processo na condição de intermediário entre poder público e agremiações carnavalescas a partir da coluna No Limiar da Folia, que emitiu durante todo o período um posicionamento nacionalista quanto ao tema dos enredos das Grandes Sociedades, ranchos, blocos e escolas de samba, tendo em vista mostrar a festa com aura de brasilidade. No mesmo sentido, O Cruzeiro promoveu uma intensa cobertura fotográfica, mais voltada às escolas de samba, dos diversos redutos festivos das décadas de 1930 e 1940, além de reportagens especiais que açambarcavam desde os bailes elegantes até os redutos simples das escolas de samba. Inseridos e pensados no contexto social e político, esses carnavais têm recortes específicos, a exemplo de 1934 a 1937, período de oficialização da festa dentro do projeto do Departamento de Turismo. Em seguida (1938-1942) os festejos são lançados em meio às diversas proibições outorgadas pelo Estado Novo. Por fim (19431945), a entrada do Brasil na Segunda Mundial provocará um arrefecimento intenso dos carnavais brincados na cidade do Rio de Janeiro / This work deals the carnivals played at Rio de Janeiro city between the years 1934-1945 and their relationship with the public administration. Therefore, reports and images made by the journal Correio da Manhã and the magazine O Cruzeiro – relevant organs of the press in the period – were analyzed in order to track the several celebrations in the city and the public administration´s interests in label their meanings, related with a “dreamed braziliation”, project largely widespread in the period. This perspective inclines in the press that assumed, in their way, his attainment. The journal Correio da Manhã participated in a active way of this process in a intermediary condition between public administration and the carnival´s organisms. The section No Limiar da folia, from Correio da Manhã, have transmitted during the whole period a nationalistic position about the themes of the Great Societies, ranches, blocks and samba schools, in the purpose to dress the party with a brazilian aura. Similarly, O Cruzeiro (with a bigger coverture about samba schools) have performed a massive photographic coverage of many festive spots of the 1930s and 1940s, and yet develop special reports which encompass from the fancy balls to the humble samba schools’ events. Inserted and thought into a social and political scenario, these carnival parties have specific periods, for example, the years of 1934 to 1937 refers to the officialization of the party by the Department of Tourism. Afterward (1938-1942), the celebrations happened amongst the several prohibitions of Estado Novo. Finally (1943-1945), Brazil´s entry into the World War II will cause an intense remission of the carnivals played in the city of Rio de Janeiro

Orientador: Zélia Lopes da Silva / Banca: Alexandre Lazzari / Banca: Fabiana Lopes da Cunha / Resumo: Este trabalho discute os carnavais brincados na cidade do Rio de Janeiro entre os anos de 1934-1945 e a relação deles com o poder público. Para tanto, reportagens e imagens produzidas pelo jornal Correio da Manhã e pela revista O Cruzeiro - importantes órgãos da imprensa do período - foram analisadas no intuito de rastrear as diversas manifestações dessas folganças na cidade e os interesses destes e do poder público em demarcar os seus sentidos, articulados à brasilidade sonhada, ideário que era amplamente disseminado. Essa perspectiva se projeta na imprensa que se engaja, à sua maneira, para sua consecução. O Correio da Manhã participou ativamente desse processo na condição de intermediário entre poder público e agremiações carnavalescas a partir da coluna No Limiar da Folia, que emitiu durante todo o período um posicionamento nacionalista quanto ao tema dos enredos das Grandes Sociedades, ranchos, blocos e escolas de samba, tendo em vista mostrar a festa com aura de brasilidade. No mesmo sentido, O Cruzeiro promoveu uma intensa cobertura fotográfica, mais voltada às escolas de samba, dos diversos redutos festivos das décadas de 1930 e 1940, além de reportagens especiais que açambarcavam desde os bailes elegantes até os redutos simples das escolas de samba. Inseridos e pensados no contexto social e político, esses carnavais têm recortes específicos, a exemplo de 1934 a 1937, período de oficialização da festa dentro do projeto do Departamento de Turismo. Em seguida (1938-1942) os festejos são lançados em meio às diversas proibições outorgadas pelo Estado Novo. Por fim (19431945), a entrada do Brasil na Segunda Mundial provocará um arrefecimento intenso dos carnavais brincados na cidade do Rio de Janeiro / Abstract: This work deals the carnivals played at Rio de Janeiro city between the years 1934-1945 and their relationship with the public administration. Therefore, reports and images made by the journal Correio da Manhã and the magazine O Cruzeiro - relevant organs of the press in the period - were analyzed in order to track the several celebrations in the city and the public administration's interests in label their meanings, related with a "dreamed braziliation", project largely widespread in the period. This perspective inclines in the press that assumed, in their way, his attainment. The journal Correio da Manhã participated in a active way of this process in a intermediary condition between public administration and the carnival's organisms. The section No Limiar da folia, from Correio da Manhã, have transmitted during the whole period a nationalistic position about the themes of the Great Societies, ranches, blocks and samba schools, in the purpose to dress the party with a brazilian aura. Similarly, O Cruzeiro (with a bigger coverture about samba schools) have performed a massive photographic coverage of many festive spots of the 1930s and 1940s, and yet develop special reports which encompass from the fancy balls to the humble samba schools' events. Inserted and thought into a social and political scenario, these carnival parties have specific periods, for example, the years of 1934 to 1937 refers to the officialization of the party by the Department of Tourism. Afterward (1938-1942), the celebrations happened amongst the several prohibitions of Estado Novo. Finally (1943-1945), Brazil's entry into the World War II will cause an intense remission of the carnivals played in the city of Rio de Janeiro / Mestre

No description available.

Morphogenesis A Museum proposal for the Carnival of Blacks and Whites. Today, museums are principally designed as regards their use, urban design and function, but it can also be seen as cultural instrument, capable of serving contemporary architecture’s demands and being a landmark for people’s cultural-values. Morphogenesis is an architectural methodology used to analyze a new concept for a museum by studying traditions developed in a popular festivity: The Carnival of Blacks and Whites. This methodology is a medium of engaging regenerative architecture into a carnival world with the purpose of designing a new museum capable of balancing new trends of avant-gardism and functionality.

No description available.

This thesis employs the concept of 'voice' in order to explore the variety of dialogic relationships between men and women in seven Shakespeare plays. Here, 'voice' is defined as an ideological position held by a character and voices within a dialogical relationship test dominant social ideas. In doing so, the aim is to explore how employing a linguistic approach allows us to develop a more nuanced perspective towards women and female voices in Shakespeare. Taking the early modern tradition of an all-male-cast into consideration, this project acknowledges the tension between the idea of embodiment and voice; however, it argues that even though there is no biological female body of the Shakespearean stage, there is a female voice. Dialogism, of course, derives from the work of the Russian theorist Mikhail Bakhtin. These 'voices' are analysed in the context of a theoretical framework informed by his writings on the novel, which are also increasingly being used to make sense of drama in line with Bakhtin's own awareness of a nascent dialogism in Shakespearean drama. 'Polyphony', in particular, assumes a separation between the author's and the characters' points of view. Thus, this project considers Shakespeare's texts as dialogic and his plays as a dialogue of voices, in which the characters have the capacity to hold dialogical relationships where no voice holds more importance than any other. This is significant because these conflicting voices are what make the Shakespearean text different from those in which a single voice is heard - that of the author, for example. As this study talks about an oppressive authoritative/patriarchal language, a dialogic approach unlocks the languages of the others which it tries to marginalise and silence. The research reveals a complex relationship between space, time and voice. More precisely, the carnivalesque becomes visible in Shakespeare's use of innovative discursive devices, such as 'active parody', 'Menippean dialogue' and 'Socratic dialogue', which suggests a multi-toned and ambiguous female voice; a voice that has the capacity to covertly and overtly oppose and challenge social ideologies surrounding gender. The thesis offers new perspectives on the presentation of women and speech. Importantly, it offers a more sophisticated and complex Bakhtinian framework for looking at carnival in Shakespeare. Additionally, a linguistic model of analysis also develops current scholarly use of Bakhtin's concept of carnival. Rather than viewing carnival as simply a time-space of betwixt and between, this project looks at carnival in the context of language (the carnivalesque). More specifically, it reveals how Shakespeare¿s female figures find pockets of carnivalesque space in everyday existence through dialogue. Thus, suggesting that emancipation is not limited to an allocated time or space, rather, it can also be achieved through language.

Yes / In this paper, we draw on the Bakhtinian concept of chronotope to make the theoretical argument that the turn to embodiment can be supplemented through a consideration of connotation in discursive psychology. We use Billig’s conception of linguistic repression as a test-case as to how connotation can supplement discursive analysis, but using our own interview material to do so. From establishing the case that connotation, understood through the lens of chronotope, is potentially of vital interest to discursive psychology, we move to drawing out three implications for this for doing qualitative research differently. First of all, we suggest that researchers need to feel the chronotope of the interview to manage its connotations in vivo. Secondly, we draw attention to the role of the absent other in everyday speech and how this absent other can be analysed differently to a typical discourse analysis - as layering connotations into speech. Finally, we draw attention to the hermeneutic attitude of earnest irony when doing research as a further means of generating as well as managing connotations.

Submitted by (lucia.rodrigues@ufrpe.br) on 2016-06-16T12:01:21Z No. of bitstreams: 1 Juliana Dias Palmeira.pdf: 3764262 bytes, checksum: b9d9852e0fb3fb5df846ad94d1eab3f3 (MD5) / Made available in DSpace on 2016-06-16T12:01:21Z (GMT). No. of bitstreams: 1 Juliana Dias Palmeira.pdf: 3764262 bytes, checksum: b9d9852e0fb3fb5df846ad94d1eab3f3 (MD5) Previous issue date: 2015-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The city of Recife during the 1920s has gone through transformations that altered his appearance, behaviors and practices of its inhabitants. Modernity, who craves the new and refutes obsolete, invades the daily lives of the population, so as to interfere even in the carnival party. In this moment of transformation of practices and reaffirmation of traditions, there is, in the newspapers of the period, the emergence of Blocos Carnavalescos Mistos, carnival association mode that has men and women in its formation. They won the city streets as an alternative and opposition to the carnival considered dangerous and licentious of the manifestations of the lower classes. For the purpose of moralize and order the carnival practices, these groups placed themselves as stylish model of how to play the carnival, which should be followed by other groups. Represented by what is considered to be of the scope of "order and elegance" and practicing distinctive actions, the Blocos Carnavalescos Mistos become a way legitimized by society and family to the actions of women in carnival parties of the city so seen as respectful and protected from dishonor. Even under the watchful eyes of families, these women managed to occupy prominent places, and walking between obedience to the rigidity of the standards of morality and inventiveness, these women recreate their spaces. The research uses as a theoretical reference the work of Michel de Certeau to the analysis of daily practices, Roger Chartier to understand the representations and uses as a method, the dense description of Clifford Geertz, who understands the analysis of cultural practices such as interpretation networks of meaning. / A cidade do Recife durante a década de 1920 passou por transformações que alteraram sua fisionomia, os comportamentos e as práticas de seus habitantes. A modernidade, que anseia o novo e refuta o obsoleto, invade o cotidiano da população, de modo a interferir até mesmo na festa carnavalesca. Nesse momento de transformação das práticas e reafirmação de tradições, nota-se, nos jornais do período, a emergência dos Blocos Carnavalescos Mistos, modalidade de agremiação carnavalesca que possui homens e mulheres em sua formação. Eles ganharam as ruas da cidade como uma alternativa e oposição ao carnaval tido como “perigoso” e “desregrado” das manifestações das camadas populares. Com o propósito de moralizar e ordenar as práticas carnavalescas, esses grupos se colocavam como modelo primoroso de como brincar o carnaval, que deveria ser seguido pelos demais grupos. Representados pelo que se considerava ser do âmbito da “ordem e elegância”, e praticando ações distintivas, os Blocos Carnavalescos Mistos tornaram-se uma maneira legitimada pela sociedade e pela família para a atuação das mulheres nas festas carnavalescas da cidade de forma vista como respeitosa e protegida da desonra. Ainda que sob os olhos vigilante das famílias, essas mulheres conseguiram ocupar lugares de destaque e, caminhando entre a obediência à rigidez dos padrões de moralidade e a inventividade, essas mulheres recriavam seus espaços de movimentação. A pesquisa tem como referencial teórico a obra de Michel de Certeau para a análise das práticas cotidianas, Roger Chartier para o entendimento das representações e, utiliza como método, a descrição densa do Clifford Geertz, que entende a análise das práticas culturais como interpretação das redes de sentido.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-26T12:43:10Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Rafael Moura de Andrade - Dissertação Versão Final .pdf: 7880632 bytes, checksum: 50627f846cc0bb200cdf7d22f5cf0738 (MD5) / Made available in DSpace on 2017-07-26T12:43:10Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Rafael Moura de Andrade - Dissertação Versão Final .pdf: 7880632 bytes, checksum: 50627f846cc0bb200cdf7d22f5cf0738 (MD5) Previous issue date: 2016-02-29 / CNPQ / Esta pesquisa tem como objetivo apresentar uma interpretação sobre a política cultural implementada no carnaval do Recife, através do Carnaval Multicultural do Recife, a partir das categorias em uso pelos agentes públicos responsáveis pela criação e desenvolvimento de tal política pública. Apesar de o carnaval ser constantemente trabalhado como uma festa ligada à espontaneidade e à quebra das hierarquias e da ordem, os carnavais brasileiros, e em especial a festa recifense, possuem uma relação direta com o Estado – remontando aos primórdios da folia no país –, seja através de intervenções e tentativas de proibir certas manifestações, seja na criação de artifícios para regular o festejo popular. A partir dos anos 1970, a Prefeitura do Recife, seguindo um movimento que se apresentava também em outras cidades do país, reitera seu interesse pela festa sob a ótica da gestão pública para o turismo. Esta relação entre carnaval e administração pública em Recife encontra seu ápice no início dos anos 2000, com a criação do Carnaval Multicultural do Recife. A interpretação aqui proposta utiliza como base de sua leitura as três categorias identificadas como centrais dentro do discurso da gestão pública: a democratização da festa; a diversidade de manifestações culturais; e a descentralização dos polos de animação. / This research aims to present an interpretation of the cultural policy implemented in the carnival of Recife, through the so-called “Carnaval Multicultural do Recife”. This will be done taking as a point of departure the categories used by the agents who are responsible for the creation and the development of such public policy. Despite the carnival being constantly promoted as an event linked to the spontaneity and the breakdown of hierarchies and order, Brazilian carnivals, especially Recife’s, have a direct relationship with the state - going back to the early days of the carnival in the country - either through interventions and attempts to ban certain manifestations or through the creation of devices to regulate the popular celebration. Beginning in the 1970s, the city of Recife reiterates its interest in the Carnival following the perspective of public management for tourism under a demonstration that was also widespread in other cities of the country with this purpose. This relationship between Carnival and public administration in Recife finds its peak in the early 2000s, with the creation of the “Carnaval Multicultural do Recife”. The interpretation proposed here uses as basis the following three categories, which are identified as core within the discourse of public management: the democratization of the Carnival party; the diversity of cultural expressions and the decentralization of concert venues.