Der Begriff „Kindjees“ (Kind Jesus) bezeichnete lange Zeit in ländlichen Gegenden Norddeutschlands den Weihnachtsmann. Peters erinnert sich hier an die Weihnachtsbräuche seiner Kindheit und schildert gleichzeitig die eigene Entwicklung von dem blind der Macht des Kindjees vertrauenden Knaben zu dem Friedrich Schiller verehrenden Vierzehnjährigen, der selbst für die Kleineren die Rolle des Kindjees übernimmt. Die Schönheit der in der Schule gesungenen Kirchenlieder von Gerhard Tersteegen, die Faszination der Kinder für die Neuruppiner Bilderbogen (plattdeutsch: Lex) tragen viel zu der märchenhaften Stimmung bei, in der die Weihnachtsvorbereitungen in Luhnstedt, dem Heimatdorf des Dichters, stattfinden: „Überhaupt kam es vor Weihnachten sehr darauf an, alles, auch das Geringste, in der vertrauten Form wiederkehren zu lassen, Tradition zu schaffen. Die periodische, unbedingt gleichförmige Wiederkehr äußerer Ereignisse ist eine Quelle der Poesie.“

The purpose of this study is to investigate and increase the understanding of how the two commercial companies IKEA and SAS and the two aid organizations/nonprofit organizations UNICEF and Save the Children use perceptions of Christmas to produce messages in their Christmas advertising/commercial film. The study also discusses if there may be communicative and pictorial similarities and differences in how these brands constructs messages in commercials, and why it may be that the brands choose to use these messages in commercials based on the recipient possible interpretations. The theories used in this study are promotional culture, framing theory, preferred meaning, semiotics (denotation and connotation), myth and rhetoric (ethos, pathos and logos). The method used to answer the purpose and issues are the qualitative method that uses the theories semiotic and rhetoric to analyze the material. The study's results derived from the qualitative content analyzes of the material (the brands IKEA, SAS, UNICEF and Save the Children Christmas advertising films) show that IKEA message might want to show that they want to help the customer and that they pay attention to the customer needs. And that IKEA also in that message says that the solution and the products for your Christmas preparations are available at IKEA. SAS uses the Christmas tradition and myth of Santa to describe and make sense of a service, and showing that they care about the customer comes in time, even at Christmas when something is important. UNICEF can therefore be interpreted use Christmas as a persuasion method. UNICEF commercials can be seen to be designed to make the receiver more generous and get the feeling that it wants to contribute. Save the Children's message is focused on you should buy "nothing" for Christmas, and why it should be seen as an alternative to other Christmas gifts on the market. Based on this final discussion research shows that it could be possible that the commercial companies (IKEA and SAS) want to appear less “selling” when they are trying to sell their products or services through messages constructed by notions of Christmas, and that they instead try to ensure the customer needs. The study further shows that the help organizations seem more " selling" when trying to sell their products and get people to contribute to their aid activities. As a result of the need to be more commercial. Why the brands have chosen these messages and strategies can finally, as evidenced by the final discussion, come from the fact that the brands want to create the best competitive opportunities in the market, and that the strategies may have been selected by the brands though they might be considered as the most effective.

Thesis (D.W.S.)--Institute for Worship Studies, 2003. / Abstract. Includes bibliographical references (leaves 205-208).

Thesis (D.W.S.)--Institute for Worship Studies, 2003. / Abstract. Includes bibliographical references (leaves 205-208).

Esta tese tem por objetivo primordial trazer ao âmbito da Academia um saber popular, anônimo e folclórico, representado pelas cantigas de Ternos de Reis, pesquisadas em Florianópolis, Santa Catarina, Brasil, cuja origem remonta aos Açores, Portugal. Buscamos realizar neste trabalho uma exegese de tais cantigas a partir das noções de folclore (Cascudo), cultura popular (Burke), performance (Schechner, Zumthor), mitos (Kerényi, Campbell), arquétipos (Jung), festas religiosas (Bakhtin, Perez), poesia (Spina, Trevisan) e, por fim, a relação de tais instâncias com a voz dos subalternos e as epistemologias do Sul (Santos). Dessa maneira, tentamos abordar as cantigas de Ternos de Reis sob diversos aspectos e mostrar ao leitor atento a riqueza da cultura popular. / This thesis aims to bring to the Academic world, a new and popular knowledge which main characteristics are the anonymous aspects of its feature and also its folkloric way of existence. This new knowledge is represented by the Christmas Chants brought to Brazil by the Azoreans (Portugal) and which remains in the Brazilian tradition and folklore, especially in the city of Florianópolis, Santa Catarina State, Brazil. The author tried to do an exegesis of such Christmas Chants, through the following theories and notions: folklore (Cascudo), Popular Culture (Burke), performance (Schechner, Zumthor), myths (Kerényi, Campbell), archetypes (Jung), religious feasts (Bakhtin, Perez), poetry (Spina, Trevisan) and at last what such theories have in common with the voice of subalterns and the epistemologies of the South (Santos). As so far, the author tried to show in this research and posterior analysis, the richness found in Popular Culture and Folkloric Christmas Chants.

Esta tese tem por objetivo primordial trazer ao âmbito da Academia um saber popular, anônimo e folclórico, representado pelas cantigas de Ternos de Reis, pesquisadas em Florianópolis, Santa Catarina, Brasil, cuja origem remonta aos Açores, Portugal. Buscamos realizar neste trabalho uma exegese de tais cantigas a partir das noções de folclore (Cascudo), cultura popular (Burke), performance (Schechner, Zumthor), mitos (Kerényi, Campbell), arquétipos (Jung), festas religiosas (Bakhtin, Perez), poesia (Spina, Trevisan) e, por fim, a relação de tais instâncias com a voz dos subalternos e as epistemologias do Sul (Santos). Dessa maneira, tentamos abordar as cantigas de Ternos de Reis sob diversos aspectos e mostrar ao leitor atento a riqueza da cultura popular. / This thesis aims to bring to the Academic world, a new and popular knowledge which main characteristics are the anonymous aspects of its feature and also its folkloric way of existence. This new knowledge is represented by the Christmas Chants brought to Brazil by the Azoreans (Portugal) and which remains in the Brazilian tradition and folklore, especially in the city of Florianópolis, Santa Catarina State, Brazil. The author tried to do an exegesis of such Christmas Chants, through the following theories and notions: folklore (Cascudo), Popular Culture (Burke), performance (Schechner, Zumthor), myths (Kerényi, Campbell), archetypes (Jung), religious feasts (Bakhtin, Perez), poetry (Spina, Trevisan) and at last what such theories have in common with the voice of subalterns and the epistemologies of the South (Santos). As so far, the author tried to show in this research and posterior analysis, the richness found in Popular Culture and Folkloric Christmas Chants.

Esta tese tem por objetivo primordial trazer ao âmbito da Academia um saber popular, anônimo e folclórico, representado pelas cantigas de Ternos de Reis, pesquisadas em Florianópolis, Santa Catarina, Brasil, cuja origem remonta aos Açores, Portugal. Buscamos realizar neste trabalho uma exegese de tais cantigas a partir das noções de folclore (Cascudo), cultura popular (Burke), performance (Schechner, Zumthor), mitos (Kerényi, Campbell), arquétipos (Jung), festas religiosas (Bakhtin, Perez), poesia (Spina, Trevisan) e, por fim, a relação de tais instâncias com a voz dos subalternos e as epistemologias do Sul (Santos). Dessa maneira, tentamos abordar as cantigas de Ternos de Reis sob diversos aspectos e mostrar ao leitor atento a riqueza da cultura popular. / This thesis aims to bring to the Academic world, a new and popular knowledge which main characteristics are the anonymous aspects of its feature and also its folkloric way of existence. This new knowledge is represented by the Christmas Chants brought to Brazil by the Azoreans (Portugal) and which remains in the Brazilian tradition and folklore, especially in the city of Florianópolis, Santa Catarina State, Brazil. The author tried to do an exegesis of such Christmas Chants, through the following theories and notions: folklore (Cascudo), Popular Culture (Burke), performance (Schechner, Zumthor), myths (Kerényi, Campbell), archetypes (Jung), religious feasts (Bakhtin, Perez), poetry (Spina, Trevisan) and at last what such theories have in common with the voice of subalterns and the epistemologies of the South (Santos). As so far, the author tried to show in this research and posterior analysis, the richness found in Popular Culture and Folkloric Christmas Chants.

The dissertation Observance of traditions and customs in Bohemia and in Moravia focuses on issues of Czech and Moravian traditions, customs and holidays, namely on two important holidays Easter and Christmas. These two holidays are the most significant events of ecclesiastical year but they are favourite as well among inhabitants of the Czech Republic, in particular Christmas. Various customs and traditions are handed down from generation to generation and they occupy a significant position in people's lives. In the introduction the terms that are important for this work are explained as well as the significance of traditions and customs for culture, current situation of culture is mentioned as well. This work presents description of the two mentioned holidays in the context of Czech culture. In the second part of this work you can find comparison of selected elements with regard to particular Czech and Moravian customs. Apart from presenting of presented Easter and Christmas customs and their comparison, the work aims to define tendencies which occured and name these tendencies. In the conclusion, the findings about differences between Czech and Moravian customs are summarized and defined, the prognosis about future development of observing customs is mentioned as well. KEYWORDS culture,...

The theatre in the nineteenth century was a source of entertainment similar in popularity to today's film culture, but critics, of both that age and today, often look down on nineteenth-century theatre as lacking in aesthetic merit. Just as many of the films now being produced in Hollywood are adapted from popular or classic literature, many theatrical productions in the early 1800s were based on popular literary works, and it is in that practice of adaptation that value in nineteenth-century theatre can be discerned. The abundance of theatrical adaptations during the nineteenth century expanded the arena in which the public could experience and interact with the great popular literature produced during the period. Additionally, theatrical adaptations afforded audiences the opportunity of considering how the medium of theatre functions artistically, since a story on stage is communicated differently than a story in print. Studying theatrical work as adaptation – especially when we focus on the manner in which the subject is communicated rather than on alterations in the subject itself – reminds us that the theatrical medium is not constituted of the same formal elements as literature and should not be judged according to the same criteria. The stage of the early nineteenth century, perhaps more than in any other age, was defined by its appeal to the sense of sight rather than by attempts to be literary by using literary devices on the stage. Instead, theatre of this age found ways of communicating the subject material of popular literature in an entirely new "language" system, with varying degrees of success. Considering adaptation as a process of translation from one aesthetic language to another reveals that some creative minds were more attuned to the unique aesthetic capabilities of each medium than others. Two case studies of theatrical adaptations produced in nineteenth-century England apply this model of adaptation while considering the unique stage conventions, expectations, and culture of the day. These analyses reveal differing degrees of sensitivity to the mode of communication in literature and theatre.

Melodram für Sprecher und Orgel. Text: Dietrich Mendt, Musik: Matthias Drude