Made available in DSpace on 2016-12-08T16:52:03Z (GMT). No. of bitstreams: 1 123973.pdf: 2284353 bytes, checksum: bb77326a8d3f3be018ec7cd882b3b6ad (MD5) Previous issue date: 2015-06-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho pretende analisar o texto teatral Sete Crianças Judias de Caryl Churchill como um jogo de profanação política. Escrita em 2009, a obra é uma resposta artística e política da autora à operação militar israelense ocorrida em Gaza em 2008/09 e gerou fortes repercussões no mundo todo, inclusive acusações de antissemitismo. O texto é analisado em seu caráter híbrido que transita entre gêneros líricos e épicos, e entre formas dramáticas/melodramáticas e formas não mais dramáticas. Assim, a estrutura formal será abordada a partir da ideia de texto rapsódico, proposta por Sarrazac (2002). A partir do conceito tradicional de jogo conforme Huizinga (2000) e Caillois (1990), e suas correlações com a forma dramática absoluta, a primeira cena é compreendida como a proposição de um jogo melodramático localizado em um passado longínquo. Acordo esse que não será cumprido. Para compreender o jogo proposto pela autora, recorro a três autores principais. 1 - A visão de jogo infinito de Carse (1986) para descrever o dispositivo de abertura temporal e o descumprimento do acordo melodramático. 2- A noção de Gadamer (1999) sobre a capacidade do jogo de mobilizar e transformar indivíduo e sociedade para descrever os dispositivos de deslocamento e mobilizações intra e extraficcionais do texto. 3- A provocação de Agamben (2007), ao eleger como tarefa política do jogo o ato profanador. Nesse trabalho sustento a hipótese de que Sete Crianças Judias profana simbolicamente o uso consagrado do gênero melodramático para a manutenção de uma moralidade instituída, do uso da concepção moderna do imaginário da criança como objeto de justificativa da guerra, e do caráter mítico do discurso histórico oficial israelense.

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Approved for public release; distribution is unlimited / In 2001 the USS WINSTON CHURCHILL (DDG-81) was subjected to three underwater explosions as part of a ship shock trial. Using the actual trial data from experiment and three-dimensional dynamic models of the ship and surrounding fluid very successful comparisons of the vertical motion have been achieved. On average, the magnitude of the vertical motion is three to four times the magnitude of athwartship motion. Previous simulations of this athwartship motion have been less accurate than the vertical motion simulations. This thesis examines recent efforts attempted to improve the simulation results of the athwartship motion including shock spectra analysis, and the reasons behind the disparities that exist between the simulated values and the actual trial data. / Lieutenant, United States Coast Guard

The diploma thesis "At the Top, or behind the Zenith of Power? To the Effect of Winston S. Churchill as the Prime Minister of Great Britain in the Years 1951-1955" examines the effect of Winston S. Churchill during his second term as Prime Minister of Great Britain. The thesis analyzes his effect on foreign policy, where the main emphasis is on the relationship with the United States, his plans for negotiations with the Soviet Union, domestic politics, and his tenure at the head of the Conservative Party. It briefly analyzes his relationship and disputes with Foreign Minister Anthony Eden, and the British Prime Minister's medical condition. The main focus of the thesis is devoted to Churchill's ability to promote his ideas and plans in all areas of his operations, as a leading politician of the Great Britain.

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This thesis explores the Churchill Weavers stereocards housed at the Kentucky Historical Society and Berea College based on visual analysis. By examining the stereocards as advertisements and comparing them to a series of short films created by the company, I will discuss how the Churchill Weavers created a brand that emphasized both an image of traditional American rural production and modern urban consumption. I will further discuss how the marketing strategies used by the Churchill Weavers exemplify a larger trend in American advertising in the years following World War Two.

An examination and exploration of ‘the (syn)aesthetic style’, a particular sensate mode of performance and appreciation that has become prominent in recent years in contemporary arts practice. The (syn)aesthetic performance style fuses disciplines and techniques to create interdisciplinary and intersensual work with emphasis upon; the (syn)aesthetic hybrid; the prioritisation of the body in performance and the visceral-verbal ‘play-text’. ‘(Syn)aesthetics’ is adopted as an original discourse for the analysis of such work, appropriating certain quintessential features of the physiological condition of synaesthesia to clarify the impulse in performance and appreciation which affects a ‘disturbance’ within audience interpretation. Original terms employed attempt to elucidate the complex appreciation strategies integral to this performance experience. These include the double-edged semantic/somatic or making-sense/sense-making process of appreciation, which embraces the individual, immediate and innate, and the ‘corporeal memory’ of the perceiving body. Liveness and the live(d) moment are considered, alongside notions of ritual and transcendence and the primordial and technological. The argument surveys the inheritance that saw to this contemporary style emerging, in Britain in particular, considering female performance practice, intercultural and interdisciplinary ensemble performance and the ‘New Writing’ aesthetic. Critical and performance theorists referred to include Friedrich Nietzsche, the Russian Formalists, Roland Barthes, Julia Kristeva, Hélène Cixous, Luce Irigaray, Antonin Artaud, Valère Novarina, Howard Barker and Susan Broadhurst. Contemporary practitioners highlighted as case studies exemplary of (syn)aesthetic practice are Sara Giddens, Marisa Carnesky, Caryl Churchill and Sarah Kane. Furthermore, documentation of a series of original performance workshops explores the (syn)aesthetic impulse in performance and analysis from the perspectives of writer, performer and audience. (Syn)aesthetics as an interpretative device endeavours to enhance understanding of the intangible areas of performance which are increasingly difficult to articulate, thereby presenting a mode of analysis that extends performance theory for students and practitioners within the arts.

La guerre de Succession d'Espagne, dernière guerre du règne de Louis XIV, est marquée par une série de défaites retentissantes : Blenheim (1704, Bavière), Ramillies et Turin (1706, Brabant et Piémont), Audenarde (1708, Flandre). L’approche qualifiée de « nouvelle histoire-bataille » permet de relativiser la vision traditionnelle qui explique ces défaites par le talent supérieur de John Churchill, duc de Marlborough, et du prince Eugène de Savoie, affrontant des généraux français courtisans et incompétents. Cette approche met l’événement-bataille au centre de l’étude et en aborde tous les aspects : dimensions politique, stratégique et tactique ; logistique ; techniques du combat et expériences ressenties sur le champ de bataille ; onde de choc.On constate que la guerre au début du XVIIIe siècle est à bien des égards limitée : les armées dépendent de leurs sources d’approvisionnement. Eugène et Marlborough, par leur audace et leur talent, accélèrent le rythme des opérations, mais sans renverser cet état de fait : aucune bataille n’est individuellement « décisive » et la guerre de Succession d'Espagne reste une guerre d’attrition. Les batailles sont le lieu d’une expérience du combat singulière, où se voient portées à leur paroxysme l’ensemble des formes d’affrontement et de violence que comporte la guerre de l’époque. Enfin, l’image d’une bataille se dégage lentement. Les courtisans doivent comparer nouvelles officielles, correspondances privées et gazettes pour comprendre ce qui s’est passé. Le roi mène des enquêtes pour déterminer qui a bien agi et qui a démérité. En définitive, c’est aux écrivains et aux artistes de fixer l’image que la postérité aura de ces batailles. / The war of the Spanish Succession is the last war fought by Louis XIV. It begins with a succession of astonishing defeats: Blenheim (Bavaria, 1704), Ramillies and Turin (Brabant and Piedmont, 1706), Audenarde (Flanders, 1708). The method known as “new battle-history” lets us temper the traditional vision, which claims that French have been defeated because their armies where led by courtiers that faced two military geniuses: John Churchill, duke of Marlborough, and Prince Eugene of Savoy. This historiographic approach focuses on the battle as an event, and seeks to treat it in all its dimensions: political, strategic and tactical aspects; logistics; how soldiers fight and what they feel; shock wave.Early eighteenth-century warfare is in many ways limited: armies highly rely on their supply sources. Eugene and Marlborough, thanks to their audacity and their talent, are able to speed up the operations, but without changing the way war is fought. There is no single “decisive” battle: the war of the Spanish Succession remains as a war of attrition. Battles are rare and formidable events where a singular fighting experience takes place; all contemporary kinds of combat and violence are to be observed. The importance of a battle is not immediately obvious. Its image takes time to come out. Versailles’ courtiers need to compare official news, private letters, French or foreign gazettes, in order to understand what happened. The king conducts investigations to identify the generals and units that have served well, and those that have not. In the end, it is writers and artists who are in charge of fixing what image of these battles will be left for posterity.

This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work

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