Analisa as características do espetáculo solo no Teatro Essencial de Denise Stoklos, e investiga e organiza os processos de atuação solista do performer essencial. Para a coleta dos dados: a) levanta-se por meio de pesquisa bibliográfica, audiovisual e dos espetáculos: os procedimentos de atuação performática, as características do espetáculo do tipo solo e as teorias sobre o Teatro Essencial; b) utilizam-se entrevistas qualitativas semi-orientadas, feitas com Denise Stoklos, três professores-assistentes e quatro alunos participantes do projeto Solos do Brasil, e um performer essencial. Aponta como principais resultados: a) o performer essencial é o epicentro do acontecimento cênico; b) a exploração do potencial idiossincrático; c) os eixos principais são o corpo, a voz e a intuição; d) a autoria sob responsabilidade do atuante. Conclui que a dinâmica do processo de atuação solista imbrica-se com o cotidiano e leva o performer essencial a se manter num estado constante de autopercepção, captando os elementos que farão parte da dramaturgia espetacular e articulando ritmicamente o corpo e a voz para estimular o espectador à percepções diferenciadas. / It analyzes the features of the solo performance by Denise Stoklos in her concept of the \"Essential Theater\". It also investigates and organizes the processes of the soloist performance of the \"essential performer\". For the data collecting: a) by means of bibliographic research, audiovisual and the performances themselves: the procedures from the performing rendering, the characteristics from the solo performance and the theories about the \"Essential Theater\"; b) the use of semi-oriented qualitative interview including Denise Stoklos, three assistant teachers, and four students who participated in the project \"Solos from Brazil\", and 1 essential performer. Pointing out as the main results: a) the essential performer is the epicenter of the scenic happening; b) the exploration of the idiosyncratic potential; c) the most important axes are the body, the voice and the intuition; d) the performer has the responsibility for the autorship; It concludes that the dynamics of the process from the soloist performance imbricates with daily life, and leads the \"essential performer\" to be in a constant state of self-perception, capturing the elements which will be part of the dramatic acting and articulating rhythmically both body and voice to stimulate the spectator to differentiated perceptions.

Analisa as características do espetáculo solo no Teatro Essencial de Denise Stoklos, e investiga e organiza os processos de atuação solista do performer essencial. Para a coleta dos dados: a) levanta-se por meio de pesquisa bibliográfica, audiovisual e dos espetáculos: os procedimentos de atuação performática, as características do espetáculo do tipo solo e as teorias sobre o Teatro Essencial; b) utilizam-se entrevistas qualitativas semi-orientadas, feitas com Denise Stoklos, três professores-assistentes e quatro alunos participantes do projeto Solos do Brasil, e um performer essencial. Aponta como principais resultados: a) o performer essencial é o epicentro do acontecimento cênico; b) a exploração do potencial idiossincrático; c) os eixos principais são o corpo, a voz e a intuição; d) a autoria sob responsabilidade do atuante. Conclui que a dinâmica do processo de atuação solista imbrica-se com o cotidiano e leva o performer essencial a se manter num estado constante de autopercepção, captando os elementos que farão parte da dramaturgia espetacular e articulando ritmicamente o corpo e a voz para estimular o espectador à percepções diferenciadas. / It analyzes the features of the solo performance by Denise Stoklos in her concept of the \"Essential Theater\". It also investigates and organizes the processes of the soloist performance of the \"essential performer\". For the data collecting: a) by means of bibliographic research, audiovisual and the performances themselves: the procedures from the performing rendering, the characteristics from the solo performance and the theories about the \"Essential Theater\"; b) the use of semi-oriented qualitative interview including Denise Stoklos, three assistant teachers, and four students who participated in the project \"Solos from Brazil\", and 1 essential performer. Pointing out as the main results: a) the essential performer is the epicenter of the scenic happening; b) the exploration of the idiosyncratic potential; c) the most important axes are the body, the voice and the intuition; d) the performer has the responsibility for the autorship; It concludes that the dynamics of the process from the soloist performance imbricates with daily life, and leads the \"essential performer\" to be in a constant state of self-perception, capturing the elements which will be part of the dramatic acting and articulating rhythmically both body and voice to stimulate the spectator to differentiated perceptions.

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This thesis analyzes the relationship between collaboration and learning to cope with grief in Denise Desautels' poetic works. It shows that this writing strategy influences the representation of mourning and contributes to the learning process, which is characterized by a constant oscillation between opposing poles, such as life and death, the past and present, the self and other, the private and public realms, as well as art and writing. The thesis further demonstrates that Desautels' development of an interdisciplinary approach gives rise to a community of the bereaving and enables the poetic subject to distance herself from melancholy in order to foster a new aim toward happiness. It concludes that the mourning process never reaches completion, but is constantly renegotiated.

I den här uppsatsen undersöker jag hur den fotobaserade konstnären Denise Grünstein använder sig av det fotografiska mediets möjligheter och begränsningar. Syftet med uppsatsen är att undersöka det narrativa draget i Denise Grünsteins iscensatta fotografier. Hur det narrativa draget gestaltas och varför Grünstein använder sig av ett narrativt drag. Begreppet narrativitet utreds och används för att tolka fem av Grünsteins fotografiska verk. Genom att förstå narrativitet öppnas även dörrar för en djupare förståelse för hur bild kommuniceras. Därav uppsatsen titel ”Jag ser vad du säger”. Uppsatsen har sin teoretiska utgångspunkt i Mieke Bals teori om hur narrativitet i form av information skapas och förmedlas i bild. Bal definierar fem narrativa karaktäriseringsbegrepp: ”utmärkande gestalter”, en ”fiktiv talesperson”, ”identifierbara platser och miljöer”, ett ”hypotetiskt förhållande till tid och rum”, samt en ”förändringsprocess där en händelse övergår till en annan händelse”. De narrativa karaktäriseringsbegreppen, inom ett specifikt medium, blir pusselbitar som bidrar till att föra fram bildens dolda berättelse. Utifrån dessa karaktäriseringsbegrepp analyseras fem utvalda verk av Grünstein. Vidare har även konstnären själv, via mailkorrespondens, delgett sin bild av hur hon ser på narrativitet i förhållande till sina verk. I uppsatsens slutdiskussion fastslår jag att Micke Bals narrativa karaktäriseringsbegrepp kan användas för att analysera det narrativa draget i Grünsteins iscensatta fotografier. Uppsatsen drar slutsatsen att Denise Grünstein använder sig av ett narrativt drag i sina fotografier för att ge liv åt komplexa, reflekterande och gränsöverskridande berättelser som säger någonting nytt om världen.

Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 215-223).

WILD EMBRACE is a collection of poetry that explores the themes of abuse, survival, and fragility. The speaker of these poems, older and distanced from the abuse, asks what it means to be a survivor, and explores our obligation of compassion that, as human beings, we owe one another. While much of the work in this collection is rooted in personal experience, it is not intended to be read as memoir or autobiography. Many of these poems may have begun as lived experience, but between memory, the transcription of memory, and their final form on the printed page, they have been run through a variety of embellishment, artistic license, and shifting narrative forms. The poems in this collection attempt to capture a heightened emotional truth that can’t be attained by mere reporting of fact. WILD EMBRACE sifts through the ashes of suffering and loss, and constructs a mythology as personal as it is collective.

Thesis (M.Phil.) - University of Queensland, 2006. / Includes bibliography.

Thesis (Ph. D.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains vi, 201 p. Vita. Includes abstract. Includes bibliographical references (p. 189-198).

Gekürzte und überarbeitete Fassung von: Diss.--Neuere Fremdsprachliche Philologien--Berlin--Freie Unversität, 1988.