<p>U na&scaron;em radu poku&scaron;aćemo da, na korpusu drama za odrasle, koje su u &scaron;tampanom obliku dostupne javnosti, izdvajanjem samo nekih interpretativnih problema, ukažemo na ono za &scaron;ta pretpostavljamo da je po-etička osnova Popovićevog rukopisa. Njihova priroda nametnula je aparaturu i strategije koje pripadaju postmodernizmu. To je stoga &scaron;to i sam pisac, verujemo, jeste postmoderni pisac.<br />Pre svega, Popovićev opus hronolo&scaron;ki posmatrano, interferira s postmodernizmom u srpskoj književnosti, pa nas zanima priroda veze ove dve pojave. Takođe, u Popovićevom delu značajno je prisutna, prvenstveno jezička, građa preuzeta iz srpskog književnog nasleđa, te tradicionalne kulture, a upravo je odnos prema tradiciji jedno od relevantnih pitanja koje postmoderna postavlja. Slično se može reći i za problem književnog redefinisanje obrazaca kulture. Doslednim preoblikovanjem farse, temeljnim postupka prema žanru kojim se A. Popović služi, on je ne samo na tragu op&scaron;tih književnih težnji dvadesetog veka, nego posebnim poetskim postupcima čini vidljivim one kulturne pojave koje su u vreme nastanka Popovićevog opusa bitno uticale na kulturnu matricu Srbije, ali i naznačile ono &scaron;to će se u kulturi (pa tako i u književnosti) tek dogoditi.<br />U hermetičnim tekstovima, dakle onima koje smo svrstali u drugu tendenciju Popovićevog opusa, predstavljanje značenja kao nepredstavljivog, realizovano je i kao igranje (jezičkih) igara, &scaron;to je drugo ime za apofatičku misao koja, verujemo, prožima Popovićevo celokupno delo. Nihilizam neće zavr&scaron;iti u samoubistvu nijednog njegovog lika (&scaron;to bi predstavljalo tragičnu preteču postdramskog teatra u verziji Sare Kejn), nego u samožrtvovanju (u drami Afera Ljiljak i njenom negativu &ndash; Ružičastoj noći), svojevrsnoj razradi Popovićeve teme potrage, koja signalizira su&scaron;tinsko nepristajanje na logos vidljive stvarnosti. On zna da je nasleđeni koncept o diskurzivnim hijerarhijama &ndash; obmana, ali nije napustio ideju potrage za aksisom.<br />Time &scaron;to problematizuje binom centar-margina, &scaron;to dekonstrui&scaron;e velike narative kulture uspostavljajući tako svojevrsni kontinuitet s nasleđem (i onim koje je ostalo skrajnuto), &scaron;to ukida hijerarhije kulturnih kodova, &scaron;to tematizacijom jezika diskutuje metafiziku prisustva i označiteljske prakse kulturnog kanona kojem pripada, Popović postavlja okvir za (re)konstrukciju poetičkih načela svog opusa. Konačno, tezom o apofatizmu, koja svoju paralelu ima u ruskom postmodernizmu, ma koliko na prvi pogled bila nespojiva s Popovićem i njegovim dramama, onakvim kako ga pamti ideolo&scaron;ki opterećeno književnoj nasleđe, verujemo da odgovaramo na pitanje za&scaron;to Popović pi&scaron;e, tada i tako.</p> / <p>In our paper-work we shall try, concerning the corpus of dramas for adults, which are in printed forms available to the public, to point to what we assume is po-etic basis of Popovic&#39;s writings, by singling out certain interpretative problems. The nature of those works imposed apparatus and strategies that belong to the postmodernism. It is because the writer himself, as we belive, is postmodern writer.<br />First of all, Popovic&#39;s oeuvre, chronologically speaking, interferes with postmodernism in Serbian literature and we are interested in the conection between these two phenomena. Also, in his literary work there is a significal presence of, primarly linguistic, material taken from Serbian literary heritage and traditional culture, and the relationship to the tradition is the one of the relevant questions that postmodernism raises. The same can be said about the problem of literary redefining cultural patterns. By consequent reshaping of farce genre аs the fundamental Popovic`s mood, he is not just on the trail of XXth century<br />literary aspiration, but through special poetic procedures he makes visible those cultural phenomena that had, at the time when Popovic`s oeuvre appeared, significant impact on cultural matrix of Serbia and indicate what in culture (incuding literature) will only happen in the future.<br />In hermetic texts, those considered as the second tendency of Popovic`s oeuvre, representing void as unimaginable, implemented as a play (language) games, is another name for the apophatism, which, we believe, permeates entire Popovic`s oeuvre. Nihilism will not end up in suicide of any of his characters (which would be a tragic forerunner of postdramatic theater in Sarah Kane`s version) but in self-sacrificing (in drama Afera Ljiljak and its opposite &ndash; Ružičasta noć), a kind of working out of Popovic`s theme &ndash; quest, which signals a fundamental refusa of visible reality. He knows that inherited concept of discursive hierarchies is deception but he did not abandon the idea of searching for Axis.<br />By problematizing binary opposition center &ndash; margine, by deconstruction of the grand narratives of culture which means establishing specific kind of continuity with legacy (even with those remained sidelined), by terminating the hierarchy of cultural codes, by discussing the metaphysics of presence and practice of signification to which he belongs (by focussing language), Popovic sets the framework for (re)construction оf poetic principles of his ouvre.<br />Finally, through the thesis on apophatism which has its parallel in Russian postmodenism, although, at first glance, that thesis is incompatible with Popovic and his dramas, as it is remembered by ideologically laden literary legacy, we believe that we have answered the question why Popovic has been writing, then and so.</p>

本論文企圖透過製作人的目光，建構偶像劇產製之理論與實務，是以本研究蒐羅了資深製作人的偶像劇產製經驗，包含前製、錄製、後製、映演發行及宣傳四階段，試圖勾勒出製作人如何挑選「對的人」，做了哪些「對的事情」，以供影視產業的新血與工作者參考；同時，本研究也希望理解偶像劇製作人共同的願景與擔憂，以供廣電決策者作為擘劃政策之依據。 　　為遂行研究，本論文採取深度訪談中的「半結構式訪談法」，邀集台灣17位重要偶像劇製作人，他們不僅擁有成立個人工作室或製作公司之經驗，也在編劇、綜藝節目、戲劇演員等影視工作崗位上逐漸成長。 　　本研究發現，偶像劇製作人在前製、錄製、後製、映演發行及宣傳四階段皆參與甚深，尤其是決定偶像劇成敗的前製階段，更是製作人最為苦心戮力的時刻；產製過程中，製作人必須來回穿梭，就導演手法、演員表現、劇本可實際操作性三者之間，求得平衡、達成共識；這卻也顯示製作人身陷的矛盾：必須盡可能讓導演揮灑，卻又不能放任導演求快而不講究細節、耗費製作成本。 　　當製作人擁有代表作，形成個人品牌後，伴隨而來的是更多製作機會，無論是委製、與電視台共同投資，或是與中國大陸電視台、影視公司、新媒體合作，製作人與其製作的偶像劇成為深具價值的投資標的，吸引各方資金挹注；然則口碑與收視率維持不易，若是抄襲國外，或是自我抄襲，品牌恐毀於一旦。 　　值得注意的是，製作人產製偶像劇時，政府補助已成為一大金脈，當電視節目收視率不斷下滑，偶像劇製作預算沒有調升的空間，缺乏資金挹注下，大陸影視公司開始向台灣偶像劇製作人招手，希望引進台灣的產製模式，台灣偶像劇製作人挾著品牌光環，不僅將戲劇銷往大陸，更陷入「根留台灣」抑或是「錢進大陸」的掙扎。 / This thesis attempts to construct a theory and practice behind the production of trendy drama through the perspective of producers. As such, the thesis amasses senior producers’ experiences of producing trendy dramas, including their four-stage experiences from pre-production, production, post-production, to distribution and promotion. I try to contour how producers pick “the right people” and make “the right decisions”, which can serve as a future reference for newcomers and workers in the audiovisual industry. Furthermore, I also study the visions and worries that trendy drama producers share in common, and it is my wish that this understanding can shed light on future policy making by decision makers in broadcasting and television government agencies. I use semi-structured interview approach in interviewing 17 important trendy drama producers. All these producers have experiences in either starting their own studios or production companies; in addition, they all make progress step by step in their professions, be it writing scripts, involving in entertainment shows, acting, or other audiovisual professions. In my research, I find that trendy drama producers involve deeply in all four stages of production, which includes pre-production, production, post-production, and distribution and promotion. Particularly, producers put the most effort and their labor during the pre-production stage, as the outcome of this stage determines the overall success of trendy dramas. During productions, we see producers always seeking to balance director’s styles, performance of actors, and practicality of scripts; it is their job to settle disputes between different people to reach consensus. Yet, this reveals a dilemma producers face: directors should be given as much freedom in their creation, but they cannot be unrestrained because it can lead to paying careless attention to details and focus solely on speed, or it can cause the production cost to skyrocket. As soon as producers produce their signature works and establish their own personal brands, more production job opportunities follow. Producers become producers in other projects, are invited to jointly invest with television companies, or are invited to collaborate with television channels in China, audiovisual companies, and new media. Producers and the trendy dramas they produce become valuable investment options that attract capital. However, staying up to audience’s expectations and maintaining ratings prove to be difficult. Nothing can do more harm to their brands than plagiarizing works from abroad or from themselves. Lastly, it is worthy to mention that government subsidies are now big contributors to producers’ budget in making trendy dramas. When subsidies cannot grow due to dramas’ plunging rating, China enters the fray, luring these trendy drama producers with an aim in mind to import Taiwanese production model in trendy dramas. While producers can sell their products to Chinese audience rather easily thanks to shining brands they own, they often struggle to decide whether to stay in Taiwan or seek better pay in China.

Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children's animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood's dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. While TV formats like Survivor, Millionaire, Big Brother and American Idol have become profitable and powerful franchises globally, in East Asia, the size of TV format trade is actually eclipsed by the regional trade in East Asian popular cultural commodities from martial arts novels and films, manga and romantic fiction, to popular music. These commodities have become the source of remaking local television culture into tradable cultures as local TV programmes use formatting practices to circulate within their region. The many faces of formatting in television are explored through four case studies - from Hong Kong (TVB's Heaven Sword and Dragon Sabre), Singapore (Robert Chua Productions' Everyone Wins, Peach Blossom Media's Tomato Twins) and Taipei (Comic Ritz Production's Meteor Garden). Conceptualised as Asian media productions, these TV programmes are sites for examining individual agency, the network flows of popular culture and structural changes of their respective broadcasting fields. This thesis argues that TV formatting practices can become a currency for neo-networked media producers to create a medium of cultural exchange that sets up the possibility for a common market for cultural trade in East Asia. However, the ease with which TV formatting practices and re-sale of TV programmes are copied lower barriers for competition and often this tends toward over production. Over-exposure kills many new genres of production and discourages investment in the research and development component of creating TV formats for trade. Change in East Asian television industries is also aided by media conglomeration, global access through satellite TV, the Internet and increasingly digital entertainment, media de-regulation and pro-development policies. A number of factors and conditions that accompany the rise of TV formatting in East Asia (such as the role of independents vis-a-vis big local players, the emergence of copyright issues and marketing celebrities) contribute to the innovations that result from adapting formatting practices to local contexts, and suggest how each city's television industry attempts to address the rise of tradable cultural commodities that are increasingly made for pan-Asian consumption.

FREITAS, Maria da Glória Feitosa. Vidas juntas fabricando palcos: um jeito nômade de aprender de dramistas. 2006. 238f. Tese (Doutorado em Educação) - Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2006. / Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-30T16:34:38Z No. of bitstreams: 1 2006_Tese_MGFFreitas.pdf: 2949206 bytes, checksum: b01c2fa22c6ddf32c60dfba7ba3a57ad (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-08-01T15:01:01Z (GMT) No. of bitstreams: 1 2006_Tese_MGFFreitas.pdf: 2949206 bytes, checksum: b01c2fa22c6ddf32c60dfba7ba3a57ad (MD5) / Made available in DSpace on 2012-08-01T15:01:01Z (GMT). No. of bitstreams: 1 2006_Tese_MGFFreitas.pdf: 2949206 bytes, checksum: b01c2fa22c6ddf32c60dfba7ba3a57ad (MD5) Previous issue date: 2006 / This paper reports registrations from about 50 writers, who can be drama-players, from the first generation in the 1940’s to the last one (up to 2001), or drama-players from Guriú, in the west coast of Ceará and even its players who followed their famous presentations. Such intense collection of beginning drama-players’ and drama mistresses’ life stories shows their productions were immortalized by outstanding inventiveness in each production and also for incursions very appreciated by the neighbouring communities, which appreciated strongly the presence of these juvenile aesthetic productions. The intense methodological transformations are narrated because this research and its researcher were in touch with these intensities mentioned by the writers. We point out these interviewees were quite influenced by the circus, theater, movie, radio, magazines, books, television and other shows which they had access to. Analyzing the 60 years of several drama-players generations’ stories, we noticed these ones kept themselves under masculine dominance and how much they were always submissive to their own desires at representing and setting up their transitory stages, because their expressions were nomadic. It registers a possible lesson and directed to the bureaucratic speech of decision-making organs of Brazilian Basic Education and it can come off from the drama-players’ speeches, to anyone who wants to hear and produce inquiries about the official and obligatory educational sameness. / Este trabalho relata os registros de cerca de 50 memorialistas, seja de dramistas, desde a 1ª geração na década de 1940 às representantes da última geração (até 2001), de dramistas de Guriú, no litoral oeste do Ceará ou ainda de seus tocadores que acompanhavam suas famosas apresentações. Tal conjunto intenso de histórias de vidas das aprendizes-dramistas e das mestras de drama, mostra que suas produções foram imortalizadas por marcante inventividade a cada produção e também por incursões muito apreciadas pelas comunidades vizinhas que apreciavam demasiadamente a presença destas produções estéticas juvenis. São narradas as intensas transformações metodológicas por que a pesquisa e a pesquisadora passaram no contato com estas intensidades vivas ditas pelas memorialistas. E ressalta-se que estas entrevistadas foram bastante influenciadas pelo circo, teatro, cinema, rádio, revistas, livros, televisão e outros espetáculos a que tiveram acesso. Percorrendo os 60 anos de histórias de várias gerações de dramistas, percebeu-se que estas se mantiveram à margem da dominação masculina e do quanto sempre foram submissas mesmo aos seus desejos de representar e de montar juntas os seus transitórios palcos, pois suas expressões eram nômades.Registra-se uma lição possível e encaminhada ao discurso burocrático dos órgãos de decisão da Educação Básica Brasileira e que pode se desprender das falas das dramistas, a quem queira ouvir e produzir indagações sobre a mesmice educacional oficial e obrigatória.

Made available in DSpace on 2014-12-17T14:36:06Z (GMT). No. of bitstreams: 1 RitaGN_TESE.pdf: 4203429 bytes, checksum: 53186fc23919775a62dfadeb023f3c91 (MD5) Previous issue date: 2009-10-19 / Funda??o Cearense de Apoio ao Desenvolvimento Cientifico e Tecnol?gico / The work aims to investigate some of the educational actions developed in the differentiated Tapeba schools (CE), in their pedagogical practices. The reading of these practices as ritual of ethnic cultural resistance is accomplished by the approach of studies of experience and performance in the anthropology, as well as, the analytical perspective suggested by the dramaturgy ideas and social drama. So, taking a critical approach of the school, that conceives it, while time space privileged of possibilities of political social change, this work searches to notice the means of achievement of a differentiated education. I aim at, with that, to observe the ritual moments and perform?ticos of the pedagogic practices of Tapeba while important political-symbolic expressions of your collective experiences, looking at the process of construction of legitimacy of the school differentiated as scenery of creation of pedagogic rituals of resistance. Then, the Cultural Fair, Tapeba Indian Games, the Walking of Tapeba Indian`s Day and Carnauba Party by one side and the Cultural Classes, by another, promote a re-thinking on the experiences of Tapeba ethnicity, distinguishing also, in this process of identity affirmation, the political pedagogical role fulfilled by land re-taking. Finally, this work makes clear that Tapeba prove to be individuals with rights and at the same time they want to legitimate their differentiated school practices, Tapeba construct the meaning of their social actions in the educative and in other aspects of their communitarian living as well / O trabalho tem como unidade de investiga??o algumas das a??es educativas desenvolvidas nas escolas diferenciadas Tapeba (CE), observando as manipula??es t?ticas e estrat?gicas do tema do preconceito em suas pr?ticas pedag?gicas. A leitura dessas pr?ticas como rituais de resist?ncia ?tnico-cultural ? realizada por meio de uma aproxima??o com os estudos da antropologia da experi?ncia e da performance, bem como da perspectiva anal?tica sugerida pelas id?ias de dramaturgia e drama social. Partindo de uma abordagem cr?tica da escola, que a concebe enquanto tempo-espa?o privilegiado de possibilidades de mudan?a s?cio-pol?tica, busco observar os modos de realiza??o de uma educa??o diferenciada. Objetivo, com isso, observar os momentos rituais e perform?ticos das pr?ticas pedag?gicas dos Tapeba enquanto importantes express?es pol?tico-simb?licas de suas experi?ncias coletivas, atentando para o processo de constru??o de legitimidade da escola diferenciada como cen?rio de cria??o de rituais pedag?gicos de resist?ncia. Assim, a Feira Cultural, os Jogos Ind?genas Tapeba, a Caminhada do Dia do ?ndio Tapeba e a Festa da Carna?ba, por um lado, e as Aulas Culturais, por outro, promovem um repensar das experi?ncias de etnicidade tapeba, destacando-se tamb?m, nesse processo de afirma??o identit?ria, o papel pedag?gico-pol?tico desempenhado pelas retomadas de terra. Por fim, procuro evidenciar que, afirmando-se como sujeitos de direito, ao mesmo tempo em que buscam legitimar as suas pr?ticas escolares diferenciadas, os Tapeba constroem o significado de suas a??es sociais tanto no educativo quanto em outros aspectos de suas viv?ncias comunit?rias

From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.

This thesis resulted from an examination of the influence of witchcraft superstitions upon Elizabethan-era dramas.

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

This thesis features a qualitative analysis of eight Korean media products — both fiction and nonfiction. For many years, South Korea (hereafter also called Korea) has been called the "world's plastic surgery capital" by many publications, such as Business Insider and The New Yorker. Although Business Insider considers the United States the "vainest country in the world," the numbers of cosmetic surgeries, percentage wise, per person in Korea still outnumber those in the United States, with 20 procedures per 1,000 persons. In this thesis, I argue by using the cultivation theory that Korean television, such as K-Dramas, talk shows and films, which celebrate transformations and feature makeovers and thus normalize cosmetic surgery, create a fantastic space for viewers where the viewers are compelled to act on a media-generated desire to undergo cosmetic surgery in the belief that doing so will also transform or better their lives in the same way it does for the characters in these Korean television productions.