Por meio da experiência em processos de criação do grupo Teatro da Vertigem, como dramaturgista durante oito anos, pudemos observar transformações na esfera de ação do dramaturgismo. Em continuidade com a ampliação da noção de dramaturgia e dos diferentes modos como têm se integrado aos processos de criação, ao abarcar a materialidade das obras cênicas, a experimentação nas práticas dramatúrgicas coloca a pesquisa artística em outro patamar de complexidade, o que torna necessário investigar sobre suas atividades e, especialmente, o papel da dimensão crítica no interior da criação. Particularmente, são exploradas três experiências no Teatro da Vertigem, a saber: Bom Retiro 958 metros, Patronato 999 metros e Dire ce qu\'on ne pense pas dans des langues qu\'on ne parle pas. São exemplos de trabalhos artísticos realizados no espaço da cidade, a partir da especificidade do lugar, também chamado site-specific work. Neles, o contexto socioespacial torna-se matéria prima da investigação do dramaturgista, ao acionar campos de tensão entre conceitos que, por sua vez, nutrem a produção, ao mesmo tempo em que esta interfere nos contextos. Portanto, esta pesquisa pretende demonstrar a possibilidade do dramaturgista atuar com o objetivo de aprofundar e problematizar a própria crítica que o trabalho artístico deseja efetuar, tendo em vista o processo contínuo de absorção e neutralização da crítica pela linguagem da mercadoria. Esta prática, estamos chamando de dramaturgismo crítico. / Through the experience in creative processes of the theatre group Teatro da Vertigem, as a dramaturg for eight years, transformations on the dramaturg work field were observed. Continuing the amplification of dramaturgy\'s notion and the different ways that it has been integrated to creation processes, which includes scenic work art\'s materiality, the experimentation on performing arts practices puts artistic research on another level of complexity. That demands investigation of its activities, concerning specially the role of the critic\'s dimension inside the creative process. Three experiences by Teatro da Vertigem are investigated: Bom Retiro 958 metros, Patronato 999 metros and Dire ce qu\'on ne pense pas dans des langues qu\'on ne parle pas. Those are examples of artistic works made at the city space, inspired by the particularities of that specific places, which is called site-specific work. In those works, the social and spatial background becomes the raw material of dramaturg\'s research, by activating tension between concepts that feeds the production. At the same time, this production interferes in that context. Therefore, this research aims to demonstrate the possibility of a dramaturg work with the goal of deepen and criticize the critique that the artistic work aims to do, considering the ongoing process, assembled by commodity\'s language, that absorbs and neutralizes the critique. This practice will be called \"critical dramaturgism\".

Enemies of the People is a book that examines whistle-blowing—i.e., the unauthorized conveyance of sensitive information to mass media and authorities—and the social responses this performance provokes. The book develops a fresh view of this phenomenon by framing the trend of events according to a couple of fundamental elements found in tragedy. The book also includes a critical appraisal of the perspectives that set the tone in the existent whistle-blowing research. The prevalent one-sidedness found in this field of research is reviewed and contrasted with the contributions delivered in the present study. The analysis is based on three famous whistle-blowing cases that received a lot of attention in mass media: Ingvar Bratt and the Bofors affair; Odd F. Lindberg and the Norwegian seal hunting affair; and finally, Paul van Buitenen and the Leonardo-affair in the European Commission. The author claims that by studying the sociology of tragedy, it is possible to develop a new way of examining social processes where the final outcome is the excommunication of the appointed culprits through, for example, expulsion or avoidance. This purgatorial process is treated as a social status degradation, where the offender experiences a thorough social identity transformation that turns his or her social position to a lower social rank than initially held. The title of this book alludes to a stage play written by the Norwegian playwright Henrik Ibsen. His dramatic piece An Enemy of the People, written in 1882, plays a prominent part in this study.

Bakgrund: Skolan som institution har existerat i olika former under många århundraden, samtidigt som den hela tiden har följt samhällsutvecklingen. Om problematiken med mobbning inom skolmiljön har det vittnats åtminstone i flera decennier, trots att skolan påvisar den genom aktivt arbete med främjande och förebyggande åtgärder. Vittnesmål kring mobbning kommer oftast från personer som har varit utsatta, ofta långt efter att kränkningarna ägt rum, och ger oss ett perspektiv på problemet. Vår intention med denna uppsats har varit att lyfta upp mobbning från ett annat perspektiv, genom att fånga upp lärarnas upplevelse kring det praktiska arbetet mot mobbning. Syfte: Studiens övergripande syfte är att med hjälp av Goffmans teori om scen, skapa en fördjupad förståelse för vad lärarna inom ett antimobbningsteam på en grundskola har för upplevelse kring deras arbete mot mobbning mellan eleverna. De frågeställningar studien förhåller sig till är: 1. Hur beskriver grundskollärare från antimobbningsteam sin roll i förhållande till elever i mobbningssammanhang? 2. Hur kan Goffmans begrepp scen, roll, aktör, publik, team, inramning och uppsättning användas för att förstå lärarnas upplevelse kring mobbning? Metod: En kvalitativ ansats har använts med fem semistrukturerade intervjuer med lärare från antimobbningsteamet. Analysen av skapad data gjordes utifrån Goffmans dramaturgiska teori om scen samt tidigare forskning. Resultat: Resultatet visar på att vid mobbningen mellan skoleleverna är det hela gruppen som deltar, antingen aktivt genom att utöva kränkningar, eller passivt genom att uppmuntra till det via positiv respons. Detta sker oftast bortom lärarnas synhåll, på scener och vid sådana tillfällen som lärare inte kan bevittna. Studien synliggör att lärare upplever sig ha bristfälliga kunskaper kring problematiken samt att det saknas tidsmässiga resurser för att motarbeta problemet. Scenen för mobbning ramas in av skolans styrdokument men även genom skolans bristande satsningar på resurser och lärarutbildningar. / Background: The school as an institution has existed in various forms for many centuries, and constantly followed the development of society. Regarding the problem of bullying in the school environment, it has been testified as a problem during at least several decades. This despite the fact that the school demonstrates it through active efforts of promotion and prevention. Testimony about the bullying usually comes from people who have been exposed, often long after the violations occurred, and gives us a perspective on the issue. Our intention with this essay has been to illustrate the bullying from a different perspective, by capturing the teachers' experience on the practical work against bullying. Purpose: The overall aim is that by using Goffman's theory about stage, creating a deeper understanding of what teachers in an anti-bullying team at a primary school experience within their work with bullying among students. The issues the study relates to are: 1. How primary school teachers from the anti-bullying team describes their role in relation to students in bullying context? 2. How can Goffman's concept stage, role, actor, audience, teams, setting and set be used to understand the teachers' experience concerning bullying? Method: A qualitative approach has been used with semi-structured interviews in which the analysis of the created data was based on Goffman's dramaturgical theory about the stage and previous research. Results: The results show that the whole group is involved at the bullying between school children, either actively by exercising violation, or passively by encouraging it through positive feedback. This usually occurs beyond the teachers' sight, on stages and at such times the teachers cannot witness. The study reveals that teachers feel they have insufficient knowledge about the problem and a lack of time resources to address the problem. The stage of bullying is framed by the school's governing documents and also by the school's lack of investment in resources and teacher training.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-21T18:09:20Z No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-25T12:47:15Z (GMT) No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / Made available in DSpace on 2018-09-25T12:47:15Z (GMT). No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / A presente tese tem como objetivo analisar dramaturgicamente o Massively Multiplayer Online Roleplaying Game (MMORPG) World of Wacraft (WoW), identificando e sistematizando seus aspectos estruturais. Este trabalho sustenta a hipótese de que a dramaturgia de WoW é estruturada de modo a dar suporte ao processo contínuo de expansão do jogo ao longo dos últimos 10 anos (do jogo base ao pacote de expansão Mists of Pandaria). A tese nomeia dramaturgia da expansão, o tipo de construção dramatúrgica que, tal como a de World of Warcraft, é orientada pela necessidade expandir o espaço e o tempo ficcionais, ampliar o número e a extensão das suas ações dramáticas, além de incorporar novos personagens a fim de criar novas experiências narrativas e de jogo (referindo-se ao universo dos jogos digitais ou analógicos). Esse tipo de dramaturgia não surge com WoW, afinal o referido MMORPG possui uma evidente filiação a jogos de interpretação de personagens, os Role-Playing Games (RPG) de mesa e digitais, os quais já apresentam estratégias de expansão do seu universo ficcional e experiências de jogo com fins comerciais. Assim, o presente trabalho se configura como um estudo de caso e, portanto, verifica particularidades da dramaturgia de WoW ao mesmo tempo que aponta generalizações possíveis. A pesquisa adota uma metodologia pautada na observação direta e participante (na medida em que é preciso jogar para analisar o objeto). O próprio jogo constitui a principal fonte de dados da pesquisa. Dados estes obtidos a partir de cerca de 700 horas de jogo com 19 personagens jogáveis por parte do pesquisador e cruzados com um aparato teórico multidisciplinar advindo dos media studies, games studies, teorias do imaginário, teorias dos gêneros literários e estudos teatrais para serem enfim sistematizados na presente tese. Como resultado foi possível confirmar a hipótese defendida, verificando como cada um dos aspectos estruturais analisados (Ação, Composição de personagens e organização espacial dos signos) colabora para o contínuo processo de expansão do jogo. / This thesis aims to analyze dramaturgically the Massively Multiplayer Online Roleplaying (MMORPG) World of Wacraft (WoW), identifying and systematizing its structural aspects. This work sustains the hypothesis that the dramaturgy of WoW is structured to support the ongoing process of expansion of the game over the last 10 years (from the base game to the expansion pack Mists of Pandaria). The thesis names dramaturgy of the expansion, the type of dramaturgical construction which, such as World of Warcraft, is guided by the need to expand the fictional space and fictional time, increase the number and the extent of their dramatic actions, as well as incorporate new characters to create new narratives and game experiences (referring to the universe of digital or analog games). This type of drama does not come with WoW, after all the said MMORPG has an obvious affiliation to the interpretation of characters games, table and digital Role-Playing Games (RPG), which already have expansion strategies of their fictional universe and experience game for commercial purposes. Thus, this study is configured as a case study and therefore, verifies dramaturgy of particularities of WoW while pointing possible generalizations. It adopts a guided methodology in direct and participant observation (to the extent that is necessary to play to analyze the object). The game itself is the main source of research data. These data obtained from about 700 hours of playing with 19 playable characters from the researcher and crossed with a multidisciplinary theoretical apparatus arising from media studies, games studies, imaginary theories, theories of literary genres and theater studies to be finally systematized in this thesis. As a result it was possible to confirm the hypothesis defended by checking how each of the structural aspects analyzed (Action, composition of characters and spatial organization of the signs) contributes to the continued expansion of the game process.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-08-17T19:22:16Z No. of bitstreams: 1 DISS_2014_Juliana Capilé Rivera.pdf: 1454662 bytes, checksum: ca5448ae7b63dd4113fe5ff109d38077 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-08-21T13:46:53Z (GMT) No. of bitstreams: 1 DISS_2014_Juliana Capilé Rivera.pdf: 1454662 bytes, checksum: ca5448ae7b63dd4113fe5ff109d38077 (MD5) / Made available in DSpace on 2017-08-21T13:46:53Z (GMT). No. of bitstreams: 1 DISS_2014_Juliana Capilé Rivera.pdf: 1454662 bytes, checksum: ca5448ae7b63dd4113fe5ff109d38077 (MD5) Previous issue date: 2014-07-10 / CAPES / Este trabalho vislumbra os caminhos da escrita teatral contemporânea observando o texto teatral Cidade dos Outros, de Juliana Capilé –Cuiabá-MT e o processo de construção que determinou a obra. O texto teatral fragmentado e cheio de heterogeneidades, cuja tessitura inclui questões do registro pessoal e coletivo dos criadores do espetáculo, possui a contaminação como elemento de construção. Para a leitura do texto são observadas as noções de dramaturgia contemporânea identificadas por José DA COSTA e Sílvia FERNANDES, bem como Hans-Thies LEHMANN, Jean Pierre SARRAZAC e Jean Pierre RYNGAERT. / This work presents the ways of contemporary writing theater watching the theatrical text City of Others, Juliana Capilé -Cuiabá-MT and construction process that determined the work. The fragmented and full of theatrical text heterogeneities, whose tessitura includes personnel matters and collective record of the creators of theshow, has contamination as building element. To read the text the notions of contemporary playwriting identified by José da Costa and Silvia Fernandes and Hans-Thies Lehmann, Jean Pierre Sarrazac and Jean Pierre Ryngaert are observed.

The Czech opera production of the so called "Pre-Smetanian" era represents a topic quite neglected by music historians. It is therefore the goal of this master's thesis to repay this debt by showing Kittl's opera, Bianca und Giuseppe oder Die Franzosen vor Nizza, (the libretto, written by Richard Wagner, based on the novel, Die hohe Braut, by Heinrich König) as a work of art which illustrates the high quality of the Prague opera scene in the mid-1800s. The core of this thesis consists of a dramaturgical analysis of the final form of the mentioned opera. This analysis advances in three steps. 1. The main idea of König's novel and its aesthetic are presented in the light of his life. 2. The following chapter concerns Wagner's libretto. Apart from showing the differences between the novel- and opera aesthetics, the emphasis is on the dramaturgical means which Wagner employs: various usage of the couleur locale, ensemble of the pezzo concertato type, working with specific time structures in the opera or allegorical usage of the so called - as Frenchmen say - spectacle d'optique. 3. The next chapter strives to assess the extent to which Kittl succeeded in expressing Wagner's intentions or, in another words, the extent to which Wagners's "poetic intention" (dichterische Absicht) came true in Kittls's music....

fman's theory in order to investigate how book features Goffman's two principal performative - First section of the thesis introduces Goffman's theory and frames the phenomenon of social provides a qualitative content analysis of 50 Facebook "profiles" and 733

This diploma thesis aims to provide an overview of social networks issue, specifically of increasingly popular Instagram with regard to body and corporeality perception of its users and interpersonal interactions. The theoretical part of this thesis cover symbolic interactionism, which analyse the society through individual interactions and interprets them. Other theoretical chapters are dedicated to notions of self-presentation and body from the sociological point of view and current research of self-presentation and interactions in the Instagram environment. For the empirical part of this diploma thesis the qualitative approach has been chosen. The sample of studied individuals was composed using the purposive sample and the snow ball method, with respect to defined socio-demographic criterions. The sample is composed of man and women in the age of twenty to thirty years old, living in the Czech Republic, who are university students or absolvents. The data were obtained using semi-structured interviews and diary research. The audio record, text and photographs were analysed following the example of the grounded theory.

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Polisyrkets karaktär kräver att den anställda kan utföra emotionellt arbete för att uppvisa de känslor som stämmer överens med arbetsrollen. Detta medan både befolkningen och brottsligheten ökar i Sverige vilket leder till en ökad arbetsbelastning samtidigt som det fattas ett tusentals poliser. Syftet med studien är därför att undersöka hur poliser i yttre tjänst upplever och hanterar det emotionella arbete de utför. För att besvara studiens syfte utfördes 10 semistrukturerade intervjuer med poliser som arbetat i yttre tjänst inom olika kommuner i Västra Götalands län. Resultatet delades sedan in i två delar, delen om upplevelser visade på att respondenterna både hade en medvetenhet och en avsaknad av medvetenhet gällande emotionellt arbete i olika situationer. Vidare betonas vikten av kollegorna i det arbete de utför. De beskriver även de förväntningar och känsloregler de dagligen förhåller sig till. Delen om upplevelser avslutas med hur synen på det emotionella arbetet utvecklats från då till nu. Delen om hantering visar sedan på hur de anställda får stöd från chefer, ledning och kollegor i form av debriefing och professionella samtal, om det skulle behövas. Här presenteras även andra strategier såsom träning och att ta på sig masken och gå in i yrkesrollen som polis. / The nature of police work requires its employees to perform emotional labour to display the kind of emotions that are consistent with the demands of the job role. All while experiencing an increased workload due to a growing population and an increasing crime rate in combination with a shortage of police officers. This study, therefore, aims to examine how police officers experience and handle emotional labour. Ten semi-structured interviews were conducted with police officers who work in various municipalities within the Västra Götalandregion. The result was divided into two parts, the first one describing experiences. The respondents showed an understanding of certain parts of emotional labour and a lack of understanding regarding other parts of emotional labour. Furthermore, the importance of colleagues in the work the police perform is emphasised. They also describe the expectations and emotional rules they relate to daily. The part regarding experiences ends with the perceived differences of emotional labour then and now. The second part of the results describes how they manage emotional labour with support from managers and colleagues in the form of debriefing and professional help, if needed. Other strategies such as training and stepping into the police role are also presented here.