Thesis (Ph. D.), Memorial University of Newfoundland, 1999. / Bibliography: p. 300-317.

Thèse (M.A.) -- Université Laval, 2009. / Bibliogr.: f. 117-130. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Thesis--University of Wisconsin--Madison, 1967. / Typescript. Vita. Description based on print version record. Includes bibliographical references.

Thesis (Ph.D. (Economics and Economic History)) - Rhodes University, 2006.

No description available.

No description available.

Nessa pesquisa OS CHIFRES ENTRE A CRUZ E A ESPADA: um estudo das festas de touros (XV-XVI) na Espanha, buscamos identificar como se deu essa emergência de um discurso de controle régio e clerical sob as chamadas festas de touros nos séculos XV e XVI – sendo aquilo que chamamos de “os chifres entre a cruz e a espada” justamente essa leitura das festas taurinas que legitimaram e deram vasão a essa construção das festas mais austeras e em conformidade com as doutrinas e dogmas cristãos, naquilo que denominamos de discurso de ordenança festiva. Para isso, analisamos uma gama de documentos, entre uma Crônica (Crónica del Condestable de Castilla Don Lucas de Iranzo), um Tratado (Tratado do Jogo), Bula (Salute Gregis Dominici) e o prólogo de um Cancioneiro (Cancionero de Juan Alfonso de Baena) na tentativa de construir e identificar nessa tipologia diversa de documentos, as várias maneiras utilizadas para compor o discurso de ordenança festiva. Observáveis em três frentes de análise – o discurso clerical, o discurso clerical percebido e praticado ou não pela nobreza e o discurso espacial/heterotopológico (sendo esse último, de suma importância, e tendo sido analisado partindo do conceito foucaultiano de heterotopia e as várias possibilidades que ele pode representar na análise dos mais diversos espaços). Também, perseguimos ao longo da pesquisa um tema que apesar de já há muito debatido mostrou que ainda encontra terreno fértil para novos debates historiográficos, as festas em si – analisadas partindo da proposta da festa como questão e como discurso. / In this research HORNS BETWEEN THE CROSS AND THE SWORD : a study of the bulls parties (XV- XVI) in Spain, we seek to identify how was this emergence of a regal control speech and clerical specifically under the so-called bulls parties in the XV and XVI - being what we call " the horns between a rock and a hard place " just this reading of bullfighting festivals that legitimized and gave arterial runoff to that construction of the austere celebrations and they were in accordance with the Christian doctrines and dogmas , what We call the ordinance festive speech and gave way to this construction of more austere celebrations that were in accordance with the Christian doctrines and dogmas, in what we call the festive ordinance speech. In order to do so, we analyzed a range of documents, from a chronicle (Crónica del Condestable de Castilla Don Lucas Iranzo), a treaty (Tratado del Juego), a bula (Salute Gregis Dominici) and the prologue of a songbook (Cancionero de Juan Alfonso de Baena) in an attempt to identify and construct in this different typology the various ways used to compose the festive ordinance speech. Observable in three fronts of analysis - the clerical speech, the clerical speech perceived and practiced (or not) by the nobility and the space/heterotopological speech (the latter, of paramount importance, has been analyzed with Foucault's concept of heterotopia and the various possibilities that it can represent in the analysis of the most diverse spaces as a starting point). We also seek throughout the research a theme that, although it has been discussed many times before, still shows that there is fertile ground for new historiographical debates: the parties themselves – analyzed from the premises of parties as problem and as speech.

This thesis investigates how street performers entertain passers-by and audience members in exchange for money. Specifically, it investigates how this exchange relationship is accomplished in light of exchange happening outside the routine context of “the market”, where payment for goods and services is ordinarily enforceable. In this regard, this thesis seeks to uncover the ways that exchange in street performance is alternatively organised through donations, and how giving donations are produced and recognised as interactionally relevant and morally accountable actions. To that end, this thesis employs the allied approaches of ethnomethodology and conversation analysis. It empirically examines video recordings of street performances, mostly collected at the Edinburgh Festival Fringe. Three kinds of street performance encounter are considered: these are musical busking, living statue performing, and circle show performing. The order of the discussions of these performances reflects the extent to which the performers explicitly recruit interactional resources —including talk, gesture and material objects—to morally obligate audience members and passers-by to give donations. The main thrust of this thesis is that street performers, passers-by and audience members collaboratively produce and recognise street performances as gifts that should be reciprocated. The street performances are initially freely given, but participation entails indebtedness that in various ways make remuneration interactionally relevant. In this regard, this thesis also explores how money, value and materiality feature in the giving and receiving of donations. This thesis provides new knowledge about how street performance encounters are ordered, how moral obligation is interactionally worked up through the sequential organisation of social actions, and how money donations are exchanged in return for entertainment. It also provides new understanding about how different kinds of street performance encounters share organisationally similar properties for solving the “payment problem”, but at the same time possess properties that are distinct.

Thesis analyzes the current international competition of animated films Anifilm 2015. The aim of this study is to describe the fundamental nature of the animation. Identify rules and artistic means used in the films. The focus of the thesis is to the potential elimination or possible elimination of film defects by manipulating the individual images or scenes. The work is divided into two main parts. The first describes theoretical and schematic knowledge of the animated film focusing on dramaturgy and editing. In doing so, it identifies artistic tools that are at the heart of matter animation. Mentioned are also differences in approaches to short and feature animated films. The practical part consists of a set of analyzes of short and feature-length animated films in competition Anifilm 2015 with regard to the places and scenes in the film that contribute to unclear testify or otherwise distorts theme of the film. Thesis does not omit cinematographic works with clear and precise nature.

The present thesis explores the industry programme of the Jihlava International Documentary Film Festival, as well as the ways producers benefit from it. This festival has a long-term tradition organizing programmes for film professionals. The individual components of the programme are conceived, respectively, for participants of various professions, for instance festival directors or film directors, with its main section, Emerging Producers, aimed at starting European producers. The first part of the present work describes the history of Jihlava IDFF and the individual sections of its industry programme, while the second part compares the festival to two other ones of similar size, namely CPH:DOX and Visions du Réel Nyon, whose conceptions differ to a significant extent from Jihlava’s. The last section of the thesis, drawing in part on online questionnaires administered to Emerging Producers participants and to the producers of films competing at the festivals in question between the years 2012 and 2016, examines the contribution industry programmes bring to producers.