No description available.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 226-242). Available also in a digital version from Dissertation Abstracts.

ABSTRACT PEDAGOGY AND PERFORMING SHAKESPEARE’S TEXT: A COMPARATIVE STUDY By Sally Parrish Southall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2009 Director: Dr. Noreen C. Barnes Professor, Director of Graduate Studies School of the Arts In the Master of Fine Arts program in Theatre Pedagogy at Virginia Commonwealth University, and in a second program, the Master of Letters/Master of Fine Arts in Shakespeare and Renaissance Literature in Performance at Mary Baldwin College - two specific pedagogical approaches to accessing and performing Shakespeare’s text, both in the post-graduate setting - provide significant analysis tools and performance techniques, yet they use different points of departure and areas of focus. Chapter 1 will give the background, design, and focus of the graduate programs at Virginia Commonwealth University and at Mary Baldwin College. Chapter 2 will discuss and describe Janet B. Rodgers’ teaching orientation and her particular pedagogy in “Shakespeare and Text: The War of the Roses” class at viii ix Virginia Commonwealth University. Chapter 3 will provide Dr. Ralph Alan Cohen’s professional background and the foundational structure and focus of the pedagogy in his class “Language and Performance” at Mary Baldwin College. Chapter 4 explores the parallel and overlapping methods demonstrated in these two classes as well as the contrasting specifics of their particular methodologies. Chapter 5 describes the value of the two approaches, both of which exemplify the individual strengths of the professors.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Elaine K. Horwitz. Vita. Includes bibliographical references. Also available from UMI.

This diploma thesis deals with an interconnection of language control in a service-oriented company and its performance. The main aim of the thesis is to demonstrate the positive effect of language management on the corporate performance.

Submitted by Maria Aparecida (cidazen@gmail.com) on 2017-08-11T12:15:15Z No. of bitstreams: 1 João Paulo Guedes.pdf: 6674303 bytes, checksum: 4479791b6c9b167b78a69a82a9f6d16a (MD5) / Made available in DSpace on 2017-08-11T12:15:15Z (GMT). No. of bitstreams: 1 João Paulo Guedes.pdf: 6674303 bytes, checksum: 4479791b6c9b167b78a69a82a9f6d16a (MD5) Previous issue date: 2016-08-08 / CAPES / This thesis aims to develop an analysis of dialogic languageoftambor de crioula linked to the concept of musical performance, which are at stake both “musical” elements as “extramusical”. The tambor de crioula is a popular manifestation very diverse and contextual predominantly held by blacks, with profiles of participants, motivations, forms of organization, musical and choreographic structures that have similarities and differences which are expected commune in the collective practice. This communion of feelings is achieved in times when the musical performance reach the summit and, as they say, the tambor „esquenta' and „pega fogo', expressions that I adopt as a phenomenon of collective euphoria. Through ethnography of musical performance, I intend to demonstrate an interpretation of how the dialogic language is manifested in 'marchas de tambor‟in different musical performances, as well as some elements that influence the „pega fogo do tambor‟. / Esta dissertação pretende desenvolver uma análise da linguagem dialógica do tambor de crioula vinculada ao conceito de performance musical, em que estão em jogo tanto elementos “musicais” como “extramusicais”. O tambor de crioula é uma manifestação popular muito diversa e contextual, predominantemente realizada por negros, com perfis de participantes, motivações, formas de organização, estruturas musicais e coreográficas, que possuem semelhanças e diferenças as quais se espera comungar na prática coletiva. Esta comunhão de sentimentos é concretizada em momentos em que a performance musical chega ao ápice e, como dizem, o tambor „esquenta‟ e „pega fogo‟, expressões que adoto como fenômeno da euforia coletiva. Através da etnografia da performance musical, pretendo demonstrar uma interpretação da maneira como a linguagem dialógica se manifesta em „marchas‟ de tambor em diferentes performances musicais, bem como, alguns elementos que influenciam o „pega fogo‟ do tambor.