Thesis (M.S.)--Oregon State University, 2009. / Printout. Includes bibliographical references (leaves 53-59). Also available on the World Wide Web.

Thesis (M. Phil.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 174-204).

Thesis (M.A.)--Humboldt State University, 2006. / Includes bibliographical references (leaves 42-46). Also available via Humboldt Digital Scholar.

Th. doct.--Valencia--Facultad de filosofía y letras, 1973. / Notes bibliogr. Bibliogr. p. 581-595.

In my dissertation, I argue that Marina Carr creates liminal spaces in her plays, exploring the tensions inherent in the issues of landscape, gender, and identity. She uses these liminal spaces to expose her audiences to more complex conceptions of Ireland in the twenty-first century. For example, Carr frequently challenges perceived notions of gender identity, drawing attention to gender as performance and creating female protagonists who resist their roles as wives and mothers. Landscape is also an important element of Carr's plays; most frequently she uses the landscape of the Irish Midlands as a space that is liminal both in terms of its geography in the center of the country and in terms of the bogs, which are neither land nor water. Finally, throughout her plays she combines elements of the Irish dramatic tradition with non-Irish elements as a way of expressing Ireland's complicated post-Celtic Tiger identity. I address Carr's plays chronologically in an attempt to trace her development of her use of liminality, which begins primarily with gender in Low in the Dark and expands to include landscape and identity through the Midlands plays. Most recently, plays like Woman and Scarecrow and The Cordelia Dream are set in the liminal moments between life and death and in the unconscious world of the characters' dreams, illustrating Carr's continuing exploration of new liminal spaces.

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-16T16:26:10Z No. of bitstreams: 1 JOSÉ RICARDO GOULART.pdf: 2971161 bytes, checksum: dac0c5b3b7ea842745b0f19f1e9772fb (MD5) / Made available in DSpace on 2018-03-16T16:26:10Z (GMT). No. of bitstreams: 1 JOSÉ RICARDO GOULART.pdf: 2971161 bytes, checksum: dac0c5b3b7ea842745b0f19f1e9772fb (MD5) Previous issue date: 2016-02-18 / The notion of reperformance is established and passed with the Marina Abramović’s exhibition The Artist is Present, in 2010. Five years earlier, however, the serbian artist had resubmitted works by other performers. This practice calls into question the relationship of artistic work with the here and now of the context in which is (re) presented, once the performance has emerged as ephemeral and unrepeatable art. The German philosopher Walter Benjamin diagnosed in the 30s, the decline of the artwork aura due to its mechanical reproduction. Taking such exhibition as a starting point, and 7 Easy Pieces (2005) and Terra Comunal (2015), I intend to investigate in this work the relationships arise between the terms performance, reperformance, reproducibility and aura. / A noção de reperformance se instaura e encontra repercussão com a exposição A Artista está Presente, de Marina Abramovic, em 2010. Cinco anos antes, porém, a artista sérvia já havia reapresentado obras de outros performers. Esta prática coloca em questão a relação da obra artística com o aqui e o agora do contexto em que é (re)apresentada, uma vez que a performance tenha surgido como arte efêmera e não repetível. O filósofo alemão Walter Benjamin diagnosticou, no anos 30, o declínio da aura da obra de arte em decorrência de sua reprodutibilidade técnica. Tomando como ponto de partida a referida exposição, além de Sete Peças Fáceis (2005) e Terra Comunal (2015), pretendo investigar, neste trabalho, as consequências decorrentes das relações que emergem entre os termos reperformance, reprodutibilidade e aura.

La propuesta apunta a resulver el encargo de un Centro de Investigación y Difusión Marina en el borde costero de carácter regional, sin embargo no es sólo la solución de la infraestructura programática como solución al problema, sino que esto implica un compromiso mayor con el lugar y la comunidad. La arquitectura de borde mar es variable según sean las condiciones culturales y climáticas del lugar, sin embargo, existe una condición común, ésta debe hablar más allá de sí misma, de su función y de la cultura que enmarca, siendo parte del reconocimiento de su situación natural y geográfica para establecer un diálogo entre ambos mundos que se encuentran, un diálogo entre el hombre y su mar.

Diseñador Gráfico / El presente documento, llamado “Jurel tipo carbón”, es un proyecto de carácter experimental y audiovisual que busca masificar la información del problema medioambiental de Chile. Este proyecto en particular se centra en una zona específica, las comunas de Quintero y Puchuncaví, pertenecientes a la quinta región de Valparaíso. “El problema se plantea en base a la premisa de que la información existente respecto a la situación medioambiental no es de fácil acceso, por lo que se propone un proyecto que a través de recursos audiovisuales entregue mayor accesibilidad y rapidez en comunicar la información. El valor del trabajo audiovisual en este caso, es el hecho de que mediante códigos visuales se apela a la emotividad de las personas, para que estas además de informarse se involucren en el tema.” Para resolver la necesidad planteada se desarrolla un proyecto en aproximadamente diez meses, en los que primero se estudian los antecedentes para conocer la situación, luego se estudia el marco teórico en base al cual se puede proponer una solución y finalmente se diseña y ejecuta el proyecto, el que intenta responder al principal objetivo de diseñar un prototipo comunicacional para complementar la información del problema medioambiental de la zona, de forma mas visible y accesible. Finalmente, para dar a conocer el resultado adudiovisual, el proyecto se basa en el marketing viral como estrategia global de difusión, lo que permite llegar a una audiencia de gran tamaño para lograr la masificación de la información.

A new shipyard on the island of Beckholmen consisting of a new ship hall and complementary workshops. The program is extended with rentable industrial space for other smaller companies to take advantage of synergies with the yard and to create an active maritime cluster around Beckholmen.   By building a marina and a port at the northern shoreline of the island the shipyard can expand their potential customers to non-commercial and larger recreational boats that are becoming increasingly common in Skärgården. The port is also supplemented with a combined naval fuel station, harbor office and a small café. The boat traffic in the region gets a additional stop at the end of the port and act as an additional gateway to Djurgården. Several small retail spaces with direct access to the water is created along the promenade between the port and Djurgården.   The shipyard gets a modern and efficient industry building, while the island is made available to the public again, and Beckholmen will hopefully take an equal place in the city's consciousness as it does visually in the inlet to Stockholm. / Ett nytt varv på Beckholmen bestående av en ny skrovhall samt kompletterande verkstäder. Programmet utökas med uthyrbara industrilokaler för andra mindre marina företag att dra nytta av synergieffekterna hos varvet och för att skapa ett aktivt maritimt kluster runt Beckholmen.   Genom att bygga en marina och gästhamn på norra sidan av ön kan varvet expandera sina potentiella kunder till icke-kommersiella och större fritidsbåtar som blir allt vanligare i Skärgården. Hamnen kompletteras dessutom med en kombinerad sjö bensinstation, hamnkontor och ett litet café. Båttrafiken i regionen får en extra stopp i hamnen och fungerar som en ny kommunikationsled till Djurgården. Flera små kommersiella utrymmen med direkt tillgång till vattnet skapas längs strandpromenaden mellan hamnen och Djurgården.   Varvet får en modern och effektiv industrilokal, medan ön görs tillgängligt för allmänheten igen, och Beckholmen kommer förhoppningsvis att ta en lika stor plats i stadens medvetande som det gör visuellt i inloppet till Stockholm.

Stockholm har en lång tradition av boende på vattnet. Gamla avbildningar av staden uppvisar ett myller av bebyggda bryggor och pålverk ute i vattnet. Genom åren har stadens invånare ofta tagit sin tillflykt till båtar, pråmar och halvsjunkna gamla vrak när bostadsbristen varit svår. De flytande samhällena ute på redden vid Ryssviken är det idag få som känner till.Under 1980-talet blev det olagligt att bo permanent på båt i Stockholm. Båtboende blev en gråzon därför att gränsdragningen mellan vistelse och boende på båt blev för svår. Men i slutet på 90-talet lades en motion i kommunfullmäktige som åter vill göra det lagligt att bo på båt. Stockholm lanseras internationellt som en vattenstad. Men stadens kajer rensas undan för undan från allt liv, man röjer plats för en stilarkitektur hämtad från förra seklet och skapar långsamt en död kuliss. Något som skulle kunna få fart på våra kajer igen kunde vara att tillåta husbåtar i innerstan.Det här examensarbetet har studerat husbåtskulturen och försökt hitta vad som gör den unik. Resultatet har komprimerats i en husbåtsanläggning vid Bockholmen i Solna. Arbetet har drivits framåt med stor hjälp ifrån Svensk båtboendeförening vilka har fått agera som beställare och sakkunniga. / Stockholm has a long tradition of living on water. Old depictions of the city displays a swarm of buildings on jetties and palisades in the water. Throughout the years whenever there has been severe housing shortage, stockholms inhabitants have taken its refuge on boats, barges and half sunken wrecks. Few people today remembers the open anchorage communities in Ryssviken. During the 1980's it became illegal to live on a boat i Stockholm. Houseboats became a gray area because the distinction between spending time and living on a boat became to complicated. But at the end of the 90's a motion to allow living on boats was placed in the city council. Stockholm is promoted as a city on the water. But the citys quays are beeing cleared of all signs of life, we are slowly creating a dead coulisse by making room for a pastiche architecture from the 19th century. Something that could bring back life to the citys quays could be the to allow houseboats in the innercity. This thesis has studied the houseboat culture and tried to find what makes it unique. The result has been compressed in an houseboat marina at Bockholmen in Solna. The swedish houseboat association has been of great assistance and has acted both as a client and as experts.