Den här uppsatsen undersöker Py Sörmans roman Aloë utifrån begreppet derealisering. Derealisering, menar uppsatsförfattaren, utgör en medvetenhet om problem gällande representationen av realitet som är central för postmodernismen. Denna medvetenhet aktualiserar frågeställningar gällande förhållandet mellan narrativitet och realitet, frågeställningar som är närvarande i den moderna och postmoderna romanen. Aloës ämne och narrativitet, argumenterar uppsatsen, belyser dessa frågeställningar. Uppsatsförfattaren strävar efter att bevisa detta genom att analysera romanen med hjälp av begrepp från narrativ teori. Den avslutande utvärderingen av undersökningen (slutdiskussionen) finner inte att derealisering är Aloës allra mest centrala ämne, men finner att derealisering är en närvarande frågeställning, är bestämmande för romanens representation och är en inneboende del av romanens struktur. / This essay uses the term derealization to investigate Py Sörman’s novel Aloë. Derealization, the author of this essay claims, consists of an awareness of problems regarding the representation of reality that are central to postmodernism. This awareness gives rise to questions regarding the relationship between narrativity and reality, questions that are present in the modern and postmodern novel. Aloë’s subject and narrativity, the essay argues, highlights these questions. The essay aims to prove this by analysing the novel using concepts from narrative theory. The concluding evaluation of this investigation finds that derealization is not Aloë’s most central subject or theme, but finds that questions regarding derealization are present, that they affect the novel’s representation, and that they form an integral part of the novel’s structure.

This thesis examines the discursive position of 'goddess feminism', in relation to some of the difference- and eco feminist positions from the1960s and until today. In focus are the texts of the two goddess feminists, Monica Sjöö and Starhawk. The thesis contributes to a historiographical (re)situating of their political and religious narratives. It also contributes to an elaborated understanding of these goddess feminists and the goddess feminist discourse they are part of. The tentative feminist figuration 'the goddess identified feminist’ is articulated as a tool to discuss the religious and political discourse of goddess feminists as part of contemporary feminist and environmental political conversations and practices. Donna Haraway’s and Karen Barad’s post humanist theoretical interventions are used to explore and discuss the affinities between goddess feminists (re)negotiation of the subject/s 'goddess/nature/human' – and the (re)negotiation of 'nature/human’ made by new materialist/post humanist difference- and eco feminists of the 2000s. Rosi Braidotti’s writings on sexual difference, becoming and feminist figurations further informs the conclusions drawn in the thesis. Drawing on the methodological approaches of Clare Hemmings and Mieke Bal in the analysis of story-telling and subject construction, a contribution is also made, to the understanding of how story-telling as part of a discourse, produces meaning and asymmetric subject relations. In particular the thesis shows how a compassionate feminist storytelling involuntarily produces subject positions through, essentialist dualisms, hierarchical ordering and othering. In parallel, the thesis also discusses alternative narrative strategies that focus on both the discursive boarders and affinities. / Baksidestext: Det här är en bok om två gudinnefeminister och deras religiösa och politiska berättande. Men det är lika mycket en bok om ’gudinnefeminism’ och hur denna feministiska position relaterar till, skiljer sig från och överlappar med andra skillnads- och ekofeministiska positioner från 1960-talet och till idag. Magdalena Raivios doktorsavhandling omförhandlar historien om ’gudinne-feminism’. Den synliggör även innehållet i Monica Sjöös och Starhawks berättelser om samhället, gudinnan/naturen/människan, framtiden och revolu-tionen. Här visas hur problematiska generaliseringar och uppdelningar i ”vi” och ”de andra” skapas i berättandet – men att Sjöö och Starhawk även vidgar och omförhandlar innebörden av begrepp som ’kvinna’ och ’natur’. En feministisk figuration kallad ’den gudinneidentifierade feministen’ används som tentativ utgångspunkt för nutida samtal om feministiska och miljöpolitiska visioner och för-ändringsstrategier. Avhandlingens resultat styrker tidigare forskning som visat att ett ”feministiskt medkännande berättande” – trots sin välmenta ambition – ofrivilligt medverkar i skapandet av diskursiva gränser, hierarkier och generaliseringar. Som ett teoretiskt bidrag, formuleras och diskuteras här några skillnadsfeministiska ansatser till alternativa berättandestrategier.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-25Bitstream added on 2014-06-13T19:14:19Z : No. of bitstreams: 1 vitagliaro_km_me_sjrp.pdf: 979972 bytes, checksum: ef5faebb618c01cbd4b32df5c0b5655d (MD5) / Este trabalho objetiva estudar alguns conceitos desenvolvidos por Maria Gabriela Llansol ao longo de seus textos, como a “cena fulgor” e o “dom poético”, que provocam o deslocamento da narratividade para a textualidade. Foram selecionados seis contos de sua primeira obra, Os pregos na erva (1962), observando-se dois núcleos estruturais da “cena fulgor”: a imagem poética e o diálogo. Consciente de que a imagem é um traço constitutivo do universo lírico, responsável pela transformação das palavras, num movimento de expansão que liberta os signos de seus significados usuais, a narrativa de Llansol recorre a esse traço como uma maneira de iluminar a mínima cena que conta, pois a ação é reduzida, o espaço é precário e a comunicação entre as personagens é falha. Essas características são típicas do teatro contemporâneo de Samuel Beckett e provocam, em alguns casos, o efeito de distanciamento sugerido por Brecht. Por essa razão, o conceito de diálogo será utilizado em dois sentidos: como interação verbal que estrutura o drama, e, de forma mais ampla, como um sistema de correlação que permite observar a intersecção entre os gêneros épico, lírico e dramático. Para isso, fundamenta-se em Bakhtin (2000) e Rosenfeld (2005), na discussão dos gêneros; em Octavio Paz (1982) e Friedrich (1978), na concepção de imagem; em Beckett (1952) e Brecht (2005), com suas teorias sobre o teatro moderno (2005) e em críticos que analisam a obra da escritora portuguesa. Por fim, conclui-se que a narrativa de Llansol é uma rede destecida enquanto enredo, mas que se tece enquanto texto que extrapola as barreiras dos gêneros literários, fazendo coexistir numa relação harmônica, e ao mesmo tempo conflitante, prosa, poesia e drama. Como “pregos na erva”, as palavras não se fixam, flutuam, se desprendem, se deslocam, num movimento ininterrupto que tece o corpo da escrita. / This work aims to study a few concepts developed by Maria Gabriela Llansol along some of her texts, like “cena fulgor” and “dom poético”, that cause the replacement from narrativity to textuality. Six short stories from her first work, Os pregos na erva (1962), were selected, considering two structural cores of “cena fulgor”: poetic imagery and dialogue. Being aware that imagery is a constitutive trace of the lyrical universe, responsible for transformation of words, in a motion of expiation that frees the signs from their usual meanings, Llansol’s narrative follows this trace as a way of lighten up the smallest scene that it refers to, because action is reduced, setting is precarious and communication between people is flawed. These characteristics are typical of Samuel Beckett’s contemporary theater and provoke, in certain cases, the distancing effect suggested by Brecht. For this reason, the concept of dialogue will be taken in two senses: as verbal interaction that structures the drama and, in a more broaden way, as a system of correlations that allows us to observe the intersection between epic, lyric and dramatic genres. Aiming that, the theories that fundament this research regard Bakhtin (2000) and Rosenfeld (2005), discussing genres; Octavio Paz (1982) and Friedrich (1978), for the conception of imagery; Beckett (1952) e Brecht (2005), about modern theater (2005); and critics that have analyzed the Portuguese author’s work. At last, we come to the conclusion that Llansol’s narrative is an unweaved web regarding the plot, but that weaves itself as a text that goes beyond literary genres’ borders, in such a way that narrative, poetry and drama coexist in a harmonic, but yet confronting relationship. As “pregos na erva” (nails in a herb) words are not fixed, they float, they are released, they move in an non-interrupt way that weaves the body of the text.

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Cette thèse porte sur la comédie musicale américaine des décennies 1940 et 1950 à Broadway, illustrée par le répertoire du compositeur Leonard Bernstein. L'enjeu est d'analyser les différents mécanismes internes et externes de création des œuvres de cette époque. La comédie musicale étant un genre vivant à la croisée du théâtre, de la musique et de la danse, nous avons choisi de l'étudier selon plusieurs démarches : historique, structurelle, et typologique. D'un point de vue méthodologique, cette thèse s'appuie notamment sur l'analyse narrative et musicale de 156 musicals, et des trois comédies musicales de L. Bernstein en particulier. Dans un premier temps, la thèse se concentre sur la comédie musicale à Broadway dans les décennies 1940 et 1950, en explicitant les marqueurs historiques, narratifs, musicaux et chorégraphiques du genre. Dans un second temps, la thèse analyse le répertoire des musicals de L. Bernstein dans sa globalité, en interrogeant d'une part le style de l'artiste, et d'autre part la cohérence des œuvres entre elles et avec les canons mis en évidence dans la partie précédente. Enfin, l'étude de la comédie musicale On the Town (1944) explicite la genèse de l'œuvre, ses caractéristiques musicales et chorégraphiques, et la réception publique et critique du spectacle. / This dissertation deals with the American Broadway musical during the 1940's and the 1950's, illustrated by Leonard Bernstein's works. Our concern is to study the various internal and external processes of creation of these pieces during this period. As the Broadway musical is a lively genre overlaying theatre, music and dance, we chose to study it through multiple angles: through its history, its structure and its typology. From a methodological point of view, this dissertation will rely on the narrative and musical analysis of 156 musicals, and especially three of L. Bernstein's musicals. First this dissertation will focus on Broadway's musicals during the 1940's and the 1950's, and will clarify the genre's historical, narrative, musical and choreographic markers. Secondly we will study L. Bernstein's own musicals. We will make explicit the composer's style, and put to test the consistency of his works amongst themselves and with the genre's canons. Last but not least, our analysis of the musical On the Town (1944) we will highlight the show's genesis, its musical and choreographic markers, and its public and critical reception.

For many people, a good game is synonymous with good graphics. One thing that is often forgotten, is that the graphics only makes up one part of the games. An aspect of the games that is far to often forgotten, is the game’s content and ability to tell stories. Through analyses of the games of the Zelda series, the development of content and storytelling aspects of computer- and video games, since the later half of the 1980:s and up till today, are examined. / Bra spel är för många synonymt med bra grafik. Något som allt för ofta glöms bort är att grafiken bara är en del av det hela. En aspekt av spelen som ofta glöms bort, är dess innehåll och möjligheter att berätta historier. Genom grundliga analyser av spelen i Zelda-serien undersöks hur berättandet inom TV-spelen sett ut, och förändrats sedan andra halvan av 1980-talet och fram tills idag.

Com base na investigação prática \"INCUBADORA\", que ocorreu concomitantemente ao estudo teórico, esta dissertação tem o objetivo de confrontar teatro com games, usando como referência o jogo de simulação The Sims. O foco do experimento foi estudar a apropriação dos mecanismos de jogabilidade na dramaturgia, na encenação e na atuação. Esse procedimento se deu por meio de um software especialmente desenvolvido, que permitiu aos espectadores - usando seus próprios aparelhos celulares - interagir com o jogo cênico, o que foi denominado interfaceamento da cena. Esta proposta teve por objetivo perturbar o espaço do \"espectadorcontemplador\" e testar a possibilidade de um \"espectador-interator\". A fim de refletir a respeito do teatro no contexto cultural de mídias digitais, são propostos, então, os conceitos de \"drama gamificado\" e \"espetáculo-game\". / Based on the practice research \"INCUBADORA\", which occurred concomitantly with the theoretical study, this thesis aims to confront theater with games, using the simulation game The Sims as reference. The focus was to study the mechanisms of appropriation of gameplay by dramaturgy, staging and performance. This procedure was done through a specially developed software that allowed viewers to interact with the scenic game using their own mobile phones. This procedure was called interfacing scene. This proposal aimed to disrupt the space of \"spectator-beholder\" and test the possibility of a \"spectator-interactor\". In order to rethink the theater in the cultural context of digital media, it is proposed the concepts of \" gamificated drama\" and \"gamespetacle\".

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-25T15:30:43Z No. of bitstreams: 1 rafaelgoncalves.pdf: 7132985 bytes, checksum: 2a642f396847242f6c790afb2d4e93e3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-25T15:43:03Z (GMT) No. of bitstreams: 1 rafaelgoncalves.pdf: 7132985 bytes, checksum: 2a642f396847242f6c790afb2d4e93e3 (MD5) / Made available in DSpace on 2017-05-25T15:43:03Z (GMT). No. of bitstreams: 1 rafaelgoncalves.pdf: 7132985 bytes, checksum: 2a642f396847242f6c790afb2d4e93e3 (MD5) Previous issue date: 2017-03-07 / O presente trabalho discute como se dá a narratividade das improvisações em música popular improvisada - analisando exemplos do Jazz e da Música Instrumental Brasileira. No primeiro capítulo, discutimos a busca de cada intérprete pelo desenvolvimento da sua "voz" ou de sua individualidade como improvisador, por elementos como: seu vocabulário melódico de improvisação, a busca pela sua sonoridade, o desenvolvimento de sua técnica. Fazemos um estudo de caso de dois improvisos do guitarrista americano Jonathan Kreisberg (nascido em 1972-, músico bem atuante e com sólida carreira no cenário de Jazz internacional) nos standards My Favorite Things e Caravan. A análise mostra procedimentos e vocabulário melódico recorrentes nos dois improvisos, que possivelmente evidenciam o estilo de improvisação do músico. No segundo capítulo, discutimos a narratividade de improvisação musical através de alguns conceitos. Observamos como a improvisação pode ocorrer com elementos mais ou menos premeditados (solos ou improvisos). Exploramos a metáfora de improvisar como "contar uma história" - sob o ponto de vista da semântica e sintaxe musical, com base em autores como John Sloboda (2008) e Jean-Jaques Nattiez (2002). Estudamos a criação do arco narrativo típico em improvisação - a variação de densidade/intensidade da improvisação, refletindo com Ingrid Monson (1996) e Turi Collura (2008) - e aplicamos estes conceitos aos dois improvisos de Jonathan Kreisberg já estudados. A seguir, revisamos vários processos de manipulação do vocabulário melódico em improvisação (como paráfrase, desenvolvimento de motivos, livre tematismo). Refletimos sobre o papel do tematismo na criação de coerência interna para improvisação - e pensamos como cada processo de manipulação melódica estudado se comporta em relação à dicotomia inventividade (ou criatividade) versus coerência. No terceiro capítulo, consideramos o papel da interação entre os músicos na construção da narrativa musical, em que os impulsos comunicativos musicais e "extramusicais" desempenham um importante papel nas improvisações. Mostramos processos de interação típicos de música popular improvisada. Fazemos um segundo estudo de caso e analisamos três performances do choro Lamentos pelo Trio Corrente, um grupo de Música Instrumental Brasileira que vem ganhando destaque e reconhecimento nos últimos anos - foram premiados com o "melhor álbum instrumental" no Grammy Latino de 2014. O grupo é composto por Fábio Torres (piano), Paulo Pauleli (baixo) e Edu Ribeiro (bateria). Pela análise das performances do Trio (nos anos 2003, 2012 e 2012) e comparações com outros intérpretes, percebe-se que a narrativa musical pelo grupo preza por uma dinâmica de espontaneidade e de interação musical intensa, mas seguindo parâmetros e procedimentos recorrentes. Desta forma, ao longo do trabalho refletimos sobre processos de improvisação e narratividade musical nos trabalhos de grupos musicais e intérpretes como Jonathan Kreisberg, Jacob do Bandolim, Izaías Bueno, John Coltrane, Miles Davis, Paul Motian Trio, Trio Corrente e outros. Propõe-se pensar que a construção das narrativas musicais improvisadas ocorrem por um processo que envolve a expressão de individualidade de cada músico e as interações entre eles - percebendo o exercício de papéis de solista e acompanhador geralmente constatados na dinâmica de interpretação coletiva. / The present work discusses how the narrativization of improvisations in improvised popular music happen - analyzing examples of Jazz and Brazilian Instrumental Music. In the first chapter, we discuss the search of each interpreter for the development of his "voice" or his individuality as improviser, in elements such as: his melodic improvisation vocabulary, the search for his sonority, the development of his technique. We do a case study of two improvisations by American guitarist Jonathan Kreisberg (born in 1972-, a very active musician with a solid career in the international Jazz scene) in the standards My Favorite Things and Caravan. The analysis shows procedures and melodic vocabulary recurrent in the two improvisations, that possibly evidences the musician's improvisation style. In the second chapter, we discuss the narrativity of musical improvisation through some concepts. We observe how improvisation can occur with more or less premeditated elements (solos or improvisations). We explore the metaphor of improvising as "telling a story" - from the standpoint of semantics and musical syntax, based on authors such as John Sloboda (2008) and Jean-Jaques Nattiez (2002). We studied the creation of the typical narrative arc in improvisation - the density / intensity variation of improvisation, reflecting with Ingrid Monson (1996) and Turi Collura (2008) - and apply these concepts in the two Jonathan Kreisberg improvisations already studied. Next, we review several processes of manipulation of the melodic vocabulary in improvisation (such as paraphrase, motif development and Livre Tematismo). We reflect on the role of thematicism in creating internal coherence for improvisation - and we discuss how each process of melodic manipulation studied behaves in relation to the dichotomy of inventiveness (or creativity) versus coherence. In the third chapter, we consider the role of the interaction between the musicians in the construction of the musical narrative, in which the musical and "extramusical" communicative impulses play an important role in the improvisations. We show typical interaction processes of improvised popular music. We make a second case study and analyze three performances of the "choro" Lamentos by Trio Corrente, a group of Brazilian Instrumental Music that has been gaining prominence and recognition in recent years - they were awarded the "best instrumental album" at the Latin Grammy of 2014. The group is composed by Fábio Torres (piano), Paulo Pauleli (bass) and Edu Ribeiro (drums). By analyzing the performances of the Trio (in the years 2003, 2012 and 2012) and comparisons with other performers, one can notice that the musical narrative by the group values a dynamic of spontaneity and intense musical interaction, but following recurrent parameters and procedures. In this way, throughout the work we reflect on processes of improvisation and musical narrativity by studies on the works of musical groups and performers such as Jonathan Kreisberg, Jacob do Bandolim, Izaias Bueno, John Coltrane, Miles Davis, Paul Motian Trio, Trio Corrente and others. It is proposed to think that the construction of improvised musical narratives occurs through a process that involves the expression of individuality of each musician and the interactions between them - perceiving the exercise of soloist and accompanist roles usually found in the dynamics of collective interpretation.