This thesis is a report on an administrative internship that was conducted at Zeitgeist Theater Experiments, Inc. from June to October of 1997. The internship fulfilled a requirement for the degree of Master of Arts Administration. Arts administration issues that are covered within the text are: fiscal management, marketing, fundraising. Board development, budget planning, and volunteer coordination. The nature of the internship, its specific tasks and responsibilities, are described in the report. The essay reviews the history of Zeitgeist as an organization and analyzes managerial problems occurring within the organization at the time of the internship .Explicit recommendations as to how the problems can be corrected and the steps required to implement the recommendations are laid out within the paper. The report concludes with the intern's expectations for the short term and long term effects of the work she conducted during the internship.

Mainz, Univ., Diss., 2007 / Erscheinungsjahr an der Haupttitelstelle: 2006

This thesis is an exploration into the possibilities and repercussions of articulating zeitgeist, that is, the spirit of our current age. The parameters and ramifications of such a project are, in this writing, analyzed in reference to the notion of historicity, and the narrative gaze that it perpetuates. The mechanism of canonization, and a discourse's capacity to be viral are examined.

"Pictures for an audition" are a visual tool I created to help in performing orchestral excerpts. I always had the aim to get deeper in the knowledge of the Zeitgeist of the composers I was facing, and as a consequence the aim to communicate this knowledge, this richness of roots, to the audience in a way as widely understandable as possible. I have been reflecting on the role of roots and background keeping as a reference point the figure of Dvořák, due to his strong connections with the Czech land and tradition. The inspiration I get from the composers’ background influences choices I do in dynamics, colors, articulation, and most of all expression. But how to get this inspiration when the situation is that of an orchestral audition, when the excerpts are so short, different in style and background, and played in a row with just few seconds between one and the other one? It is not possible for me to remember in few seconds what is more important about a particular excerpt, not even if I would prepare a written summary, since only to read that it would take at least one minute. Instead, visual memory is instantaneous, and somehow produces in me a more immediate inspiration than written concepts. Therefore, I decided to translate into visual inputs, i.e. selected pictures, photographs, or very short evocative sentences, the concepts which are for me more relevant about five excerpts which are often required in clarinet auditions. For each excerpt, these visual inputs have been put together in a A4 paper, and the outcome I called, for the sake of simplicity, the “picture for an audition”. I used this tool during my practice; after a while I recorded myself, and, finally, I used the picture as a reference point to check if in the recording it was clear enough what I wanted to express. In this comparison, the pictures made me more attentive to details I would have otherwise overlooked, and became an inspiration also to find new ways to practice the excerpts.

Universiẗat, Diss., 2006--Mainz.

Esta tese reflete a busca epistemológica, teórica e metódico-técnica de uma pesquisa cujo objetivo foi comprovar, utilizando o método de análise semiótica baseado na Teoria Geral dos Signos de C.S.Peirce, que o sistema publicitário (a publicidade nos mais diversos tipos de expressão) pode revelar as tendências socioculturais, por captar e manifestar o espírito do tempo (zeitgeist). Para isso, realizamos a análise semiótica de um corpus composto por diversas peças do sistema publicitário, entendido como um complexo amplo e híbrido no qual se inserem todas as ferramentas de comunicação de marketing (diversos tipos de ações nas mídias tradicionais e mídias sociais) e expressividades de marcas (mascote, embalagem, vitrine etc.). A amostra foi coletada no período de um ano no Brasil e nos Estados Unidos e abrange anúncios publicitários impressos e digitais, audiovisuais (filmes comerciais e vídeos nas redes sociais) outdoors, cartazes e vitrines. O método utilizado foi desenvolvido por Santaella (2000;2002) e Perez (2004) e permitiu que identificássemos as recorrências simbólicas do espírito do tempo que levaram ao diagnóstico de duas macrotendências: \"Pelo Filtro da Realidade\" e \"Mundo Imagético\", concretizando os objetivos da pesquisa e confirmando a hipótese central da tese. Após a análise da amostragem, foi feita uma etapa confirmatória que comparou as tendências identificadas com os relatórios de tendências de três empresas conceituadas na área. Na busca da certeza de que esse método estava em sinergia com o paradigma interpretativista e com os objetivos traçados, apresentamos um capítulo teórico sobre a semiótica peirceana, o que colabora para que o leitor tenha um maior entendimento sobre o método de análise aplicado. O percurso da pesquisa também trouxe a discussão sobre as tendências socioculturais e o conceito hegeliano de zeitgeist, assim como sobre História da Cultura na qual se inclui a cultura do consumo que é uma das características fundamentais da sociedade contemporânea. Este estudo também abordou a publicidade no contexto da contemporaneidade, em que cultura e consumo se unem de forma indissociável. Esta tese também apresenta uma categorização de marcas baseada na teoria da Difusão da Inovação de Rogers (1962), segundo a qual as mesmas podem ser classificadas em \"marcas inovadoras\", que lançam tendência, e \"marcas seguidoras\", que apenas contribuem para a difusão de valores já em trânsito nas dinâmicas sociais. Também as teorias de difusão são contempladas no desenrolar da pesquisa. Além disso, esta tese coloca o consumo como instância privilegiada para a compreensão da sociedade contemporânea, integrando ética e estética por meio de suas manifestações culturais, como o sistema publicitário, que revelam o zeitgeist ou espírito do tempo. / This thesis reflects the epistemological theoretical and methodical-technical research aimed to prove that the advertising system (advertising in various types of speech) can reveal the sociocultural trends because it captures and expresses the spirit of time (Zeitgeist). Using the semiotics analysis based on the General Theory of Signs of C.S. Peirce as a qualitative method. For this, we held the semiotics analysis of a corpus analysis (sample) compound of several pieces of the advertising system, understood as a large and hybrid complex where all marketing communication tools (various types of actions in the traditional media and social media) and brand expressiveness (mascot, packaging, store windows, etc.) are located. We selected a sample collected within one year in Brazil and the United States, and that includes print advertising and digital, audiovisual (commercial films and videos on social networks) billboards, posters and shop windows. The method was developed by Santaella (2000; 2002) and Perez (2004) and enabled us to identify the symbolic recurrences of the time spirit that led to the diagnosis of two macro trends, \"By the Reality Filter\" and \"Imaginary World\", concretizing the research objectives and the central hypothesis of the thesis. After analyzing the sample, we did a confirmatory step comparing the trends we identified with trend reports of three respected companies in this field of work.Pursuing to be sure that this was in synergy with the interpretive paradigm and the objectives outlined we present a theoretical chapter about the semiotics developed by Peirce, what contributes to the reader to have a greater understanding of the analysis method used. The route of the research also brought the discussion of sociocultural trends and the Hegelian concept of zeitgeist as well as the History of Culture until reach the consumer culture, one of the fundamental characteristics of contemporary society. This study also addressed advertising in the contemporary context where culture and consumption come together inseparably. This thesis also presents a categorization of brands based on the Diffusion of Innovation Theory (Rogers,1962), according to which they can be classified as \"innovative brands\", which cast trend, and \"followers brands,\" which just adds to the diffusion of values already in transit in social dynamics. Also the diffusion theories are contemplated in the course of the research. In addition, this thesis puts the consumption as the preferred arena for understanding the contemporary society, integrating ethics and aesthetics through its cultural manifestations, such as the advertising system, which reveal the zeitgeist or spirit of the times.

Submitted by Renata Aparecida Frigeri (renatafrigeri@yahoo.com.br) on 2018-05-24T13:22:24Z No. of bitstreams: 1 FRIGERI_Renata_FINAL.pdf: 22629717 bytes, checksum: 8a7ffebc0b9a3d026126967029e3febf (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-24T18:45:28Z (GMT) No. of bitstreams: 1 frigeri_ra_dr_bauru.pdf: 22616640 bytes, checksum: b08f7ecb9e3e43736e6296d42a367383 (MD5) / Made available in DSpace on 2018-05-24T18:45:28Z (GMT). No. of bitstreams: 1 frigeri_ra_dr_bauru.pdf: 22616640 bytes, checksum: b08f7ecb9e3e43736e6296d42a367383 (MD5) Previous issue date: 2018-05-11 / Esta pesquisa visa investigar como Leni Riefenstahl usou o cinema, um instrumento da modernidade, para explorar elementos pertencentes ao romantismo histórico presentes no Zeitgeist, o “espírito do tempo”, e assim redefinir a identidade ariana em sua obra cinematográfica, como almejada por Adolf Hitler. As quatro produções selecionadas para análise são A Luz Azul (Das blaue Licht, 1932), O Triunfo da Vontade (Triumph des Willens, 1935), Olympia (Idem, 1938) e Tiefland (Idem, 1954). Embora as películas contemplem temas distintos e tenham sido produzidas com um intervalo de 22 anos, elas possuem unicidade identária em seu cerne. Esta tese percorre os contextos histórico, político e cultural, respectivamente, por meio das obras de Richard Evans (2014), Ian Kershaw (2010), Peter Gay (1978), Siegfried Kracauer (1988) e Lotte Eisner (1985); os conceitos de cultura e identidade são adotados a partir da perspectiva de Denys Cuche (1999) e Clifford Geertz (2015). Para a análise das películas, elegeu-se como metodologia o esquema quaternário de Massimo Canevacci (1990) e a binariedade proposta por Claude Lévi-Strauss (2012 e 2013). Os filmes selecionados fornecem elementos que permitem aferir o espírito do tempo na Alemanha, assim como a ideologia da diretora, que mesmo após a queda do regime nazista manteve em sua obra elementos identitários alinhados com o propósito de Hitler. / This research seeks to investigate on how Leni Riefenstahl used a modernity instrument such as cinema, to explore elements of historical romanticism in Zeitgeist, the “spirit of time” and therefore redefine the Aryan identity in his cinematographic work, as longed by Adolf Hitler. Four productions were chosen for the analysis, including: The Blue Light (Das Blaue Licht, 1932), Triumph of the Will (Triumph des Willens, 1935), Olympia (Olympia, 1938) and Tiefland (Tiefland, 1954). Although the movies contemplate different themes and were produced with an intermission of 22 years, they share an identity oneness in their core. This present thesis travels through the historical, political and cultural contexts, respectively, by means of Richard Evans’ (2014), Ian Kershaw’s (2010), Peter Gay’s (1978), Siegfried Kracauer’s (1988) and Lotte Eisner’s (1985) works; the concepts of culture and identity are adopted from the perspective of Denys Cuche (1999) and Clifford Geertz (2015). For the movies’ analysis, the methodology chosen were the quaternary scheme by Massimo Canevacci (1990) and the binarity proposed by Claude Lévi-Strauss (2012 and 2013). The selected movies provide elements that allow assess to the spirit of time in Germany, as well as the directors’ ideology, that even after the fall of the Nazi regime she kept identity elements in her works, aligned with Hitler’s purpose.

Esta tese reflete a busca epistemológica, teórica e metódico-técnica de uma pesquisa cujo objetivo foi comprovar, utilizando o método de análise semiótica baseado na Teoria Geral dos Signos de C.S.Peirce, que o sistema publicitário (a publicidade nos mais diversos tipos de expressão) pode revelar as tendências socioculturais, por captar e manifestar o espírito do tempo (zeitgeist). Para isso, realizamos a análise semiótica de um corpus composto por diversas peças do sistema publicitário, entendido como um complexo amplo e híbrido no qual se inserem todas as ferramentas de comunicação de marketing (diversos tipos de ações nas mídias tradicionais e mídias sociais) e expressividades de marcas (mascote, embalagem, vitrine etc.). A amostra foi coletada no período de um ano no Brasil e nos Estados Unidos e abrange anúncios publicitários impressos e digitais, audiovisuais (filmes comerciais e vídeos nas redes sociais) outdoors, cartazes e vitrines. O método utilizado foi desenvolvido por Santaella (2000;2002) e Perez (2004) e permitiu que identificássemos as recorrências simbólicas do espírito do tempo que levaram ao diagnóstico de duas macrotendências: \"Pelo Filtro da Realidade\" e \"Mundo Imagético\", concretizando os objetivos da pesquisa e confirmando a hipótese central da tese. Após a análise da amostragem, foi feita uma etapa confirmatória que comparou as tendências identificadas com os relatórios de tendências de três empresas conceituadas na área. Na busca da certeza de que esse método estava em sinergia com o paradigma interpretativista e com os objetivos traçados, apresentamos um capítulo teórico sobre a semiótica peirceana, o que colabora para que o leitor tenha um maior entendimento sobre o método de análise aplicado. O percurso da pesquisa também trouxe a discussão sobre as tendências socioculturais e o conceito hegeliano de zeitgeist, assim como sobre História da Cultura na qual se inclui a cultura do consumo que é uma das características fundamentais da sociedade contemporânea. Este estudo também abordou a publicidade no contexto da contemporaneidade, em que cultura e consumo se unem de forma indissociável. Esta tese também apresenta uma categorização de marcas baseada na teoria da Difusão da Inovação de Rogers (1962), segundo a qual as mesmas podem ser classificadas em \"marcas inovadoras\", que lançam tendência, e \"marcas seguidoras\", que apenas contribuem para a difusão de valores já em trânsito nas dinâmicas sociais. Também as teorias de difusão são contempladas no desenrolar da pesquisa. Além disso, esta tese coloca o consumo como instância privilegiada para a compreensão da sociedade contemporânea, integrando ética e estética por meio de suas manifestações culturais, como o sistema publicitário, que revelam o zeitgeist ou espírito do tempo. / This thesis reflects the epistemological theoretical and methodical-technical research aimed to prove that the advertising system (advertising in various types of speech) can reveal the sociocultural trends because it captures and expresses the spirit of time (Zeitgeist). Using the semiotics analysis based on the General Theory of Signs of C.S. Peirce as a qualitative method. For this, we held the semiotics analysis of a corpus analysis (sample) compound of several pieces of the advertising system, understood as a large and hybrid complex where all marketing communication tools (various types of actions in the traditional media and social media) and brand expressiveness (mascot, packaging, store windows, etc.) are located. We selected a sample collected within one year in Brazil and the United States, and that includes print advertising and digital, audiovisual (commercial films and videos on social networks) billboards, posters and shop windows. The method was developed by Santaella (2000; 2002) and Perez (2004) and enabled us to identify the symbolic recurrences of the time spirit that led to the diagnosis of two macro trends, \"By the Reality Filter\" and \"Imaginary World\", concretizing the research objectives and the central hypothesis of the thesis. After analyzing the sample, we did a confirmatory step comparing the trends we identified with trend reports of three respected companies in this field of work.Pursuing to be sure that this was in synergy with the interpretive paradigm and the objectives outlined we present a theoretical chapter about the semiotics developed by Peirce, what contributes to the reader to have a greater understanding of the analysis method used. The route of the research also brought the discussion of sociocultural trends and the Hegelian concept of zeitgeist as well as the History of Culture until reach the consumer culture, one of the fundamental characteristics of contemporary society. This study also addressed advertising in the contemporary context where culture and consumption come together inseparably. This thesis also presents a categorization of brands based on the Diffusion of Innovation Theory (Rogers,1962), according to which they can be classified as \"innovative brands\", which cast trend, and \"followers brands,\" which just adds to the diffusion of values already in transit in social dynamics. Also the diffusion theories are contemplated in the course of the research. In addition, this thesis puts the consumption as the preferred arena for understanding the contemporary society, integrating ethics and aesthetics through its cultural manifestations, such as the advertising system, which reveal the zeitgeist or spirit of the times.

Made available in DSpace on 2015-04-11T13:48:59Z (GMT). No. of bitstreams: 1 Jose Maria.pdf: 1102172 bytes, checksum: 2dbe6a844ea017be6ab9135c4eba48f0 (MD5) Previous issue date: 2012-04-11 / Abstract: Strongly influenced by Schopenhauer s philosophy and by the Buddhist thinking; tapping the innovative vibrations from Baudelaire s poetry; taken by thirst for knowledge with no answer from the science; driven by the microscopic world that only then started to be explored; and the reflex of a changing country in a changing world, Augusto dos Anjos poetry finds it Zeitgeist, the Dionysian spirit of its time, in an expression never before seen in Brazilian poetry, which confused, for a long time, its critical reception. His older poems had already brought the mark of a melancholic lyric I, stricken by loneliness and reflection. In the middle of 1906 this melancholy overflows and the expression, which had become rougher, finally meets its tone. It was no longer the lyric I that expressed itself, but a ramification of it: a suffering, misanthropic, misogynistic character, who seemed to have only one purpose in life to suffer. With the melancholy in exponential growth, that character ripens not only the language, but also the reflections. We intent to show that, running from the confessional lyricism and based upon Schopenhauer s concept of aesthetic pain , the author forged a character, his lyric mask. Its purpose was to denounce the degradation humanity was going through, by the means of poems which subverted the accepted notions of beauty. Augusto dos Anjos invented an expressionist variation, seeking a non- Aristotelic representation of reality, using a fragmented and contrasting form, thus approaching the German expressionists, which makes it completely plausible to classify him as an expressionist poet. And it is not only an expressionist sensibility , but corpus and an idea integrally expressionist. Without fearing the grotesque and the kitsch, extracting beauty from bad taste and decaying matter, Augusto dos Anjos registered Brazilian life on the verge of the twentieth century / Fortemente influenciada pela filosofia de Schopenhauer e pelo pensamento budista; percutindo as vibrações inovadoras da poesia de Baudelaire; tomada por uma sede de conhecimento que não obtinha respostas das ciências; obstinada pelo mundo microscópico que só então começava a ser explorado; e reflexo de um país em transformação, em um mundo em transformação, a poesia de Augusto dos Anjos encontra o seu Zeitgeist, o espírito dionisíaco de seu tempo, em uma expressão inédita na poesia brasileira, que desnorteou, por muito tempo, sua recepção crítica. Os poemas mais antigos já trazem a marca de um eu lírico melancólico, marcado pela solidão e pela reflexão. Em meados de 1906, essa melancolia se exacerba e a expressão, que vinha se tornando cada vez mais áspera, encontra finalmente seu tom. Não era mais o eu lírico que se expressava, mas um desdobramento deste: uma personagem sofrida, misantropa, misógina, que parecia ter uma só finalidade na vida sofrer. Com a melancolia em crescimento exponencial, aquela personagem amadurece não apenas a linguagem, mas também as reflexões. Pretendemos demonstrar, pois, que, fugindo do lirismo confessional, e baseado em um conceito de Schopenhauer, dor estética , o autor forjou uma personagem, sua máscara lírica. A finalidade desta: denunciar a degradação pela qual passava a humanidade, por meio de poemas que subvertiam as noções então aceitas de beleza. Augusto dos Anjos inventou uma variante expressionista, buscando uma representação não-aristotélica da realidade, usando uma forma fragmentada e contrastante, aproximandose de tal forma dos expressionistas alemães que é absolutamente plausível classificá-lo como um poeta expressionista. E não se trata apenas de uma sensibilidade expressionista , mas de um corpus e uma Ideia integralmente expressionistas. Sem temer o grotesco ou o kitsch, extraindo beleza do mau gosto e da matéria em decomposição, Augusto dos Anjos registrou a vida brasileira do limiar do século XX

This study explores the manifestation of piety and sensuality in the operas Manon and Thaïs by Jules Massenet. These two themes are prevalent in Massenet’s operas as well as his oratorios, although it is not clear why this is so. His admiration and love for the human voice and his ability to compose beautiful melodies are reflected in the fact that he composed primarily for the lyric theatre. Piety and sensuality in Manon and Thaïs are articulated predominantly by the eponymous female characters. In order to understand the characters and the motivations that steer their lives, it was necessary to gain an understanding of the socio-historical context of piety and sensuality. This understanding was reached through means of a traditional literature review, which also shed light on the nineteenth-century Zeitgeist and its influence on Massenet and his work. This is a hermeneutic study conducted in light of an interpretive paradigm. The libretti of Manon and Thaïs were explored by means of a close reading to identify sections dominated by piety and sensuality. Following the example of Lawrence Kramer, a combination of close reading and analysis was used to look at the ways in which piety and sensuality are articulated in the music. It became clear that Massenet used various compositional techniques to differentiate between piety and sensuality in his music scores. These techniques were applied with such skill that a listener can identify these two themes through close listening. / DMus (Performance), North-West University, Potchefstroom Campus, 2015