Esta pesquisa teve início durante o trabalho de conclusão de curso do bacharelado em modelagem do Centro Universitário Senac, onde foi abordado o tema Freak show - o entretenimento do século XIX. Foi pesquisado o panorama de seu surgimento e suas características nos tempos áureos, e geradas a criação e a confecção de três bustos e três looks para personagens do freak show vitoriano, os gêmeos siameses xifópagos isquiópagos, a mulher de três cabeças e quatro pernas e a menina sereia. A pesquisa atual foi iniciada em 2015 no programa de mestrado na Universidade de São Paulo, investigando a contínua existência da instituição até o século XXI e as transformações que a tornaram possível. Este trabalho traz uma pesquisa sobre a indústria do Freak Show, mapeando-a através dos séculos XIX ao XXI. Mostra como se dá a exposição do corpo extraordinário na indústria do entretenimento e em que locais pode ser observado, além de informações sobre como estes corpos são vestidos. Argumentase que existem intenções e benefícios na sociabilização estabelecida através da exibição voluntária do corpo nas diversas formas midiáticas, desenvolvendo formas de comunicação que introduzem suas personas e personalidades enquanto ressaltam ao público os aspectos de sua morfologia extraordinária / This research began during the final project for conclusion of bachelors degree in pattern making at Centro Universitario Senac, which regarded the Freak Show The Entertainment of The 19th Century. It was researched the context of its beginning and its characteristics when the popularity was high, what developed in the creation and making of three dress forms and three garments made for Victorian freak show performers, the Siamese twins, xifopagus isquiopagus, the three headed and four legged woman and the mermaid girl. The present research started in 2015 at University of Sao Paulo masters degree in Textile and Fashion, investigating the ongoing existence of the industry in the 21st century and the changes that made it possible. The present research introduces a research on the Freak Show Industry, mapping it throughout the centuries 19th to 21st. How does the exhibition of the extraordinary body happens inside entertainment industry and which are the places where they can be seen, in addition to informations about how they are dressed. It s argued that there are intentions and benefits in the social interaction established through the voluntary exhibition of the body in multiple media displays, developing manners of communication that introduces their persona and personality, while enhancing aspects of the extraordinary anatomy to the public

A partir do espetáculo O ano em que sonhamos perigosamente (2015), do grupo pernambucano Magiluth, esta dissertação investiga possibilidades de aproximação entre o teatro contemporâneo e as problemáticas do tempo presente. Conceitos como \"teatros do real\" e \"arte contextual\" são utilizados para analisar as influências da situação política do país e, especialmente do movimento Ocupe Estelita, na criação do espetáculo. Além disso, discutimos de que forma procedimentos do teatro performativo podem ser visualizados no processo criativo e na escritura cênica do grupo e se configuram como práticas de ampliação do potencial político do teatro contemporâneo. Fazemos ainda aproximações e diálogos entre O ano em que sonhamos perigosamente e Nós, do grupo Galpão, através de análises críticas dos espetáculos, para entender características do teatro político nos dias de hoje. / This dissertation investigates possibilities of approximation between contemporary theater and problems related to the present time from the analysis of the play The year of dreaming dangerously (2015), from Magiluth, a theatrical group created in Pernambuco. Concepts such as \"theatre of the real\" and \"contextual art\" are used to analyze the influences of the country\'s political situation, and especially the Occupy Estelita movement, in the creation of the play. In addition, we discuss how performative theatre procedures can be visualized in the creative process and in the group\'s scenic writing and are configured as practices for expanding the political potential of contemporary theatre. We also make approximations and dialogues between The year os dreaming dangerously and We (Nós), from Galpão group, through critical analyzes of the plays, to understand characteristics of political theatre these days.

Abstract Unfortunately, little or no time is spent on transitioning inmates back into society, especially those with physical and mental disabilities. One support service that is being taken into consideration is the Day Reporting Center. Day Reporting Centers are highly structured nonresidential programs. Parolees report to the center on a daily basis, submit to drug tests, and are enrolled in various counseling, education, or vocational classes. Whereas most centers have strict monitoring and surveillance of parolees, one center that stands out in its alternative approach of self-governance is the San Bernardino Day Reporting Center in San Bernardino, California. There, the parolees are allowed to contribute to the running and governance of the Center. The hypothesis asserts that the positive culture that surrounds the Center provides parolees the opportunity to reconsider, revise, challenge, and change their negative criminal identities, by viewing themselves in a constructive manner to successfully transition back into society. Eight assumptions were used to either support or nullify the hypothesis: spheres of civility; performative spaces; personal social space; weaving theory; opportunity theory; transformation theory; Freirian pedagogical approach; and pelindaba. The data was gathered using multiple sources, such as several interviews with staff and ex-parolees, and observations of daily procedures and classroom instruction and interaction. NVivo 8, a Qualitative Data Analysis software program (QDA), was used to transcribe, code, and organize the interviews into various themes. The comments by staff and parolees demonstrated that the implementation of these assumptions has resulted in a family like environment. This environment has allowed parolees to focus on their identity in a positive, transformative, and rehabilitative manner that is supported by everyone at the Center.

In this essay I analyze the performative aspects relating to Marina Abramović's The Artist Is Present, which took place in spring 2010 at MoMA in New York, from the context of the artist and work, institution and documentation. In this performance work, for the duration of the exhibition, Abramović sits completely still opposite another chair where anyone from the audience may sit. The art arises through this participation. The audience are not only viewers, but also the observed, thus becoming part of the work and the negotiation of this exchange of living gazes. The performative pervades this work on multiple levels. The Artist Is Present reached a surprisingly large public, of over 500,000 visitors and continues to circulate in the form of blogs, documentary film and photography long after the exhibition duration. In order to conduct a performative analysis of The Artist Is Present I apply the theories of Peggy Phelan, regarding the relationships between the political and representative visibility in contemporary culture. Phelan's explanation of the unmarked field reveals the importance of the 'other' to see oneself. This is especially relevant in Abramović's performance which challenges and revolves around self reflection in the other. Phelan's theories are also pertinent in analyzing what Abramović as the performer and her work create for re-negotiations around positions and the gaze. The assertions of Carol Duncan in considering the Art Museum as a place of ritual are applied to the ritualistic context of The Artist Is Present, which may well build up a form of liminality. Duncan's claims of the museum as ritual in combination with Phelan's theories provide interesting grounds to further investigate the effect and eventual mythology of the performance work and artist. How do these contexts of institution, documentation, artist and art, which I propose contribute to a kind of myth creation, operate in a ritualized performance art work? This essay analyses these contexts together in order to find a connection between the performative aspects and the effect that they have on the viewer and receiver, which have contributed to the public success of this exhibition. Despite that we now live in an era of reproduction, perhaps the wishes of our era still revolve around a cult value? That even in this post industrial age of reproduction, new needs are recreated for mythology and cult? Or can it be that the reverse is true, that the rites and symbols speak to us before the mythology has fully arisen?

Through a combination of personal interviews and participant-observation in three field sites ? the Tim Miller workshop and performance of October 2010 and the student organizations Cepheid Variable and the GLBT Aggies ? I argue that manifestations of utopian desire and performance circulate within and among marginalized groups on the Texas A&M University campus, undermining the heteronormative and monolithic utopia the university attempts to present. I participated in each night of rehearsal during the Tim Miller workshop, as well as the creation and performance of my own solo autobiographical monologue as a part of the ensemble. My participant-observation in Cepheid Variable and the GLBT Aggies was concurrent, consisting of attendance at both weekly organizational meetings and outside events sponsored by the organizations over two years. I argue that the Tim Miller workshop and performance is best understood by examining the intersection of queer intimacy, utopia, and performance. I argue that processes of connection, sharing, and mutual transformation allowed it to function as an example of queer utopian performance qua performance at Texas A&M. I explore the links between the ?nerd,? ?queer,? and ?family? identities of Cepheid Variable, arguing that the intersection of these identity-markers and the performance practices which reinforce them enable Cepheid Variable to create a utopian space on the Texas A&M campus for those students who do not fit traditional notions of Aggie identity. I explore two Cepheid performance practices: noise-making and storytelling, arguing that they construct, support, and interweave each element of Cepheid identity, allowing the organization to perpetuate and reaffirm its utopian and counterpublic statuses at Texas A&M. I explore what the GLBT Aggies claims to provide in theory, juxtaposed with what it actually accomplishes in practice. I examine a moment of crisis the LGBTQ community at Texas A&M faced in spring 2011. I argue that the utopia the GLBTA promises remains unfulfilled because the marginalization of the LGBTQ community at large leaves diversity within that community unaddressed. I conclude that utopian communities persist if able to adapt, and that the strength of the intimacy built into queer utopias in particular sustains them through time.

The main objective of this thesis is to develop a critical approach to the recent anti-aging discourse which has become popular after the 1990&rsquo / s. Anti-aging movement is concerned with certain implementations which aspire to make individuals live longer and healthier by controlling and disciplining their bodily conditions and lifestyle choices. This study attempts to examine certain perceptions and assumptions of anti-aging discourse about body, living and keeping alive peculiar to late modern times by taking into consideration three popular emblematic anti-aging books. For this aim, the techniques, recommendations, suggestions and basic premises of popular anti-aging books are examined in terms of the question whether anti-aging discourse presents a new project concerning body and lifestyle, or not. In order to answer this question, Foucauldian theory on &ldquo / the power over life&rdquo / and Sontag&rsquo / s approach to &ldquo / the metaphorical representation of illness in late modern times&rdquo / are employed for constructing the theoretical basis of this thesis. The examination of anti-aging discourse reveals that, this discourse redefines the meaning of age and reinterprets human temporality by narrating aging process with certain metaphors. Moreover, it is seen that anti-aging discourse transforms the aging process into a performative sphere by representing the aging as a merely biological and controllable situation.

The study shows how to create a deeper understanding of the educational practice by using intra-active theory and analysis. We have let the five-year-olds at two preschools mark places on the premises which they perceive as rowdy/conflicted. These sites have since been observed and analysed with a focus on how environmental factors make up the situation and the thoughts that are possible to think there. The study has shown that the intra-active analysis method is an effective tool to make visible how educators, children and material combine to create environments with different charge. We have also been able to show how intra-active analysis gives a value to unregulated environments of preschool; how the theory offers an argument for disorder many times can be a prerequisite for children themselves to get space to define what creation can be.

Of the numerous public policy debates currently taking place throughout the United States, perhaps no issue receives more attention than the persistence of “chronically” low-performing public schools. As of 2009, approximately 5,000 schools—5% of the nation’s total—qualified as chronically low performing (Duncan, 2009d). Certainly, these statistics merit the attention of policy scholars, yet the political contestation of interests attempting to influence how the federal government should address such issues has reached a new fevered crescendo. Given the increased politicization of the federal government’s role in education and the growing number of interests attempting to influence the debates concerning school reform, education policy scholars have recognized the need to extend the field of policy studies by using analytical frameworks that consider both the discourse and performative dimensions of deliberative policy making. Therefore, this study addresses this particular need by employing a critical interpretive policy analysis that illustrates how both dominant discourses and the deliberative performances of the federal government shaped the policy vocabularies embedded within the Title I School Improvement Grant program of 2009 as the commonsense solutions for the nation’s chronically low-performing schools. In addition, this study provides a historical analysis, illustrating how the omnipresent threat of an economic crisis has been a primary influence in the politics of federal governance since the global economic collapse of the 1970s. This study demonstrates how over the course of the last four decades the United States has consistently reduced its commitment to the public sector, choosing instead to promote economic policies informed by the ideals of market-based liberalism. Subsequently, this study presents the argument that education, specifically the “chronic failure” of public schools, has emerged as a “primary emblematic issue” (Hajer, 1995) and now serves as an “effective metaphor for the nation’s economic crisis.” Thus, with such issues presented as a contextual backdrop, this study examines how the Obama/Duncan Administration operationalized dominant discourses and performative practices to establish consensual support for a turnaround reform agenda, effectively defining the policy solutions made available to those who participated in the revision of the Title I SIG program of 2009. / text

No description available.

No description available.