On championing the villain, there is a naive quality that must be maintained even though the actor has rehearsed his tragic ending several times. There is a subtle difference between to charm and to seduce. The need for fame, glory, power, money, or other objects of affection drives antagonists so blindly that they ve no hope of regaining a consciousness about their actions. If and when they do become aware, they infrequently feel remorse. I captured the essence of the villain by exposing these lightless characters to the sun. On Monday, April 9th and Tuesday, April 17th, 2007, on the Gillespie stage in Daytona Beach, Florida, I performed a thirty-minute, one-act cabaret entitled The Dark Side of the Tune. By selecting pieces from the musical theatre genre to define and demonstrate the qualities of the stock character, the villain, I created a one-man show; a musical play, including an inciting incident, rising conflict, climax, and denouement, with only a few moments of my own dialogue to help handle the unique transitions for my own particular story. By analyzing the arc of major historical villains and comparing them to some of the current dark characters, I will discuss the progression of the villain s role within a production and the change from the clearly defined villain to modern misfits who are frequently far less scheming or obvious. My research includes analysis of the dark references within each piece s originating production, and how it has been integrated into the script for The Dark Side of the Tune and a breakdown of my cabaret s script (Appendix A). I explore actors tools, specifically voice, movement, and characterization, and their use in creating villainous characters. I also discuss similarities in story progression for the deviant s beginning, middle, and final positions within the plot structure of a production.

An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films. The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism. As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.

The main purpose of the dissertation is to describe how four Swedish newspapers construct ethical standpoints and what norms they prescribe. This is done through a characterization of the civil disobedience discourse, in particular the discourse about animal rights activism and militant vegans, around the turn of the millennium (1990-2004). Questions asked are how Swedish newspapers construct civil disobedience, what disobedience is supported and what is condemned, and if the newspapers recognize the complexity of ethical dilemmas and facilitate well-reasoned ethical standpoints. The material studied is gathered from Stockholm-based newspapers: Dagens Nyheter, Svenska Dagbladet, Aftonbladet and Expressen. In total 1115 texts. The methods used are a combination of quantitative and qualitative content analysis, where the qualitative analysis is based on rhetorical analysis and narratology. The results show that there are mainly two overarching discourses. One supporting discourse, which is predominant in the representation of campaigns justified by economical issues, human rights, peace/anti-war movement and individual rights. One criminalising or demonising discourse, which is predominant in the constructions of militant vegans, the environmental movement and a campaign justified by democratic reasons in Sweden. In sum, the constructions are characterized by strong polarization, formalisation, ambivalence and a double standard of morality, which risk to circumscribe the understanding of moral dilemmas. The consequence is journalistic constructions where the ends justify the means when the end is a political correct, not defiant norm, or when the end is non political. The dissertation also argues that the concepts, specific words, journalists apply in their representation of social reality risk to set the limits for media representations, as well as for the public's understanding, of the social reality and moral dilemmas.

Student Number: 0307561M Master of Arts School of Literature and Language Studies Faculty of Humanities / In this study I will interrogate some of the issues and contradictions raised by Alexander McCall Smith’s Botswana novels. These texts feature a black African woman protagonist in a developing society, and have achieved huge popular and commercial success, but they are written by a white European man. I will examine briefly whether the books can be considered as ‘African Literature,’ and how the author has negotiated the interface between history and literature to convince readers and critics in ‘the West’ that he is portraying ‘the real Africa.’ I will investigate the strategies used by the author to create this ‘authentic’, ‘traditional’ effect, how he writes convincingly as, about and on behalf of women, and the use he makes of the detective fiction mode. Ultimately I will consider whether these novels represent a restorative ‘writing back’ or whether they constitute a continuing appropriation of African history, culture and identity, a further re-invention of Africa by and for ‘the West’.

Made available in DSpace on 2016-08-10T11:22:00Z (GMT). No. of bitstreams: 1 VILSON JOSE DE SIQUEIRA.pdf: 2809293 bytes, checksum: 50c6ab7fc02810b4edce7756dcc7879e (MD5) Previous issue date: 2016-03-16 / This dissertation has as a object Santa Dica, discussing leadership and power of woman who was in Lagolândia district in the south of Goiás in 1920 s. Santa Dica was the subject of other studies and interpreted as a messianic movement in the early Republic of Brazil compared to the movement of Canudos and Contestado. The objective of this research is to explanin the relationship of leadership and power in Santa Dica relation of Lagolândia community guided in the relations of feminism and gender. To carry out this research was carried out a literature review sources already produced about Santa Dica, such as a master s dissertation Lauro de Vasconcellos, first scholarly work on Santa Dica, another analyzed dissertation was the teacher Eleonora Zicari and ending the search to dissertation Robson Rodrigues Gomes. It was as conclusive analysis, the paper points out that in the 1920 s in world and Brazil women fought for citizenship to seek the right to vote. To performing the first readings on Santa Dica I got to understand that this woman was and continue being important to the history of Goiás and also for development of historiography of Brazil. For the construction of categories of analysis as feminisms and gender. It is importance to emphasize the importance of borders between public and private life in Goiás in the twentieth century. / Esta Dissertação tem como objeto de pesquisa Santa Dica, discutindo a liderança e o poder de uma mulher no distrito de Lagolândia no sul de Goiás, na década de 1920. Santa Dica foi tema de outros estudos e interpretado como um movimento messiânico, no início do Brasil República, tendo sido comparado ao movimento de Canudos e Contestado. O objetivo desta pesquisa é explicar a relação de liderança e poder de Santa Dica, na comunidade de Lagolândia, pautada nas relações de gênero. Para execução desta pesquisa foi realizada uma revisão bibliográfica de fontes já elaboradas sobre Santa Dica, como, por exemplo, a dissertação de mestrado de Lauro de Vasconcellos, primeiro trabalho acadêmico sobre Santa Dica; outra dissertação analisada foi da professora Eleonora Zicari e, por último, a dissertação de Robson Rodrigues Gomes. Como análise conclusiva, o trabalho aponta que, na década de 1920, no Mundo e no Brasil, as mulheres lutaram por cidadania ao buscarem o direito ao voto. Ao realizar as primeiras leituras sobre Santa Dica, compreendi que essa mulher foi e é importante para a História de Goiás e também para o desenvolvimento da Historiografia do Brasil. Para a construção de categorias de análise como feminismo e de gênero, é importante ressaltar a importância das fronteiras entre a vida pública e vida privada em Goiás no século XX.

In this thesis paper, I will detail the making of Camp Shakespeare For Young Performing Artists, my final graduate short film at the University of New Orleans, from its inception as a script to its final form as a finished short film. In Part One I will examine the personal and cultural influences that led me to develop the script. Part Two will review the pre-production process – how my collaborators and I prepared for the shoot. In Part Three I will scrutinize the day-to-day process of filming. Part Four will chart the post-production process in which the film took its final shape. Finally, I will conclude with an analysis of whether the film met the goals I set for it along with my own successes and failures as a filmmaker and leader of a creative team.

Most girls in Gopher Slough, Florida, worry about whether GSHS will win the next football game (they won't), when their boyfriends will take them muddin', and how many times they can sneak cigarettes behind the bleachers before they get thrown into in-school suspension. Libby Hoyer is not most girls. Instead, Libby is worried about her slipping grades, especially in Geometry, where she can barely keep her head up long enough to take the weekly quizzes. She's concerned about losing her friendship with her best (only) friend, Bobbi Jo, who's distracted with her own Aber-zombie boyfriend, and she's unsure of how to define her new relationship with Neil, a mysterious boy from her class who is not as carefree as he pretends to be. Libby is also troubled by the fact that she can't seem to remember her distant father, even though he only left five years ago. Everyone else, it seems, is worried about Libby's sporadic eating habits. If she continues to refuse to eat or to purge anything she's forced to eat, she might disappear. But Libby isn't afraid of disappearing. She's afraid of being seen.

A presente dissertação propõe-se a contribuir para um dos desafios atuais enfrentados pelo movimento da Reforma Psiquiátrica brasileira quanto às possibilidades de participação social e exercício de protagonismo dos usuários de saúde mental. Embora tenhamos avançado no terreno dos direitos sociais, garantindo a abertura de serviços e a mudança na concepção de tratamento à loucura, ainda resta o fantasma do usuário/alienado mental, reduzido à passividade e inércia frente ao seu tratamento. A partir disso e do contexto das conferências de saúde mental, realizadas no decorrer do ano de 2010, o objetivo desta pesquisa foi cartografar o processo micropolítico de participação associado à produção de protagonismo em saúde mental. Para tanto, o referencial da Análise Institucional e da Pesquisa-Intervenção serviu de sustentação metodológica, valendo-se da observação participante, do diário de campo, do questionário dos Incidentes Críticos e da realização de entrevistas semi-estruturadas enquanto ferramentas de pesquisa. A pesquisa de campo valeu-se de espaços instituídos de participação, mediante inserção do pesquisador em duas conferências de saúde mental, através da Associação dos Usuários, Familiares e Militantes da Saúde Mental e das reuniões das Assembleias dos Usuários em um Centro de Atenção Psicossocial (CAPS) do município de Alegrete, fronteira oeste do Estado do Rio Grande do Sul. Como resultados, foi possível identificar que a necessária institucionalização de espaços participativos em saúde mental pode acarretar no risco de uma cronificação desses mesmos espaços, reduzindo seu potencial instituinte à mera burocratização. Entretanto, quando esses espaços constituem-se enquanto terreno para a instalação de processos de singularização, construídos coletivamente, então se pôde constatar a possibilidade de exercício de protagonismo pelos usuários. Esse protagonismo entendido como um processo de subjetivação, costurado micropoliticamente a partir da convivência e organização de um coletivo de usuários. Desse modo, a pesquisa aposta no protagonismo enquanto efeito subjetivador, resultante desse espaço coletivo de participação, capaz de empoderar os usuários para o efetivo exercício de autonomia e cidadania. / This dissertation intends to contribute to the current challenges faced by the Brazilian Psychiatric Reform movement of the possibilities of social participation and exercise of self-governing of users of mental health. Although we have advanced the field of social rights, ensuring the opening of services and changing the design of treatment of madness, there remains the specter of the user / alienated user, reduced to passivity and inertia in their treatment. From this and the context of mental health conference, held during the year 2010, the objective was to map the micropolitical participation process associated with production of leadership in mental health. For this, the reference of Institutional Analysis and Research-Intervention served as a methodological support, drawing on participant observation, field diary, questionnaire of Critical Incident and conducting semi-structured interviews as research tools. The field research took advantage of spaces for participation established by insertion of the researcher in two conferences on mental health, through the Association of Users, Families and mental health militants and the meetings of the Assemblies of users in a Psychosocial Attention Center in Alegrete, western border of Rio Grande do Sul. As a result, we identified that required institutionalization of participatory spaces in mental health can result in a risk of chronicity of those spaces, reducing their potential to merely instituting bureaucratization. However, when these spaces are constituted as a ground for the installation process of being unique, collectively built, so if you could see the possibility of exercise of self-governing by users. Such leadership understood as a subjective process, tailored micropolitically from the relationship and organization of a collective users. Thus, research on the role as a bet subjectifying effect, resulting from this collective space for participation, capable of empowering users to the effective exercise of autonomy and citizenship.

Made available in DSpace on 2016-08-03T12:20:48Z (GMT). No. of bitstreams: 1 Margarida Ribeiro.pdf: 1918514 bytes, checksum: 8449554e44042e9cc3eb6a076fd17be6 (MD5) Previous issue date: 2008-09-29 / This research deals with women who are active in so-called historical Protestantism, principally related to the Methodist Church of Brazil. The work intends to make visible lay women and their networks, generally informal, of articulation, and call to attention their role in the constitution of these communities of faith. It deals with an aspect little explored in investigations regarding Protestantism in Brazil that, when dealt with, is often restricted to certain feminine icons. The principle focus of the work is restricted to the period from 1930, the year in which the Methodist Church in Brazil became an independent institution and formally separated itself from its historical beginning point in the EUA, until 1970/71, when Methodist women were first admitted as clergy, or, in other words, the ordination of women as pastors. Beyond discussing bibliographic production, principally in the area of the history of Protestantism, the research is based in primary sources such as bulletins, denominational journals, reports of events, correspondence, and information contained in a variety of sources. The primary theoretical reference is the micro-history, as a search for highlighting the forgotten characters and revealing the narratives that had been hidden by the official history. Beyond making more visible the actuation of women in Brazilian Protestantism, silenced both in institutional memory and in historiography in its various expressions, the research intends to contribute to a critical evaluation of the mentality of women regarding their action in the religious field, between adaptation to dominant cultural standards and traces of autonomous thought in the light of specific demands.(AU) / Esta pesquisa abrange mulheres atuantes no chamado protestantismo histórico, principalmente vinculadas à Igreja Metodista do Brasil. O trabalho pretende visibilizar especialmente mulheres leigas e suas redes, geralmente informais, de articulação e chamar a atenção para seu papel na constituição destas comunidades de fé. Trata-se de um aspecto pouco explorado nas investigações sobre o protestantismo no Brasil que, quando abordado, se restringe a alguns ícones femininos. O foco principal do trabalho se restringe ao período de 1930, ano em que a Igreja Metodista do Brasil se constituiu como instituição autônoma, desvinculando-se formalmente de sua congênere nos EUA, até 1970/71, quando mulheres metodistas passam a ser admitidas no presbiterato, ou seja, podem solicitar a ordenação ao pastorado. Além de discutir a produção bibliográfica principalmente no âmbito da história do protestantismo, a pesquisa se baseia em fontes primárias, como boletins e jornais denominacionais, relatórios de eventos, correspondências e informações dispersas em diferentes materiais. Como referencial teórico a pesquisa se valeu da micro-história, procurando assim dar vida a personagens esquecidos e desvelar enredos ocultados pela história oficial. Portanto, além de demonstrar aspectos da atuação de mulheres no protestantismo brasileiro, silenciados tanto na memória institucional como na historiografia em suas diferentes matizes, a pesquisa pretende contribuir para uma avaliação crítica da mentalidade de mulheres sobre sua atuação no campo religioso, entre a adequação aos padrões culturais dominantes e os indícios de autonomia de pensamento diante de demandas específicas.(AU)

Análise da construção da personagem feminina nos romances Middlemarch, de George Eliot (1871-72), e The Portrait of a Lady (1881), de Henry James, observando como a exploração da subjetividade das protagonistas ao longo de suas trajetórias interfere no enredo e na concepção do romance como um todo. A finalidade última é verificar como esses autores contribuem para o nascimento do romance moderno. / Analysis of the female characters design in George Eliots Middlemarch (1871-72) and Henry Jamess The Portrait of a Lady (1881) regarding the exploration of the female protagonists subjectivity along their trajectories interfere with plot and the conception of the novels. The final aim is to discuss how these novelists contribute to the beginning of the modern novel