Texte remanié de: Th. doct.--Anthropol. sociale--Paris--EHESS, 1998. Titre de soutenance : Masques et dévoilements : rituels de construction de l'identité féminine. / Bibliogr. p. 221-234.

Texte remanié de: Thèse de doctorat--Psychologie--Paris 5, 1992. / Bibliogr. p. 191-206 et p. 209. Filmogr. p. 207-208.

Dissertation--University of Tübingen--Catholic Theological Faculty, 2002. / Bibliogr. p. 308-320.

Ship of Fools is a novel excerpt. The title comes from Plato’s Republic as well as the book Stultifera Navis by Sebastian Brant, published in 1494. There is also a painting by Hieronymus Bosch (c. 1490–1500) with the same name. Influences include Jungian psychology, Joseph Campbell’s “The Masks of God” series, and anthropological studies of Amazonian shamanism.

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In the past fifteen years, Thomas Pasatieri has become one of America's leading composers. His major output has been dramatic works for voice: opera and song literature. The two dramatic cantatas, Heloise and Abelard and Rites de Passage, are exemplary of his style. Pasatieri draws his formal structures from traditional solo and duo cantatas and combines this with the ability to dramatize the texts of Louis Phillips. Pasatieri s style is conservative and represents a neo-romantic idiom which he models after Bellini, Puccini, and Richard Strauss. This paper presents a brief biographical sketch of Pasatieri and an analysis of the two cantatas. A chronological list of Pasatieri's published vocal works appears in the Appendix.

M.A. University of the Witwatersrand, Faculty of Humanities (Dramatic Art), 2011. / This practice led research explores masculine identity construction among young Bakgatla men. The research consists of a process-orientated performance intervention and a written component. I worked with a small group of young men of the Bakgatla tribe in the village of Mochudi, Botswana. Together we explored Masculine Identity, rites of passage and what it means to be a man within their community. This report begins within an introduction that frames the study. Then it proceeds in episodes until the overall conclusion. The first episode gives further context of the study by explaining the problem statement and rationale. Then the second episode goes on to give the aims of the study and how it was originally planned before commencement. In the third episode I discuss the theory relevant to my field of study. The following episode then goes into the pragmatics of the research and the analysis of key findings. The last episode I foreground my findings and the limitations of my study and suggest a possible way forward. The method of research used is practise-based research and the problemsthe study addresses are those of ethics versus aesthetics when applying theatre to a community setting and also the issue of the young men of the Bakgatla tribe being marginalised when it comes to dealing with issues about them. The practice led research demonstrated how a facilitator can use heightened performance effectively as a way of mirroring and deepening community-based interventions. Evidence was found that such a method could be more effective in finding a balance between ethics and aesthetics, resolving an on-going problem in other applied theatre methods that use performance processes of personal narratives to assist individuals and groups. This study also foregrounds knowledge about young men of the Bakgatla tribe and conclude that they should be given a space, similar to the kgotla, to confront and dialogue problems that face men in a contemporary Botswana.

The Chronik Disorder project consists of an exegesis and screenplay. The exegesis discusses research into the film genre, three-act structure, mythic structure and archetypes. The research then informed thematic ideas, character creation and a method for plotting the screenplay and developing the characters. Chronik Disorder is an Australian story, set in contemporary Melbourne, about adolescents and rites of passage. The story explores teenagers and the hip-hop subculture, gangs, graffiti and drug experimentation. The story deals with other issues such as vocational challenges; the breakdown of the nuclear family; father-and-son relationships; and Vietnam veterans and how the war affected them emotionally and impacted on their relationships with their sons. Harley, 17, a hooker in an under-eighteen's rugby union team, dreams of playing with the under-nineteen's Australian Wallabies. Harley's alcoholic father, Kev, takes out his pain caused by his experiences in Vietnam on Harley, who escapes by hanging out with graffiti-based gang Chronik Disorder. When his friend Damian dies, Harley blames himself, ruins his rugby career, and escapes by hanging out with his gang, committing crimes and taking drugs.

The research and project The Chronik Disorder project consists of an exegesis and screenplay. The exegesis discusses research into the film genre, three-act structure, mythic structure and archetypes. The research then informed thematic ideas, character creation and a method for plotting the screenplay and developing the characters. Chronik Disorder is an Australian story, set in contemporary Melbourne, about adolescents and rites of passage. The story explores teenagers and the hip-hop subculture, gangs, graffiti and drug experimentation. The story deals with other issues such as vocational challenges; the breakdown of the nuclear family; father-and-son relationships; and Vietnam veterans and how the war affected them emotionally and impacted on their relationships with their sons. Synopsis of Screenplay Harley, 17, a hooker in an under-eighteen's rugby union team, dreams of playing with the under-nineteen's Australian Wallabies. Harley's alcoholic father, Kev, takes out his pain caused by his experiences in Vietnam on Harley, who escapes by hanging out with graffitibased gang Chronik Disorder. When his friend Damian dies, Harley blames himself, ruins his rugby career, and escapes by hanging out with his gang, committing crimes and taking drugs.

My thesis exhibition entitled The Privilege of Being Solid is an exploration of the tension that is generated by our desire for an ultimate corporeal security and the realization that nothing is permanent. This tension expresses itself in the world in varying degrees through programs of repression oscillating with periods of chaos. <p>We live in a post-modern era of fragmentation and uncertainty, although modernist attitudes concerned with universals, certainties and a manic desire to control largely guide many of our institutions, political and otherwise. I believe that this desire to control creates cultural anxiety due to the virtual unattainability of certainty and control. This denial of our inherent insecurity, vulnerability and ultimate mortality generates a violence that feeds back into our collective anxiety. The loop perpetuates itself in a cycle of fear, denial and arrogance that fuels a raft of industries devoted to security, feeding off of our communal angst. The very human characteristic that has enabled these circumstances is the subject of this exhibition.<p>It is my intention to reflect some of the contradictions found in our current condition by generating a dialogue between fragility and strength; beauty and the abject; certainty and doubt; liquid and solid; as well as humor and emotional gravity. These contradictions extend to my material of choice as well. With the exception of a two channel video installation, all the works in the exhibition employ encaustic (wax) processes. Although wax appears to be solid, it is in fact classified as a liquid. It is always in flux and unless conditions are ideal, wax remains in a precariously unstable condition. It also reflects in its materiality, a sensuality that is of primary importance to me as an artist, both in terms of the processes in which I engage in my studio, as well as the objects I create for a potential viewer.<p>Through sculptural processes of casting, pouring and melting, encaustic mark making and digital manipulations of physical theater, I want to contrast the forces at work within our lives that seek to control our environment with notions of surrender to the natural state of impermanence in which we reside. I want to reflect the oscillation between the collective desire for security and the knowledge of our inherent fragility and vulnerability.