Thesis (M.A.)--Georgia State University, 2007. / Title from file title page. Michelle Brattain, committee chair; Larry Youngs, committee member. Electronic text (111 p.) : digital, PDF file. Description based on contents viewed Nov. 7, 2007. Includes bibliographical references (p. 109-111).

Thesis (Ph. D.)--University of Iowa, 2008. / Thesis supervisor: Bruce Gronbeck. Includes bibliographical references (leaves 158-170).

Thesis (M.A.)--Georgia State University, 2007. / Includes bibliographical references (p. 102-104).

Zugl.: Saarbrücken, Univ., Diss., 2010

No description available.

Philosophiae Doctor - PhD / This research has been conducted by focusing on the trajectories of semiotic ensembles from various contexts that stand-up comedians exploited for aesthetic and communicative purposes. I apply the social semiotic theory of multimodality (Kress and van Leeuwen, 2001, 2006), and the notions of semiotic remediation (Bolter and Grusin, 1996, 2000) and resemiotization (Iedema, 2003) to selected audiovisual recordings performances of Trevor Noah and Loyiso Gola from South Africa; and Atunyota Akporobomeriere (Ali Baba) and Bright Okpocha (Basket Mouth) from Nigeria. I explore the trajectories of semiotic resources that the comedians used across modes, contexts and practices. I also trace the translation and interpretation of socio-cultural and political materials by South African and Nigerian stand-up comedians’ performances. The idea is also to examine the extent to which the socio-cultural and political contexts of both countries have differential effects on the choices in the semiotic resources used in the reconstruction of meanings, including cross socio-cultural taboos. The study reveals that combinations of various semiotic materials ranging from political, sociocultural, religious and personal lifestyles are remediated (repurposed) for comic and aesthetic effects. This involves translating and re-interpreting the semiotic resources across contexts and practices. In this regard, the study showed how the artists rework verbal language, images, socio-political discourses and other semiotic material for new meanings. It also reveals that although the choices of materials are similar, there is a tendency of localizing semiotic resources to particular localities and audiences, so that each artist’s performance comes out as unique to the person. The study concludes that language alone is not at the core of communication as other semiotic modes (in addition to languages) are integrated interweaving resources to make meaning. The direction of the modes or resources is multidimensional. All the spoken texts, all the non-linguistic modes: gestures, stance, movements, running on stage, postures, mimicking and others, perform vital roles to recontextualize meanings in stand-up comedy performance. Therefore, the study opens up new perspectives on social semiotic approaches to multimodality, as well as on language social semiotic and to theory and media studies. The contribution also answers the call to expand the understanding and research on the theory of ‘multimodality’ and the various concepts such as semiotic remediation and resemiotization associated with it.

Made available in DSpace on 2016-03-15T19:36:44Z (GMT). No. of bitstreams: 1 Raquel Badia campos de Rezende.pdf: 2029738 bytes, checksum: 8f1d57abc0ca216e25f99677a146656c (MD5) Previous issue date: 2014-08-08 / The objective of this work was to study the characterization of the resin from the post-industrial recycling of the stand-up pouch packaging (a bag that stands upright"), with the goal of providing information that helps and encourages the mechanical recycling of multilayers flexible plastic packaging. We studied the structure of the stand-up pouch packaging with the following composition: 11.2% of Poly (ethylene terephthalate) (PET); 11.6% Polyamide (PA); 69.5% of polyethylene (PE); and 7.7% of paints and adhesives, used for cosmetics packaging. The obtained blend by mechanical recycling of the material was characterized, through mechanical tests of resistance to bending at three point, (ASTM D 790), Izod impact strength (ASTM D 256), tensile strength (AST M D 638) and shore D hardness (ASTM D 2240). Thermal tests as under load deflection temperature (ASTM D 648) and Vicat softening temperature (ASTM D 1525). rheological measurements, melt index (ASTM D 1238), dynamic-mechanical analysis (DMA), analysis of chemical properties through the images of the samples fracture surface made with SEM (scanning electron microscope), and energy dispersive analysis (EDS. The results obtained in the tests described above were compared to the values found in analyzes made with the materials separately, and it was found that the blend from the recycling package stand-up pouch is immiscible, that the presence of PET and PA helps to increase the mechanical properties of the material relative to the polyethylene (PE) but do not influence the thermal properties, which were analyzed by means of tests of deflection temperature under load (HDT) and Vicat softening temperature (VICAT). / O objetivo deste trabalho foi estudar a caracterização da resina proveniente da reciclagem pós-industrial de embalagens stand-up pouch ( bolsa que fica em pé ), com o objetivo de fornecer informações que auxiliem e fomente a reciclagem mecânica de embalagens plásticas flexíveis multicamadas. Estudou-se a estrutura da embalagem stand-up pouch com a seguinte composição: 11,2% de Poli(tereftalato de etileno) (PET); 11,6% de poliamida (PA); 69,5% de polietileno (PE); e 7,7% de tintas e adesivos, utilizada para o acondicionamento de produtos cosméticos. A blenda obtida através da reciclagem mecânica do material foi caracterizada, através dos ensaios mecânicos de resistência a flexão em três pontos (ASTM D 790), resistência ao impacto Izod (ASTM D 256), resistência à tração (ASTM D 638) e dureza shore D (ASTM D 2240); ensaios térmicos como: temperatura de deflexão sob carga (ASTM D 648) e temperatura de amolecimento vicat (ASTM D 1525); ensaios reológicos, índice de fluidez (ASTM D 1238) e análise dinâmico-mecânica (DMA); e analise de propriedades químicas através das imagens da superfície de fratura das amostras feitas com MEV (microscópio eletrônico de varredura) e analise por energia dispersiva (EDS). Os resultados obtidos nos ensaios descritos acima foram comparados aos valores encontrados nas analises feitas com os materiais separadamente e verificou-se que a blenda proveniente da reciclagem de embalagem stand-up pouch é imiscível, que a presença do PET e da PA modificam algumas propriedades mecânicas do material em relação do polietileno (PE) puro, mas, não influenciam nas propriedades térmicas, que foram analisadas por meio dos ensaios de temperatura de deflexão térmica sob carga (HDT) e temperatura de amolecimento (VICAT).

Female stand-up comics occupy a permanently liminal space which can be broken down into three small areas, characterized thusly: the interpersonal, the sexual and the professional spheres. Issues of power, footing and the carnivalesque are threaded throughout these three spaces, and I use the work of Michel Foucault, Mikhail Bakhtin and Erving Goffman to examine the ways in which the female comics I talked, lived and performed with over a two-year period negotiate this permanent liminality to both their advantage and their detriment. The three liminal spaces overlap and intersect, with female comics occupying at times two, and sometimes all three, at any given moment, in a constantly forming and re-forming state of “otherness” that separates them from the default male comic body. In locating female comedians in a permanent liminality, I illustrate the structures at play that are demonstrative not only of the comic experience, but of larger issues surrounding gender in contemporary society. / text

The Master and Kim - Artistic Research Projects that concern questions about musical narration. How can a single person with a flute on an empty scene create a daring and entertaining storytelling? A story that moves freely between realism and stylization.And how can the same person, together with the audience, create a forum where the audience can move between being observers and actors?   In four shows, Kim has explored these issues in various ways. Labored with different scenes, audience placement, balance between oral versus musical narrative.All the performances have both the stories and music written by Kim, and performed together with various fellow musicians. During his education, Kim has had both musical and theatrical supervision.The performances have been documented and evaluated by the audience in place, with distributed papers with the call: "Describe Your Experience". And thus the reflection on the project's issues has been compared with the audience's reception.The result of the project has become a number of methods for designing this highly individual storyteller. Which spans music theater to “recorder-stand up”.

After 9/11, American stand-up comedy includes an increasing presence of Arab and Muslim comedians whose humor engages some of the recurring Islamophobic stereotypes circulating in the United States. These comedians combine self-deprecating humor and critique of American society. In doing so, they continue a rich tradition of American ethnic comedy, first used by other minorities to negotiate positive recognition of their ethnicities in American society. Although Arab and Muslim American stand-up comedy continues to grow, there is little academic analysis of it. My research attempts to fill this gap. I examine two video-recorded comedy tours, Allah Made Me Funny and The Axis of Evil, and draw on my experiences as participant observer at the 8th annual edition of the New York Arab American Comedy Festival. In my examination, I explore Arab and Muslim American stand-up comedy after 9/11 as a set of performances that challenge Islamophobic political discourses and contest stereotypical representations of Arabs and Muslims circulating in the media and popular culture. I begin this thesis with a discussion that defines Islamophobia after 9/11 as a pervasive ideological formation and explores the relationship between Islamophobia and stereotypical representations of Arabs and Muslims in the media and popular culture. Second, I identify political activism, personal narrative, as well as both artistic and historical opportunism as complex and interrelated dimensions of this stand-up comedy. Third, I examine how Arab and Muslim American comedians use humor to navigate the poles of their hyphenated identities and negotiate their belonging in American society. Finally, I examine the ways in which stand-up comedy reverses the discourses and representations of Islamophobia by drawing on Mikhail Bakhtin's theory of the carnivalesque.