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Dissertations / Theses on the topic 'Literature festival'
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Asagba, O. A. "Festival drama : Aspects of continuity and change in contemporary Nigerian theatre." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372955.
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Ananisarab, Soudabeh. "George Bernard Shaw and the Malvern Festival." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/35979/.
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The Malvern Festival was established by Sir Barry Jackson in association with the lessee of the Malvern Theatre, Roy Limbert, in 1929. The Festival continued for ten seasons as an annual event until the outbreak of World War II in 1939, and then returned for one final season in 1949. The Festival was initially dedicated to the works of George Bernard Shaw with the repertoire of the first season wholly composed of the plays of this playwright. While during its twelve seasons the Festival fluctuated in the extent of its association with Shaw, in total the Festival presented two world premieres of Shaw’s plays and four British premieres. Furthermore, in addition to its dramatic productions, the Festival also featured other activities such as talks and exhibitions and attracted an impressive list of visitors and speakers including Allardyce Nicoll and Gabriel Pascal as well as performers such as Cedric Hardwicke and Stephen Murray. This thesis explores the development of the Malvern Festival, an event which has thus far given rise to scant academic scholarship. I argue that rediscovering the Malvern Festival has the potential to reorientate common critical understanding of early twentieth-century English theatre and its key locations. While much of the British theatre scholarship of this period has been concerned with drama in the capital, this study of Malvern demonstrates that regional theatres at this time had the capability of offering experimental drama which often failed to attract the attention of theatre managers in London. As the high prices of rent in the metropolis limited the financial risk accepted by many theatre managers in the early twentieth century, individuals such as Shaw and Jackson amongst others turned their attention away from London to the regions for new opportunities in staging a more experimental repertoire. This study of the Malvern Festival demonstrates that while Jackson and Shaw initially considered the Festival as the solution to their troubles with playhouses in London’s West End, the Festival soon became entangled with those familiar debates of venue and repertoire, and ultimately failed after twelve seasons. In the organisation of the Festival, there were a number of damaging contradictions, some of which were also evident in the ventures preceding the Festival such as the movement for building a National Theatre in England and the Vedrenne-Barker seasons at the Court Theatre. The Festival had simultaneous links with both the non-metropolitan, as a result of its location in Malvern, and the urban, through its target audience of the metropolitan elite. Thus while the Festival was held in Malvern, as a result of Jackson’s guiding philosophy much of the local population in Malvern were excluded from the activities included in the Festival. Additionally, the identity of the Festival was intertwined with both a sense of nostalgia for the past and an outlook towards the future. While Jackson emphasised less well-known classics in the repertoire of the Festival, he also flew critics into Malvern, and Limbert extended the activities of the Festival by presenting modern talkies. Other contradictions included Jackson’s pursuit of critical praise for the Festival’s productions and his desire to experiment away from theatrical norms, in addition to the lack of certainty surrounding the focus of the Festival which fluctuated between an emphasis on a star playwright, Shaw, and Jackson’s aim to celebrate the literary canon. Moreover, some of these clashes were then exacerbated by the Shavian drama performed as part of the Festival. It was the difficulties in reconciling such contradictions which resulted in the Festival’s failure to remain as an annual event. However, in this thesis I argue that regardless of the Festival’s lack of financial and popular success, the Malvern Festival allowed Shaw the creative space to write some of his most experimental work, which was then explored in production as part of the Festival on the stage of the Malvern Theatre.
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Wilson, Clayton Shane. "A handbook for hosting a district-wide festival for literature and the arts." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1932.
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Sahney, Puja. "Cultural Analysis of the Indian Women's Festival of Karvachauth." DigitalCommons@USU, 2006. https://digitalcommons.usu.edu/etd/7343.
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The festival of Karvachauth is celebrated by upper class married women of North India and occurs in the month of October or early November. On this day married women fast to ensure the long lives of their husbands. They wake up before dawn and eat a meal. After sunrise they do not drink water or eat any food until they see the moon at night. The moon is watched through a sieve and prayed to before breaking the fast. An important part of Karvachauth is a ritual that is performed by women in the afternoon. This ritual is hosted by a woman of the neighborhood and other women assemble in the house where they form a circle. The narration of a folktale of a princess named Veeravati forms the center of the ritual. Women also dress up in festive bright saris and lots of jewelry for the ritual. Some part of the day is spent in putting intricate designs of henna on their hands and feet.
Although women's act of fasting for their husbands might appear as a sign of subjugation, in my thesis I argue that it is not. Rather, festivals like Karvachauth temporarily liberate women from daily restrictions and give them a licensed freedom to break away from customs that confine them to the threshold of their households. I argue that Karvachauth gives women a chance to move out of their confined private worlds into the public world, dominated by men, and out of their reach in daily life. I do acknowledge that women must satisfy the serious aspects of the ritual first if they wish to enjoy the liberties. But once they are able to do so, the freedoms are easily manipulated by women to empower them, albeit temporarily, in various ways.
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Rappold, Adam Christopher. "The Shadow of the Polis: A Synchronic and Diachronic Examination of the Skira Festival in Athens." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437388862.
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Mikutavičiūtė, Judita. "Kultūrų tapatybių reprezentacija organizacijos ir žiniasklaidos informacijos perdavimo procesuose: Tarptautinio Berlyno literatūros festivalio atvejis." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110218_085802-61533.
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Darbo tema išryškėja žvelgiant ir tarpusavyje kombinuojant tris skirtingas perspektyvas – organizacijos, žiniasklaidos ir visuomenės. Šio darbo tyrimo objektas - Tarptautinio Berlyno literatūros festivalio viešosios komunikacijos ypatumai. Empirinėje darbo dalyje, aprašant kultūros organizacijos komunikacijos ypatumus ir analizuojant Tarptautinio Berlyno literatūros festivalio bei žiniasklaidos teminio diskurso skirtumus teoriniu darbo pagrindu tapo vokiečių autorių darbai.
Darbo tikslas – išanalizuoti kultūros organizacijos ir žiniasklaidos viešajame diskurse išryškėjančius turinio ir tematinius skirtumus, atskleidžiant kuo skiriasi skirtingas kultūras reprezentuojantys pranešimai. Šiam tikslui pasiekti išsikelti tokie darbo uždaviniai: parengti kultūros organizacijos išorinės komunikacijos instrumentus; aprašyti masinės komunikacijos procesus ir jų dalyvius bei apibrėžti kultūrinės reprezentacijos kriterijus viešajame diskurse; pagal kultūrinės reprezentacijos kriterijus ištirti informacijos perdavimo procesų metu siunčiamų pranešimų turinį ištirti festivalio organizatorių viešąją komunikaciją; atskleisti kultūros organizacijos ir žiniasklaidos komunikacinių pranešimų ypatumus ir skirtumus tarptautiniame festivalyje: ištirti žiniasklaidos diskursą; palyginti festivalio organizatorių komunikaciją bei žiniasklaidos diskursą.
Darbe naudojami mokslinės literatūros bei kiekybinių ir kokybinių duomenų analizė. Atlikus mokslinės literatūros analizę paaiškėjo kokie yra pagrindiniai... [toliau žr. visą tekstą]The object of this research - public communication features of International Berlin literature festival. Aim of this thesis - to analyze culture organization and media content and thematic differences in public discourse, by revealing how different cultures representing communication differs.
Das Thema der Arbeit entsteht, wenn man drei verschiedene Ansichten kombiniert – Organisationen, Medien und Gesellschaften. Der Gegenstand dieser Arbeit sind die Kommunikationsbesonderheiten des internationalen Literaturfestivals Berlin. Das Forschungsobjekt – in einem empirischen Teil des internationalen Literaturfestivals Berlin wurden die Bücher der Deutschautoren zur Arbeitsgrundlage bei der Beschreibung der Organisationskommunikationsbesonderheiten und bei der Analyse der Unterschiede zwischen dem internationalen Literaturfestival Berlin und den Medien. Das Ziel – die Analyse der Inhalts- und Thematik- Unterschiede zwischen den Organisationen und Medien. Um dieses Ziel zu erreichen, müssen folgende Aufgaben befolgt werden: die öffentlichen Kommunikationswerkzeuge der Organisationen müssen ausgearbeitet werden; die Kommunikationsprozesse und die Mitglieder sollen beschrieben werden deren kulturellen Repräsentationskriterien in einem öffentlichen Diskurs definierten werden; Inhalt von Nachrichten, öffentliche Kommunikation der Organisatoren erforschen; Besonderheiten und Unterschiede der Kulturorganisation und Medien beim internationalen Literaturfestival: den Diskurs der Medien ausarbeiten; die Kommunikation der Organisatoren mit einem Diskurs der Medien vergleichen. Für diese Arbeit wird wissenschaftliche Literatur und die Analyse der Angaben verwendet. Nach einer Analyse der wissenschaftlichen Literatur konnten die Besonderheiten der Festivalkommunikation und die... [der volle Text, siehe weiter]
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Sumsion, Ann Elizabeth. "The Search for the Sacred in Gabrielle Roy." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3252.pdf.
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Brook, Madeleine E. "Popular history and fiction : the myth of August the Strong in German literature, art, and media." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
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This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.
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Rotter, Simone Richt Susanne. "Hermann-Hesse-Festival 2002 in Calw Analyse eines Literatur-Events /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675582.
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König, Jason Peter. "Athletic training and athletic festivals in the Greek literature of the Roman Empire." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621973.
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Docherty, Paul J. "Developing literary Glasgow : towards a strategy for a reading, writing and publishing city." Thesis, University of Stirling, 2018. http://hdl.handle.net/1893/28083.
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Since the 1990s, urban cultural policy in the UK has been bound to the cause of urban regeneration. Much has been written in examination and critique of this relationship, but what happens when the direction of strategic attention is reversed and civic leadership seeks to regenerate culture itself? The city of Glasgow, having made capital of culture over many decades, has moved towards a strategy for the development of literary Glasgow. This thesis documents a search for those factors crucial to that strategy. The research focuses on literary Glasgow as one aspect of the city’s cultural sector; identifies and examines gaps in the relationship between the civic cultural organisation and literary communities; and highlights those elements vital to the formation of a strategy for development of the literary in Glasgow. An extended period of participatory ethnographic research within the Aye Write! book festival and Sunny Govan Community Radio, is supplemented with data from interviews conducted across the literary sector and analysis of organisational documentation. Through these a gap has been identified between the policies and operations of a civic cultural organisation, and the desires of those engaged within the literary community. This gap is caused, in part, by the lack of a mechanism with which to reconcile contrasting narratives about the cultural essence of the city, or to negotiate the variations in definitions of value in relation to cultural engagement. The interdisciplinary approach builds upon insights from existing work within publishing studies, cultural policy, complexity theory and organisational studies to construct an understanding of the dynamics of Glasgow’s literary sector. This reveals the need for a framework in support of a landscape of practice, a desire for the placement of boundary objects to facilitate engagement, and the significance of value in relation to participation in literary activity. This work informs a strategy for literary Glasgow and contributes to conversations on strategies for cultural development in other cities.
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Li, Daohe. "Sui shi min su yu gu xiao shuo yan jiu." Tianjin Shi : Tianjin gu ji chu ban she, 2004.
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Park, Sejin. "Pentecost and Sinai : the Festival of Weeks as a celebration of the Sinai event /." New York : T&T Clark, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780567027276.
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Lotter, Jacoba Catharina (Karin). "Die retoriese rol van literêre feeste, met toespitsing US Woordfees en die Amsterdamse Weerwoordfestival." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20063.
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Thesis (MA)-- Stellenbosch University, 2012.ENGLISH ABSTRACT: The establishment of literary festivals as a type of event that is presented both nationally and internationally has expanded tremendously in recent years, but it has not as yet received the necessary attention to fully understand its impact on and sociocultural function in a host community. This thesis attempts to formulate a working definition for the phenomenon, in order to gain more insight in its sociocultural function and impact in a host community and thus to contribute towards a more substantial discourse on the subject. The hypothesis is firstly that literary festivals come into existence due to specific needs in the host society and secondly that the strategic application of rhetorical strategies have a positive sociocultural impact. It is argumented that literary festivals function according to the principles of Aristotle’s rhetoric, by convincing festival visitors that books, reading, writing, debating and freedom of speech are of great aesthetic, moral and educational value. The eventual aim is to cause festival visitors to show greater appreciation for literary texts, as illustrated by their increased participation in reading, writing and other literary activities. The following theories serve as points of departure: the system theory as expounded by Itamar Even-Zohar, Gerard Hauser’s application of rhetorics to the public sphere, the ritual theories of Victor Turner and Jeremy Boissevain, as well as festival theories by Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch and Michael Kamp. The programmes, festival contents and other relevant texts that form part of two selected literary festivals, i.e. the Stellenbosch University’s (SU) Wordfest (Woordfees) and the Amsterdam Weerwoordfestival, are scrutinised in order to prove that these festivals are strategically constructed to have a persuasive effect on festivalgoers. A festival’s survival and sustainability is determinated by its establishment of a strong own character; good management (also in times of crisis); effective networks; and the persuasion of both target groups and interest groups that supporting the festival is to their own advantage.
AFRIKAANSE OPSOMMING: Die literêre fees, as tipe gebeurtenis wat toenemend nasionaal én internasionaal aangebied word, het tot dusver min aandag van navorsers geniet. Ten einde die sosio-kulturele funksie en krag daarvan in ’n gasheergemeenskap te probeer vasstel en te omskryf, asook om by te dra tot ’n meer omvangryke diskoers oor hierdie fenomeen, word bestaande teorieë oor feeste in die algemeen dus in hierdie studie as vertrekpunt gebruik en aangepas by literêre feeste. Die hipotese is eerstens dat literêre feeste ontstaan in reaksie op behoeftes in die gasheergemeenskap en tweedens dat die aanwending van retoriese strategieë in literêre feeste ’n positiewe sosio-kulturele impak tot gevolg kan hê. Na aanleiding van Aristoteles se uitgangspunte oor die retorika word voorgestel dat die funksie en werking van literêre feeste retories van aard is: Die organiseerders wil feesdeelnemers oorreed dat lees, skryf, debattering en vrye meningswisseling esteties, opvoedkundig en moreel waardevol is, om sodoende ’n groter belangstelling in en deelname aan literêre aktiwiteite te probeer bewerkstellig. Die volgende teoretici se uitgangspunte word veral gebruik: dié van Itamar Even-Zohar oor die sisteemteorie, Gerard Hauser se toepassing van die retorika op ’n openbare sfeer, ritueelteorieë deur Victor Turner en Jeremy Boissevain, sowel as feesteorieë van Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch en Michael Kamp. Deur ’n vergelykende studie van die ruimer konteks, feesprogramme en ander relevante tekste wat deel uitmaak van twee literêre feeste, naamlik die Universiteit Stellenbosch Woordfees en die Amsterdamse Weerwoordfestival, word nagegaan hoe hierdie feeste strategies en oorredend funksioneer deurdat beide literêre én nie-literêre elemente geselekteer (inventio) en gekombineer (dispositio) is om ’n sterker positiewe eventiserende betekenis oor te dra as in die alledaagse lewe. Die gevolgtrekking is dat effektiewe retoriese strategieë sterk afhanklik is van die konteks waarbinne feeste plaasvind. Die voortbestaan en volhoubaarbaarheid van literêre feeste word veral bepaal deur die vestiging van ’n sterk eie identiteit; goeie bestuur (ook in krisisse); doeltreffende netwerke, asook deur die oorreding van beide teikengroepe én belanghebbers dat hulle wen deur die fees te ondersteun.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Porte, Danielle. "L'étiologie religieuse dans les "Fastes" d'Ovide." Paris : les Belles lettres, 1985. http://catalogue.bnf.fr/ark:/12148/cb361451329.
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Vukovic, Kresimir. "The Roman festival of the Lupercalia : history, myth, ritual and its Indo-European heritage." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:2765ebe9-20ef-47c0-9d48-63c7e8a2fb34.
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The Roman festival of the Lupercalia is one of the most discussed issues in the field of pre-Christian Roman religion. Hardly a year goes by without an article on the subject appearing in a major Classics journal. But the festival presents a range of issues that individual articles cannot address. This thesis is an attempt to present a modern analysis of the phenomenon of the Lupercalia as a whole, including literary, archaeological and historical evidence on the subject. The first section presents the ancient sources on the Lupercalia, and is divided into five chapters, each analysing a particular aspect of the festival: fertility, purification, the importance of the wolf and the foundation myth, the mythology of Arcadian origins, and Caesar's involvement with the Lupercalia of 44 BC. The second section places the Lupercalia in a wider context, discussing the festival's topography and the course of the running Luperci, its relationship to other lustration rituals, and its position in the Roman calendar, ending with an appraisal of the changes it underwent in late Antiquity. The third section employs methods from linguistics, anthropology and comparative religion to show that the Lupercalia involved a ritual of initiation, which was also reflected in the Roman foundation myth. The central chapter of this section discusses the methodology used in comparative Indo-European mythology, and offers a case study that parallels the god of the festival (Faunus) with Rudra of Vedic Hinduism. The last chapter considers other parallels with Indian religion, especially the relationship between flamen and brahmin. The thesis challenges a number of established theories on the subject and offers new evidence to show that the festival has Indo-European origins, but also that it played an important role throughout Roman history.
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Valerio, Miguel A. ""Kings of the Kongo, Slaves of the Virgin Mary: Black Religious Confraternities Performing Cultural Agency in the Early Modern Iberian Atlantic"." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500220110065696.
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Nielen, Holger. "Prozessionsfeste und dramatische Spiele in interreligiösen Vergleich eine religionsphänomenologische Studie zu Fastnacht, Fronleichnam, ʻAšura und Purim." Berlin Logos-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2757744&prov=M&dok_var=1&dok_ext=htm.
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Attali, Maureen. "Les fêtes nouvelles dans le judaïsme antique depuis l’époque perse achéménide jusqu’à la fin de l’Antiquité." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040173.
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La thèse a pour objet d’étudier le phénomène de création festive qui traverse les communautés juives de l’Antiquité à partir du VIe siècle av. J.-C. Ces fêtes nouvelles, de par leur typologie, leur théologie, leurs rites et leurs fonctions, s’écartent du modèle biblique tout en le revendiquant. Leur multiplication à l’époque hellénistique, sensible à travers leur mention dans la littérature juive hellénisée, témoigne d’évolutions qui, même si elles peuvent procéder d’une dynamique interne au judaïsme, témoignent d’interactions avec les communautés religieuses du monde grec puis romain. D’essence essentiellement locale, elles constituent un critère de définition identitaire et sont instrumentalisées pour servir des intérêts variés, notamment en termes de légitimation de l’autorité. Leur caractère récent leur confère une souplesse qui permet une actualisation constante de leur signification au gré des conjonctures, que ce soit à l’échelle locale ou au sein de courants transversaux comme le judaïsme rabbinique. Elles fonctionnent donc comme un révélateur du degré d’intégration ou d’exclusion des communautés juives dans leur environnement politique, social, culturel et religieuxThis dissertation aims at studying festive creativity within ancient Jewish communities from the VIth century B.C. onwards. From a typological, a theological, a liturgical and a functional viewpoint, these new festivals divert from Biblical tradition even though they claim not to. Their increase during the Hellenistic period, a phenomenon made clear in Jewish Literature written in Greek, attest to an evolution which, even though it could, in some cases, proceed from an inherently Jewish dynamic, fall within the category of cultural and religious interactions with other religious communities from the Greek and Roman world. Of an essentially local provenance, they are instrumental to a community’ self-definition and are often used to legitimate their founder or their organizer’s authority. Since they only appeared recently, their meaning can be updated to reflect various situations, either regarding a specific place and time or within such movements as Rabbinic Judaism. New festivals bring light to the place of a Jewish community within its milieu, be it political, social, cultural or religious
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Santi, Álvaro. "Canto livre? : o nativismo gaúcho e os poemas da Califórnia da Canção Nativa do Rio Grande do Sul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 1999. http://hdl.handle.net/10183/93345.
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Este estudo aborda o “Nativismo” gaúcho, fenômeno regional originado no Movimento Tradicionalista Gaúcho (MTG), cujas manifestações artísticas mais importantes são os “festivais de música nativista”. O mais antigo desses festivais, a “Califórnia da Canção Nativa do Rio Grande do Sul”, realizado anualmente em Uruguaiana desde 1971, tornou-se modelo para eventos semelhantes, em outras cidades do Estado. O estudo divide-se em duas grandes partes. A primeira reconstitui, em síntese inédita de depoimentos, artigos em jornais e outros textos, a história da “Califórnia...”, de 1971 a 1989; apontando ainda para suas origens em movimentos regionalistas do século XIX. Na segunda, comenta-se os resultados da análise dos textos das sessenta e sete canções premiadas pelo Festival, no mesmo período. Não dispondo de fonte fidedigna dos textos, foi necessário fixá-los mediante consulta a fontes orais e escritas. A análise mostrou uma complexa, por vezes contraditória relação entre canções e textos programáticos dos movimentos citados. O mesmo acontece em relação à poesia folclórica brasileira e à Gauchesca Platina, tradições que são atualizadas pelas canções, com a consciência possível aos poetas que têm de se submeter aos regulamentos dos festivais. No campo da comunicação de massa, tais canções reforçam e renovam uma identidade cultural gaúcha também contraditória que, contendo ainda fortes índices de idealização, revela dados de modernidade capazes de seduzir a população urbana e superar o estigma de “grossura” que há três décadas pairava sobre a arte regional.The subject of this study is the “Nativismo”, a regional phenomenon, originated from the “Movimento Tradicionalista Gaúcho” (MTG), whose the most important artistic manifestations is the “nativista” music festivals. The first or these festivals, the “Califórnia da Canção Nativa do Rio Grande do Sul”, which takes place in Uruguaiana since 1971, has turned into a model for similar events in other cities of that State. The study is divided in two parts. The first part resumes the story of the “Califórnia...” between 1971 and 1989, and indicates its remote origins from some XIX century’s regionalist movements. The second part comments the results of the analysis on the lyrics of sixty-seven songs distinguished with the “Califórnia...” awards, in the same period. There was no credible source for these texts, then it was necessary to establish it before, by consulting all disponible ones, oral and written. The analysis showed an intricate, sometimes contradictory relation between lyrics and programatic texts of those movements. The same happens in relation to brasilian folkloric poetry, and the “Poesía Gauchesca” from the neighbor countries Argentine and Uruguay. These traditions are actualized by the songs, with the posible consciousness to the poets who have to submit themselves to the festivals’ regulations. Through the mass media, these songs reinforce and renew an also contradictory “gaúcha” cultural identity, containing highly idealized components, but at the same time showing modern aspects able to conquer an urban public, and exceed the roughness stigma related to regional art, predominant thirty years ago.
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Denison, Emily E. "Dramaturging Contemporary Feminism(s): A Festival of New American Plays by Women." 2011. https://scholarworks.umass.edu/theses/596.
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In the wake of Emily Glassberg Sands' well-publicized thesis, Opening the Curtain on Playwright Gender, theater artists across the country are up in arms about the disparity that has long existed between male and female playwrights. Glassberg Sands’ audit study showed that literary managers and artistic directors rate female-authored scripts lower in terms of quality, marketability, and audience response. In addition, recent studies show that only 20% of the plays produced in American regional theaters each year have female playwrights. As a positive step towards equality, I curated and produced a festival of new American plays by women entitled Voices in Contemporary Feminism(s). It was my goal to instigate change first by staging new American plays by women and then by engaging artists and audience members alike in conversation about feminism(s) and feminist themes, female playwrights, the current position of women in American theater, and how we can change the status quo. This thesis describes in detail the impetus behind creating the festival, the planning process, and the events of the festival itself, and then draws conclusions about the role dramaturgs can play in combating gender inequity.
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Rejžková, Magdaléna. "Dramatická tvorba afrických frankofonních autorů v českých překladech." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-305788.
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v anglickém jazyce This thesis deals with the dramatic production of Francophone African authors and the translation of their texts into Czech. The theoretical part briefly describes the history of African drama and its specific elements. The following chapters examine the perception of this specific genre in Europe - especially in France and the Czech Republic. The thesis also documents the history of the Czech festival Africa in Creation, which has been held in Prague in the first decade of the new millennium. During its existence, it presented many African authors. Later, their plays were translated into Czech within the series The Contemporary play, published by the Arts and Theatre Institute. From the point of view of translatology, the study focuses on the general theory of the drama translation (based on the theories of translation from the 2nd part of the 20th century, especially the Czech model of Jiří Levý) and the post-colonial and cultural translation theories. In general, the aim of the study is to define the problems which the translator could be faced with translating the text from the culture which is diametrically different from the target one. Based on this theoretical ground, a critical analysis has been made in order to examine three plays by African playwrights and their Czech...
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Boulanger, Julie. "Une drôle de fête : une fête au lieu d'une guerre dans Féerie pour une autre fois de Louis-Ferdinand Céline et Le Rivage des Syrtes de Julien Gracq." Thèse, 2008. http://hdl.handle.net/1866/7284.
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Smutná, Petra. "Knihy nakladatelství Baobab pro děti předškolního věku a jejich role v rozvoji čtenářství." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-386467.
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The aim of this diploma thesis is to describe the uniqueness of the Baobab publishing house books for pre-school children and to find out what is the opinion of parents and pre- school teachers on selected books from this publishing house, on their content and on their graphic design. In the theoretical part I describe and explain the basic concepts of the reading literacy. I also devote to the contemporary situation in the book market for children, especially pre- school children, mostly non-readers. I focus on a small alternative publishing house called Baobab, its book production for children in general, and on its awarded books. In the empirical part I interviewed parents (41 returned questionnaires altogether) about their awareness and opinion on the Baobab publishing house and on selected books published by Baobab, namely Jak zvířataspí (How Animals Sleep), Šmalcova ABECEDA (Šmalec's Alphabet) and Z domu a zahrady (From the House And the Garden). I also interviewed 7 pre- school teachers to find out about their awareness of the Baobab publishing house and about their opinion on the selected books. Unlike the parents, all teachers had known the publishing house. It was proved that although the publishing house was awarded several prizes for its children's books (especially for the graphic design), the...
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(9039344), Gabriel R. Lonsberry. "The King, the Prince, and Shakespeare: Competing for Control of the Stuart Court Stage." Thesis, 2020.
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When, each holiday season, William Shakespeare’s newest plays were presented for King James I of England and his court, they shared the stage with propagandistic performances and ceremonies intended to glorify the monarch and legitimate his political ideals. Between 1608 and 1613, however, the King’s son, Prince Henry Frederick, sought to use the court stage to advance his own, oppositional ideology. By examining the entertainments through which James and Henry openly competed to control this crucial mythmaking mechanism, the present investigation recreates the increasingly unstable conditions surrounding and transforming each of Shakespeare’s last plays as they were first performed at court. I demonstrate that, once read in their original courtly contexts, these plays speak directly to each stage of that escalating rivalry and interrogate the power of ceremonial display, the relationship between fiction and statecraft, and the destabilization of monarchically imposed meaning, just as they would have then.
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Rananga, Ntshengedzeni Collins. "Professionalising storytelling in African languages with special reference to Venda." Thesis, 2008. http://hdl.handle.net/10500/1329.
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Unlike in the days of yore where storytelling was primarily known for its entertainment value, storytelling should be harnessed to make people's livelihood.
Chapter 1 serves as prologue wherein the background of the study, problem statement, statement of aims, research methodology, research questions, hypotheses, definition of terms and organization of the study are presented. Storytelling began with the aim of transmitting the culture of people from one generation to another. There are different theories to account for the origin of stories. The identified problem is that storytelling is dying because it has not yet been professionalised in African languages. For storytelling to become viable in South Africa, storytellers have to be economically empowered. Both qualitative and quantitative approaches were employed in this study. Various questions have been prepared for use when interviewing the respondents.
As a point of departure, the research hypotheses were laid down. Various concepts used in the study have been defined in order to clarify any misconceptions. For a study to follow a predetermined plan, it has to be organised in its initial stage. For that reason what has been discussed in each chapter has been summarised in the first chapter.
Chapter 2 presents views of scholars, researchers and authors in general on how storytelling could be professionalised. The factors which retard the professionalisation of storytelling were also provided. The furnished views are classified according to their similarity.
In Chapter 3, the methodology used in the gathering of research data is outlined. Both qualitative and quantitative methodologies were used, but the qualitative method more extensively because this is an explorative study. Data was collected through interviewing, questionnaires, documents and observation methods. Two sampling methods were used to select the respondents: the snowball sampling method and the judgmental or purposeful sampling design. The setting of the study was determined by the accessibility and the willingness of the respondents to use the site.
Once the data was collected, it was analysed and interpreted. Chapter 4 focuses on the analysis and interpretation of the research data collected through interviews, questionnaires and systematic observations. During data analysis, similar themes from different respondents were combined in order to interpret the main findings. All such themes are discussed under major categories. In this chapter, themes were identified in relation to how storytelling might be professionalised.
The fifth chapter outlines the main findings arrived at during the analysis and the interpretation of the data. To make this study more pragmatic, the findings are accompanied by suggested recommendations.
The final chapter provides a general conclusion to the entire study. The success of professionalised storytelling and storytellers, the implications in terms of teaching and professionalisation, the implications for further study and the limitations of the study are also dealt with in this chapter.African Languages
D. Litt. et Phil. (African Languages)
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Van, der Vyver Louïne Marilize. "Breytenbach by die Afrikaanse kunstefeeste : karnaval en ritueel in sy dramatiese oeuvre." Diss., 2007. http://hdl.handle.net/10500/2151.
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This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin.
The study evolves around three critical questions:
1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression?
2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events?
3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals?Afrikaans & Theory of Literature
M.A. (Afrikaans)