Dissertations / Theses on the topic 'Opéra – Publics'

The most important aspect of my thesis lies in developing a new approach to Dthe public sphere in musicology. Using definitions of a public sphere developed by political and cultural historians, my workmg definition of the public sphere e is that of a specific historical development during the Enlightenment in which a conceptual space emerged between the state and private home where texts (including musical texts) were disseminated, discourse flourished, and institutions such as the public opera house were founded.

<p> Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT&rsquo;s recent designation as a <i>public institution</i> under China&rsquo;s neoliberal creative economy initiative to enter the global market has necessitated its transformation from a <i>cultural institution</i> (<i> wenhua jigou</i>) into a <i>creative industry</i> (<i> wehua chanye</i>). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class (&ldquo;talent&rdquo;) in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.</p><p>

Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China's neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution (wenhua jigou) into a creative industry (wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class ("talent") in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.

Les pratiques culturelles font appel aux divers techniques et supports de diffusion et de consommation des objets d'art. L'intégration des dispositifs n'est pas sans incidence sur l'art et ses modes de reception. Comment s'exprime le lien que crée l'amateur avec l'objet de sa prédilection dans les conditions où le développement des moyens techniques lui permet non seulement de varier les voies d'accès mais également de revendiquer la légititimité de ses choix ? Le présent travail se propose d'examiner les rapports entre une pratique culturelle précise mais complexe, l'amour de l'opéra, et un outil numérique, l'Internet, dans la construction et dans la communication de l'expérience esthétique. Le terrain d'observation est celui dun groupe de discussion en ligne dont 2000 messages constituent le corpus de la thèse. L'analyse du groupe operadiscussion est précédée par la présentation de la formation de l'image du public d'opéra, en particulier à travers ses manifestations dans les médias qui modifient, à leur tour, la relation à la musique. L'observation de la construction et de la communication de l'univers des mélomanes dans le groupe numérique est mise en perspective avec des pratiques constatées sur le terrain tant auprès des amateurs rencontrés qu'auprès des professionnels du lyrique<br>The cultural studies today have to consider the links between the modern technologies of diffusion and reception of art and the ways in which the public perceives and practicises its favourite subjetcs in every day's life. Flow and by which means an "amateur") of music, for instance, constructs his relation to the art in today's society where he can not only diversify the conditions of reception but also legitimate his tastes, sometimes very individual ? The purpose of this thesis is to study the relations between a cultural phenomena - the love of the opera - and the Internet as the way chosen to build and express an aesthetic experience. More than 2000 messages from a selected community on line called operadiscussion have been analysed and compared with the material collected by direct investigations performed in a groupe of opera lovers off line as well as by interviewing different professionals. The observation of the construction and the communication of aestheic experience on the Internet takes place after a first consideration devoted to the representations of the opera audience espacially from the moment when the mass media started their forecasting of the music and changed, in the same time, the condition of the production and the reception

Operabyggnaden placeras längst ut på piren och tar hela dess udde i anspråk. Operan riktar sig mot staden. Byggnadens storlek och koncept kräver viss rymd och ljus runt sig varför valet av plats blev naturligt.  Den stora operavolymen skärs itu i flera delar och de olika volymerna binds sedan samman av en stålkonstruktion som på vissa ställen fungerar som ett orangeri medan den på andra ställen är en öppen pergolastruktur. Växtligheten används som ett material och ger intressanta rum, skuggspel och klimat. Orangeriet/pergolan löper igenom och runt byggnaden och såväl personal som besökare rör sig på gångar genom orangeriet/pergolan och upplever olika typer av rum, på olika nivåer.  En önskan med uppdelningen i flera volymer är dels för att få in ljus på ett vackert sätt i en annars djup och mörk byggnad, dels för att försöka bryta ner skalan, samt även för att kunna ge personalen bra arbetsmöjligheter. Slutligen finns även en önskan om en mer transparent verksamhet.

Förslag till nytt operahus som en del av den planerade staden på Årstafältet, Stockholm. Projektet rymmer tre scener för opera, musik och teater och omfattande publika ytor. Operahuset är en del i det publika stråk som förbinder stadens kommunikationer med Årstafältets grönområden och blir en knutpunkt som också informerar och attraherar till kulturen. Projektets viktigaste utgångspunkt är att berätta både de operaanställdas och publikens berättelse. Detta görs i projektets två huvudsakliga sektioner.

Projekt av ett förslag på Operahus vid Stadsgårdskajen i Stockholm med nischning mot ljus- och videoinstallationer. Den publika ytan framför byggnaden integreras med de administrativa aktiviteterna i Operahuset i ett programmerbart landskap.

This doctoral research project intends to institute the study of the unique and significant Huangmei Opera film genre by pioneering in making a series of documentaries and writing an academic text. The combination of a documentary series and academic writing not only explores the relationship between the distinctive characteristics of the Huangmei Opera film genre and its enduring popularity for its fans, but also advances a film research mode grounded in practitioner research, where the activity of filmmaking and the study of film theory support and reflect on each other. The documentary series, which incorporates three interrelated subjects - Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and Brother Lian: Ling Po - explores the remarkable film careers of each figure while discussing the social and cultural context in which they worked. The section on Le Di introduces the subject of melodrama as a Chinese tradition. The section on Li Han Hsiang discusses Li's film aesthetics and his representation of a utopian Chinese world of the imagination. The final section focuses on the popularity actor Ling Po gained through her roles of male impersonation. All three topics provide an opportunity to rethink our understanding of the social, political and cultural forces that contribute to the genre, and to build an emotional connection between past and present for the viewers. Meanwhile, by interviewing those surviving key figures and assembling materials that have been lost, the documentary series not only fulfils the needs of many fans, but also serves field studies in the area by setting a direction in research and providing a valuable resource for scholars involved in Chinese film and cultural studies. It is both accessible to mainstream audiences and academically warranted. As an adjunct to the documentary series, the written text explores aspects of the same material in more depth through the use of structuralist methodology, and psychoanalytic, auteur and genre theories. The text combines these Western approaches with aspects of Chinese culture, philosophy and aesthetic traditions, proposing links between Chinese aesthetics and Western film theories that contribute new understandings to both Chinese and Western film studies. On the other hand, because these film theories were originally developed to study Western films, the Chinese origins of the Huangmei Opera film genre may challenge existing theoretical paradigms and so provide new interpretations. This doctoral project also includes a complete report of all phases of the documentary production and design process, and a unique, comprehensive filmography of Huangmei Opera films, and as such supplies a research foundation for both documentary filmmakers and academics who are interested in studying the Huangmei Opera film genre further.

Thesis (DDes) - National Institute of Design Research, Swinburne University of Technology, 2006.<br>A doctoral research project presented to the National Institute of Design Research, Swinburne University of Technology in partial fulfilment of the requirements for the degree of Doctor of Design, 2006. Typescript. Bibliography: p. 109-120.

Depuis le début du Premier Empire, la création artistique française est régentée, à quelques exceptions près, par les théâtres de Paris. À l’instar de bon nombre de scènes provinciales, le Grand Théâtre de Lyon est contraint, à défaut de pouvoir proposer des œuvres locales, de composer ses programmations lyriques en fonction des productions de la capitale et de construire son affiche en prenant pour modèles celles de l’Opéra et de l’Opéra Comique. À l’aide des différents témoignages retrouvés dans les textes de presse de l’époque, cette étude s’interroge sur l’identité des programmations du Grand Théâtre de Lyon entre 1815 et 1848. Qu’il s’agisse de la représentation de ce répertoire ou de sa réception, les performances des artistes et les jugements des spectateurs lyonnais sont influencés par les succès de la capitale : les programmations de la Restauration laissent la part belle à l’opéra comique ainsi qu’aux compositeurs de l’Ancien Régime et de l’Empire ; celles de la Monarchie de Juillet se renouvellent avec le grand opéra et s’enrichissent d’ouvrages donnés en version originale et de traductions d’opéras étrangers. Mais, bien que la composition et la réussite des saisons soient largement tributaires de la référence parisienne, il existe une identité des programmations lyonnaises, qui est à chercher dans l’originalité du cadre spécifique que constituent l’économie du Grand Théâtre et les prescriptions de la presse locale<br>Since the beginning of the First French Empire, all the French artistic creation but a few is controlled by the Parisian theatres. As numerous provincial establishments, the Grand Theatre of Lyon, instead of proposing some local creations, is forced to compose its lyrical programs from the productions of the capital city and to take the Parisian Opéra and Opéra Comique as models.Through the different testimonies found in the newspapers of the period, this study questions the identity of the Grand Theatre’s programs from 1815 to 1848. Considering the representation of the repertory or its reception, the artists’ performances and the Lyon spectators’ judgments are influenced by the Parisian successes: the programs during the Restoration are dominated by the opéra comique but also by the Old Regime and Empire’s composers; those during the July Monarchy renew themselves with the grand opéra and are enriched by works played in original version and by translations of foreign operas. But, even though the composition and the success of the seasons are dependent on the Parisian references, there is a Lyon programs’ identity, which is to be searched for in the originality of the specific frame that form the Grand Theatre’s economy and the recommendations of the local newspapers

Thesis (Ph.D.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed July 15, 2009). Advisor: Kazadi wa Mukuna. Keywords: Allgemeine musikalische Zeitung, music journalism, 19th-century Vienna, concert life, Viennese opera. Includes bibliographical references (p. 236-243).

La these aborde, apres un apercu du contexte historique (politique, economique et socio-culturel), l'etude de documents d'archives dates de 1638 a 1680. Ces documents permettent de comprendre comment apparait le metier d'impresario, l'importance qu'il acquiert dans le cadre de l'opera public venitien, et l'evolution parallele de la profession et de l'ensemble du systeme theatral commercial. Cette etude est divisee en cinq parties : 1- le melodrame : made in venice ! 2- la mise en place d'un systeme 3- l'impresario : pouvoirs et limites 4- l'intendance 5- le casting<br>The thesis starts by giving a brief overall picture of the historical, political, economic and socio-cultural background of the period, then basus to a study of archiv documents dating between 1638 and 1680. These documents reveal the way in which the profession of impresario took shape, and how this gained in importance within the context of venetian opera, together with paralell development of commercial theater organisation. The study is divided into five parts : 1-the melodramma : made in venice ! 2- how the system came into effect 3- the powers and limitations of impresario 4- theater managment 5- casting

Depuis la réforme culturelle en Chine, l’Opéra de Shanghai est un succès pour le public et dans le champ commercial. A partir de 2003, un élargissement de la reforme culturelle chinoise indique que l’institution public chinoise doit concilier les lois commerciales, et la mission de service public. Dans ma thèse, je m’attache à présenter une étude de terrain sur le plan sociologique, économique, stratégique, à effectuer une analyse complète du Centre d’Art de l’Opéra de Shanghai et de la politique culturelle chinoise, pour présenter des propositions constructives au CAOS. L’Opéra National de Paris est comme une grande référence internationale comparable au CAOS en Chine<br>Since the cultural reform in China, the Shanghai Opera House is a great success in the public and the commercial field. From 2003, an expansion of the Chinese cultural reform indicates that the Chinese public institution must balance the trade laws and public service mission. In my dissertation, I submit myself to a field study on the sociological, economic, and strategic, to conduct a comprehensive analysis of the Art Centre of the Shanghai Opera and Chinese political culture, to present constructive proposals for CAOS. Opera National de Paris is like a big international benchmark compared to CAOS

Dès le XVIIIe siècle, l’Opéra de Paris est considéré comme un « établissement public ». Ses missions sont nombreuses. Le théâtre doit proposer traditionnellement aux spectateurs des ouvrages lyriques appartenant à un genre national, mais son rôle est aussi de représenter le pouvoir politique, de servir les relations diplomatiques, ou encore de soutenir un pan de l’artisanat. Le fonctionnement du « service public de l’Opéra » soulève des questions d’ordre public et de gestion. Un encadrement normatif a été mis en place. La police des spectacles a été réformée et adaptée aux singularités de l’établissement : le régime de la censure, la surveillance policière, comme les dispositifs de lutte contre les incendies ont été l’objet de mesures précises. La gestion du théâtre a connu plusieurs bouleversements. Les autorités ont hésité entre un système ambigu de délégation à des entrepreneurs subventionnés et un mode de gestion en régie directe. Ces réformes institutionnelles ont eu des incidences sur la condition juridique des interprètes, comme sur le déroulement des carrières et l’organisation de leur caisse de pensions. Toutes les informations nécessaires à l’élaboration de ce travail ne se trouvent pas dans les règlements. La méthode a été de croiser les sources juridiques avec les archives administratives et les bilans comptables, afin de confronter la marche effective de l’établissement avec le fonctionnement « idéal », imaginé dans les bureaux, loin des difficultés matérielles d’exécution. Cette étude révèle la force normative des usages en matière d'administration, ainsi que le phénomène de détournement des textes par les administrateurs. Ce mode de fonctionnement, souvent ignoré de la bureaucratie, demeure le seul élément de stabilité à l’Opéra, depuis le règne de Louis XIV jusqu’à la IIIe République<br>Since the eighteenth century, the Paris Opera has been considered to be a “public service corporation”. Many missions were assigned to the theatre: the Opera should traditionally offer the viewer lyrical opuses in a national genre, but it’s role was also to represent the authorities, serve foreign affairs and support a section of the craft industry. The functioning of the "public service of the Opera” raises questions of public order and management. A legal framework was implemented. The police for the theatres was reformed and adapted to the peculiarities of the activity: censorship, police surveillance and fire fighting arrangements were organized by specific measures. The administration of the Opera underwent several upheavals. The authorities hesitated between an ambiguous system of delegation to subsidized contractors and direct state control (or local government control). These institutional reforms had an impact on the legal status of the artists, on the development of their careers and on the organization of their pension fund. All the information necessary for the development of this work is not to be found in the legal regulations. Our method was to cross the legal sources with administrative records and balance sheets, in order to compare the actual running of the theatre with it’s "ideal" functioning, planned in offices, far from the material difficulties of the actual execution. This study reveals the normative force of customary uses in administration, as well as the phenomenon of diversion of the rules by the administrators and the staff. This mode of functioning, often unknown to the bureaucracy, remains the only element of stability in the Opera, since the reign of Louis XIV until the Third Republic

Submitted by Celso Magalhaes (celsomagalhaes@ufrrj.br) on 2018-09-21T16:24:22Z No. of bitstreams: 1 2017 - Jos? Ant?nio Souto Pinto.pdf: 1605055 bytes, checksum: ee4b6f9340c3b86023a9908239c90ee8 (MD5)<br>Made available in DSpace on 2018-09-21T16:24:22Z (GMT). No. of bitstreams: 1 2017 - Jos? Ant?nio Souto Pinto.pdf: 1605055 bytes, checksum: ee4b6f9340c3b86023a9908239c90ee8 (MD5) Previous issue date: 2017-10-05<br>We live in a period of global climate change with severe climate manifestations, where rising global temperatures intensify the risks of climate disasters. Although the issue is considered a global problem, the consequences are perceived more seriously at the local level, and this complex reality presents difficulties for all, especially those responsible for public management. In this sense, the municipal sphere needs to work with active and coordinated public policies among its organs and with other spheres of government, as well as to involve the private sector in dealing with the issue of adaptation in view of the global dimension of climatic phenomena. This research aims to discuss the problem of the Municipal Coordination of Public Policies to deal with the adaptation to extreme events caused by climate change, and to analyze the importance of the Centro de Opera??es Rio (COR), located in Rio de Janeiro, as an instrument for the coordination of Public Policies. Two theoretical lines were explored in this research: the first one refers to the study of urban climatic risks, identifies what these risks are, their impacts and the consequences. This research presents a history of the climatic disasters that impacted the Municipality of Rio de Janeiro from 1991 to 2012, and showed the city's lack of preparation and vulnerability for adaptation and coping with these phenomena. The second theoretical line concerns the coordination of public policies - discusses both concepts and coordination in the horizontal, federative and in the relations between the public sector and the private segment. This research also presents the COR, its functions, organization and processes. As a result, this research argues that coordination consists of an important dimension of municipal public management and that COR as a public policy, but also as an organ that brings together in the same environment different agents involved with the daily routine of an urban center, is fundamental for the adaptation to the risks and climatic disasters of the Municipality of Rio de Janeiro.<br>Vivemos em um per?odo de altera??es clim?ticas globais com manifesta??es severas do clima, onde o aumento da temperatura do planeta intensifica os riscos de desastres clim?ticos. Apesar da quest?o ser considerada um problema global, as consequ?ncias s?o percebidas com maior gravidade em ?mbito local, e esta realidade complexa traz dificuldades a todos, sobretudo, aos respons?veis pela gest?o p?blica. Neste sentido, a esfera municipal necessita trabalhar com pol?ticas p?blicas ativas e coordenadas entre os seus ?rg?os e com as demais esferas de governo, al?m de envolver o segmento privado, para lidar com a quest?o da adapta??o, em vista da dimens?o global dos fen?menos clim?ticos. Esta pesquisa tem por objetivo discutir o problema da Coordena??o Municipal de Pol?ticas P?blicas para lidar com a adapta??o a eventos extremos causados por mudan?as clim?ticas, e do mesmo modo, analisar a import?ncia do Centro de Opera??es Rio (COR), localizado no munic?pio do Rio de Janeiro, como um instrumento de coordena??o de Pol?ticas P?blicas. Duas linhas te?ricas foram exploradas nesta pesquisa: a primeira refere-se ao estudo dos riscos clim?ticos urbanos, identifica quais s?o estes riscos, os seus impactos e as consequ?ncias. Esta pesquisa apresenta um hist?rico dos desastres clim?ticos que impactaram o Munic?pio do Rio de Janeiro de 1991 a 2012, e evidenciaram o despreparo e a vulnerabilidade da cidade para a adapta??o e o enfrentamento desses fen?menos. A segunda linha te?rica diz respeito ? coordena??o de pol?ticas p?blicas - discute ambos conceitos e a coordena??o nas dimens?es horizontal, federativa e nas rela??es entre o setor p?blico e o segmento privado. Esta pesquisa tamb?m apresenta o COR, suas fun??es, organiza??o e processos. Como resultado, esta pesquisa defende que a coordena??o consiste em uma dimens?o importante da gest?o p?blica municipal e o COR como uma pol?tica p?blica, mas igualmente como um ?rg?o que re?ne em um mesmo ambiente diferentes agentes envolvidos com a rotina di?ria de um centro urbano, ? fundamental para a adapta??o aos riscos e desastres clim?ticos do Munic?pio do Rio de Janeiro

Essa tese analisa o poder da telenovela ao dramatizar o tráfico de pessoas, um tema da esfera dos direitos humanos, portanto, de interesse público, que foi projetado na mídia durante a veiculação da novela Salve Jorge (exibida pela Rede Globo). A telenovela é geradora de visibilidade de temas sociais e a inclusão de tais temas nas tramas é reconhecida como merchandising social. O tráfico de pessoas, além de fazer parte da estória, circulou na pauta midiática brasileira no período entre 2013 e 2014 por intermédio de campanhas de sensibilização e de engajamento, tanto de cunho não governamental (Campanha do Coração Azul), como de caráter religioso, com o lançamento da Campanha da Fraternidade de 2014 pela Conferência Nacional dos Bispos do Brasil (CNBB), além de ter sido elemento central de políticas públicas com a cobertura do lançamento de planos de enfrentamento a esse crime no âmbito governamental. O estudo, assim, indaga como se efetiva a dramatização do Tráfico de Pessoas a partir de Salve Jorge, considerando a projeção de visibilidade e de debate do tema e seu papel na promoção da imagem da emissora. Para realizar esse percurso, utiliza-se como metodologia a pesquisa bibliográfica, a pesquisa documental e a Análise Crítica do Discurso (ACD) de Fairclough (2001), que apresenta a tridimensionalidade analítica de texto, das práticas discursivas e das práticas sociais, preocupando-se com as relações de poder no discurso e a análise do contexto, promovendo reflexões sobre a realidade social produzida. A abordagem teórica da tese privilegia os conceitos relacionados à comunicação e ao interesse público, à biopolítica e ao poder da telenovela na perspectiva de autores como Esteves, Foucault, Gomes, Wolton, Machado, Buonanno, Martín- Barbero, Lopes, Souza, Weber, Hamburguer, Porto, entre outros. Sob a ótica tridimensional, as categorias de dramatização e de repercussão do tráfico de pessoas são analisadas, tendo como elementos observados os espaços de circulação da telenovela Salve Jorge, as ações do Estado via políticas públicas, as campanhas sociais e religiosas de sensibilização e a visibilidade midiática dessas dimensões. O Tráfico de Pessoas é reificado pela emissora, assumindo um caráter de interesse público sob a ótica de Arendt (2001). A evidência do corpo e de sua regulação inerente ao crime reforça a dimensão de intervenção do Estado com suas políticas de enfrentamento ao tráfico humano, discutidas na biopolítica. Porém, é na dramatização que a eficácia de visibilidade ao combate à escravidão moderna se estabelece, reforçando a estratégia de merchandising social, própria do melodrama. O que se percebe é que há uma evidência do poder da dramaturgia ao tratar temas de interesse público e, da mesma forma em que o entretenimento debate o tráfico de pessoas, ele gera seu esquecimento ao encerrar sua exibição, tornando-se mercadoria da própria trama.<br>This thesis analyzes the power of the soap opera to dramatize human trafficking: theme of sphere of human rights issues - therefore, by the public interest - which was designed in the media during the broadcasting of the “Salve Jorge” soap opera (by Rede Globo). The soap opera generates visibility of social issues and the inclusion of theses issues in the plot is recognized as social merchandising. Human trafficking, as well as part of the melodrama of the plot, circulated in the Brazilian media agenda in 2013 and 2014 through awareness campaigns and engagement. It had worked in the non-governmental nature (Blue Heart Campaign), in religious field (Fraternity Campaign by the National Conference of Bishops of Brazil - 2014) and as central element of public policies with the media coverage of the launch of the containment plan for this crime in the government sphere. The study inquires how effetive is the dramatization of Human trafficking from Salve Jorge, considering the projection of visibility and the debate of theme and its role in the TV Globo's image promotion. This research used as methodology the bibliographical research, the documentary research and the Critical Discourse Analysis (CDA) from Fairclough (2001) which presents the three-dimensional analytical of text - discursive practices and social practices. Through this perspective, there is a worry with the power relations in the discourse and the analysis of the context, promoting reflections on the social reality produced. The theoretical approach of the thesis focuses on the concepts related to communications and public interest, biopolitics and the power of the soap opera in concepts of Esteves, Foucault, Gomes, Wolton, Machado, Buonanno, Martín-Barbero, Lopes, Souza, Weber, Hamburguer, Porto, among others. By the three-dimensional perspective, the categories of drama and impact of human trafficking are analyzed. The observed elements are the circulation areas of the soap opera Salve Jorge, the State's actions, through public policies, social and religious awareness campaigns and media visibility. Human trafficking is reified by the TV channel, assuming the public interest from the perspective of Arendt (2001). The notification of the "body" and regulation inherent on crime reinforce the State's intervention dimension with the coping policies to human trafficking, discussed in biopolitics. However, it is in the dramatization that the effectiveness of the fight against modern slavery is established, reinforcing the social merchandising strategy, typical of this melodrama. There is evidence of the power of drama to address issues of public interest. At the same time that entertainment gives visibility to human trafficking it also generate the oblivion of the theme when the soap opera's transmition ends and human trafficking issue becomes the plot's commodity.

O presente trabalho propõe a análise das telenovelas Escrava Isaura (Rede Globo, 1976) e Xica da Silva (Manchete, 1996) sob a perspectiva dos usos públicos do passado. Enquanto Escrava Isaura foi escrita por Gilberto Braga em um contexto ditatorial, adaptando o romance abolicionista de Bernardo Guimarães sobre uma escrava branca, Xica da Silva foi a apropriação livre de Walcyr Carrasco das diversas memórias sobre a personagem histórica Francisca da Silva e seu romance com o contratador de diamantes no Arraial do Tejuco do século XVIII. Nos vinte anos que separam estas duas telenovelas, a historiografia brasileira sobre a escravidão foi palco de transformações ao mesmo tempo em que a telenovela brasileira se desenvolveu como uma indústria com papel de crescente destaque na construção da identidade nacional, com a telenovela “de época” administrando de forma performática as relações entre passado, presente e futuro. O trabalho coloca estas questões em diálogo com as telenovelas, refletindo sobre a representação do passado escravista em cada uma; as tensões sócio-políticas refletidas nestas representações; e as formas através das quais Escrava Isaura e Xica da Silva articulam passado, presente e futuro. A partir destas análises a dissertação busca perceber de que formas as escolhas de cada telenovela administram o passado da escravidão e como elas dialogam com os contextos sociais, políticos e culturais em que elas foram escritas, produzidas e exibidas.<br>The purpose of this work is to present an analysis of the Brazilian soap-operas Escrava Isaura (Rede Globo, 1976) and Xica da Silva (Manchete, 1996) from the perspective of public uses of the past. Escrava Isaura was written by Gilberto Braga in a dictatorial context, adapting Bernardo Guimarães’s abolitionist novel about a white slave, while Xica da Silva was a free adaptation by Walcyr Carrasco of several memoirs about the historical character Francisca da Silva and her romance with a diamond mine owner and mining Governor of Arraial do Tejuco in the 18th century. For the twenty years between these two soap-operas, Brazilian historiography on slavery experienced many transformations while the Brazilian soap-opera developed as an industry with a increasing importance in the construction of national identity and the “Brazilian historical soap-opera” managed in a performative way the relations between past, present and future. This work poses these questions in dialogue with the soap-operas, reflecting upon the representation of the Brazilian slavery past in each one; the socio-political tensions reflected in these representations; and the ways Escrava Isaura and Xica da Silva balance and portray past, present, and future. This dissertation seeks to understand how the choices in each soap-opera convey the Brazilian slavery past and how they dialogue with the social, political and cultural contexts in which they were written, produced and broadcast.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal www.bib.umontreal.ca/MU).<br>"La Flûte enchantée" (1975), téléfilm d’Ingmar Bergman, pose, dans une perspective sociologique, la question de l’adaptation de l’oeuvre alliée aux intentions esthétiques de son auteur. En quoi Bergman est-il parvenu à adapter "La Flûte enchantée" à la société, principalement suédoise, de 1975 à laquelle son film est destiné ? Comment développe-t-il sa contribution esthétique entre le respect de l’oeuvre, tant sur le plan de son contenu dramatique que sur le plan de sa réception, et l’innovation qui est à la base de son approche cinématographique ? De par son mode de diffusion télévisuel, le film de Bergman rend l’opéra accessible au plus grand nombre. De par ses réarrangements du livret, traduit en suédois, il réactualise l’oeuvre de Mozart. De par ses traits esthétiques, il exprime une vision de son auteur sur la représentation même d’un opéra sur scène et marque de son empreinte l’histoire des mises à l’écran d’opéras.<br>"The Magic Flute" (1975) is a television film directed by Ingmar Bergman which, from a sociological perspective, raises the question of an opera’s film adaptation paired with the aesthetic endeavours of filmmaking. How does Bergman succeed in adapting "The Magic Flute" to a contemporary, mainly Swedish, 1975 audience to whom his film is intended? How does he develop his aesthetic contribution as he comes face to face with the difficult choice between owing respect to the opera, in terms of the libretto’s content and of its reception, and envisioning a work of its own? Through its telecast, Bergman’s film makes the opera accessible to the public at large. By rearranging the libretto, translated into Swedish, it attunes Mozart’s work to contemporary issues. It also bears aesthetic traits which express Bergman’s ideas about the theatrical performance of an opera and has left its imprint on the history of operas on screen.

The main goal of this thesis was an investigation into the ways in which whiteness is constructed and positioned in the South African soap opera, 7de Laan, and the Flemish soap opera, Thuis, with the emphasis on the possible implications of these constructions for local as well as global discourses on whiteness in the media. In conjunction with the above, this thesis endeavoured to answer a number of subquestions relating to the origin and history of the construct of “whiteness” and Critical Whiteness Studies (CWS) as a theoretical approach and its relevance in the South African and Flemish contexts, specifically as it pertains to the analysis of mass media texts like 7de Laan and Thuis. It, moreover, sought to explore if and how whiteness functions as an organising principle in the narratives and representations of these soap operas with the emphasis on potential similarities, differences and the kinds of whiteness constructed in these texts. Finally, the goal was to draw conclusions on the possible implications of these differences and similarities in the wider context of the way in which whiteness functions in the media. To that end I conducted a controlled case comparison of a sample from these two community soap opera texts, which was informed by a literature review and deep description of each context as part of the qualitative approach I chose to take. Despite a number of similarities between the two contexts, they still differ significantly, and this afforded me an opportunity to highlight both the consistencies and particularities in the ideological patterning of representations of whiteness, across seemingly unrelated domains, to illustrate its pervasiveness. Added to the emergence of three shared rhetorical devices perpetuating whiteness in both texts, I was also able to draw conclusions about the unique way in which whiteness functions in 7de Laan in particular, since South Africa remains the primary context of the study.<br>Communication Science<br>D. Litt. et Phil.(Communication)

Die Musiksammlung des Olmützer Bischofs Karl Liechtenstein-Castelcorno bildet einen Komplex von Musikalien, die von der bischöflichen Kapelle in Kremsier in den Jahren 1664-1695 benutzt wurden. Durch die Reichhaltigkeit des Repertoires und des Instrumentariums repräsentierte die Kapelle des Olmützer Bischofs die bedeutendste musikalische Institution der böhmischen Länder in der zweiten Hälfte des 17. JahrhundertsJ.

The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation's founding. But by 1840, Manhattan's geographical location and great natural harbor had made it America's preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture. This dissertation describes New York City's cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self-conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status. Although cohesive, often overlapping social groups founded and led most elite institutions, important moments of change in leadership in the twentieth century often were precipitated by the breakdown of a social order once restricted to Protestant white males. By the 1920s and 1930s, the old culture of exclusion--of Jews, of women, of ethnic minorities in general--was no longer an accepted assumption, nor was it necessarily good business. In general, institutions that embraced the notion of diversity and adapted to forces of historical change tended to thrive. Those that held fast to the paradigms of the past did not. Typically, when we consider the history and development of such major institutions, the focus often has been on the personalities and plans of the paid directors and curatorial programs. This study, however, redirects some of the attention towards those who created the institutions and hired and fired the leaders. While a common view is that membership on a board was coveted for social status, many persons who led these efforts had little abiding interest in Manhattan's social scene. Rather, they demanded more of their boards and expected their fellow-trustees to participate in more ways than financially. As the twentieth century beckoned, rising diversity in the population mirrored the emerging multiplicity in thought and culture; boards of trustees were hardly exempt from this progression. This dissertation also examines the subtle interplay of the multi-valenced definition of "public" along with the contrasting notion of "private." In the early 1800s, a public institution was not typically government funded, and more often functioned independent of the state, supported by private individuals. "Public," instead, meant for the people. Long before the income tax and charitable deductions for donations, there was a full range of voluntary organizations supported by private contributions in the United States. This dissertation argues that in a privatist spirit, New York elites seized a leadership role, both individually and collectively, to become cultural arbiters for the city and the nation.