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1
Falcone, Maria Giovanna. "Verso una nuova (?) definizione di teatro politico: Strategie di scrittura scenica nelle creazioni multidiscilplinari di Motus." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/328412.
Full textAbstract:
In questo studio ci proponiamo di esplorare la definizione di “politico”
nel teatro, applicandola all'intero percorso della compagnia italiana di teatro
sperimentale Motus. L'ipotesi è rinvenire nell'opera del gruppo la “politicità”
insita in vari livelli della sua produzione: in primis quello organizzativo,
esplorato sin dal debutto nella scena contemporanea, in cui la definiamo
insieme ad altri gruppi delle sua generazione come “isole nella rete”, fino alla
recente occupazione di spazi come il teatro Valle a Roma e Macao a Milano.
Nel primo segmento d'analisi esploreremo le opere degli esordi (1995-2002),
caratterizzati da una forte ricerca sul linguaggio e dal rifiuto della dimensione
mimetica: questa messa in discussione della poetica aristotelica rappresenta
la cifra politica della prima fase indagata.
La seconda è caratterizzata da istanze dove il discorso politico si fa più
esplicito: dal progetto Pasolini alla rilettura del mito di Antigone, l'elemento
ideologico ed il tema della Rivolta emergono con preponderanza,
contribuendo a definire la compagnia dentro gli schemi di quello che
definiremo come “terrorismo poetico”.<br>In this investigation we propose to explore the definition about the
notion of “politic” in theatre, by his application on the entire accomplished of
Motus, an italian experimental theatre group. The assumption is to recover in
the work of this collective the “politcal level” inherent in the differents fields of
his productions: in primis the organizational one, explored since the debut in
the theatral contemporary scene ( phase that we define as “islands in the
net”) till the late occupation of spaces as the Valle theatre in Rome and
Macao in Milano.
In the first segment of our analisys we explore the beginning works
(1995-2002), with an essential characteristic: the strong research about
languages and the disaffirmation of the mimetic dimension, that describes
the politic magnitude of this first segment.
The second one is emblematized by instances where the politic speech
is becoming more explicit: from project Pasolini to the scenic construction
about the mythe of Antigone (2004-2010), the ideologic item and the theme
of rebellion appear preponderancly, determining the group in the patterns
that we define as “poetic terrorism”.
2
Rocha, Roberto Ferreira da. "Politics and performance." Florianópolis, SC, 2003. http://repositorio.ufsc.br/xmlui/handle/123456789/86271.
Full textAbstract:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.<br>Made available in DSpace on 2012-10-21T05:20:10Z (GMT). No. of bitstreams: 0<br>O tópico desta tese é o contexto político e estético de três produções contemporâneas de Coriolano (circa 1608), última tragédia romana de William Shakespeare (1564-1616). O principal enfoque da análise é o contexto político e estético da encenação, pelo Berliner Ensemble (1964), da adaptação feita por Bertolt Brecht do texto de Shakespeare, da montagem brasileira (1974), dirigida por Celso Nunes e estrelada e produzida por Paulo Autran durante o período da ditadura militar, e da produção da Royal Shakespeare Company, de 1994-95, que se tornou grande êxito de público e crítica. As questões políticas presentes no original shakespeariano são tratadas em capítulo à parte. Os pressupostos teóricos que norteiam a análise das ditas montagens - a relação entre texto dramático e texto teatral, o interculturalismo teatral -também são expostos em capítulo próprio. Baseado nas teorias desenvolvidas de Marco de Marinis, Terry Eagleton, J. L. Halio, Patrice Pavis e W. B. Worthen, bem como os procedimentos da análise espetacular, proponho a tese de que o texto teatral não deva ser entendido como simples leitura ou interpretação do texto dramático, mas como obra autônoma, a exigir avaliação de suas qualidades intrínsecas. O texto teatral, no entanto, mantém com o texto dramático, que lhe serve de ponto de partida, relações complexas.
3
Baumgärtel, Stephan Arnulf. "Body politics between sublimation and subversion." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101974.
Full textAbstract:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente.<br>Made available in DSpace on 2013-07-15T23:42:10Z (GMT). No. of bitstreams: 1
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Zamperini, Enrica. "Politica e corporeità sulla scena del teatro tragico: prospettive storico-religiose e antropologiche." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3426332.
Full textAbstract:
The idea that there is an analogical relationship between the human body and the body of the polis and that the relationship takes the form of a city as a living organism, healthy or diseased, arises in the ancient Greek texts, both in the epic poems and in the lyric compositions. The focus of this research is on those tragedies in which the relationship between the hero’s diseased body and the body of the city corrupted by the stasis is more evident. In those tragic plays, the relationship is stressed by the analogy between stasis and nosos, between the civic strife and the disorder of the body, and it is expressed through a language common to politics and medicine. The analysis of some tragic heroes (Prometheus, Ajax, Heracles, Oedipus, Philoctetes and Orestes), conducted in a multidisciplinary perspective involving philological, historical, religious and anthropological features, has highlighted not only the linguistic intertwining of medical and political lexicon, but also the conceptual implications which result from that, without ignoring the historical, religious and anthropological features that the tragedy implies.<br>L’idea che tra il corpo umano e la polis vi sia una relazione analogica che si esplica nell’immagine della città come corpo politico è presente nei primi testi greci antichi epici e lirici. Questa ricerca ha prestato particolare attenzione a quelle opere tragiche in cui tale rapporto si concretizza e dove l’analogia assume le forme del corpo malato dell’eroe tragico e del corpo della polis corrotto dalla stasis. Un intreccio tra dimensione politica e medicina reso visibile dall’uso di un lessico medico comune che si carica via via di significati e sensi diversi che concorrono a delineare la complessa figura dell’eroe tragico, la cui malattia (nosos), conseguenza di una colpa, si ripercuote sullo stato di salute dell’intera città. L’analisi degli eroi tragici (Prometeo, Aiace, Eracle, Edipo, Filottete e Oreste), condotta in una prospettiva pluridisciplinare, ha messo in rilievo non soltanto gli scambi linguistici tra lessico medico e lessico politico, ma anche le implicazioni concettuali che ne derivano, senza tralasciare gli aspetti di carattere antropologico e storico-religioso contenuti nel testo tragico.
5
Monforte, Enric. "Gender, Politics, Subjectivity: Reading Caryl Churchill." Doctoral thesis, Universitat de Barcelona, 2000. http://hdl.handle.net/10803/1659.
Full textAbstract:
This doctoral dissertation approaches three plays written by British playwright Caryl Churchill (1938- ): <i>Cloud Nine</i> (1979), <i>Top Girls</i> (1982), and <i>Blue Heart</i> (1997). Her plays deal mainly with systems of oppression and their effects on the individual or on groups of people. These systems of oppression, reminiscent of the Foucauldian power structures, exert their restrictive power over the dispossessed -the working class, women, or gays and lesbians. <br/><br/>The main objective of this dissertation is to demonostrate how a gender and politics-oriented approach to theatre can help to subvert some of the patriarchal and conservative assumptions implicit in traditional theatre. In this respect, the three plays analysed share the presence of recurrent themes: patriarchal society, the nuclear family, colonisation at several levels (race, gender, sexuality), and the capitalist system.
6
Vaccaro, Luca <1987>. " e : Francesco Maria Vialardi, fra filosofia, storia, politica e teatro." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8614/1/Luca%20Vaccaro.%20Tesi%20di%20dottorato%20in%20Culture%20letterarie%20e%20filologiche.%20Ciclo%20XXX.pdf.
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Questo lavoro ha l’obiettivo di descrivere la poco conosciuta biografia e attività letteraria del
vercellese Francesco Maria Vialardi, attraverso documenti nuovi ed inediti. L’organizzazione
formale dell’elaborato è suddivisa in tre parti: Una vita
immaginata nella gloria dell’araldica imperiale (Parte I), Gli anni prima e dopo il carcere (Parte. II) e
Lei che «spia sin quel, che si fa nel globo della Luna». Un esploratore del mondo sociale e politico
(Parte. III). La prima prima parte del lavoro racchiude la descrizione degli anni dalla nascita alla maturità dell’autore. La seconda parte, costituita da cinque capitoli, affronta l’ingresso dell’autore nella prestigiosa Accademia della Crusca e il commento alla Conquistata del Tasso, terminando con il resoconto della prigionia dell’autore presso le carceri del Santo Uffizio di Roma.
Il secondo e terzo capitolo della terza parte sono dedicati all’analisi del vivere politico-letterario dell’autore. Rimanendo nel contesto letterario dell’Accademia degli Umoristi, l’ultimo capitolo «AMOR SOL MERTA Amore» si distacca dalla biografia del Vialardi per abbracciare la relazione tra l’ambiente letterario romano e quello bolognese. Protagonisti di quest’ultimo capitolo sono l’inedito carteggio tra il cardinale M. Barberini e il poeta
R. Campeggi e lo spettacolo teatrale bolognese dei Quattro elementi.<br>The objective of this doctoral thesis is to trace, by using new and unpublished documents, the less-known biography and literary work of Vercelli’s writer Francesco Maria Vialardi. The work is presented in three main Parts: Part 1. A life in the glory of imperial heraldry, Part 2. The years before and after imprisonment, and Part 3. Lei che «spia sin quel che si fa nel globo della Luna». An explorer of the social and political life.
The first Chapter covers the author’s life from his birth to his transition to adulthood. The second five-Chapter Part elaborates the period when the author was accepted in the prestigious Accademia della Crusca and his comment to the Tasso’s Conquistata, closing up with the period of his imprisonment in the Rome’s Santo Ufficio Prison. The second and third Chapters of the last part are dedicated to the analysis of Vialardi’s political and literary work. Faithful to the literary context of the Accademia degli Umoristi, his latest contribution «AMOR SOL MERTA Amore». Among the letters of Ridolfo Campeggi to Maffeo Barberini, the revision of the poem of the Lagrime di Maria Vergine and the wonderful theatrical representation in Bologna of the Quattro elementi (Four Elements) is a distinguished piece of work that creates a literary bridge between the settings of Rome and Bologna. Key elements of this last chapter are the unpublished correspondence between Cardinal M. Barberini and the poet R. Campeggi, as well as the Bologna’s play Quattro elementi (Four Elements).
7
Said, Ana Maria. "O projeto politico-pedagogico do Teatro de Arena de São Paulo." [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252232.
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Orientador: Evaldo A. Vieira<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-07-13T21:21:13Z (GMT). No. of bitstreams: 1
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Previous issue date: 1989<br>Mestrado
8
Hackman, Julia. ""We're none of us at peace" : Creating resistance through theatre." Thesis, Försvarshögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-4501.
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This essay aims to begin to fill a potential gap in previous research when it comes to studying the political content of specific cultural practices, in this case the Freedom Theatre in Jenin. The theatre expressively refers to itself as a political theatre, calling themselves freedom fighters and places itself at the forefront of they call "cultural resistance". The creation of this cultural resistance is investigated here. This essay aims to explores, through examining the theatre's methods of practice, how cultural resistance could be transformed into political action and what problems that may hinder their political aspirations from becoming a true potential for political influence. The essay concludes that the theatre uses identity and narrative for political purposes in order to unite and strengthen the Palestinian collective identity, creating a civil resistance towards the Israeli occupation. This is however not an unproblematic process, and many of the same problems facing other nonviolent resistance movements are also present within the theatre.<br>Minor Field Studies, SIDA
9
Fonseca, Alexandre Torres. "Paulo Francis, do teatro à politica: "perdoa-me por me traíres"." Universidade Federal de Minas Gerais, 2001. http://hdl.handle.net/1843/VCSA-6UZQQ4.
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This work analyzes, with a political focus, the role of the Brazilian intellectual Paulo Francis in the period between the end of the 1950s and the beginning of the 1960s, until the military coup of 1964. Paulo Francis had a daily column in a major Brazilian newspaper, the Última Hora. First the concept of what it means to be an intellectual is discussed. Then Paulo Francis is shown as an intellectual during three different historical periods. First, at the beginning of his career as a journalist while working as a theater critic he built a cultural model to be followed and also influenced a change in the Brazilian theater scene. During the second period, after his success as a play reviewer, Francis tries to apply the same model to politics with poor results both for himself and for Brazil. We then consider how Francis showed disdain for democratic values, and we examine the pernicious influence of capital on the editorial line of Última Hora, and apparently, also on Francis as a columnist. Finally, we endeavor to show that while writing his memoirs from the 1950s and 1960s Francis twisted some historical facts. The objective of the distortion of reality was to paint with lighter colors his own actions and the action of his leftist-leaning friends' past behavior, thus manufacturing a small part of history in his own image. KEYWORDS: Intellectuals, Paulo Francis, Última Hora, press, 1964 coup d'etat.<br>Esta dissertação analisa, dentro de um enfoque político, a atuação de um intelectual brasileiro, Paulo Francis, no final dos anos 50 e início dos 60, especificamente até o Golpe de 1964. Um intelectual que escrevia diariamente em um jornal da grande imprensa, o Última Hora. É feita inicialmente uma discussão sobre o que é um intelectual. Depois, mostram-se três momentos da atuação do intelectual Paulo Francis. No primeiro, apresenta-se o começo da sua carreira como jornalista que, como crítico teatral, ergueu um modelo cultural a ser seguido e por meio da crítica conseguiu influir com sucesso na mudança do panorama teatral brasileiro. Em um segundo momento, demonstra-se como, após o sucesso com a crítica teatral, Francis tentou aplicar o mesmo modelo à política, com resultados muito pouco satisfatórios para ele e para o Brasil. Aponta-se ainda o descaso deste intelectual com a defesa das liberdades democráticas, e a influência negativa de interesses econômicos-financeiros na linha do jornal Última Hora e, aparentemente, também na atuação de Paulo Francis. Por fim, busca-se apontar como Francis, ao construir uma memória desses anos 50/60, distorceu alguns fatos. Essa tentativa teria como finalidade amenizar, ou mesmo desvirtuar, o seu comportamento e de seus companheiros de esquerda, tentando criar um novo passado que os redimiria de seus erros e enganos. Com isso, ele acabou por ajudar na criação de um lugar de memória.
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Rodríguez, Morales Verónica. "Globalisation in David Greig’s Theatre Space, Ethics and the Spectator." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401097.
Full textAbstract:
The present PhD thesis, entitled “Globalisation in David Greig’s Theatre: Space, Ethics and the Spectator”, aims to contribute to the field of contemporary British drama and theatre studies in the form of an extended monographic study of Greig’s theatre and globalisation with a particular focus on a triad of elements: space, ethics and the spectator. The thesis’s corpus spans two decades, from the 1990s to the present time. It examines Europe (1994), One Way Street (1995) [both under “Europe Plays”], The Architect (1996), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (1999) [both under “Vertical Plays”], Outlying Islands (2002), San Diego (2003) [both under “Bird Plays”], The American Pilot (2005), Damascus (2007) [both under “Encounter Plays”], Fragile (2011) and The Events (2013) [both under “Here Plays”], all of which are seen as prominently responding to globalisation.
After articulating globalisation by drawing mainly on David Harvey, Zygmunt Bauman and Jean-Luc Nancy, the theoretical and methodological framework focuses on positioning Greig’s work in the context of contemporary British political theatre. Critical theories drawn from ethics (Emmanuel Levinas, Judith Butler), aesthetics (Nicolas Bourriaud, Claire Bishop, Jacques Rancière) and affect studies (Gilles Deleuze) are deployed in order to trace and attempt to explain the woundedness and porousness that characterises it. More specifically, the thesis lays out a theory of crosspollination between aesthetics, ethics and politics in order to address the co-work between world, playwright and play in Greig’s theatre, and uses affect theories in order to examine the transformative loop not just between world, playwright and plays, but also the spectator and the world-to- be-created (Nancy). It is claimed that by means of a complex experimentation with space, Greig’s plays represent all the above-named elements, including the spectator, as ‘holed’.
This produces a sense of ‘aesthethic’ confounding and bleeding across that ultimately articulates the idea of an urgently interconnected ‘here’.
Thus, Europe blurs the borders between two Europes (old and new), immigrants and locals, financial elites and economic pariahs, among others. One Way Street focuses on walking and destabilises space-times in several multivalent ways. The Architect engages with architectures of power, which eventually explode to reveal, perhaps, a new spatial understanding. Cosmonaut ingrains urban and outer spaces in an above-below dialectics wherein characters, despite communication failures, are able to reach out of themselves horizontally. Outlying Islands continues delving into the idea of ‘here’ through bird trajectories and the play’s insistence on the pervasiveness of water and the fluidity of watching acts. San Diego stitches up the whole globe, so that impossible connections are disclosed between supposedly distant occurrences. The American Pilot probes the concept of ‘here’ further through an emphasis on the space of the stage, where the entire cast remain visible throughout the performance. Gaining confidence in the power of both story and theatricality, Damascus acknowledges the presence of both performers and spectators through the use of music on stage, story-telling devices and a character that, by always being ‘here’, connects the worlds of the play and the spectator and the one ‘outside’. Fragile manages to render separate locations as one single space via Jack transcorporeally evoking all bodies and spaces and Caroline’s/the audience’s becoming part of that through the unusual conversation she/they establish(es) with Jack. Finally, The Events highlights ‘here’ via the highly a/effective strategy of having real local choirs participate in each performance so as to compellingly put forward the idea that events (albeit unevenly) always happen to all of us, in this cracked globe.
The thesis concludes by confirming that Greig’s theatre does indeed respond to globalisation ‘aesthethically’, that is, by engaging with complex articulations of space that
underline ethical questions by repeatedly and multifariously infusing the spectator with a sense of our irrepressible interconnectedness and co-responsibility.<br>El objetivo principal de la presente tesis, titulada “Globalisation in David Greig’s Theatre: Space, Ethics and the Spectator”, consiste en llevar a cabo un extenso estudio monográfico de la dramaturgia de David Greig y su imbricación con el fenómeno de la globalización, poniendo un énfasis particular en cuestiones de espacio, ética y espectador. El corpus de este estudio engloba aproximadamente dos décadas, desde los años 1990 hasta el momento actual. Específicamente, las obras estudiadas en relación al tema delineado son Europe (1994), One Way Street (1995) [ambas en la parte titulada “Europe Plays”], The Architect (1996), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (1999) [ambas en la parte titulada “Vertical Plays”], Outlying Islands (2002), San Diego (2003) [ambas en la parte titulada “Bird Plays”], The American Pilot (2005), Damascus (2007) [ambas en la parte titulada “Encounter Plays”], Fragile (2011) y The Events (2013) [ambas en la parte titulada “Here Plays”].
Tras introducir la globalización de la mano de David Harvey, Zygmunt Bauman y Jean-Luc Nancy, el marco teórico-metodológico se centra en posicionar el trabajo de Greig en el contexto del teatro británico contemporáneo de corte político a través de la utilización de enfoques crítico-teóricos provenientes tanto de corrientes éticas (Emmanuel Levinas, Judith Butler) y estéticas (Nicolas Bourriaud, Claire Bishop, Jacques Rancière) como de estudios de afecto (Gilles Delleuze) que permiten enmarcar de un modo adecuado la forma dañada y porosa que revelan las obras de Greig. Se trata no tan solo de explicar la entrada del mundo real en las obras, lo cual provoca rupturas en su forma, sino también de examinar y explicar la retroalimentación que se produce entre el mundo, el dramaturgo, la obra, el espectador y, de nuevo, el mundo, en un movimiento afectivo circular que puede, potencialmente, conducir a la creación de ese mundo en el sentido que le da Nancy.
La conclusión principal del trabajo apunta a que el teatro de Greig responde a la realidad de la globalización mediante complejas articulaciones del espacio que subrayan cuestiones éticas, dado que sugieren continuamente al espectador la profunda interconexión que nos une y nos hace corresponsables.
11
Geipel, Andrea [Verfasser], Jan-Hendrik [Akademischer Betreuer] Passoth, Massimiano [Gutachter] Bucchi, Jan-Hendrik [Gutachter] Passoth, Sabine [Gutachter], and Maasen [Gutachter]. ""Don't Act Like a Teacher" - How Science YouTubers become Experts / Andrea Geipel ; Gutachter: Massimiano Bucchi, Jan-Hendrik Passoth, Sabine, Maasen ; Betreuer: Jan-Hendrik Passoth." München : Universitätsbibliothek der TU München, 2021. http://d-nb.info/1230552812/34.
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Cardoso, Letícia Conceição Martins. "O TEATRO DO PODER: Cultura e Política no Maranhão." Universidade Federal do Maranhão, 2008. http://tedebc.ufma.br:8080/jspui/handle/tede/612.
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Previous issue date: 2008-03-25<br>FUNDAÇÃO DE AMPARO À PESQUISA E AO DESENVOLVIMENTO CIENTIFICO E TECNOLÓGICO DO MARANHÃO<br>Analysis of the cultural management of the governments of Roseana Sarney in Maranhão
(1995-1998/1999-2001), designed by Maranhão Culture Secretary (SECMA) and
Maranhão Culture Foundation (FUNCMA). It s searched to identify the field of cultural
relations between actors and the State, taking as reference the speeches of those actors
through interviews, analysis of the Activities Reports of SECMA/FUNCMA and reports in
local newspapers. The Government of Roseana Sarney is located on the discussion of
culture public policy in Brazil and a study about the culture state policies in the country
which manufactured national symbols until José Sarney government as President of Brazil
(1985 -1980), when was created the first Law of the Encouragement Culture (Sarney Law).
It s observed that in the first time of the cultural management of Roseana Sarney (1995-
1997) a conception of culture identified with the heritage was predominated. And, in a
second time (1998-2001), state interventions focused on a concept of popular culture . In
both moments theatrical strategies are created, leading to a symbolic capital accumulation
on the protagonist: the governor. But the cultural actors are active subjects in this play,
also creating their visibility strategies. Thus, power dispute is developed through stage of
power acts. In this context, the media is an important scene for the acquisition of symbolic
power and can serve both as a group or another. The intention, therefore, is to explain how
the relations between the State and culture are established; to know what strategies are
used, why and by whom are developed, trying to identify if these relations can be
considered a public policy of culture.<br>Análise sobre a gestão cultural dos Governos de Roseana Sarney no Maranhão (1995-
1998/1999-2001), concebida pela Secretaria de Estado da Cultura do Maranhão (SECMA)
e pela Fundação Cultural do Maranhão (FUNCMA). Busca-se identificar o campo de
relações entre atores culturais e o Estado, tomando como referência os discursos desses
atores, através de entrevistas, da análise dos Relatórios de Atividades da
SECMA/FUNCMA e notícias veiculadas em jornais locais. Para situar o Governo de
Roseana Sarney na discussão sobre as políticas públicas culturais no Brasil, constrói-se
uma trajetória das políticas estatais de cultura no país, que tenderam à fabricação de
símbolos nacionais, até o Governo de José Sarney na Presidência da República (1985-
1980), quando foi criada a primeira Lei de Incentivo à Cultura (Lei Sarney). Observa-se
que na primeira fase da gestão cultural de Roseana Sarney (1995-1997), predominou uma
concepção de cultura identificada com o patrimônio . E, na segunda fase (1998-2001), as
intervenções estatais concentraram-se naquilo que o órgão de cultura concebeu como uma
cultura popular . Percebe-se que nos dois momentos são criadas estratégias teatrais, que
levam a um acúmulo de capital simbólico na figura de uma protagonista: a governante.
Mas os atores culturais são sujeitos ativos nessa encenação, criando também suas
estratégias de visibilidade. Assim, a disputa pelo poder se desenvolve por meio da
teatralização dos atos de poder. Neste contexto, a mídia constitui um cenário importante
para a aquisição de poder simbólico, podendo servir tanto a um grupo como a outro. A
intenção, portanto, é explicar como são estabelecidas as relações da cultura com o Estado;
saber que estratégias são usadas, por que e por quem são desenvolvidas, tentando
identificar em que medida essas relações constituem uma política pública de cultura.
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Hallström, Camilla, and Nina Tegar. "Skolan i Dagens Nyheter : Specialpedagogik, politiska intentioner och mediaspråk - en textanalys." Thesis, Stockholm University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8182.
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<p>Vårt examensarbete skrivs inom specialpedagogik som fördjupningsspecialisering, därför ligger fokus på specialpedagogik som verksamhetsfält, diskurs och som synsätt.</p><p>I Sveriges största morgontidning Dagens Nyheter har det länge förts en livfull diskussion angående skolan och dess aktörer. De flesta människor har någon koppling till skolan och därför också åsikter om verksamheten. Blivande lärare får ibland anstränga sig för att inte tappa fokus inför olika viljeyttringar. I det skenet är det viktigt att studera debatten närmare för att se vad som skrivs och inte skrivs.</p><p>Syftet med uppsatsen är att granska dagens samhällsdebatt angående skolan, företrädesvis specialpedagogiken, i Dagens Nyheter, liksom att relatera debatten till tidigare forskning om skolans verksamhet.</p><p>Det empiriska materialet utgörs av ett antal artiklar från Dagens Nyheters avdelningar DN Debatt och Insidan. Utifrån dessa har en textanalys gjorts med inspiration från bland annat diskursanalys men även en hermeneutiskt tolkande ansats ligger till grund för uppsatsen.</p><p>Resultatet visar att specialpedagogikens verksamhet är ett oprioriterat område, istället fungerar de politiska och mediala arenorna som slagfält där ordet maktkamp väger tyngre.</p>
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Jonsson, Fanny, and Sarah Svensson. "Läroplanen som politisk styrning : En idéanalys och intervjustudie av begreppet undervisning i relation till förskolan." Thesis, Södertörns högskola, Lärarutbildningen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35391.
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The aim of the thesis is to find how far the curriculum, used as a tool for political governance, reaches, in particular the preschool teachers and the preschool principal. The authors of this thesis aim to investigate if a certain identity of a teacheris considered desirablein the curriculum. With the curriculum ́s concept of teaching set as a starting platform, in relation to the teacher’s perception of the concept teaching, investigations are made to find out about the attitude towards the concept. The issue of the thesis is: How is the concept teaching described in the proposal for the new curriculum for preschools? What kind of attributes to a teacher is considered desirable, with the new curriculum? What notions and attitudes do the teachers have, towards the new concept of teachingin preschools? This thesis was made, using a qualitative method. Interviews have been made with the preschool principal and the preschool teachers, for the purpose of understanding and interpret their beliefs regarding the concept teaching. Analyses and interpretations have been undertaken about how the concept teaching is described in the new curriculum, for this purpose an idea analysis was used. The theoretical terms used in this thesis are Wahlström ́s definition of reform and makt (reform and power). Lidensjö and Lundgren ́s definition of styrbarhet and ostyrbarhet (ability to perform political governance and inability to perform political governance). Jan Morawskis definition of kontroll and frihet (control and freedom). These definitions give an enhanced understanding for the efficiency of the new reform in terms of reaching the targeted audience; the teachers. The result of the thesis indicates that the new curriculum is unclear when showing how the aim of the teaching will be achieved. Neither is it stated, what kind of conditions the teacher can claim to fulfill the mission of teaching, or how the task can be distributed within teacher work groups. The perception of the ideal teacher identity, when considering the curriculum includes, a flexible, subject knowledgeable and democratic leader. The descriptions of the concept teaching, taken from the interviews were not consistent. The concept was thought of as elevating the status of the profession but was at the same time considered firmly connected to school. The concept seemed lacking accuracy in the curriculum of both the preschool principal and the teachers, to affect the daily teaching.
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BESIA, VALENTINA. "Il Tricolore alla ribalta. Teatro drammatico e politica nel Risorgimento tra Italia e Francia." Doctoral thesis, Urbino, 2018. http://hdl.handle.net/11576/2662490.
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Cain, Christine Lee. "Literacy, politics and power in California classrooms: Media, journalist, and educator ideologies." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/279934.
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This study is a form of professional explanation about language and the political dimensions of education reform, examined through sociocognitive orientations to individual and collective identity. Common signifiers among modes and content of literacy explanations were distilled from media and statist texts, especially the Los Angeles Times' Reading by 9 and Reading series, and 12 educator and six journalist semi-structured interviews. Classrooms and newsrooms were seen as political spaces in terms of identities and beliefs "underpin[ning] fundamental social institutions" through "cultural conceptions about language attitudes, standards, [and] hegemony." Participant literacy explanations developed three linchpins, or "feature clusters," recursively signifying orientations to particular sets of social relations. All six journalists concurred with the Los Angeles Times' proposition that reading by age nine in English leads to "success." Seven educators expressed "counter hegemony" comprising the status possibilities arising from student access to critical (powerful) literacy. Increasingly complex relationships among cognition and speech were entailed in the second and third linchpins. Six journalists and nine of twelve educators constructed a naturalized social/educational order where the privileged retain and pass on their status through "the freedom" to speak only English, the freedom to associate with those having similar test scores, and the freedom of the press to promote a semi-religious literacy crusade. Language and culture minority participants' (three educators and one journalist) discourse implicated subaltern language-sensitive social/educational identity constructions as the third linchpin. From powerful cognitive mechanisms as feature clustering, language itself was turned into a battlefield. Tolerance for a demonized Other was paradoxically advocated while advancing educational policies and processes that marginalized educator and parent attempts to question. Los Angeles Times' reading reform texts conflating social pathologies with literacy in crisis masked reproduction of stratified literacy in which only the "winners" in the economy have the right to critique. To transform increasingly narrow constructions of educators' and others' intellectual and material freedom, recommendations focus on continuing and expanding a principled, critical approach for (1) disengaging literacy from stratified status and paternalistic nationhood; (2) re-engaging literacy with autonomous personhood and agency.
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Brashier, Rachel Nicole. "Identity Politics and Politics of Identity| A Semiotic Approach to the Negotiation and Contestation of Music Teacher Identity among Early Career Music Teachers." Thesis, University of Rochester, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978840.
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<p> In this dissertation, I addressed early career music teacher identity as it relates to d/Discourse in the narratives of three second-year teachers. I drew on existing narrative research in the field of music education (Barrett & Stauffer, 2006, 2009; Bresler, 2006; McCarthy, 2007). I used Critical Discourse Analysis (CDA; Gee, 1990; Fairclough, 1992, 2012; Wodak, 1996) to identify the three main themes that emerged from data: (1) Official Expectations, (2) Encountering Music Teaching, and (3) Negotiation and Contestation. I then overlaid the Irvine and Gal (2000) model of language ideology onto the three themes drawn from data. This model is comprised of three linguistic processes: Iconicity, Recursivity, and Erasure. Finally, I discussed the process of how music teacher identity co-construction operates within the context of both <i> identity politics</i> and <i>the politics of identity</i>. I used these concepts to propose a possible explanation for how music teacher identity co-construction is affected by how d/Discourse flows through the socio-linguistic domain.</p><p>
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Kanyane, C. M. B. "The politics of resistance in the implementation of integrated quality management system." Pretoria : [s.n.], 2010. http://upetd.up.ac.za/thesis/available/etd-04062010-154900.
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Godoi, Rodrigo Camargo de 1980. "Entre comedias e contos = a formação do ficcionista Machado de Assis (1856-1866)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270265.
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Orientador: Jefferson Cano<br>Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-15T08:22:45Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Este estudo investiga, por meio de uma perspectiva histórica, os anos de formação do ficcionista Machado de Assis que, seguramente impelido pelo grande sucesso da estética teatral realista entre a jovem intelectualidade fluminense, a época reunida em torno do Teatro Ginásio Dramático, primeiro experimentou expressar-se por intermédio do teatro. Assim sendo, serão analisados neste trabalho, além de suas comédias, seus escritos críticos, suas traduções/imitações dramáticas, bem como sua atuação como censor do Conservatório Dramático Brasileiro. Contudo, a partir dos sinais patentes de enfraquecimento da "escola realista" frente à emergência dos gêneros teatrais ligeiros e musicados e da pouco calorosa recepção crítica de suas comédias encenadas, observaremos como Machado de Assis é impelido a traçar novos rumos para seu projeto literário, intensificando a produção de seus primeiros contos. Mas, comédia ou conto, a ficção machadiana deste período é profundamente marcada pelos princípios políticos liberais visivelmente presentes em sua produção jornalística<br>Abstract: This study investigates, through a historical perspective, the Machado de Assis' years of formation. Surely impelled for the great success of the realistic theater between the young intellectuality of Rio de Janeiro, by that time congregated around the Teatro Ginásio Dramático, he also tried to express itself by the stage. Thus, the objects of this work, beyond Machado's comedies, will be his critical writings, his translations and imitations of French comedies, as well as his performance as censor of the Conservatório Dramático Brasileiro. However, from the signals of weakness of the "realistic school" in front of the great success of popular sorts of theater and the disappointing reception of his staged comedies, we could observe how Machado de Assis will be impelled to trace new routes for his literary project, intensifying the writing of short-stories. But, comedy or short-story, the Machado's fiction of that period was deeply marked by politics principles, those evident mainly on his journalistic writings<br>Mestrado<br>Literatura Brasileira<br>Mestre em Teoria e História Literária
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Ulian, Eduardo Salles. "Teatro e transformações sociais: arte e política semeando a cena periférica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-30112016-131639/.
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A arte é resultado do desenvolvimento histórico-social e sempre esteve ligada às transformações sociais de modo geral. Compreender esse processo de formação e seus desdobramentos é de fundamental importância para entender como e quais os caminhos a arte dramática tem trilhado em cada tempo histórico. E mais, como essas mudanças tem, de certa forma, impulsionado novas formas de expressão em um contexto internacional marcado pelo aprofundamento das políticas neoliberais, os avanços da chamada globalização e a consecutiva disputa por discursos e espaços de representação a partir das periferias. Dentre esses grupos protagonistas que lutam por reconhecimento, o movimento teatral tem se posicionado de maneira contundente na busca por espaços e afirmação das identidades periféricas. No entanto, o teatro em comunidade tem suscitado grandes interesses, em especial, na América Latina onde tem ampliado as perspectivas dos grupos e coletivos teatrais e das comunidades a partir da ideia de empoderamento, da justiça social e do trabalho em rede. É a partir desse universo, do desenvolvimento histórico-social do teatro, suas transformações e a consecutiva apropriação dos grupos das regiões periféricas das cidades diante de uma prática denominada teatro em comunidade que nos debruçamos para tentar explicar o importante caráter desse trabalho realizado nas periferias das cidades da América Latina. Direcionando esse olhar para a periferia da Cidade de São Paulo, no bairro Cidade Tiradentes para o grupo Pombas Urbanas, suas histórias e suas ações, procurou-se apresentar, ao longo desse processo, as transformações significativas que ocorreram na forma-teatro ao longo de sua trajetória, os possíveis desdobramentos na busca por uma concepção estética até o surgimento da prática de Teatro em Comunidade. O contato do Pombas Urbanas com essa prática e os resultados obtidos nos últimos anos, tendo como ponto de partida uma contextualização radical à luz das teorias dos Estudos Culturais e do pensamento crítico latino-americano, buscou-se compreender de que forma a atuação na periferia, a partir da prática de teatro em comunidade, pode operar transformações sociais significativas<br>The art is the result of historical and social development, overall it has always been combined to the social transformations, especially the theater and its expression forms. Understand this process of formation and itself unfoldings, is essential to understand, how and what are the ways the dramatic art, which pursued in each historic time and how these changes have impelled new expression forms somehow, tightly in an international context marked by deepening of neoliberal politics, the advances of the named globalization and its consecutive dispute for speeches and space of performance from the peripheries. Amongst these protagonists groups which fight for acknowledgement, the theatrical movement has placed itself in a bruising way seeking out acknowledgement spaces and affirmation of the peripherical identities. Many are the proposals of artistic groups, however, the theater practice in community which presupposes to build and conceive a space that valorize the social, the reinsertion, the team labor, the communal practice and the social justice have raised large interests, specially, on Latin American groups, because have increased the perspectives of groups from empowerment idea and networking labor. From this sphere, the historic and social development of theater, its transformations and the consecutive appropriation of the groups from peripherical regions, from towns before a practice denominated theater in community that we lean over trying to explain the important character of this labor accomplished on towns peripheries in Latin American, to direct this sight to the São Paulo City periphery, in Cidade Tiradentes district for Pombas Urbanas Group, its history and actions, seeking out to perform along this process the significant transformations occurred on theater shape along the history, the possible unfoldings, seeking out for aesthetics concept until the appearance of the theater in community practice; the Pombas Urbanas touch to this practice and the results obtained in last years, as of a radical contextualization lightened of Cultural Studies Theories and the Latin American critic thought, seeking out to understand how the peripherical perfoming can make significant social transformations from theater in community practice
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GENÚ, Luiz Felipe Batista. "O Teatro de Cultura Popular em três atos: articulações entre o teatro e a política em Pernambuco (1960-1964)." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/19421.
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Previous issue date: 2016-06-08<br>FACEPE<br>Tomando como ponto de partida a ideia de que a cultura e a política estão ligadas de muitas
maneiras, o presente trabalho teve por objetivo investigar a relação entre o teatro e a política
em Pernambuco, durante o primeiro quatriênio da década de 1960. Para isto, selecionamos
como referencial de pesquisa a trajetória do Teatro de Cultura Popular (TCP). Grupo teatral
pertencente ao Movimento de Cultura Popular do Recife (MCP), o TCP estava ligado às
forças progressistas e de esquerda que apoiaram as gestões de Miguel Arraes como prefeito
do Recife (1960-1962) e, em seguida, como governador de Pernambuco (1963-1964).
Iniciamos nossa narrativa pelo mapeamento das articulações entre intelectuais e artistas locais
com as referidas forças políticas – aliança que proporcionou a existência do MCP/TCP. Em
seguida, baseados nas reflexões do sociólogo Pierre Bourdieu, nos voltamos para os efeitos
sobre o campo teatral do Recife da fundação do Teatro de Cultura Popular e de sua prática
teatral, que se propunha a explorar manifestações culturais populares e a tratar de temáticas
como o latifúndio, a exploração sofrida pelo camponês e pelo operário e o analfabetismo. Por
fim, investigamos as construções de sentido urdidas em torno do TCP tendo como base a sua
recepção por membros do campo teatral, da imprensa, de órgãos de segurança pública locais e
por funcionários dos Estados Unidos da América. Igualmente, procuramos esclarecer as
implicações relacionadas ao golpe civil-militar de 1964 para os membros do Teatro de Cultura
Popular.<br>Taking as its starting point the idea that culture and politics are linked in many ways, this
study aims to investigate the relationship between theater and politics in Pernambuco during
the first four years of the 1960s. Thus, we have selected as a benchmark for research the
trajectory of the Teatro de Cultura Popular (TCP). A theater group that was part of the
Movimento de Cultura Popular (MCP), the TCP was linked to the progressive and leftist
forces that supported the administrations of Miguel Arraes as mayor of Recife (1960-1962)
and then governor of Pernambuco (1963-1964). We begin our narrative by mapping the
connections between intellectuals and local artists and those political forces - an alliance that
led to the existence of the MCP/TCP. Then, based on the reflections of sociologist Pierre
Bourdieu, we turn to the effects of the foundation of the TCP and its theatrical practice –
which aimed to explore expressions of popular culture while also dealing with issues such as
land ownership, exploitation of peasants and blue-collar workers, and illiteracy – over
Recife’s theatrical field. Finally, we investigate the construction of meaning around the TCP
by members of the theatrical field, the press, local public security departments, and officials
of the United States. Also, we try to clarify the implications of the 1964 civil-military coup
for members of the Teatro de Cultura Popular.
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Orozco, Lourdes. "El impacto de la politica teatral en el teatro de la ciudad de Barcelona (1980-2000)." Thesis, Durham University, 2004. http://etheses.dur.ac.uk/3099/.
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This thesis analyses the impact of cultural policy-making in the theatre of Barcelona between 1980 and 2000. It investigates the extent to which cultural policy implemented by governmental bodies has shaped the theatrical landscape of the city, and considers whether these institutions have had a positive role in the development of the city’s theatrical life in this period, or whether their impact should be perceived as political intervention, prejudicing principles such as artistic freedom. The three main institutions that have an effect on the city's cultural sphere (the regional government, the provincial authority and Barcelona City council) are examined in terms of the aims of their policies in relation to theatre and the interaction between them, focusing particularly on issues such as national identity, linguistic policy and the relationship between the public and private sectors. Special attention has been devoted to the development of flagship projects set up during this period (the Teatre Nacional de Catalunya and the Ciutat del Teatre). The study shows that the institutions' cultural programmes have been moulded by specific political agendas and have influenced all areas of theatrical activity, both those managed or controlled by public bodies and in the private sector. The second part of the thesis identifies the specific impact on various aspects of the production of theatre in the city, focusing on theatre companies, playwrights, the private sector, theatre spaces and audiences. Finally, the study concludes that, on the whole, governmental bodies have had a major impact in the development of Barcelona's theatrical life. Nevertheless, this influence has not made use of the city's natural theatrical resources (creativity, infrastructure and high audience numbers); instead, the institutions have developed their own projects and politicised existing ones in order to exert control over the city's theatrical system.
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Zavagnin, Anthony Joseph. "Politics in the classroom: teacher political disclosure and the decision-making of secondary social studies teachers." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12695.
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Thesis (Ed.D.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>Social studies teachers face a dilemma when addressing controversial issues in the classroom. Research supports the incorporation of controversial issues into the social studies curriculum as a means of encouraging authentic debate and deliberation among students. While research supports student engagement with controversial issues, the literature is far from consistent as to the role that teachers should play during these lessons. An important question remains unresolved: should teachers divulge their personal opinions to students when teaching lessons involving controversial issues? To examine disclosure, this study asks what underlies teacher decision-making regarding teacher disclosure of personal political beliefs during social studies lessons that involve controversial issues. This multiple case study interviewed twenty secondary social studies teachers across seven suburban schools about how they made disclosure decisions.
15 of the 20 teachers in this study practiced some form of teacher disclosure. For the majority of teachers, disclosure depended upon contextual factors that included the age of students, personal connection to the topic, perceptions of the school and greater community, and the nature of the topic under discussion. While the teachers in this study discussed many factors that guided classroom practice, the most prominent factor involved personal understandings of the appropriate role of the teacher during class lessons.
This study involved teachers with a variety of teaching experiences, and found that teaching experience had relatively little impact on how teachers practiced disclosure. Teachers also provided best practice recommendations involving disclosure. Those who did practice disclosure recommended that teachers share their personal beliefs when the topic related to the curriculum, and towards the end of the class lesson. Participants also believed that teachers should balance controversial issues and expressly covey their beliefs to students so that there is no confusion between the teacher's personal beliefs and the curriculum. This study concluded that instead of a focus on whether teachers should practice disclosure, the conversation should shift to how teachers should practice disclosure based on the best practice recommendations voiced by participants.
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Botelho, Letícia Olano Morgantti Salustiano. "Engajamento e refuncionalização social do teatro: um debate entre Benjamin e Brecht." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-13072018-130157/.
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Este trabalho pretende reconstituir o debate entre Benjamin e Brecht durante a década de 1930 em torno da relação entre recursos formais e engajamento político na produção teatral brechtiana do período do fim da República de Weimar. Para isto, realizaremos um estudo de textos e montagens de determinadas peças, buscando trazer à tona, então, questões presentes nos comentários teóricos e interpretações realizadas pelos autores. O percurso deste trabalho divide-se em quatro partes. Primeiramente, nas duas partes iniciais, trataremos da crítica de Brecht à instituição teatral em seu teor ideológico e do início do desenvolvimento de seu projeto de refuncionalização social do aparelho produtivo teatral, bem como do papel da técnica neste contexto, valorizado por Benjamin. Para isso, realizaremos, inicialmente, uma reconstituição do panorama estético-político do período histórico e trataremos dos experimentos com A Ópera dos Três Vinténs e Ascensão e Queda da Cidade de Mahagonny. Em seguida, voltaremo-nos à peça radiofônica e ao Processo dos Três Vinténs, assim como, buscando aprofundar-nos na peça de aprendizagem, analisaremos o caso da peça A Medida. Em uma terceira parte, realizaremos um estudo da peça Um Homem é um homem, central para tal debate e tomada por Benjamin como modelo do teatro épico. Por fim, abordaremos o debate dos autores acerca da parábola em Kafka, a ser confrontada, então, com o trabalho brechtiano com a parábola. Pretende-se mostrar que se há, nas primeiras partes mencionadas, uma grande aproximação das perspectivas dos autores, nas duas últimas partes deste trabalho surgem, sobretudo em torno de uma tensão, de um conflito de compreensões entre a esfera gestual e a forma da parábola, diferentes interpretações do potencial crítico e da efetividade política do teatro épico. As divergências relacionam-se, em última instância, a diferentes compreensões dos vínculos entre arte e política, bem como a diferentes noções de dialética.<br>This work aims to reconstruct the debate between Benjamin and Brecht in the 1930\'s on the relation between formal resources and political engagement in Brecht\'s theatre works during the end of the Weimar Republic. To achieve so we will carry out a study of texts and staging of plays, with a view to surface then issues present in theoretical comments and interpretations by the authors. The path followed by this work is divided in four parts. In the first two parts we will deal with Brecht\'s critique to theatre as institution in its ideological content and with the beginning of the development of his project for social \"refunctioning\" of the theatrical production apparatus, in addition to the role of technique within this context, which is valued by Benjamin. In order to do so we will firstly reconstruct the aesthetical and political panorama of the historical period and consider the experiments with The Threepenny Opera and Rise and Fall of the City of Mahagonny. Subsequently, we will focus on the radio play and on The Threepenny Lawsuit, as well as on his \"learning play\" The Measures Taken. On a third part we will study the play Man equals Man, capital to such debate and understood by Benjamin as \"a model for epic theatre\". Finally, we will tackle the author debate as regards the use of parables by Kafka, which is to be compared to the use of parables by Brecht himself. It is intended to show that if at first there is a great approach of the authors\' prospects, in the last two parts of this work, different interpretations of the critical potential and the political effectiveness of epic theatre appear, especially around a tension, linked to a conflict of understandings between the gestural sphere and the form of the parable. The divergences are related, ultimately, to the different understandings of links between art and politics, as well as to the different notions of dialectics.
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Teitle, Jennifer Rebecca. "Theorizing hang out: unstructured youth programs and the politics of representation." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2998.
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While many adolescents list unstructured "hangout" spaces as central to their social lives and activities, the availability of such spaces has dramatically declined in the last two decades, and attendance at afterschool programs has increased. Concurrently, these programs have drawn new scrutiny: from researchers eager to show their educational value, and from funders and policy makers seeking measureable evidence of that value. Even youth centers that were deliberately designed to give young people a space to "hang out" have been forced to reorganize due to the pressure to demonstrate program results. In this dissertation, through participant-observation, archival documents, and interviews with youth workers and young people, the author investigates and critiques the complex politics of representation in the funding, research, and day-to-day existence of one unstructured youth program, the Youth Action Alliance's offering known simply as Hang Out. Rather than producing a unified picture of Hang Out, the author takes a non-dialectic approach, using poststructuralist and posthuman theory to propose multiple plausible and powerful perspectives, and to explore their productive tensions with one another.
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Kon, Artur Sartori. "Da teatrocracia: estética e política do teatro paulistano contemporâneo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-18012016-135022/.
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O trabalho visa investigar certa produção teatral realizada em São Paulo desde 2009, ou seja, depois do que foi visto como um esgotamento do ciclo de politização da cena paulistana começado com o Movimento Arte Contra a Barbárie na década de 90. Ao mesmo tempo continuando e criticando certo teatro político de moldes brechtianos, as peças aqui analisadas se caracterizam pela autorreflexão cênica, pelo questionamento do teatro dramático e textocêntrico e pelo confronto com o fracasso das vanguardas políticas e artísticas. Na tentativa de compreensão crítica da relação entre estética e política nesse recorte do atual teatro paulistano, busca-se aqui promover o embate entre essas obras e as formulações teóricas de Jacques Rancière, Theodor Adorno, Hans-Thies Lehmann e outros pensadores que localizam e discutem um sentido político da arte para além do engajamento.<br>This work attempts to investigate a certain theatrical body of works created in São Paulo since 2009, that is, after what was seen as an exhaustion of the cycle of politicization of the stage that began with Movimento Arte Contra a Barbárie (Art Against Barbarism Movement) in the nineties. Establishing simultaneously a continuation and a critique of a certain political theatre of Brechtian influence, the works here analysed are characterized by their scenic self-reflection, by the questioning of dramatic and text-centered theatre, and by the confrontation with the political and artistic avant-gardes failure. In the endeavour to comprehend critically the relationship between aesthetics and politics in this frame of contemporary plays, we try to promote the debate between these works and theoretical formulations by Jacques Rancière, Theodor Adorno, Hans-Thies Lehmann and other thinkers who localize and discuss a political sense in art beyond engagement.
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Carneiro, Alexandre Soares 1963. "A cena admoestatoria : Gil Vicente e a poesia politica de corte na baixa idade media." [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269893.
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Orientador: Antonio Alcir B. Pecora<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-07-22T15:45:05Z (GMT). No. of bitstreams: 1
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Previous issue date: 1997<br>Resumo: O objetivo deste trabalho é evidenciar o modo de constituição de significados políticos de uma vertente ainda pouco estudada da obra de Gil Vicente. Para isto, buscamos rastrear os modelos de composição da poesia política de fim da Idade Média, implicados no quadro mais amplo e complexo da civilização de corte. Foi recuperando elementos deste âmbito mais extenso - desta Cultura do Poder à qual originalmente aquele conjunto de obras se integrava - que procuramos tornar manifesto o modo como um conjunto de textos vicentinos adquire um sentido político particular. Pois, tal como tantos outros autores do período, Gil Vicente construiu uma obra em que a problemática da instituição monárquica esteve presente de maneira vital. Esta vitalidade só pode ser apreciada se considerarmos as referências
de que se nutriu, mediata ou imediatamente: por um lado, mostrando a importância, na cultura do período, de uma reflexão de natureza ético-política; por outro, indicando a recuperação inventiva dos temas, modelos e lugares-comuns da poesia política da Baixa Idade Média operada pelo autor português<br>Abstract: This thesis intends to point out the constitution of political meanings in the works of Gil Vicente. For this purpose, the patterns of composition of the political poetry of the late Middle Ages, within a broader and more complex background - the Court Society - were tracked. Thus, it was possible to show how a certain group of GV's texts acquires an specific political meaning. As for several other authors of the same period, in GV's works the subject of the monarchical institution was strongly present. This presence can only be appreciated if the references underneath it are to be considered. On the one hand, they show the importance, for the culture of the period, of an ethical¬political thought. On the other hand, they indicate an inventive remaking of the temes, models and common-places of the political poetry of the late Middle Ages accomplished by the portuguese author<br>Doutorado<br>Teoria Literaria<br>Doutor em Letras
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Allwood, Charlie. "The Gran Teatre del Liceu in Catalan culture : history, representation and myth." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/7869.
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This thesis examines the position of Barcelona’s Gran Teatre del Liceu within Barcelona’s cultural lanscapeas a means of exploring its modern-day role as one of Europe’s most important opera houses. Other studies of the Liceu have provided extensive historical narratives, but have rarely considered any kind of sociological or cultural theory when analysing the theatre’s role in the city. Chapter 1 explores the Liceu in Spanish and Catalan literature and dramaturgy and questions its role as a representative of upper-class Barcelona culture, and the changes this role has undergone over the course of Spain’s transition to democracy. The Liceu’s location in the adjacent Raval district is examined in Chapter 2: the area has undergone considerable physical and demographic changes over the last decades, and the opera house’s relationship to this area and the larger Barcelona context is discussed in some detail. The third chapter contextualises the Liceu within the wider Catalan cultural panorama and examines the impact of the recession in Spain, which has greatly affected cultural spending, and consequently the theatre’s programme. This problem has been aggravated by an awkward, opaque system of management; the thesis provides examples and analysis of the difficulties the theatre experienced between 2010 and 2013. The final chapter seeks to underline the efforts of the artistic direction to make the Liceu a referent of modern European operatic productions, with three case studies of stagings that represent modern interpretations of opera by contemporary Catalan directors. These works have been chosen as representative of the Liceu’s determined modernisation of the operatic spectacle and of its commitment to local artists. The thesis aims to present a more critical view of Barcelona’s opera house that goes beyond chronological narrative and anecdote in depicting the modern-day situation of the institution and its place in the Barcelona context.
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Lahann, Randall. "Teach First's Theory of Teacher Education for Social Justice: Distributive Justice and the Politics of Progressive Neoliberalism." Thesis, Boston College, 2010. http://hdl.handle.net/2345/2929.
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Thesis advisor: Marilyn Cochran-Smith<br>In this critical ethnography I examined Teach First, the U.K. teacher education program modeled after Teach For America (TFA). Teach First described itself as "a unique business-led programme dedicated to addressing educational disadvantage by placing elite graduates in the schools that need them most" (Teach First, 2010). Teach First was thus problematically positioned at the crossroads of both neoliberal and progressive ideologies. My research addressed this problem by uncovering Teach First's theory of teacher education for social justice by applying a framework developed by Marilyn Cochran-Smith (2010) to interviews, observations, and artifacts that I collected at the 2008 Teach First Summer Institute. I then critiqued this theory using the tools of "Policy Sociology," a British research tradition that examines the political, ideological, and economic assumptions that drive education policy. My research led me to identify Teach First as a "progressive neoliberal" (Lahann and Reagan, in press) organization which is driven entirely by a theory of teacher education for social justice based on the idea of justice as distribution. This theory explains why the staff of Teach First appreciated the organization to have a mission of social justice while at the same time endorsing and promoting neoliberal policies which conflict with many theories of teacher education for social justice that draw from theories of justice as recognition<br>Thesis (PhD) — Boston College, 2010<br>Submitted to: Boston College. Lynch School of Education<br>Discipline: Teacher Education, Special Education, Curriculum and Instruction
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Ceccato, Maria. "Teatro vocacional e a apropriação da atitude épica/dialética." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-20052009-134418/.
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Este trabalho registra criticamente a experiência de implantação e coordenação do Projeto Teatro Vocacional do Departamento de Teatro da Secretaria Municipal de Cultura de São Paulo, entre os anos de 2001 e 2004. Para tanto, analisa alguns princípios de ação, abordando pressupostos teóricos e práticos. Orienta esta análise a avaliação dos fatores envolvidos na efetivação da proposta artístico-pedagógica do Projeto, principalmente no que concerne ao processo de apropriação pelos artistas vocacionados dos meios de produção estética - através da articulação do discurso cênico-, a partir de uma pedagogia emancipatória e visando a ocupação do espaço público. Nossa principal suposição é de que estes objetivos podem ser alcançados através do entendimento de uma atitude épica/dialética em relação à matéria cênica.<br>This paper critically records the experiment of implanting and coordinating the Projeto Teatro Vocacional do Departamento de Teatro da Secretaria Municipal de Cultura de São Paulo from 2001 to 2004. For that, it analyses action principles approaching theoretical and practical assumptions. This analysis is guided by the assessment of factors involved in the effectiveness of the projects artistic and pedagogical proposal, mainly in that it regards the process to be held by the called artists in the aesthetic production field through the articulation of a scenic speech from an emancipating pedagogy and aiming the occupation of the public space. It is strongly believed that these goals can be achieved through the understanding of an epic and dialectic attitude concerning the scenic topic.
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Marucci, Francesca <1980>. "I luoghi della politica - la politica dei luoghi : la topografia della comunicazione negli anni della 'Rivoluzione Romana'." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1119.
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Lo studio si concentra sulla topografia della comunicazione nel periodo della “Rivoluzione Romana” (133-31 a.C.) e verifica il valore semiotico di alcuni luoghi pubblici in cui si concentrano azioni politiche significative. A tale scopo si indagano le diverse strategie comunicative della tarda repubblica romana, associando le memorie delle fonti all’indagine sul valore culturale di quattro luoghi di Roma. Nel primo capitolo si ricostruisce la contesa politica intorno al culto, alla simbologia e al luogo dei Dioscuri (da pertinenza di una gens aristocratica a simbolo della factio popularis). L’oggetto del secondo capitolo è il tempio della Concordia: come spazio fisico (ma anche in quanto virtù politica e slogan) costituisce una dotazione permanente della factio degli optimates. Nel terzo capitolo si esaminano occasioni di interazione politica sviluppatesi in o sul teatro. La domus rostrata (IV capitolo), è indagata come elemento legittimante nell’ideologia pompeiana, un valore recepito anche dai successivi detentori della casa del Magno.<br>This dissertation focuses on the topography of communication during the “Roman revolution” (133-31 B.C.) and investigates the semiotic value of some public sites where highly significant political actions took place. The different strategies of communication at the time of the late Roman Republic are analysed by matching the memory of ancient sources to the investigation of the cultural value of four Roman sites. Chapter 1 reconstructs the political debate concerning the worship, the symbol and the site of the Dioscuri (from its association with an aristocratic gens to a symbol for the factio popularis). Chapter 2 revolves around the Temple of Concord, which constitutes as an actual place, as well as a political virtue and a slogan, a permanent endowment of the factio of the optimates. Chapter 3 examines cases of relationships developed in or on the theatre. The domus rostrata (Chapter 4) is taken as a legitimising element in the ideology of Pompeius, and one which was also appropriated by the subsequent proprietors of the house of Pompeius
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Larsson, Maria, and Anna Andersson. "Samhällskunskapsläraren: Praktikern men framförallt taktikern : En kvalitativ studie av samhällskunskapslärares förhållningssätt till kontroversiella frågor inom politik." Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-18717.
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Hur hanterar samhällskunskapslärare kontroversiella politiska frågor i undervisningen och vilka svårigheter finns det med det? Vilken roll intar läraren i klassrummet och vad har det för betydelse i fostransuppdraget enligt lärarna? Denna studie undersöker vad sex samhällskunskapslärare verksamma i Helsingborgs kommun har för förhållningssätt till kontroversiella frågor inom politik. Metoden i arbetet utgår från en kvalitativ studie där dels observationer och dels intervjuer har nyttjats med avseende att undersöka problemområdet. Flera olika komponenter har använts för att analysera resultatet av vår insamlade empiri. Slutsatsen är att lärare hanterar kontroversiella politiska frågor i undervisningssituationer på skilda sätt. Svårigheter ligger främst i att låta alla elever få uttrycka sig utan att gå utanför värdegrunden eller att kontroversiella frågor behandlas på ett sätt som någon elev upplever som kränkande. Studien visar även exempel på vilka olika roller och förhållningssätt som finns och vad de har för betydelse när en tar sig an kontroversiella frågor. Det som framgår i denna studie är att det inte finns någon konsensus i hur läraren ska vara. Avslutningsvis tyder studien på att kontroversiella politiska frågor inte bör undvikas, även om det är något som ofta anses vara komplext att ta upp i undervisningssammanhang. Detta eftersom det är en bidragande faktor till att eleverna utvecklas till förstående och goda samhällsmedborgare.<br>How do social science teachers handle controversial political issues in their teaching and how are those difficulties affecting their ways of teaching? What kind of role does the teacher adapt into while entering the classroom and what does teachers in general think of the fostering assignment that has been given to them? This study investigates what approach six social science teachers in the municipality of Helsingborg think of controversial policy issues in the classroom. The method of this study is based on a qualitative study where observations and interviews are the main sources to the following investigation in the problematic area. Several different components have been used to analyse the results of our collected empirical data. The conclusion is that teachers handle controversial political issues in their teaching situations in different ways. Difficulties mainly arises within situations where student are encouraged to unreservedly express themselves without violating anyone or when controversial issues are dealt in ways that students experiences as offensive. The survey contains examples of different roles and approaches and the effects after dealing with controversial issues. A conclusion of the survey is that there is no consensus on how the teacher should act. In assumption, the survey suggests, despite the fact that controversial political issues are often considered as a complex area in educational contexts, they are not to be avoided. This is because it is a contributing factor in the students developing process of becoming understanding and good citizens in our society.
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Jonsson, Alex. "”Jag har aldrig trott på censur och kommer aldrig att göra” : En studie om samsynen mellan lärare och elev gällande politisk objektivitet i undervisningen." Thesis, Linnéuniversitetet, Institutionen för statsvetenskap (ST), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85583.
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The Swedish educational system is based on policies such as school law, education act, regulations and the curriculum. These governing documents state that the education should be based on scientific basis and proven experience. However, a lack of education with terms such as non-objective and value free, there is room for interpretation and variety of views. There is a media debate in which different opinions are being expressed whether the teacher should remain objective or not while teaching. A topic such as social science, is interesting to research within political objectivity. How teachers perceive their professional role, maintain balance between objectivity, freedom of expression, and carefor the school’s value. Thanks to interviews with teachers at various upper secondary schools, the essay shares an insight of the teachers’ perceptions. A questionnaire survey was used to help compare how students’ perceive their teachers’ objectivity. This wasused to investigate how and if the teachers’ interpretation of the policies corresponds toreality. The interviews provided a clear consensus that the teachers consider objectivity to be self- evident in discussions of Swedish politics. However, if students’ express opinions which are not in line with the values of the Swedish school-system the teachers believe that they hold a key-role in providing moral guidance which the swedish school system provides and shield. Furthermore there is also a clear consensus in the interpretation of the teachers profession which inherently contains a zero-tolerance policy towards racism and expressions that claim people to be of different values. At the same time as the students’ education is a tool for them to be a part of the democratic system, the students should at all times be given two perspectives in the same field for their ability to create their own views and values.
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Miranda, Rita Alves. "O teatro experimental de Brecht." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11641.
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Previous issue date: 2013-10-23<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>This master s thesis aims to approach the passage of Bertolt Brecht through
the theater history and the influence of his proposal for the contemporary art. Initially,
we analyzed Brecht s criticism towards some traditional conceptions of theater and
the path taken by the author to think the crisis of drama that had settled times before.
Along the way were considered some references and possible objections from Brecht
to Aristotle and the Aristotelian model of theater. In this controversial debate, we
analyzed the references to the Greek philosopher, to clarify weather Brecht really
wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is
known that the Aristotelian model of theater was removed from the Poetics of
Aristotle and suffered different appropriations in different epochs, one of them being
the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of
bourgeois drama and realizes that it was necessary that it be revised immediately,
because the theater is no longer affecting the people, in the sense that their
willingness depended on a relationship of passivity on the part of viewers.
Facing this crisis of drama, some artists tried to reformulate it without however
succeeding. Brecht, when began his work, had knowledge of these attempts and
facing their failures, the goal was to make theater inaugurate a new place in society.
In search of the best place he has in mind a place of production of consciousness,
radically opposed to the bourgeois-capitalist logic that sought the alienation of
individuals. So, now located outside the debate of reckoning with the past, Brecht
focuses on your present and faces the ideas of György Lukács which oppose Brecht
by thinking art in a different manner and attributing to him the image of Formalist. We
also deal whit defending Brecht from these charges.
This dissertation, different from common aspect of texts on Bertolt Brecht is
not intended to scrutinize the techniques developed by the playwright in the
formulation of the Epic Theater, or talking about the formal aspects of his work, but it
is based on a philosophical approach, passing briefly through a few moments of the
author s thought until it reaches the stage considered as a mature conception of
theater, which is also the last phase of his career, when he revised many of his
previous positions. This phase is one in which he writes pieces like The Good Soul of
Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this
mature conception of the author s work and the characteristics of his thinking at that
time, thinking that we take as very Brechtian itself. We focus at this moment of his
work, to show the compatibility of his thought and a contemporary conception of
theater<br>Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela
história do teatro e a influência de sua proposta na fase contemporânea da arte.
Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções
tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do
drama que se instalara tempos antes. Nesse percurso foram consideradas algumas
referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de
teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de
esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma
apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi
retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as
épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que
revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto
imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição
dependia de uma relação de passividade por parte dos espectadores.
Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem,
no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha
conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o
teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele
tem em mente um lugar de produção de consciências, opondo-se radicalmente à
logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim,
localizado já fora do debate de acerto de contas com o passado, Brecht concentrase
em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a
arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos
ocupámos de defender Brecht também dessas acusações.
Esta dissertação, diferente do aspecto comum de textos sobre Bertolt
Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo
dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua
obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por
alguns momentos do pensamento do autor até chegar à fase considerada como fase
de uma concepção madura de teatro, que é também a última fase de sua carreira,
quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele
escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938-
1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da
obra do autor e as características de seu pensamento nessa época, pensamento
que tomamos como próprio brechtiano. Concentramos nossa atenção neste
momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma
concepção de teatro contemporânea
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Pennell, Beverley. "English K-6 syllabus and support document (1994) : imperilled by politics and paradigm shifts." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/119.
Full textAbstract:
English K-6 syllabus and support document (1994) is NSW's 'Clayton's' Primary English syllabus in that it was released in 1994, was 'on hold' and under review in early 1995 then recommended for revision by 1998. This is an extraordinary example of 'the written curriculum' of subject English, a site of intense ideological and pedagogical contestation. The Report produced by the Eltis Committee of Review, Focus on learning : Report of the Review of Outcomes and Profiles in New South Wales Schooling (1995) recommended immediate revision of 2 aspects of the syllabus in particular : firstly, the removal from English K-6 Syllabus of outcome statements from the National Profiles and secondly, the removal of the model of grammar endorsed in the document, 'Functional Grammar'. The history of the paradigm shift from State outcomes in syllabus documents, to the inclusion of National Profiles outcomes statements, forms the first part of this study. The recommendation of the Eltis Report to remove 'Functional Grammar' from the syllabus was politically motivated and had pedagogical implications for all those teachers, professional English educators and scholars who have been in divisive debate for nearly a decade about the broadest aspect of the frame of 'Functional Grammar', namely genre, or 'text type' as it is termed in English K-6 Syllabus. This study also looks at the history of the genre theory debate about teaching students to write and the paradigm shift that led to the inclusion of genre theory in the 1994 syllabus. This study, then, examines the essentially political nature of the school subject, English, in a regional educational context of the State of NSW. By presenting a brief curriculum history of the English K-6 Syllabus and Support Document (1994) it will be seen that a curriculum document can be a focus for power struggles between State and Commonwealth Governments and a site of contestation within the educational communities who are stakeholders in subject English
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Pennell, Beverley, of Western Sydney Nepean University, and Faculty of Education. "English K-6 syllabus and support document (1994) : imperilled by politics and paradigm shifts." THESIS_FE_XXX_Pennell_B.xml, 1997. http://handle.uws.edu.au:8081/1959.7/119.
Full textAbstract:
English K-6 syllabus and support document (1994) is NSW's 'Clayton's' Primary English syllabus in that it was released in 1994, was 'on hold' and under review in early 1995 then recommended for revision by 1998. This is an extraordinary example of 'the written curriculum' of subject English, a site of intense ideological and pedagogical contestation. The Report produced by the Eltis Committee of Review, Focus on learning : Report of the Review of Outcomes and Profiles in New South Wales Schooling (1995) recommended immediate revision of 2 aspects of the syllabus in particular : firstly, the removal from English K-6 Syllabus of outcome statements from the National Profiles and secondly, the removal of the model of grammar endorsed in the document, 'Functional Grammar'. The history of the paradigm shift from State outcomes in syllabus documents, to the inclusion of National Profiles outcomes statements, forms the first part of this study. The recommendation of the Eltis Report to remove 'Functional Grammar' from the syllabus was politically motivated and had pedagogical implications for all those teachers, professional English educators and scholars who have been in divisive debate for nearly a decade about the broadest aspect of the frame of 'Functional Grammar', namely genre, or 'text type' as it is termed in English K-6 Syllabus. This study also looks at the history of the genre theory debate about teaching students to write and the paradigm shift that led to the inclusion of genre theory in the 1994 syllabus. This study, then, examines the essentially political nature of the school subject, English, in a regional educational context of the State of NSW. By presenting a brief curriculum history of the English K-6 Syllabus and Support Document (1994) it will be seen that a curriculum document can be a focus for power struggles between State and Commonwealth Governments and a site of contestation within the educational communities who are stakeholders in subject English<br>Master of Education (Hons)
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Pennell, Beverley. "English K-6 syllabus and support document (1994) : imperilled by politics and paradigm shifts /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030818.091646/index.html.
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Lavoura, César Augusto Vargas. "A tradição do teatro amador em Lages e as disputas das posições de poder político." Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87499.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-graduação em Sociologia Política<br>Made available in DSpace on 2012-10-21T21:07:04Z (GMT). No. of bitstreams: 0<br>Ao estudarmos a história do campo artístico em Lages - SC, percebemos que manifestações de artes cênicas acompanham a formação social da cidade, perpetuando-se até os dias atuais. O reconhecimento da expressividade artística, obtido pelo Grupo de Teatro Galha Azul, considerado, em 1980, como um dos três melhores grupos de teatro de bonecos do mundo, no International Puppet Theater de Bielsko-Biala, na Polônia; a constância e o permanente resgate da memória das manifestações do passado e, sobretudo, a existência do Festival de Teatro de Lages - "FETEL" há trinta anos, asseveram a tradição do teatro amador nas atividades culturais da cidade. Interpretando as mudanças sócio-formais transpostas no discurso cênico, emergem subjacentes as impressões de auto imagem e as diversas perspectivas sobre a cidade. Ao analisarmos o conteúdo das peças produzidas e reproduzidas em Lages, identificamos a estrutura de sentimentos e significados condicionantes de cada período ideologicamente compartilhado. De outro lado, a condição de permanência do teatro amador esteve ligada a determinada teia de relações sociais que estabeleceram nestas manifestações diferenciadas atribuições de capital simbólico, que, tanto engendraram a caracterização das expressões artísticas, quanto influenciaram as posições de poder político na cidade.
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Neves, Maria Aparecida Sanches Cardoso. "Práticas educativas de relevância no processo de ensino e aprendizagem em escolas públicas." Universidade do Oeste Paulista, 2011. http://bdtd.unoeste.br:8080/tede/handle/tede/94.
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Previous issue date: 2011-12-07<br>Data for the System of Evaluation of Educational Achievement of São Paulo (SARESP) revealed us that school indexes in some schools presented consecutive situations of successful in the students learning, standing themselves above the regional and state average, which allowed us a questioning about the practices of relevance that would have contributed to the possibility of success. So, the search aimed to examine the educational practices of teachers favoring significant results in students learning, developed in a school in the region of Jales, which was successful in the external evaluation of the official network of the State of São Paulo. Search subjects were teachers and students of that school. The search presented itself in a qualitative approach that involved gathering data through semi-structured interviews, questionnaires application, classrooms observation and documentary analysis of the pedagogical proposal and educational plans. In this aspect, the analysis of the school routine, especially educational practices of teachers practices that ensured the effectiveness of the school curriculum and problem-solving learning, has raised the comprehension and understanding of alternative teaching actions performed with a view to significant results. It was hoped to find in teaching activity relevant and responsible factors by the culture of success, as well as contributing to the dissemination of these data.<br>Os dados relativos ao Sistema de Avaliação do Rendimento Escolar do Estado de São Paulo (SARESP) nos revelavam que os índices escolares de algumas escolas apresentavam consecutivas situações de sucesso de aprendizagem dos alunos, situando-se acima da média regional e estadual, o que nos possibilitou um questionamento acerca das práticas de relevância que teriam contribuído com a possibilidade de acerto. Assim, a pesquisa teve como objetivo analisar as práticas educativas docentes favorecedoras de resultados significativos na aprendizagem dos alunos, desenvolvidas em uma escola da região de Jales, que foi bem sucedida na avaliação externa da rede oficial do Estado de São Paulo nos anos de 2007 a 2009. Foram sujeitos da pesquisa os professores e alunos da referida escola. A pesquisa se configurou numa abordagem qualitativa que envolveu o levantamento de dados por meio de entrevistas semiestruturadas, aplicação de questionários, observação de aulas e a análise documental da proposta pedagógica e planos de ensino. Neste aspecto, a análise do cotidiano escolar, em especial das práticas educativas docentes que asseguravam a efetivação do currículo escolar e a resolução de problemas de aprendizagem, suscitou a compreensão e o entendimento das ações docentes alternativas realizadas com vistas a resultados significativos. Esperava-se encontrar na ação docente fatores relevantes, responsáveis pela cultura de sucesso, assim como contribuir com a divulgação destes dados.
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Canda, Cilene Nascimento. "Todo mundo pode fazer teatro: o teatro do oprimido e a formação político-estética de trabalhadores da indústria." Escola de Teatro, 2013. http://repositorio.ufba.br/ri/handle/ri/27317.
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Tese final CILENE NASCIMENTO CANDA.pdf: 3410297 bytes, checksum: ca8730c16e87b795aebd09630d506548 (MD5)<br>A pesquisa, de caráter qualitativo, visa a analisar o processo de formação estética e política de trabalhadores da indústria pelo viés do Teatro do Oprimido. Para tanto, foram estudadas as características do contexto social contemporâneo, ressaltando o campo do trabalho e da estética contemporânea, com vistas a delimitar a importância do Teatro do Oprimido para a formação de trabalhadores na atual conjuntura social. A coleta de dados foi norteada pela abordagem qualitativa de pesquisa, tendo como método a pesquisa-ação. Nos procedimentos metodológicos, o jogo foi identificado como principal estratégia de formação estética e política, sendo ressaltado em diversas pesquisas no âmbito da Pedagogia do Teatro e do Teatro do Oprimido. O trabalho apresenta as etapas do processo formativo do Grupo Embasart, composto por trabalhadores da Empresa Baiana de Águas e Saneamento, ressaltando desde a aplicação de jogos e exercícios, os desafios de inserção do Teatro do Oprimido em uma indústria, o processo de encenação de Teatro-fórum, até a análise das intervenções produzidas pelos espect-atores do espetáculo Cresça e Apareça. Os dados empíricos foram analisados à luz da mediação do processo formativo de trabalhadores, dos depoimentos coletados sobre a experiência e da observação das intervenções dos espect-atores em um espetáculo de Teatro-fórum, procurando compreender o lugar do sujeito como cocriador da experiência teatral. A descrição detalhada dos dados obtidos e os resultados da pesquisa ampliam a compreensão de uma Pedagogia do Teatro do Oprimido como experiência complexa, pelo seu caráter estético, político e educativo. No texto, a técnica do Teatro-fórum é analisada em uma perspectiva de formação de atores e de espect-atores, de cunho crítico e improvisacional, destacando-se a mediação do curinga, visto como educador que provoca reflexões e estimula a participação ativa da platéia, como ensaio para novas ações cotidianas. A pesquisa revelou a influência da prática do Teatro do Oprimido para a ampliação do olhar estético, para a aprendizagem improvisacional e para um maior empoderamento do trabalhador em seu contexto do trabalho. Em virtude dos parcos estudos sobre Teatro do Oprimido, no âmbito da Pedagogia do Teatro, o trabalho aponta novas direções de pesquisa, especialmente a estimulação sensorial do corpo e da voz dos participantes de um processo de formação estético-político.<br>The research, qualitative, aims to analyze the aesthetic and politic training process of industrial workers by the Theater of Oppressed. For both, the characteristics of the contemporary social context were studied, highlighting the work and contemporary aesthetic field, with a view to delimit the Theater of Oppressed importancefor the workers training in the current social conjuncture. The data collect was guided by the research qualitative approach, having the research-action like a method. In the methodological procedures, the game was identified like the main strategy of aesthetic and politictraining, been highlighted in several researches in the Pedagogy of Theater and Theater of Oppressedscope. The work presents the steps of the GrupoEmbasart‟straining process, compounded by EmpresaBaiana de Águas e Saneamento‟sworkers, highlighting since the application of games and exercises, the challenges of Theater of Oppressed insertion in an industry, the process of theater-forum staging, to the analyze the interventions produced by spect-actors of the spectacle Cresça e Apareça. The empiric data were analyzed by the mediation of the workers training process, by testimonials collected about the experience and by the observation of the espect-actors interventions in a theater-forum spectacle, searching to understand the site of subject like theatrical experienceco-creator. The detailed description of the obtained data and the research results expand the comprehension of a Theater of Oppressed Pedagogy like a complex experience, by its aesthetic, politic and educational character. In the text, the theater-forum technique is analyzed in an actor and espect-actorstraining perspective, by critical and improvisational essence, highlighting the wildcard mediation, seemed like the educator that provokes reflections and stimulates the audience active participation, like a test to new everyday actions. The research demonstrates that the Theater of Oppressed practices influence to aesthetic viewexpansion, to the improvisational learning and to a more worker empowerment in his work context. Because the scant studies about Theater of Oppressed, in the Pedagogy of Theater scope, the work appoint to new researches directions, especiallythe participants‟ body and voice sensorial stimulation of the aesthetic-politics training process.
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Torres, Samantha. "Mídia e política : o teatro de rua como meio de comunicação radical." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/165474.
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Este estudo tem como objetivo fazer uma reflexão sobre o trabalho de coletivos de teatro de rua, pensando-os como um meio de comunicação radical, e buscando analisar que discursos e ações são produzidos por esses grupos e quais os efeitos políticos dessa prática. A ideia de político se refere à origem da palavra polis (cidade), e Ithka, (aquilo que se refere a ...), ou seja, político no sentido de tudo aquilo que se refere a cidade, entendendo-a como convívio social; sendo o ser humano construído por esse meio e, com ele, em constante relação. O trabalho tem por foco a análise de grupos que visam o fazer artístico com uma função de debate social, colocando-se ao lado de práticas e discursos contra hegemônicos. Esse universo estudado relaciona-se com a teoria da Mídia Radical. A metodologia usada foi a cartografia e os materiais utilizados foram entrevistas realizadas com o público, entrevista com integrantes dos grupos, materiais fornecidos pelos grupos e materiais coletados a partir da observação das apresentações, além do diário de campo. Os coletivos pesquisados foram: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela e o Grupo Trilho de Teatro Popular, todos situados na cidade de Porto Alegre, estado do Rio Grande do Sul. Por fim, esse estudo oportuniza a visibilidade de outras formas de comunicação e existências que existem em meio a uma cidade que é engendrada a partir de determinados discursos que criam exclusões e desigualdades.<br>This study aims to reflect about the work of the street theater groups, considering its as a means of radical communication, and to analyze what kind of discourse and actions are made by these groups and what the political effects of this practice. The idea of "political" concerns the origin of the word polis (city), and Ithka, (that which refers to ...), that is political in the sense of all that refers to the city, understood as a social life, and the human being constructed by such means and in constant relation with the same. The focus was the analysis of groups aimed at making art with a social debate function by placing alongside practices and discourses against hegemonic. This study universe, relates to the theory of Radical Media. The methodology used was cartography, and the materials used were: interviews with the public, interviews with group members, materials provided by groups and materials collected from observation of the presentations, in addition to the field diary. The groups of theather analyzed: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela and the Grupo Trilho de Teatro Popular, all situated in the city of Porto Alegre in the state of Rio Grande do Sul. Finally, this study gives opportunity to visualize other forms of communication and stocks amid a city that is engendered from certain discourse that create exclusions and inequalities.
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Nilsson, Christian. "Skoldisciplin, hjälp eller stjälp Den politiska debatten och forskning School discipline, help or hindrance Political debate and research." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32573.
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The Swedish school system during the 2000s, performed worse in terms of students' performance. In response to these results, two camps emerged regarding school discipline, and how this can help to reverse the deteriorating results. One camp wants to increase discipline, give the school the right to punishments such as detention. The second camp are opposed to greater discipline and believes that there are better methods to focus on. Methods, theories and research like progressive discipline, postitive behavior support, teacher and student centered strategies are applied to Swedish politicians' arguments about school discipline. To investigate the credibility of the increase or decrease in school discipline as a good method to reverse the ever deteriorating pupil results in Swedish schools. Chronologically, the work is limited to the years 2009 and 2012 with the intention to keep the work as relevant as possible, and to compare PISA results from 2009 and 2012 to ensure a decline in student achievement in the 2000s. The work is finalized by the Swedish school systems’s problems is ensured and that the politicians' arguments about school discipline is in relation to research and empirical data.
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Oliveira, Fabiana de Paula Lessa. "Teatro e política na obra de Almeida Garrett: do setembrismo ao cabralismo (1838-1843)." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4036.
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Almeida Garrett engajou-se como liberal participando dos acontecimentos políticos de seu país. Após a Revolução de Setembro de 1836, Passos Manuel convida-o para estruturar o teatro português, tendo em vista que é considerado um meio de civilização. Garrett elabora um plano baseado em três pontos fundamentais: a construção de um edifício (futuro Teatro Nacional D. Maria II, inaugurado em 1846); uma escola voltada para formação artística e a criação de um repertório dramático nacional e moderno. Aprovado pela rainha D. Maria II em Decreto de 15 de novembro de 1836, nomeado Inspetor-Geral dos Teatros, para coordenar as atividades, põe em prática o projeto até ser demitido em julho de 1841. A proposta deste trabalho é analisar o teatro garrettiano, sob o ponto de vista político, do período de 1838 a 1843, por esta ser uma fase de intensa atividade do autor na tentativa de restaurar a cena portuguesa. Como corpus, temos: Um auto de Gil Vicente (1838); O alfageme de Santarém (1841); Frei Luís de Sousa (1843)<br>Almeida Garrett was engaged as a liberal participating in political events of his country. After the Revolution of September 1836, Passos Manuel invited him to structure the Portuguese theater, a view which is considered a means of civilization. Garret drew up a plan based on three fundamental points: the construction of a building (future Queen Maria II National Theater, opened in 1846), a school for artistic training and the creation of a national drama and modern repertoire. Approved by Queen Maria II Decree of 15 November 1836, appointed inspector General of the Theaters, to coordinate activities, developed the project to be dismissed in July 1841. The purpose of this paper is to analyze garrettiano theater under the political point of view, the period from 1838 to 1843, as this is a phase of intense activity in the authors attempt to restore the Portuguese scene. As a corpus, we have: Um auto de Gil Vicente (1838), O alfageme de Santarém (1841), Frei Luís de Sousa (1843)
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Gutowski, James Arthur. "Politics and Parochial Schools in Archbishop John Purcell's Ohio." Cleveland State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1254177639.
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Egeland, Helene. "Det ekte, det gode og det coole : Södra teatern og den dialogiske formasjonen av mangfoldsdiskursen." Doctoral thesis, Linköpings universitet, Tema Kultur och samhälle, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-10033.
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The thesis analyses the continuously changing discourse of cultural diversity. The focus of this study is the ways in which this discourse is shaped within contemporary Swedish cultural politics in general, and how it unfolds and further changes through the specific activities performed by a cultural institution in Stockholm – Södra teatern. Where as the cultural diversity inspired cultural politics seems to be caught in the tension between defending the autonomous position of culture in society and arguing for the supposed positive integrative consequences of such a perspective the Södra teatern mirrors a similar complexity in their ways of performing cultural diversity. This complexity is expressed through the three aspects of cultural diversity the thesis analyses – the real, the good and the cool cultural diversity. Each of the three aspects expresses a search for authenticity as well as a resistance towards the very same notion; a belief in the enlightenment of knowledge at the same time as the content of the very same knowledge is questioned; and finally that ethnic differences some times is enforced through utterances that stresses tradition where as the supposed hybrid forms in other situations is celebrated. The three aspects of cultural diversity analysed here all express how cultural diversity works as a hyper complex concept within cultural policy where no single possible meaning erases other potential meanings. On the contrary: different and even contradictory meanings of the concept exist side by side. Thus the thesis argues that the discourse of cultural diversity expresses a hyper complex problem.<br>Avhandlingen analyserer hvordan mangfoldsdiskursen formes på det kulturpolitiske området ved å studere hvordan denne formes i så vel Södra teaterns virksomhet som i den statlige kulturpolitikken. Mens den statlige mangfoldsorienterte kulturpolitikken preges av en spenning mellom på den ene siden å forsvare kulturens autonome stilling og på en andre siden å forsvare det man kan kalle for integrasjonspolitiske hensyn, så uttrykker Södra teaterns arbeid med kulturelt mangfold en lignende kompleksitet. Denne kompleksiteten uttrykks gjennom de tre ulike aspekter av den mangfoldsdiskursen avhandlingen analyserer – det ekte, det gode og det coole mangfoldet. De tre aspektene uttrykker hver for seg både en søken etter autentisitet og en motstand mot autentisitet; en opplysningstro så vel som en selvrefleksivitet i forhold til hva det opplyses om; og til slutt at etnisitetsforskjeller i visse situasjoner forsterkes gjennom ytringer som vektlegger tradisjon, mens andre ytringer snarere hyller det som oppfattes som hybride uttrykk. Disse tre delanalysene visere hvordan kulturelt mangfold fungerer som et hyperkomplekst begrep innenfor kulturpolitikken da tilsynelatende ulike og motsigelsesfulle tolkninger kan eksistere side ved side. Således argumenterer avhandlingen for at mangfoldsdiskursen uttrykker et hyperkomplekst problem.
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Curiel, Sandra Y. "El Teatro Dominicano: Instrumento Político y Voz de una Identidad." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849781/.
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Throughout the history of the Dominican Republic, theater has played an instrumental role in the cultural life its people, one which transcends purely artistic and cultural dimensions extending its influence into the political and social fabric of the nation. In spite of Spanish colonization and later Haitian occupation, a nascent national identity began forming early on. The staging of certain plays exposed latent conflicts and revealed sectorial, class interests. Theater provided a means of expression for popular sentiments, thus revealing an urge by the people to manifest their concerns, usually under the heavy weight of censorship. This thesis focuses on key moments of the first 140 years of Dominican Republic theater. It is organized into three chapters: "Historical Antecedents", "Theater of the Dictatorship" and "Theater of the Post-Dictatorship." The first chapter deals with the struggle for independence through 1844; the next focuses on the theatrical plays and political climate of bloody Rafael Leonidas Trujillo dictatorship which spanned from 1930 to his assassination in 1961, and the third presents the theater that appeared in the subsequent years of the equally repressive Joaquin Balaguer presidency (1966-1978). The analysis of these key historical moments, in conjunction with the dramaturgy of playwrights such as Franklin Domínguez, Marcio Veloz Maggiolo and Héctor Incháustegui Cabral, maps the function of theater as a tool of raising awareness, transmitting ideologies, and unifying a nation, in spite of despotism and oppression often disguised as democracy. As such, it documents the role that theatre played during a nation-building process that stages the history of political repression, lack of freedom of expression as well as social and political injustice.
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Klafke, Mariana Figueiró. "Heróis e coringas no palco : o teatro da arena prega a resistência." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143093.
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Esta dissertação tem como tema central os musicais Arena conta Zumbi (1965) e Arena conta Tiradentes (1967) e se propõe a investigar como o Teatro de Arena lidou com a conjuntura pós-golpe. Ambas as peças são encenadas entre o golpe e o AI-5, correspondendo a um período de tentativa de resistência a uma nova conjuntura repressiva que estancou um projeto modernizante e democrático que teve importância no imaginário do grupo. O Teatro de Arena teve grande importância na história do teatro brasileiro dos anos 1950 e 1960, encenando peças que apresentaram questões sociais e políticas nos palcos, e a ditadura civilmilitar trouxe a necessidade de reformulação do trabalho do grupo. Para analisar as peças, construímos um trajeto que passa pela contextualização histórica e cultural do período em questão e traçamos uma série de articulações teóricas que iluminam as relações entre teatro e política e os debates estéticos com os quais o Arena vinha dialogando, nacional e internacionalmente. Propusemos também uma leitura contrastiva com a peça O rei da vela, encenada pelo Teatro Oficina em 1967, e com os filmes O Desafio (1965), de Paulo Cesar Saraceni, e Terra em Transe (1967), de Glauber Rocha. Procuramos discutir os dilemas estéticos e ideológicos que o Arena enfrenta ao ter que lidar com a ideia de criticar uma movimentação revolucionária malograda sem, no entanto, descartar a ideia de revolução. Ao criar o Sistema Coringa, que articula teorias díspares como as de Stanislavski e Brecht, Augusto Boal e o Teatro de Arena apresentam problemas interessantes que esclarecem sua leitura sobre o período e demonstram uma trajetória importante de acúmulo de debate no teatro nacional.<br>This dissertation has as central subject the musicals Arena conta Zumbi (1965) and Arena conta Tiradentes (1967) and aims to investigate how the Teatro de Arena handled the post-coup situation. Both performances are staged between the coup and the AI-5, corresponding to a period of attempt to resistance to a new repressive situation that stagnated a modernizing and democratic project which had importance in the imaginary of the group. The Teatro de Arena had great importance in the history of brazilian theater of the 1950s and 1960s, staging plays that showed social and political issues in the stage, and the civic-military dictatorship brought the need to recast the group's work. To analyze the plays, we build a path that passes through the historical and cultural context of the period in question and draw a series of theoretical articulations that illuminate the relationship between theater and political and the aesthetic debates with which Arena was dialoguing, nationally and internationally. We also propose a contrastive reading with the play O rei da vela, staged by the Teatro Oficina in 1967, and the films O desafio (1965), by Paulo Cesar Saraceni, and Terra em Transe (1967), by Glauber Rocha. We seek to discuss the aesthetic and ideological dilemmas that Arena faces when had to deal with the idea of criticizing a revolutionary movement unsuccessful without, however, rule out the idea of revolution. Creating the Sistema Coringa, which combine disparate theories such as Stanislavski and Brecht, Augusto Boal and the Teatro de Arena presents interesting problems that clarify their reading of the period and demonstrate an important course of debate accumulation at the national theatre.
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Alves, Syntia Pereira. "Teatro de García Lorca: a arte que se levanta da vida." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/3363.
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Previous issue date: 2011-12-09<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>Was Federico García Lorca a political agent? This is the question that frames the research here presented. However, this question must be split in two in order to be properly answered: first, who was García Lorca, taking into account his life and work; second, the several possibilities for political action. Politics is not restricted to the institutional realm, but permeates individual and societal relationships, being present both in public and private affairs, touching and being touched by art. A tragic artist, Federico García Lorca constitutes the main focus of this research. To find the politics in Lorca, it is essential to understand the relationship between his art and his life and society. With that in mind, the investigation starts from both external and internal analyses of Lorca's works. The external analysis explores Spain before its Civil War, given the importance of the period which is mirrored in Lorca's works. For internal analysis, the theatrical pieces Yerma and The House of Bernarda Alba were analyzed to investigate both the relationships among characters, and the social conventions shown in these works. Furthermore, a number of conferences and interviews with the author are employed in a dialogue with the theatrical works, with the goal of understanding his relationships with art and society. García Lorca's art, voiced by flamenco, communicated with his society and received an answer: death by firing squad. Lorca wasn't limited to his own time and space, but survives today, be it through his deeply disquieting art, or be it through his still mystery-shrouded death<br>Federico García Lorca foi um agente político? Sobre este questionamento se desenvolve a presente pesquisa. Porém, para responder a essa pergunta, é fundamental dividi-la em duas, voltando um olhar para quem foi García Lorca levando em consideração sua vida e obra e outro olhar para as diversas possibilidades de atuação da política. A política não está apenas no âmbito institucional, mas permeia as relações dos indivíduos e sociedades, se faz presente nos âmbitos público e privado, alcançando e sendo alcançada pela arte. Artista trágico, Federico García Lorca é o foco central deste estudo. Para buscar a política em Lorca, é fundamental entender a relação de sua arte com a sociedade e a vida do escritor. Para tanto, a investigação parte de uma análise externa e uma análise interna a obra de Lorca. A análise externa mapeia a Espanha que antecede a Guerra Civil Espanhola, tendo em vista a importância desta época que se encontra refletida na obra de Lorca. Para análise interna foram escolhidas as obras teatrais Yerma e A casa de Bernarda Alba, sobre as quais é feita uma análise das relações das personagens entre si e os códigos sociais que essas obras expõem. Além disso, são usadas para dialogar com as obras teatrais algumas conferências e entrevistas do autor, com a finalidade de entender sua relação com a arte e com a sociedade. A arte de García Lorca, entoada pelo flamenco, dialogou com sua sociedade e recebeu resposta desta: seu fuzilamento. Mas Lorca não coube em seu tempo e espaço e transborda para os dias de hoje, seja por sua arte, profundamente inquietante, seja por sua morte, até hoje envolta em mistérios
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Laloumi-Vidali, Evangelia. "Social and professional foundations of teacher education in Greece : a comparative study of the politics of reform of pre-primary and primary teacher education with special reference to the 1982 law." Thesis, University College London (University of London), 1988. http://discovery.ucl.ac.uk/10006550/.
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Silva, Lajosy. "Historicidade, representação e sexualidade: uma leitura crítica das contradições do teatro contemporâneo em \'Bent\' de Martin Sherman e \'Amor e restos humanos\' de Brad Fraser." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-31102007-151206/.
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Esse trabalho pretende discutir a questão histórica e da representação da homossexualidade no teatro a partir de duas peças de teatro: Bent do americano Martin Sherman e Amor e Restos Humanos do canadense Brad Fraser. As peças encenadas em 1979 e 1989 permitem uma leitura e interpretação do tempo e do espaço enquanto representação da história e das contradições da sociedade contemporânea. O trabalho também pretende discutir a noção de gênero e suas limitações enquanto representação de minorias, assim como a representação da homossexualidade estaria ligada a questões mais amplas que abarcam aspectos sócioeconômicos, políticos e ideológicos.<br>This work aims to discuss the historical concerned to the representation of homosexuality in the theater based on the reading of two plays: Bent by American playwright Martin Sherman and Unidentified Human Remains and The True Nature of Love by Canadian playwright Brad Fraser. These two plays were performed in 1979 and 1989 and allow us to develop an interpretation of time and space as historical representation of the contradictions of contemporary society. This work also aims to discuss the notion of genre and its limitations towards the representation of minorities as well as the homosexuality would be connected to wider issues such as social, economic, political and ideological issues.