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Di, Ponio Amanda. "The Elizabethan Theatre of Cruelty and its double /." St Andrews, 2009. http://hdl.handle.net/10023/836.
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Di, Ponio Amanda Nina. "The Elizabethan Theatre of cruelty and its double." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/836.
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This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.
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Connick, Rob. "Rethinking Artaud's Theoretical and Practical Works." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063.
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Dluback, Rebecca L. "Sarah Kane's Cruelty: Subversive Performance and Gender." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232751060.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on Apr. 14, 2009). Includes bibliographical references (p. 35). Available online via the OhioLINK ETD Center. Also available in print.
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LaPorte, Julee R. Fisher Dominique D. "Unforgettable cruelties influence of Antonin Artaud's theater of cruelty on Abla Farhoud's Jeux de Patience and Wajdi Mouawad's Incendies /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2373.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages French." Discipline: Romance Languages; Department/School: Romance Languages.
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Barbara, Rodrigo Peixoto. "(Des)dobrando o teatro da crueldade: Nietzsche, Artaud, Deleuze e outros pensadores rebeldes." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7354.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic.
O Teatro da Crueldade é uma manifestação artística artaudiana que estremeceu as bases estéticas representativas ocidentais devolvendo às artes cênicas o ritual, a magia e a vida suprimida pelo teatro ocidental, evidenciando, também, assuntos/temas polêmicos silenciados por uma classe dominante, similarmente como fizeram Friedrich Nietzsche e Gilles Deleuze com seus pensamentos filosóficos. Diante disso, propõe-se com essa Dissertação de Mestrado, (des)dobrar esse Teatro da Crueldade tendo como subsídio teórico, além dos estudos de Antonin Artaud, as investigações de Nietzsche, Deleuze e alguns outros pensadores rebeldes. Por intermédio desse desdobramento, estuda-se a possível trama cruel dada pela conjunção Filosofia-Arte-Vida e, a partir dessa, o enlace entre Tragédia, Dioniso e o Teatro artaudiano. A partir desse panorama apresentado, pergunta-se: o que une esses pensadores artistas-cruéis? O que a Tragédia de Nietzsche e o deus Dioniso emprestam ao Teatro da Crueldade de Artaud? Para tanto, o recorte teórico que aqui se apresenta repousa na tentativa de dar conta de um estudo que mostre o acordo rizomático entre esses três pensadores e pensamentos subversivos tendo como eixo central o Teatro da Crueldade. Logo, esse teatro se faz palco para propor uma ligação entre a Crueldade artaudiana e as potências revolucionárias do trágico nietzschiano e do dionisíaco.
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Groenveld, Leanne Michelle. "The medieval theatre of cruelty, Antonin Artaud and Corpus Christi drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22988.pdf.
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De, Wet Micia. "Directing 'The Absolute' : towards destabilising the victim/perpetrator binary in Sam Shepard's A lie of the mind (1985)." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60354.
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This study aims to investigate and directorially apply Antonin Artaud's concept
of The Absolute in order to destabilise the victim/perpetrator binary between
the characters Beth and Jake in Sam Shepard's play text, A lie of the mind
(1986). Previous theoretical analyses of Beth and Jake in A lie of the mind
frame them as victims of their circumstances and as victims and perpetrators
of violence (Bottoms 1998:16). I will explore the violent relationship between
them in the context of the victim/perpetrator binary set up in the original play
and re-imagine this binary by creating a radical reinterpretation of the
relationship between the characters in a theatre production titled ? (2015). I
argue that a directorial treatment of The Absolute assists in destabilising the
victim/perpetrator binary present in Beth and Jake's relationship.
To reinterpret Beth and Jake's relationship, I explore René Girard's notions of
violence, victimisation, and scapegoating, as well as the Artaudian notions of
Cruelty, The Absolute, and the Theatre of Cruelty. I apply the Girardian
concepts and vocabulary to a reading of the relationship between Beth and
Jake. I also discuss the ways in which Artaud and Girard conceptually relate
to one another. I then provide a practical exploration within the framework of
the Theatre of Cruelty by creating an original production, ? (2015), in which
The Absolute facilitates the destabilisation of the victim/perpetrator binary that
exists between Beth and Jake. In ? (2015), the relationship between Beth and
Jake is reconceptualised and reinterpreted through taking cognisance of the
Artaudian-Girardian framework.
This dissertation concludes that Artaud's Theatre of Cruelty and the notion of
The Absolute are able to destabilise the victim/perpetrator binary between
Beth and Jake by replacing sexual desire in their relationship with
transcendental love, and reconstructing and reimagining their relationship
accordingly.Dissertation (MA)--University of Pretoria, 2016.
Drama
MA
Unrestricted
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Cabral, Judson Forlan Gonzaga. "Antonin Artaud: a vida e sua dimensão política." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2537.
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Antonin Artaud was a french artist that lived on 20th century. With his theater and lifestyle, he shattered several moral institutions and rules that guided life. Made his life and art a combat. For this same reason, was subject of several reprimands. Artaud, man of theater stage, worked as a film actor, playwright, costume designer, scenographist, illustrator, art critic, an active man among his peers. Begun threading the path of historical avant-garde, and his ideals, especially those connected to surrealism, were aimed at revive theatrical art so it could be used as the place of action on life. Theater as practice of itself. Artaud s works were crucial so he could draw a life that was beyond or earlier of a certain life perspective consonant with its standardizing mechanisms. Beyond Artaud and his theater, this research focus on Nietzsche and Foucault, addressing some concepts dear to those authors. The life of those three were lives that to a certain extent drawn over existence other ways to be part of it. They established an aesthetic of existence from designing their lives as art pieces. Therefore, the research focuses on life and its political dimension seen through quality of life and its experiments. In this sense, draws the authors thoughts for different kinds of political actions
Antonin Artaud foi um artista francês que viveu no século XX. Ele com seu teatro e estilo de vida abalou os diversos programas morais e instituições pelas quais a vida era balizada. Fez de sua vida e arte um combate. Por isso mesmo sofreu diversos tipos de correções. Artaud, homem de teatro, trabalhou como ator de cinema, foi dramaturgo, figurinista, cenógrafo, desenhista, crítico de arte, foi um ativo entre seus contemporâneos. Trilhando inicialmente a esteira das vanguardas históricas e de seus ideais, especialmente o dos surrealistas tinhacomo projeto revivificar a arte teatral para que a mesma fosse usada como o lugar de ação sobre a vida. O teatro como prática de si. A obra de Artaud foi fundamental para que ele pudesse traçar uma vida que se colocava além ou aquém de certa perspectiva de vida vigente com seus mecanismos normalizadores. Além de Artaud e seu teatro a pesquisa enfatiza Nietzsche e Foucault com alguns conceitos caros a esses autores. A vida dos três foram vidas que de certa forma traçaram sobre a existência maneiras outras de estar nela. Instituíram uma estética da existência àmedida que fizeram das suas vidas uma obra de arte. Portanto, a pesquisa enfatiza a vida e sua dimensão política entendida aqui na qualidade de uma vida no e pelos seus experimentos. Para tanto, busca pensar à luz dos autores outros tipos possíveis de politização
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Combes, Emilie. "Le théâtre panique de Fernando Arrabal, « Science de l’essence de la confusion »." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040059.
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Notre approche du théâtre panique d’Arrabal a été dirigée par la perception d’une esthétique paradoxale, d’une dimension éthique et cathartique au cœur d’une théâtralité qui restitue sur scène la confusion de la vie et l’humain dans sa totalité. Cette thèse s’interroge sur les moyens par lesquels Arrabal a créé l’univers panique ainsi que sur les piliers d’une esthétique a priori fondée sur la dérision et l’altération de la réalité, dans une perpétuelle oscillation entre l’outrancier et le fascinant. Il s’agit de comprendre le fonctionnement du dispositif de la cruauté, à la fois dramaturgique et dramatique, et comment se révèle cette tension dialectique entre abject et sublime, à travers une pensée qui se prétend insaisissable. Notre travail cherche donc à situer tout d’abord la naissance de la pensée panique, à questionner la dimension contestataire et subversive de l’œuvre d’Arrabal, et à en envisager les variations et les permanences. La forme brute et primitive de ce théâtre en fait un spectacle qui nous touche et provoque un choc émotionnel qui stimule la pensée. A travers l’exploration de la cruauté enfantine, de la manifestation du cauchemar, du bouleversement des valeurs, de la violence et du blasphème, nous verrons que l’espoir et la quête de soi éloignent ce théâtre du tragique pur et du nihilisme. La merveille de l’enfance, les songes, l’humour, l’érotisme apparaissent alors comme autant de moyens d’une révolte poétique qui permet de tenir tête à une réalité oppressante et d’affronter la condition humaine sans tomber dans le désespoir. Cette polarisation entre le haut et le bas, entre l’espoir et la chute, dans une ritualisation de l’espace scénique, fait du théâtre d’Arrabal un théâtre libertaire et fondamentalement humain, qui devient un moyen d’accéder à la connaissance de soiOur approach of Arrabal’s panic theater was led by the perception of a paradoxical aesthetic, an ethic and cathartic dimension at the heart of a theatricality bringing to the stage the confusion of life and human condition. This Ph.D thesis questions the means by which Arrabal created the panic paradigm and the foundations of an aesthetic first of all based on mockery and distortion of reality, perpetually oscillating between outrage and fascination. Our aim is to understand how cruelty is expressed, both dramatically and theatrically, and how the dialectical tension between abject and sublime is revealed through a vision often considered evasive. We first seek to understand when the panic concept was born, to question the subversive and protesting side of Arrabal’s work and to point out what changes and what remains the same through his productions. The crude and primitive nature of this theater makes it a performance that brings out an emotional shock and stimulates the audience’s mind. By exploring the themes of children’s cruelty, nightmare, abrupt change of values, violence and blasphemy, we will see that hope and the ontological quest keep this theater from pure tragic and nihilism. Childhood, dreams, humor, and eroticism appear as forces which feed a poetic revolt, to stand up against an oppressive reality and fight against human condition without falling into despair. This polarization between the high and the low, the hope and the fall, by a ritualization of the scenic area, makes Arrabal’s theater libertarian, fundamentally human, and therefore a means to know oneself
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Portzamparc, Arianne de. "Rihm et Artaud : Tutuguri, Die Eroberung von Mexico et Séraphin - un théâtre musical de la cruauté." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080131/document.
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Le théâtre de la cruauté d’Antonin Artaud (1896-1948) participe à une libération des langages artistiques au profit du sens déterminante dans l’histoire de l’art du XXème siècle. Dans ce théâtre, l’acteur représente le point de départ d’un langage originaire fondé sur le souffle et le geste qui favorise une communication affective avec le spectateur. Le théâtre musical de la cruauté de Wolfgang Rihm (1952) s’inspire de ce langage à travers les thématiques du rite, du mythe et du rêve, porteuses d’un théâtre inhérent à la vie. Ces thématiques sont propices au développement d’une vocalité qui rend perceptible la corporalité du chanteur grâce à une déconstruction de la matière langagière. Rihm exploite la matière phonique de la langue sous forme de glossolalies, cherche différents aspects du cri en tant qu’élément premier du langage, utilise le souffle comme une matière sonore. Cette vocalité rejoint son approche instrumentale qui travaille le son à partir du timbre, du rythme et de l’intensité sans chercher à l’enfermer dans une logique systémique. Intégrée au processus compositionnel, la disposition des musiciens et des chanteurs dans l’espace rejoint également la conception d’un espace scénique vivant dans le théâtre d’Artaud. Au fur et à mesure de son théâtre musical de la cruauté, Rihm laisse ses matériaux sonores inspirés par Artaud se réécrire dans une forme de palimpsesteThe theater of cruelty of Antonin Artaud (1896-1948) participates in a liberation of artistic language over decisive meaning in the history of 20th century art. In this theater the actor is the starting point for a language of origins founded on breath and gesture, which promotes affective communication with the audience. The musical theater of Wolfgang Rihm (1952) takes it’s inspiration from this language via the themes of ritual, myth, and dream, all which bear a theater inherent to life. These themes are developed through a vocalization, which renders visible the corporeality of the singer through a deconstruction of language matter. Rihm exploits the phonic matter of language in the form of glossolalia, seeking different aspects of the scream as the primal element of language, employing breath as sonorous matter. This vocalization rejoins his instrumental approach, which uses sound drawn from timbre, rhythm and intensity without seeking to enclose it within a logical system. Integrated into the compositional process, the spacial arrangement of the musicians and the singers rejoins the concept of a living scenic space in Artaud’s theater. As Rihm’ s musical theater of cruelty progresses, it allows the sonoral matter inspired by Artaud to rewrite itself in a form of palimpsest
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Leal, Cristyane Batista. "Hilda Hilst e a tradição moderna do teatro." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9065.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study presents an interpretative reading of six plays by Hilda Hilst: The Company, The Rat in the Wall, The Auto of the Ship of Camiri, The Birds of Night, The New System, and The Patriarch’s Death, through theoretical assumptions of the Theater of the Absurd, especially those of Eugène Ionesco, and the Theatre of Cruelty, of Antonin Artaud. These plays have in common the distance, at different levels, which they establish in relation to the traditional forms of development and resolution of the dramatic conflicts, configuring themselves as static dramas. Considering the fact that it is an essentially lyrical theater, this study sees lyricism as a style that contributed to the constitution of Modern Arts, with an emphasis on the Symbolist theater of the end of the 19th century, bringing the Hilstian theater closer to the Theater of the Absurd of the XX century and locating its marginality in the Brazilian theater because of its distance from the Brechtian and realistic aesthetics that, at the time of its writing, was predominant in the Brazilian scene.The peripheral situation of Hilda Hilst’s theater here is presented because of the very place that theatrical culture occupies in Brazil, always at a disadvantage if compared to other arts. The singularity of her theater rests in its slippage between dramatic, lyrical and absurd categories, revealing the consciousness of incommunicability and the inability of the hero-poet to ensure human integrity in the eternal totalitarian social systems, hence their approach to the Artaudian Theater of Cruelty. Yet, imploding reality by abstract choices of character composition, action, time and space, the Hilstian dramas present themselves as a resilient and conscious response to the social collapse resulting from human deterioration.
Este estudo apresenta uma leitura interpretativa de seis peças de Hilda Hilst: A empresa, O rato no muro, Auto da barca de Camiri, As aves da noite, O novo sistema e A morte do patriarca, por meio de pressupostos teóricos do Teatro do Absurdo, especialmente aqueles de Ionesco, e os do Teatro da Crueldade, de Antonin Artaud. Essas peças têm em comum a distância, em diferentes níveis, que estabelecem em relação às formas tradicionais de desenvolvimento e resolução dos conflitos dramáticos, configurando-se como dramas estáticos. Considerando o fato de se tratar de um teatro essencialmente lírico, este trabalho enxerga o lirismo como um estilo que contribuiu para a constituição das artes modernas, com ênfase no teatro simbolista do final do século XIX, aproximando o teatro hilstiano do Teatro do Absurdo do século XX e localizando sua marginalidade no teatro brasileiro, em razão de seu afastamento da estética brechtiana e realista que, na época da sua escrita, era predominante na cena brasileira. A situação periférica do teatro de Hilda Hilst é aqui apresentada como consequência do próprio lugar que a cultura do teatro ocupa no Brasil, sempre em desvantagem se comparado a outras artes. A singularidade de seu teatro repousa em seu deslizamento entre categorias dramáticas, líricas e do teatro do absurdo, revelando a consciência da incomunicabilidade e incapacidade do herói-poeta em assegurar a integridade humana nos eternos sistemas sociais totalitários, daí também sua aproximação ao Teatro da Crueldade artaudiano. Mesmo assim, implodindo a realidade por escolhas abstratas de composição de personagens, ação, tempo e espaço, os dramas hilstianos se apresentam como resposta resistente e consciente ao colapso social resultante de deteriorações humanas.
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Shishido, Cesar Augusto de Oliveira. "O teatro e seu duplo de Antonin Artaud: uma outra cena do inconsciente." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-29092015-154955/.
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Este trabalho tem como objetivo abordar uma das obras mais importantes do escritor francês Antonin Artaud, Le Théâtre et son double, explorando o universo artaudiano, a partir de conceitos, como a peste e a crueldade. O estudo procura abordar a proposta de Teatro da Crueldade e as críticas feitas por Artaud em relação aos espetáculos apresentados na França na década de 1930. Por meio de uma crítica ao chamado teatro psicológico, Artaud exalta um teatro constituído por diversas linguagens, não restrito à mera reprodução do texto. Sem a pretensão de abordar a extensa obra escrita por Artaud, a dissertação tem como objetivo tratar de aspectos revelantes dos conceitos tratados por Artaud, como a crueldade e a peste, tentando identificar em sua proposta de teatro, o desenvolvimento de conceitos ligados à psicanálise, como a pulsão de morte. Procuramos, ainda, discutir o processo de criação de Artaud, problematizando a figura do Pai em sua escrita e a chamada outra cena do inconsciente que seria aberta pelo teatro da crueldade.The purpose of this research is to analyse one of the most important works of Antonin Artaud, The Theater and its double (Le Théâtre et son double), exploring his universe from concepts like the pest and cruelty. The study seeks to analyse the proposal of the Theatre of Cruelty and the criticisms made by Artaud in relation to theatrical performances presented in France in the 1930s. By making a critique of the psychological theater, Artaud ideates a theater consisted of different languages, not restricted to the simple reproduction of the text. Without attempting to address the extensive work by Artaud, the dissertation aims to analyse some aspects of important concepts created by Artaud, as the cruelty and the pest, trying to identify in its proposal for the theater, as well as the development of concepts related to psychoanalysis, like the death drive. We also aim to discuss the creation process of Artaud, by analyzing the figure of the Father in his writing and the so called \"other unconscious scene\" that would be opened by the theater of cruelty.
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Genco, Leonard J. "A Power Conflict Approach to Animal Cruelty: Examining How Economic Power Influences the Creation of Animal Cruelty Laws." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6242.
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The current study examines the association of macro-level economic factors and the creation or enactment animal cruelty laws across the states at a fixed time. Criminologists have postulated that economic factors influence the legal system (Chambliss and Seidman, 1971). This thesis addresses whether state-level economic and related macro-level factors influences the amount and types of state animal cruelty legislation lawmakers enact. To do so, this thesis examined animal cruelty legislation and their association with measures of agricultural and farm production, Democratic Party, Republican Party, and pro-animal interest groups across all states of the United States for the time period (2012-2013). Findings suggested that three out of the four variables had significant relationships. The Democratic Party had the strongest relationship, but only Animal interests groups had a significant positive relationship. In all, this study explores how economic influence can influence the creation of animal cruelty legislation. Furthermore, the study opened up theoretical methods for more comprehensive analyses on the creation of law.
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Harlick, Stephanie. "Cruelty towards children in Theban traditional tales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0013/MQ42391.pdf.
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Wells, Deborah L. "The welfare of dogs in an animal rescue shelter." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337052.
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Chow, Olivier. "The cruel imagination : visual politics of cruelty in contemporary culture." Thesis, SOAS, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499991.
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This thesis deals with cruelty, its representation and its underlying symbolic and political subtext on a psychic as well as on a social level. The perspective that will be adopted within this research is one with a strong emphasis on French theory, psychoanalysis and continental philosophy. This research provides an interface between philosophy and the visual through the angle of cruelty. The central hypothesis of this thesis is that cruelty is an archaic and transversal phenomenon which, while it finds many local, individual and specific expressions throughout cultures and histories, nevertheless indexes a global resonance of pain, desire, death and obscene enjoyment. Cruelty operates a return to the body, a return to desire, a return to archaic beliefs and representations. Cruelty is also an act of mediation between self and other, a relation where the other is integrated through destruction. This power-relation of cruelty is highly political in the sense that it inevitably begs questions of sovereignty and subjection. This power-relation survives in our imagination, contemporary culture and politics under very specific forms, psychic as well as collective figures, postures, enactments, sensations and movements. The objective of this thesis is thus to analyse the trans-cultural and trans-historical visual politics of cruelty.
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Calder, Louise. "Cruelty and Sentimentality : Greek Attitudes to Animals, 600-300 BC." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516995.
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Michniewicz, Kenneth S. "The examination of ordinary cruelty televised within a just world." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1116.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Psychology
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Hawkins, Roxanne D. "Psychological factors underpinning child-animal relationships and preventing animal cruelty." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31500.
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Despite a growing increase in popularity of human-animal interaction research, there remains a lack of understanding of the reasons why children are cruel to animals and whether early intervention is effective in preventing cruelty and neglect. The aims of this thesis were to deepen our understanding of the psychology of child-animal interactions, and to test whether targeted educational interventions improve the mechanisms which underlie these interactions. A review of the literature found that current research is heavily biased towards the positive impact of animals, identifying a need for more research into the complex web of psychological factors that impact these relationships. The systematic review included in this thesis provides the first narrative meta-synthesis of empirical research on the psychological risk factors for childhood animal cruelty and highlights a decrease in publications over more recent years, as well as a lack of high quality research. Studies have largely overlooked the fact that most cruelty in childhood is unmotivated and accidental and so further research is essential to understand how to prevent different types of childhood animal cruelty. Three studies investigated the fundamental mechanisms that underlie child-animal interactions, focusing on attachment to pets, beliefs about animal minds, and attitudes towards animal cruelty. These studies highlighted the importance of teaching children about animal sentience through education, and that educational interventions should focus on preventing unmotivated cruelty and neglect in the general population. Animal welfare education aims to promote positive relationships between children and animals, thus preventing cruelty. However, few scientific evaluations of these programs exist. This thesis evaluates a cruelty prevention education programme, 'Prevention through Education', developed by the Scottish Society for the Prevention of Cruelty to Animals. Knowledge, attachment to pets, attitudes towards animals, attitudes towards animal cruelty, compassion towards animals, reported humane behaviour, and beliefs about animal minds were assessed at pre-test, post-test, and delayed post-test using a self-report questionnaire, comparing test schools to control schools. The questionnaire was administered to 1,217 Scottish children aged 6 to 13 years. The results found that cognitive factors were influenced by the intervention, but affective factors were more resistant to change. A novel cruelty prevention iPad game that was theoretically driven and evidence based, was designed, developed and evaluated. The evaluation involved a pre-test, post-test, test-control design using a self-report questionnaire with 184 primary-school children in Scotland, UK. The results indicated a positive impact of the game on increasing knowledge about animal welfare needs and appropriate and safe behaviour towards pets, increasing children's beliefs about pet minds, and decreasing acceptance of cruelty to pets. The intervention had no impact on compassion. This study demonstrates the potential of developing interactive iPad games to promote cognitive dimensions of positive child-animal interactions. This thesis highlights the importance of evidence-based animal welfare education for early prevention of animal cruelty, and the potential of computer game-based learning to promote positive child-animal interactions. This thesis further addresses major gaps in psychological research and deepens our understanding of how to prevent animal cruelty and neglect. The findings have implications for practice and policy and will impact upon the educational strategies of organisations wishing to develop early prevention strategies.
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Chuliá, Jordán Alejandra. "Fernando Arrabal et le théâtre panique en France : modèles artistiques et devenir scénique." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA117.
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Cette approche de recherche sur Fernando Arrabal et le théâtre panique pointe une période circonscrite à l’œuvre théâtrale du dramaturge dite « panique ».L’objet de cette thèse cherche donc à essayer de comprendre la théorie panique (la mémoire, le hasard et la confusion) ainsi qu’une thématisation sur les différents modèles artistiques de ses pièces paniques et l’influence arrabalienne dans le devenir scénique d’aujourd’hui. L’étude part d’une nouvelle esthétique théâtrale baroque allant du texte à la scène ainsi que de la stratégie utilisée par l’écrivain dramaturge dans ces pièces appelée la cérémonie panique.La problématique centrale est celle de la perception esthétique et cathartique qui plonge le spectateur vers la confusion de la scène et de la vie. Le panique suivant la théorie artauldienne fusionne la réalité et le cauchemar. L’individu est confronté au chaos de la vie jusqu’à la fin tragique de la mort.La dramaturgie arrabalienne mène l’écrivain sur un double questionnement, celui de la quête de la gloire, de l’identité avec la réalité à travers la connaissance de soi et du monde mais aussi aux peurs que cela provoque. La représentation de ce théâtre plonge le spectateur dans un véritable choc émotionnel. Le théâtre panique de Fernando Arrabal est un théâtre universel, mais aussi un théâtre de l’extrême, qui va à l’encontre de la vérité, de la liberté et de la panique. Une panique individuelle et collective qui à travers un théâtre total fait éclater la raison et les carcans sociétaux cherchant un monde meilleur. L’écrivain est d’autant plus d’actualité que la triste réalité nous confronte au théâtre paniqueThis approach to the research on Fernando Arrabal and the panic theater points out to a specific and limited time of the playwright’s theatrical work called "panic".The aim of this thesis is therefore to try to understand the panic theory (memory, chance and confusion) as well as a thematization on the different artistic models of these panic plays and the Arrabalian influence on the scenic future of today. The study begins with a new baroque theatrical aesthetics ranging from text to scene and from the strategy used by the playwright in these panic plays called the panic ceremony.The central problem is that of the aesthetic and cathartic perception that plunges the viewer into the confusion of the scene and of life. The panic following the Artauldian theory merges reality and nightmare. The individual is confronted with the chaos of life until the tragic end of death.The Arrabalian dramaturgy leads the writer on a double questioning, that of the quest for glory, of identity with reality through the knowledge of the self and of the world, but also that of the fears it fathers. The representation of this theatre plunges the viewer into a real emotional shock. The panic theater of Fernando Arrabal is not only a universal theatre, but also a theatre of the extreme, which goes against the truth, freedom and panic. An individual and collective panic which, through a complete theater, is breaking out reason and social contraints, and also looking for a better world. The writer is all the more topical as the sad reality confronts us with panic theater
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Cooper, Garry. ""Cruelty masquerading as kindness"? : the coalition, the unemployed and mutual obligation /." Title page, abstract and contents only, 1999. http://web4.library.adelaide.edu.au/theses/09AR/09arc776.pdf.
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Donis, Natalie. "Animal Cruelty: The Nexus Between Admonishable Violence and Sanctionable Criminal Acts." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/951.
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In recent years, animal cruelty has stirred into the limelight as society has given the issue further consideration. State and federal laws as well as the establishment of diverse non-governmental organizations exist to abate animal cruelty, but such institutions have lagged in creating effective control mechanisms in spite of the growth of this modern day pandemic. This thesis will discuss animal cruelty, the types of cruelty, legislative developments, correlation of animal cruelty to violence among humans, and ways to strengthen control mechanisms. Credible findings have indicated a propensity for offenders of animal cruelty to escalate their acts of violence towards a human. Although animal cruelty has made a modest impression on society, a significant segment of our population nevertheless shares the belief that animals are property lacking a holistic set of basic rights, which in turn perpetuates egregious forms of abuse towards animals. Said abuses will be thoroughly reviewed in this thesis with the intent of bringing a collective consciousness to the reader of the extensive types of abuses animals are subjugated to by some of the most heinous offenders. Then, a discussion will proceed of the hoisting impact animal cruelty has in galvanizing violence towards humans. By meticulously analyzing a variety of empirical research showing the overarching effects of animal cruelty as well as by analyzing state and federal laws that have been hindered tepid enforcement control mechanisms over the years, this thesis will argue for an overhaul of enforcement mechanisms so as to cause broader circumvention of animal cruelty. While research shows that there has been a growth in awareness by another significant segment of the population as to gravity of the situation dealing with the mistreatment of animals in our society, there still remains insufficient societal awareness and governmental power to abundantly curtail this imminent problem. Only when society is enlightened with the dangers of animal cruelty and how it can have dire undulating effects within the community, will substantial advancements be made to give animals the wide spectrum of rights they deserve. After conveying the societal necessity for change in constructively protecting animals, a discussion will ensue on the inadequacy of animal laws today. Then, a discussion will proceed on ways to strengthen animal rights in a manner that is reflective of the general cultural norms and values in this modern age. It is the intent of this thesis to affect change and begin a constructive discourse in society of how to mend the preceding errors of prior generations when dealing with animal abuse. While for a significant segment of the population the merit of such argumentation may rest solely in the notion that animals deserve certain basic rights, this thesis widens the purview of consciousness with the empirically-proven affirmation that animal violence can potentially lead to attacks against humans by people who progressively engage in anti-social acts. Thus, the nexus between admonishable violent acts and sanctionable criminal acts is intrinsically intertwined in the notion that animal abuse is a potential precursor to human abuse. In this light, even that segment of the population apathetic towards the plight of animals may not refute the importance of impugning any and all admonishable violent acts against animals into the realm of punitive criminal sanctions orchestrated by a governmental body empowered with seeking the common good--for to otherwise refute animal rights through this newly-endowed lens would be to refute human rights as well.B.A. and B.S.
Bachelors
Health and Public Affairs
Legal Studies
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Halverson, Kristin. "Physiological Cruelty? : Discussing and Developing Vivisection in Great Britain, 1875-1901." Thesis, Södertörns högskola, Institutionen för historia och samtidsstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30336.
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This thesis examines the development of vivisection as a method of physiological research between 1875 and 1901 in Great Britain, by examining some of the arguments, discussions, and ideas put forth by physiologists for the utilisation of vivisection in their research. Because this study operates within the context of medical history, questions of legitimacy, scientific development, and professional image are lifted. The development of vivisection during this period took place with a larger shift in scientific practice playing out in the background, where experimentalism began overtaking the previously more analytical approach to medicine and the sciences. The First Royal Commission on Vivisection in 1875 marks the beginning of this study, and the discussions within allow for a more nuanced picture of the professional debates on the practice, where both proponents and sceptics at times found common ground. Technological and societal aspects were central to much of the argumentation for the further development of vivisection, with technology easing the practical aspects of the method, and the concept of the "gentleman" allowing British "vivisectors" to argue against charges of cruelty, pointing rather to continental schools of physiology as the culprits, whilst lifting the "humanity" behind animal experimentation in Great Britain. In conjunction with pointing out the importance of the method for the development of medical science, the Cruelty to Animals Act and the lobbying on behalf of the professional journals British Medical Journal and The Lancet helped legitimise the practice in Great Britain. The Act allowed vivisection under set circumstances, and the two journals served as megaphones for scientific development on behalf of vivisection, at times even openly criticising sceptical opinions. At the same time, some saw experimental research through vivisection as merely one aspect of medical practice. One which needed to gain foothold in order to help advance medical science for the larger benefit of all humanity.
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McGrath, Timothy Stephen. "Behaving Like Animals: Human Cruelty, Animal Suffering, and American Culture, 1900-present." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11027.
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What does it mean to be cruel to an animal? What does it mean for an animal to suffer? These are the questions embedded in the term "cruelty to animals," which has seemed, at first glance, a well defined term in modern America, in so far as it has been codified in anti-cruelty statutes. Cruelty to animals has been a disputed notion, though. What some groups call cruel, others call business, science, culture, worship, and art. Contests over the humane treatment of animals have therefore been contests over history, ideology, culture, and knowledge in which a variety of social actors-- animal scientists, cockfighters, filmmakers, FBI agents, members of Congress, members of PETA, and many, many others--try to decide which harms against animals and which forms of animal suffering are justifiable. Behaving Like Animals examines these contests in the United States from the beginning of the twentieth century to the present, focusing on four practices that modern American animal advocates have labeled cruel: malicious animal abuse, cockfighting, intensive animal agriculture, and the harming of animals on film. These case studies broadly trace the contours of American attitudes toward human cruelty and animal suffering over the last century. They also trace the historical
evolution of the ideas embedded in the term “cruelty to animals.” Cruelty to animals has been the structuring logic of animal advocacy for two centuries, and historians have followed its development through the nineteenth century as a constellation of ideas about human and animal natures, about cruelty and kindness, and about suffering and sentience—very old ideas rooted in western intellectual thought and given shape by nineteenth-century sentimental culture. Behaving Like Animals follows this historical and intellectual thread into the twenty-first century, and reveals how these old ideas adapted to modern and evolving regimes of knowledge, science, and law, as they became
thickly knotted in America’s varied and transforming social, cultural, intellectual, political, and legal contexts. That process has had varied and far-reaching implications in modern American culture, structuring social relations among Americans while shaping understandings of the place of animals in American society. Behaving Like Animals tells this history.
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Munro, Lyle. "Confronting cruelty : moral orthodoxy and the challenge of the animal rights movement /." Leiden : Brill, 2005. http://catalogue.bnf.fr/ark:/12148/cb412622038.
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Goodney-Lea, Suzanne R. "Guns, explosives, and puppy dog tails the social function of animal cruelty /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3167274.
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Thesis (Ph.D.)--Indiana University, Dept. of Sociology, 2005.Title from PDF t.p. (viewed Dec. 3, 2008). Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 1182. Chair: Martin Weinberg.
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Horlacher, Stefan. "Cruelty and Love, or: What Does lt Take To Be a Man?" Universitätsverlag Winter, 2002. https://tud.qucosa.de/id/qucosa%3A37379.
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In der Literaturkritik gilt D.H. Lawrence als ebenso bedeutender wie streitbarer Autor von Romanklassikern wie Lady Chatterley's Lover, Women in Love oder The Rainbow. Durch das Aufkommen der gender studies existiert zudem eine nur schwer überschaubare Anzahl von Studien, die der Rolle der Sexualität sowie der Geschlechterkonzeption im Romanwerk von Lawrence gewidmet sind. Doch so klar die Literaturkritik diese Problematik erfaßt hat, so klar hat sie im Vergleich dazu - wenn auch mit Ausnahmen - Lawrences nicht nur zahlenmäßig großes lyrisches Werk ignoriert. Diese relative Vernachlässigung durch die Forschung ist um so erstaunlicher, als sich in Lawrences Lyrik viele Grundthesen, die er in seinen Romanen auf Hunderten von Seiten durchspielt, oft in extrem konziser Form finden. Wichtige Teile seiner 'Geschlechter-Philosophie' werden durch die Lyrik sogar antizipiert.
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Kenyon, Jones Christine Mary. "'Kindred brutes' : approaches to animals in Romantic-period writing, with special reference to Byron." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/kindred-brutes--approaches-to-animals-in-romanticperiod-writing-with-special-reference-to-byron(cba20d7b-0bbc-4ec9-9c81-ced8cc4d058d).html.
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Levesque, Marc. "Cruelty and you : the discipline of great suffering in Nietzsche's philosophy of agency." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/37742.
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The concept of cruelty in Nietzsche’s thought does not in actuality speak to malice or violence,
rather it refers to a disposition to self and world that we must adopt in order to most effectively organize our capacities of agency. Nietzsche locates our profound need to situate ourselves interpretatively against a world characterized by meaninglessness as the source of agency, in so doing, we provide a build a frame within which our worldly actions can be infused with meaning, and thereby derive a sense of ontological security. Contemporary interpretations, Nietzsche charges, actually frustrate our meaningful exercise of agency insofar as the sense of security they
engender is the product of interpretative avoidance of, rather than engagement with, the ‘real’ world, marked as it is by the presence of flux, change, death, and suffering. Against these interpretations, Nietzsche asserts that we must be cruel to ourselves, adopting more realistic accounts of the world, and deriving our certainty from an ethic of challenge whereby we attempt to assert ourselves against the world. By recognizing constraint as the chief condition for freedom, Nietzsche suggests that we can adopt an attitude towards ourselves and the world characterized by self-discipline. In so doing, we can situate the products of our interpretive activity as the grounds for all value, and work to hold ourselves accountable to self-imposed standards that most permit the confluence of self-certainty in, and creative engagement with, the world. Such an interpretation offers greater purchase on contemporary political and ethical concerns
than readings of Nietzsche as an aristocratic radicalist, valuing the creation of higher men at the expense of the great majority of mankind. Instead, Nietzsche in this reading expresses a deep
concern for creating better people in general. In this regard, Nietzsche’s philosophy of agency,
and its close relationship to cruelty, can be deployed to interrogate contemporary interpretations and ethical commitments that may be hindering our ability as a culture to promote the meaningful self-experience of agency, and thus, enjoy both freedom and autonomy in
Nietzsche’s terms.
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Leek, Kelly. "TRANSCENDING THE REGENCY: ANNE BRONTË AND THE VICTORIAN DISCOURSE ON REDUCING DOMESTIC CRUELTY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/362.
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AN ABSTRACT OF THE THESIS OF KELLY LEEK, for the Master of Arts degree in English, presented on 5 November 2010, at Southern Illinois University Carbondale. TITLE: TRANSCENDING THE REGENCY: ANNE BRONTË AND THE VICTORIAN DISCOURSE ON REDUCING DOMESTIC CRUELTY MAJOR PROFESSOR: Dr. K.K. Collins The purpose of this thesis is to explore Anne Brontë's significant contribution to the Victorian discourse on the reduction of domestic cruelty. The result is an extensive study of Brontë's two novels and the current critical discussion regarding this issue.
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Haggerty, Michael. "A NECESSARY CRUELTY: VIOLENCE AND DISCIPLINE IN NORTH CAROLINA’S POST-CIVIL WAR PRISONS." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1406223803.
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Schröder, Gesine. "Gymnasiasten-Theater." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23598.
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Mell, Lina. "Lernendes Theater." Diss., Ludwig-Maximilians-Universität München, 2013. http://nbn-resolving.de/urn:nbn:de:bvb:19-166778.
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Für die Evaluierung wurden die Begriffe Organisation und Institution im soziologischen Sinne getrennt, d.h. die Organisation beschreibt das Haus und den Organisationsablauf, Institution bezieht sich auf das Regelwerk, Normen und Werte. Der amerikanische Sozialwissenschaftler Peter Senge entwickelte 1990 das Konzept der Lernenden Organisation, als Methode zur Organisationsentwicklung von Unternehmen. Senge ist der Meinung, dass Weiterentwicklung ein Lernprozess darstellt, der insbesondere Einfluss auf die Institution (Regelwerk) nimmt, in dem über systemisches Hinterfragen die Wahrnehmung verändert wird. Der Lernprozess kann gezielt über die Beherrschung von fünf Disziplinen vorangetrieben werden, dies sind Systemdenken, personal Mastery (Persönlichkeitsentwicklung), mentale Modelle, Vision und Team Lernen.
Über eine Fragebogenerhebung wurden Aussagen von 21 Schauspielern, Musikern und Mitarbeitern des Schauspiel Frankfurts systematisch nach Aussagen hin untersucht, die sich den fünf Disziplinen nach Senge zuordnen lassen und belegen, dass über die andere Art zu Arbeit, etwas in den Köpfen der Beteiligten, also den mentalen Modelle und somit der Institution Theater verändert hat.
Aus den Ergebnissen wurde das Konzept eines Lernenden Theaters abgeleitet, welches entgegen betriebswirtschaftlich, kulturmanagerialen Ansätzen zur “Rettung” der deutschen Theater, eine Organisationsentwicklung für das Theater aus dem Theater selbst darstellt. Denn Veränderung kann nicht von Oben oder Außen bestimmt werden, der Wille muss von den Mitarbeitern der Theater selbst kommen. Denn wo kein Wille, da auch kein Weg und somit auch kein Ausweg aus der Theaterkrise.
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Adams, Leslie Elizabeth. "Bright Theater." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/941.
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Bright Theater is a collection of poems divided into three parts. The first includes poems that explore themes of solipsism, the inherent distance between speaker and other. The second part addresses the idea of distance between the speaker and the divine, the perceived schism between the physical and the spiritual. The third and final part continues the exploration of distance, this time as a disconnect between the conscious Self and the physical body.
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Law, Peter Z. "Traveling Theater." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/31774.
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This thesis proposes that architecture has the potential to organize experience through its sensory effects and that the body is the fundamental link between experience and the imagination.
The project in this thesis is a traveling theater. It was inspired by an interest in the intersection between architecture and contemporary theater. The theater borrows elements from traditional theaters and street theater in an effort to establish a separation between actor and spectator while also encouraging exploration of that basic theatrical relationship. There were three fundamental moves in the theater: the cubic volume; the siting and decision to travel; and the separation of the structure and skin. Each of these was a starting point for sensory effects explored in the theater.Master of Architecture
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Melia, Matthew. "Architecture and cruelty in the writings of Antonin Artaud, Jean Genet and Samuel Beckett." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20268/.
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This thesis examines the complex role and presence of a range of images and ideas of architecture, as well as cruelty, in the work of Antonin Artaud, Jean Genet, and Samuel Beckett. It argues that the obsessive and varied presence of these ideas offers a substantial connection between the thought and drama of the three writers, and that it is linked to major issues in the political and cultural history of the time. Chapter 1 serves as an introduction to the thesis and places architecture and cruelty in the literary and creative culture of post-war France. Chapter 2 examines the urgency of these terms within the specific, historical framework of post-liberation France. Chapter 3 focuses on Artaud and issues of fragmentation, occupation, and resistance in his oeuvre between 1940 and 1948. Chapter 4 focuses on issues of imprisonment, aesthetics, and revolution in the work of Jean Genet. Chapter 5 examines issues of architecture, resistance, and fragmentation in the late plays of Samuel Beckett. In this chapter we will also examine the vital role Beckett's wartime resistance activity played in informing the architecture of the late drama. All of our subjects explore architecture and cruelty in their different and personal ways: Genet in terms of prisons; Beckett in terms of extreme personal states that can be linked to the resistance; and Artaud through a system of revised revolt and personal resistance. In the introduction and at a number of points in the thesis I explore both the connections and differences between the uses of architecture and cruelty by the three writers, and the range of ways in which these uses relate to the politics and philosophies of the era. The thesis argues in its conclusion that architecture and cruelty, used in both literal and metaphorical senses, can be seen to unite the work of Artaud, Genet, and Beckett more closely than has hitherto been acknowledged. The thesis has also proposed ways in which we can see the plays of Genet and Beckett as a form of cruel theatre, in a sense that serves to define and extend Artaud's notoriously complex and ambiguous ideas of theatrical 'cruaute'.
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Sequeira, Sandra Isabel de Matos. "Fatores influenciadores da intenção de compra de produtos de cosmética Cruelty-Free em Portugal." Master's thesis, Instituto Superior de Economia e Gestão, 2020. http://hdl.handle.net/10400.5/21615.
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Mestrado em MarketingAo longo dos últimos anos a indústria cosmética diversificou drasticamente a sua orientação de mercado em resposta às tendências dos consumidores para um estilo de vida mais saudável e consciente. Como resultado, o mercado de cosméticos cruelty-free tem verificado uma expansão global, onde o marketing assume um papel de destaque. O presente estudo tem como objetivo determinar quais as variáveis que afetam a escolha de produtos de cosmética cruelty-free e perceber que influência exercem na intenção de compra deste tipo de produtos. De forma a levar a cabo a investigação, foi efetuada uma revisão de literatura que resultou no desenvolvimento do modelo conceptual e na elaboração das hipóteses de investigação. Para responder à problemática apresentada, procedeu-se à realização de uma análise quantitativa, através de um questionário recolhido via online, de uma amostragem não probabilística e por conveniência de 391 inquiridos consumidores de produtos de cosmética. No que diz respeito às caraterísticas psicográficas, os resultados do estudo demonstram que a preocupação ambiental é o preditor mais importante da intenção de compra, seguindo-se da influência social e consciência de qualidade, que também se encontram positivamente relacionadas com a intenção de compra de produtos de cosmética cruelty-free. Através do estudo foi também possível concluir que o valor verde percebido apresenta um impacto positivo na intenção de compra de produtos de cosmética não testados em animais. Adicionalmente, os resultados evidenciam que a confiança verde tem um impacto favorável e significativo na intenção de compra. Assim sendo, estes resultados são um contributo para o enriquecimento do conhecimento existente sobre esta temática e acrescentam informação para melhores decisões estratégicas de marketing por parte das marcas de cosméticos.
Over the past few years, the cosmetic industry has drastically diversified its market orientation in response to consumer trends towards a healthier and more conscious lifestyle. As a result, the cruelty-free cosmetics market has seen a global expansion, where marketing plays a prominent role. The present study aims to determine which variables affect the choice of cruelty-free cosmetic products and to understand what influence they have on purchase intention. In order to carry out the research, a literature review was performed which resulted in the development of the conceptual model and the elaboration of the research hypotheses. To respond to the presented research objective, a quantitative analysis was carried out, using an online survey, with a non-probabilistic and convenience sample of 391 respondents who consume cosmetic products. With regard to psychographic characteristics, the results of the study demonstrates that environmental concern is the most important predictor of purchase intention, followed by social influence and quality consciousness, which are also positively related to the purchase intention towards cruelty-free cosmetic products. Through this study it was also possible to conclude that the green perceived value has a positive impact on the purchasing intention towards cruelty-free cosmetic product. Additionally, the results show that green trust has a favorable and significant impact on purchase intentions. In conclusion, these results contribute to the enrichment of existing knowledge on this topic and add information so that cosmetic brands can come up with better decisions and marketing strategies.
info:eu-repo/semantics/publishedVersion
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Boner, Jürg. "Dialektik und Theater die Dialektik im Theater Bertolt Brechts /." Zürich : Zentralstelle der Studentenschaft, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35815830.html.
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Roßbach, Nikola [Verfasser]. "Theater über Theater. : Parodie und Moderne 1870-1914 / Nikola Roßbach." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194433464/34.
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Grimaldi, Cleo. "Why Not Penal Torture?" Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/philosophy_theses/105.
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I argue here that the practice of penal torture is not intrinsically wrongful. A common objection against the practice of penal torture is that there is something about penal torture that makes it wrongful, while this is not the case for other modes of punishment. I call this claim the asymmetry thesis. One way to defend this position is to claim that penal torture is intrinsically wrongful. It is the claim I argue against here. I discuss and reject three versions this claim. I first address a version that is based on the idea that penal torture, unlike other modes of punishment, is intrinsically wrong because it is inhuman. I then address a version grounded on the claim that, because penal torture is an assault upon the defenseless, it is morally impermissible. Finally, I discuss a version that concerns the idea that penal torture attacks human dignity and undermine agency.
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Meyer, Nadine Sabra. "The anatomy theater." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5950.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 7, 2008) Includes bibliographical references.
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Röder, Levin D. "Theater der Schrift." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2008. http://dx.doi.org/10.18452/15800.
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Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«.Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.
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Ruoff-Siler, Lees. "Pneumatic world theater." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78976.
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Xagoraris, Zafirios. "The automaton theater." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/70642.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Includes bibliographical references (leaves 45-47).
Hero of Alexandria was a Greek geometrician, engineer, and inventor who lived in Alexandria probably during the first century A.D. He wrote in Greek a number of theoretical treatises revealing a thorough knowledge of geometry, mechanics, optics, and pneumatics. Being more interested in the applications of his theoretical principles than in the principles themselves, Hero is known as the inventor of a number of ingenious devices based on principles of pneumatics, mechanics, and optics. The objective of this thesis is to evaluate Hero's work from an artistic viewpoint. To this end, it focuses on devices described in three of Hero's treatises, Pneumatica, Catoptrica, and Automatopoietica, in order to identify their artistic value and artistic novelty. Hero's influence on subsequent artistic-technical work, and in particular on the contemporary automaton theater, is also discussed. Finally, considerations are added in relation to a new project.
by Zafirios Xagoraris.
M.S.V.S.
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Howell, Jenny. "Dance Theater Workshop." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/116.
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The following report documents the internship performed by Jenny Howell at Dance Theater Workshop (DTW) in New York, New York from January 11, 2010 to April 16, 2010. Since 1965, DTW has existed as a non-profit organization devoted to presenting and supporting contemporary dance and the artists who create it. DTW currently operates from its building located at 219 West 19th Street between Seventh and Eighth Avenues in the Chelsea district. During this time with DTW, I worked closely with the Marketing and Development Departments as the Audience Engagement intern responsible for the organization and execution of the audience engagement activities and special events. This report includes information regarding DTW's history and organizational structure. It explains the duties I performed and my overall contributions. It also discusses the strengths, weaknesses, opportunities, and threats of the organization. Finally, it presents current best practices in areas of the non-profit field, and makes recommendations for DTW based on this research.
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Laura, Joseph. "Rachel's Madcap Theater." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1929.
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This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.
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Landgraf, Jörg. "Politik als Theater." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2018. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-230345.
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Inwiefern ist Politik Theater? Anhand eines politikwissenschaftlichen Konzepts von Politik (Karl Rohe) und eines theaterwissenschaftlichen Konzepts von Theater (Andreas Kotte) werden beide Begriffe in ihren Kriterien aufeinander bezogen und verglichen, um Politik als Theater zu beschreiben und zu verdeutlichen, wo es kein Theater sein kann. Im Anschluß werden gesellschaftliche Bedingungen und Koordinaten beschrieben, unter denen mediales Politiktheater stattfindet und Erklärungsversuche dazu geleistet.
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Gordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.
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Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.
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Bouillon, Anne. "Gilles Deleuze et Antonin Artaud : L'impossibilité de penser." Thesis, Poitiers, 2013. http://www.theses.fr/2013POIT5005.
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Au sein de la pensée de Deleuze, la poésie d'Antonin Artaud apparaît comme la ligne de fuite par excellence à partir de laquelle tout le foisonnement conceptuel deleuzien s'articule. Artaud est en effet celui qui brise l'image de la pensée – ou ce que nous voulons dire habituellement par " penser " en philosophie – en refusant son innéité et son universalité, c'est-à-dire la cogitatio natura universalis. Car pour Artaud comme pour Deleuze, le plus souvent, la pensée s'affronte à son problème véritable, qui est son impouvoir ou son impossibilité. Ainsi, la première partie de la thèse s'attaque à la compréhension de la destitution de l'image de la pensée dans Différence et répétition de Deleuze, à partir de l'idée de " génital inné " d'Artaud dans la Correspondance avec Jacques Rivière. Si l'image de la pensée ne dit rien du processus de penser, de quelle logique sommes-nous capables ? Au travers de la découverte de la logique paradoxale déployée dans les paradoxes de Logique du sens de Deleuze, il s'agira de penser le rapprochement entre Artaud et Nietzsche. L'axe principal de cette partie est la critique du jugement menée par Artaud. Enfin, jeté dans les paradoxes de la vie, la troisième partie envisage le grand impensé de la philosophie qu'est le corps : en effet, de quel corps sommes-nous capables ? L'enjeu, de l'impossibilité de penser à la question du corps - rapprochant L'Ethique de Spinoza du corps sans organes d'Artaud - est bien de renouer la pensée avec la vie, selon le projet du Gai savoir de Nietzsche et qu'Artaud ne cesse de reformuler dès ses premiers écrits. L'impossibilité de penser dit non seulement la séparation d'avec la vie, mais aussi l'impensable qu'est le corps : en effet, que dire de notre propre corps, tel que nous le vivons ? Dans quelle mesure la création de concepts en rhizome dans Mille Plateaux de Deleuze et Guattari explore-t-elle le corps sans organes d'Artaud, ce corps vécu qui reste encore mystérieux pour la pensée ? Artaud souhaitait qu'on l'aime non pas pour son œuvre mais pour sa vie, témoignant d'une grande santé contre un monde malade : l'horizon de l'impossibilité de penser est alors la pensée blessée et profonde assumant la vie elle-même dans toute son opacitéIn the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity