‘Anything can happen in the next half-hour’: Gerry Anderson’s transnational science fiction

Gerry Anderson’s 1960s puppet series have hybrid identities in relation to their medial, geographical, and production histories. This chapter ranges over his science fiction series from Supercar (1961) to Joe 90 (1968), arguing that Anderson’s television science fiction in that period crossed many kinds of boundary and border. Anderson’s television series were a compromise between his desire to make films for adults versus an available market for children’s television puppet programs, and aimed to appeal to a cross-generational family audience. They were made on film, using novel effects, for a UK television production culture that still relied largely on live and videotaped production. While commissioned by British ITV companies, the programs had notable success in the USA, achieving national networked screening as well as syndication, and they were designed to be transatlantic products. The transnational hero teams and security organisations featured in the series supported this internationalism, and simultaneously negotiated between the cultural meanings of Britishness and Americanness. By discussing their means of production, the aesthetic and narrative features of the programs, their institutional contexts, and their international distribution, this chapter argues that Anderson’s series suggest ways of rethinking the boundaries of British science fiction television in the 1960s.

Thessaly and Macedon at Delphi

The Daochos Monument at Delphi has received some scholarly attention from an art-historical and archaeological perspective; this article, however, examines it rather as a reflection of contemporary Thessalian history and discourse, an aspect which has been almost entirely neglected. Through its visual imagery and its inscriptions, the monument adopts and adapts long-standing Thessalian themes of governance and identity, and achieves a delicate balance with Macedonian concerns to forge a symbolic rapprochement between powers and cultures in the Greek north. Its dedicator, Daochos, emerges as far more than just the puppet of Philip II of Macedon. This hostile and largely Demosthenic characterisation, which remains influential even in modern historiography, is far from adequate in allowing for an understanding of the relationship between Thessalian and Macedonian motivations at this time, or of the importance of Delphi as the pan-Hellenic setting of their interaction. Looking closely at the Daochos Monument instead allows for a rare glimpse into the Thessalian perspective in all its complexity.

Självet, rollerna och pågående koordinationer av mänskliga handlingar : Om att försöka se ’samhället’ som något annat än fängelse eller marionetteater

The self, roles and the ongoing coordination of human action. Trying to see ‘society’ as neither prison nor puppet theatre In the article it is argued that structural North-American role-sociology may be integrated with theories emphasizing ‘society’ as ongoing processes (f. ex. Giddens’ theory of structuration). This is possible if the concept of role is defined as a recurrence oriented to the action of others standing out as a regularity in a societal process. But this definition makes it necessary to in a fundamental way understand what kind of social being the role-actor is. This is done with the help of Hans Joas’ theory of creativity and Merleau-Pontys concept of ‘flesh’ arguing that Meads concept of the ‘I’ maybe understood as an embodied self-asserting I, which at least in reflexive modernity has the creative power to split Meads ‘me’ into a self-voiced subject-me and an other voiced object-me. The embodied I communicating with the subject-me may be viewed as that role-actor which is something else than the role played. But this kind of role-actor is making for new troubles because it is hard to understand how this kind of self is creating self-coherence by using Meads concept of ‘the generalized other’. This trouble is handled by using Alain Touraines concept of the ‘subject’ and arguing that the generalized other is dissolving in de-modernized modernity. In split modernity self-coherence may instead be created by what in the article is called the generalized subject. This concept means a kind of communicative future based evaluation, which has its base in the ‘subject’ opposing the split powers of both the instrumentality of markets and of life-worlds trying to create ‘fundamentalistic’ self-identities. This kind of self is communicative because it also must respect the other as ‘subject’. It exists only in the battle against the forces of the market or a community. It never constructs an ideal city or a higher type of individual. It creates and protects a clearing that is constantly being invaded, to use the words of the old Frenchman himself. Asa kind of test-case it is by the way in the article shown how Becks concept of individualization may be understood in a deeply social and role-sociological way.

Show de Mamulengos Heraldo Lins: construções e transformações de um espetáculo na cultura popular

The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins‟s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry

Dadi e o teatro de bonecos: memória, brinquedo e brincadeira

The puppet theater is the theme of this dissertation, with a particular treatment of Memory, Toy and Jokes, focused especially on a Calungueira, maker of dolls, Ieda Maria Medeiros da Silva, known by Dadi. Currently with 71 years old, Dadi resides in Carnauba dos Dantas / RN and not only restricted to "get" the dolls to play, to enact stories by various characters. Build the dolls, dresses, give life, movement. In Rio Grande do Norte, the Puppet Theater, named "João Redondo," is measured by a historically male character of tradition, represented by some masters who have died or by their pupils, or even by the players who have no lineage of masters in their families but learned from several of them and, gradually, were included in this playful universe. Dadi passes this potiguar genealogy and going to suggesting a variety of transgressions, beyond, with its inventiveness, both in their presentations and in her life, which I did elect her and choose as a singular object in the course of my inquiries. In this study, I use the theoretical and methodological framework of social sciences, in particular the references coming from studies of culture, such as approaches of memory and tradition of authors such as Maurice Halbwachs and Paul Zumthor, among others. The field work was systematized, prioritizing the observation participant and permanent dialogue. I used different strategies for registration, as semi-open interviews, documentary video, audio narratives, photographic and videographic record, giving the work a current relevance to the dialogue with various elements, expanding the initial project, which turned into research for the dissertation

Teatro Ventoforte de 1985 a 1995: a formação de um artista e arte-educador

Pós-graduação em Artes - IA

Uma novela infernal

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Teatro de fantoches na formação continuada docente em educação ambiental

Neste artigo, apresentamos os resultados de uma pesquisa-ação participativa realizada no espaço do Grupo de Pesquisa e Estudos em Educação Ambiental / Sala Verde Pororoca: espaço socioambiental Paulo Freire (GPEEA/Sala Verde), na UFPA. O objetivo foi investigar as contribuições do teatro de fantoches como proposta pedagógica na formação continuada de professores em educação ambiental. Os sujeitos da pesquisa foram seis professoras do ensino básico, as quais são aqui identificadas pelos seguintes pseudônimos: Lucia, Michelle, Izabel, Eloísa, Marta e Ana. Utilizamos quatro fontes para a coleta das informações: 1) um questionário sobre dados pessoais e com as perguntas a) Que motivos levaram você a se inscrever na oficina? e b) Qual é o entendimento de educação ambiental predominante?; 2) uma oficina; 3) um diário de bordo; e 4) entrevistas para complementar as informações fornecidas pelas professoras. Para analisar os dados, utilizamos a técnica da triangulação metodológica. Constatamos que o teatro de fantoches, como estratégia de ensino-aprendizagem de conhecimentos ambientais, foi importante em todas as etapas. A utilização do teatro de fantoches como metodologia foi entusiasticamente reconhecida pelas professoras como viável na prática docente em todas as disciplinas. E o mais importante: elas perceberam que, para a elaboração de qualquer atividade alternativa, há a necessidade de um planejamento, pois é preciso ter uma finalidade pedagógica, com conotação diferente do lúdico pelo lúdico.

O Grupo Sobrevento de teatro de formas animadas

Since prehistoric man seeks to dominate play scenes and images of their daily lives, to understand them or dominate. In the theater, the man tried to represent hunting scenes and deities. Since the first creation material representative of the gods, these objects acquire magical powers. After a long time, came the Puppet Theater, which through the use of various materials, the man concocted dolls in his image and likeness, as well as representations of animals. Subsequently, the Theater of Animated FormsVisual involved various props, like the mask, the shadow and the object. Thus, these elements can appear all together or not in the same show and are, therefore, the Theater of Animated Forms. How important human need to understand the world and events around them, the arts were needed to explain the divine and unreachable. Clumping the four languages of art: music, plastic arts, dance and theater, the Theater of Animated Forms of so characteristic of the man in search of the divine and sublime sentiments or not. In Brazil, faced with a multitude of excellent groups Theater of Animated Forms, the Sobrevento Group stands to monitor on an extensive repertoire theoretical foundation for the themes of the pieces created, and the high level of aesthetic sensitivity and artistic creation through is the dummies used in your repertoire. The objective of this study is to describe and analyze the Sobrevento Group considering the process of artistic creation, which led to the understanding of what is Theater of Visual Theater. To this end, guided interpretive anthropological approach, we conducted an ethnograph with the group

Conscientizar para o bem-estar animal: posse responsável

The community awareness on responsible ownership associated with public policies is key to the promotion of animal welfare. Most cities have a large population of dogs and cats wandering causing serious health problems and abuse. This project aimed to guide and inform the population aimed at animal welfare with the simple and direct approach to issues related to responsible ownership, management, nature conservation and zoonoses. The methodology developed to approach the project in two modules: the I and II, along public and private Elementary and High Schools in Araçatuba. Module I (Mod.I) is basedon the use of puppet theater and musicals, considering the target audience children 3-10 years and the second module (Mod 2) consists of presentations of lectures by undergraduate and graduate course of Veterinary Medicine FMVA UNESP campus Araçatuba, being the target audience of High School teenagers. Data collection proceeded by questionnaires, with questions regarding the care and practices to pets. The results revealed that there is a lack of information about animal welfare practice.

Do primeiro impacto à prática profissional

A partir da experiência pessoal da autora - seja como professora universitária de teatro de animação ou como diretora e encenadora - este artigo apresenta um panorama atual da formação profi ssional nessa área. Cinco aspectos foram considerados: vivências iniciais; ofi cinas, palestras e leituras; pesquisas acadêmicas e pesquisas compartilhadas em processo de montagem

"Talking about Marriage ..." : Polizeiarbeit in Upper West, Ghana /// Arbeitspapiere / Institut für Ethnologie und Afrikastudien ; 102

Polizei in Afrika ist korrupt und schlecht ausgebildet und eine „Marionette“ der Regierungen − so das nicht nur im populären, sondern auch sozialwissenschaftlichen Diskurs vermittelte Bild. Eine ethnographische Perspektive, die Polizeiarbeit im Alltag beobachtet und auf die Interaktionsstrategien der Polizisten mit Klienten und ihre Deutungen und Selbstbilder fokussiert, erlaubt neue Einsichten in das alltägliche Funktionieren der Organisation. Die vorliegende Arbeit basiert auf einem dreimonatigen Aufenthalt in der domestic violence unit der Police Headquarters in der Upper West Region Ghanas. Sie zeigt unter anderem, wie die Akteure die Ausbildung zum Polizisten, Gehaltsfragen, Versetzungen, Geschlechterverhältnis und Beförderungen konzeptionalisieren und wo sie sich in ihrer Arbeitswelt positionieren. Die besondere Aufmerksamkeit der Arbeit gilt der Interaktion der Polizisten mit Akteuren außerhalb ihrer Organisation, den „Klienten“. Eine zentrale Erkenntnis ist, dass die Klienten erst mit Hilfe typischer bürokratischer Praktiken und Redensarten als solche von den Polizisten konstruiert werden. Dabei sind die Klienten aber weder passiv polizeilicher Willkür ausgeliefert noch können einflussreiche Klienten die Polizei nach ihrem Gusto manipulieren. In zwei Fallstudien von Verhandlungssituationen wird deutlich, wie Polizisten Autorität in der Interaktion mit Klienten herstellen und legitimieren und welche Maßnahmen Klienten ihrerseits ergreifen, um die Situation zu ihren Gunsten zu gestalten.

Strumenti di gestione per infrastrutture IT

L'elaborato analizza gli strumenti utilizzati nella gestione di infrastrutture informatiche. In particolare: nel primo capitolo viene fatta una panoramica del Cloud Computing e relativi modelli infrastrutturali e di distribuzione. Nel secondo vengono analizzate le piattaforme di gestione di sistemi basati su architettura IaaS, quali OpenStack, OpenNebula ed Eucalyptus. Nel terzo capitolo vengono esaminati due dei Software Configuration Management maggiormente utilizzati: Puppet e Chef. Nel quarto ed ultimo capitolo viene descritto lo standard OCCI (Open Cloud Computing Interface).

La puerta trasera del Edén : acerca de la gracia en “Über das marionettentheater" de Heinrich von Kleist

El presente trabajo analiza la cuestión de la gracia en el breve relato kleistiano “Acerca del teatro de las marionetas". El problema filosófico que allí se presenta es el de la posibilidad de que un cuerpo artificial como el del muñeco articulado adquiera una gracia que el cuerpo propio del ser humano no podría alcanzar jamás, aun en el caso de los mejores bailarines. Nos proponemos entonces el desafío de pensar de qué modo debe ser pensada la relación entre los cuerpos y el conocimiento para que tal fenómeno sea posible. Sostendremos que la noción de gracia constituye en este texto el modo kleistiano de construir una línea de fuga frente a su interpretación de Kant.

Polichinel, ex-roi des marionnettes devenu philosophe /

Mode of access: Internet.