Plays That Won't Go Away

A public reading of work by playwrights Jimmy McAleavey and Owen McCafferty as part of the Seamus Heaney Centre programme of readings.

Foodies in the UK: A Sense of Self, Connection and Belonging Beyond the Passion?

The global rise of the Foodie movement has attracted some research attention as well as critique in the food industry trend followers, but little research attention in marketing research. The present study looks at the ‘Foodie’ phenomenon in the UK and aims to extend how the notion has been coined in literature through a qualitative investigation of a sample of self-professed Foodies. The objective is to provide an in-depth understanding of what it means to be a Foodie at the individual and group levels, probing attitudes, motivations and self-awareness. Results indicate that the term Foodie cannot be used as an implicit definition of someone ‘simply interested in food’; the capacity of the Foodie may be dependent on individual involvement and the level of importance along the five emerging themes; these being: Learning and discovery; Pleasure and enjoyment; Inspirational influences; Quality; and Experiencing food as an individual and in connection with others. Findings imply that there might be different levels of Foodies, leading to a start on developing a Foodie Typology. The study poses implications for food marketers and researchers that can assist in more effective segmentation, efficient targeting and tailored positioning, as well as opportunities for future research.

A director’s approach to art and religion : o quadro, um musical da Paixão segundo o sr. João (The masterpiece, a musical of The passion according to John): trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.

Case study - Herdade Vale da Rosa – The fruits of passion: The role of a positive entrepreneur vision in the success of an organization from a depressed sector and region

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics

Quest/ion of Identities in African American Feminist Postmodern Drama: A Study of Selected Plays by Suzan-Lori Parks

Innovative and unconventional, Pulitzer Prize-winning playwright Suzan-Lori Parks belongs to the continuum of African American playwrights who have contributed to the quest/ion – the quest for and question – of identities for African Americans. Her plays are sites in which the quest/ion of identities for African Americans is pursued, raised and enacted. She makes use of both page and stage to emphasize the exigency of reshaping African Americans’ identities through questioning the dominant ideologies and metanarratives, delegitimizing some of the prevailing stereotypes imposed on them, drawing out the complicity of the media in perpetuating racism, evoking slavery, lynching and their aftereffects, rehistoricizing African American history, catalyzing reflections on the various intersections of sex, race, class and gender orientations, and proffering alternative perspectives to help readers think more critically about issues facing African Americans. In my dissertation, I approach three plays by Parks – The Death of the Last Black Man in the Whole Entire World (1990), Venus (1996) and Fucking A (2000) – from the standpoints of postmodern drama and African American feminism with a focus on the terrains that reflect the quest/ion of identities for African Americans, especially African American women. I argue that postmodern drama and African American feminism provide the ground for Parks to promote the development of a political agenda in order to call into question a number of dominant ideologies and metanarratives with regard to African Americans and draw upon the roles of those metanarratives as a powerful apparatus of racial and sexual oppressions. I also explore how Parks engages with postmodern drama and African American feminism to incorporate her own mininarratives in the dominant discourses. I argue that Parks in these plays uses postmodern drama and African American feminism to encourage reflections on intersectionality in order to reveal the concerns of African Americans, particularly African American women. Her plays challenge the dominant order of hierarchy and patriarchy, while in some cases urging unity and solidarity between African American men and women by showing how unity and solidarity can help them confront race, class and gender oppressions. Furthermore, I discuss how the utilization of postmodern techniques and devices helps Parks to transform the conventional features of playwriting, to create incredulity toward the dominant systems of oppression and to incorporate her mininarratives within the context of dominant discourses.

La Passion et Résurrection de nostre saulveur et redempteur Jhesucrist, ainsi qu'elle fut juée en Valenchiennes, en le an 1547, par grace demaistre Nicaise Chamart, seigneur de Alsembergue, alors prevost de la ville... ».

Texte composite, pour lequel on a surtout fait usage de la Passion de Greban, révisée et amplifiée par Jean Michel. — A la suite du texte sont des notes sur l'organisation de la représentation, les acteurs et la recette. Nombreuses figures peintes. A la fin (fol. 297), la mention : « Hubert Cailleau, painctre, a painct les histoires sur checume journée de ce libvre, comme aussy il fut joueur audiet mistere... Il donna aussy le portraict du hourdement du teatre avec Jacques des Moelles, comme il se veid en ce present livre. — Point ne mord Mort. Cailleau. »