The communication rights in the information society (CRIS) campaign: Applying social movement theories to an analysis of global media reform

Social movement theories offer useful conceptual and analytical tools to the study and research of global media reform movements. This article is a critical analysis of the Communication Rights in the Information Society (CRIS) campaign. It explores its successes and blind-spots in the light of social movement theory, in particular resource mobilization theory (RMT), and offers practical directions for the movement to move on from where it is to where it ought to be.

The lattice solid model to simulate the physics of rocks and earthquakes: Incorporation of friction

The particle-based lattice solid model developed to study the physics of rocks and the nonlinear dynamics of earthquakes is refined by incorporating intrinsic friction between particles. The model provides a means for studying the causes of seismic wave attenuation, as well as frictional heat generation, fault zone evolution, and localisation phenomena. A modified velocity-Verlat scheme that allows friction to be precisely modelled is developed. This is a difficult computational problem given that a discontinuity must be accurately simulated by the numerical approach (i.e., the transition from static to dynamical frictional behaviour). This is achieved using a half time step integration scheme. At each half time step, a nonlinear system is solved to compute the static frictional forces and states of touching particle-pairs. Improved efficiency is achieved by adaptively adjusting the time step increment, depending on the particle velocities in the system. The total energy is calculated and verified to remain constant to a high precision during simulations. Numerical experiments show that the model can be applied to the study of earthquake dynamics, the stick-slip instability, heat generation, and fault zone evolution. Such experiments may lead to a conclusive resolution of the heat flow paradox and improved understanding of earthquake precursory phenomena and dynamics. (C) 1999 Academic Press.

A Doutrina da Criação na teologia de Calvino e Barth: A semelhança do método como fundamento da releitura teológica barthiana.

João Calvino é o primeiro nome que nos vem à mente ao falarmos da Reforma Protestante do século XVI. A sua influência em Genebra e especialmente a sua mais famosa e importante obra teológica intitulada Institutas, que também serviu e ainda serve de manual doutrinário para os calvinistas, atestam de fato o significado de Calvino para o rotestantismo. Nas Institutas Calvino reinterpretou todos os dogmas teológicos da igreja cristã. O dogma da criação assume lugar de destaque em sua obra pois é a partir dele que Calvino abordará outros dois, também fundamentais, que são revelação e salvação em Cristo. A característica principal que encontramos no dogma da criação de Calvino é a majestade soberana de Deus. Aliás, essa característica soberania de Deus marcou fortemente o protestantismo e ainda se faz presente na tradição reformada. Se João Calvino é o primeiro nome da Reforma Protestante, talvez, sem exagero, Karl Barth seja o primeiro nome de toda a tradição reformada. Semelhante a Calvino, Barth também reinterpretou todos os dogmas da igreja cristã. Das suas muitíssimas obras destaca-se a Die Kirchliche Dogmatik contendo mais de 9.000 páginas, que também serviu e ainda serve significativamente de referência dogmática para o protestantismo. A característica principal que encontramos no dogma da criação em Barth é o pacto da graça de Deus. A minha pesquisa focalizou o dogma da criação reinterpretado por Calvino e Barth. Ao meu ver, Barth se aproxima teologicamente de Calvino, primeiro, por ser calvinista declarado e segundo, porque sua última fase teológica é exclusivamente marcada pelo dogmatismo. Nessa pesquisa procurei desenvolver os pontos de contato entre Barth e Calvino, por exemplo, a semelhança do método teológico, que também será o fundamento da minha proposta de que Barth faz de seu dogma da criação uma releitura do dogma da criação de Calvino.(AU)

UMA DÉCADA PARA SER LEMBRADA: 1970 - 1979 - ANÁLISE DO MOVIMENTO CARISMÁTICO NA IGREJA METODISTA CENTRAL DE LONDRINA-PR

Este trabalho tem por finalidade descrever o movimento wesleyano como um movimento carismático e de renovação. Através de pesquisas bibliográficas, conhecer historicamente o surgimento e o caminhar desse, com ênfase no Movimento Metodista, considerando a experiência religiosa de João Wesley e a repercussão de seu trabalho em todo o mundo. Após essa etapa introdutória, a pesquisa foi concentrada na trajetória do Movimento Metodista no Brasil, levando em conta a tese de Antônio Gouvêa Mendonça, de que o trajeto do protestantismo tenha seguido o mesmo rumo da expansão do café e, dessa forma, perceber os caminhos até focar o Estado do Paraná e especificamente a cidade de Londrina; para tanto, buscou-se documentos históricos da implantação da Igreja Metodista em Londrina, incluindo as divisões ideológicas, as circunstâncias sócio-econômicas e políticas, ocorridas durante esse início. A seguir pesquisa-se o surgimento do movimento de avivamento na Igreja de Londrina levando em conta a postura pastoral que teve a denominação, enquanto instituição, frente ao movimento carismático, que ocorria no Brasil, analisando as atas e documentos existentes, a fundamentação bíblica e o que foi discutido, acatado e implantado no Colégio Episcopal da Igreja Metodista, sobre o tema. O cuidado em colocar esse documento, chamado de Carta Pastoral, prende-se ao fato de que o mesmo foi ponto fundamental para manter a unidade da Igreja e evitar o que antes ocorrera - * divisões. Dedicou-se também ao cuidado de preservação deste documento, haja vista a possibilidade de extinção e conseqüente esquecimento da posição outrora tomada pela Igreja. Finalizou-se buscando conhecer, a origem, o conceito e vivência, bem como o ambiente onde o avivamento ocorreu. Analisou-se a dimensão de crescimento e expansão nas décadas futuras, observando assim se houve ou não um crescimento qualitativo e numérico, como conseqüência de tal fenômeno. Possibilita-se assim, que outros pesquisadores aprofundem o assunto, uma vez que o trabalho foi delimitado a apenas uma década e a Igreja em Londrina, necessitando assim mais pesquisas onde o mesmo fenômeno aconteceu em outras regiões do Brasil.(AU)

O PROFESSOR DO ENSINO MÉDIO E AS TRANSFORMAÇÕES NO MUNDO DO TRABALHO

O estudo objetivou entender como as mudanças que ocorrem na organização do trabalho interferem na maneira de o professor do ensino médio pensar e organizar o seu próprio trabalho. Trata-se de uma pesquisa de campo realizada com professores do Ensino Médio de uma escola estadual localizada num bairro da periferia do município de São Vicente, Estado de São Paulo. Contou-se com os estudos realizados por Harvey (2000), Castel (1998) e Sennett (2004) para entender como as transformações estão se processando no mundo do trabalho e como elas interferem nas condições de trabalho e vida do trabalhador. A organização da escola foi estudada a partir de Ferretti e Silva Júnior (2004) e a profissão docente, a partir das contribuições de Adorno (2003), Oliveira (2003, 2004) e Fanfani (2005). A metodologia adotada insere-se no contexto de uma pesquisa empírica, qualitativa do tipo etnográfico, de acordo com as definições de André (1995), e a coleta de dados foi realizada a partir de observação participante, questionários e entrevistas. Envolveu também estudo de documentos elaborados pela escola e referentes às legislações aplicadas ao ensino médio. Chegou-se à conclusão de que as conseqüências das transformações que ocorrem no mundo do trabalho chegam até a escola por vias diversas e acabam afetando a forma de esta organizar o seu trabalho. Ao chegarem até os professores elas são reinterpretadas e re-adaptadas. As representações que esses profissionais possuem acerca do trabalho e que são construídas ao longo de suas trajetórias de vida acabam interferindo nas interpretações que eles fazem sobre as transformações do mundo do trabalho, bem como na construção da identidade da própria profissão docente. No atual contexto de transformação do trabalho, muito há que se considerar nos caminhos que hoje se colocam como opção para a formação do professor. Esta pesquisa contou com o apoio da CAPES.(AU)

WASOP, a qualitative methodology for waste minimization: systems thinking, HAZOP principles and nuclear waste

Purpose – The international nuclear community continues to face the challenge of managing both the legacy waste and the new wastes that emerge from ongoing energy production. The UK is in the early stages of proposing a new convention for its nuclear industry, that is: waste minimisation through closely managing the radioactive source which creates the waste. This paper proposes a new technique (called waste and source material operability study (WASOP)) to qualitatively analyse a complex, waste-producing system to minimise avoidable waste and thus increase the protection to the public and the environment. Design/methodology/approach – WASOP critically considers the systemic impact of up and downstream facilities on the minimisation of nuclear waste in a facility. Based on the principles of HAZOP, the technique structures managers' thinking on the impact of mal-operations in interlinking facilities in order to identify preventative actions to reduce the impact on waste production of those mal-operations.' Findings – WASOP was tested with a small group of experienced nuclear regulators and was found to support their qualitative examination of waste minimisation and help them to work towards developing a plan of action. Originality/value – Given the newness of this convention, the wider methodology in which WASOP sits is still in development. However, this paper communicates the latest thinking from nuclear regulators on decision-making methodology for supporting waste minimisation and is hoped to form part of future regulatory guidance. WASOP is believed to have widespread potential application to the minimisation of many other forms of waste, including that from other energy sectors and household/general waste.

A sensory-linguistic approach to normal and impaired reading development

In this chapter we outline a sensory-linguistic approach to the, study of reading skill development. We call this a sensory-linguistic approach because the focus of interest is on the relationship between basic sensory processing skills and the ability to extract efficiently the orthographic and phonological information available in text during reading. Our review discusses how basic sensory processing deficits are associated with developmental dyslexia, and how these impairments may degrade word-decoding skills. We then review studies that demonstrate a more direct relationship between sensitivity to particular types of auditory and visual stimuli and the normal development of literacy skills. Specifically, we suggest that the phonological and orthographic skills engaged while reading are constrained by the ability to detect and discriminate dynamic stimuli in the auditory and visual systems respectively.

Spectroscopic studies of field-induced electron emission from isolated microstructures

A detailed investigation has been undertaken into the field induced electron emission (FIEE) mechanism that occurs at microscopically localised `sites' on uncoated and dielectric coated metallic electrodes. These processes have been investigated using two dedicated experimental systems that were developed for this study. The first is a novel combined photo/field emission microscope, which employs a UV source to stimulate photo-electrons from the sample surface in order to generate a topographical image. This system utilises an electrostatic lens column to provide identical optical properties under the different operating conditions required for purely topographical and combined photo/field imaging. The system has been demonstrated to have a resolution approaching 1m. Emission images have been obtained from carbon emission sites using this system to reveal that emission may occur from the edge triple junction or from the bulk of the carbon particle. An existing UHV electron spectrometer has been extensively rebuilt to incorporate a computer control and data acquisition system, improved sample handling and manipulation and a specimen heating stage. Details are given of a comprehensive study into the effects of sample heating on the emission process under conditions of both bulk and transient heating. Similar studies were also performed under conditions of both zero and high applied field. These show that the properties of emission sites are strongly temperature and field dependent thus indicating that the emission process is `non-metallic' in nature. The results have been shown to be consistent with an existing hot electron emission model.

The linguistic situation in Kirkuk:a sociolinguistic study

This study is concerned with the linguistic situation in the town of Kirkuk in north eastern Iraq. In this town there are three main ethnic groups: Kurds, Arabs and Turkmana with some very smell minorities such as Chaldeene, Assyrians and Armenians. The languages spoken by these three ethnic groups belong to different language Family groups. In the First cart of the study the historical background of the population, a review of the literature, both of the present linguistic situation in Kirkuk end of relevant sociolinguistics in general, and the theoretical Framework, have been discussed in detail in order to provide background to this study which is mainly concerned with the Following areas: 1. The relationships existing between ethnic background and language usage and language loyalty in Kirkuk. 2. The attitudes of Kirkukiane towards language maintenance and language shift in Kirkuk. 3. Bilingual, multilingual individual communicative competence of Kurds, Arabs and Turkmans in the languages concerned, including the degree to which such a speaker is bilingual or multilingual and the nature of bilingualism or multilingualism in different domains and situations in Kirkuk. To throw light a these areas a situationally-oriented language survey was conducted; the relevant data was collected by randomly distributed questionnaire, by parsonal interview, by personal observation of language use and language attitudes in this town. The data subjected to commuter analysis and the results proved that the were no significant and substantial correlations between the language use, attitudes and competence based on the socio-economic status of respondents in this town, on the other hand, the correlations between the ethnic backgrounds and the language, use, attitudes and competence are indisoutable.

Leisure at work in Britain, West Germany, France and Japan : a cross-cultural comparative study

The aim of this thesis was to investigate the impact of changing values and attitudes toward work and the workplace in Britain, West Germany, France and Japan. A cross-national approach was adopted in order to gain a better understanding of differences and similarities in behaviour and to identify aspects specific to each society. Although the relationship between work and leisure has been thoroughly examined and there is a growing body of literature on changes in the values associated with these two phenomena, little research has been carried out into leisure at work. Studies of work time have tended to consider it as a homogeneous block, whereas recent research suggests that more attention should be devoted to unravelling the multiple uses of time at the workplace. The present study sought to review and analyse this new approach to the study of work time, and special attention is devoted to an examination of definitions of leisure, recreation, free time and work within the context of the workplace. The cross-cultural comparative approach gave rise to several problems due to the number of countries involved and the unusual combination of factors being investigated. The main difficulties were differences in the amount and quality of literature available, the non-comparability of existing data, definitions of concepts and socio-linguistic terms, and problems over access to organizations for fieldwork. Much of the literature generalizes about patterns of behaviour and few authors isolate factors specific to particular societies. In this thesis new empirical work is therefore used to ascertain the extent to which generalizations can be made from the literature and characteristics peculiar to each of the four countries identified. White-collar employees in large, broadly comparable companies were studied using identical questionnaires in the appropriate language. Respondents selected were men and women, aged between 20-65 years and either managers or non-managers. Patterns of leisure at work were found to be broadly similar in the national contexts, but with the Japanese and the West Germans experiencing the least leisure at work, and the British and the French perceiving the most. The general trend seems to be toward convergence of attitudes regarding leisure at work in the four countries. Explanations for variations in practice were sought within the wider societal contexts of each country.

A computational model of prosody for Yorùbá text-to-speech synthesis

This work examines prosody modelling for the Standard Yorùbá (SY) language in the context of computer text-to-speech synthesis applications. The thesis of this research is that it is possible to develop a practical prosody model by using appropriate computational tools and techniques which combines acoustic data with an encoding of the phonological and phonetic knowledge provided by experts. Our prosody model is conceptualised around a modular holistic framework. The framework is implemented using the Relational Tree (R-Tree) techniques (Ehrich and Foith, 1976). R-Tree is a sophisticated data structure that provides a multi-dimensional description of a waveform. A Skeletal Tree (S-Tree) is first generated using algorithms based on the tone phonological rules of SY. Subsequent steps update the S-Tree by computing the numerical values of the prosody dimensions. To implement the intonation dimension, fuzzy control rules where developed based on data from native speakers of Yorùbá. The Classification And Regression Tree (CART) and the Fuzzy Decision Tree (FDT) techniques were tested in modelling the duration dimension. The FDT was selected based on its better performance. An important feature of our R-Tree framework is its flexibility in that it facilitates the independent implementation of the different dimensions of prosody, i.e. duration and intonation, using different techniques and their subsequent integration. Our approach provides us with a flexible and extendible model that can also be used to implement, study and explain the theory behind aspects of the phenomena observed in speech prosody.

Individual differences in occupational perceptions: a developmental study

This thesis presents an investigation of the structure of people's occupational perceptions. The questionnaires used In this study collected both descriptive information about people's perceptions of occupations and also pair comparison similarities data. The data were collected both in the United States of America and England from samples of subjects who differed in terms of age and sex. This provided, therefore, both cross-cultural and developmental dimensions to the study. A cognitive orientation to the study of vocational behaviour is developed and multidimensional scaling procedures are used to analyze the data. A prime concern of the thesis is to examine the appropriateness of this approach and these techniques to this subject area. The results of this study show that a considerable range of individuaI differences exist in occupational perceptions.0lder subjects have a more complex structure to their perceptions and showed greater consensus as to how they perceived occupations to relate to each other. Younger subjects exhibited a greater range of individual differences in occupational perceptions but had, on average, a simpler subjective occupational structure. The multidimensional scaling procedures used in this study were able to reveal how occupational perceptions were structured, to relate these occupational perceptions to occupational preferences and other evaluative data, and to show that the groupings and structure of occupational perceptions ore similar to the dimensions used in occupational classification schemes. ImpIications of these resultts to vocationaI guidance theory and practice are discussed. The resuIts reported here strongly support both the use of the cognitive approach adopted here and demonstrate the potential of multidimensional scaling techniques for further:research in the field of vocational psychology.

Functional localisation of human sensory-motor cortex using magnetoencephalography

The 19 channel Neuromagnetometer system in the Clinical Neurophysiology Unit at Aston University is a multi-channel system, unique in the United Kingdom. A bite bar head localisation and MRI co-registration strategy which enabled accurate and reproducible localisation of MEG data into cortical space was developed. This afforded the opportunity to study magnetic fields of the human cortex generated by stimulation of peripheral nerve, by stimulation of visceral sensory receptors and by those evoked through voluntary finger movement. Initially, a study of sensory-motor evoked data was performed in a healthy control population. The techniques developed were then applied to patients who were to undergo neurosurgical intervention for the treatment of epilepsy and I or space occupying lesions. This enabled both validation of the effective accuracy of source localisation using MEG as well as to determine the clinical value of MEG in presurgical assessment of functional localisation in human cortex. The studies in this thesis have demonstrated that MEG can repeatedly and reliably locate sources contained within a single gyrus and thus potentially differentiate between disparate gyral activation. This ability is critical in the clinical application of any functional imaging technique; which is yet to be fully validated by any other 'non-invasive' functional imaging methodology. The technique was also applied to the study of visceral sensory representation in the cortex which yielded important data about the multiple cortical representation of visceral sensory function.

Getting along with others:an examination of the ethnomethodological roots of perference organization and its relationship to complimenting

The well-established sociolinguistic literature on complimenting claims that compliments are formulaic (Manes and Wolfson 1981). The purpose of this thesis is to demonstrate that the claim is invalid, to describe an alternative approach to the study of compliments, and to draw on an extensive collection of compliments in order to show that complimenting is a diverse, interactive process. A prerequisite for such work is a means of deciding whether a given utterance is a compliment, but this issue is neglected in the literature. The conversation analytic notion of preference appeared capable of providing this criterion, but research revealed that it was too ill-defined to serve such a purpose. The thesis was, therefore, obliged to clarify the notion of preference before applying it to a study of compliments. The necessary clarification was found in the enthnomethodological roots of conversation analysis, and the thesis provides a clear and consistent means of determining whether utterances are preferred to dispreferred. The criteria used in the determination of preference are applied, in the final chapter, to the study of compliments. The results of the study contrast markedly with those of the sociolinguistic researchers, and they provide significant grounds for rejecting the claim that compliments are formulaic.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.