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1
Weiss, Katherine. "Ibsen’s A Doll’s House." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2280.
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Hansson, Ylva. "A doll’s world : Nora ur olika kulturella perspektiv." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-968.
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This master’s thesis discusses who Nora Helmer could be today in different parts of the world. With an idea for an modern adaptation of A doll house (with three Noras from different cultural perspectives) as a starting point the purpose is to research the following questions: Who Nora could be today, how Nora could be portrayed through different cultural perspectives, what similarities and differences there are, if anything in the play has to be changed to relate to a contemporary context and what the essence of Nora is. These questions are being explored through in-depth interviews with five different female actors in different continents: North America, Asia, Oceania, Africa and Europe. The actors thoughts are presented through different themes: Who Nora is, motherhood and marriage, Nora’s favourite color, the ideal woman and who Nora could be in their context today. The last part discusses the different versions of Nora, how a classical play can open up for conversations about current gender equality issues and how this material can be used in the continued work towards a stage production.
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Shoffner, Kristin E. "Realism Revisited: An Exploration of Ibsen's A Doll's House and Hedda Gabler in Contemporary Contexts." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2519.
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The following thesis is an exploration in creating TheatreUNO’s production of A Doll’s House and Hedda Gabler. The goal of directing the production of A Doll’s House and in performance of Hedda Gabler in repertory was to walk the fine line of honoring the original intentions of the playwright while simultaneously making the performances accessible to a contemporary audience. This thesis will include an in-depth look at the process of both productions, analysis, research and production materials. A Doll’s House and Hedda Gabler ran in repertory at The University of New Orleans April 12-28 2018.
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De, Haas C. J. "The doll's house and the Enclave : a toolkit." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1452452/.
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This thesis is an exploration of contemporary domesticity and the home in contemporary society, through the visual and textual analysis of three different historical (sets of) images of the home: the dolls' house of Petronella Oortman, painted in 1710 by Jacob Appel, Saint Jerome beside a Pollard Willow by Rembrandt van Rijn, and L'Arbre savant by Ren6 Magritte. The dolls' house of Petronella Oortman, assembled between 1686 and 1711, was a collection of miniature objects displayed in nine boxes that were placed in a cabinet, creating a complete overview of the ideal home as it was developed in the seventeenth-century Netherlands. The etching of Saint Jerome beside a Pollard Willow, 1648, by Rembrandt van Rijn depicts Saint Jerome, one of the church fathers, seated next to a pollard willow. The architect Alison Smithson saw this as an 'allegory of the ideal home'; the result of a symbiotic relation between the Saint and his surroundings; an enclave. The third image, L'Arbre savant, 1926, by Rena Magritte depicts a cabinet, which is conceived, just as the dolls' house¬, "gloinet is, in a rational manner, in a tree trunk, which is formed organically. The image, therefore, displays the nonsensical aspect and the tension that a juxtaposition of two familiar, yet incompatible, objects generates. In fact it is the tension between these objects that could generate the idea of the home. It can also be seen to represent a series of what the architect Kim Dovey calls 'dialectical processes of becoming at home' in his article 'Home and Homelessness', 1985. The resulting design, a miniature Domestic Toolkit, is a collection of miniature objects, images and narratives that explore these 'dialectical processes of becoming at home' that a juxtaposition of the painting of Saint Jerome and the images of the dolls' house of Petronella Oortman generates.
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Suratos, Jennifer. "Hamlet, Nora, and the changing form of tragedy." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/788.
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William Shakespeare’s influence on the genre of tragedy is both powerful and undeniable, while contemporary notions about tragedy have shifted into a modern light through the influence of Norwegian playwright Henrik Ibsen. This study concentrates specifically on Hamlet and A Doll’s House in order to indicate the ways in which ideas of tragedy have evolved. By investigating the effect of religion in Hamlet and the absence of it in A Doll’s House, I will argue that the main shift in tragedy is the loss of God. This thesis examines the transformation of the two heroes throughout the course of their respective plays and, in doing so, identifies the formal features which mark their claims to tragedy. While their processes differ greatly—Hamlet’s transformation is through a super-textual and self-analytic process while Nora’s process is one that emphasizes action over thought—both of their journeys are tied to the crucial and utterly tragic truth that they must face: the breakdown of their family.
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Donicht, Gaby Carleton University Dissertation History. "A doll's house or the house of the dead : political exiles in northern Russia and Siberia, 1880-1917." Ottawa, 1990.
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7
Chen, W. N. "To the dolls' house : children's reading and playing in Victorian and Edwardian England." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1462464/.
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This thesis explores the construction of upper- and middle-class children as readers and consumers in Victorian and Edwardian England, a period which witnessed the Golden Age of children’s literature and major reforms in education. Through the examination of dolls’ house play and representations of dolls’ houses in English children’s literature from the 1860s to the 1920s, as well as autobiographical accounts of childhood reading and playing in adult women’s memoirs, this thesis engages with recent scholarship on children’s literature, material culture and gender to demonstrate the relevance of dolls’ house play to children’s everyday life and their roles as readers, players, and consumers. The first part of the thesis gives an overview of dolls’ houses in history, looking at dolls’ houses in museum collections throughout Europe, from the seventeenth-century Nuremberg houses to Queen Mary’s dolls’ house now on display at Windsor Castle. Part Two examines dolls’ house play as represented in and inspired by children’s books and children’s reading practices. Drawing from children’s magazines, toy-making guides, and picture books featuring dolls’ house making, furnishing, and playing, I argue that playing with dolls’ houses and making their own toys enabled children to balance work and play, labour and leisure. I also show how dolls’ house play was important in the period’s development of pedagogical theories, of a children’s book and toy market, and in the construction of children as consumers. Part Three explores works by Edith Nesbit, Beatrix Potter, and Frances Hodgson Burnett, alongside other non-canonical children’s fiction that makes the dolls’ house a setting for fantasies about miniature worlds. I discuss the dolls’ house as a perfect domestic household in miniature and an enchanting miniaturised spectacle and argue that imagination and play contribute to girls’ learning and negotiating with domestic roles and domestic space.
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Aston, Elaine. "Outside the doll's house : a study in images of women in English and French theatre, 1848-1914." Thesis, University of Warwick, 1987. http://wrap.warwick.ac.uk/36607/.
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The aim of the thesis is to document images of women in English and French theatre, between 1848 and 1914, which challenged the stereotypical image of women as passive wives and mothers in the'doll's house! The methodologies employed are not restricted to dramatic criticism, but draw upon a udder net of feminism, semiotics, and social history, in order to place the plays, roles and actresses in the theatre of their time. As a comparative study, it documents interchange, interaction and difference, between the theatre of England and France. The images are divided into three groups, viz., the 'female outcast', the 'third sex' and 'revolting women'. Section one documents a range of femme fatale images, including the courtisane; the Magdalen; Cleopatra, the royal seducer: Medea, the outcast queen, and the dangerous women of melodrama. The second section begins with studies of the male impersonators of music hall, notably Vesta Tilley, and the principal boys of Victorian and Edwardian pantomime. Male impersonation on the 'serious' stage is then considered, in a study of actresses in the cross-dressing role of Shakespeare's Rosalind, and Bernhardt's travesti roles, in particular her Hamlet. The third section considers the révolt6e of the social drama, and debate surrounding the rationale of motherhood, and the hostile reactions to the issues of abortion and infanticide. A chapter on Manchester's Gaiety theatre indicates the importance of the 'new theatres' in providing a udder and more realistic, representation of women, while the final study examines drama which portrayed the difficulties for women trying to survive independently of men, indicating the economic disadvantages and prejudices which drove many women into prostitution. Overall, the three groups of images represent three strategies for power and their success and failure is indicated and assessed. The capacity of theatre for social debate is highlighted, and the contribution of women in the creation of radical images is re-evaluated, thereby making a significant contribution to women's studies and to nineteenth century theatre studies.
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Song, In Ho. "Essays on House Prices and Consumption." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306848116.
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Clarke-Alexander, Lorianna. "Amsterdam Through the Eyes of a Miniature." Kent State University Honors College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1368626487.
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Davis, Dena Michelle. ""Only Connect": A Journey of Teaching Henrik Ibsen's A Doll House to Play Analysis Students." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4526/.
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This work examines the author's experience in teaching A Doll House by Henrik Ibsen to students in the course Play Analysis, THEA 2440, at the University of North Texas in the Fall 2003 and Spring 2004 semesters. Descriptions of the preparations, presentations, student responses, and the author's self-evaluations and observations are included. Included as appendices are a history of Henrik Ibsen to the beginning of his work on A Doll House, a description of Laura Kieler, the young woman on whose life Ibsen based the lead character, and an analysis outline form that the students completed for the play as a requirement for the class.
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Liu, Han-Ying. "From cabinets of curiosities to exhibitions : Victorian curiosity, curiousness, and curious things in Charlotte Brontë." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/8d80678d-e520-caa1-74e7-f2ed26f8ddb1/9/.
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This thesis intends to answers these questions: What did “curiosity” mean in the nineteenth century, and how do Charlotte Brontë's four major works represent such curiosity? How were women looked at, formulated, and situated under the nineteenth-century curious gaze? In order to answer these questions, this thesis examines Brontë's works by juxtaposing them with nineteenth-century exhibitions. Four chapters are thus dedicated to this study: in each a type of exhibition is contemplated, and in each the definition of “curiosity” is defined through the discussions of boundary-breaking. The first chapter discusses the metaphors of “cabinets of curiosities” throughout Brontë's texts. The most intimate and enclosed spaces occupied by women and / or their objects—attics, desks, drawers, lockets—are searched in order to reveal the secret relationship between Brontë's heroines and the objects they have hidden away, especially the souvenirs. From cabinets of curiosities the thesis moves to another space in which the mechanism of curiosity and display takes place—the garden. The second chapter thus discusses the supposed antithesis between the innocent and the experienced, between the Power of Nature and the Power of Man, by reading the garden imagery in Brontë's works along with nineteenth-century pleasure gardens and the Wardian case. The imagery of Eve is also taken into consideration to discuss the concept of innocence. In the third chapter, metaphors of waxworks and the Pygmalion myth are applied to discuss the image of women's bodies in Brontë's texts, and the boundary between the living body and the non-living statue is seen as blurred. In the final chapter, dolls' houses and their metaphors in Brontë's works are examined in order to explicate Brontë's concept of “home,” and the dolls' house thus poses a question on the relationships between the interior and the exterior, the gigantic and the miniature, and the domestic and the public spaces.
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Orlowski, Jessica Marie. "Ties That Bind." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/60.
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I am fascinated by the inner thoughts, the memories, and the cumulative experience that make us each a complex physiological puzzle. From birth, sociological building blocks are constructed forming emotional walls and unexpected doorways, boundaries and comfortable passageways through the architecture of our personalities. My thesis work, which is comprised of ceramic figures and interactive toys, offers playful memory triggers and evocative spaces in which viewers can deconstruct the building blocks of their social persona.
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Su, Chi-chun, and 蘇祺鈞. "《The Doll’s House》Stage Design Project." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/nu6b2n.
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碩士國立中山大學
劇場藝術學系研究所
103
Henrik Ibsen''s creations are based on "Human." The description on the inconsistence and the conflict of humanity, family and the society was delivered through dramas; the major play, A Doll''s House, was fulfilled with the living setting and dialogues to prove the fact of lies and injustice and evoke the liberation of subscribers'' mind and thoughts. The life story and creations of Henrik Ibsen are analyzed in the research and then discuss on the play''s ideals and the contemporary meaning as well as other design projects to explore the context. Humanity and social issues are applied on stage design but limited by stage direction and the age background to present the profundity of A Doll''s house with the concept of crossing-age and unisex, which composes the arbitrariness of geometric construction to explore the origin and development and make them in stage design. The stage design is constructed by the pure elements, points, lines and sides. Geometric composition is used for reconstructing and diverse time and space by the dividing and composing to rebuild the character of A Doll''s House, which combines the geometric stage design and modern art into stage art. Based on the main result, this project proposes specific recommendations to serve as reference for researchers and stage designers.
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Mai, Weilin, and 麥瑋玲. "A Doll’s House and Its Readers in China, 1900-1960." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/07237279842512091237.
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碩士中國文化大學
史學系
99
From 1900 to 1960, China, people thought in the directions which are different from today. That's because the times and social environments are not the same. So, from 1900 to 1960, in China, the readers' thoughts which were caused after reading A Doll's House must also be different from the present. Through the opinion texts and fiction texts, which were written by scholars and writers at that period, basing on A Doll's House or Nora, then the readers' directions to interpreting A Doll's House and their reading practice would be understood. This study is focusing on the male readers, female readers, and the mediators representing for the folk readers of A Doll's House, during 1900-1960, China. These readers and mediators are mostly famous scholars or writers at that period. This study is not only focusing on the paper form text of A Doll's House, but also the performance form.
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Yu, Ying-Chun, and 尤瀅淳. "To Leave or To Stay: Women’s Social Condition in Henrik Ibsen’s A Doll’s House." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8j2p77.
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碩士國立中正大學
外國語文研究所
104
Henrik Ibsen’s A Doll’s House describes Nora, a happy wife, awakes to her husband’s manipulation on her, and she decides to leave in order to search her own values in the society. However, Nora’s friend, Mrs. Linden, who has independent income, decides to embrace the marriage again to fulfill with her feeling of emptiness in her single days. Both of their experiences reflect the predicaments of women in the family and society, but their different decisions make the meaning of emancipation ambiguous. Hence, by analyzing Nora and Mrs. Linden in Ibsen’s A Doll’s House, this thesis attempts to investigate women’s social conditions in the nineteenth century. It is divided into two chapters to discuss this play. Chapter One is to survey the constraint of a traditional society on women in the nineteenth century. With Simon de Beauvoir’s observations of women in The Second Sex, the first chapter is to reveal the difficulties of being a woman. Chapter Two is to question the controversial meaning of independence. By comparing different decisions between Nora and Mrs. Linden, this chapter is to explain what the true emancipation and independence is to women. Through the discussions in these two chapters, this thesis can discover women’s predicaments and the existence of survival in the life of constraint.
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Wei, Yu-Fang, and 魏郁芳. "Women’s Evolving Freedom of Choice in A Doll’s House, The Lady from the Sea and Slam the Door SoftlyWomen’s Evolving Freedom of Choice in A Doll’s House, The Lady from the Sea and Slam the Door SoftlyWomen’s Evolving Freedom of Choice in A Doll’s Ho." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/td7dvq.
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碩士中國文化大學
英國語文學研究所
93
Abstract This thesis is to discuss women’s freedom of choice as represented by three protagonists, i.e. Nora Helmer in Ibsen’s A Doll’s House (1879), Ellida in another Ibsen’s play The Lady from the Sea (1888), and Nora Wald in Clare Boothe Luce’s Slam the Door Softly (1970). From the different dates of the writing of these three plays, we can also detect that the idea of freedom of choice for women is also evolving. Nora Helmer chooses to leave her home to seek her independence, because her husband has shown no respect for her decisions and has always treated her as an immature, “child-like” woman. By contrast, Ellida marries her husband for economical security, but she imagines that her real love is a stranger whom she has met by the sea. After much discussion and her confession, her husband finally agrees to give her a divorce, in order to let her be free to choose again. Ultimately, her final decision is to stay with her husband because she realizes that there is much love between them. On the other hand, Nora Wald is an educated woman with a Master’s Degree. She discovers her husband having dinner with another girl, which reminds her that her father-in-law was a henpecked husband to a dull wife at home. However, he had a more interesting mistress, who is a small business owner. After long deliberation, and she admits still being in love with her husband: he agrees to let her find a job suitable to her education to prevent her from being a boring wife, just like her mother-in-law. Furthermore, after consulting many reference books, there are two particularly important feminist books worth special mention, for their helpful background information about the feminist movements in the 19th and 20th centuries. First, The Second Sex (1949) is a major classic feminist work, by a French feminist, Simone de Beauvoir (1908-1986). This is her passionate, scholarly plea for the abolition of what she called “the myth of the eternal feminine.” The second is the widely read feminist book Of Woman Born (1976) by a U. S. poet and critic, Adrienne Rich (born 1929), who shows in her writings, increasing commitment to the women’s movement, especially on lesbian/feminist issues. This book won the National Book Award, and is recognized for her brilliant and passionate exploration of the joy and pain experienced in motherhood.
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Bradford, Lesa M. "Women in reality: a rhetorical analysis of three of Henrik Ibsen’s plays in order to determine the most prevalent feminist themes." Thesis, 2007. http://hdl.handle.net/10057/1115.
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Suen, Mng-Jen, and 孫名箴. "THE DOLL'S HOUSE STORY." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/492vu2.
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Wu, Yi-Ting, and 吳怡婷. "An Analysis of Feminism in《Lysistrata》、《A doll's house》and《The visit》." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/93488710651871797332.
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碩士中國文化大學
戲劇研究所
95
Drama contains many different forms and varieties. This thesis discussed feminism and its artistic presentations. The first part discussed what is feminism and its development, then different schools within feminism were reviewed in order to set up the premise of this thesis. The second part of this thesis continued the discussions of feminism to analyze three plays. These three plays include 《Lysistrata》, 《A doll’s house》, 《The visit》. The playwright’s life, historical and social background of the plays and their outlines were introduced first. The feminist ingredients within these three plays were then dissected. From the analyses of feminism and the three plays, this thesis tries to find values for women within society, and suggested a way to balance gender issues within our society.
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Bertha, Feng, and 馮姿蓉. "Disintegration;Integration:Family Relationship in Henrik Ibsen's A Doll's House, Ghosts and Hedda Gabler." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/37100878205670636274.
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碩士靜宜大學
英語學系
86
The family serves as a bridge between the individual and the society.To be more exact, the individual stays and functions within the family and the family within the society. The treatment of the family relation-ship has received little attention from the critics. As a socially-conscious playwright, Ibsen has probed into the nature of the family and consequently has broken the ideal image of it as a means of reconstructing it as an enduring human insitution.My thesis aims at a study of the family relationship based on Ibsen's three plays: A Doll's House, Ghosts, and Hedda Gabler. The family is seen as the basic unit in human society pertaining to sexual relationship, child bearing, socialization, child training and the relating of the individual to the other institution alized aspects of society. The plays are examined mainly from a psychological and sociological perspective. Chapter One considers the purpose of this thesis , the definition, the nature of the problem plays and the presentational aspec ts of the plays. Chapter Two discusses the family relationships in A Doll's Ho use. It centers on the plays's concern with redefining the selves of the members of the familyand its consequences. Chapter Three deals with the exorcising of the ghostsof the past so that Mrs. Alving at the end of the play could face the reality of her situation. In Chapter Four, the family relationship in Hedda Gabler would be the main subject. The issue of the destructiveness and suicide leads to the damaging of the relationship. The recreating theintellectual offspring of Lovborg suggests that the man's creativity couldtriumph over destructive and death. Chapter Five is the conclusion. Familyis the arena in which human relationships are worked out. These relation-ships hope to provide the means of individual growth and social reconstruction as we see developed in these plays.
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Liao, Pei-ting, and 廖珮婷. "Under the Surface of the Angel in the House: From Henrik Ibsen's A Doll's House to Virginia Woolf's The Voyage Out." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/33328108476840807368.
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碩士東吳大學
英文學系
95
This thesis looks at the identities and desire of Nora in Henrik Ibsen’s A Doll’s House and Rachel in Virginia Woolf’s The Voyage Out from a comparative point of view and draws in the background of their time by looking into the contemporary popular image of woman as “the Angel in the House.” Nora and Rachel represent different types of women in the nineteenth century. In A Doll’s House, Nora changes her identity from a naïve doll-like wife as “the Angel in the House” to a woman who wants to live independently and individually in society. In The Voyage Out, Rachel experiences her voyage from England to a small town in South America, and her journey from life and love to death. To Rachel, Ibsen’s plays always leave her in that condition. Nora in A Doll’s House is especially one female character who influences Rachel to form her identity and thoughts. Henrik Ibsen has great influence on Virginia Woolf, and Nora on Rachel. The main theme in The Voyage Out is about the psychic aspects of the heroine’s development. Rachel’s inner self grows in her voyage from England to Santa Marina in South America. But Nora’s psychic development is influenced by Mrs. Lind’s visit and Krogstad’s blackmail that make her realize the illusory nature of her happy married life with Torvald. At the end of A Doll’s Hosue and The Voyage Out, both Nora and Rachel get rid of the limitation imposed on women by marriage. After a brief introduction of the social background of the Victorian Age, the authors, the works and other references, Chapter One will focus on female identities in the nineteenth century. The traditional female position of the “Angel in the House” will be discussed before examining the conflicts and challenges that Ibsen’s Nora in A Doll’s House and Virginia Woolf’s Rachel in The Voyage Out face. Chapter Two will apply Lacan’s definition of language and female desires from Ecrits and Virginia Woolf’s notions about female positions and desires in her essays in The Common Readers and Books and Portraits to analyze Nora’s and Rachel’s language and desires. Chapter Three will briefly discuss the tradition of the male journey before probing into Nora’s and Rachel’s journey of finding the self. The conclusion will explore female identities and desires in the works of these two authors. Moreover, that Ibsen’s A Doll’s House and Virginia’s The Voyage Out are still popular now is a fact that is worthy of speculation.
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Wang, Seng-tien, and 王森田. "Emptiness/Death: A Jaussian Reading of Henrik Ibsen's A Doll's House and James Joyce's "The Dead"." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/84294769039235433038.
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碩士淡江大學
西洋語文研究所
82
Before capitalism commands its absolute dominance over our life, identity problem would rarely be as thorny as Nora's case. But when capitalism takes over the rule of human feelings, the search of identity and an escape from emptiness would be superfluous as in Gabriel's vision. Because Gabriel has seen the imminence of death in hisalistic society, and he sees that even marriage is also under the spell of it. That is Jauss's "Horizon of Expectations" is appropriated in this thesis: the significance of marriage is different to every age. As Jauss's dialectics of question and answer suggests, the interpretation of a text is the concretization of the question to which the text itself is the answer. At the time of the emergence of A Doll's House when capitalism has not fully developed, marriage is a concernidentity and emptiness. Since the time of those Dubliners when capitalsim has begun to manipulate our life, the imminence of death has tightened, and never loosened itson everything, marriage included.
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Sun, Ming-Zhen, and 孫名箴. "The Analysis of the Percussion Ensemble Work:The Doll''s House Story." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/48415365164347609590.
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Ryan, Patricia Morgan. "An actor's process Richard B. Sheridan's The Rivals and Henrik Ibsen's A Doll House /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/17462279.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1987.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 129-132).
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Sun, Ching-Wen, and 孫靖雯. "Brand visual design of the Infant care center - Using Doll House Infant care center as an Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/25680731982945583337.
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碩士中原大學
商業設計研究所
102
The existence of nursery center not only provides a learning environment for children, but also offers parents a secure place for their kids. Nevertheless, in the environment of diverse nursery ideas, a brand should be seen first before being identified and disseminated. Owning a unique, distinguishable, and recognizable brand will exactly give consumers the messages and ideas of the brand. After unifying the brand style, the brand’s unique value can be created. And this is the purpose of this design on brand-shaping toward Doll House nursery center. Initially, this paper analyzes the market and information of nursery center in Taiwan from previous literatures. This paper also analyzes the factors of center selection of parents from consumer behavior. Moreover, the researcher analyzes the importance of the design of vision recognition and environment recognition toward nursery center’s brand-shaping. What’s more, under the combination of vision and environment recognition, the researcher then analyzes how to show the brand features in every detail, making the nursery center establish a systematic and consistent vision impression and brand image. Afterwards, the researcher analyzes the major competitors and finds the market positioning. The researcher also analyzes other competitors’ logos’ colors, styles, and vision designs; finally begins to design from these generalized analysis. These vision recognition and environment recognition design were worked under the clear market positioning and the brand’s appeal, which made the Doll House not only a signboard but a stylish, recognizable, and friendly brand. Key words: nursery center、brand-shaping、vision recognition、environment recognition、logo design
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Silva, Carlos Ivo Saraiva e. "Casa de Partida: O Espetáculo Polissémico." Master's thesis, 2020. http://hdl.handle.net/10362/94011.
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Casa de Partida: O Espetáculo Polissémico condensa o relato da construção do
espetáculo Casa de Partida, a partir do clássico teatral Casa de Bonecas de Henrik Ibsen
(1828-1906 [1879]). Consciente de uma preocupação com a evolução do conceito
teórico-prático das artes performativas, este trabalho de projeto tem como principal
objetivo a relação entre o dramático e o pós-dramático, na adequação do clássico a uma
estese pós-moderna. Para isso, elabora-se uma definição de teatro que vincula a
narrativa a uma linguagem que a distorce, numa estreita colaboração com a matéria de
outras vertentes artísticas, com vista a produzir um objeto multidisciplinar (capítulo 1,
O Espetáculo Polissémico); é nomeado como objeto de estudo deste trabalho a obra
Casa de Bonecas, no cumprimento da sua análise dramatúrgica detalhada que
acompanha o conflito do drama e investiga os signos que o autor sugere (capítulo 2,
Casa de Bonecas: Discursos e Dramaturgias), para a inserir numa estese plural da cena,
explorando uma perspetiva da peça que desenvolva as temáticas de identidade e
emancipação face ao conceito de teatro como espelho da realidade (capítulo 3, Casa de
Bonecas: Uma Encenação). As várias etapas da dramaturgia e encenação do espetáculo
Casa de Partida são dissecadas, na projeção de um planeamento coerente da execução
prática da peça (capítulo 4, Estrutura), explorando o clímax do espetáculo, caraterizado
por uma cena de movimento, onde o atores trabalham a extensão e exaustão dos seus
corpos, no entendimento dos conceitos “corpo-casa” e “máscara” (capítulo 5, Baile de
Máscaras), e a cena final, em que ocorre o ato de emancipação da personagem
protagonista, percorrendo as suas dimensões humanística, artística e política (capítulo
6, Partida). O objetivo desta pesquisa, na dialética da arte contemporânea, pode ser visto como um impulso necessário no pensamento e na reorganização urgente das artes
do espetáculo.Departure House: The Polysemic Show is the academical account of the making of the show Departure House from the theatre classic A Doll’s House by Henrik Ibsen (1828-1906 [1879]). Conscious about a concern for the practical and theoretical concept evolution of the performing arts, this project has as its main goal to establish the relationship between the dramatic and the post-dramatic, in the adequacy of the classic to a post-modern aesthetics. For this purpose, we create a definition of theatre which binds together the narrative of a language which distorts itself, and the narrow collaboration with other art forms, aiming therefore to create a multidisciplinary object (chapter 1, The Polysemic Show); A Doll’s House is nominated as an object of study for this work, fulfilling a detailed dramaturgical analysis which accompanies the conflict of the drama and investigates the signs suggested by the author (chapter 2, A Doll’s House: Discourses and Playwriting) in order to insert a plural aesthetics of the scene, exploring a play perspective which develops the thematics of identity and emancipation regarding the concept of theatre as a mirror of the real world (chapter 3, A Doll’s House: A Staging). The many playwriting and staging phases of the show Departure House are dissected in the forecasting of a coherent planning of the play’s practical performance (chapter 4, Structure), exploring the show’s climax, characterised by a movement scene where the actors work on the extension and exhaustion of their own bodies, understanding the concepts of body-house and mask (chapter 5, Masquerade Ball), and the final scene, where the act of emancipation of the main character takes place, exploring their humanistic, artistic and political dimensions (chapter 6, Departure). The aim of this research, in the dialectics of contemporary art, can be seen as a necessary spur for the thought and urgent reorganisation of the performing arts.