To see the other types of publications on this topic, follow the link: English English literature Performance in literature.
Dissertations / Theses on the topic 'English English literature Performance in literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'English English literature Performance in literature.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Silva, Elise Christine. "Terror, Performance and Post 9/11 Literature." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2724.
Full textAbstract:
This project explores 9/11 as a performative act that is re-represented in post 9/11 fiction. Although many scholars have engaged spectacle theory to understand the event, this project asserts that performance theory gives a more dynamic and ethical reading of post 9/11 literatures like Jonathan Safran Foer's Extremely Loud and Incredibly Close and Don DeLillo's Falling Man. The aforementioned post 9/11 texts showcase narrative performances and also give formal performances for an audience of readers. Theatricality in these texts promotes dialogue and healing through interactive communication.
2
Ishikawa, Naoko. "The English clown : print in performance and performance in print." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2951/.
Full textAbstract:
This thesis examines how and why the English clown emerged and declined by focusing on jest-books and comic actors such as Tarlton, Kemp and Armin. The jest-book, Tarlton’s Jests is the key publication in the development of jester-clowns in Renaissance drama. This account traces the authoring, editing, and printing of jest-book publications, along with the transmission of their copy-texts to clarify the dissemination of theories of clownery. The thesis explores the English clown tradition based on the presences of Kemp and Armin, who in their writing practices link the development of clowning in print to the theatre stage. This study then offers a critical analysis of the influence of jesting heroes on comic characters in play-texts from Shakespeare to Dekker and Heywood. By considering the rich resources of jests appropriated by these playwrights, the various forms of the clowns’ development are clarified. The tradition and characteristics of the English clown resulted from a unique cultural synergy: the connection between the stage clowning of the time and its underlying theories. This interaction between societal change and the resultant cultural products is considered as an achievement of the Early Modern interdependence between print and performance.
3
Hill-Vásquez, Heather. "The possibilities of performance : mediatory styles in Middle English religious drama /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9355.
Full text
4
Harradine, David John. "Chronographies : performance, death and the writing of time." Thesis, Queen Mary, University of London, 2005. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1855.
Full textAbstract:
This thesis explores the interconnecting themes of time, death and the subjective in relation to performance, the performative and the critical act of writing. It is structured as a heterogenous series of case studies of a range of performed and petformative events, each offering a focus for an investigation of how the key terms of time and death operate in and around that event, and of how those terms lead to other areas of investigation. It deploys analytical and conceptual frameworks from, amongst others, the disciplines of psychoanalysis, queer theory, cultural studies, the visual arts, literary theory and performance studies to develop a series of interdisciplinary readings of subjects including the perfonnative construction of subjectivity, the temporality of photography, the temporal and spatial aspects of domestic architecture in relation to performance and installation, and the epistolary exchange as performance event. The thesis also addresses the problematics of how to engage in the process of critical writing in response to the ephemerality of performance, and theorises "performative writing" in relation to the broader themes of time and death. A range of textual forms are deployed in the text, including fictional autobiography, love letters, instructions for scientific experiments, prose poems and fragmented essays in multiple voices. By repeatedly reinventing the form through which the writing is presented, the thesis also implicitly explores the limits of textuality in the context of the creation and presentation of the doctoral thesis itself.
5
Pauley-Gose, Jennifer H. "IMPERIAL SCAFFOLDING: THE INDIAN MUTINY OF 1857, THE MUTINY NOVEL, AND THE PERFORMANCE OF BRITISH POWER." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1147108754.
Full text
6
O'Neill, Sinéad. "A history of opera in performance : Verdi's Macbeth at Glyndebourne, 1938 to 2007." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1319.
Full textAbstract:
This dissertation is a history of Glyndebourne Festival Opera’s productions of Verdi’s Macbeth. The first three chapters document each of the three productions, which are directed by Carl Ebert (1938), Franco Enriquez (1964), and Richard Jones (2007). The final chapter is an analysis – focusing on the score’s staging potential – of the opera itself. The analysis is used to draw together and clarify the various staging interpretations discussed in the previous three chapters. The Glyndebourne Archives form the main source for the first two chapters, and my observation of rehearsals and performances informs the third. Historical context is particularly important in the first chapter, while dramaturgical analysis comes to the fore in the second and third. In all cases, the individual production as art work is the main subject of my research. The interaction of music and stage is of particular importance. The methodological challenges presented by exploring something as ephemeral as live performance are discussed in the introduction, and kept in mind throughout. This dissertation is the first major study of Glyndebourne Festival Opera’s creative work. As such, it takes a first step towards the scholarly investigation of the history of opera production in Britain.
7
Jones, Winifred Maria. "Shakespeare's dialogic stage : towards a poetics of performance." Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/4436/.
Full textAbstract:
Shakespearian performance scholarship is arguably looking for a methodology that can integrate the study of performative work with critical analysis and theory. As an intervention in this discussion, I propose a poetics of performance, a term intended as a playful appropriation of Stephen Greenblatt's poetics of culture but one that restores the central omission of actual performance to his study of Renaissance subjectivity in dramatic texts. This is a systematic study of four plays, The Taming of the Shrew, The Merchant of Venice, Hamlet and Richard II in productions on stage and screen between 1927-1995, arranged diachronically and in dialogic pairings (drawing on 'Bakhtinian thought'). Utilising Greenblatt's discussion of cultural exchange and symbolic acquisition, and restoring Greenblatt's omission of diachronic 'appropriation', I consider the reception of the performative work, drawing attention to interpretative patterns, and enquire into the structuring historical contingency of the Renaissance locus. In considering the 'iteration' of a Shakespearian text (ie: that which enables it to activate transpositions beyond its originating history) I suggest that materialist critics are responding to a valued "art' work and that it is Shakespearian performance scholarship itself that has created the anomalous page/stage debate which it presently seeks to circumvent.
8
Napier, Gray Kathryn F. "Speech, text and performance in John Eliot's writing." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/7220/.
Full textAbstract:
John Eliot (1601-1690) was one of the first English missionaries to settle in the New World. Over the past four centuries his life and missionary work with the Algonquian Indians of Massachusetts Bay, New England, have been documented in various forms including biographies, poems, fiction and children's stories. In addition to his active missionary work, Eliot was also a profile writer and translator: he contributed to many promotional pamphlets, authored one of the most controversial commonwealth treatises of the seventeenth century, published fictional dialogues of Algonquian Indians, composed language and logic primers to help in the translation of Massachusett into English and vice versa. His most ambitious and famous publication is his translation of the Bible into the Massachusett dialect of Algonquian. Throughout the twentieth century, Eliot's reputation as a missionary and a translator has received much critical attention, especially from historians of the colonial period. However, given recent moves to expand the canon of colonial literature, it is surprising that there is no book-length literary analysis of his work. In order to redress this balance and consider Eliot's work from a literary rather than a historical perspective, this thesis considers the written records of direct speech, conversations, speeches, dialogues and deathbed confessions of Algonquian Praying Indians, in order to investigate the use and manipulation of written and spoken communicative strategies. By considering Eliot's work in terms of speech, text and performance, this thesis traces the performative nature of cultural identity through the emergence and inter-dependence of English, New English, Indian, and Praying Indian identities.
9
Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.
Full textAbstract:
This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.
10
Brown, Joanne Elizabeth. "Reinterpreting Troilus and Cressida : changing perceptions in literary criticism and British performance." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7359/.
Full textAbstract:
Troilus and Cressida is the unusual instance of a Shakespearean play which had long been read and commented upon before stage practitioners explored it in the theatre. My thesis examines the changing perceptions of the play’s characters, paying attention to the chronological relationship between revisions in literary criticism, much of which was written with little proximity to performance, with reinterpretations during its British stage history. The thesis has a particular focus on issues of gender and sexuality. Both the theatre and literary criticism reflected and responded to social change in their dealings with this play, but they did so at different moments. By using the case of Troilus and Cressida, I examine whether theatrical practice or academic literary criticism has acted as the more efficient cultural barometer. Revisions of Cressida are my central example and I also examine the reinterpretations of eight other characters. The delayed acceptance of the play into the theatre means that the claims of relevance become especially acute. Despite the perceived progressive potential of performance, I conclude that theatrical representations of characters in this play have been slow to change in relation to the revisions seen on the pages of literary criticism.
11
Reed, Delanna Kay. "Readers Theatre in Performance: The Analysis and Compilation of Period Literature for a Modern Renaissance Faire." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500784/.
Full textAbstract:
The thrust of this study was twofold: to research and compile a script of English Medieval and Renaissance literature and to direct a group performance of the script in the oral interpretation mode at Scarborough Faire in Waxahachie, Texas. The study sought to show that a Readers Theatre script compiled of literature from the oral tradition of England was a suitable art form for a twentieth-century audience and that Readers Theatre benefited participants in the Scarborough Faire workshop program. This study concluded that the performed script appealed to a modern audience and that workshop training was enhanced by Readers Theatre in rehearsal and performance.
12
Oliver, Emily Kate. "Shakespeare and German reunification : the interface of politics and performance." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4641/.
Full textAbstract:
The thesis examines the relationship between politics and Shakespeare performance in eastern Germany before, during, and after reunification in 1990. Distancing itself from the assumption that performance acts as a directly influential political tool, it situates theatre practitioners and institutions within their economic, political, and cultural contexts. By analysing a wide range of case studies from Berlin as well as more peripheral towns and cities, I argue that German Shakespeare performance’s capacity for political intervention, both before and after reunification, was limited by theatre practitioners’ reliance on public funding, their close relationships with governmental authority, and an underlying distrust of the people (Volk). Ultimately, East German theatre practitioners proved useful to the 1989 protest movement precisely because they occupied a unique position at the interface of dissidence and state power. I begin by situating my study within the tradition of reading Hamlet as an allegory for the German struggle between Geist (intellect) and Macht (power). Each following chapter examines Shakespeare productions between 1980 and 2000 from a different perspective. Chapter 2 considers the impact of public funding on theatre practice in the GDR, and theatre’s struggle for economic survival following reunification. Chapter 3 examines theatre’s shifting relationships with political authority by investigating East German censorship practices, theatre practitioners’ involvement with the 1989 protest movement, and attempts to connect Shakespeare performance with politics in reunified Germany. Chapter 4 analyses competing theatre aesthetics in relation to their function, methodology, and intended audience, examining how these translated into theatre practice. The thesis concludes by considering Shakespeare’s role in memorialising East German theatre practice.
13
Hokama, Rhema. "Poetry, Desire, and Devotional Performance From Shakespeare to Milton, 1609-1667." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845451.
Full textAbstract:
Poetry, Desire, and Devotional Performance from Shakespeare to Milton, 1609-1667 documents and analyzes the ways post-Reformation devotional and worship practices inflected early modern English poetic conceptions of erotic desire and intimacy. My study focuses on two specific Reformation religious developments—the official Anglican ceremonialism of the state church and the popular Reformed predestinarianism—each of which enjoyed a widespread following during the roughly sixty years bracketed by the lives of Shakespeare and Milton. While religious historians often treat state-sanctioned worship and popular divinity as contradictory or antagonistic, I demonstrate that both cultural arenas reveal one important commonality: each sought to prioritize the body as the most important means for externally verifying inner devotional affect.
Whether sanctioned by the state church or only informally practiced, post-Reformation English devotional practices embodied the seventeenth-century’s deep suspicion of outward signs of inner affect—one that that coexisted with an equally powerful impulse to venerate those very outward markers of grace. In a religious culture that regarded outward performance as devotionally suspect, the body and the senses nevertheless remained vital to the way individuals could outwardly demonstrate and interpret their inward affect.
I maintain that outward devotional performance did more than provide the material and external scaffolding by which individuals could conceptualize their relationship with God. Moreover, it provided early modern thinkers and poets with a lexicon and a conceptual apparatus for describing and interpreting devotional intention and access within the context of a wide range of earthly entanglements and fleshly negotiations. Most significantly, the religious developments of the English Reformation informed the way poets conceptualized access within decidedly secular, earthly, and erotic relationships—shaping the way English men and women read and interpreted the impulses and desires of both others and themselves. My project examines the role of the body—desired and desiring—at the crossroads of both erotic and devotional life in the poetry of Shakespeare, Donne, Greville, Herrick, and Milton. In these poems, God, dead wives, standoffish mistresses, exes, whores, homoerotic boy lovers, and even Satan play distinct parts as both antagonists and objects of longing.
Within the space of a few decades of the early seventeenth-century century, the absolutism that characterized nearly every aspect of English religious life opened possibilities for thinking about the role of the body in matters both spiritual and secular that emerged not in opposition to, but as a direct result of, the limitations placed on the ways individuals could conceive of and express their most powerful desires. These articulations of devotional longing—whether for earthly lovers or for God—were enabled precisely by the spiritual and psychological constraints posed by the ever tightening restrictions on public worship and prayer.English
14
Stewart, Alison. "The development of the pre-show in English Shakespearean performance, 1932-2014." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6114/.
Full textAbstract:
The development of the pre-show in English Shakespearean performance, 1932-2014 Productions of Shakespeare’s plays often feature an interpolated opening scene or ‘pre-show’. My thesis examines this phenomenon. Proposing threshold theory as a framework, I consider the interfaces between the classic text, the enacted play and the audience. Previous studies of modern pre-shows suggest three key purposes for the pre-show: narrative, concept, and theatricality, which I adopt as the structure of the second half of my thesis. Studies of early prologues and inductions trace cultural and artistic developments that pre-figure developments I trace in modern production. I consider in some detail Shakespeare’s own pre-show and introductory strategies and the problems they present to modern directors, before examining the earliest pre-shows of modern productions, in the 1930s to 1950s, the cultural and artistic circumstances that gave rise to them, and their reception among reviewers and scholars. Thereafter I trace the development of narrative pre-shows and the staging of embedded narratives, the rise of conceptual pre-shows and their origin in design and the New Criticism, and changing pre-show relationships with, and impact upon, audiences, ranging from the political to the commercial. I conclude that the pre-show is a significant innovation that has both accompanied and led a remarkable renaissance in Shakespearean performance.
15
Marshall, Nowell Andrew. "Engendering melancholy : romantic gender performance and the pre-history of abnormality /." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=58&did=1907270851&SrchMode=1&sid=2&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270148617&clientId=48051.
Full textAbstract:
Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Includes bibliographical references (leaves 229-243). Issued in print and online. Available via ProQuest Digital Dissertations.
16
Slagle, Judith Bailey. "Performance Review of The Busy Body, by Susanna Centlivre." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3213.
Full textAbstract:
Review of Susanna Centlivre’s The Busy Body: A Comedy, directed by John Sipes, adapted by Misty Anderson and John Sipes, Clarence Brown Theatre at The University of Tennessee, Knoxville, February 22-March 12, 2017.
17
Martin, Samantha. "Sleight of Hand: Gender, Performance, and (In)sincerity in E. D. E. N. Southworth’s The Hidden Hand." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1360.
Full textAbstract:
One of the many cultural anxieties that existed during the nineteenth century in antebellum America centered on the dubious status of authenticity of one’s emotions, gender expression, or socioeconomic class. The fluctuating socioeconomic landscape of antebellum America destabilized the logic of categorization, rendering it an ineffectual means by which to evaluate others’ identities. In her novel The Hidden Hand, or, Capitola the Madcap, E. D. E. N. Southworth explores instead of censures the transformative properties of the self, specifically in terms of gender and class. Her interest in this lack of authenticity, or transparency regarding one’s self and intentions, is reflected by several characters in the novel who regularly engage in performance. Southworth codes manipulation, inauthenticity, and performance as distinctly masculine traits, whereas honesty, transparency, and guilelessness are coded as feminine. She draws on these idealized depictions to make a point about the limiting nature of such codified standards—and to disavow masculine manipulation and feminine passivity—before going on to complicate these binaries through Capitola Le Noir and Traverse Rocke. The implicit ideological thrust of The Hidden Hand points to the unstable, performative nature of gender as a construct. Both characters destabilize identity categories to reveal the arbitrary nature of gender and the harmful constraints of gender roles. They stage the confrontation between the reality of one’s body and the antebellum ideologies of femininity and masculinity. Capitola and Traverse are ultimately held up as ideal figures of femininity and masculinity, respectively, because their synthesis of traits produces an androgyny valorized by Southworth.
18
Brown, Tom. "English vernacular performing arts in the late twentieth century : aspects of trends, influences and management style in organisation and performance." Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367323.
Full text
19
Manous, Michael Lee. "Travel stunts and literary performances the wager journey in England, 1579-1653 /." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?did=1974746341&sid=1&Fmt=7&clientId=48051&RQT=309&VName=PQD.
Full textAbstract:
Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Includes bibliographical references (leaves 556-579). Issued in print and online. Available via ProQuest Digital Dissertations.
20
Sittig, Jennifer M. "Zora Neale Hurston and the Narrative Aesthetics of Dance Performance." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2303.
Full textAbstract:
Zora Neale Hurston’s literature involves dance and performance. What makes this a viable topic of inquiry is her texts often exhibit the performative, whether portraying culture or using dance and associated folk rituals to create complex meaning. Hurston’s use of black vernacular and storytelling evokes lyrical expression in "Their Eyes Were Watching God." African and Caribbean Diasporas in Hurston’s literature reflects primitive dance performances and folklore. This novel requires lyrical analysis. The storytelling feature of performance arts and reclamations of the body are present in Hurston’s text. In recent academic settings, the body has come to occupy a crucial place in literary and cultural texts and criticism. Hurston’s versatile material and anthropology techniques are instrumental in reshaping dance history. A new archetype for theorizing the body has surfaced, where the body of text is performance and lyrical expression.
21
Kerr, Christopher Reid. "Approaching popular music in the field of English : critical boundaries, remediation, and performance theory /." Online version, 2008. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=291&CISOBOX=1&REC=2.
Full text
22
Waters, Claire. "Act your age : reading and performing Shakespeare's ageing women." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c649607e-96f3-4476-a4eb-13e7ecd2db02.
Full textAbstract:
This thesis provides the first study of the representation, performance, and reception of Shakespeare’s ageing women in early modern and present-day England. It contributes an exposition of the physiology and theory of early modern ageing, drawing on this original material to make an argument for the ageing woman as a source of anxiety within the plays as they were originally staged, and as they are performed and received today. It finds the old and ageing woman in Shakespeare’s drama to be represented as physically and verbally excessive; the thesis also identifies a corresponding urge in the plays and in their reception towards the ageing woman’s containment and control. This containment is exercised in the text, the rehearsal room, the theatre, and the public space of performance reviews. My introduction determines my methodology and establishes the terms of reference for the project. The first chapter defines early modern old age and delivers a study of the early modern literature and theory of the ageing body. Each of the four subsequent chapters explores an ageing female character or characters through the lens of a theme: magic, motherhood, sexuality, and memory. The characters studied are drawn from The Merry Wives of Windsor, Macbeth, The Winter’s Tale, Coriolanus, King John, All’s Well That Ends Well, Antony and Cleopatra, Hamlet, and Richard III. Some brief concluding remarks complete the thesis. The larger project of the thesis is a cultural study. Throughout, I am keen to learn how characters are talked about as well as written and performed. My effort to understand the work which Shakespeare’s older women are asked to carry out in the present day defines my methodology: I draw on prompt books, production recordings, reviews, costume, photographs, programmes, and interviews with actors and directors to aid my investigation, juxtaposing these with close study of the written plays and the early modern culture and knowledge which underpins them. The word count, exclusive of bibliography but inclusive of all footnotes and an appendix, is approximately 92,000.
23
Campbell, Sarah Anne. "Looking Outside the Canon: Owen Vincent Dodson'sBoy at the Window." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3677.
Full textAbstract:
Scholars have viewed African American texts written in the years between 1950 and 1960 as espousing confrontation, protest, and resistance. Although fruitful in identifying large writing trends, much of that scholarship narrowly defines what writing during that time accomplished, leaving out important writers whose writing does not fit the mold. One such writer is Owen Vincent Dodson (1914-1983), who published Boy at the Window in 1951. The novel uses modes of drama including song and call-and-response to invite reader sympathy and identification with characters, and eventually provides reader the opportunity to participate in creating meaning. Dodson's novel subtly combats racism by inviting readers to identify with its young, African American protagonist.
24
Hampton-Reeves, Stuart. "Henry VI in performance : history, culture and Shakespeare reproduced." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/4201/.
Full textAbstract:
The long-neglected Henry VI plays have been 'rediscovered' by a number of post-war productions which have found new ways of bringing Shakespeare's civil war plays to modern audiences. The Wars of the Roses, directed by Peter Hall and adapted by Hall and John Barton, established the theatrical vitality of the plays and defined them for a generation as 'national' dramas. I argue that many of the most important and mythologised aspects of that production were contingent upon the difficult situation of the RSC in the early 1960s and that, in fact, the 'tradition' of playing the Henry VI plays as national dramas is an invented one, based upon the Tillyardian interpretation of them as 'matter of England' plays. Nevertheless, The Wars of the Roses has cast a massive shadow over subsequent productions of the Henry VI plays. Most notably, two productions in the late 1980s - the RSC's The Plantagenets and the ESC's The Wars of the Roses - were virtual revivals of the 1963 productions whilst even those that, at the time, seemed to be reacting against Hall and Barton - the RSC's trilogy of 1977 and the BBC's tetralogy of 1981/3 - in fact bore their influence in that they staged the plays as 'matter of England' productions. 'England' took on a different meaning however after the election of the Conservative Government in 1979. Mrs. Thatcher introduced market ideologies into the funding of theatres and this forced rapid, radical and often unwelcome changes to the culture of the large theatres: England became a divided and contested site and rubbed against the resolution that Hall and Barton had sought in 1963. In the third chapter, I will examine in detail three 1980s productions which were shaped by this situation, but also responded to, engaged with, and attempted to subvert the Thatcherite appropriation of national identity. Finally, I argue that all of these performances exhibit a deep anxiety about social changes and about the role of Shakespearean theatre within these changes.
25
Gill, Allen Jacoway. "The Military Figure as Tragic Hero: Understanding the Actions of Macbeth." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625898.
Full text
26
Pleiss, Morris Ann Marie. "Possess His Books: Shakespeare, New Audiences, and Twenty-First Century Performances of The Tempest." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/4897.
Full textAbstract:
This dissertation examines how actors and directors are adapting and reimagining Shakespeare's plays so as to address the social concerns of their audiences at the beginning of the twenty-first century. At the center of my study is this question: how and why do the 400-year-old plays of a British writer speak to issues of class, race, gender, transglobalism, violence, and isolation in contemporary America? My dissertation answers this question by shifting the focus from established Anglo-American Shakespearean companies to American regional and grassroots theater organizations in order to consider how Shakespeare and his plays appear in unexpected places, serving audiences who are new to Shakespearean texts. By focusing on productions of a single Shakespearean play, The Tempest, I create a clearer sense of how various groups might reshape a Shakespeare play to fulfill their institutional missions. Literary critics and theater producers find the play's themes particularly applicable to modern audiences. My dissertation examines how these themes emerge in various critical modes of study: Foucauldian ideas of power and self-identity, post-colonialism, feminism, and original-practice theory. By pairing these approaches with performance studies, I reveal the ways in which literary theories have been translated for and consumed by a greater public.
Included in this project are four case studies of American theater groups: Shakespeare Behind Bars at the Luther Luckett Correctional Complex in LaGrange, Kentucky and Hank Rogerson's 2005 documentary that follows the group's production of The Tempest; Indiana University theater professor Murray McGibbon's 2007 Tempest project that joined together students from Bloomington with students from the University of KwaZulu Natal in Pietermaritzburg, South Africa to stage a post-apartheid production of the play; the Weird Sisters Women's Theater Collective's 2010 production of Sycorax, a prequel to The Tempest written by the group's founder Susan Gayle Todd; and the American Shakespeare Center, an original-practice Shakespearean company, and the 2006 production of The Tempest at their reconstructed Blackfriars Playhouse in Staunton, Virginia.
27
Lander, Johnson Bonnie. "Chastity on the early modern English stage, 1611-1649." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7a3235c9-13dd-44dd-9489-60ae42711203.
Full textAbstract:
‘Chastity on the Early Modern English Stage’ seeks to explain the relationship between tragicomedy’s brief and short-lived English popularity and the royal cult of chastity which spanned exactly the same historical time-frame. This study attempts to define a cultural movement which influenced the political, religious, social, intellectual, aesthetic, and medical fields in the first half of the seventeenth-century and argues that the narrative tropes which structured, and assisted the spread of, the post-Elizabethan cult of chastity were the same tropes governing the tragicomedies so popular in the period. The arguments made for tragicomedy are speculatively extended to all generic forms, with the intention of expanding an area of scholarship still dominated by formalist analysis. By focussing on narrative tropes and locating them within both fictional and non-fictional texts and in the presentation and discussion of significant events (from medical discoveries to liturgical arrangements and royal birthing rituals) this thesis aims to illustrate that the human and cosmic visions articulated by different dramatic genres were as relevant to early modern lives outside the theatre as they were to those within it. Genre is thus less a description of a text’s formal characteristics and more a set of truths governing certain human experiences both in texts and in life. Focussing on Shakespeare’s The Winter’s Tale, two plays by John Ford, Caroline court masques and birthing rituals, Milton’s A Maske and a number of non-professional performances (from the Earl of Castlehaven’s trial to William Harvey’s demonstration of the circulation of the blood), ‘Chastity on the Early Modern English Stage’ describes the four tropes of chastity and their place in tragicomic experience from the death of Elizabeth I to the beheading of Charles I. While Charles’s death and the closure of the theatres are crucial reasons for the abrupt end of the cult of chastity and tragicomedy, this thesis argues that cause must also be attributed to the efforts of pro-Parliamentary and Puritan writers who, throughout the 1630s and 1640s, sought to claim the tropes of chastity for their own rhetoric and cause. Their success resulted in a redefinition of chastity as masculine, individuated, Parliamentarian, Protestant, intellectual, civic and prosaic instead of Catholic, royal, spectacular, feminised, Marian, pietised, and theatrical.
28
Pieterse, Annel. "Language limits : the dissolution of the lyric subject in experimental print and performance poetry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71855.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between local and global subject positions. Poetry is a language activity that requires a particular attention to form and meaning, and that is licensed to activate and exploit the materiality of language. For this reason, I have focused on the work of a selection of North American poets, the Language poets. These poets are primarily concerned with the performative possibilities of language as it appears in print media. I juxtapose these language activities with those of a selection of contemporary South African poets whose work is marked by the influence of oral forms, and reveals telling interplays between media. All these poets are preoccupied with the ways in which the sign might be disrupted. In my discussion of the work of the Language poets, I consider how examples of their print poetics present the reader with language fragments, arranged according to non-syntactic principles. Confronted by the lack of an individuated lyric subject around whom these fragments might cohere, the reader is obliged to make his/her own connections between words, sounds and phrases. Similarly, in the work of the performance poets, I identify several aspects in the poetry that trouble a transparent transmission of expression, and instead require the poetry to be read as an interrogation of the constitution of the subject. Here, the ―I‖ fleetingly occupies multiple, shifting subject positions, and the poetic interplay between media and language tends towards a continuous destabilising of the poetic self. Poets and performers are, to some extent, licensed to experiment with language in ways that render it opaque. Because the language activities of poets and performers are generally accommodated within the order of symbolic or metaphoric language, their experimentation with non-communicative excesses can be understood as part of their framework. However, in situations where ―communicative‖ language is expected, the order of literal or forensic language cannot accommodate seemingly non-communicative excesses that appear to render the text opaque. Ultimately, I am concerned with exploring the manner in which attention to the materiality of language might open up alternative understandings of language, subjectivity and representation in South African public discourse. My conclusion therefore considers the consequences when the issues opened up by the poetry – questions of self and subject, authority and representation – are translated into forensic frameworks and testimonial discourse.
AFRIKAANSE OPSOMMING: My proefskrif bied ‘n breedvoerige oorsig van ‘n reeks taal-aktiwiteite wat die materialiteit van taal sigbaar maak. Hierdie taal-aktiwiteite skep tekste wat die leser/kyker noop om as vervaardiger, eerder as verbruiker, van betekenis in ‘n aktiewe verhouding met die teks te tree. Die performatiewe funksie van beide gesproke sowel as gedrukte taal vorm dus die hooffokus van my argument. Ek stel veral belang in die effek wat onderbrekings en versteurings in taal op die subjek van taal uitoefen, en hoe hierdie prosesse die die dialogiese verhouding tussen lokale en globale subjek-posisies beïnvloed. Poëtiese taal-aktiwiteite word gekenmerk deur ‘n fokus op vorm en die verhouding tussen vorm en inhoud. Terwyl die meeste taalpraktyke taaldeursigtigheid vereis ter wille van direkte kommunikasie, het poëtiese taal tot ‘n mate die vryheid om die materaliteit van taal te gebruik en te ontgin. Om hierdie rede fokus ek selektief op die werk van ‘n groep Noord-Amerikaanse digters, die sogenaamde ―Language poets‖. Hierdie digters is hoofsaaklik met die performatiewe moontlikhede van gedrukte taal bemoeid. Voorts word hierdie taal-aktiwiteite met ‘n seleksie kontemporêre Suid-Afrikaanse digters se werk vergelyk, wat gekenmerk word deur die invloed van gesproke taalvorms wat met ‘n verskeidenhed media in wisselwerking gestel word. Al hierdie digters is geïnteresseerd in die maniere waarop die inherente onstabiliteit van linguistiese aanduiers ontgin kan word. In my bespreking van die werk van die Language poets ondersoek ek voorbeelde van hul gedrukte digkuns wat die leser voor taalfragmente te staan bring wat nie volgens die gewone reëls van sintaks georganiseer is nie. Die gebrek aan ‘n geïndividualiseerde liriese subjek, waarom hierdie fragmente ‘n samehangendheid sou kon kry, noop die leser om haar eie verbindings tussen woorde, klanke en frases te maak. Op ‘n soortgelyke wyse identifiseer ek verskeie aspekte wat die deursigtige versending van taaluitinge in die werk van sekere Suid-Afrikanse performance poets belemmer. Hierdie gedigte kan eerder gelees word as ‘n interrogasie van die proses waardeur die samestelling van die subjek in taal geskied. In hierdie gedigte bewoon die ―ek‖ vlietend ‘n verskeidenheid verskuiwende subjek-posisies. Die wisselwerking van verskillende media dra ook by tot die vermenigvuldiging van subjek-posisies, en loop uit op ‘n performatiewe uitbeelding van die destabilisering van die digterlike ―self.‖ Digters en performers is tot ‘n mate vry om met die vertroebelingsmoontlikhede van taal te eksperimenteer. Omdat die taal-aktiwiteite van digters en performers gewoonlik binne die orde van simboliese of metaforiese taal val, kan hul eksperimentering met die nie-kommunikatiewe oormaat van taal binne hierdie raamwerk verstaan word. Hierdie oormaat kan egter nie binne die orde van letterlike of forensiese taal geakkommodeer word nie. Ten slotte voer ek aan dat ‘n fokus op die materialiteit van taal alternatiewe verstaansraamwerke moontlik maak, waardeur ons begrip van die verhouding tussen taal, subjektiwiteit en representasie in die Suid-Afrikaanse publieke diskoers verbreed kan word. In my slothoofstuk oorweeg ek wat gebeur as die kwessies wat deur die bogenoemde performatiewe taal-aktiwiteite opgeroep word – vrae rondom die self en die subjek, outoriteit en representasie – binne ‘n forensiese raamwerk na die diskoers van getuienis oorgedra word
29
O'Connor, John. "Shylock : a performance history with particular reference to London and Stratford-upon-Avon 1879-1998." Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/1788/.
Full textAbstract:
This thesis charts the performance history of Shakespeare's Shylock from the earliest recorded interpretations to those of the present day . After a survey of the most significant early productions of The Merchant of Venice', starting with Granville's adaptation in 1701, I refer to every major professional production of the play in London and Stratford-upon-Avon from 1879, the year which saw the first performance of Henry Irving’s landmark interpretation of Shylock at the Lyceum and the opening of the Shakespeare Memorial Theatre in Stratford. While many of Shakespeare’s characters hold special challenges for the modem actor, Shylock is unique in the extent to which he is influenced by the weight of history, and by twentieth century European history in particular. There is a focus in this study, therefore, on the changing: sensibilities which have influenced theatrical interpretation of the character through the ages, and especially on the differing extents to which actors have attempted to present Shylock as a sympathetic character. It has not been possible - and neither would it have been proper. in my opinion - to exclude from my study references to the ever-changing manifestations of anti-Semitism in the world outside the theatre, nor to the enduring discomfort which many people still experience at seeing stage representations of Shakespeare's Jew. Accordingly I have included a brief account of the theatre's response at the time of the Nazi persecutions, as well as more recent examples of the controversies that this play has the power to engender. Reflecting upon the ways in which productions have in their different ways met the challenge of presenting Shakespeare's Jew to post-Holocaust audiences, I conclude the study by proposing the notion of 'honest' and ‘dishonest' interpretations.
30
Choate, Catie. "The Action to the Word, The Word to the Action: Teaching Shakespeare as Performance Litearture." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4234.
Full textAbstract:
This paper details a class taught in the Virginia Commonwealth Theatre Department in Fall of 2015 on the works of William Shakespeare. Within both the class and this paper, I attempted to form the beginnings of a pedagogy of Shakespearean literature that incorporated elements of literary criticism, historical context and performance theory. Dramatic literature, including Shakespeare, is a moving target, as the text is reimagine and reinterpreted on stage again and again. My goal with this paper is to examine both how dramatic literature can be taught and the special challenges present in teaching it using Shakespeare as a case study, and to explore what is particularly meaningful about Shakespeare in the classroom.
31
Weiss, Katherine. "Water, Waste, and Words in Beckett’s Plays." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2251.
Full text
32
Segal, Emily J. "Making Nobody Matter: Performance and Vision in Frances Burney's Evelina (1778) and Suzanne Collins' The Hunger Games (2008)." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1861.
Full textAbstract:
The development of the novel cannot be separated from discussions about literary history, gender relations, performance, and the power literature has to instruct its audience. Women and young people have always comprised a substantial part of the novel’s readership, and this makes them powerful. The history of the novel is the history of dangerous literature; it is the history of works that have enchanted readers with “the power of example,” as Samuel Johnson wrote in the eighteenth century, that can lead them to change their behavior. This thesis explores how women in young adult literature—in the eighteenth century through Frances Burney’s Evelina (1778) and today through Suzanne Collins’ The Hunger Games (2008)—use performance and vision to reveal and resist the social systems that try to define them. Evelina and Katniss, the heroines of these novels, provide their readers with examples of behaving in ways different than the normative model. Their stories, and the young women who read their stories, threaten the established social order of their worlds. The creative addition to this thesis provides readers with another young heroine who uses her powers, in a fantastical world, to reveal and resist the structures in her life.
33
Betts, Lindsey N. "The Performance of Melancholy: Understanding the Humours through Burton, Jonson, and Shakespeare." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1368.
Full textAbstract:
This thesis aims to explore the relationships between dramatic texts and the Elizabethan topic of the humours. It covers Burton's Anatomy of Melancholy, Jonson's plays Every Man Out of His Humour and Every Man in His Humour, and Shakespeare's plays Hamlet and As You Like It. Each of these works provides a glimpse into society and its opinions specifically on melancholy, from its most basic and complex definitions to how it is perceived and addressed.
34
Kwon, Kyounghye. "Local Performances, Global Stages: Postcolonial and Indigenous Drama and Performance in Glocal Circuits." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259760023.
Full text
35
Kirk, Maria. "Performing consumption and consuming performance : a 17th century play collection." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61894/.
Full textAbstract:
This thesis explores the relationship between performance and consumption in relation to play collection in the 1630s, and also examines the wider contexts of performance and consumption in that decade. It proposes that the 1630s were a decade characterised by particularly self-conscious performances of consumption, and that this environment contributed directly to the beginnings of the collection of books for display purposes. A focus on the Petworth collection and its original collector is maintained throughout the thesis, which weaves together the material and literary content of the collection. Using material evidence from the volumes themselves, this thesis demonstrates that the collection was purchased in 1638 by the 10th Earl of Northumberland through an agent who assembled the collection specifically for the Earl just prior to his purchase of it. It also demonstrates, again using evidence from the volumes themselves, that the purchase was partly informed by principles of education, personal taste and a consideration for family history, but that the overwhelming motive was the drive to consume and to perform that consumption. Using the literary content of the collection to explore representations of performed consumption, this thesis tracks the development of the conceptualisation of consumption on the stage from the wariness about dangerous consumption in the late Elizabethan period to the much more open, and yet still rather complex, attitudes of the 1630s. Finally, the thesis discusses some other kinds of public, performed consumption, including a procession by Northumberland and an entertainment with which he was connected, exploring the explicitly social elements of performance. The Petworth play collection is at once anomalous and typical as an example of mid-17th century book collection, and it can be used to illustrate and map the multitude of issues, concepts and attitudes which surround performance, consumption and collection in the 1630s, and beyond.
36
Weiss, Katherine. "‘… gentle light unfading …’: Set and Costume Designs for Samuel Beckett’s Neither." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2261.
Full text
37
Weiss, Katherine. "What Where: Reading Faces and Surfaces on the Beckettian Stage and Screen." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2294.
Full text
38
Weiss, Katherine. "R/evolving Technology in Samuel Beckett’s Happy Days." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2297.
Full text
39
Weiss, Katherine. "Deciphering the Dream in Samuel Beckett’s Nacht und Träume." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2300.
Full text
40
Weiss, Katherine. "Archive Fever, Archive Failure: Exploring the ‘it’ in Beckett’s Theatre." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2303.
Full textAbstract:
Using Jacques Derrida's 1995 study, Archive Fever, Weiss examines how Samuel Beckett's Come and Go and Footfalls stage the failed acts of archiving. In both plays, memories are either unknown or not named. Either way, without being named they cannot be collected, catalogued or made public. Despite this, the women haunting his plays seem struck by archive fever. Ultimately, Beckett stages the tension between the desire to remain silent with the desire to archive.
41
Weiss, Katherine. "Samuel Beckett’s Come and Go and Footfalls." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/2308.
Full textAbstract:
Stage plays, “Come and Go” and “Footfalls” by Samuel Beckett, will be presented by ETSU’s Division of Theatre & Dance and ETSU Department of Literature and Language Oct. 7-9 at 7:30 p.m. and Oct. 10 at 2 p.m. in ETSU’s Bud Frank Theatre.
42
Cody, Suzanne Marie. "Love. Sex. Shoes. A collection of performance essays." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4596.
Full textAbstract:
The essay is an exploration of a thought, an idea, an experience. To essay is simply to attempt. A conclusion is not always reached, a solution is not always found, but the writer is compelled to attempt to contain the thought, the idea, the experience, in words on the page. The performance essay makes the same attempt. But where the written essay is complete on the page, the performance essay is subject to constant transformation by the necessity of the physical body to the finished work. Not the body of the writer, but the body of the performer who stretches and bends the writer-shaped space of the essay to make it fit, completing the work in the creation of this new shape. This is the excitement for the writer of the performance essay. To surrender control of the work to another artist and see what they will make of it.
43
Colby, D. Christian. "Using "assessment for learning" practices with pre-university level students of English as a Second Language: a mixed methods study of teacher and student performance and beliefs." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103517.
Full textAbstract:
The use of assessment to foster learning has become established in classroom settings in recent years, where it has drawn considerable research interest, as learners have come to take more responsibility for their learning. The Language Testing (LT) community has recently called for more research into advances in alternative assessment practices (Brookhart, 2005; Fox 2009; Harlen & Winter, 2004; McNamara 2001a, 2001b; Pellegrino et al., 2001; Poehner and Lantolf 2005; Rea-Dickins 2004; Shohamy, 2004; Turner, 2009). The present research reports on an exploratory study incorporating treatment and control groups, in which assessment for learning (AFL) principles were applied in two pre-university English for academic purposes (EAP) classes. The study focussed on student learning of a grammatical feature (the use of would and will in contingent use contexts) as a vehicle for investigating AFL. The study has sought to (a) interpret AFL by developing AFL procedures appropriate to a second language (L2) classroom, (b) apply these AFL procedures in an L2 classroom setting, and (c) investigate their effect on learning, and in addition, to investigate for evidence of the assessment bridge (AB), the area of classroom practice linking assessment, teaching, and learning. An AFL methodology for L2 settings was developed for the study in the form of teacher training. The AFL pedagogical materials included computer-assisted language learning (CALL), an online individual, group and teacher-class concept mapping exercises. The data collection instruments included the concept maps produced, classroom observation field notes, transcribed group and class discourse, teacher and student survey questionnaires, and pre- and post-treatment tests to indicate trends. The data were analyzed by mixed methods and the results triangulated. The results found evidence of several instances of the AB and suggest that the application of AFL procedures may have enhanced student learning of the modal usage in question. This study reporting concludes with a call for a research agenda in the LT community for further study of applications of an AFL approach in EAP classroom settings.Dans les dernières années, le recours à l'évaluation pour favoriser l'apprentissage est devenu une pratique courante dans les salles de classe. Cela a eu pour effet de créer un intérêt grandissant pour la recherche, puisque les apprenants prennent davantage leur apprentissage en main. La communauté des chercheurs en évaluation des langues a récemment demandé que plus de recherches soient faites sur les progrès dans le domaine des pratiques d'évaluation alternatives. (Brookhart, 2005; Fox 2009; Harlen & Winter, 2004; McNamara 2001a, 2001b; Pellegrino et al., 2001; Poehner et Lantolf 2005; Rea-Dickins 2004; Shohamy, 2004; Turner, 2009). La présente recherche fait état d'une étude exploratoire qui incorpore des groupes expérimentaux et contrôles, dans lesquels les principes de l'évaluation pour l'apprentissage (EPA) ont été appliqués et ce, dans deux cours d'anglais pour des études au niveau préuniversitaire. L'étude s'est appuyée sur l'apprentissage par les étudiants d'un trait grammatical (l'utilisation de would et will dans un contexte hypothétique) comme véhicule pour étudier l'EPA. Cette étude a cherché à (a) interpréter l'EPA en développant des procédures d'EPA appropriées pour une classe de langue seconde, (b) appliquer ces procédures dans une classe de langue seconde, et (c) étudier leur effet sur l'apprentissage, en plus de chercher des cas de pont évaluatif (PE), cette zone de la pratique pédagogique faisant le lien entre l'évaluation, l'enseignement et l'apprentissage. Dans le cadre de cette étude, une méthodologie de l'EPA dans un contexte de langue seconde a été développée sous la forme d'une formation des enseignants et le matériel pédagogique qui a été utilisé, incluait l'enseignement assisté par ordinateur (EAO), ainsi que 3 exercices de schématisation conceptuelle: individuel en-ligne, en petits groupes et en classe avec la participation de l'enseignant. Les instruments de collecte de données incluaient les schémas conceptuels produits, les notes d'observation prises en classe, la transcription des discussions de groupe et de classe, les questionnaires de sondages menés auprès des étudiants et des enseignants, ainsi que les prétests et les post-tests afin de démontrer certaines tendances. Les données ont été analysées utilisant une méthodologie mixte et les résultats triangulés. Ces derniers ont mis en évidence plusieurs occurrences du PE et ont suggéré que l'application des procédures d'EPA aurait aidé les étudiants dans leur apprentissage de cette forme grammaticale. Ce rapport d'étude recommande donc à la communauté des chercheurs en évaluation des langues de mener des recherches plus exhaustives au sujet des applications d'une approche de l'EPA dans le domaine des cours d'anglais.
44
Heredos, Rosemary M. "Medieval Minstrels and Folk Balladeers: An Analysis of Orfeo in Celtic Music and Literature." Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1462977417.
Full text
45
Row-Heyveld, Lindsey Dawn. "Dissembling Disability: Performances of the Non-Standard Body in Early Modern England." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/4906.
Full textAbstract:
The fear of able-bodied people pretending to be disabled was rampant in early modern England. Thieves were reputed to feign impairment in order to con charity out of well-meaning Christians. People told stories about these deceptive rogues in widely circulated prose pamphlets, sung about them in popular ballads, and even recorded their purported actions in laws passed to curb their counterfeiting. Feigned disability was especially prevalent--and potent--on the stage. Over thirty plays feature one or more able-bodied characters performing physical impairment. This dissertation examines the theatrical tradition of dissembling disability and argues that it played a central role in the cultural creation of disability as a category of identity. On the stage, playwrights teased out stereotypes about the non-standard body, specifically the popular notion that disability was always both deeply pitiful and, simultaneously, dangerously criminal and counterfeit. Fears of false disability, which surged during the English Reformation, demanded a policing of boundaries between able-bodied and disabled persons and inspired the first legal definition of disability in England. Rather than resolving the issue of physical difference, as the legal and religious authorities attempted to do, the theater revealed and reveled in the myriad complications of the non-standard body. The many plays that feature performances of dissembling disability use the trope to interrogate issues of epistemological proof, ask theological questions about charity and virtue, and, especially, explore the relationship between the body and identity. Fraudulent disability also had important literary uses as well; playwrights employed this handy theatrical instrument to construct character, to solve narrative problems, to draw attention to the manufactured theatricality of their dramas, and, often, to critique the practices of the commercial theater. Expanding beyond the medical perspectives offered by the few studies that have considered early modern disability, I argue that these performances emerge out of a complex network of literary, religious, and social concerns. For all that fraudulent disability may have been itself a type of fraud, trumped up by the state, the church, and the theater for their own diverse ends, it still wielded enormous influence in shaping notions of the non-standard body that are still current.
46
Shook, Jennifer E. "Unending trails: Oklahoma-as-Indian-territory in performance, print, and digital archives." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6501.
Full textAbstract:
Far from vanishing as romantically predicted, Native being remains present despite centuries’ efforts of erasure. Far from empty space or a blank page, the state of Oklahoma has always been and continues to be a site of transcultural negotiations. Native playwrights unghost—make visible—those shimmering glimmers when they re-present historical events. Centering the work of Native playwrights from Oklahoma-as-Indian-Territory, I in turn unghost—recover—the connections between historical crises dramatized by Native poets and playwrights and reenacted by historical interpreters in the twentieth and twenty-first centuries, with nineteenth century archives and circulations. I elucidate a new genealogy of Oklahoma-as-Indian-Territory, where borders bend in genre, time, and space. The Native plays here share a time-weaving relationship to earlier historical crises, a resistance to false closure, a recycling of time-worn stereotypes in the service of their undoing. Unghosting Native playwrights can mean reviving those who have fallen out of print, as with Red Renaissance prodigy Hanay Geiogamah, and reclaiming those whose Native identity has been erased, as with Lynn Riggs, whose Green Grow the Lilacs became the largely unsung foundation of the musical Oklahoma!, as well as expanding the dramatic archive to capture plays only found online.
My first chapter, “Staking Claims on Mixed-Blood Inheritance,” draws upon performance theorists Diana Taylor and Rebecca Schneider’s work in transcultural written and bodily archives to investigate two key repeated performances: the statehood mock wedding and the Land Run reenactments recently discontinued by the Oklahoma City Public Schools but still celebrated annually by schoolchildren across the state. Juxtaposing them with commemorative poetic performances by Diane Glancy, N. Scott Momaday, Joy Harjo, and LeAnne Howe, I situate these performances not as quirky local fun but as rituals of systemic colonial representational power. My second chapter, “Active States,” unghosts folk drama through Lynn Riggs’ pre-statehood play Green Grow the Lilacs and the collaboratively revised Trail of Tears outdoor spectacle produced for decades by the Cherokee Nation, including the extended material performances of these texts in playbills, a songbook, and a fine press illustrated edition. My third chapter, “Kitchen Table Worlds in Motion: Collaborations in Native New Play Development” examines four recent plays and the development institutions that support them, all breaking new ground in form yet recycling images and adapting texts and experiences from many archives: Hanay Geiogamah’s Foghorn, LeAnne Howe’s The Mascot Opera: A Minuet, Diane Glancy’s Pushing the Bear, and Joy Harjo’s Wings of Night Sky, Wings of Morning Light. My fourth and final chapter continues the exploration of recent work, yet on specific policy issues: the stolen bodies of residential schools and of looted funerary remains, and the ongoing repercussions of these instances of cultural genocide in courts and heritage sites today, as dramatized by Mary Kathryn Nagle and Suzan Shown Harjo in My Father’s Bones, Annette Arkeketa in Ghost Dance, and N. Scott Momaday’s in The Moon in Two Windows.
47
Walker, Natasha N. "An Erratic Performance: Constructing Racial Identity and James Baldwin." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_theses/22.
Full textAbstract:
This thesis analyzes James Baldwin's essays as a method for understanding racial identity and authenticity. By using Vetta Sanders-Thompson's racial identification parameters, I suggest that Baldwin's struggle with his identity as a black American is crucial to deposing the idea of a monolithic black experience, which opens up new ways of analyzing African American literature.
48
Kinkade, Brandy Lee. "A Tourist Performance: Redefining the Tourist Attraction." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6106.
Full textAbstract:
The aim of this paper is to examine the intersection of tourism and memoirs in the United States specifically how specific travel memoirs function as tourist attractions. This investigation employs performer-centered analysis as a method of inquiry in order to gain insight on tourist experience as well as concepts of travel, imagination and embodiment. The paper also employs MacCannell’s Semiotics of Attraction as a framework to illustrate the presence of the following categories: tourist, sight, and marker. The presence and the relationships established between these categories establish Into Thin Air and Almost Somewhere: Twenty-eight Days on the John Muir Trail can both be defined and function as tourist attractions.
49
Emsley, Maletsema Ruth. "Experiences of Grade 12 EFAL teachers' Assessment of Literature Set-works in Limpopo Secondary Schools." Thesis, University of Limpopo, 2017. http://hdl.handle.net/10386/3057.
Full textAbstract:
Thesis (PhD. (Education)) --University of Limpopo, 2017.South Africa has embarked on the official inclusion of school-based assessment in all subjects for transforming once-off pen and paper testing to redress the past rigid, norm-referenced, unreliable and non-transparent discriminative educational assessment in schools. The introduction does not only aim at offering constant constructive feedback to learners to improve performance, but it also assists teachers to diagnose, facilitate and improve on their assessment methods, to report learner performance to relevant stakeholders like parents, schools, districts and lastly national departments of education and to inform teaching and more assessments. Over and above it forms 25% of the total mark for all subjects in further education and training including Grade 12. There is compelling empirical evidence that school-based assessment positively influences the performance of learners in large scale assessments. In spite of its significance, the school-based assessment of literature set-works has received scant attention in secondary schools. Despite the local and international interest and implementation of school-based assessment nowadays, its administration in South Africa schools still remains a challenge. This study therefore followed an interpretive qualitative approach to respond to the question: What are the experiences of English first additional language teachers in assessment of literature set-works in secondary schools in Limpopo province? The teacher self-efficacy theory guided this study. It was not only used to substantially explain the stature of a literature teacher, but also to generate strategies to promote teacher flexibility and application of assessment practices in English first additional language. The theoretical and practical implications of self-efficacy theory are discussed in terms of their relevance to both the literature teacher and school-based assessment expectations. Multiple qualitative data collection methods of focus group interviews, openended questionnaires, documents and field notes were employed to strengthen findings in a natural setting. Respondents were selected through the purposive sampling. Five districts of Limpopo province were sampled for this study: four focus group interviews were conducted, 139 open-ended questionnaires were returned and documents relevant to answering the research question were analysed. Data were transcribed and then analysed by the Tesch (1990) method (as in Creswell 1994) of qualitative data analysis and constant comparison method. Teachers operating in the assessment of English first additional language have acknowledged the importance of school-based assessment, moderation and literature set-works, however they still feel literature assessment in schools does not receive the attention it deserves. The qualitative data revealed that teachers face various challenges in the implementation of school-based assessment of literature set-works. Most teachers through their responses still face challenges of time, resources and curriculum advisory support, inability to design their own literature set-works tasks, learner illiteracy and lack of teacher efficacy. Moreover, teachers are keenly dependent on previously written question papers. Findings have further shown that teachers suffer the pressures of authorities who impose extra assessment work on them and the selected literature prescribed works that stay for too long in the curriculum – these comprise the programme of assessment. These findings, although they may not be generalised, might contribute to prospect future research and educational change in assessment of literature set-works in schools. Various recommendations have been made for educational stakeholders in further research prospects and future improvement on assessment of literature set-works in schools emphasizing the independence of English literature setworks
50
Mitchell, Sharon Claire. "Moral posturing body language, rhetoric, and the performance of identity in late medieval French and English conduct manuals /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172854315.
Full text