Relevant bibliographies by topics / Feminism and theater – Queensland

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  2. Dissertations / Theses
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Academic literature on the topic 'Feminism and theater – Queensland'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Feminism and theater – Queensland"

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Jackson, Shannon. "Unmaking Mimesis: Essays on Feminism and Theater." Theatre Journal 51, no. 2 (1999): 223–24. http://dx.doi.org/10.1353/tj.1999.0026.

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Eloit, Ilana. "the queer turn in feminism: identities, sexualities, and the theater of gender." Feminist Review 112, no. 1 (February 2016): e16-e18. http://dx.doi.org/10.1057/fr.2015.64.

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Jaime, Karen. "Patricia Herrera. Nuyorican Feminist Performance: From the Café to Hip Hop Theater." Modern Drama 64, no. 3 (August 1, 2021): 378–80. http://dx.doi.org/10.3138/md.64.3.br3.

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Patricia Herrera fills a void in scholarship on the Nuyorican Poets Café. Her focus on women performers ( performeras) and their writing and performance challenges these artists’ marginalization and erasure, while the Nuyorican feminist aesthetic she proposes, as situated within intersectional feminism, underscores the work’s critical intervention in feminist performance theory.
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Schlueter, June, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." Theatre Journal 44, no. 1 (March 1992): 127. http://dx.doi.org/10.2307/3208537.

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Cocalis, Susan L., and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." German Quarterly 64, no. 4 (1991): 573. http://dx.doi.org/10.2307/406680.

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Wright, Elizabeth, and Gail Finney. "Women in Modern Drama: Freud, Feminism and European Theater at the Turn of the Century." Modern Language Review 86, no. 1 (January 1991): 249. http://dx.doi.org/10.2307/3732175.

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Baker, Susan Read, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." South Atlantic Review 56, no. 1 (January 1991): 131. http://dx.doi.org/10.2307/3200162.

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Knapp, Mona, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." German Studies Review 13, no. 3 (October 1990): 554. http://dx.doi.org/10.2307/1430796.

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Bammer, Angelika, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." German Studies Review 17, no. 1 (February 1994): 210. http://dx.doi.org/10.2307/1431350.

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Cooke, Glenn R. "Vida Lahey's Floral Palette." Queensland Review 19, no. 1 (June 2012): 133–42. http://dx.doi.org/10.1017/qre.2012.12.

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Vida Lahey is one of Queensland's best loved artists of the twentieth century. However, she is appreciated locally as much for her role in the promotion and teaching of art as for her practice. The work for which she is best known, ‘Monday morning’ 1913 (Collection, Queensland Art Gallery), became an icon of feminism from the 1980s, although it contrasts with her flower studies – the work that gave her a national reputation from the 1920s.
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Dissertations / Theses on the topic "Feminism and theater – Queensland"

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Currie, Susan. "Writing women into the law in Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16395/.

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Writing Women into the Law in Queensland consists, as well as an exegesis, of profiles of seven significant women in the law in Queensland which have been published in A Woman's Place: 100 years of women lawyers edited by Susan Purdon and Aladin Rahemtula and published by the Supreme Court of Queensland Library in November 2005. Those women are Leneen Forde, Chancellor of Griffith University and former Governor of Queensland; Kate Holmes, Justice of the Supreme Court and now of the Court of Appeal; Leanne Clare, the first female Director of Public Prosecutions; Barbara Newton, the first female Public Defender; Carmel MacDonald, President of the Aboriginal Land Tribunals and the first female law lecturer in Queensland; Fleur Kingham, formerly Deputy President of the land and Resources Tribunal and now Judge of the District Court and Catherine Pirie, the first Magistrate of Torres Strait descent. The accompanying exegesis investigates the development of the creative work out of the tensions between the aims of the work, its political context, the multiple positions of the biographer, and the collaborative and collective nature of the enterprise.
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Leith, Hope Mary. "Moral and social constraints on femininity in the comedie larmoyante." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28102.

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This study has attempted to show that the plays of La Chaussée, which were popular in France in the middle to lat eighteenth century, were popular because they appealed to social values of the period, and particularly because they expressed a conservative view of society and of the role of women in that society. The introduction sets forth the historical and biographical background of La Chaussée, the extent of the success achieved by his "comédies larmoyantes" in performance and in publication during the eighteenth century, and the reasons for selecting the five plays on which this study concentrates. The focus on, female characters is explained by the number of plays "about" women: Mélanide, La Gouvernante, L'Ecole des méres and by the tendency in literary criticism to consider eighteenth-century French tastes in theatre dictated by women. Chapter I presents a content analysis of the five plays. This technique, taken from Goodlad, A Sociology of Popular Drama, provides plot summaries of these now unfamiliar plays which are used as a basis for chapter II. Furthermore it permits determination and comparison of these themes, settings, areas of conflict explored and types of resolution offered in the plays under examination. La Chaussée most frequently presents the problems of marital and familial love, and resolves conflicts with reconciliation, marriage, or another form of social integration. Goodlad brings out the relationship between popular success and a play's at least implicit didacticism and its conservatism in form and content. Chapter II uses narratological analysis techniques from Bremond, Logique du récit. The plays are considered as texts. The purpose here is to bring to light the structure of plot: how resolution in delayed or achieved, what roles -- victim, beneficiary, assistant, frustrator -- female character play in that structure. Heroines are found to be passive victims, beneficiaries, or even frustrators. Secondary female characters play minor assistant roles, or act as frustrators for the heroines. Resolution is achieved by male characters. Chapter III turns to discourse, how much and what is said about the female sex and/or by female characters. It examines the quantity, content and situation of female discourse in these plays, and particularly the social and situational restraints on discourse. A female character usually only has one scene with male characters in which she speaks half or more of the total lines, unless she is alone with someone over whom she has affective influence, and not her husband. Maids are used to express generalizations about the situation of women in society, and sympathy for the heroine. The discourse of heroines centres on the standards of virtue to which society holds them: patience, endurance, chastity, obedience. In the conclusion, critical judgments on La Chaussée from the eighteenth century to the present are reviewed and examined. Doubt is cast on the extent to which La Chaussée should be seen as promoting theatrical or social reform, and increased emphasis in placed on the nature of his didacticism, and the pervasiveness of his conservatism.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Whittington, Amanda. "Bad girls and blonde bombshells : lived feminism in popular theatre." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/34413/.

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This project examines texts from a body of work which numbers fifteen performed across the country. The accompanying commentary identifies the ways in which 'Be My Baby' and 'The Thrill of Love' tell female-centred stories in a popular dramatic voice which explore aspects of women's lived experience. It engages with feminist theory and practice to identify the diffuse and sometimes contradictory feminisms within the plays. Dramatic structure is considered with close reference to realist and expressionist forms. The exegesis investigates their engagement with popular culture, the importance of music in the narratives and the methods by which they seek to reclaim women's history. The commentary brings together academic mainstream sources to contextualize the study. Playtexts are examined with reference to a broad range of theorists, practitioners and cultural commentators including Eileen Aston and Geraldine Harris, Erin Hurley, Angela McRobbie, Graham Saunders, Lucy O'Brien, Carol Ann Lee and Lyn Gardner. The distinctive aspects of affective solidarity and feeling are identified as unifying elements of the play's personal and political concerns.
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King, Portia Jane. "Shake it hard feminist identity and the burly-Q /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5798.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 12, 2009) Includes bibliographical references.
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Gilmore, Jennifer. "(Re)emerging subjectivities : a postmodern feminist perspective on subjectivity, agency and change /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17770.pdf.

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Teoh, Remedios A., and remedios teoh@deakin edu au. "Gender and national identity: The people's theatre in the Philippines (1967-2000)." Deakin University. School of Social and International Studies, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.150434.

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The Philippine Education Theater Association (PETA), the People’s Theatre in the Philippines was founded within the bounds of the nationalist leftist tradition. Its origin therefore determines to a great extent the contours of the discourse on the feminist movement in the Philippines, its participation within the cultural movement and the founding years of the pioneering People’s Theatre in the country. As a grass roots theatre from a Third World nation, the PETA theatre model responded to the needs in raising socio-political and economic consciousness and can therefore serve as an alternative tool to formal education for other Third World countries. This thesis argues, the People’s Theatre development is determined within the matrix of gender, class, politics and the nationalist movement to which it is intertwined or inextricably linked. The feminist, nationalist and radical movements have become superimposed upon the history of the People’s Theatre and have nurtured its development as a consciousness raising educational tool.
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Easton, Kirsten Elana. "WHAT’S IN A NAME? THAT WHICH WE CALL A WHORE, BY ANY OTHER NAME, IS SOCIALLY ACCEPTABLE: THE ORIGIN, DEVELOPMENT, AND PRODUCTION OF WIFE/WORKER/WHORE." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1921.

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This thesis details the development of my full-length play Wife/Worker/Whore from outlining and pre-writing to full production at Southern Illinois University over the course of the 2015/2016 school year. In writing Wife/Worker/Whore, I was inspired by Norma Jean Almodovar’s From Cop to Call Girl, in which she details her life as a housewife, police officer and eventually high-class call girl in 1970s Los Angeles. Almodovar’s life story served as the impetus for this script, as I sought to complicate the discourses surrounding prostitution in its various forms. This play, therefore, examines the covert ways in which women are forced to prostitute themselves, even when they don’t call themselves a “whore” by profession. Chapter One includes a statement of the project, the origin, and development of the script, initial structure and plot considerations for the script, research that impacted the creation of the script, character development, and tools for self-evaluation. Chapter Two covers the pre-writing process, feedback from my peers from two in-class readings, notes from my advisor, Jacob Juntunen, and the director, Segun Ojewuyi, about the script’s development and an overall description of the play’s progression through drafts one to eight. Chapter Three describes the design meetings held in preparation for the production of Wife/Worker/Whore. Chapter Four details the audition process as well as rehearsals for the piece. Chapter Five evaluates Wife/Worker/Whore’s production, describes ideas for future productions of the piece as well as possible revisions. Chapter Six concludes the thesis by tracking my progression in the playwriting program over the past three years. It includes my writing growth in terms of structure and developing my artistic voice. It also discusses my professional development over the time in the program, as well as the evolution of my teaching practice. I have also included in the thesis the production script of Wife/Worker/Whore, excerpts from previous drafts of the script, and publicity materials.
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Fargo, Emily Layne. ""The fantasy of real women" new burlesque and the female spectator /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211331939.

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Xing, Jia. "Ting Ling." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1084912718.

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Collins, Rachel. "HAPPY DAYS: A MODERN WOMAN’S APPROACH TO ABSURDISM THROUGH FEMINIST THEATER THEORY." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1338311141.

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Books on the topic "Feminism and theater – Queensland"

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Case, Sue-Ellen. Feminism and theatre. New York: Routledge, 1988.

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Case, Sue-Ellen. Feminism and theatre. New York: Routledge, 1988.

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Feminism and theatre. Basingstoke: Macmillan, 1988.

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Feminism and theatre. New York: Methuen, 1988.

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Theatre and feminism. London: Palgrave Macmillan, 2015.

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Converging realities: Feminism in Australian theatre. Sydney: Currency Press, 1994.

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Unmaking mimesis: Essays on feminism and theater. London: Routledge, 1997.

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Aston, Elaine. An Introduction to Feminism and Theatre. London: Taylor & Francis Inc, 2004.

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An introduction to feminism and theatre. London: Routledge, 1995.

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Elaine, Aston. An Introduction to Feminism and Theatre. London: Taylor & Francis Group Plc, 2004.

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Book chapters on the topic "Feminism and theater – Queensland"

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"FEMINISM, THEATER, AND RADICAL POLITICS." In Feminist Theatres in the USA, 51–72. Routledge, 2005. http://dx.doi.org/10.4324/9780203991466-10.

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"Megan Terry and Rochelle Owens: Transformation and Postmodern Feminism." In The Theater of Transformation, 129–37. Brill | Rodopi, 2005. http://dx.doi.org/10.1163/9789401202473_011.

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Grosz, Elizabeth. "A Thousand Tiny Sexes: Feminism and Rhizomatics." In Gilles Deleuze and the Theater of Philosophy, 187–210. Routledge, 2017. http://dx.doi.org/10.4324/9781315112503-10.

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"2 Queens and Queers: The Theater of Gender in “America”." In The Queer Turn in Feminism, 11–82. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823253883-003.

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"4. Taming Difference and The Taming of the Shrew: Feminism, Psychoanalysis, Theater." In Staging the Gaze, 114–53. Cornell University Press, 2020. http://dx.doi.org/10.7591/9781501735325-007.

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Jones, Gwyneth. "Joanna Russ, Trans-Temp Agent." In Joanna Russ, 1–19. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042638.003.0001.

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“Joanna Russ: Trans-Temp Agent” describes Joanna’s New York childhood in a close-knit (secular) Ashkenazi Jewish community; the precocious, passionate “sense of wonder” that informed her love of science, and science fiction; and the disillusion with stifling 1950s gender-roles that led young women of her generation to feminism. After Cornell University and a difficult, male-dominated theater course at Yale, she struggled with depression, experimented in the gothic mode, and sold uncanny tales to the Magazine of Fantasy and Science Fiction. An invitation to the Milford conference marked her entry to the literary sf community. The chapter discusses published fiction from 1959-1970, with emphasis on “The Forever House” (1959) and the life-changing “Alyx” series, including the short novel Picnic on Paradise.
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"Fairclough, N. New Labour, New Language, London: Routledge, 2000 48 Travers, op. cit., p.122 49 Parker, op. cit., p.167 50 Ibid.,p.l20 51 Ibid.,p.96 52 Harper, op. cit., p.349 53 Parker, op. cit. 54 Curt, B. Textuality and Tectonics: Troubling Social and Psychological Science, Buckingham: Open University Press, 1994 55 Lowe, R. Family Therapy and the Uses of Postmodernism: From Revisionism to Descriptivism, University of Queensland: PhD Dissertation, 1995, p.52 56 Curt, op. cit. 57 Parker, op. cit. 58 Travers, op. cit., p.100 59 See, for example, Holloway & Jefferson, op. cit., Travers, op. cit., Chapman, J. The Rhythm Model. In I. Bruna-Seu & M. Colleen Heenan (eds) Feminism and Psychotherapy, London: Sage, 1998 60 Burr An introduction to Social Constructionism, London: Routledge, 1995, p.8." In Deconstructing Evidence-Based Practice, 155–56. Routledge, 2004. http://dx.doi.org/10.4324/9780203422311-26.

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