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Cousins, Jane M. "Towards a feminist theory of drama." Thesis, Cousins, Jane M (1987) Towards a feminist theory of drama. PhD thesis, Murdoch University, 1987. https://researchrepository.murdoch.edu.au/id/eprint/52894/.
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The thesis attempts to theorize the conditions of a feminist practice (or practices) of drama through a series of readings of plays, framed by a theoretical introduction and conclusion. In the form of a feminist critique of current theories of subjectivity and signification - notably those of psychoanalysis, semiotics, marxist literary theory, and discourse analysis - the introduction sets the theoretical scene for an exploration of the possibility of producing meaning for feminism, in the practices of reading and writing drama. It examines the conceptual tools provided, in particular, by psychoanalysis and semiotics, and appropriates and transforms them for feminist use in the following chapters. Through readings of Shakespeare's The Taming Of The Shrew, 19th century British melodrama, three plays by Ibsen, some Australian plays from the 1950's and 70's, and finally a play by the contemporary French feminist director Simone Benmussa, these five chapters suggest how a feminist politics of the unconscious might usefully connect with a feminist politics of representation, developed through a formal and historical understanding of textuality. The plays themselves have not been selected on the basis of any single criterion but rather for the range of literary-historical and theoretical questions they provoke. Each chapter attempts, in different ways, to read the plays by informing its focus on specific contexts of production and reception with questions both of genre (of the formal, discursive conditions underlying the constitution of reading formations) and of gender and class. Finally, in an attempt to draw out the more general implications of these particular readings both for practice and theory, the thesis concludes by addressing certain questions of genre.
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Oloruntoba, Albert Olatunde. "The Negotiation of Gender and Patriarchy in Selected Nigerian and South African Plays." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/81371.
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Of all human identity categories such as race, religion, culture, class and gender that a person might belong to, race and gender are arguably two of the most contentious in the world. This study takes gender as its main focus, exploring how gender, gender oppression, patriarchy and resistance are negotiated in selected dramatic literary works emanating from Africa’s two literary giants, Nigeria and South Africa. It thus aims to bring two distinct literary traditions into dialogue with one another in order to clarify our understanding of how gender is articulated and inscribed across different contexts. Selected works from Nigeria include Aetu (2006), Little Drops (2011), Abobaku (2015) all by a single playwright, Ahmed Yerima, who has been described as one of the most outspoken feminist playwrights in the country. Other plays from South African context include So What’s New? (1993) by Fatima Dike, Weemen (1996) by Mthali Thulani, Flight from the Mahabarath (1998) by Muthal Naidoo and At Her Feet by Nadia Davids (2006). Of particular interest in this study is the question of how these plays explore the specific forms of gender discrimination which arise in the context of religious, traditional and cultural practices such as domestic violence against women, child marriage, wife inheritance, polygamy and property-sharing after the death of a husband or father. These texts, all written from a feminist perspective, foreground different understandings of what a woman and a mother is in the African context. They also offer differing articulations of gender-based resistance. The study employs an eclectic blend of western and African feminist/womanist frameworks in order to decipher how these plays comment, and reflect, on the issue of gender inequality. In so doing, the aim is to bring these distinct theoretical and ideological traditions into dialogue with one another. A further aim is to assess to what extent these plays draw on, or are aligned with, various strands of western and African feminist theorizing whilst also offering an understanding of literary texts as sites of theory-making in their own right. The study further explores the echoes, conjunctions, entanglements and disparities that are revealed by bringing these texts from different contexts into dialogue with one another. In this process, the chapter also explores the extent to which these plays can be aligned with the often polarized discourses of western and African feminist theories, thus contributing to a broader understanding of gender, gendered societies and gender-based oppression in African contexts. Finally, this study seeks to arrive at a new theoretical feminist framework for reading these texts: what I have called ‘Consequentialist feminism’ is an approach which seeks to transcend the binaries between western and African feminist theorizing by focusing on the consequences of women’s choices in particular contexts of engagement and response.Thesis (DLitt (English))--University of Pretoria, 2019.
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Claycomb, Ryan Matthew. "Playing at lives life writing and contemporary feminist drama /." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/148.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2003.Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Malik, Aisha. "Feminist Edutainment and the Pakistan Televisual Commons: A multi-site Ethnography of Urdu Serial Drama." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24751.
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The Urdu serial drama, a television form indigenous to Pakistan, was first created in the 1960s in the context of state-controlled broadcast television but has proven enduringly popular with audiences at home and abroad. In this multi-sited ethnography, I consider the role of transnational institutions, such as foreign aid agencies, who provide funding to developing countries with the intention of creating content in the context of a deregulated television industry. Central to my research is the voice of the creative workers, such as writers and producers, who navigate complex structures to ensure that the content is relevant to local conditions. Lastly, with participant observation conducted in three households across a sustained period of time, the audience reception study explores how drama serials enthral, educate and ultimately bind Pakistani women by creating a space where they can engage issues of gender violence in ways that speak to their own experience but also have implications beyond it. By exploring these aspects of content creation and reception, I showcase the role of women in creating a cultural public sphere, a televisual commons or zannana, where issues of importance to their lives can be discussed and debated. I also demonstrate how, through the power of social media, such discussions are no longer relegated to the domestic sphere but spill out into a technologically expanded public sphere.
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Godiwala, Dimple. "Breaking the bounds : British feminist dramatists writing in the mainstream since c. 1980." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367775.
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Banks, Carol Ann. "'Mother-England' : this teeming wombe of royall kings' - finding the female in Shakespeare's histories." Thesis, University of Hertfordshire, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263026.
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Pramaggiore, Valentina <1991>. "Women’s Tragedy in the Romantic Age: Questioning English, Italian and Spanish Theatre and Drama from a Feminist Perspective." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9331/1/pramaggiore_valentina_tesi.pdf.
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This thesis aims at rediscovering Romantic women playwrights in English, Italian and Spanish literature, and their tragedies, analysed through a feminist critical approach. Starting from a comparative study of the Romantic age and Romantic women’s writings, an overview of female writers’ role and contribution to the development of Romantic literature will be presented. This fundamental examination of the socio-cultural context will be followed by an in-depth analysis of the theatrical environments, deepening the issue of women’s various roles. The relationship between women playwrights and the stage will be tackled, investigating how these women managed to appropriate the “high” genre of tragedy. A focus on the changes that tragedy underwent during the Romantic age will be offered so as to explore in which ways women challenged the canons of the genre. The core of the thesis will include an overview of English, Italian and Spanish women dramatists and a brief analysis of some of their most popular tragedies. The tragedies analysed have been chosen according to themes in common, in order to demonstrate if and how these women used playwriting to address specific issues and to affirm their own agency and subjectivity. Among female playwrights’ dramatic production, three tragedies have been selected for a close reading which takes into account a variety of aspects. The three dramatists’ lives and previous literary production will also be examined in order to contextualise their tragedies and the themes they tackled. By doing so, it will be possible to highlight the reasons that led them to enter the male domains of theatre and tragedy. This analysis will be conducted through a feminist critical methodology that includes historical, literary, philosophical and political theories developed in the last decades, adjusted and contextualised so that they could be useful critical tools in the Romantic literary context.
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Saint, Marie Katina. "The Changing Face of Property: Land and Bodies in Early Modern English Literature and Contemporary Legal Trends." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19326.
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Early Modern drama, particularly that of Thomas Middleton, John Webster, and Ben Jonson, reveal the importance of property law in England in the late sixteenth and early seventeenth centuries. Their treatment of property law not only reflects and comments on the changes in property law and contract law of the period, but, in many surprising ways, it also anticipates our twentieth- and twenty-first-century discussions of property law as it pertains to property in the person. In much the same way that Early Modern persons debated the limitations and moral implications of private property, we today struggle to understand the limitations and moral implications of property in our bodies. Although these issues have universal importance, they are particularly relevant to women because women, from the early days of the sixteenth century through our contemporary period, have been and continue to be denied rights to property in one way or another.
This dissertation explores the drama through the lenses of Early Modern English law, contemporary Western law, feminist philosophy, and literary analysis, and an examination of the plays reveals that women have a property interest in reproductive labor such as gestation, child labor, and child birth. These property interests are relevant to contracts regarding reproductive technologies, paternity law, and doctrines of informed consent, and they also provide a more robust set of rights that protect women from over-reaching state action.10000-01-01
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Pattillo, Carmela L. "Searching for the Womanist Within." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/wsi_theses/14.
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Searching for the Womanist Within is a play about self identity and the daily experience of African-American women who are at the intersecting oppressions of race, gender and class. The unique life perspective of Afeican-American women is explored through the retelling of stories from the writer’s life as well as the lives of other black women. In Feminist, Black Feminist, Afrocentric and Womanist drama it is common to steer away from conventional theatrical structures, Solo drama, a less conventional structure, was selected for this play. In addition to the play is an essay about the writing process, as well as a literature review and a statement of significance about this creative thesis.
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Stodard, Nicole Elizabeth. "Aphra Behn on the Contemporary Stage: Behn's Feminist Legacy and Woman-Directed Revivals of The Rover." Scholar Commons, 2017. https://scholarcommons.usf.edu/etd/7446.
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This study theorizes the origins and history of the professional female playwright and director from the Restoration period to the present day through the stage history of Behn's most popular play, The Rover. Part one is comprised of two chapters: the first in this section argues the importance of appreciating Behn's proto-directorial function in the Restoration theatre and her significance to the history of feminism and women in professional theatre; the second chapter in this section examines the implications of casting practices and venue changes to eighteenth-century revivals of Behn's canon with a particular eye towards what a contemporary director can glean from 18th century revivals. Part II draws on archival research and personal interviews with directors, actors, and dramaturges to examine the historical significance of two particular twentieth-century, woman-directed revivals of The Rover: the 1989 revival at the Goodman directed by Kyle Donnelly and the 1994 revival at the Guthrie directed by Joanne Akalaitis. This study argues the synergistic impact at the time of woman-directed revivals of the most popular play by the first professional female playwright to the emergence of the professional woman director in America in the 1980s and 1990s. Part III consists of three chapters that examine woman-directed revivals of The Rover against the backdrop of theatre practice and sexual politics in the 2000s: one chapter analyzes cross-gender revivals of The Rover by Queen's Company in Brooklyn, NY (2001) and Woman's Will in San Francisco (2003); the next chapter examines a 2011 site-specific, panoramic production of The Rover at the World Financial Center directed by Karin Coonrod for New York Classical Theatre; the final chapter in this section analyzes a 2013 gender parodic production that I directed for Thinking Cap Theatre in Fort Lauderdale. This study argues for the importance of contemporary archiving and revival activism to historicizing the concept of the glass curtain and the gender parity movement in professional theatre and to improving the rate of employment of female directors and playwrights.
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Moser, Marlene Cecilia. "Postmodern feminist readings of identity in selected works of Judith Thompson, Margaret Hollingsworth and Patricia Gruben." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/NQ35260.pdf.
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Coleman, Alex. "Foul Witches and Feminine Power: Gendered Representations of Witchcraft in the Works of Shakespeare and His Contemporaries." Ohio Dominican University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=odu1562624942402741.
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Schroot, Lisa M. "A Culture of Rape: In Twentieth Century American Literature and Beyond." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/39.
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This project examines rape culture in American literature and society, exploring factors of rape culture through the narratives of literary protagonists and current women alike. Each chapter is grounded in a work of literature, which serves as a lens through which to analyze a factor of rape culture, and is then broadened in scope to incorporate recent court cases that have had significant sociocultural impacts. The introduction includes a critical review of rape in feminist theory, from Susan Brownmiller to Ann J. Cahill. The first chapter treats the rape of Dolores Haze and victim blaming in Vladimir Nabokov’s 1955 Lolita, and the 2010 Cleveland, Texas gang rapes of an eleven-year-old girl, who was cast as a “Lolita” by her community and the media. The second chapter discusses the rape of women with disabilities in Elmer Harris’s 1940 Johnny Belinda, and two 2012 cases in California and Connecticut involving the rapes of women with disabilities and the issue of consent, both of which influenced legislation. The third chapter focuses on the use of mass rape as a weapon of war in Lynn Nottage’s 2009 Ruined, and the narratives and testimonies of rape survivors in the Democratic Republic of the Congo, where nearly 2 million women have been raped since 1998. As the literature illustrates, when rape functions as an instrument of power and control certain similarities arise, such as victim blaming, consent, and the use of rape to demoralize and subjugate women, all of which are primary features of rape culture.
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Weber, Minon. "Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894)." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.
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Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.
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Hawerman, Matilda. "Identitet, makt och drama : en undersökning av DRACON-programmet i Sverige ur ett normkritiskt perspektiv." Thesis, Högskolan i Gävle, Bild- och dramapedagogik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-25190.
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Den här studien vill bidra med kunskap kring normkritisk pedagogik inom dramapedagogiken i Sverige. Det genom att belysa det svenska DRACON-projektet ur ett normkritiskt perspektiv. Det svenska DRACON-projektet är en del av det internationella DRACON-projektet vars övergripande syfte var att bygga en bro mellan drama och konflikthantering. I bakgrunden till den här studien beskrivs dramapedagogik, svensk dramaforskning och internationell dramaforskning utifrån kritiska teorier. Normkritisk pedagogik är en kritisk pedagogik som vänder blicken mot maktstrukturer och privilegier istället för att fokusera på minoriteter eller förtryckta grupper. I det teoretiska perspektivet förklaras och fördjupas begreppet normkritisk pedagogik utifrån feministisk teori, queerteori, postkolonial teori och kritiska vithetsstudier, funktionalitet, intersektionalitet och kritisk pedagogik. Syftet med den här undersökningen var att genom ett kritiskt makt- och identitetsperspektiv belysa det svenska DRACON-programmet. Det utifrån forskningsfrågorna: Vilka föreställningar om makt och identitet finns inbyggda det svenska DRACON-programmet? Hur förhåller sig dessa föreställningar till den normkritiska pedagogikens syn på makt och identitet? Studien genomfördes utifrån textanalys av boken DRACON i skolan. Analysen strukturerades med hjälp av en analysmall. Resultatet tyder på att DRACON-programmet i Sverige är inkluderande och försöker ta tillvara på alla deltagares erfarenheter. Samtidigt verkar programmet sakna ett ifrågasättande av kön och genus och fördjupade analyser kring makt. Spår av postkolonialism framträder i någon enstaka lek.The general aim of this study is to contribute to the knowledge of, so called, norm-critical pedagogy (normkritisk pedagogik) as part of Drama in Education in Sweden. This through looking at the Swedish DRACON-project from a norm-critical point of view. The Swedish DRACON-project is a part of the international DRACON-project which aimed at building a bridge between drama in education and conflict management. Norm-critical pedagogy is a Scandinavian term for critical pedagogy that focuses on the structures of power and privilege, rather than the oppressed. The pedagogy is explained in this paper and has its roots in queer pedagogy, queer theory, feminist theory, postcolonial theory and intersectional perspectives. The aim of this study was to look at the Swedish DRACON-project from the critical point of view of power, privilege and identity. The study examines the following questions: What conceptions of power and identity can be found in the Swedish DRACON-program? How do these conceptions relate to norm-critical perspectives of power, privilege and identity? The examination is done through text analysis of the book DRACON i skolan(DRACON in school). The results indicate that the Swedish DRACON-project is inclusive and tries to seize the experiences of all participants. At the same time the project seems to lack the questioning of gender and the immersing of analyzing power structures.
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Weretelnyk, Roman. "A feminist reading of Lesia Ukrainka's dramas." Thesis, University of Ottawa (Canada), 1989. http://hdl.handle.net/10393/5736.
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Tasker, Elizabeth Anne. "Low Brows and High Profiles: Rhetoric and Gender in the Restoration and Early Eighteenth Century Theater." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/18.
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The Restoration and early eighteenth-century theaters of London formed an important mixed-gender rhetorical venue, which was acutely focused on the age-old “querrelle des femmes” (or woman question). The immediate popularity of the newly opened Restoration theaters, the new practice of casting actresses rather than actors in female roles, and the libertine social climate of London from 1660 to the early 1700s created a unique rhetorical situation in which women openly participated as speakers and audience members. Through a methodology combining feminist historiography, performance theory, Bitzer’s rhetorical situation, and Habermas’ notion of the public sphere, this dissertation reclaims the Restoration theatre as one of the earliest public, secular, mixed-gender rhetorical venues in the English-speaking world. London theater of the Restoration and the early eighteenth century presents a feminist kairos for rereading and revisioning the actress from object to subject, from passive receiver to deliverer of performative rhetoric. Overall, the attention given to issues of femaleness in the plays of this period exceeds that of preceding and subsequent periods. The novelty of the actresses, as well as disillusionment with the male-dominated government and system of patriarchy, were major contributing factors that led to the female focus on stage. This phenomenon of female rhetoric also reflects the charisma, elocutionary skill, and visual rhetoric of the best female performers of the period, including: Nell Gwyn, Mary Saunderson Betterton, Elizabeth Barry, Anne Bracegirdle, Susannah Mountfort Verbruggen, Anne Oldfield, and Lavinia Fenton, all of whom are discussed from a rhetorical perspective in this dissertation.
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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.
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Hatton, Christine. "Backyards and borderlands transforming girls' learning through drama /." The author has requested that a digital copy of the thesis not be made available on public access; please contact Sydney eScholarship - ses@library.usyd.edu.au, 2004. http://hdl.handle.net/2123/5455.
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Thesis (Ph. D.)-- University of Sydney, 2005.Title from title screen (viewed 30 October 2009). Includes tables and questionnaires. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Education and Social Work. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
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Ryan, Shay. "Pots of red jam : a performance-as-research project with older women." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35875/1/35875_Ryan_1996.pdf.
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The study uses a performance-as-research model to devise an essentially woman-friendly process in a collaborative petformance project called Pots of Red Jam around the theme of older women. A rhizomatic system of validation is used, which involves personal experience, feminist methodology and peer review. The first part explores themes relevant to older women in popular literature. Fallowing chapters investigate feminist methodology
and examples of other women's projects. Application for future projects of this kind are offered. The script of Pots of Red Jam is included in the study.
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Stopford, Clare. "Mise en scène as a feminine textual body : making meaning in new plays." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13989.
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This study proceeds from research I have conducted through autobiographical writing, into my experiences of directing untried play texts for first performance. The question of ownership of the meaning conveyed by the play in performance, in the negotiated space between the writer and the director, provides the frame for this discussion. Who has the right of ownership over meaning, and in times of dissension about meaning, whose meaning should prevail? Since it is the writer's first opportunity to see his or her play on the stage, it would seem that the ethics of the situation favour the writer. However, if the director's modality is unconscious, intuitive and 'felt' as mine is, the best and most ethical path to follow may be hard to discern by both director and writer. At the same time, the intuitive modality of the director may be destabilized by the presence of the writer. Within this conundrum my focus is on identifying, exploring and considering the director's modality, which I have identified as 'feminine', a term which in this text favours sexual differentiation as a feminist strategy for the re-creation and re-inscription of woman within a male dominated signifying system. Rosi Braidotti's evocation of Cixous' creative writing as a 'feminine textual body' in resistance to woman as 'non-said', and as procreation of woman as a subject, provides the inspiration for the conceptualization of mise en scène as a feminine textual body. Using Green Man Flashing written by Mike Van Graan and directed by me in 2004, and Lara Foot's Reach that I directed in 2007, as case studies, I consider, as well as assess the impact, of my feminine directorial modality on these two performance texts. I am interested in how meaning is made from inside the feminine modality, what meaning is made, and finally, how the feminine modality is affected by the material circumstances in which these two plays were rehearsed. My aim is to extend the feminine modality into the style of it's dissemination by taking the reader into the 'feeling' of the modality in a style of writing that embodies the personal, intimate, intuitive qualities it invokes. I also take a more analytical view, assessing the efficacy of the feminine modality by using the lenses of materialist feminists such as Dolan and Diamond, as well as Irigaray's 'relational alterity'. The outcome of this exploration is that the feminine modality is both a solution and a problem, depending on material circumstances. Its paradoxical nature requires a third space in which it can stabilize, and yet remain accessible to the unconscious.
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Porterfield, Melissa Rynn. "Warning, Familiarity and Ridicule: Tracing the Theatrical Representation of the Witch in Early Modern England." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114108678.
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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.Title from first page of PDF document. Document formatted into pages; contains [1], ii, 104 p. Includes bibliographical references (p. 101-104).
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Marneweck, Aja. "Plot 99 : towards a feminine semiotic : spiritual and sexual emergence(y) in women's puppetry and visual performance." Doctoral thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/14056.
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Includes bibliographical references.This thesis explores how a multidisciplinary Feminine Semiotics may find expression through the cross-disciplinary medium of puppetry and visual performance. It investigates puppetry's relevance to the developing academic field of Practice as Research in performance. It considers the theoretical and creative applications of this multidisciplinary art form in the innovative Feminine Semiotics of emergence(y) in the production Plot 99.
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Wikström, Hannah. "Reading Drama in the EFL Classroom : An Analysis of the Potentials in Using Drama in the Swedish EFL Classroom." Thesis, Högskolan för lärande och kommunikation, Jönköping University, HLK, Ämnesforskning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49983.
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This study aims to examine the potential of reading dramatic scripts in the Swedish EFL classroom, using the play Top Girls by Carol Churchill as an example. In particular, it focuses on how literary theory and different aspects of feminism can be taught through the use of the play. The study is conducted through a textual analysis of the play’s main characters and the Swedish National Syllabus. The results show that there is a great potential in working with dramatic literature in the EFL classrooms. Using drama is effective in the way it covers several aspects of the core content of English in upper secondary school, and may be used to develop language skills, cultural understanding and critical thinking. The play contains complex ideas about different types of feminism, and the two main characters Joyce and Marlene represent two ways of striving for equality between men and women. These ideas are, in other words, represented by and embodied in the two main characters, which could make the ideas easier for students to understand.
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Carvalho, Angela Julita LeitÃo de. "Dramas Ãntimos e Dramas Sociais - uma releitura dos papÃis feminino e masculino no Cinema Novo." Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=3187.
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FundaÃÃo de Amparo à Pesquisa do Estado do CearÃEste trabalho examina representaÃÃes de dramas Ãntimos, do questionamento das mulheres frente Ãs desigualdades de poder, nas relaÃÃes entre os sexos, e, ainda, imagens da busca de autonomia e de liberdade sexual, nos filmes Os cafajestes, A falecida e O desafio, nos anos 1960. Aqui, dramas Ãntimos sÃo definidos como situaÃÃes ou experiÃncias vivenciadas por homens e mulheres, em espaÃos nos quais se circunscrevem suas relaÃÃes afetivas e sexuais. A escolha do cinema para analisar esta temÃtica deve-se ao fato de entendÃ-lo como veÃculo que dialoga com o contexto histÃrico, embora empregue uma linguagem especÃfica para transmitir mensagens - associaÃÃo de imagens, movimento de cÃmera, efeitos de iluminaÃÃo e uso de sons. Assim, a pesquisa se insere dentro de uma perspectiva sociolÃgica que adota como princÃpio bÃsico o estabelecimento de um vÃnculo da obra com o conjunto das relaÃÃes histÃricas, culturais, econÃmicas e polÃticas. Apesar da filmografia do Cinema Novo voltar-se caracterÃsticamente para representaÃÃes dos problemas econÃmicos e polÃticos do paÃs, a pesquisa realizada identificou que cineastas envolvidos com este movimento cultural abordaram, tambÃm, questÃes referentes aos "dramas Ãntimos", construindo novas representaÃÃes do feminino e do masculino. Nos filmes analisados, percebe-se a atribuiÃÃo de valores que contribuem para denegrir as imagens femininas, o que, por sua vez, reforÃa modelos masculinos referendados por padrÃes de atitudes agressivas e violentas contra a mulher. PorÃm, hÃ, simultaneamente, representaÃÃes de mulheres determinadas e decididas, que escolhem os caminhos que querem trilhar e, neste sentido, mantÃm relaÃÃes de poder com os homens. A despeito de emergirem traÃos nÃo unÃvocos no que se refere Ãs prÃticas de homens e mulheres, em Ãltima instÃncia, estÃo presentes representaÃÃes de regras sociais rÃgidas no que concerne a comportamentos de mulheres que ousam enfrentar as determinaÃÃes sociais.
This study examines representations of intimate dramas on the question of women facing the inequality of power, in relationship between the sexes, as well as images of the search for autonomy and sexual liberty in the films Os Cafajestes, A Falecida and O Desafio, which are part of the New Cinema, a cultural movement which arose in the 60s. Here, intimate drama is defined as situations or experiences which men and women have in the space which surrounds their affective and sexual relationships. The choice of cinema to analyze this theme was due to the fact of understanding that cinema is a dialogue with a historical context, even though it uses a specific language to transmit messages ? having an association to images, movement of the camera, the lighting effects and the use of sound. Thus, this study is set in a sociological perspective which adopts the establishment of a link of the work (the film) with the group of historical, cultural, economic and political relationships as a basic principle. In spite of the filmography of the New Cinema being characteristically directed towards the representation of economic and political problems of the county, the study done, identified the movie directors involved with this cultural movement who also approached questions referring to ?intimate dramas? forming new representations of being feminine and of being masculine. In the films analyzed, one perceived the attribution of values which contribute to the denigration of feminine images, which, in turn, reinforces masculine models confirmed by patterns of aggressive, violent attitudes towards women. However, at the same time there are representations of women who are determined and decided, who choose paths which they want to take, and in this way maintain relationships of power with men. Despite emerging traces which are not homogenous in that which refers to the practices of men and women, there are, in summary, representations of continuing strict social rules concerning the behavior of women who dare to face social determinations.
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CARVALHO, Angela Julita Leitão de. "Dramas íntimos e dramas sociais: uma releitura dos papéis feminino e masculino no cinema novo." http://www.teses.ufc.br, 2006. http://www.repositorio.ufc.br/handle/riufc/1266.
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CARVALHO, Angela Julita Leitão de. Dramas íntimos e dramas sociais: uma releitura dos papéis feminino e masculino no cinema novo. (2006). 256f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2006.Submitted by nazareno mesquita (nazagon36@yahoo.com.br) on 2011-11-24T16:17:30Z No. of bitstreams: 1 2006_tese_AJLdeCarvalho.pdf: 7493633 bytes, checksum: 45aa6e78dc928abd67e37a6fa391ee42 (MD5)
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This study examines representations of intimate dramas on the question of women facing the inequality of power, in relationship between the sexes, as well as images of the search for autonomy and sexual liberty in the films Os Cafajestes, A Falecida and O Desafio, which are part of the New Cinema, a cultural movement which arose in the 60s. Here, intimate drama is defined as situations or experiences which men and women have in the space which surrounds their affective and sexual relationships. The choice of cinema to analyze this theme was due to the fact of understanding that cinema is a dialogue with a historical context, even though it uses a specific language to transmit messages ? having an association to images, movement of the camera, the lighting effects and the use of sound. Thus, this study is set in a sociological perspective which adopts the establishment of a link of the work (the film) with the group of historical, cultural, economic and political relationships as a basic principle. In spite of the filmography of the New Cinema being characteristically directed towards the representation of economic and political problems of the county, the study done, identified the movie directors involved with this cultural movement who also approached questions referring to ?intimate dramas? forming new representations of being feminine and of being masculine. In the films analyzed, one perceived the attribution of values which contribute to the denigration of feminine images, which, in turn, reinforces masculine models confirmed by patterns of aggressive, violent attitudes towards women. However, at the same time there are representations of women who are determined and decided, who choose paths which they want to take, and in this way maintain relationships of power with men. Despite emerging traces which are not homogenous in that which refers to the practices of men and women, there are, in summary, representations of continuing strict social rules concerning the behavior of women who dare to face social determinations.
Este trabalho examina representações de dramas íntimos, do questionamento das mulheres frente às desigualdades de poder, nas relações entre os sexos, e, ainda, imagens da busca de autonomia e de liberdade sexual, nos filmes Os cafajestes, A falecida e O desafio, nos anos 1960. Aqui, dramas íntimos são definidos como situações ou experiências vivenciadas por homens e mulheres, em espaços nos quais se circunscrevem suas relações afetivas e sexuais. A escolha do cinema para analisar esta temática deve-se ao fato de entendê-lo como veículo que dialoga com o contexto histórico, embora empregue uma linguagem específica para transmitir mensagens - associação de imagens, movimento de câmera, efeitos de iluminação e uso de sons. Assim, a pesquisa se insere dentro de uma perspectiva sociológica que adota como princípio básico o estabelecimento de um vínculo da obra com o conjunto das relações históricas, culturais, econômicas e políticas. Apesar da filmografia do Cinema Novo voltar-se característicamente para representações dos problemas econômicos e políticos do país, a pesquisa realizada identificou que cineastas envolvidos com este movimento cultural abordaram, também, questões referentes aos "dramas íntimos", construindo novas representações do feminino e do masculino. Nos filmes analisados, percebe-se a atribuição de valores que contribuem para denegrir as imagens femininas, o que, por sua vez, reforça modelos masculinos referendados por padrões de atitudes agressivas e violentas contra a mulher. Porém, há, simultaneamente, representações de mulheres determinadas e decididas, que escolhem os caminhos que querem trilhar e, neste sentido, mantêm relações de poder com os homens. A despeito de emergirem traços não unívocos no que se refere às práticas de homens e mulheres, em última instância, estão presentes representações de regras sociais rígidas no que concerne a comportamentos de mulheres que ousam enfrentar as determinações sociais.
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Tanner, Jane Hinkle. "Sharing the Light: Feminine Power in Tudor and Stuart Comedy." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278551/.
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Studies of the English Renaissance reveal a patriarchal structure that informed its politics and its literature; and the drama especially demonstrates a patriarchal response to what society perceived to be the problem of women's efforts to grow beyond the traditional medieval view of "good" women as chaste, silent, and obedient. Thirteen comedies, whose creation spans roughly the same time frame as the pamphlet wars of the so-called "woman controversy," from the mid-sixteenth to the mid-seventeenth centuries, feature women who have no public power, but who find opportunities for varying degrees of power in the private or domestic setting.
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Tolle, Andrew. "Charlotte Perkins Gilman: Naturalist Playwright." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115172/.
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This study explores Charlotte Perkins Gilman’s use of the dramatic form to challenge Herbert Spencer’s social Darwinism by offering feminist adaptations of Darwin’s theories of natural and sexual selection. As she does in her career-defining manifesto, Women & Economics (1898), Gilman in her lesser-known plays deploys her own brand of reform Darwinism to serve the feminist cause. Despite her absence in histories of modern drama, Gilman actively participated in the establishment and development of this literary, historical, and cultural movement. After situating Gilman in the context of nineteenth-century naturalist theater, this thesis examines two short dramatic dialogues she published in 1890, “The Quarrel,” and “Dame Nature Interviewed,” as well as two full-length plays, Interrupted (1909) and the Balsam Fir (1910). These plays demonstrate Gilman’s efforts to use the dramatic form in her early plays to “rehearse” for Women & Economics, and in her later drama, to “stage” the theories she presents in that book.
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Selldén, Josefin. "Systerskap och ökat motstånd : En feministisk analys av litterära motståndsstrategier i Anne Charlotte Lefflers drama Skådespelerskan." Thesis, Södertörns högskola, Lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32773.
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This thesis have identified strategies of resistance in Anne Charlotte Lefflers drama Skådespelerskan from year 1873. The main character Ester and the supporting character Agda continously challenges and breaks generally accepted patriarchal norms. The first aim for the thesis was to distinguish and examine Agda’s and Ester’s strategies of resistance in Skådespelerskan from a feminist perspective. The second thesis was to identify similarities and differences in their strategies of resistance. This has been done by examine textual, contextual and performative literary strategies of resistance. Relevant for the analysis is an historic and contemporary context for Skådespelerskan, where for instance personal and public sphere and the concept the New woman is described. Furthermore is Yvonne Hirdmans theories about gender contract together with feminist sociological theories about women’s movement and solidarity relevant for the analysis. Earlier research have analyzed Ester and her relationships with other charachters but not the one with Agda. In that way this thesis fills a void. The analysis is organized through four strategies of resistance. Agda’s strategies of resistance is humor and sisterhood and Ester’s is outspokenness and flirtation. The biggest difference is that Agda gives resistance from within the personal sphere and Ester from outside. The conversations between Agda and Ester is not part of the drama, they take place between the two parts of the drama. The result of these confidential conversations is that their resistance partly increases and partly changes tone in the second part of the drama. That shows how important it is with solidarity and sisterhood in order to find strength to struggle for change in a patriarchal society.
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Fors, Sofia. "Kvinnlig representation i sydkoreanskt tv-drama : En karaktärsanalys av tre kvinnliga protagonister." Thesis, Högskolan Dalarna, Bildproduktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24069.
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Syftet med denna uppsats är att analysera och diskutera kring hur kvinnliga protagonister representeras i tre olika sydkoreanska dramaserier. Undersökningen utgår ifrån ett västerländskt genusperspektiv för att se vad för bild dramaserierna ger av den kvinnliga rollen till en internationell publik. Analysen kommer genomföras med hjälp av Jens Eders analysmetod och diskussionen kommer ta stöd ifrån Yvonne Hirdmans genusteori. Dramaserierna som har valts till denna studie är Boys over Flowers (2009), Heirs (2013) och Secret Garden (2010). I resultatet kan vi se många likheter mellan de tre kvinnliga karaktärerna trots att deras karaktärsutveckling är helt olika ifrån varandra. Även två distinkta gestaltningar av den kvinnliga rollen kan urskiljas, en som förhåller sig till den patriarkala könsmaktsordningen och en som förespråkar om jämställdhet mellan könen. Denna uppdelning visas dock vara problematisk eftersom de normaliserar varandra och på så sätt även normaliserar isärhållandet mellan mannen och kvinnan och hierarkiska principer.
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Roberts, David. "The ladies : female patronage of Restoration drama 1660-1700." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670377.
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Hungerford, Kristen A. "Reproductive Rights in Medical Dramas: A Feminist Analysis of Portrayals of Gender Roles on the Topic of Abortion on Television." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279052562.
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Peter, Zola Welcome. "The depiction of female characters by male writers in selected isiXhosa drama works." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1482.
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This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.
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DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.
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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.
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Ortolan, Leandro Henrique. "As trincheiras, as vazantes, as correntes... segredos que ninguém ensina: a construção do perfil psicológico feminino no drama de Chico Buarque de Holanda." Pontifícia Universidade Católica do Rio Grande do Sul, 2011. http://hdl.handle.net/10923/4211.
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Previous issue date: 2011The thesis addresses the issue of the feminine in two drama plays of Chico Buarque de Hollanda: Calabar: o elogio da traição (1973) and Gota d’água (1975), following critical theory of Carl Gustav Jung and post-Jungian scholars, using the concepts of the collective unconscious and the archetypes of anima and animus. The analysis of the genre in Chico Buarque‘s drama is developed from the assumption that the psychic constitution of the woman is also formed by a male counterpart – animus - which allows her, by this ―manhood‖, a better development (or not) of her complete personality. Similarly, the man also presents in his psyche a feminine counterpart – anima – which provides him a better approximation (or not) with his other side, which is more sensitive and receptive. In this sense, it will be seen how these two archetypes are manifested respectively in the female characters – especially Bárbara, from the play Calabar, and Joana, from Gota d’água – and in male characters as well, as both, woman and man are intimately linked.
A tese aborda a questão do feminino em duas peças dramáticas de Chico Buarque de Hollanda, Calabar: o elogio da traição (1973) e Gota d’água (1975), sob os postulados da teoria crítica de Carl Gustav Jung e de teóricos pós-junguianos, mediante os conceitos de inconsciente coletivo e dos arquétipos do animus e da anima nele inseridos. A análise do gênero no drama de Chico Buarque é desenvolvida a partir do pressuposto de que a constituição psíquica da mulher é formada também por uma contraparte masculina – animus -, que possibilita a ela, através dessa sua ―virilidade‖, um melhor desenvolvimento (ou não) de sua personalidade total. Analogamente, o varão também possui em sua psique uma contraparte feminina – anima -, que lhe possibilita uma melhor aproximação (ou não) com seu outro lado mais sensível e receptivo. Nesse sentido, ver-se-á de que maneira esses dois arquétipos se manifestam respectivamente em personagens femininas – principalmente Bárbara, da peça Calabar e Joana, da peça Gota d’água – e também em personagens masculinas, já que ambos, mulher e homem, estão intimamente ligados.
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Meyers, Celina-Beth. "“Her Choice Changed Everything”: Women and Love on Dawson’s Creek and Felicity." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151012476.
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Bender, Felicia. "Girls will be boys and boys will be girls : gender subversion in the work of Split Britches Company and the Ridiculous Theatrical Company, 1967-1996 /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841265.
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Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.
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Rapoo, Connie. "Figures of sacrifice Africa in the transnational imaginary /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610482411&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Ortolan, Leandro Henrique. "As trincheiras, as vazantes, as correntes... segredos que ningu?m ensina: a constru??o do perfil psicol?gico feminino no drama de Chico Buarque de Holanda." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2011. http://tede2.pucrs.br/tede2/handle/tede/1997.
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Previous issue date: 2011-01-06A tese aborda a quest?o do feminino em duas pe?as dram?ticas de Chico Buarque de Hollanda, Calabar: o elogio da trai??o (1973) e Gota d ?gua (1975), sob os postulados da teoria cr?tica de Carl Gustav Jung e de te?ricos p?s-junguianos, mediante os conceitos de inconsciente coletivo e dos arqu?tipos do animus e da anima nele inseridos. A an?lise do g?nero no drama de Chico Buarque ? desenvolvida a partir do pressuposto de que a constitui??o ps?quica da mulher ? formada tamb?m por uma contraparte masculina animus -, que possibilita a ela, atrav?s dessa sua ―virilidade‖, um melhor desenvolvimento (ou n?o) de sua personalidade total. Analogamente, o var?o tamb?m possui em sua psique uma contraparte feminina anima -, que lhe possibilita uma melhor aproxima??o (ou n?o) com seu outro lado mais sens?vel e receptivo. Nesse sentido, ver-se-? de que maneira esses dois arqu?tipos se manifestam respectivamente em personagens femininas principalmente B?rbara, da pe?a Calabar e Joana, da pe?a Gota d ?gua e tamb?m em personagens masculinas, j? que ambos, mulher e homem, est?o intimamente ligados.
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Parra, Cláudia [UNESP]. "Imaginary irishness: the feminine in dramatisations of the Paster Rising in Sean O’Casey’s the plough and the stars and Tom Murphy’s The Patriot Game." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136336.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Uma vez que a cultura nacional irlandesa tem formado uma concepção imaginária de identidade, isso afeta também a imagem da mulher. O drama irlandês tem contribuído muito para o debate e revisionismo sobre a identidade irlandesa e, no século XX, a Revolta da Páscoa em 1916 foi escolhida como contexto por alguns dramaturgos irlandeses pra promover uma reflexão sobre essa questão. Sean O’Casey e Tom Murphy apresentaram versões da Revolta da Páscoa nos palcos do Abbey que abordaram a identidade da mulher irlandesa em um contexto nacionalista. Uma comparação desses dois textos dramáticos revela que, embora os dramaturgos tenham usado estratégias diferentes, ambos reavaliaram a imagem feminina promovida pelo nacionalismo irlandês.
Ireland’s particular national culture has shaped an imaginary conception of identity which has also affected the image of women. Irish drama has contributed significantly to the debate on and revisionism of Irish identity and, in the twentieth century, the Easter Rising in 1916 was chosen by some Irish playwrights as a background to promote reflection on this question. Sean O’Casey and Tom Murphy presented versions of the Easter Rising on the Abbey stage which approached the identity of Irish women in a nationalistic context. A comparison of these two dramatic texts reveals that, although the playwrights used different strategies, they both reassessed the female image promoted by Irish nationalism.
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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.
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岑金倩 and Kam-sin Shum. "A study of female characters in modern Chinese historicaldrama (1911-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214605.
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Hall, Lynn. "Unruly Subjects: Willful Women in Modernist Narratives." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1605813388828221.
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Solga, Kimberly A. "Playing the woman, gender performance on the contemporary stage." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24922.pdf.
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Mlangeni, Patience. "A feminist paradigm for drama therapy in South Africa." Thesis, 2020. https://hdl.handle.net/10539/30594.
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A thesis submitted for the degree of Masters in Drama Therapy to the Faculty of Humanities, Wits School of Arts, University of the Witwatersrand, 2020This research looks at the possibility of a feminist paradigm that can frame the practice of drama therapy in South Africa. The paper explores the challenges that black South African women are still battling with twenty-five years post-Apartheid. While investigating the notions of gender and the significance of the different waves of feminism, and how feminist pedagogy has come to help us understand gender as a social construct. Through five interviews with practising Drama Therapists in South Africa, the paper distils the themes that these practitioners face in their daily encounters. The research stresses the importance of feminism as a way of working towards deconstructing the taboos that inform gendered roles. It further explores the historical legacy of Apartheid in present-day South Africa. It also looks at the issues of body politics and how capitalism continues to exploit black bodies especially those of women for profit. Also, it explores silence and its uses
CK2021
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Seshabela, Dumisa Olive. "Walter Ntsimane's portrayal of women in the radio series Motlhabane / Dumisa Olive Seshabela." Thesis, 2003. http://hdl.handle.net/10394/14267.
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The portrayal of women in Setswana literary works and in the electronic media tends to perpetuate stereotypes of women. This may result in a society that continues to degrade women. Ntsimane, the author of Motlhabane, has written a drama series that depicts women in a negative way through the creation of weak female characters who are often
exploited by males, are gossips, adulterous and generally manipulative and of low morals. Feminist literature has, among other things, challenged, especially male authors who promote and perpetuate negative stereotypes of women. The view that women are weak,
adulterous, possessive and have low morals emerges from traditional cultural perceptions, and thus writers who do not give a balanced view of women continue to portray this view. Women have been discriminated against in many spheres of life, such as in the work place, at home, in politics, in the economy and in society in general. This study explores the portrayal of women in the radio series Motlhabane and reveals clearly that the series fails to portray women as having an important role to play in life and in a family structure and thus need • to be afforded respect. The conclusions of this study are a warning to men about women who do not fit the traditional mould of submissive wives and are therefore looked upon as being morally corrupt and promiscuous. The author does not treat his female characters with respect. The study highlights challenges facing emerging authors who write about women, and directs them to focus on representing women in a balanced manner in their works. The challenge for the emerging generation of authors is to learn to write in a sensitive balanced manner about women.M.A., African Languages, Potchefstroom University for Christian Higher Education, 2003
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"Feminist analysis of the representation of female and male characters in selected drama plays in Ishashalazi." Thesis, 2009. http://hdl.handle.net/10413/1457.
Full textAbstract:
This dissertation focuses on the textual analysis of the representation of female and male characters in the drama book Ishashalazi, based on the two drama stories: Kwakuhle kwethu! and Umninimuzi. Both of these stories depict male and female characters differently. The findings of this study suggest that the representation of male characters in the selected stories is generally in line with patriarchal attitudes and reflect women's suppression. Male characters are positively represented by most texts and reflect triumph, intelligence, and strength and these forms of representation affirm the traditionally held beliefs about men as rulers and heads of families. On the contrary, this study finds that the representation of women differs greatly from that in which males are represented. Women are given feminine roles represented negatively as failures or as being capricious and disrespectful of social norms. The division of labour into gender-hyper-specific roles widens the gap of differences in the representation of female and male characters. Situated in the imbalance representation is culture. Texts and Ishashalazi in particular, echo unequal representation of male and female characters by promoting the observation of cultural principles in the roles played by characters. African culture is the major phenomenon that promotes patriarchy and ensures that women remain suppressed by the rule of men. Such processes are perpetuated by texts that we read every day. Texts are powerful means of sending messages. It is through texts that social actions and processes are interpreted and acted. Thus textual meaning is both visible and invisible. Through analysis of the two drama plays the hidden meaning of text is disclosed and it is through this analysis that actions that promote the marginalization of women are challenged. Family is one of the institutions where women are oppressed on the pretext of culture (Cameron. 1990). The findings of this study allude to Cameron's observation that the roles assigned to female characters serve as a valuable clue to the constitution of women's silence. Roles represented by female characters in Ishashalazi do not gain the respect of the greater community instead, some (such as women who violate cultural principles) actually damage the reputation of women and tarnish their image. Thus culture oppresses women while giving opportunities to their male counterparts to dominate and exercise authority over women. It is with such social actions and processes that this study concerns itself. Sexist language and stereotypes used by society continue to pose problems that reflect negatively on women. In responding to such challenges this study analyses the representation of female and male characters from a feminist standpoint and calls for the emancipation of women and children.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2009.
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Freeman, Emily Rachael. "Feminist performance pedagogy : theatre for youth and social justice." 2013. http://hdl.handle.net/2152/21652.
Full textAbstract:
This thesis describes the use of feminist performance pedagogy in working toward a Theatre for Young Audiences (TYA) practice that engages youth in social justice. Drawing on feminist and pedagogical theories, this document explores the processes of writing, rehearsing, and touring a new social justice play for youth called 'And Then Came Tango.' The qualitative study outlined in this MFA thesis uses feminist research methodologies to analyze the engagement of the playwright, the artistic team working on the production of 'And Then Came Tango,' and the second and third grade audiences that participated in the touring production and post-show workshops. The author weaves personal story throughout the document in order to create new meaning around the research experiences as well as to illustrate the personal dimensions of engaging in the struggle around LGBTQ injustice. The discussion invites future artists, educators, and activists to imagine how theory, aesthetics, artists, and communities collaborate in order to work toward socially just and interactive TYA.text
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Todd, Susan Gayle. "MacBird!: a history and feminist critique of Barbara Garson’s radical play." 2009. http://hdl.handle.net/2152/6616.
Full textAbstract:
Barbara Garson’s controversial play, MacBird!, was written and produced during the Vietnam War era and Johnson administration. The satirical Shakespeare adaptation equates LBJ with Macbeth, the villainous tragic hero who murders his king in order to gain the Scottish crown. The implication that Johnson was responsible for the assassination of JFK created a fury of controversy among critics and the public, as well as the political leaders who were parodied.
The play was first published and circulated in 1966 as an underground leaflet. In 1967, it was produced off-Broadway with a cast that featured actors Rue McClanahan, William Devane, Cleavon Little, and Stacy Keach, who won an Obie Award for his performance of the title role. The show launched the careers of these actors. Critics were divided in their reviews of the play’s literary merit, but all seemed to agree that the piece was shocking and significant because it flew in the face of patriotism and of reverence for presidential authority. At the time of its production, acclaimed theater critic Robert Brustein named MacBird! “the most explosive play” of the Sixties theater movement. This dissertation presents the history of the play, within its social and political setting, from its inception through its production and abrupt disappearance at the peak of its success, which coincided with the assassination of Robert Kennedy. Relying upon methodology that includes primary and secondary sources, as well as interviews with the playwright and others involved in the play, this work presents the publication and production history of MacBird!, public and White House response to the play, a contextual analysis under a feminist lens, and a final chapter on MacBird! as a precursor to feminist adaptations of canonical works, Sixties-era Macbeth adaptations, and the notable women whose work intersected in MacBird! MacBird! was a tremendous event in theater history; it belongs at the fore of adaptation studies, particularly Shakespeare and feminist adaptation studies; it is a prime model of performance as a political tool and therefore earns a central place in performance studies; and because it is an attack on patriarchal power and a rare example of a Sixties radical play written by a woman, Barbara Garson needs to be recognized among remarkable women of theater.text