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1
Anderson, Haley D. "Female Agency in Restoration and Nineteenth-Century Drama." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1560.
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This thesis examines issues of female agency in the plays The Rover and The Widow Ranter by Aphra Behn, Mrs. Warren's Profession by George Bernard Shaw, and Votes for Women! by Elizabeth Robins. The heroines of each of these plays work toward gaining agency for themselves, and in order to achieve this goal, they often stray from cultural norms of femininity and encroach on the masculine world. This thesis postulates that agency for women becomes a fluid notion, not statically defined. These plays show a fluctuating and evolving sense of feminine agency.
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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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Saab, H. "Restoration Orientalism : the representation of the Turk in serious drama." Thesis, Swansea University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.638734.
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This dissertation examines the complex representation of the Orient, the Turk in particular, in Restoration serious drama, as embodying new English attitudes and perceptions of the "Other". This study builds both on "conventional" notions established by Renaissance discourses on the Orient and on assumptions, identifying polar characteristics of East and West, described in Said's Orientalism. I argue that "otherness" was gradually undermined in Restoration drama, in which the Turk ceased to be represented as the diabolic Other. The first chapter defines my theoretical approach which is largely informed by the study of historical contexts: the dynamic military, religious, political, and economic encounters between Europe and the Levant. I thus offer a quick review of occurrences of the generally stereotyped Turk depicted in Renaissance literature. In the second chapter I throw light on the Ottoman decline during the seventeenth century and its effect on English attitudes towards the Turk in Restoration literature. The increasing diplomatic and commercial relations are found to have contributed to the emerging familiarity of the Other. The third chapter explores the dominant theatrical form in the Restoration, the heroic genre, which is closely associated with the exotic and provides a novel representation of the Oriental world. Chapter four focuses on Davenant's pioneering heroic play, The Siege of Rhodes (1656 and 1661), and its ambivalent, dual representation of the Turk as both Other and similar. Chapters five and six are devoted to the discussion of other Oriental heroic plays, such as Roger Boyle's Mustapha (1665) and Mary Pix's Ibrahim (1696), which combine conventional and heroic tropes in their representational modes. Finally, Chapter seven is concerned with a group of plays mainly representing the Orient as humanised and similar to the European and hence symbolising a completed stage in, what I argue, is a process of cultural assimilation.
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Gibbons, Zoe Hope. "A dedicated follower of fashion : the ahistoric rake in Restoration literature /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/373.pdf.
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Björkman, Nilsson John. "Period Drama : Punctuation restoration in Swedish through fine- tuned KB-BERT." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-303127.
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Presented here is a method for automatic punctuation restoration in Swedish using a BERT model. The method is based on KB-BERT, a publicly available, neural network language model pre-trained on a Swedish corpus by National Library of Sweden. This model has then been fine-tuned for this specific task using a corpus of government texts. With a lower-case and unpunctuated Swedish text as input, the model is supposed to return a grammatically correct punctuated copy of the text as output. A successful solution to this problem brings benefits for an array of NLP domains, such as speech-to-text and automated text. Only the punctuation marks period, comma and question marks were considered for the project, due to a lack of data for more rare marks such as semicolon. Additionally, some marks are somewhat interchangeable with the more common, such as exclamation points and periods. Thus, the data set had all exclamation points replaced with periods. The fine-tuned Swedish BERT model, dubbed prestoBERT, achieved an overall F1-score of 78.9. The proposed model scored similarly to international counterparts, with Hungarian and Chinese models obtaining F1-scores of 82.2 and 75.6 respectively. As further comparison, a human evaluation case study was carried out. The human test group achieved an overall F1-score of 81.7, but scored substantially worse than prestoBERT on both period and comma. Inspecting output sentences from the model and humans show satisfactory results, despite the difference in F1-score. The disconnect seems to stem from an unnecessary focus on replicating the exact same punctuation used in the test set, rather than providing any of the number of correct interpretations. If the loss function could be rewritten to reward all grammatically correct outputs, rather than only the one original example, the performance could improve significantly for both prestoBERT and the human group.Här presenteras en metod för automatisk återinföring av skiljetecken på svenska med hjälp av ett neuralt nätverk i formen av en BERT-modell. Metoden bygger på KB-BERT, en allmänt tillgänglig språkmodell, tränad på ett svensk korpus, av Kungliga Biblioteket. Denna modell har sedan finjusterats för den här specifika uppgiften med hjälp av ett korpus av offentliga texter från landsting och dylikt. Med svensk text utan versaler och skiljetecken som inmatning, ska modellen returnera en kopia av texten där korrekta skiljetecken har placerats ut på rätta platser. En framgångsrik modell ger fördelar för en rad domäner inom neurolingvistisk programmering, såsom tal- till- texttranskription och automatiserad textgenerering. Endast skiljetecknen punkt, kommatecken och frågetecken tas i beaktande i projektet på grund av en brist på data för de mer sällsynta skiljetecknen såsom semikolon. Dessutom är vissa skiljetecken någorlunda utbytbara mot de vanligaste tre, såsom utropstecken mot punkt. Således har datasetets alla utropstecken ersatts med punkter. Den finjusterade svenska BERT-modellen, kallad prestoBERT, fick en övergripande F1-poäng på 78,9. De internationella motsvarande modellerna för ungerska och kinesiska fick en övergripande F1-poäng på 82,2 respektive 75,6. Det tyder på att prestoBERT är på en liknande nivå som toppmoderna motsvarigheter. Som ytterligare jämförelse genomfördes en fallstudie med mänsklig utvärdering. Testgruppen uppnådde en övergripande F1-poäng på 81,7, men presterade betydligt sämre än prestoBERT på både punkt och kommatecken. Inspektion av utdata från modellen och människorna visar tillfredsställande resultat från båda, trots skillnaden i F1-poäng. Skillnaden verkar härstamma från ett onödigt fokus på att replikera exakt samma skiljetecken som används i indatan, snarare än att återge någon av de många korrekta tolkningar som ofta finns. Om loss-funktionen kunde skrivas om för att belöna all grammatiskt korrekt utdata, snarare än bara originalexemplet, skulle prestandan kunna förbättras avsevärt för både prestoBERT såväl som den mänskliga gruppen.
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Tomlinson, Sophie Eliza. "Theatrical women : the female actor in English theatre and drama 1603-1670." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338185.
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McKimpson, Karl. "Going Commercial: Agency in 17th Century Drama." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20412.
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This dissertation’s aim is to reveal how essential economic mechanics were to playwrights when it came to depicting agency. Rising commercialization in the seventeenth century prompted playwrights to appropriate market behaviors in London as a new discourse for agency. Commerce serves as a metaphor for every part of daily life, and a new kind of “commercial” agency evolves that predicates autonomy upon the exchange networks in which a person participates. Initially, this new agency appears as a variation on the trickster. By the end of the century, playwrights have created a new model for autonomy and a new kind of hero to employ it: the entrepreneur. My chapters chart the defining points in the development of commercial agency, each with a representative text or texts. In chapter II, I analyze how the Jacobean gallant, a variation on the trickster, sells himself as a desirable commodity to gain wealth and influence, the conditions he needs to liberate himself and control his own destiny (Eastward Ho). Chapter III examines characterizations of businesswomen in seventeenth century drama, one of the primary shifts in tone that accompanied the development of commercial agency as playwrights became more skilled in its portrayal (Antony and Cleopatra). Frequently regarded as prostitutes in Elizabethan plays, entrepreneurial women are often seen in later periods as dramatic, even tragic, heroes. When the stage closed during the years of 1642-1659, the print market was playwrights’ main source of income, and it was soon adapted to promote drama and ensure its future production. Chapter IV suggests that the success of William Davenant’s The Siege of Rhodes was due to how its preface implicated customers of the print edition in its stage production. Chapter V marks the emergence of the entrepreneurial rake as a romantic and comic hero. The chapter argues that the egalitarian haggling that ends The Man of Mode and The Rover, which is conspicuously absent from The Country Wife, is presented as the ideal basis for any loving, successful, and profitable marriage.
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Al-Muhammad, Hasan. "Domestics in the English comedy : 1660-1737." Thesis, Bangor University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267347.
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Ford, Huntley Marjorie. "The politics of honour in restoration drama : moments of crisis, 1660-1681." Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435751.
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Sikkink, Lisa Mae. "I just need some space! space, invasion, and gender relations in restoration drama /." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/l_sikkink_042209.pdf.
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Le, Van Curtis. "Body as Text: Physiognomy on the Early English Stage." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6886.
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My dissertation explores the presence of physiognomy, which is the reading of faces and bodily affects to determine a person’s character. I investigate plays originally produced for the early English stage, ranging from the late Middle Ages to the Restoration. In this work I argue that the bodies within the selected plays exist as texts that are to be interpreted by readers and audience members alike. While embodiment theory has done excellent work in explaining the corporeality of the pre-modern body, it does not consider the body as a textual construction. My work aims to fill such a gap. My main methodology is historicist, both old and new. I employ the former insofar as I incorporate primary texts relevant to understanding physiognomy and its workings on the early English stage. I also use New Historicism since I cover many influences on physiognomy, including theology, politics, and philosophy of the mind. The first chapter probes the York Cycle’s biblical play The Conspiracy, as well as the morality play Mankind. I claim that physiognomy highlights the participatory aspects of both plays, as each contains bodies that help audiences learn of true piety. In the second chapter, I discuss Shakespeare’s problem plays All’s Well that Ends Well and Hamlet. I posit that the genre of problem play can best be understood as including works that contain incomplete or inaccurate physiognomic readings. For my final chapter, I analyze the tragicomedies Marriage a-la-Mode, by John Dryden, and The Widow Ranter, by Aphra Behn. I insist that examining the physiognomic readings can help us unite the dialectics between and among the multiple plots within each play. Over the course of these three chapters, I conclude that the body-as-text, understood through physiognomy, allows modern readers to better grasp pre-modern understandings of internality as it evolved from the Middle Ages to the Restoration. In addition, I contend that genre often dictates the ways in which bodies are constructed textually. In summary, the contributions of my work can be listed as the following: (1) I provide examples of how physiognomy can be used to support a variety of methodologies, including Marxism, feminism, and deconstruction. (2) I offer a more thorough history of physiognomy, ranging from the late Middle Ages to the Restoration. (3) My work with genre is unique among current scholarship that engages with physiognomy. In my conclusion, I suggest paths forward with this project, such as the use of other methods for interpreting the body as a text, consisting of anatomy, physiology, and allegory.
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Baker, J. "Thomas D'Urfey : the life and work of a restoration playwright." Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368786.
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This thesis is a study of the life and works of Thomas D'Urfey (1653- 1721), a prolific writer of -plays, poetry and operas during the Restoration period. It places him in the context of the theatre of his time and the difficult conditions in which he worked, showing how obscurity of birth and lack of education affected him in his burning desire for success and financial reward. His relationships with great men illustrate the role of the patron in Augustan society, and his long career in the theatre illuminates the principal developments in English drama between 1676 and 1710. The Introduction provides a brief critical survey of the current state of Restoration comedy criticism and of D'Urfey's place in that criticism. Chapters One and Three are primarily biographical; Chapters Two, Four and Five study his plays; Chapter Six takes a broader view of his non-dramatic writing, and Chapter Seven examines his last three comedies and discusses them as precursors of the novel. The final section of Chapter Seven makes some comparisons between Thomas D'Urfey and other dramatists of the period, especially John Dryden, and argues that there is a special interest in the struggle for recognition of an author generally regarded as a failure. The Conclusion summarises the arguments in the thesis for this re-assessment of D'Urfey's interest and importance. Throughout the thesis D'Urfey's work is shown to have many rewards for the modern reader.
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Benitez, Michael Anthony. "The discursive limits of "carnal knowledge"| Re-reading rape in Elizabethan, Jacobean, and Restoration drama." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1598621.
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This thesis, by analyzing how rape is treated in William Shakespeare’s Titus Andronicus (1592-3), Thomas Middleton and William Rowley’s The Changeling (1622), and Aphra Behn’s The Rover (1677), details how the early modern English theater frequently dramatizes the period’s problematic understanding of rape. These texts reveal the social and legal illegibility of rape, illuminating just how deeply ambivalent and inconsistent patriarchy is toward female sexuality. Both using and departing from a feminist critical tradition that emphasized rape as patriarchy’s sexual entrapment of women, my readings of the period’s legal treatises and other documents call attention to the ambiguity of how rape is defined in early modern England. As represented in these three plays, male rapists exploit the period’s paradoxical views of female sexual consent, thus complicating how raped women negotiate their social and legal status. The process of disclosing her violation ultimately places a raped woman in an untenable position.
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Botica, Allan Richard. "Audience, playhouse and play in Restoration theatre, 1660-1710." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6dc8576e-e5cf-4514-ad90-19e7b1253c8e.
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This thesis addresses three aspects of the relationship between audience, playhouse and play in Restoration theatre from 1660 to 1710. It provides a comprehensive account of the composition of the Restoration audience, an examination of the effect this group of men and women had upon the plays they attended and an account of the ways in which the plays and playhouses of the Restoration touched the lives of London's inhabitants. In the first part of this dissertation I identify the audience. Chapter 1 deals with London's playhouses, their location, archictecture and decoration. It shows how the playhouses effectively created two sets of spectators: the visible and the invisible audience. Chapter 2 is a detailed examination of those audiences, and the social and occupational groupings to which they belonged. Chapter 3 deals with the support the stage received. It analyses attendance patterns, summarizes evidence of audience size, presents case studies of attendance patterns and outlines the incidence and effects of recurrent playgoing. In the second part of the dissertation I deal with theatricality, with the representation of human action on and off the stage. I examine the audience's behaviour in the playhouses and the other public places of London. I focus on the relationships between stage and street to show how values and attitudes were transmitted between those two realms. To do this, I analyse three components of theatrical behaviour--acting, costume, and stage dialogue and look at their effect on peoples' behaviour in and ideas about the social world. Chapter 4 is an introduction to late seventeenth century ideas of theatricality. Chapter 5 examines contemporary ideas of dress and fashion and of their relationship to stage costuming. Chapter 6 considers how contemporary ideas about conversation and criticism affected and were in turn affected by stage dialogue.
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Teerlink, Amanda. "The Wicked Widow: Reading Jane Austen<&trade>s Lady Susan as a Restoration Rake." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7100.
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Of all of Austen<&trade>s works, Lady Susan tends to stand alone in style and character development. The titular character of the novella in particular presents a literary conundrum for critics and readers of Austen. In an attempt to understand the character and why Austen wrote her, Lady Susan has been considered as a œmerry widow (Lane), a Machiavellian power figure (Mulvihill), and an indication of Austen<&trade>s familiarity with gossip and adultery (Russell). Despite these varied and colorful readings, critics have failed to fully resolve the differences between Lady Susan and Austen<&trade>s more beloved, maidenly heroines such as Elizabeth Bennet and Anne Elliott.This paper delves into one explanation that has hitherto been overlooked”Lady Susan<&trade>s relationship to the Restoration rake character trope. In light of Lady Susan<&trade>s philandering, independent, and mercenary ways, as well as her likeable yet reprehensible personality, the connection to the Restoration rake is readily apparent. Reading Lady Susan as a rake better informs critical understanding of this character and sheds new light on Jane Austen<&trade>s own perspectives on gender, while also forming a dialectic for critics and audiences for their own perspectives on gender, gender roles, and acceptable behavior. To accomplish this task, this paper explores Austen<&trade>s own early experiences with theatre and her predilection for theatrical allusions, the rake character<&trade>s genealogy and influence on literature, and a close reading of the novella in context of Restoration comedies.
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Bender, Ashley Brookner. "Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12081/.
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This dissertation examines the role of stage properties-props, slangily-in the construction and expression of characters' identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707-for example, Thomas Middleton's The Revenger's Tragedy (1607), Edward Ravenscroft's adaptation of Titus Andronicus (1678), Aphra Behn's The Rover (1677), and William Wycherley's The Plain Dealer (1677)-I demonstrate how props mediate relationships between people. The control of a character's props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities-for example, when the women in Behn's Rover circulate miniatures of themselves-yet other characters must also interpret these objects. The props, and therefore the characters' identities, are at all times vulnerable to misinterpretation. Much as the props' meanings are often disputed, so too are characters' private identities often at odds with their public personae. The boundaries of selfhood that the characters wish to protect are made vulnerable by the objects that they use to shore up those boundaries. When read in relation to the characters who move them, props reveal the negotiated process of individuation. In doing so, they emphasize the correlation between extrinsic and intrinsic worth. They are a measure of how well characters perform gender and class rolls, thereby demonstrating the importance of external signifiers in the legitimation of England's subjects, even as they expose "legitimacy" as a social construction.
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Tuerk, Cynthia M. ""Harmless delight but useful and instructive" : the woman's voice in Restoration adaptations of Shakespeare." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/14895.
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The changes and upheaval in English society and in English ideas which took place during the seventeenth century had a profound effect upon public and private perceptions of women and of women's various roles in society. A study of the drama of this period provides the means to examine the development of these new views through the popular medium of the stage. In particular, the study of adaptations of early drama offer the opportunity to compare the stage perceptions of women which were prevalent during the late sixteenth and early seventeenth century with attitudes towards women which emerged during the Restoration and early eighteenth century; such an examination of these differing perceptions of women has not yet been undertaken. The adaptation of Shakespearean plays provide the most profitable study in this area; Shakespeare was not only a highly influential playwright, but was also one of the most adapted of all the early dramatists during the years of the Restoration. In order to facilitate this survey, I have selected plays which span the entire Restoration era, beginning with William Davenant's The Law Against Lovers and Macbeth as well as John Lacy's Sauny the Scot from the 1660's, through the late 1670's and early 1680's with Edward Ravenscroft's Titus Andronicus and Nahum Tate's The Ingratitude of a Common-Wealth, and finally into the reign of Anne Stuart with William Burnaby's Love Betray'd. The study of these plays offers the best opportunity for the examination, through the medium of the theatre, of the changes which occurred in the perception of women and their changing identity with the rapidly evolving society of Renaissance and Restoration English society.
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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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Chapman, Patricia Ann. "Two Laureates and a Whore Debate Decorum and Delight: Dryden, Shadwell, and Behn in a Decade of Comedy A-la-Mode." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11202006-050335/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Malinda Snow, committee chair; Tanya Caldwell, Paul Schmidt, committee members. Electronic text (81 p.) : digital, PDF file. Description based on contents viewed May 8, 2007. Includes bibliographical references (p. 79-81).
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Wardell, Kathryn Brenna. "The rake's progress: Masculinities on stage and screen." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11457.
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viii, 261 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity. I chart the rake's progress from his origins in the Restoration era to the early twenty-first century. Chapter II examines William Wycherley's comedy The Country Wife in concert with John Dryden's Marriage à la Mode and Aphra Behn's The Rover to analyze the rake's emergence in seventeenth-century theatre and show that his transgression of borders real and figurative plays out the anxieties and aspirations of an emerging British empire. Chapter III uses John Gay's ballad opera The Beggar's Opera, a satiric interrogation of consumerism and criminality, to chart the rake in eighteenth-century British theatre as Britain's investment in global capitalism and imperialism increased. My discussion of Opera is framed by Richard Steele's early-century sentimental comedy The Conscious Lovers and Hannah Cowley's late-century The Belle's Stratagem, a fusion of sentiment and wit. Chapter IV hinges the project's theatre and film sections, analyzing Oscar Wilde's fin-de-siècle comedy The Importance of Being Earnest as a culmination of generations of theatre rakes and an anticipation of the film rakes of the modern and post-modern eras. Dion Boucicault's mid-century London Assurance is used to set up Wilde's queering of the rake figure Chapter V brings the rake to a new medium, film, and a new nation, the United States, as the figure catalyzes American tension over race and gender in early twentieth-century films such as Cecil B. DeMille's The Cheat, George Melford's The Sheik, and Ernest Lubitsch's Trouble in Paradise. My final chapter reads contemporary films, including Jenniphr Goodman's The Tao of Steve, Chris Weitz and Paul Weitz's About a Boy, and Gore Verbinski's trilogy Pirates of the Caribbean for Disney Studios, to assess the ways in which millennial western masculinity is in stasis.
Committee in charge: Dianne Dugaw, Co-Chair; Priscilla Ovalle, Co-Chair; Kathleen Karlyn; John Schmor
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Amis, Margaret. "Three couples talking doing it with words in Restoration comedy /." Diss., 1997. http://catalog.hathitrust.org/api/volumes/oclc/38045259.html.
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Krueger, Misty Sabrina. ""The last dear drop of blood" revenge in restoration tragic drama /." 2010. http://trace.tennessee.edu/utk_graddiss/719.
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Chang, Hsuan, and 張璿. "From “Qinzheng Restoration “ to “Contemporary Qinzheng”─The Adaptation and Application of Shaanxi Drama Music in Qinzheng Music." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/tj3v69.
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碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
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The popularity of the Qinzheng was revived during the 1950s by the Qinzheng Restoration Movement initiated by Mr. Zhou Yiangjia. For the last sixty years or so, Qinzheng music has been noted by many for its rich Shaanxi musical heritage. More importantly, the Qinzheng, as compared to other Chinese zither instruments, is unique in its capacity for contemporary musical development. Qinzheng music readily borrows and absorbs elements of Shaanxi folk music, especially Shaanxi drama music. Numerous Qinzheng compositions are based upon music from the various genres of Shaanxi drama. Most important of these genres include the Qinqiang, the Wanwanqiang, the Tongzhou Bangzi and the Mi-hu. Qinzheng compositions vary in composition forms according to the drama music it is based upon. Qinzheng compositions based on the Mi hu usually consist of “transplanted” common standard tunes that are akin to those used for its drama music counterpart. Similarly, Qinzheng compositions based on characteristic melodies. Qinqiang, Wanwanqiang and Tongzhou Bangzhi usually have special melodic figures that consist of special tones to represent the characteristic melodies that are associated with its drama music counterparts. Qinzheng music utilizes Shaanxi drama music for its innovation and this has the multi-format effect of integrating different musical disciplines. With contemporary development and western composition techniques, it generates a new category of musical compositions which has the trans-format effect of bridging different musical disciplines. The key factor to the development of Qinzheng music is its innovation composition, which is also the basis for the modernization of Qinzheng music. Such innovation compositions highlight the importance of their creators. Different musical backgrounds and different musical interpretations will give rise to different formats and styles. This diversity in contemporary Qinzheng development can display contemporary cultural changes and the gradual process of acculturation among the various composition formats and techniques.
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Choi, Jaemin. "Theatricality, Cheap Print, and the Historiography of the English Civil War." Thesis, 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-05-7669.
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Until recent years, the historical moment of Charles II's return to England was
universally accepted as a clear marker of the end of "the Cavalier winter," a welcome
victory over theater-hating Puritans. To verify this historical view, literary historians
have often glorified the role of King Charles II in the history of the "revival" of drama
during the Restoration, whereas they tend to consider the Long Parliament's 1642
closing of the theaters as a decisive manifestation of Puritans' antitheatricalism. This
historical perspective based upon what is often known as "the rupture model" has
obscured the vibrant development of dramatic forms during the English civil wars and
the ways in which the revolutionary energy exploded during this period continued to
influence in the Restoration the deployment of dramatic forms and imagination across
various social groups. By focusing on the generic development of drama and
theatricality during the English civil wars, my dissertation challenges the conventional historiography of the English civil war literature, which has been overemphasizing the
discontinuity between the English civil war and the periods before and after it.
The first chapter shows how the theatrical energy displaced from traditional
cultural domains energized an emerging cheap print market and contributed to the
invention of new dramatic forms such as playlets and newsbooks. The second chapter
questions the conventional association of Puritanism and antitheatricalism by rehistoricizing
antitheatrical writers and their pamphlets and by highlighting the dramatic
impulses at work in Puritan iconoclasm during the English civil wars. The final chapter
offers the Restoration Milton as a case study to illustrate how the proposed historical
perspective replacing "the rupture model" better explains not only the politics of
Milton's Paradise Lost but also of Restoration drama.
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Mogomotsi, Mmabatho. "Making amends: towards a restorative practice in drama therapy." Thesis, 2016. http://hdl.handle.net/10539/19891.
Full textAbstract:
Submitted in Partial Fulfillment of the Requirements for the degree
MASTER OF ARTS IN DRAMA THERAPY
In the Faculty of Humanities
University of the Witwatersrand
March 2015.This research is a theoretical comparative examination of two practices through their similarities and differences based on a qualitative method with an Interpretative Social Science approach. The intention is to find where these two practices, Drama Therapy and Restorative Justice synergise- whereupon lies a collaboration of approaches. To achieve this, Role Method as advocated for by Robert Landy, one of the proponents of drama therapy was employed. The outcome is a role method-based Restorative Drama Therapy process that is aimed at juveniles in diversion with minor crimes. It is the researcher’s believe that through a restorative drama therapy, the client (juveniles in diversion) can be allowed to travel into the distant memory and retrieve the dormant roles, interrogate and rehearse them as they prepare to inhabit them. This is because drama therapy and restorative justice share similarities especially in role creation. The synergy, I found in the similarities. In the differences though, is where I sit with the best practices in drama therapy to complement and anchor restorative principles in a drama therapy process.
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Hoblová, Kristýna. "Reflexe vylučovací krize (1678-1683) v soudobé literatuře." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-351925.
Full textAbstract:
The Reflection of the Exclusion Crisis (1678-1683) in Contemporary Literature Kristýna Hoblová abstract This work of literary history analyses the reflection of the Exclusion Crisis (1678-1683) in contemporary literature across genres. It is based on the theory of the rise of the public sphere by Jürgen Habermas and on the theory of Michael McKeon, understanding the ideology of the late Stuarts as a last remnant of aristocratic ideology. The Exclusion Crisis is presented here as a period of unsettling negotiations between the declining Stuart ethos and the Whig ideology of the rising mercantile classes. The interpretation of chosen texts serves to discover creative transformations of the political discourse of the newly emerging political parties of Whigs and Tories, stressing the negotiations between genres, individual authors and political ideologies. The first chapter offers a brief overview of the socio-historical context, Habermas's theory of the rise of the public sphere and Michael McKeon's conception of aristocratic ideology. It also introduces the Tory political theory defending the Stuart divine right of kings on the basis of Robert Filmer's patriarchal household-state analogy and the Whig defence against absolutist tendencies of the Stuarts through asserting the priority of Law over the Royal...