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Dissertations / Theses on the topic 'The original drama works'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.

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My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.

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2

Buchholz, Robert Henry. "Triathlon: an Original Screenplay." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504205/.

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A young man, out of college and work, sets out to make his mark on the world, by winning the endurance sport of the eighties: the Hawaiian Ironman Triathlon. As he eats, sleeps and breaths "Ironman," he shuts others out of his life because he feels that he must do it alone for the victory to be genuine; a philosophy that has been dogging him all his life.

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3

Acheson, Keith. "Original composition : a folio of works and commentaries." Thesis, Ulster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395332.

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4

Horany, Sarah B. (Sarah Beth). "Original Short Stories." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501088/.

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This thesis consists of three original short stories: "August Morning," "Weekend Idyll," and "Free Ride." In addition, an appendix has been added which contains "Hamilton House Roundabout," the original version of "Weekend Idyll." It is included to illustrate the dramatic changes that can occur in the writing process. "August Morning" focuses on a young man's struggle to gain his freedom from his family, particularly his overbearing father. Whether or not he succeeds is ultimately up to the reader. "Weekend Idyll" follows a young woman as she tries to live a dream she has long believed in. Ultimately, her vision is shattered. The final story, "Free Ride," centers on a hapless teenager who finds happiness only in the exhiliaration of racing. Ultimately, it kills him. I wrote stories rather than an analysis primarily for practical reasons. As a teacher I found an exercise in writing more readily transferrable to my classroom.

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5

Martin, Brona Colette. "Portfolio of original compositions." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(7253d29c-0bbc-45f1-acc2-65acd0041ff0).html.

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Electroacoustic music has a unique ability to connect the listener to places, space and stories both real and imaginary. Each work within the portfolio explores specific objects, spaces and places. The intrinsic sonic qualities are explored and a musical narrative takes the listener through a newly composed imaginary space. Six original compositions are presented in this portfolio. The titles of these works are as follows: Lamenting, 192, All Along the Bell Tower, Oz, The Thing About Listening is…. and A Bit Closer to Home. Narrative structures that simulate a journey are used as a guide for the listener through immersive, virtual soundworlds. These spoken word and musical narratives also serve as a structural tool for the composer. Imagined and real sonic layers within stories and soundscapes are analysed, deconstructed and manipulated. These works convey a message, story or sense of place to the listener, while revealing sonic qualities that are not normally the focus of listening. My aim as a composer is to enhance the daily listening experiences of the listener, as they become more aware and appreciative of the sounds around them, through the sounds and spaces they experience in my music.

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6

Ding, Grace T. "The Circuit: An Original Television Series." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/881.

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Between good and evil there's a whole lot of gray: Welcome to The Circuit. A shady private security firm recruits criminals straight out of prison and sells its services to the highest bidder, saint and sinner alike (mostly sinners). Through the trials and tribulations of a diverse ensemble cast, the show explores some of my absolute favorite themes in storytelling: gray morality, found families, and unlikely heroes. Follow our gritty and guarded lead Shaye as she struggles to tame a group of talented and contentious ex-cons under the shadow of her ambitious and manipulative father, all the while struggling to maintain her integrity in a world where nobody's the good guy. This thesis is an original television drama series, and consists of two full episodes as well as thirteen episode synopses for season one. It is also a work in progress, so feedback is welcome.

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7

Lignitz, Kellie. "A Survey of Four Original Works for Clarinet and Guitar and Their Effect on Compositional Output for the Repertoire." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271856/.

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In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet's upper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions. The four works surveyed are: Heinrich Neumann's Serenata Svizzera Op.29, Ferdinand Rebay's Sonata for Clarinet and Guitar No.2 in A minor, Libby Larsen's Blue Third Piece, and Gernot Wolfgang's Four Miniatures. An extensive compilation of over 300 original published and unpublished works for clarinet and guitar, bass clarinet and guitar, and more than one clarinet and/or guitar is included.

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8

Harvey, Andrew. "Original sin, grace and free will in the works of Jeremy Taylor." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3286/.

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Taylor is an early example of a divine who wanted to find a way of remaining an orthodox Christian while rejecting the Augustinian doctrine of original sin. Taylor could not see how the term ‘sin’could be correctly applied to anything but an individual’freely-chosen acts. However, he recognised that the reduction of the Christian concept of sin to particular sins constituted the Pelagian heresy. He attempted to avoid it by placing the insight behind the traditional doctrine in the challenge posed to the will by a naturalised version of the Augustinian fallen state, which was nonetheless morally indifferent in itself. The insights and confusions in Taylor’treatment of original sin and his anthropology, notably regarding the human will and its freedom, provide a fruitful basis for a more general consideration of the question of ‘orthodoxy’concerning original sin and the classical Christian doctrine of man.

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Ali, Farah Hasan. "Eroding the language of freedom : identity predicament in selected works of Harold Pinter." Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:16441.

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In a world brimming with upheavals our individual identities are threatened with annihilation, every social eruption carries seeds of change. The word change is pregnant with both positive and negative possibilities, one hand, it allows human beings a chance of tremendous progress or on the other, it constrains human progress. Harold Pinter, once described as the ‘a master of Uncertainty’, 1 provided valid situations and formulas in his dramas in which the identities of his characters are deployed in two different categories: (i) those who stick to their identities to the extent of destroying the Other, thus creating oppressors out of themselves, and (ii) those who desperately fight to preserve their different identities in the face of the shifting landmarks created by the oppressors. Therefore my study is an attempt to develop a new conceptualisation of the term ‘identity’, to see how it has been employed in seven selected works of Harold Pinter. My thesis is not concerned with following the evolution of Harold Pinter dramas as much as the representation of his characters and the fluctuation of their identities in the face of the totalitarian powers. The hegemonising policies of these powers come in different shapes in public or private spheres, therefore the treatment of identity in my thesis takes different categories, and each category is approached with relevant set of theories to cut to the bone of Pinter’s philosophy of the individual as an independent and free human being in this world. The hegemonic powers do not emerge out of the vacuum, they stealthily encroach on governing systems progressively be they democratic or undemocratic. They create small incisions in our moral code, a ‘slow morphing of our social landmarks’,2 that results in a brainwashing process with different techniques and targets that are set against any individual who shows symptoms of non-conformity. My thesis highlights such processes, and examines those individuals who accept to be brainwashed as well as those who do so under duress in light of the suggested theories. Although draconic measure in Pinter dramas include everybody, a subaltern feminist theme is running in parallel with the theme of subduing the identity of the Other by focusing on the position of women in his dramas. By following different representations of characters in different circumstances, my thesis is an attempt to add another layer to the concept of identity as seen from my own experiences and as represented in Pinter dramas. It does not offer solutions or alternatives as much as representing situations in which the concept of identity is at stake. Words such as power, violence, and hegemony are part and parcel of this process. Moreover, by spotting the weaknesses in any given system or social model, I’m diagnosing the inadequacies that need to be negotiated, or addressed in order to protect our identities as free individuals who are not in need of more restrictions to regulate our lives as much as we need to break away from them to establish ourselves with only one identity: humanity.

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Keefe, Martha L. (Martha Lundin). "Excuses for the Universe." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504600/.

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We create fictions--personal and literary--to cope with fear, and it is our choice whether or not these inventions affirm life. This collection presents many ways of "making excuses for the universe," both from a personal standpoint and also by using the voices and visions of created characters. The collection contains a section of family poems and three sets of character poems: Beverly and Nanci, Strange Mary, and Blue Donna. Following each section are two related poems for transition or amplification. The poems show a progressive change in writing techniques, especially experimentation with sound, as well as pursuing the central theme that perception is a desirable goal, well worth the price.

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11

Hill, Jay Scott. "Ancient Light." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc501214/.

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12

Weiss, Katherine. "Exploding Bombs: Masculinity and War Trauma in Sam Shepard’s Drama." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2298.

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This paper examines violence and masculinity in Sam Shepard's work as a symptom of war trauma, apparent in his characterization of several of his male characters as war veterans and the violent language accompanying his other characters. War becomes a cultural disease infesting and destroying the family on Shepard's stage.

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13

Herrmann, Andrew F. "Discourses of Horror TV: Kolchak, Twin Peaks, and the Supernatural Drama." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/792.

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14

Shimizu-Grow, Rina. "Selected Original Piano Solo Works of Robert Boury: Emphasis on Performance and Practice Suggestions." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322055700.

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15

Tschanz, Dietrich. "Early Qing drama and the dramatic works of Wu Weiye (1609-1672)." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3048751.

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16

Olson, Ted. "I'm a Radical for Real: An Oral History of Country Music’s Original Outlaw, Steve Young." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/1184.

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Book Summary: Massively popular for the past century, country music has often been associated with political and social conservatism. While such figures as George Wallace, Richard Nixon, and Ted Cruz have embraced and even laid claim to this musical genre over the years, country performers have long expressed bold and progressive positions on a variety of public issues, whether through song lyrics, activism, or performance style.Bringing together a wide spectrum of cultural critics, The Honky Tonk on the Left takes on this conservative stereotype and reveals how progressive thought has permeated country music from its beginnings to the present day. The original essays in this collection analyze how diverse performers, including Fiddlin’ John Carson, Webb Pierce, Loretta Lynn, Johnny Cash, O. B. McClinton, Garth Brooks, and Uncle Tupelo, have taken on such issues as government policies, gender roles, civil rights, prison reform, and labor unrest. Taking notice of the wrongs in their eras, these musicians worked to address them in song and action, often with strong support from fans.In addition to the volume editor, this collection includes work by Gregory N. Reish, Peter La Chapelle, Stephanie Vander Wel, Charles L. Hughes, Ted Olson, Nadine Hubbs, Stephanie Shonekan, Stephen A. King, P. Renee Foster, Tressie McMillan Cottom, Travis D. Stimeling, and Jonathan Silverman.

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17

Shen, Yu-Li Alice. "The Conversation About the Keys: Original Plays - Part I: Tim Without Thalia; Part II: Thalia With Someone Else." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/42298.

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â First Love teaches you how to love. Great Love perfects that love. Last Love...well, we never really figured out what Last Love did.â <p> â Tim Without Thaliaâ and â Thalia With Someone Elseâ sprung from a place of being tired, but not yet sleepy. The â quarter-life crisisâ if you will: When everyone else seems to be getting married, having kids, starting their own basket-weaving businesses, except you. When relationships between college friends break and relationships between â real lifeâ friendsâ ¦break. When love is dictated as much by actual romance, as it is by power. Yet you still feel oddly euphoric about it all.<p> In these two companion plays, Tim, Thalia, and their clueless but well-meaning friends wax idiotic on the rules of modern romance: the chase, the connection, and, of course, the end. <p> Produced April 30 â May 2, 2009 in Virginia Techâ s Performing Arts Building under the direction of Dr. Patricia Raun, Theatre Arts Department Head.<br>Master of Fine Arts

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Herrmann, Andrew F. "Re-Discovering Kolchak: Elevating the Influence of the First Television Supernatural Drama." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/811.

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Each panelist has chosen an artifact (or type, genre, etc.) from the recent past and interrogated its role as an influence on contemporary popular culture, working to show the linkage between then and now. This type of work is underappreciated and we would like to attempt to show how informing ourselves on popular culture past can make us better critics in the present. Our hope is to inspire others to take up that cause as well. In that spirit, we would like to encourage people to come prepared to discuss ideas and share their own work in a workshop type environment.

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19

Palmer, Sean B. "Shakespearean lives and works." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/47210/.

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This is a chronology of Shakespeare and his family from 1530 to 1623, collecting key dateable events from the documentary records associated with the subjects in this period. Annotations are provided in extensive detail to explain the issues surrounding the documents used, extablishing their provenances, exploring problematic features, and situating the records relative to one another and the wider cultural background. One of the primary contributions to the study is a new integrated analysis of the dates of Shakespeare's plays, helping to understand the nature of his creative development. Other prominent findings surround evidence for the date of Shakespeare's birth which has previously eluded attention, and the authorship of the Poetical Essays appended to a work by Robert Chester. Analysis of the implications of Chettle's authorship in a Groatsworth of Wit, and of early modern "game" terminology, further indicate the diversity of subjects covered. Due to the complex use of multiple layers of documentary evidence, the study has been constructed using methods which focus on the dependencies between information and the balance of probabilities amongst alternative theories. Some of these methods are taken from a blend of creativity. The aim has been to facilitate the endeavour engaged in by Edmond Malone, to have "every obscurity elucidated."

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MacCionnaith, Eric-Michael A. "Resurrections : the use of folklore themes and motifs in Marina Carr's works /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/7490.

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Thesis (Ph. D.)--University of Oregon, 2008.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 141-147). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

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Slagle, Judith Bailey. "Recovering the Works of Margaret Wrench Holford (1757-1834): Dramatic Fiction and Drama." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5435.

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22

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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Vilawan, Svetsreni. "King Vajiravudh and the Thai spoken drama : his early plays in English and his original Thai lakho'n phut with special emphasis on his innovative uses of drama." Thesis, SOAS, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675680.

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24

Olson, Ted. ""Love’s 'Forever Changes': An Essentially Timeless Album Fifty Years On" and "Love’s 'Forever Changes': The Original Album Track-by-Track"." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1152.

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25

Murphy, Sean (Saxophonist). "The Saxophone Music of Pierre-Philippe Bauzin: A Survey of Original Compositions and Rediscovery of Lost Works." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505140/.

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Pierre-Philippe Bauzin (1933-2005) was a skilled keyboard performer, improviser, and composer. By way of his close personal friendship with renowned saxophonist Jean-Marie Londeix, Bauzin began dedicating, composing, and often times performing music for saxophone with Londeix, beginning in 1959. The results of this friendship produced eleven original works for saxophone with diverse instrumentation, ranging from solo compositions to large ensembles. Due to Bauzin's preference for improvising the piano accompaniments of his music on each performance, however, a majority of his compositions were thought to be incomplete or lost. This study surveys Bauzin's complete opus for saxophone by way of both his published works, and the author's rediscovery of the manuscripts to these previously assumed lost compositions for saxophone. The pieces studied are Sonata no. 1 (1959), Poème (1960), Cinq Pièces Breves en Forme de Musique (1960), Esquisses (1967), Divertimento (1968), and Quatuor no. 1 (1962). In addition, chapter 8 provides information regarding other compositions for saxophone by Bauzin that did not survive in their completed form. The survey of each work contains information pertaining to creation, performances of significance in saxophone history, and compositional techniques present within each work that can be used to identify the components of Bauzin's unique compositional style.

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Askew, Jane L. "Beyond the phallus : a re-reading of drama education through the works of Luce Irigaray." Thesis, University of Warwick, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369456.

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Nemith, Joshua S. "Intertwining modernism and postmodernism the drama of transformational processes in Mauricio Kagel's solo piano works /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1083163935.

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Nemith, Joshua S. "Intertwining Modernism and Postmodernism: The Drama of Transformational Processes in Mauricio Kagel’s Solo Piano Works." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1083163935.

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Fraser, James A. "'The drama of dedication and betrayal' : betrayal in the life and works of James Joyce." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5766/.

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This thesis offers an account of the role of betrayal in the works of poet, playwright, novelist, and occasional journalist, James Joyce. Moving away from pathologizing conceptions of Joyce as “obsessed” with betrayal, I follow the development of this theme throughout a range of Joyce’s writings. Joyce came to an understanding of the workings of this narrative as a young child, experiencing the national trauma of the downfall of Irish politician Charles Stewart Parnell and the fallout of this affair in his own household. At his father’s promptings, Joyce learned to experience betrayal as an active, though invisible force in Irish affairs, from the quotidian to the grandiose. This thesis contends, however, that this early understanding of betrayal as an “immanent” force gives way to a highly self-aware investigation into the dramatic and narrative potential of betrayal as a structuring principle in human relationships. Looking in detail at three of Joyce’s literary works—A Portrait of the Artist as a Young Man, Exiles, and Ulysses—as well as a selection of Joyce’s Triestine journalism and criticism, I attempt to offer a narrative account of how the theme of betrayal operates in and is operated on by Joyce’s texts. In Joyce’s non-fiction we find a reliance on betrayal as a means to introduce a note of melancholic pathos to nominally journalistic pieces. But in betrayal Joyce also finds a way to critique Irish constructions of heroic failure and to support the healthy antagonism necessary to his principled exile. In Portrait, Joyce studies the positive potential of betrayal as a tool of self-narration. Stephen is seen to achieve a narratively satisfying break with his community that is made possible by his imputation of Irish betrayal. In Exiles, the central dynamic of betrayal—that it is present as a possibility in any relationship—is taken to its extremity and ultimately rejected. In Ulysses, Joyce denies Stephen the narratives he had formerly relied on and studies instead the pathos of his painfully incomplete severance. In the same book, Joyce turns his attention once again to adultery. Molly’s sexual affair with Hugh “Blazes” Boylan offers Joyce a way of critiquing accepted conventions of the cuckold and the “adulteress” in favour of a far more nuanced understanding of the human impact of betrayal. Ultimately, the idea of betrayal is itself destabilized to the point that Molly’s act of extramarital sex can no longer be maintained as in any simple sense a betrayal.

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Clemson, Frances Vida Amy. "The theology of Dorothy L. Sayers' dramatic works : dramatic performance and the 'continual showing forth of God's act in history'." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/11123.

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This thesis explores the potential fruitfulness of drama for Christian theology through a close analysis of particular dramatic works by Dorothy L. Sayers (1893-1957). This project contends that to determine the extent to which drama can be more than a mere metaphor in theological writing, it is vitally important for theologians to attend to specific instances of dramatic performance. The approach of this project is, therefore, one of taking time over particular plays, examined with sensitivity to the circumstances of the original productions of these works. Through such close study of Sayers’ plays, a case is made for drama’s capacity to show forth God’s action in history. At the heart of the theology which emerges from the plays is an incarnational and participatory dynamic: a movement which brings embodied, time-bound specificities into an intimate relationship with the excessive, uncontainable, superabundance of divine being. This thesis aims to contribute to the growing body of work which is discovering deep resonances between drama and theology. It also makes a significant contribution to the study of Sayers’ writings. Whilst Sayers’ detective fiction and other prose, in particular her book The Mind of the Maker, has received attention from scholars interested in theology, the theological significance of her plays has been overlooked. The thesis examines in detail four of Sayers’ dramatic works. Chapters Two and Three each treat works written for broadcast on BBC radio: first, Sayers’ 1938 nativity play, He That Should Come; second, her series of twelve plays depicting the life of Christ, The Man Born to Be King, broadcast between 1941 and 1942. Chapters Four and Five discuss plays written for performance in ecclesial settings: The Just Vengeance, commissioned as part of a festival at Lichfield Cathedral in 1946, and The Zeal of Thy House, the Canterbury Cathedral Festival play for 1937.

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Andrus, Deborah Elizabeth. "The Woodwind music of Arthur Roland Frackenpohl : his biography, an analysis of two works for Clarinet, and an annotated bibliography of the original works for Woodwinds /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487952208107881.

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32

Weiss, Katherine. "“Samuel Beckett and History,” “Samuel Beckett and the Art of Failure,” and “Modern American Drama and the Greeks”." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5596.

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Sherlock, Andrew. "Re-presenting the city : a dramatist's contextualisatioon of his works on Liverpool, post-1990." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4402/.

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The main body of this submission is a contextualised discussion of five, full-length, professionally performed theatre scripts. Each project examines and theatrically presents key influences of the major social and cultural forces that have both impacted on and shaped Liverpool. Each play is also placed with generic reference and development of a British, popular, policised, theatre tradition.

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Sidawi, Sawsan. "Morality and gender in the works of the playwrights of the New Drama Movement 1894-1914." Thesis, Bangor University, 2000. https://research.bangor.ac.uk/portal/en/theses/morality-and-gender-in-the-works-of-the-playwrights-of-the-new-drama-movement-18941914(5803585b-fc1e-4457-8569-e4882471f3a2).html.

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35

Bidgood, Lee. "Review of the Original Carolina Chocolate Drops: Giddons, Rhiannon. 2015. Tomorrow Is My Turn; Flemons, Dom. 2015. Prospect Hill; and Robinson, Justin. 2012. Bones For Tinder." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1038.

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Excerpt: Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering at Appalachian State University in 2005. Inspired by this meeting in Appalachia, the trio worked to connect the legacy of Cumberland Plateau fiddler Howard Armstrong (of the 1920s band the Tennessee Chocolate Drops) with musical material they learned from their mentor, North Carolina Piedmont fiddler Joe Thompson. As the Carolina Chocolate Drops (CCD), these musicians explored a variety of black string band traditions.

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Taylor, Millie. "Music in theatre : towards a methodology for examining the interaction of music and drama in theatre works of the twentieth century." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324736.

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Nyren, Patrick J. "A Pedagogical and Methodical Approach to Unaccompanied Euphonium Literature Through Performance and Analyses of Original Works by Torstein Aagaard-nilsen." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc499997/.

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Original unaccompanied literature currently stands as one of the most understudied bodies of music in the euphonium repertory. This is largely due to a lack of access to reference recordings, live performances, and study/performance guides. Many of the commissioning projects for new euphonium music in the late 20th and early 21st centuries have promoted the composition of large scale works for euphonium and large ensembles, but very few have generated new unaccompanied pieces for euphonium. Many of the most recent commissions for unaccompanied euphonium music have been for competitions such as the Lieksa Brass Festival (Finland) and Leonard Falcone International Festival (USA). These competitions are also where many students get their only exposure to the unaccompanied repertoire. Unfortunately, there is a small number of standard unaccompanied works that are continuously recycled for these competitions and the exposure to new pieces in the repertoire is further diminished for many developing euphoniumists. This study will examine the three works for unaccompanied euphonium by Torstein Aagaard-Nilsen and provide solutions for many common technical challenges and pose suggestions for approaching and preparing this genre of music. Connections are made throughout the study to specific etudes and other unaccompanied solos that can be used as complementary and precursory studies to aid in the mastery of this literature.

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Dousa, Nayeli. "The Piano Works of a Contemporary Mexican Expatriate: Samuel Zyman's Two Motions in One Movement and Variations on an Original Theme." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/292675.

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Samuel Zyman (b. 1956) is one of the leading Mexican composers of our time. He has composed more than 55 works in a variety of genres, including symphonies, concertos, orchestral pieces, film music, chamber music, and music for solo piano. This study includes an overview of Zyman's background as a musician and composer, with an emphasis on his solo piano works. It provides a discussion of Zyman's musical style and an analysis of his two most recent solo piano compositions, Two Motions in One Movement and Variations on an Original Theme. Zyman cites the music of Bartók and Prokofiev, along with Impressionism and jazz music, as important influences in his piano compositions. This study demonstrates that in his solo piano compositions Zyman has created a style that incorporates four diverse influences of 20th-century modern compositional practice -- the tonal language and percussive approach to the piano of Bartók, textural elements found in Prokofiev's piano works, elements of Impressionism, and certain rhythmic and harmonic elements of jazz music -- into a distinctly personal 21st-century voice. This synthesis of disparate elements into a compelling contemporary musical language makes Zyman a modern composer deserving of the attention of professional musicians and scholars. This study provides musicians insight into Zyman's compositional style, and brings the work of an important Mexican composer of our time to the attention of contemporary pianists and audiences.

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Johns, Kristen Michele. "Original Compositions for Horn and Organ: Performance Problems Unique to the Medium with Discussion of Selected Solutions through Analysis of Representative Works." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1141168681.

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West, Sarah. "Say It: The Performative Voice in the Dramatic Works of Samuel Beckett." Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7483.

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La investigación se centra en la 'performative voice' en la obra dramática de Beckett. El término 'performative' es usado para abarcar: (a) la 'intencionalidad' de las voces, la voluntad que las lleva a expresarse, y (b) la 'materialidad' de estas voces, como suenan en realidad. Se incluyen en el análisis tanto el discurso dramático como los aspectos técnicos relativos al sonido.<br/>El estudio de la 'performative voice' abarca las siguientes áreas:<br/>·La génesis de la 'performative voice' en las primeras obras de ficción de Beckett. <br/>·La manera en que la voz es tratada en medios distintos como el teatro, la radio y la televisión. <br/>·La personificación de la voz y de que manera la voz como 'personaje' está en relación con otros elementos dramáticos.<br/>·La relación entre voces habladas y escritas y la adaptación de un tipo de prosa específico para el escenario.<br>The investigation centres on the 'performative voice' in Beckett's dramatic oeuvre. The term 'performative' is used to cover: (a) the 'intentionality' of voices, the will that drives them to speak, and (b) the 'materiality' of these voices, how they actually sound. Both dramatic speech and technical aspects of sound reproduction are included in the analysis.<br/>The study of the performative voice covers the following areas:<br/>·The genesis of the performative voice in Beckett's early fiction.<br/>·The way in which voice is treated in the different performance media of the stage, radio and television.<br/>·The personification of voice and how voice as a 'character' relates to other dramatic elements.<br/>·The relationship between spoken and written voices and the adaptation of a prose work for the stage.

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Soto-Morettini, Donna. "'Acts' of radical history : contemporary British political drama and historiographical 'genre' in the works of Trevor Griffiths, David Edgar and Howard Brenton." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315993.

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Lowden, Messerschmidt Tiffany. "From maiden to whore and back again : a survey of prostitution in the works of William Shakespeare." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002886.

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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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Drolet, Cynthia L. (Cynthia Lea). "Four Stories of Fantasy and Science Fiction." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500548/.

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This thesis contains four stories of fantasy and science fiction. Four story lengths are represented: the short short ("Dragon Lovers"), the shorter short story ("Homecoming"), the longer short story ("Shadow Mistress"), and the novel ("Sword of Albruch," excerpted here).

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Sobba, Lyle Andrew. "An examination of major works for wind band and brass ensemble: “Funeral march for brass choir” by Edvard Grieg, “Dance mix” by Rob Smith, and “An original suite” by Gordon Jacob." Kansas State University, 2011. http://hdl.handle.net/2097/8524.

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Master of Music<br>Department of Music<br>Frank C. Tracz<br>The following report is research and analysis of major wind band literature for the Graduate Conducting Recital performed by the Kansas State University Wind Ensemble on March 13th, 2011 under the direction of Lyle Sobba. The repertoire for the concert was comprised of the following pieces: Funeral March for Brass Choir by Edvard Grieg, Dance Mix by Rob Smith, and An Original Suite by Gordon Jacob. This examination, through thorough research and theoretical analysis, is a compilation of the documents created to effectively rehearse the compositions. The report also contains documents pertaining to the planning and executing of the Graduate Conducting Recital.

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Alfano, Chiara. "Sounding Shakespeare : acts of reading in Cavell and Derrida." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43211/.

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Philosophy has always turned to literature, but its engagement with Shakespeare in particular has been problematic. Stanley Cavell and Jacques Derrida do better than most other philosophical readers to meet the three criteria for worthwhile philosophical engagement with Shakespeare recently outlined by Martha Nussbaum: namely, that it should actually do philosophy, that it should illuminate the world of the plays, and that it should account for why literature can do something for philosophy that philosophy cannot do for itself. Cavell's and Derrida's acts of reading Shakespeare are, however, marked by a seemingly unphilosophical aural sensitivity. This thesis argues that we will only begin to grasp their singular and radical understanding of the relationship between literature and philosophy once we get to the bottom of these auricular preoccupations. The first part will show that in Cavell's readings of Shakespeare the figure of the ear and actual process of listening not only mark “separateness,” but are also instrumental in helping us to “acknowledge.” Although Derrida does not listen for separateness but différance, the second part argues that for him too the ear both actually and figurally inaugurates an act of reading which not only blurs the borders between the philosophical and the literary, but also fundamentally changes the way we relate the one to the other. The way Derrida and Cavell listen to Shakespeare, therefore, suggests three criteria to be added to Nussbaum's. First, the philosopher's act of reading must resonate beyond the conventional boundaries of philosophy and literature. Second, a philosopher's account needs to be based on a textual model describing how the very encounter between text and reader can become part of the philosophical endeavour. Third, this realisation must be internalised in the very way philosophy is written.

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Rose, Margaret Lynn. "The changing shape of symbolist drama and the process from page to stage : with special focus on works by Maurice Maeterlinck, William B. Yeats, Samuel Beckett and Harold Pinter." Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560455.

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49

De, Ines Anton Tamara. "Translating Central American life writing for the Anglophone market : a socio-narrative study of women's agency and political radicalism in the original and translated works of Claribel Alegría, Gioconda Belli and Rigoberta Menchú." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/translating-central-american-life-writing-for-the-anglophone-market-a-socionarrative-study-of-womenas-agency-and-political-radicalism-in-the-original-and-translated-works-of-claribel-alegraa-gioconda-belli-and-rigoberta-mencha(9cab9568-fd8d-4107-9cf8-e09990d75c52).html.

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At a time when scholars have rekindled the old debate about what is world literature and how can one study it (Casanova, 2004; Moretti, 2000, 2003; Damrosch, 2003, 2009), this thesis analyses the canonisation of Central American Revolutionary women's writing as it moves toward the 'centre' and becomes part of the world literary canon. Drawing on a core-periphery systemic model, this thesis examines how translation for the Anglophone market involves the marginalisation at various levels of the narratives of political radicalism and the erotic that feature in the life writing works of Gioconda Belli, Claribel Alegría and Rigoberta Menchú. The dataset chosen for this study consists of the Spanish originals and English translations of La mujer habitada (1988) and El país bajo mi piel (2001) by Belli; No me agarran viva (1983) and Luisa en el país de la realidad (1987) by Alegría, in collaboration with her husband Darwin J. Flakoll; and Me llamo Rigoberta Menchú (1983) and Rigoberta: La nieta de los mayas (1998) by Menchú. To develop this core-periphery systemic model, I have drawn on the work of scholars in the field of the sociology of translation such as Pascale Casanova (2004), Johan Heilbron (1999, 2010) and Gisèle Sapiro (2008). In the context of the study, peripheralisation has been reconceptualised to assist in locating the texts included in the dataset within a hierarchical power structure (external level of peripheralisation); and identifying the shifts that arise during the translation and circulation of the ontological and public narratives underpinning such texts (internal level of peripheralisation). The study of the internal level of peripheralisation will draw on narrative theory, as elaborated by Margaret Somers and Gloria Gibson (1994), Somers (1997) and Mona Baker (2006). The choice of narrative theory employed in the thesis aims to foreground the impact that translation and the publishing field have on the selection and consecration of a literary genre; facilitate the comparison between the texts and paratexts of the originals and their English translations, and disclose the mechanisms through which the agency of the woman/author is neutralised, and the narratives of sexuality, body, political radicalism and feminine subjectivity are constructed in the original and reinterpreted through translation. This comparative (para)textual analysis questions the nature of the process by which peripheral texts have accessed the Western canon. In light of the findings, the thesis advocates the need to redefine the concept of canonisation in order to acknowledge a possible conflict between the new assumed centrality of the consecrated/translated text and the layers of peripheralisation that might still be constraining the original narratives. Secondly, these findings draw attention to a gap in world literatures scholarship. By assuming the autonomy of literature as an artistic form, world literature scholars might be in danger of obscuring the potential for manipulation inherent in translation practice, particularly in spaces favouring domesticating approaches to translation. Thirdly, this work aims to serve as a reminder to scholars and activists not to overlook the impact of literary translation on the circulation of theories and narratives, particularly in the case of highly canonical texts such as that of Rigoberta Menchú (1984).

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Ortega, Arturo. "Michael Daugherty's Red cape tango a comparative study of the original version for symphony orchestra and its transcription for wind orchestra, with four recitals of selected works by Beethoven, Dvorák, Verdi, Bartók and Daugherty /." connect to online resource. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20021/ortego%5Farturo/index.htm.

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