Dissertations / Theses: 'William and Mary Theatre'

1

Parrish, Laura Frances. "When Mary Entered with Her Brother William: Women Students at the College of William and Mary, 1918-1945." W&M ScholarWorks, 1988. http://hdl.handle.net/10288/1117.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Wanklyn, Wendy. "The feminisms of Mary Wollstonecraft and William Thompson." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.290948.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Williams, andrea Lynn. "Conflict at the College: William and Mary 1750-1776." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539626736.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Rhodes, Elizabeth. "'This wide theatre, the world' : Mary Robinson's theatrical feminism." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14254.

Full text

Abstract:

In this thesis I assert that Robinson’s theatrical heritage positioned her uniquely to confront the revolutionary explosions of 1790s radical thought. In her writings, Robinson’s onstage experience of gender performativity is transformed into a bold feminist critique of gender roles for women (and men) everywhere. In Chapter 1, I study writings by eighteenth-century theatrical women to argue that Robinson’s feminism must be understood within a theatrical context to appreciate the unique radicalism of her feminist vision. In Chapter 2, I explore how Robinson’s powerful identification with Marie Antoinette lies at the roots of her feminist project. In Chapter 3, I explain how Robinson then turns to the voice of Sappho to develop a radical vision of transcendent genius. In Chapter 4, I demonstrate how Robinson turns her critique of gender on men through the performative space of the masquerade in Walsingham (1797). Finally, in Chapter 5, I explain how this radical feminist critique is moulded to utopian ends in The Natural Daughter (1799), as Robinson rewrites the ending of Wollstonecraft’s Wrongs of Woman in a vision of the revolutionary family. I read three strands into Robinson’s feminism: 1) the rejection of incommensurable sexual difference; 2) the union of rational virtue and benevolent sensibility in the development of transcendent genius; and 3) a radical critique of the anxious crisis in 1790s masculinity. The result of this was a utopian vision of the future quite different from Wollstonecraft’s better-known brand of ascetic feminism. Instead, Robinson’s feminist theory works to rescue the original values of the French Revolution from beneath the ravages of Jacobin corruption. Beyond the limiting categories of incommensurable sexual difference, Robinson envisions a family in which woman would no longer have to renounce her sexual body in order to engage with society, and man could finally accept her as his equal.

APA, Harvard, Vancouver, ISO, and other styles

5

Gosnell, Joan. "Kickoffs and Kickbacks: The 1951 Football Scandal at William and Mary." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625632.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Dorotiak, Jared. "Transformative Intersections: Theatre and Adaptation in Mary Zimmerman's Metamorphoses." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1375201350.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Killen, Carl. "William Nannary and Atlantic Victorian theatre, the amateur legacy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23811.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Bell, Vivienne Ann. "William Godwin and Frankenstein : the secularization of Calvinism in Godwin's philosophy and the sub-Godwinian Gothic novel ; with some remarks on the relationship of the Gothic to Romanticism /." Title page, contents and summary only, 1993. http://web4.library.adelaide.edu.au/theses/09ARM/09armb435.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Little, Tiffany Olivia. "Behind the Scenes at William and Mary: Front Stage History and Backstage Archaeology." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539626754.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Ogawa, Kimiyo. "Eighteenth-century medical discourse and sensible bodies : sensibility and selfhood in the works of William Godwin, Mary Wollstonecraft and Mary Shelley." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/3944/.

Full text

Abstract:

In Eighteenth-Century Medical Discourse and Sensible Bodies: Sensibility and Selfhood in the Works of William Godwin, Mary Wollstonecraft and Mary Shelley, I examine how medical, philosophical and theological discourses on sensibility and on selfhood mutually informed one another in the historical moment of the late eighteenth and early nineteenth centuries in England. The key to unravelling the complex notion of sensibility principally lies in the medical discourse that investigated the source of motion, knowledge, and moral feelings. I focus on the medical tracts which can be seen as discursive responses to Locke’s epistemology. In addition, I read eighteenth-century philosophical texts and analysed some of the political debates on the French Revolution. The theory of associationism which is predicted on the study of nerves and sense-impressions throws some light on a particular aspect of sensibility which explores epistemological issues and character formation. I show how the nerve theory operated in gender specific ways, so exposing the gender bias of supposedly objective medical science. The specific writers I discuss, Godwin, Wollstonecraft and Shelley, all address the associations theory directly. A close examination of their appropriation of medical language reveals that the image of the sensible body was a constant source of inspiration, and that their literary production was a continual process of re-figuring such a medicalised body. My project attempts to make sense of the equivocal position of Godwin and Wollstonecraft, who, while upholding rationalism, avow sensibility in their literary and non-literary works. The underlying contradictions between the associationism and the authority of the individual’s mind run deep. Rather than illustrating feminine reticence in Shelley’s Frankenstein as a cultural reflection of a “proper lady,” I argue that her characterisation of the monster and of female characters must be read as complex articulations of her sentiments about the discourses on sensibility and the problem of human agency.

APA, Harvard, Vancouver, ISO, and other styles

11

Rankin, Roberta. "A historiographical study of William Dunlap's History of the American Theatre /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9821342.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Nyberg, Lennart. "The Shakespearean ideal : Shakespeare production and the modern theatre in Britain /." Stockholm : Almqvist och Wiksell, 1988. http://catalogue.bnf.fr/ark:/12148/cb36208879z.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Chatterjee, Ranita. "Dialogues of desire, intertextual narration in the works of Mary Shelley and William Godwin." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0009/NQ32305.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Ritter, Ann Leonora. "William and Mary Windeyer in colonial New South Wales : simultaneous bearers of two traditions." Phd thesis, Department of History, 1995. http://hdl.handle.net/2123/4994.

Full text

Abstract:

Thesis (Ph. D.)--University of Sydney, 1996.
Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Department of History, Faculty of Arts. Degree awarded 1996; thesis submitted 1995. Includes bibliography. Also available in print form.

APA, Harvard, Vancouver, ISO, and other styles

15

Bush-Bailey, Gillian. "Treading the bawds : female theatre practice at Lincoln's Inn Fields 1695-1705." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369063.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Smith, Abigail M. "The reception of the life and work of Mary Wollstonecraft in the early American republic." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26523.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

John, Justin T. "A lighting design process for a production of The Tempest by William Shakespeare." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397722289.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Clagett, Martin Richard. "William Small 1734-1775: Teacher, Mentor, Scientist." VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd/731.

Full text

Abstract:

Several studies have examined the life of William Small but only in respect to certain phases of his life, particularly Small's connections to Thomas Jefferson, James Watt, or the Birmingham Lunar Society. In 1758 William Small was recruited for the post of professor of mathematics at the College of William and Mary. From 1760 through 1762, he was Thomas Jefferson's only professor at the College of William and Mary. In 1764 Small returned to England and, with the assistance of Benjamin Franklin and others, became physician and scientific advisor to Matthew Boulton, a wealthy industrialist. Small, Boulton, and Erasmus Darwin established the celebrated Birmingham Lunar Society, which played an important role in the industrialization of Britain in the late eighteenth century. In 1767, Small met James Watt and thus began a collaboration that produced the steam engine. While American scholars have concentrated on Small's influence on Thomas Jefferson, British scholars have focused on Small's role in the Birmingham Lunar Society or his role in the development of the steam engine. This study examines Small's life in its entirety. Areas of Small's life overlooked by previous studies include his early life and education, the substance of his teaching career at the College of William and Mary, and his medical career. The true extent of Small's influences and the connections that he maintained between British and American intellectuals can only be seen by examining his life in its entirety. This study sought to bring together the disparate elements of Small's life in order to make clearer his place in history.

APA, Harvard, Vancouver, ISO, and other styles

19

Brooks, Marilyn Lily. "A critical study of the writings of Mary Hays, with an edition of her unpublished letters to William Godwin." Thesis, Queen Mary, University of London, 1995. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25729.

Full text

Abstract:

"Do not be a martyr to philosophy, which you will be, if you do not take more exercise, be a little more foolish, and look at the world with all its awkward things, its clumsy, lumpish forms, its fools, its cockscombs, and its scoundrels with more endurance". This study makes no pretensions to provide full biographical coverage of Hays's life (1759-1843) or a comprehensive, critical exploration of the total range of her works. A thesis produced in 1971 purports 'to provide a definitive study of her literary achievements [...] and to place the complete corpus of Hays' extant works (ten in all) in the perspective of the literature of her time [...]2 and I am indebted to this exhaustive study of the author and her background. However, as the preface to her thesis declares, Gina Luria had deliberately excluded consideration of the correspondence between Hays and William Godwin, then recently purchased by the Pforzheimer Library, New York, as she had intended future publication of it. Subsequently, the project was abandoned. I have made extensive use of this correspondence to explore Hays's novels and to challenge much of the adverse criticism surrounding her writing, which I believe is based on misreadings of the texts themselves as well as on a willingness to emphasise the notoriety surrounding the authoress as a female and then as a female Jacobin. Rather, I am focusing on the aspects of Hays's life which enabled her to articulate her concerns through a series of social and intellectual 'voices' which she systematically experimented with, but ultimately rejected. It seems likely that Hays felt a need to affix a label on herself whether it were Dissenter, Wolistonecraftian, Helvetian or Godwinian, and this need suggests that she was searching for an identity in a shifting and perplexing political and philosophical climate. The adoption of an identifiable 'position' might have suggested to her security and control. Most importantly, I am concentrating on the means she adopted in order to justify her apparent 'failure' to live up to the ideals of William Godwin.

APA, Harvard, Vancouver, ISO, and other styles

20

Presler, Charlotte Emerson. "Passion in "Purgatory": a study of the Yeats play and its context." Thesis, Boston University, 2000. https://hdl.handle.net/2144/27747.

Full text

Abstract:

Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

APA, Harvard, Vancouver, ISO, and other styles

21

Mulligan, Mark. "The Brafferton Estate: Harvard, William and Mary, and Religion in the Early Modern English Atlantic World." W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539626804.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Burk, Tamara Louise. "Faculty instructional development and oral communication in freshman seminars at the College of William and Mary." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1550154032.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

O'Neill, Patricia Purish. "The impact of undergraduate Greek membership on alumni giving at the College of William and Mary." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1550154138.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.

Full text

Abstract:

This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses. Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences. This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.

APA, Harvard, Vancouver, ISO, and other styles

25

Kong, Ching-man Paula. "Powerful obsession : variations on a theme in four fictions : Mary Shelley's Frankenstein, Joseph Conrad's Heart of darkness, William Golding's Lord of the flies and the spire /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1868550X.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Ridha, Thana. "Exploring Prison Theatre in Canada: A Case Study on William Head on Stage (WHoS)." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38449.

Full text

Abstract:

While the criminological literature has devoted great attention towards examining prison programs and interventions, the research has largely overlooked arts-based initiatives within prison. To gain an understanding of the impact that prison theatre has on the lives of criminalized individuals, this thesis represents a case study on Canada’s only inmate-run prison theatre, William Head on Stage (WHoS). Through qualitative interviews with 15 incarcerated WHoS participants and 6 former WHoS participants, this study explores the experiences of individuals with this long-standing theatre initiative. By implementing an integrative conceptual framework that captures the prison backdrop to which prison theatre operates, this study draws on Goffman’s (1961) total institutions as well as conceptual understandings around the prison culture (Ricciardelli, 2015; 2014b). Through the analysis of the participants’ experiences, the emerging themes in this study collectively reveal how the impacts of WHoS stem from the contrasting nature of prison theatre to both the structural and social systems of prison. While this research study helps substantiate the significance of arts-based initiatives like WHoS, it also helps bridge the gap within the literature between the arts and criminology.

APA, Harvard, Vancouver, ISO, and other styles

27

Taylor, Crispin. "‘It’s All in The Timing’ – A Research Project that explores the complexities in the relationship of Actor to Audience, in Musical Theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2434.

Full text

Abstract:

This research project is interested in the communicative transaction that occurs between actor and audience, in theatrical performance, and how this relationship can differ within nonmusical, and musical theatre. In non-musical theatre, for example, there can be a very intimate and immediate “dialogue” between actor and audience, that can alter each moment of a performance, making possible a unique co-creation between the two entities. In this way, no two performances are ever alike, the actor “reads” the audience and adjusts their performance according to specific responses from them. This communion allows a flexible elasticity in the outcome, and the actor, in this case, can have absolute control of the timing. In musical theatre, however, control of timing can be taken out of the hands of the actor, the integrity of the transaction between them and the audience can be compromised, and therefore the performance can lose its potential for uniqueness and originality. Music itself, with its inherent structure, rhythm and tempi can dictate the flow of many elements during a musical theatre performance often compromising, or even disallowing flexibility or any sense of improvisation for the performer/s. This makes the musical theatre performer’s task - that of, creating a seemingly spontaneous and organic performance, guided by each audience’s unique contribution, marrying at least three disciplines of acting, singing, and dance - a much more challenging task. The project has investigated the ways in which the musical theatre performer, the actor/singer/dancer negotiates these hurdles, as compared to the actor in non-musical theatre. How does this performer navigate the requirements of each discipline to create a performance with the same sense of integrity as the non-musical performer? How too, can one create a production of a musical that enables the same sense of audience investment as in a nonmusical production? Finally, how can we train our musical theatre students to have a greater understanding of the actor-audience relationship, particularly given the limitation of the number of actual performances for each production? The cornerstone of my “Practise as Research” was a production used as a vehicle to explore and exercise my findings. At the Western Australian Academy of Performing Arts (WAAPA), with the assistance of nine 2nd Year Music Theatre students, I reimagined a production of David King and Nick Enright’s musical Mary Bryant. An audio/visual recording of one of the performances is included as part of this thesis. I directed the original professional production of Mary Bryant at Sydney’s Ensemble Theatre in 1998. Although favorably reviewed and a financial success, I was at the time, unsatisfied with the results, particularly with concern to the performer to audience interaction. This new production therefore tested and demonstrated ways of improving and responding to these shortcomings through original and unique processes, bringing about some expected but also unexpected results. The findings will be of interest to directors of musical and non-musical theatre, and to teachers of musical theatre, particularly those teaching the acting component.

APA, Harvard, Vancouver, ISO, and other styles

28

Whittenburg, Carolyn Lamb Sparks. "President J. A. C. Chandler and the first women faculty at the College of William and Mary." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539618661.

Full text

Abstract:

This study examines the progressive leadership of President J. A. C. Chandler in hiring the first women faculty at the College of William and Mary and explains the relationship between his presidency and his twenty-year career in education prior to 1919. During the early heyday of hiring women faculty in higher education, Chandler employed women educators at levels equal to national rates and surpassing regional standards. He did so in conjunction with his efforts to establish full coeducation at William and Mary. Chandler led a crusade to transform the College from a tiny, mostly male college into a vibrant coeducational state college. He expanded the student body by more than tenfold, made the student body gender equal, built a new campus, and created a utilitarian curriculum for vocational training.;Chandler also took dynamic steps to hire women faculty at a time when most southern women educators taught in women's colleges. He hired women to teach in a wide range of disciplines, sought them nationally, and treated them equitably. His willingness to hire women came from twenty years of experience working with women teachers in Richmond. Chandler made the College a model in the employment of women faculty. Through his dream to transform the College, Chandler opened the College's doors to women faculty as well as to women students.

APA, Harvard, Vancouver, ISO, and other styles

29

Frese, Alissa Michelle. "The Bronze Captive: American Identity Within the Mary Jemison Monument." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5952.

Full text

Abstract:

Beginning with the first European colonists in the New World, captivity has been means of cultural exchange between whites and Native Americans. The narratives recounting the captives’ experiences became popular literature which inspired visual artists who reinterpreted the tales to coincide with their cultural needs. In the early twentieth century, progressive reformer, William Pryor Letchworth, hired artist Henry Kirke Bush-Brown to create a sculpture of captive Mary Jemison who, instead of returning to her natal culture, chose to stay among the Seneca becoming fully assimilated. Aligning with their progressive values, their perception of her character is reflected in the Mary Jemison Monument. The monument creates an image of the ideal woman, immigrant, and Native American who holds and practices white middle-class values of strength, independence, and determination. Exemplifying these American values, the sculpture accesses an American identity emphasizing the acceptance and practice of these supposedly American traits. Immigrants and Native Americans could become fully Americanized by adopting these characteristics and leaving their traditional ways behind. Contingent on their assimilation of white middle-class values, the perceived problems facing a diversified society could be eliminated. In so doing, a more harmonious America aligning with Letchworth’s beliefs could be created.

APA, Harvard, Vancouver, ISO, and other styles

30

Myers, Lynette Mary. "The poetry of prevarication : a study of the functional integration of style and imagery with character andaction in Shakespeare's Macbeth / Lynette Mary Myers." Thesis, Potchefstroom University for Christian Higher Education, 1985. http://hdl.handle.net/10394/10076.

Full text

Abstract:

I have proved that prevarication is a current that initiates the evil actions that are committed. I have traced some of the oblique, dishonest euphemisms used by Macbeth and Lady Macbeth in their language in their attempt to deceive themselves and others of their intentions. This linguistic device sharpens our awareness of their prevarication and avoidance of facing the truth, and their attempt at self-deception and equivocation. They enter into physical and spiritual duplicity. The Witches are structurally important and function in contributing to the ambiguous action of the play, and initiate the symbolism of darkness and evil that prevails. Macbeth's echoic diction links him to the forces of equivocation. Banquo dismisses their information, whereas Macbeth's empathy with the Witches and his ripeness for corruption result in the same information becoming disinformation to him. Macbeth's prevarication continues in order to secure his position obtained through heinous crimes and his lack of integrity in a world where it is difficult to distinguish appearance and reality. Lady Macbeth reveals she is in corrupt collusion with Macbeth, is a prevaricator by means of obliquity and mutual intrigue, and shows her shrewdness and hypocrisy towards Duncan. She undermines logic, imagination and metaphysics and overpowers Macbeth's indecision to commit the murder, as she acts as a "thorn" to his conscience challenging his manhood and courage. Macbeth is coerced into acceding to the murder as a result of Lady Macbeth's bombastic exposure of the frailties violated by evil. The images of blood and sight merge when Macbeth sees his horrific hands after the murder a murder that symbolically "murders" sleep. Shakespeare uses the Porter to indicate the "equivocator" is synonymous with Macbeth, the prevaricator. Storms accompany the central action of the murder of Duncan, and the tremendous upheaval of nature reflects the tempest roaring within Macbeth. Macbeth's swollen, puffed up, deceptive language in his false declaration of his mourning for the loss of Duncan, illustrates his ability to prevaricate at his best. After Duncan's murder, Macbeth continues to secure his power and security by his desperate series of futile murders, which he commits without a moral self-catechismal examination of his conscience: he prevaricates with impunity. From their earlier close intimate association there is a deterioration in the relationship between Macbeth and Lady Macbeth: their ways have separated through guilt and lack of trust. Lady Macbeth declines to a languid, exhausted woman in the sleep-walking scene, as she recalls her past crimes and atrocities. Her personal confusion, anguish and disorientation result in a cataclysmic shudder that leads to her physical and spiritual implosion. Macbeth remains physically aggressive. His tactics for his physical confrontation with death are irrevocable: he suffers an isolated spiritual implosion in his virtual negation of life. I have shown that Macbeth is an orchestrated composition in which prevarication is the tool used for furthering ambition that motivates the action of the drama.
Thesis (MA)--PU vir CHO, 1986

APA, Harvard, Vancouver, ISO, and other styles

31

Baker, Eric Jack. "A campus for the fourth century : a master plan for the College of William and Mary in Virginia." College Park, MD : University of Maryland, 2004. http://hdl.handle.net/1903/1704.

Full text

Abstract:

Thesis (M. Arch.) -- University of Maryland, College Park, 2004
Thesis research directed by: Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

APA, Harvard, Vancouver, ISO, and other styles

32

Barrett, Redfern Jon. "Queer friendship : same sex love in the works of Thomas Gray, Anna Seward, Mary Wollstonecraft and William Godwin." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa43030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Suetta, Zachary Thomas. "THE IMPASSIONED SELF: ANGER AND THE ROMANTIC AUTHOR." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/dissertations/1669.

Full text

Abstract:

The late eighteenth century marks an era where authors began forging identities that rebuffed the influences of the local communities to which they belonged. As literacy increased, so too did the notion of individuality, as members of the middle and lower orders soon saw themselves as separate, independent beings. The crowd, of course, helped simplify the management of complex emotions like anger through mutual demonstration; the greater number of participants in a protest, the more fitting the sense of indignation seemed to be. For cases of personal anger, however, the suitability and expression of the emotion were problematic, especially for those marginalized by gender, status, and political affiliations. While polite society deemed their anger unwarranted, odious, and threatening, subaltern authors simultaneously realized that the continued denial of the passion would cripple individual and artistic development, but excessive expression would yield further ridicule and ostracism. Anger, therefore, stimulated these authors to discover their actual worth as artists and individuals and carve unique identities that completely disregarded the restrictive characterizations assigned by a hierarchical society. Nevertheless, anger’s volatility meant that discovering oneself from a passion commonly represented as a moment “when we are not ourselves” was a particularly precarious endeavor since righteous indignation could quickly ignite into a mindless, destructive rage. Subaltern authors needed to authenticate the legitimacy of their anger to not only a largely unsympathetic audience, but also themselves, and the apparent foreignness of rage created confusion over the passion’s exact relation to the individual; anger is frequently emblematized in contradictions—internal vs. external, activity vs. passivity, sanity vs. insanity, reality vs. fantasy—to emphasize its deceptive fluidity. As this study argues, anger was fundamental to marginalized figures in achieving selfhood, but the passion’s overall instability and the objection by hierarchical society encouraged a literary treatment that was cautious, unique, and at times, clandestine.

APA, Harvard, Vancouver, ISO, and other styles

34

Guban, Andrew John. "Lighting design of William Shakespeare's the taming of the shrew, Ina and Jack Kay Theatre, Department of Theatre, University of Maryland at College Park." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2527.

Full text

Abstract:

Thesis (M.F.A.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

APA, Harvard, Vancouver, ISO, and other styles

35

Cifranic, Jaclyn Christine. "Sexual Politics: A Modern Adaptation of William Shakespeare's "Measure for Measure"." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1493825629186289.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Roy, Diane Marie. "The Life Histories of Ten of the First Women to Attend the College of William and Mary [1918-1930]." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539626976.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Stewart, James C. "The ghost of Godwin intertextuality and embedded correspondence in the works of the Shelley circle /." Birmingham, Ala. : University of Alabama at Birmingham, 2008. https://www.mhsl.uab.edu/dt/2008m/stewart.pdf.

Full text

Abstract:

Thesis (M.A.)--University of Alabama at Birmingham, 2008.
Additional advisors: Randa Graves, Daniel Siegel, Samantha Webb. Description based on contents viewed Feb. 10, 2009; title from PDF t.p. Includes bibliographical references (p. 68-71).

APA, Harvard, Vancouver, ISO, and other styles

38

Feinberg, Eve Reina. "A scenic design of William Shakespeare's The Taming of the Shrew Ina and Jack Kay Theatre, Department of Theatre, University of Maryland at College Park /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2655.

Full text

Abstract:

Thesis (M.F.A) -- University of Maryland, College Park, 2005.
Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

APA, Harvard, Vancouver, ISO, and other styles

39

Briggs, Terese C. "What You Will: An Endeavor in Adapting Shakespeare to New Media." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/778.

Full text

Abstract:

These scripts are the attempt to take three of Shakespeare's plays, Coriolanus, All's Well that Ends Well, and Much Ado About Nothing, and adapt them to create a type of video game called a visual novel.

APA, Harvard, Vancouver, ISO, and other styles

40

Metcalf, Gabrielle Frances. "Directing through Dialogue: A theatre director’s exploration of leadership." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1990.

Full text

Abstract:

The esteemed position that a director holds in the creative process is a recent phenomenon. It emerged towards the end of the 19th century. Then, the role of a theatre director encompassed the idea of a single, creative force, coordinating and controlling the elements of a production. Not much has changed. Despite the significance of the role, the literature is largely silent on how a director directs and how a director leads. The paucity of research on the director’s leadership style reflects the way in which the practice of directing occurs — behind closed-doors. Its private nature can deter and even exclude researchers from gaining access to the rehearsal room. Rehearsal studies have allowed us to peek inside a director’s workplace and gain insight into the creative processes that occur there. What has been overlooked is an examination of the manner in which a director leads. Directing through Dialogue: A theatre director’s exploration of leadership illuminates the uncontested power relations that occur between a director and their company. The study draws on three different leadership models and throws light on the way in which the director’s leadership style can influence the rehearsal process. Given the centrality of the director/actor relationship to the creation of a performance, the research explores the question: How does the leadership style of a director impact upon the directing process? To investigate how leadership influences directing praxis I have used a practice-led research methodology. As a director/researcher I practiced my way through the investigation and experienced the relationship between directing and leadership. During the initial phases of the research I was an observer in the rehearsal rooms of five directors, where I focused on establishing what their leadership styles were. I then adopted the role of assistant director in four productions and experienced first-hand the influence a leader has on a follower and conversely how a follower can affect a leader. During the final phases of the study, I used an autoethnographic approach and applied a shared style of leadership to my directing practice. This activity revealed that dialogue was a useful tool to harness the shared intelligences of the cast and crew and assisted in establishing a non-hierarchical structure in the rehearsal process. My experientially acquired knowledge of leadership underlined for me the critical role of power in the rehearsal process. Interrogating the role that power plays in the rehearsal room led me to re-conceptualise the director’s position. My thesis is, that for the director, leadership is a relational process that can be shared amongst all members of an artistic company. A dialogic approach to directing can enhance actor agency and significantly enrich the manner in which a director and an actor lead each other in the creative process.

APA, Harvard, Vancouver, ISO, and other styles

41

Lynch, James. "A case study analysis of African American undergraduate student recruitment strategies at the College of William and Mary in Virginia." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539720329.

Full text

Abstract:

The purpose of this descriptive research study was to analyze the student recruitment processes employed by The College of William and Mary, one of the Commonwealth of Virginia's foremost public institutions of higher education, to recruit African-American undergraduates. This analysis was completed using Kotler & andreasen's (1991) Systematic Marketing Audit Model--a six-part conceptual framework of marketing for non-profit organizations--to determine the marketing effectiveness of current strategies implemented for the successful recruitment of African-American undergraduates and provide useful guidance to assist admission and financial aid personnel in improving their interpersonal relations with African-American prospects/applicants and their parent(s).;Data were collected from admission/financial aid administrators, financial aid counselors, admission representatives, African-American students, and parents using qualitative research methods that included 114 in-depth interviews and an analysis of historical documents.;Findings revealed that multicultural recruitment processes at The College of William and Mary were generally the same as its competition with campus visitation programs being the most successful method of attracting African-American undergraduates while national college fairs and college search tapes were the least effective. The study also revealed that students relied heavily upon the input of their parent(s) rather than upon the advice of high school guidance counselors and teachers in making a college choice decision. The social climate on campus for students of color, the general financial aid application process, and the availability of support services for students of color were the primary issues and concerns of African-American students and their parent(s). In addition, admission/financial aid representatives of African-American heritage were more desirable for parents than students.;Further, it was the finding of this case study that the African-American undergraduate recruitment strategies of a selective, state-supported four-year university (The College of William and Mary) were not "optimally adapted to the current and forecasted marketing environment" as prescribed by Kotler & andreasen's (1991) Systematic Marketing Audit Model. This first research hypothesis was supported by several weaknesses uncovered that included: (1) little in the way of measuring overall marketing achievement of the current African-American undergraduate recruitment plan to attribute success to the elements that are effective and identifying strategies that do not produce admission results; (2) lack of recruitment objectives that were defined in specific, measurable terms to better enable The College of William and Mary in evaluating its African-American undergraduate recruitment program; and (3) limited research conducted to determine if the marketing effort is "optimally structured to meet the demands" of a changing student market environment.;Consequently, the results of the case study did support the second hypothesis--if Kotler & andreasen's (1991) Systematic Marketing Audit Model reveals main marketing problem areas facing The College of William and Mary, then it will be possible to recommend various initiatives to improve the institution's overall efforts to attract African-American undergraduates.;The case study offers several recommendations for improving the current African-American undergraduate recruitment program and suggestions for future research.

APA, Harvard, Vancouver, ISO, and other styles

42

Lemonnier, Delphine. "Theatre et livres d'emblemes : images et hermeneutique dans l'oeuvre de shakespeare." Paris 3, 2000. http://www.theses.fr/2000PA030052.

Full text

Abstract:

C'est dans un contexte esthetique et politique bien particulier que le premier livre d'emblemes anglais fait son apparition en 1586 dans l'angleterre elisabethaine. Il se situe a la fois dans la continuite de la tradition emblematique continentale ou le signe emblematique resulte d'une longue dialectique de l'image et du texte, de la peinture et de la poesie, de l'art et de la nature, et dans la volonte de definir une identite anglaise specifique, par l'imitation subversive des sources et des modeles continentaux. La mimesis poetique utilise les images peintes inserees dans le poeme pour indiquer l'autoreferentialite du texte, et les poemes narratifs de shakespeare n'echappent pas a la regle et font egalement usage d'images emblematiques. Le personnage acquiert alors le statut d'interprete charge de dechiffrer l'image et son plus ou moins grand degre de conscience de l'illusion mimetique est un moyen de signaler au lecteur l'illusionnisme du texte poetique. Le texte de theatre est un composite qui releve a la fois de cette mimesis poetique et de sa dimension performative, et le theatre elisabethain utilise de surcroit des tableaux emblematiques inseres dans la piece sous la forme de dumb shows. L'analyse des rapports du personnage a l'image, et notamment a l'image emblematique, passe alors par la mise en rapport de sa competence performative (lieu d'ostentation des dimensions meta-dramatique et meta-theatrale de la piece) et de sa capacite interpretative face a l'image emblematique. L'examen de cette fonctionnalite de l'image emblematique dans cinq pieces historiques, une comedie, une "problem play" et trois tragedies de shakespeare permet de reveler une veritable imbrication de l'image emblematique dans la structure dramatique, ainsi que le role determinant que joue cette dimension dans la reception de la piece.

APA, Harvard, Vancouver, ISO, and other styles

43

Murphy, Nicholas. "Applying Historiography to Fictional Works: A Case Study of William Inge's Picnic." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5680.

Full text

Abstract:

Historiography is the writing of history based on the examination of sources and synthesizing these sources into a narrative that will stand the test of critical methods. Historiography is not the study of history but rather provides a tool to analyze each written account of a historical event. The concepts of historiography are traditionally reserved for the study of factual based history and not for fictional events or people. However, just as history seems to evolve over time, authors also revise their fiction work. If history is adapted and changed over time to fulfill the historian's desires, can fictional works also be adapted to better fulfill the author's intentions through the process of rewrites? Historiography allows us to understand that history is adapted and changed over time. Can the ideas of historiography be applied to fictional stories in order to understand why an author rewrites and revisits older works? How can a theatre practitioner understand and develop the most comprehensive version of a fictional text? Can he apply the same techniques used to deconstruct a historical event? Through a case study using William Inge's classic play Picnic I explored the possibility of using historiography as a tool for theater practitioners in developing new dramatic texts that synthesize various scripts into one new comprehensive text. Through this case study I developed a framework which allows the theatre practitioner to apply the ideas of historiography to the analysis of a collection of fictional works by the same author in order to create a new text, showcasing the effectiveness of applying four cruxes of historiography to fictional texts.
M.A.
Masters
Theatre
Arts and Humanities
Theatre

APA, Harvard, Vancouver, ISO, and other styles

44

Rosi, Vinícius Zorzal. "Rei Lear: da Tragédia de William Shakespeare à Adaptação de Nahum Tate." Universidade Federal de Viçosa, 2014. http://locus.ufv.br/handle/123456789/4881.

Full text

Abstract:

Made available in DSpace on 2015-03-26T13:44:33Z (GMT). No. of bitstreams: 1 texto completo.pdf: 531169 bytes, checksum: e0d729debd3fc44b346508e20fed716b (MD5) Previous issue date: 2014-03-20
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This work aims to analyze in a comparative way the tragedy King Lear, by William Shakespeare, and its adaptation The History of King Lear, by the Irish poet Nahum Tate. In order to make this comparative study practicable, it ́s necessary to understand conceptions of tragedy, since conceptions from the Ancient Greece to the Shakespearean tragedy, the social and historical contexts of the Elizabethan era (when the Shakespearean dramaturgy came to light and was developed) and the Restoration era (when Tate ́s adaptation was written) and theories about literary adaptation, having in mind that adaptations are based in a context and the tastes of the audience in a specific time. The theoreticians who guided our work are Gerard Genette (2006), Julie Sanders (2006), Linda Hutcheon (2006), Aristotle (1995), Friedrich Nietzsche (2007), Anatol Rosenfeld (1993), Albin Leski (2006), A.C. Bradley (1992), Frank Kermode (2006), Bárbara Heliodora (2001), Marjorie Garber (2004), Marlene Soares dos Santos (2008), James Black (1975), and others.
O presente trabalho faz um estudo comparativo entre a tragédia Rei Lear, de William Shakespeare, e sua adaptação intitulada The History of King Lear, do poeta irlandês Nahum Tate. Para viabilizar este estudo comparativo, faz-se necessário compreender concepções de tragédia, desde a Antiguidade Clássica até a tragédia concebida por Shakespeare, os contextos sócio-históricos das eras elisabetana (período em que a dramaturgia shakespeariana surgiu e desenvolveu-se) e da Restauração (período em que a adaptação de Tate foi escrita) e teorias de adaptação literária, tendo em vista que adaptações são escritas à luz de determinado contexto e dos gostos do público-leitor de seu tempo. Os teóricos norteadores deste trabalho são Gerard Genette (2006), Julie Sanders (2006), Linda Hutcheon (2006), Aristóteles (1995), Friedrich Nietzsche (2007), Anatol Rosenfeld (1993), Albin Leski (2006), A.C. Bradley (1992), Frank Kermode (2006), Bárbara Heliodora (2001), Marjorie Garber (2004), Marlene Soares dos Santos (2008), James Black (1975), entre outros.

APA, Harvard, Vancouver, ISO, and other styles

45

anderson, Gerald Benton. "Political factors affecting the development and growth of the Norfolk Division, the College of William and Mary (1930) into Old Dominion College (1962)." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539618655.

Full text

Abstract:

The purpose of this study was to both identify and analyze political, educational, and economic factors, particularly political factors, which had a significant impact on the development and growth of the Norfolk Division, The College of William and Mary (1930) into Old Dominion College (1962). The study was also designed to record a significant period (1930-62) in the history of a two-year, junior college and later a four-year, degree-granting college.;It was hypothesized that the development and growth of the college in Norfolk was based largely on decisions of a political nature rather than on those that were educational and economic. In addition, the effective application of politics enabled the college to survive several crises during the period 1930 to 1962.;The historical method of research was used to conduct this study. This method permitted the examination of primary and secondary source documents, the use of recorded oral testimony from participants and observers, and the scrutiny of relationships among peoples, places, and events.;The study concluded that political factors overwhelmingly influenced the development and growth of the college in Norfolk. The role played by local and state figures, as well as by local organizations and newspaper media, affected to a considerable degree the development of a two-year, dependent, junior college into a four-year, degree-granting, independent, senior college.;Further research into the post 1962 period is needed to analyze the changing educational needs of southeastern Virginia and to determine their effect on the growth of Old Dominion College (1962) into Old Dominion University (1969).

APA, Harvard, Vancouver, ISO, and other styles

46

Lyons, Lisa Lynn. "A performance in musical theatre: Singular sensations in Shakespeare and song." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1712.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Behrendt, Kathrin [Verfasser]. "That’s All One – A History of Theatre Music, Based on the Epilogue Song in William Shakespeare’s Twelfth Night / Kathrin Behrendt." Bonn : Universitäts- und Landesbibliothek Bonn, 2016. http://d-nb.info/1094663182/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Eward-Mangione, Angela. "Decolonizing Shakespeare: Race, Gender, and Colonialism in Three Adaptations of Three Plays by William Shakespeare." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5628.

Full text

Abstract:

What role did identification play in the motives, processes, and products of select post-colonial authors who "wrote back" to William Shakespeare and colonialism? How did post-colonial counter-discursive metatheatre function to make select post-colonial adaptations creative and critical texts? In answer to these questions, this dissertation proposes that counter-discursive metatheatre resituates post-colonial plays as criticism of Shakespeare's plays. As particular post-colonial authors identify with marginalized Shakespearean characters and aim to amplify their conflicts from the perspective of a dominated culture, they interpret themes of race, gender, and colonialism in Othello (1604), Antony and Cleopatra (1608), and The Tempest (1611) as explicit problems. This dissertation combines post-colonial theory and other literary theory, particularly by Kenneth Burke, to propose a rhetoric of motives for post-colonial authors who "write back" to Shakespeare through the use of counter-discursive metatheatre. This dissertation, therefore, describes and analyzes how and why the plays of Murray Carlin, Aimé Césaire, and Derek Walcott function both creatively and critically, adapting Shakespeare's plays, and foregrounding post-colonial criticism of his plays. Chapter One analyzes Murray Carlin's motivations for adapting Othello and using the framing narrative of Not Now, Sweet Desdemona (1967) to explicitly critique the conflicts of race, gender, and colonialism in Othello. Chapter Two treats why and how Aimé Césaire adapts The Tempest in 1969, illustrating his explicit critique of Prospero and Caliban as the colonizer and the colonized, exposing Prospero's insistence on controlling the sexuality of his subjects, and, therefore, arguing that race, gender, and colonialism operate concomitantly in the play. Chapter Three analyzes A Branch of the Blue Nile (1983) as both a critique and an adaptation of Antony and Cleopatra, demonstrating how Walcott's framing narrative critiques the notion of a universal "Cleopatra," even one of an "infinite variety," and also evaluates Antony as a character who is marginalized by his Roman culture. The conclusion of this dissertation avers that in "writing back" to Shakespeare, these authors foreground and reframe post-colonial criticism, successfully dismantling the colonial structures that have kept their interpretations, and the subjects of their interpretations, marginalized.

APA, Harvard, Vancouver, ISO, and other styles

49

Harris, Cassondra Fay. "Vice or Virtue? American Interpretations of Elizabeth Whitman and Mary Wollstonecraft in the Late Eighteenth Century." Ohio Dominican University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=odu1556907844923407.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.

Full text

Abstract:

Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe. This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Australians might claim ownership over Shakespeare in contemporary productions of his plays. The methodology used to undertake this investigation was practice-led research, with the central practice being theatre directing. The questions the research posed were: can Australian directors in the 21st century navigate and reshape Shakespeare's works in productions that give actors and audiences ownership over Shakespeare? And, what role can irreverence play in this quest for ownership? In order to answer these questions, a strong reference point was required, to understand what Shakespeare, with no strings attached to tradition and scholarly reverence, looked and felt like. Taiwan became an ideal reference point, as the country is a site for unrestrained and strongly localised performances of the Shakespearean tradition. The company at the forefront of such Taiwanese productions is Contemporary Legend Theatre (CLT). Wu Hsing-kuo, the Artistic Director of CLT, creates jingju (Beijing opera) adaptations of Shakespeare’s plays, the most renowned of which is his solo King Lear, titled Li Er zaici. The intention of the practice-led research was to use the ideas gathered from an interview with Wu and through watching a performance of Li Er zaici, to form an approach to directing Shakespeare in Australia today, which was free from the restrictions commonly encountered by Australians. The practical project involved trialling this approach in a series of workshops and rehearsals with eight actors over eight weeks, which ultimately resulted in a performance of an adaptation of Romeo and Juliet. Wu’s approach generated a sense of ownership over Shakespeare amongst the actors and widened their dominant, narrow concept of Shakespeare performances in Australia to incorporate a wealth of new possibilities. Yet, from this practical experiment, the strength and depth of the inhibiting ideologies surrounding Shakespeare in Australia was made apparent, as even when consciously seeking to remove them, they formed unconscious impediments. Despite the initial intention, a sense of veneration towards Shakespeare’s text entered the rehearsal process for Romeo and Juliet. This practice-led research revealed that as Australians we have an almost inescapable attachment to Shakespeare’s text, which ultimately begs the contrary question: in order to stage an irreverent and owned production of Shakespeare in Australia, how much of Shakespeare and his traditions must we abandon?

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'William and Mary Theatre'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles