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Dissertations / Theses on the topic 'Dramatic works'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Chandor, Kenneth Francis. "The dramatic works of William Cobbett." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329833.

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2

Lensky, Miriam. "Characterization in the dramatic works of Hector Berlioz." Thesis, Wetherby : The British thesis service, 1997. http://catalogue.bnf.fr/ark:/12148/cb38861415g.

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3

Chakraborty, Aparna. "Moral concern in the dramatic works of Shelley : a revaluation." Thesis, University of North Bengal, 2007. http://hdl.handle.net/123456789/1168.

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4

Weiss, Katherine. "“Response 2” of Carol Fischer’s “Dramatic Time: Phenomena and Dilemmas”." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/2287.

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5

O'Donohoe, B. P. "Conflicts of life and death : the plays of Jean-Paul Sartre." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c105fbbc-9e44-4bf5-ac26-b396ead1c913.

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This thesis proposes that Sartre's plays are predominantly life-affirming, and their violence can be explained in terms of their central theme: conflict between life and death. Extensive reference is made throughout to Sartre's non-dramatic writings. This theme occurs on the literal and metaphorical planes: characters struggle for life, commit violent acts, and emerge 'existentially alive', or 'existentially dead'. Sartre's theories of life and death are summarised, and three examples of existential death considered. The theme is then analysed in each play under the headings 'Myth and Situation', 'Act and Agent'. Bariona's colonised people eventually escape from existential death, having contemplated martyrdom, when Bariona is influenced by the life-enhancing philosophy of Balthazar, and the experience of the Nativity. Argos, also, is suffused with death: 'Philèbe''s need to 'feel' his existence impels him to act definitively, punishing the regicides, and coming to existential life in his true identity as Oreste. In Huis clos, Sartre explores the deadness of lives led in moral cowardice, and the implicit message is, ironically, life-affirming. Morts sans sépulture propounds an argument for life which prevails, despite the hollow victory of the 'miliciens'. La Putain illustrates a triumph for the mortifying force of essentialist ethics. A seemingly comparable triumph of death in Les Mains sales is, in fact, a defeat for Hugo and an implicit victory for the life-advocate, Hoederer. Goetz exemplifies existential life perfectly, reaching it via every kind of moribund moral idealism. Kean burlesques Oreste's experience, escaping his vacuity through metaphorical suicide, and individualistically asserting his right to life. Nekrassov's hero parodies Goetz's odyssey, finally opting for life in the imaginary realm. Les Séquestrés depicts the triumph of death as man is crushed by the march of History. Les Troyennes, however, still advocates hope. Why did Sartre quit the theatre? Did the 'hero', through whom life is affirmed, become impossible?
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6

Pollard, Matthew. "The bodies of Kleist, aspects of corporeality in his dramatic works." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0018/NQ44555.pdf.

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7

Bartlett, Joseph. "Freedom and self-knowledge in the dramatic works of Anton Chekhov." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4229.

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Thesis (M.A.) University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (May 18, 2007) Includes bibliographical references.
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8

Pollard, Matthew. "The bodies of Kleist : aspects of corporeality in his dramatic works." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35047.

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This dissertation examines the representations of the body in the completed dramatic works of Heinrich von Kleist (1777--1811). While taking into account the psychoanalytical and philosophical approaches to Kleist, this project has Heiner Miller's words as its point of departure: that the theater represents the collision of ideas with the body. The forces of power, gender and authority leave their traces of this collision on the bodies of his characters, whose metaphorical and literal falls, wounds and recoveries speak their own gestural language.
This study is organized on the principle of Kleist's use of genre designation, the approximate chronological order of his plays, and the representation of the body. Chapter one focuses on Die Familie Schroffenstein, Der zerbrochne Krug, and Amphitryon and the notion of bodily authenticity and integrity; chapter two, on Die Hermannsschlacht and Penthesilea, looks at the spectacle of violence and its effect on the body mobilized by emotional extremity; the third chapter, on Kleist's most celebrated works, Prinz Friedrich von Homburg and Das Kathchen von Heilbronn, examines aspects of gender and vulnerability. The conclusion views his essay "Uber das Marionettentheater" not as a key to understanding his works, but rather as a culmination of them, and investigates Kleist's writing on the wounded body and its connection to grace.
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9

Farkas, Laura Deanna. "The influence of Sophie Treadwell's journalism career on her dramatic works." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1163708150.

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10

Morris, J. "Doubtful designs : A study of the works of Tom Stoppard." Thesis, University of Exeter, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380690.

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11

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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12

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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13

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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14

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.
El estudio de la 'performative voice' abarca las siguientes áreas:
·La génesis de la 'performative voice' en las primeras obras de ficción de Beckett.
·La manera en que la voz es tratada en medios distintos como el teatro, la radio y la televisión.
·La personificación de la voz y de que manera la voz como 'personaje' está en relación con otros elementos dramáticos.
·La relación entre voces habladas y escritas y la adaptación de un tipo de prosa específico para el escenario.
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.
The study of the performative voice covers the following areas:
·The genesis of the performative voice in Beckett's early fiction.
·The way in which voice is treated in the different performance media of the stage, radio and television.
·The personification of voice and how voice as a 'character' relates to other dramatic elements.
·The relationship between spoken and written voices and the adaptation of a prose work for the stage.
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15

Ben-Shach, Jane Respitz. "The false Messiah in Yiddish literature : a comparison between two dramatic works." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59384.

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This thesis discusses the role of the "false Messiah" in modern Yiddish Literature.
The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe.
Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.
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16

Chiang, Hui Ling Michelle. "Reconstituted pathos : time and loss in the dramatic works of Samuel Beckett." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/7576/.

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This thesis looks at Samuel Beckett’s film and selections of his dramatic works for radio, theatre and television to demonstrate the processes in which an intuition of loss may be invoked in the audience. More specifically, interrogating the dominant attitude in Beckett studies that Beckett's works are intellectually demanding of the audience, I maintain in the dissertation that his drama may appeal more to the audience members' intuition than their intellect. Following this trajectory, I posit that the frustration experienced by an audience member could be caused by an intuition of loss that is triggered by the plays’ reconstitution of her habitual framework of understanding. Key texts that influenced the definitions of ‘habit’, ‘intuition’, and ‘time’ in this research are Henri Bergson’s Time and Freewill and Immanuel Kant’s Critique of Pure Reason. In this dissertation, I illustrate that the radio plays thematically appropriate the regard for radio as a ‘blind’ medium to highlight the audience’s entrapment in their habitual way of knowing. Further, Film is analysed as reconstituting the audience member’s habit body to an ecstatic being that is temporarily freed from stratified limits. Whereas Beckett scholars tend to attribute static interminability to Beckettian time because of the pervasiveness of ineffectual repetition depicted in his stage plays, I argue that Beckett’s conception of time may be dual: an incarcerating habitual continuum and a potentially liberating durée. Following that, I analyse how the television plays establish the intuition of loss as seemingly subject-less because the characters and the audience’s reliance on the habitual way of knowing has rendered them amnesiacs who cannot remember what they have lost, except that they have lost. In considering the intersection of Beckett’s dramatic works with the concept of habit, this thesis maps out the process in which each medium could have been exploited by Beckett to reconstitute the audience’s habitual framework of understanding to an intuitive experience of his works.
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17

Sasnett, Kathleen Beth. "Twenty-five works for the dramatic soprano voice and orchestra a study guide /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155060397.

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18

El, Khalfi Hamid. "Language and power in the dramatic works of Harold Pinter and Eugene Ionesco." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313085.

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19

Mullender, Jacqueline E. "Shakespeare’s late syntax : a comparative analysis of which relativisation in the dramatic works." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1450/.

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This thesis combines corpus stylistic, literary and historical linguistic approaches to test critical observations about the language of Shakespeare’s late plays. It finds substantial evidence of increased syntactic complexity, and identifies significant linguistic differences between members of the wider group of later plays. Chapter One outlines the critical history of the late works, including consideration of stylometric approaches to Shakespeare’s language. Chapter Two describes the stylistic methodology and corpus techniques employed. Chapter Three reports the finding of salient which frequency in the late plays, and details the analytical categories to be used in the examination of which usage, the results of which are discussed in Chapter Four. Chapter Five describes two further analyses, where a broader group of ten late plays is considered on the basis of their high which frequency. The relativisation syntax of the five post-1608 plays (Cymbeline, The Winter’s Tale, The Tempest, Henry VIII and The Two Noble Kinsmen) is found to distinguish them unequivocally as a group, while Pericles stands out as an anomaly. Finally, in Chapter Six it is argued that Shakespeare’s syntax reflects a stylistic phenomenon unrelated to individual dramatic characterisation, motivated by his re-association with the Elizabethan romance writers of the sixteenth century.
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20

Hila, Marina. "Representations of gentility in the dramatic works of the Beaumont and Fletcher canon." Thesis, University of York, 1997. http://etheses.whiterose.ac.uk/9779/.

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21

Jang, Keum-Hee. "George Bernard Shaw's religion of creative evolution : a study of shavian dramatic works." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/29326.

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This thesis aims to explore Bernard Shaw’s religious and philosophical development and indicate how far his personal thoughts and religious ideas relate to his philosophical background and contemporaries, including his view as a philosophical artist. This study focuses on the particular plays, which use a variety of theatrical genres to explore Shaw’s development towards the full-blown myth of creative evolution during his life. The first part of the thesis, demonstrates that Shaw’s own religious and philosophical development and also considers that of his contemporaries and a review of the literary context in which Shaw’s plays were written. In the second part of the thesis, the eight plays in which Shaw’s philosophical religious ideas appear are critically examined especially by comparing the relationship of each character to the main action of the play and to the main theme or idea of the play. Through the chapters, this thesis shows how Shaw dramatizes the purpose of the life force, in order to make clear what humanity can do to aid its progress. This is because the life force is the central fact of Shaw ’s creative evolution. The life force provides the impetus for evolutionary progress as the basic structural element of Shaw ’s plays. This study explores the eight major plays which have a particular relation to his development of a religious dimension: The Man of Destiny, The Devil's Disciple , Pygmalion, Caesar and Cleopatra, Major Barbara, Heartbreak House, Man and Superman and Back to Methuselah. In focusing on these eight plays, the characters of the plays chosen reveal the progression of Shaw’s combination of social ideas with the religious dynamic that would culminate in his creed of creative evolution. These plays had explicitly their ideological origins in religious ideas. In these plays, therefore, religion is itself part of the texture of the social/historical material that Shaw chose to dramatize. Each play chosen will be analyzed from the perspectives established in the introductory chapters in relation to dramatic themes and types of genres by grouping the plays.
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22

Bundy, Penny. "Dramatic Tension: Towards an Understanding of 'Tension of Intimacy'." Thesis, Griffith University, 1999. http://hdl.handle.net/10072/366137.

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This thesis documents my attempts (as a playwright, director and process drama worker) to understand 'tension of intimacy'. It focuses on the questions: What is 'tension of intimacy' in drama? How might it be created? Does the experience of 'tension of intimacy' offer the possibility of new knowledge emerging for the participants and spectators of drama? The methodology (articulated in Chapter Two) involves reflective practice. This chapter incorporates discussion of the nature of knowledge claims and the way they might be judged. The need for criteria of openness is asserted. The research plan and the reflective journey are outlined. Problems associated with the approach are discussed. In Chapter Three, the premises informing O'Toole's (1992) naming of different types of dramatic tension are discussed. Ryle's and Koestler's (1975) models of emotional response are briefly outlined. The difference between emotional response to life and art, and claims regarding the roles of conflict and expectation in the creation and experience of dramatic tension are considered. The suggestion that dramatic tension relates to questions of identity, power and control is questioned. The chapter concludes with a discussion of the potential links between the experience of emotional engagement in response to drama and the emergence of changed awareness or understanding. In Chapter Four, I discuss 'the nature of intimacy' drawing in particular on the theory developed by Malone and Malone (1987) who (unlike other theorists discussed) separate the notions of intimacy and closeness and consider the way it might be experienced as people encounter, not just humans, but other aspects of existence including art. The defining characteristics of intimacy are articulated as connection, animation and heightened awareness. The 'qualities of intimacy' are defined as free choice, personal integrity, acceptance, personal surrender, self-responsibility, attentiveness, risk-taking, presence, participation and systemic detachment and playfbl engagement. Chapter Five incorporates reflection on dramatic works and real-life situations. This is followed by Chapter Six where I document several unsuccessfbl attempts to create script driven by a 'tension of intimacy'. I conclude by questioning my earlier assumptions. In Chapter Seven, the labels applied by O'Toole (1992) and Haseman & O'Toole (1986) to a range of different types of dramatic tension are reconsidered. Following this, I conclude that my earlier theoretical assumptions about the creation and naming of tensions: (a) are inadequate to account for the way people respond differently to the same dramatic moment (b) fail to recognise that tension is created through aspects other than narrative and determine that: (a) dramatic tension is not contained in the drama but in the spectators and participants as they experience it (c) every source of contrast is a potential cause of dramatic tension and these can emerge from within and external to the work I conclude that 'tension of intimacy' might be created if the defining characteristics and 'qualities of intimacy' are present in a spectator's or participant's response to the experience of contrast. In Chapter Eight, my focus shifts to consider structural devices which offer the possibility of the 'qualities of intimacy' being experienced in response. Irony; figure- ground contrast; ritual; and devices intended to distance, alienate or prolong perception are discussed. In Chapter Nine my process of working as a writerldirector to group devise the play's action is documented. The resultant play, Umbilical Cords and Metronomes, is included as Chapter Ten. The exegesis contained in Chapter Eleven is informed by participant and spectator interviews as well as my own response to the process and product. In conclusion, I discuss the terms connection, animation and heightened awareness as they apply in the experience of drama. Significant aspects influencing 'tension of intimacy' including playful response, trust, perceptions of integrity and individual 'reading' processes are discussed. The link between risk-taking, heightened awareness and the possible emergence of new knowledge is considered. Chapter Twelve begins with a summary of the study. Constraints and implications are then briefly discussed. The chapter (and thesis) concludes by returning to answer the questions originally posed. In conclusion I claim that 'tension of intimacy' names the experience of spectators or participants when the defining characteristics of intimacy (connection, animation and heightened awareness) characterise their response and is created when they experience: a feeling of invigoration or animation as they respond to a contrast or metaxis between the stage action and their real world existence (and) reduced conscious focus on the stage action and heightened awareness of their response to the juxtaposition (and) challenge, rather than affirmation, of earlier assumptions and beliefs. I conclude that trust, perceptions of integrity in the action (and in personal response to it) and playful engagement are prerequisites for this experience.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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23

Slagle, Judith Bailey. "Joanna Baillie and the Poetry of Intellectual and Historical Romanticism." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/459.

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Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities
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Slagle, Judith Bailey. "Joanna Baillie." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/458.

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Book Summary: Poetry Criticism assembles critical responses to the writings of the world's most renowned poets and provides supplementary biographical context and bibliographic material to guide the reader to a greater understanding of the genre and its creators. Each entry includes a set of previously published reviews, essays and other critical responses from sources that include scholarly books and journals, literary magazines, interviews, letters and diaries, carefully selected to create a representative history and cross-section of critical responses. Although poets and poetry are also covered in other titles from the Gale Literature Criticism series, Poetry Criticism offers a greater focus on understanding poetry than is possible in the broader, survey-oriented entries in those series. Clear, accessible introductory essays followed by carefully selected critical responses allow end-users to engage with a variety of scholarly views and conversations about poets and their works. Student's writing papers or class presentations, instructors preparing their syllabi, or anyone seeking a deeper understanding of the genre will find this a highly useful resource.
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Anderson, Kathryn Elizabeth. ""These were the things that bounded me" a new examination of Millay's dramatic works /." online version, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=case1207239609.

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Anderson, Kathryn Elizabeth. "“These Were the Things That Bounded Me”: A New Examination of Millay’s Dramatic Works." Case Western Reserve University School of Graduate Studies / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=case1207239609.

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27

Pilz, Anna. "'The return to the people' : empire, class, and religion in Lady Gregory's dramatic works." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/14315/.

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This thesis examines a selection of Lady Gregory’s original dramatic works. Between the opening of the Abbey Theatre in 1904 and the playwright’s death in 1932, Gregory’s plays accounted for the highest number of stage productions in comparison to her co-directors William Butler Yeats and John Millington Synge. As such, this thesis analyses examples ranging from her most well-known and successful pieces, including The Rising of the Moon and The Gaol Gate, to lesser known plays such as The Wrens, The White Cockade, Shanwalla and Dave. With a focus on the historical, bibliographical, and political contexts, the plays are analysed not only with regard to the printed texts, but also in the context of theatrical performances. In order to re-evaluate Gregory’s contribution to the Abbey, this thesis is divided into three chapters dealing with dominant themes throughout her career as a playwright: Empire, class, and religion.
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Wittmer, Micah. "Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939)." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718725.

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This dissertation explores the portrayal of Negro folk culture in concert performances of the Hall Johnson Choir and in Hall Johnson’s popular music drama, Run, Little Chillun. I contribute to existing scholarship on Negro spirituals by tracing the performances of these songs by the original Fisk Jubilee singers in 1867 to the Hall Johnson Choir’s performances in the 1920s-1930s, with a specific focus on the portrayal of Negro folk culture. By doing so, I show how the meaning and importance of performing Negro folk culture changed over time during this period. My dissertation also draws on Hall Johnson’s lectures, radio broadcasts, and published essays on Negro folk culture. By tracing the performance of the Negro spirituals to those of the original Fisk Jubilee Singers during the Reconstruction period, it becomes clear that without the path-breaking work of the original Fisk Jubilee Singers, there would be no Hall Johnson Choir. Hall Johnson was devoted to composing works about African Americans that preserved and accurately portrayed Negro folk culture because he believed that Negro folk culture was an essential part of American cultural identity. I posit that Run, Little Chillun employs the ideals of the New Negro Renaissance, strategically capitalizing on what many white American cultural critics believed to be primitive—and therefore genuine—black culture while promoting a unique version of black empowerment through the speech of an Oxford Educated black male character who espoused an Afrofuturistic theology. With an interdisciplinary approach, I draw on musicology, African American studies, and sociology to place Hall Johnson’s writings on Negro spirituals within the context of the greater discussion of Negro spirituals during the 1920s-1940s. My primary methodology is historical and includes archival research, musical analysis, and reception history. The writings of black intellectuals and leaders of the New Negro Renaissance such as W.E.B Du Bois, Alain Locke, William Work, and John Rosamond Johnson provide the primary theoretical framework for this dissertation.
Music
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29

Schmidt, Rebecca Ann-Maude Elizabeth. "Homeland security: a discussion of issues concerning definition and awareness in domestically violent heterosexual couples and homeland security: a play in one act." Thesis, Boston University, 2004. https://hdl.handle.net/2144/27759.

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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
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30

Gilbert, Chelsea Nicole. "The Unkindness of Strangers: Exploring Success and Isolation in the Dramatic Works of Tennessee Williams." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3225.

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This thesis aims to explore the theme of isolation in the dramatic works of Tennessee Williams using his essay “The Catastrophe of Success” as the base theory text. The essay attacks the American idea of success though an in-depth examination of the “Cinderella myth” that Williams claims is so prevalent in both Hollywood and American Democracy. Williams’ deconstruction of this myth reveals that America’s love for stories like it results the isolation of three groups: homosexuals, women and the physically disabled and terminally ill. Williams passes no judgment on his characters, instead showing their lives as they truly are. Through The Glass Menagerie (1945), A Streetcar Named Desire (1947), Orpheus Descending (1957) and Vieux Carre (1977), Williams gives readers and audiences a glimpse into the lives of isolated individuals, and the struggles each group faces.
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31

Weiss, Katherine. "‘Sounds like a story to me’: Fabricating the Past in Sam Shepard." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/2263.

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32

Weiss, Katherine. "Catherine Bush: Quilts and Murder." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2272.

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Weiss, Katherine. "Sophie Treadwell's Machinal: Electrifying the Female Body." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/2285.

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Weiss, Katherine. "“There’s no question that this is torture!” Electrocuting Patriotic Fervour in Sam Shepard’s The God of Hell." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2295.

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Weiss, Katherine. "Violence in Treadwell’s Machinal: Women, Electrotherapy and the Electric Chair." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/2269.

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Weiss, Katherine. "Post Show Talkback for Glasgow Theatre Company’s production of Wit." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/2277.

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Weiss, Katherine. ""... Long Before the Stars Were Torn down...": Sam Shepard and Bob Dylan's "Brownsville Girl"." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/2301.

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Excerpt: In 1975, Bob Dylan invited Sam Shepard, the young playwright who had ignited the Off-Broadway and London theatre scene, to go on tour with him in order to write scenes and dialogue for a film of the Rolling Thunder Revue.
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Weiss, Katherine. "Beckett’s Ruined Landscapes: Dystopian Visions after WWII." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/2252.

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Weiss, Katherine. "The Plays of Samuel Beckett: Author Meets the Critics." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/2254.

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Weiss, Katherine. "Traces from a Forgotten Past: Beckett’s Last Plays." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/2255.

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Weiss, Katherine. "Haunted by the Blitz: History, Trauma and Noel Coward’s Blithe Spirit." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/2257.

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Weiss, Katherine. "Extremes and Extremities: The Actor’s Body in Samuel Beckett’s Stage Plays." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2259.

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Weiss, Katherine. "The (Dis)appearing Body in Samuel Beckett’s Stage Plays." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2260.

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Weiss, Katherine. "Beckett’s Theatre: Revolving and Rewinding Histories." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/2267.

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Weiss, Katherine. "Animating Ghosts in Samuel Beckett's Ghost Trio and … but the clouds …" Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/2284.

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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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Hoskins, William Donald. "The major theatres of London, c.1800-1815 : including a survey of operatic and other musico-dramatic works." Thesis, Cardiff University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243977.

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Weiss, Katherine. "’there’s no question that this is torture!’: Electrocuting Patriotic Fervour in Sam Shepard’s The God of Hell." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/2274.

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Weiss, Katherine. "Book Review of Emma Creedon, Sam Shepard and the Aesthetics of Performance (Palgrave Macmillan, 2015)." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2292.

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Weiss, Katherine. "Remembering and Forgetting (un)happier Days in Beckett’s Happy Days." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/2265.

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