Dissertations / Theses: 'Feminism and theater Australia'

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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2002.
A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.

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Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.
A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.

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Rups-Eyland, Annette Maie, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." THESIS_CAESS_SELL_Rups-Eyland_A.xml, 2002. http://handle.uws.edu.au:8081/1959.7/771.

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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
Doctor of Philosophy (PhD)

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Phatikomet, Panida. "Gaki : a Thai tale twice told in Thai and Australian versions." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35881/1/35881_Phatikomet_1996.pdf.

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Having looked back to my past experience in Thailand and having directed the production Gaki in Australia, I realise that Gaki is a big step in my life and it cannot be separated from my past experience. From a non-feminist person to one interested in feminism, I have seen the development of my thinking and looking at women in my own culture. My own background and my experience with women, Thailand, and Australia are significant sources that inspired me to present Gaki. Gaki is a long journey but it shows the development of how a non-feminist background person has been influenced to do a feminist play.

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De, Vos Ricardo George. "Imagination, realisation and the performing of Australia." Thesis, De Vos, Ricardo George (2003) Imagination, realisation and the performing of Australia. PhD thesis, Murdoch University, 2003. https://researchrepository.murdoch.edu.au/id/eprint/37/.

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This thesis argues that performance can be seen to constitute both a critical discipline and a set of activities entailing an engagement with spatial, temporal, physical and material relations, rather than as a product of linguistic, textual and discursive relations. As such, performance is able to critique the functioning of language, text and discourse in assuming space, time, bodies and matter. Performance also suggests ways of working on and informing writing practices. The social relations of performance pertain to times and spaces which are temporary and processual, to activities which imagine other times, spaces and people, and seek to realise them for a specific time in a specific space for a specific group of people. The social relations realised in this process of contingent realities are able to inform writing, that is, to produce writing which connects theatre with other discourses, and which connects words with bodies in time and space. It is argued that theatre and performance's process of imagination and realisation and its engagement with spatial, temporal, physical and material relations provides a valuable site for critically examining the ways in which Australia privileges and remembers specific configurations of space, time, bodies and matter, while marginalising others, in producing official representations of the Australian nation. Such representations, reflected ingovernmental programmes such as those concerning citizenship and national security, have a bearing on how Australians view their national past, present and future, and how they perceive their social connections with each other. Just as specific performances are made subject to the textual and discursive categories of literature and social theory, official enactments of the Australian nation are able to 'contain' Australians who spatially, temporally and physically transgress national boundaries. As a material practice, performance is able to engage with official enactments of the nation in order to 're-open' the spaces, times and encounters concealed within these sites.

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De, Vos Ricardo George. "Imagination, realisation and the performing of Australia." De Vos, Ricardo George (2003) Imagination, realisation and the performing of Australia. PhD thesis, Murdoch University, 2003. http://researchrepository.murdoch.edu.au/37/.

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This thesis argues that performance can be seen to constitute both a critical discipline and a set of activities entailing an engagement with spatial, temporal, physical and material relations, rather than as a product of linguistic, textual and discursive relations. As such, performance is able to critique the functioning of language, text and discourse in assuming space, time, bodies and matter. Performance also suggests ways of working on and informing writing practices. The social relations of performance pertain to times and spaces which are temporary and processual, to activities which imagine other times, spaces and people, and seek to realise them for a specific time in a specific space for a specific group of people. The social relations realised in this process of contingent realities are able to inform writing, that is, to produce writing which connects theatre with other discourses, and which connects words with bodies in time and space. It is argued that theatre and performance's process of imagination and realisation and its engagement with spatial, temporal, physical and material relations provides a valuable site for critically examining the ways in which Australia privileges and remembers specific configurations of space, time, bodies and matter, while marginalising others, in producing official representations of the Australian nation. Such representations, reflected ingovernmental programmes such as those concerning citizenship and national security, have a bearing on how Australians view their national past, present and future, and how they perceive their social connections with each other. Just as specific performances are made subject to the textual and discursive categories of literature and social theory, official enactments of the Australian nation are able to 'contain' Australians who spatially, temporally and physically transgress national boundaries. As a material practice, performance is able to engage with official enactments of the nation in order to 're-open' the spaces, times and encounters concealed within these sites.

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Leith, Hope Mary. "Moral and social constraints on femininity in the comedie larmoyante." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28102.

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This study has attempted to show that the plays of La Chaussée, which were popular in France in the middle to lat eighteenth century, were popular because they appealed to social values of the period, and particularly because they expressed a conservative view of society and of the role of women in that society. The introduction sets forth the historical and biographical background of La Chaussée, the extent of the success achieved by his "comédies larmoyantes" in performance and in publication during the eighteenth century, and the reasons for selecting the five plays on which this study concentrates. The focus on, female characters is explained by the number of plays "about" women: Mélanide, La Gouvernante, L'Ecole des méres and by the tendency in literary criticism to consider eighteenth-century French tastes in theatre dictated by women. Chapter I presents a content analysis of the five plays. This technique, taken from Goodlad, A Sociology of Popular Drama, provides plot summaries of these now unfamiliar plays which are used as a basis for chapter II. Furthermore it permits determination and comparison of these themes, settings, areas of conflict explored and types of resolution offered in the plays under examination. La Chaussée most frequently presents the problems of marital and familial love, and resolves conflicts with reconciliation, marriage, or another form of social integration. Goodlad brings out the relationship between popular success and a play's at least implicit didacticism and its conservatism in form and content. Chapter II uses narratological analysis techniques from Bremond, Logique du récit. The plays are considered as texts. The purpose here is to bring to light the structure of plot: how resolution in delayed or achieved, what roles -- victim, beneficiary, assistant, frustrator -- female character play in that structure. Heroines are found to be passive victims, beneficiaries, or even frustrators. Secondary female characters play minor assistant roles, or act as frustrators for the heroines. Resolution is achieved by male characters. Chapter III turns to discourse, how much and what is said about the female sex and/or by female characters. It examines the quantity, content and situation of female discourse in these plays, and particularly the social and situational restraints on discourse. A female character usually only has one scene with male characters in which she speaks half or more of the total lines, unless she is alone with someone over whom she has affective influence, and not her husband. Maids are used to express generalizations about the situation of women in society, and sympathy for the heroine. The discourse of heroines centres on the standards of virtue to which society holds them: patience, endurance, chastity, obedience. In the conclusion, critical judgments on La Chaussée from the eighteenth century to the present are reviewed and examined. Doubt is cast on the extent to which La Chaussée should be seen as promoting theatrical or social reform, and increased emphasis in placed on the nature of his didacticism, and the pervasiveness of his conservatism.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

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Whittington, Amanda. "Bad girls and blonde bombshells : lived feminism in popular theatre." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/34413/.

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This project examines texts from a body of work which numbers fifteen performed across the country. The accompanying commentary identifies the ways in which 'Be My Baby' and 'The Thrill of Love' tell female-centred stories in a popular dramatic voice which explore aspects of women's lived experience. It engages with feminist theory and practice to identify the diffuse and sometimes contradictory feminisms within the plays. Dramatic structure is considered with close reference to realist and expressionist forms. The exegesis investigates their engagement with popular culture, the importance of music in the narratives and the methods by which they seek to reclaim women's history. The commentary brings together academic mainstream sources to contextualize the study. Playtexts are examined with reference to a broad range of theorists, practitioners and cultural commentators including Eileen Aston and Geraldine Harris, Erin Hurley, Angela McRobbie, Graham Saunders, Lucy O'Brien, Carol Ann Lee and Lyn Gardner. The distinctive aspects of affective solidarity and feeling are identified as unifying elements of the play's personal and political concerns.

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King, Portia Jane. "Shake it hard feminist identity and the burly-Q /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5798.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
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 August 12, 2009) Includes bibliographical references.

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Huntley, Rebecca. ""Sex on the Hustings" : labor and the construction of 'the woman voter' in two federal elections (1983, 1993)." Connect to full text, 2003. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20040209.113517/index.html.

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Murray, Peta. "Things that fall over : Women's playwriting, poetics and the (anti-)musical." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53579/1/Peta_Murray_Thesis.pdf.

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Abstract: This study explores the contradictions and ambivalences experienced by a working artist at a time when her age, her gender, and broader cultural shifts are all potential obstacles or liabilities to creative flourishing. It is the product of practice-led research into the creative process from the perspective of the female "late bloomer". In this phrase, I have in mind the mature-aged woman who is, in mid-life, suddenly seized with inspiration and fired with creative energy. At its heart is the question: If an Elizabeth Jolley were in our midst today, would we hear from her? The result is a full-length libretto and accompanying exegetical binoculars in the form of a Preface and an Afterword. The creative work, Things That Fall Over (TTFO) is conceived in two parts: a libretto and oratorio for performance. It begins as a play, but over three acts and into a coda, the work becomes something entirely other - an (anti-) musical. The work grew from a personal interest in the nexus between women, ageing and creative practice, via investigation into the oeuvre of two Australian artists, Elizabeth Jolley, author, first published at age 53, and Rosalie Gascoigne, sculptor, first exhibited at 58. A second strand of the research grew from a fascination for the stage musical, especially in its more alternative modes as in the hands of Stephen Sondheim, or in more provocative manifestations as witnessed in recent Tony Award winners Avenue Q and The Book of Mormon. Contextually, this research is conducted at a time when anecdotal evidence suggests that women’s work in the performing arts and in literature is being pushed to the margins after a late twentieth century Golden Age on page and stage. Using hybrid practice-led methodologies - bricolage, log-keeping - and working within queer and feminist paradigms, this study seeks to counter that push with a new work that is all-female, part-pantomime, part monstrous allegory. In illuminating the creative process of a mature-aged playwright it concludes that hybrid and interstitial forms still offer an inclusive and democratic space in which voices that may otherwise be muted will continue to be heard.

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Conte, Susannah. "The Fifth Sparrow: In Memory of Mollie Skinner." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2080.

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This thesis offers a case study in adapting Australian literary biography to the theatre, specifically in the form of a one woman show or monologue performance. The thesis consists of a novel play script, together with exegetical writing which outlines the source materials used and the process and themes under consideration. These themes include those of family (specifically a difficult relationship with her mother), love (including a lesbian affair), life as an aspiring writer, and the protagonist’s difficult to shake sense of damage, pain and struggle. The play offers a portrait of West Australian writer Mollie Skinner (1876- 1955). Sources included her autobiography (both the original manuscript and that edited and published by Mary Durack), Mollie’s novels and her letters—particularly her extensive correspondence with the British author D.H. Lawrence, who she met in WA—and secondary writings. Skinner’s writing has been described as akin to an “untended garden,” rich in imagery, but scattered and often difficult to follow. In recognition of this, my play takes the form of a series of vignettes and images, a succession of heightened moments, choreographed with sound and movement elements for dramatic impact. Mollie’s life thereby emerges as one marked by pain and suffering, yet suffused with rich language and visions. Although Mollie was more than just a friend of D.H. Lawrence, it is nevertheless clear that the better known author offered her support and encouragement that few others did. Together with her Sybil these two figures emerge as Mollie’s only true loves and companions, figures physically separated from her, yet who enabled her life and many of her joys. Skinner emerges then as a modest but indomitable spirt, poised on the veranda, looking at the world through her failing eyesight; touched by the beauty of it all. The aim of the play is thus to do justice to the spirit of Skinner, without presenting an exhaustive account of her entire life, and in doing so, to present her story to a new generation of West Australians.

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Teoh, Remedios A., and remedios teoh@deakin edu au. "Gender and national identity: The people's theatre in the Philippines (1967-2000)." Deakin University. School of Social and International Studies, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.150434.

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The Philippine Education Theater Association (PETA), the Peoples Theatre in the Philippines was founded within the bounds of the nationalist leftist tradition. Its origin therefore determines to a great extent the contours of the discourse on the feminist movement in the Philippines, its participation within the cultural movement and the founding years of the pioneering Peoples Theatre in the country. As a grass roots theatre from a Third World nation, the PETA theatre model responded to the needs in raising socio-political and economic consciousness and can therefore serve as an alternative tool to formal education for other Third World countries. This thesis argues, the Peoples Theatre development is determined within the matrix of gender, class, politics and the nationalist movement to which it is intertwined or inextricably linked. The feminist, nationalist and radical movements have become superimposed upon the history of the Peoples Theatre and have nurtured its development as a consciousness raising educational tool.

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Easton, Kirsten Elana. "WHAT’S IN A NAME? THAT WHICH WE CALL A WHORE, BY ANY OTHER NAME, IS SOCIALLY ACCEPTABLE: THE ORIGIN, DEVELOPMENT, AND PRODUCTION OF WIFE/WORKER/WHORE." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1921.

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This thesis details the development of my full-length play Wife/Worker/Whore from outlining and pre-writing to full production at Southern Illinois University over the course of the 2015/2016 school year. In writing Wife/Worker/Whore, I was inspired by Norma Jean Almodovar’s From Cop to Call Girl, in which she details her life as a housewife, police officer and eventually high-class call girl in 1970s Los Angeles. Almodovar’s life story served as the impetus for this script, as I sought to complicate the discourses surrounding prostitution in its various forms. This play, therefore, examines the covert ways in which women are forced to prostitute themselves, even when they don’t call themselves a “whore” by profession. Chapter One includes a statement of the project, the origin, and development of the script, initial structure and plot considerations for the script, research that impacted the creation of the script, character development, and tools for self-evaluation. Chapter Two covers the pre-writing process, feedback from my peers from two in-class readings, notes from my advisor, Jacob Juntunen, and the director, Segun Ojewuyi, about the script’s development and an overall description of the play’s progression through drafts one to eight. Chapter Three describes the design meetings held in preparation for the production of Wife/Worker/Whore. Chapter Four details the audition process as well as rehearsals for the piece. Chapter Five evaluates Wife/Worker/Whore’s production, describes ideas for future productions of the piece as well as possible revisions. Chapter Six concludes the thesis by tracking my progression in the playwriting program over the past three years. It includes my writing growth in terms of structure and developing my artistic voice. It also discusses my professional development over the time in the program, as well as the evolution of my teaching practice. I have also included in the thesis the production script of Wife/Worker/Whore, excerpts from previous drafts of the script, and publicity materials.

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Brankovich, Jasmina. "Burning down the house? : feminism, politics and women's policy in Western Australia, 1972-1998." University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0122.

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This thesis examines the constraints and options inherent in placing feminist demands on the state, the limits of such interventions, and the subjective, intimate understandings of feminism among agents who have aimed to change the state from within. First, I describe the central element of a

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Albinger, Dawn. "Diva Voce : reimagining the diva in contemporary feminist performance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/538.

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This practice-led contemporary performance study investigates and invigorates the diva icon’s usefulness to feminist theatre praxis. It traces the research journey from an unexamined belief in the diva as an icon of empowered, independent and expressive womanhood, to a more nuanced conception of the diva as boundless feminist performer and philosophical subject. Two major questions emerge from and drive the process. The primary research question asks: How can the diva icon (in all her fury and glory and wretchedness and perversity and mastery and mortality) usefully inform a feminist theatre praxis? Early investigations give rise to a subsequent social query: How do (some) women collude in their own oppression; participate in their voice and voicelessness? Critically engaging with these challenges leads me to conclude the diva icon is most useful to feminist performance praxis when understood as an icon for the richest possible expression of one’s multifaceted, contradictory, poetic and polyphonous self in dialogue with other internal selves, and with one’s community and world. The study is framed by poststructural feminism in an (at times, uneasy) alliance with psychoanalysis, Jungian psychology, structuralism, positive humanism, and eastern philosophies such as yoga and Buddhism. The process of knowledge-making is experienced as embodied and non-linear, with key insights resonating in the spaces between the questions, the methodology, the literature and the praxis. It has been composed of: the creation of a solo performance; a daily astanga yoga practice; interviews with three senior Australian women practitioners who have referenced the diva icon in their own work; and a contextual review mapping the cultural and aesthetic territory of divas and contemporary female solo performance (literature reviews, performance reviews, popular culture reviews). It also critically engages the provocations of feminist philosophers Luce Irigaray and Hélène Cixous (among others), and with those of philosopher, poet and performer Margaret Cameron. Throughout this study the diva is in dialogue: with western myth (romantic love, the handless maiden), with theory (voice, desire, the feminine divine), and with practice (the dramaturgy of breath). This critical dialogue reveals the diva’s capacity for agency, poetry, divinity and mastery that enable her to resist, embrace and receive in ways that offer new possibilities of Being/Isness. From this, I suggest the transcendent voice of reason is, for the female philosophical subject, the diva voce: simultaneously divine and corporeal, located [heard] in the infinite moment between an out-breath and the returning in-breath, inhalation, inspiration. In the final analysis, the feminist performer can be empowered by transforming the the diva’s traditional cry “Lascietemi morir,” (let me die) to “Lascietemi aprire”, (let me open).

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Fargo, Emily Layne. ""The fantasy of real women" new burlesque and the female spectator /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211331939.

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Hamilton, Margaret School of Media Film &amp Theatre UNSW. "From the 'New Wave' to the 'Unnameable': post-dramatic theatre & Australia in the 1980s & 1990s." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/24266.

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The object of this dissertation is to re-assess Australian examples of ???performance??? in light of discourses and directions in dramaturgy that have emerged since the 1970s internationally. The thesis applies Hans-Thies Lehmann???s comprehensive theory of post-dramatic theatre to explicate examples of departures from dramatic theatre in view of the expansive field of inquiry implied by the description ???performance??? or ???new media arts??? and general cultural-political theory. To examine the de-centralisation of text specific to post-dramatic theatre the dissertation analyses firstly, material devised collaboratively at all stages of creative development in its case studies of the Sydney based companies The Sydney Front (1986-1993) and Open City (1987 -); and secondly, Heiner M??ller???s concept of ???literature??? written for the theatre and in opposition to its convention. In addition, the analysis of M??ller serves as an introduction to a comparative analysis of a dramatic (literary) theatre project by a group of Aboriginal artists based on a post-dramatic text by M??ller. This dissertation endeavours to contribute to documentation on post-dramatic theatre in Australia and more broadly, to conceptions of contemporary forms of dramaturgy. More specifically, the thesis argues that dramaturgy no longer necessarily concerns the identification of an aesthetic locus that explicitly explicates the audience???s relation to a known macrocosm. Instead, the thesis conceives of dramaturgy as a compositional strategy that can be thought of within the bounds of Aristotle???s perfunctory visual dimension ???opsis??? and elaborated upon in terms of Kristeva???s theory of the ???thetic??? as regulating ???semiotic??? incursions into the ???symbolic??? order. In doing so, the thesis proposes the concept of a ???televisual??? and an ???abject??? dramaturgy, the latter on the basis of a relation to the older tradition of carnival and identifies a link between intertextuality (transposition) and dramaturgical strategies that engage the spectator in the theatre situation and the dissolution of logocentric hierarchy.

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Xing, Jia. "Ting Ling." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1084912718.

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Scollen, Rebecca. "Building new theatre audiences: Post performance audience reception in action." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36428/1/36428_Digitised%20Thesis.pdf.

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The aim of this research is to arrive at an effective method for gathering and analysing nontheatregoers' reception of theatrical performance. It is anticipated that this method will provide insight into non-theatregoers' reasons for non-attendance, their reactions to theatre productions, and the likelihood that they might change their attitudes towards theatregoing and become theatre attenders in the future. A combined methodical approach to audience reception is created by adapting and combining the methods of Sauter (1986), Lidstone (1996), Knodel (1993) and Krueger (1994), and the model of Miles and Huberman (1984). This approach consists of a collection of questionnaires, a series of post performance group discussions, and analytical methods designed for examining qualitative data. This approach is tested and refined across three studies: a 1997 Pilot Study, a 1998 La Boite Theatre Study, and a 2000 Queensland Theatre Company Study. The primary result of this research is the emergence of the Scollen Post Performance Audience Reception (SPP AR) method for audience development. This method is the refined final version of the rigorously tested combined approach. Other results include the formation of a non-theatregoer profile; an understanding of how non-theatregoers perceive performances; the discovery that gender, age, and income have no direct impact on theatre attendance or reception of theatrical performance; confirmation that exposure to performance and an arts education increases interest and confidence in theatregoing; and that self and peer education is an effective way for non-theatregoers to learn about theatre.

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Collins, Rachel. "HAPPY DAYS: A MODERN WOMAN’S APPROACH TO ABSURDISM THROUGH FEMINIST THEATER THEORY." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1338311141.

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Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /." Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.

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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.
Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves

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Dailey, Zachary Elijah. "Finding the Rhythms and the Accidental Poetry: Annie Baker and the Condition of a Contemporary Female Playwright." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1439378464.

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Cully, Eavan. "Nationalism, feminism, and martial valor: rewriting biographies of women in «Nüzi shijie» (1904-1907)." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32363.

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This thesis examines images of martial women as they were produced in the biography column of the late Qing journal Nüzi shijie (NZSJ; 1904-1907). By examining the historiographic implications of revised women's biographies, I will show the extent to which martial women were written as ideal citizens at the dawn of the twentieth-century. In the first chapter I place NZSJ in its historical context by examining the journal's goals as seen in two editorials from the inaugural issue. The second and third chapters focus on biographies of individual women warriors which will be read against their original stories in verse and prose. Through these comparisons, I aim to demonstrate how these "transgressive women" were written as normative ideals of martial citizens that would appeal to men and women alike.
Cette thèse examine les images de femmes martiales reproduites dans la rubrique biographique du journal Nüzi shijie (NZSJ; 1904-1907) publiée à la fin de la dynastie Qing. En examinant les implications historiographiques des biographies révisées des femmes, j'essai de démontrer l'importance de la façon dont les femmes martiales étaient décrites come citoyennes idéales à l'aube du vingtième siècle. A travers une exploration des objectifs posés par le journal et mis en évidence dans deux éditoriaux extraits du premier numéro du journal, mon premier chapitre essaie de placer le NZSJ dans sa propre contexte historique. Le deuxième et le troisième chapitres se concentrent sur les biographies individuelles des femmes guerrières, lesquelles sont juxtaposés aux histories originales écrites sous forme de vers et prose. A travers ces juxtapositions, mon projet démontre la façon dont ces "femmes transgressives" illustraient l'idéal normatif du citoyen martiale, lequel attirait les hommes ainsi que les femmes.

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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

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Madden, Jennifer. "Divine comedy : sacred play and subversion in contemporary neo-Pagan festival." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319108.

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Faulkner, Natalie. "Section 24 of the criminal code : navigating veracity and verisimilitude in verbatim theatre." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16641/1/Natalie_Faulkner_Thesis.pdf.

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This research project comprises a stage play Section 24 of the Criminal Code, and accompanying exegesis, which focuses upon the experience of a woman accessing the Criminal Justice system after she is raped. The play is in the verbatim model and draws upon court transcript, which is deconstructed to reveal the workings of Defence counsel 'storylines' and meta-narratives of gender, sexual availability and power. The exegesis investigates attitudes toward rape and rape victims perpetuated by Australian popular culture, and the way that myths about false rape complaints and 'deserving victims' continue to influence the reporting and conviction rates for rape. The thesis argues that recent reforms have yet to make an impact on the conviction rate or experience of women accessing the Justice system, because of entrenched misogyny within the system itself. Several factors contribute to widespread ignorance of the reality of our own Criminal Justice system, and the thesis proposes that a work of verbatim theatre may redress the paucity of understanding that enables the dysfunction of the current system. The paper explores the different approaches taken by Verbatim theatre practitioners and the appropriateness of the Verbatim theatre model for communicating this particular (lived) experience. Questions of ownership over one's story, and representation in that story indicate the emancipatory potential of a work. Where practitioners do not have a personal connection to their subject matter or material and access material that is already in the public domain, they may feel a greater freedom to manipulate story and character for dramatic effect, or to suit an activist agenda for change. It is shown that a playwright with a personal connection to her material and subject must address issues of ownership, ethical representation, veracity and verisimilitude when creating a piece of verbatim theatre. Preferencing the truth of the Complainant Woman's experience over the orthodoxies of the well-made play may contribute to a negative response to the work from male audiences. However, the thesis concludes that the subject of rape and its prosecution invokes a gendered response in itself, and ultimately questions the desirability of presenting a play that delivers a palatable story rather than an unpleasant truth.

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Faulkner, Natalie. "Section 24 of the criminal code : navigating veracity and verisimilitude in verbatim theatre." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16641/.

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This research project comprises a stage play Section 24 of the Criminal Code, and accompanying exegesis, which focuses upon the experience of a woman accessing the Criminal Justice system after she is raped. The play is in the verbatim model and draws upon court transcript, which is deconstructed to reveal the workings of Defence counsel 'storylines' and meta-narratives of gender, sexual availability and power. The exegesis investigates attitudes toward rape and rape victims perpetuated by Australian popular culture, and the way that myths about false rape complaints and 'deserving victims' continue to influence the reporting and conviction rates for rape. The thesis argues that recent reforms have yet to make an impact on the conviction rate or experience of women accessing the Justice system, because of entrenched misogyny within the system itself. Several factors contribute to widespread ignorance of the reality of our own Criminal Justice system, and the thesis proposes that a work of verbatim theatre may redress the paucity of understanding that enables the dysfunction of the current system. The paper explores the different approaches taken by Verbatim theatre practitioners and the appropriateness of the Verbatim theatre model for communicating this particular (lived) experience. Questions of ownership over one's story, and representation in that story indicate the emancipatory potential of a work. Where practitioners do not have a personal connection to their subject matter or material and access material that is already in the public domain, they may feel a greater freedom to manipulate story and character for dramatic effect, or to suit an activist agenda for change. It is shown that a playwright with a personal connection to her material and subject must address issues of ownership, ethical representation, veracity and verisimilitude when creating a piece of verbatim theatre. Preferencing the truth of the Complainant Woman's experience over the orthodoxies of the well-made play may contribute to a negative response to the work from male audiences. However, the thesis concludes that the subject of rape and its prosecution invokes a gendered response in itself, and ultimately questions the desirability of presenting a play that delivers a palatable story rather than an unpleasant truth.

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Kinser, Amber E. "Gendered and Feminist Performances in the Social ‘Theater of Food’." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1253.

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30

Weightman, Elise. "The mirror has many faces : an exploration of women's aesthetics in contemporary mainstream Australia." Thesis, Queensland University of Technology, 1999.

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This thesis investigates the concept of "women's aesthetics", as distinct from "feminine" or "feminist" aesthetics, asserting that an original and liberated women's film practice and spectatorship may be realised, in the late 1990s, by reinterpreting women's aesthetics as diverse social and artistic processes. Aesthetic concepts such as pleasure, value, art and sensory experience are also tested in this study to establish their relevance to feminist discourses on film, the wider culture and society. The study also argues that the aesthetics of Australian women filmmakers working in mainstream cinema may be characterised by certain social and artistic processes. Further, it is suggested that these women achieve a more liberated and empowered artistic practice through their distinctive and personal explorations of particular aesthetic processes. Through case studies of films by Gillian Armstrong, Jane Campion, Samantha Lang and Rachel Perkins, certain characteristics of women's aesthetics are identified, and their power and relevance for Australian women filmmakers are evaluated. While focusing its investigation on the concept of "women's aesthetics", this study also interrogates recent and seminal feminist film theory as well as the historical development of Australian national cinema, establishing a context and justification for the exploration of women's aesthetics. The revised, inclusive concept of women's aesthetics is then applied to a practical project, in which my own artistic processes are explored through the production of three short films. This practical component is reported and critiqued to establish the relevance of the concept of women's aesthetics to my own film practice. Finally, this thesis concludes that the concept and practice of women's aesthetics as a negotiated process can be used to promote and develop a more relevant, political and productive relationship between women, mainstream cinema and the wider culture and society.

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Snook, Lorrie Jean. "The performance of sexual and economic politics in the plays of Aphra Behn." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185960.

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Since her work as a professional playwright in the 1670s and 1680s, critics have sought to equate Aphra Behn and her plays, to fix and stabilize the body of the writer and of her work. She has been marked as a prostitute, a feminist, and a masculinist hack, in each case her gender determining the value of and audience for her writing. This dissertation argues that Behn's plays--and Behn--should be read in terms of her controlling tropes and forms of performance and intrigue. Her plays and her presence use these tropes and forms to decenter the idea of identity and manipulate conventions of gender roles in the patriarchal Restoration theater. In doing so, she recasts and reconstitutes the structure of the patriarchal theater and economy. Chapter 1 introduces my argument and presents an overview of critical and feminist responses to Behn. I use this overview to present my own view of identity as performance, opposing such essentialist theorists as Helene Cixous. Chapter 2 develops the historical and metaphorical associations of intrigue and performance, beginning with her Preface to The Dutch Lover; in reading two of her lesser-known intrigue-comedies, The Dutch Lover and The Feign'd Curtezans, or a Night's Intrigue, I then argue that performance and intrigue challenge the conventional engendering of roles such as the rake and the courtesan. Chapter 3 expands these associations and reads her economic metaphors, as I look at Behn's most famous intrigue-comedy, The Rover, and its sequel; as well as challenging conventional roles and economic valuations, however, The Rover, Part II emphasizes the ultimate inescapability of these roles and valuations in the patriarchal theater. Chapter 4 moves to her town-comedies; I argue that Behn adapts the intrigue-form to her comedies of manners, working out the characters' struggle between convention and nature to define public and private selves. Sir Patient Fancy sets up the power that the manipulation of convention offers; The City Heiress emphasizes the limits of such manipulation; The Lucky Chance offers magic and ambiguity as new theatrical possibility to subvert convention and recast role.

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Dunn, Ashley S. "Beadabees: Performing Black Hair Politics in the 21st Century." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1437487935.

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Cox, Emma. "Shakespeare and indigeneity : performative encounters in Australia and Aotearoa-New Zealand /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18639.pdf.

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Rapoo, Connie. "Figures of sacrifice Africa in the transnational imaginary /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610482411&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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35

Moyle, Jodie L. "Centred voices : A study of the lived experience of women's health centre coordinators." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1221.

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The purpose of this phenomenological study is to explore and describe the lived experience of women's health centre coordinators. In addition to the intrinsic value of telling these women's stories, this research provides data which can he used to strengthen the economic, political, organisational and social position of women’s health centres and the women who work in them. Four women managers from regional urban women's health centres in Australia were interviewed about their subjective experiences with respect to their current working roles. Interviews were audio taped, transcribed and coded to produce themes and to preserve anonymity. Data was analysed using Colaizzi’s phenomenological method. Credibility and validity of data was enhanced by the use of multiple interviews, member checks, a pilot study and a clearly identifiable audit trail. The findings of the study reveal that the main themes relating to the experience of women's health centre coordinators are: the importance of shared principles, passions and rewards: their feminist leadership role as managers of a specialist health service; working with the wider system: and the demanding nature of their job. Theoretical sensitivity is demonstrated by re-analysing the emergent themes and descriptions obtained from the data- against the backdrop of the current social, economic and political climate of women's health in Australia. This second order analysis reveals the processes and strategies employed by women’s health centre coordinators in carrying out their work, and highlights the many factors that have influenced their development as feminist managers. Furthermore, the findings suggest that the experience of women's health centre coordinators in this study parallels those of feminist managers elsewhere, and as such, this thesis represents a significant contribution to the dearth of literature on women managers working in feminist, consumer-based organisations.

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Pratt, John L. "Grey hair." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/294.

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Howlett, May Catherine. "The production of a contemporary chamber opera (The boy who wasn't there)." Thesis, Electronic version, 2005. http://hdl.handle.net/1959.14/769.

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A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies.
Dissertation, libretto and score of the opera.
Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005.
Bibliography: p. 138-141.
Introduction -- Historical background and literature review -- Structural and philosophic changes -- Chamber opera: a genre in evolution -- Chamber opera: its potential for the future -- The personal experiment -- Conclusion..
From its origins as chamber opera just over four hundred years ago, Opera developed through the 18th and 19th centuries, in length and complexity, to attain the status of 'grand', a term that most people associate with opera to this day ... At the beginning of the 20th century, radical innovations in the arts influenced by movements such as the Bauhaus phenomenon, added to the aftermath of a world war that shattered existing socio-political structures and artistic sentiments turned from extroverted displays of grandeur to the creation of more cerebral, introverted styles. ... On the threshold of a new millennium, small, often experimental companies, passionately convinced of the relevance of, and excited by the artistic potential inherent in this revitalized form of opera, formed a loose consortium of creative artists internationally, similar in spirit to the original Camerata of the 16th century, making use of current technologies. Whether these newer works may be styled 'chamber opera' or 'music theatre', they represent a form in evolution, capable of further development into a new genre, a vital nexus of traditional skills applied to current issues, peculiarly suited to integration with electronic modes such as television.
Mode of access: World Wide Web.
141 leaves music

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Garde, Ulrike 1964. "The Australian reception of Austrian, German and Swiss drama : productions and reviews between 1945 and 1996." Monash University, German Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8820.

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Jung, Kyungja School of Social Science &amp Policy &amp the Women's Studies Program UNSW. "Constitution and maintenance of feminist practice : comparative case study of sexual assault centres in Australia and Korea." Awarded by:University of New South Wales. School of Social Science and Policy and the Women's Studies Program, 2002. http://handle.unsw.edu.au/1959.4/19124.

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Although some research has focused on feminist practice in general, the external and internal dynamics of feminist practice still remains theoretically and empirically under-researched. This study addresses this void in feminist research and places a special focus on the relationship of feminist organisations with the state and within the broader context of the women's movement. This thesis explores the constitution and maintenance of feminist practices in one specific context in South Korea and Australia. Drawing on empirical and historical data derived from the case studies, two questions are explored in this study: What constitutes feminist practices in a feminist organisation? How can feminist practices be sustained?. Two feminist-run Sexual Assault Centres (SACs), one in Korea, one in Australia are studied and analysed, involving 32, in-depth interviews with activists of the two centres, non-participant and participant observation, and document analysis. First, this thesis provides a detailed account of feminist practice and organisational dynamics among feminist organisations, the feminist movement and the state. This thesis confirms that the practices of feminist organisations are seen as dynamic processes constituted by the context in which they are situated, the role of feminist activists and the nature and strength of the broader women's movement. This study, in particular, demonstrates that the relationship of the organisation with the state is a strong determinant in constructing feminist practices. Second, this thesis examines organisational practices at different phases such as the establishment, development and crisis phases. As both centres were experiencing crises, the study illuminates that the crisis in each centre has provided an opportunity for re-examination and reflection on their practices in shifting internal and external contexts. This study also suggests that continuous reflexive attention is necessary to maintain feminist practices. Moreover, the study demonstrates that the role of the activists in constructing and maintaining feminist practices is critical, in particular, in small organisations such as the ASAC and KSAC. This research, the first major study on feminist practices in Korea and Australia, makes a significant contribution to the study of feminist organisations, the state and, in general, feminist theory.

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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.

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This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.

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Hall, Virginia Kaufman, of Western Sydney Hawkesbury University, of Health Humanities and Social Ecology Faculty, and School of Social Ecology. "Women transforming the workplace : collaborative inquiry into integrity in action." THESIS_FHHSE_SEL_Hall_V.xml, 1996. http://handle.uws.edu.au:8081/1959.7/438.

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This collaborative research is an account of the recent lived experience of twelve women who bring about transformations in their own workplaces. The work integrates feminist theory with the social ecology focus of studying interactions between people and their environments. The study is multidisciplinary including psychological as well as social aspects and applies critical social research to workplace situations. The research group informed each other primarily by stories which narrated: social and family context; work situations; particular situations and specific strategies. Reflexive and archetypal meanings emerged from recounting ancient myths to help understand complex and difficult work structures which constrain the participants' creativity. This inquiry is a fresh approach to a range of workplace problems by engaging many women’s preferred working styles and applying this creative response: pro-active strategies which are demonstrated, are indeed, highly effective.
Doctor of Philosophy (PhD)(Social Ecology)

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Feiler, Yael. "Nationen och hans hustru : Feminism och nationalism i Israel med fokus på Miriam Kainys dramatik." Doctoral thesis, Stockholm University, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94.

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The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study.

Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as nation and identity, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis.

The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a New Jew, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.

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Huston-Findley, Shirley A. "Subverting the dramatic text : folklore, feminism, and the images of women in three canonical American plays /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901243.

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45

Bledsoe, Stormi Danielle. "Liberte Egalite Sororite: Feminist Directing Strategies Applied to The Revolutionists at Miami University." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564606867621745.

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Burnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.

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This dissertation examines the arguments against tragedy offered by feminist playwrights in their "re-visions" of the plays of Euripides and Shakespeare.
In the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."
In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments against patriarchy. But it is the theorists and critics of tragedy---not the playwrights---who are unequivocally aligned with patriarchy. Playwrights like Euripides and Shakespeare can be seen to destabilize tragedy in their plays.
In the third part, I show how recent feminist playwrights (Jackie Crossland, Dario Fo and Franca Rame, Deborah Porter, Caryl Churchill and David Lan, Maureen Duffy, Alison Lyssa, The Women's Theatre Group and Elaine Feinstein, Joan Ure, Margaret Clarke, and Ann-Marie MacDonald) counter tragedy by extrapolating from the arguments presented by Euripides and Shakespeare in The Medea, The Bacchae, King Lear, Hamlet, Romeo and Juliet and Othello , and by allocating voice and agency to their female protagonists.

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岑金倩 and Kam-sin Shum. "A study of female characters in modern Chinese historicaldrama (1911-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214605.

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Frazier, John Nyrere. "FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF: LIVING IN THE WORDAN EXAMINATION OF THE TEXT AND TRADITIONAL PERFORMANCES OF FOR COLORED GIRLS… AS A STUDY FOR A MULTICULTURAL PRODUCTION." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1410542294.

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49

Wyndham, Diana Hardwick. "Striving for National Fitness: Eugenics in Australia 1910s to 1930s." University of Sydney, History, 1996. http://hdl.handle.net/2123/402.

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Eugenics movements developed early this century in more than 20 countries, including Australia. However, for many years the vast literature on eugenics focused almost exclusively on the history of eugenics in Britain and America. While some aspects of eugenics in Australia are now being documented, the history of this movement largely remained to be written. Australians experienced both fears and hopes at the time of Federation in 1901. Some feared that the white population was declining and degenerating but they also hoped to create a new utopian society which would outstrip the achievements, and avoid the poverty and industrial unrest, of Britain and America. Some responded to these mixed emotions by combining notions of efficiency and progress with eugenic ideas about maximising the growth of a white population and filling the "empty spaces". It was hoped that by taking these actions Australia would avoid "racial suicide" or Asian invasion and would improve national fitness, thus avoiding "racial decay" and starting to create a "paradise of physical perfection". This thesis considers the impact of eugenics in Australia by examining three related propositions: 1. that from the 1910s to the 1930s, eugenic ideas in Australia were readily accepted because of concerns about declining birth rate; 2. that, while mainly derivative, Australian eugenics had several distinctive Australian qualities; 3. that eugenics has a legacy in many disciplines, particularly family planning and public health. This examination of Australian eugenics is primarily from the perspective of the people, publications and organisations which contributed to this movement in the first half of this century. In addition to a consideration of their achievements, reference is also made to the influence which eugenic ideas had in such diverse fields as education, immigration, law, literature, politics, psychology and science.

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Rhodes, Patricia Joan. "Older indigent women’s economic crimes: Subsuming feminism in favour of a human rights explanation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2024.

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Many people today believe the concept of gender inequality is outmoded, irrelevant and unnecessary in Western societies that are deemed egalitarian. As a consequence, feminism as a movement with gender equality at its core has often been proclaimed ‘dead’,a relic of the past. Feminist perspectives, nevertheless, have produced differing points of view about the sources of gender inequality affecting crime rates and criminal behaviour. For the last 50 years or so, women and girls have been the subject of criminological research that has largely evolved from sociological perspectives and specifically from feminism. Although gender intersects with other social realities and disadvantages, it is a crucial factor in relation to offending behaviour. A substantial body of feminist literature confirmed that marginality and poverty are factors leading to female criminality. Using a sequential explanatory mixed methods design, this research explores the consequences of gender inequalities affecting older indigent Australian women convicted of acquisitive crimes. This thesis argues that the term ‘feminism’, and feminist discourse and communications, ought to be abandoned in favour of advancing the human rights framework in the 21st century. Stigma associated with the feminist label has been detrimental. The most significant finding in this research is that financial need rather than greed was a precursor to older women’s involvement in acquisitive crimes. Having primary custody of children after divorce and relying on welfare support were factors contributing to their impoverished status. The feminisation of poverty, the segregation of women into low-paid feminine occupations and an accumulation of disadvantages over the life course often contribute to women’s impoverishment in their later years. Potentially, law-abiding older women are put at risk of transgressing the law for the first time later in their lives to alleviate their poverty. From a human rights perspective, violations of the women’s rights were factors contributing to their offending behaviour. Gender inequality, a condition that disadvantages women, however, is alive and well in Australia as confirmed here and is an unrelenting feature of many male-dominated social structures throughout the world today. Since a great deal of negativity surrounds the feminist label, it would be more pragmatic to abandon the feminist label and adopt a human rights approach.

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Dissertations / Theses on the topic 'Feminism and theater Australia'

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