Dissertations / Theses on the topic 'Theatricality'
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McGillivray, Glen. "Theatricality a critical genealogy /." Connect to full text, 2004. http://hdl.handle.net/2123/1428.
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Thesis (Ph. D.)--University of Sydney, 2004.Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Includes bibliographical references. Also available in print form.
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McGillivray, Glen James. "Theatricality: A critical genealogy." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1428.
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ABSTRACT The notion of theatricality has, in recent years, emerged as a key term in the fields of Theatre and Performance Studies. Unlike most writings dealing with theatricality, this thesis presents theatricality as a rubric for a particular discourse. Beginning with a case-study of a theatre review, I read an anti-theatricalist bias in the writer’s genre distinctions of “theatre” and “performance”. I do not, however, test the truth of these claims; rather, by deploying Foucauldian discourse analysis, I interpret the review as a “statement” and analyse how the reviewer activates notions of “theatricality” and “performance” as objects created by an already existing discourse. Following this introduction, the body of thesis is divided into two parts. The first, “Mapping the Discursive Field”, begins by surveying a body of literature in which a struggle for interpretive dominance between contesting stakeholders in the fields of Theatre and Performance Studies is fought. Using Samuel Weber’s reframing of Derrida’s analysis of interpretation of interpretation, in Chapter 2, I argue that the discourse of the field is marked by the struggle between “nostalgic” and “affirmative” interpretation, and that in the discourse that emerges, certain inconsistencies arise. The disciplines of Theatre, and later, Performance Studies in the twentieth century are characterised, as Alan Woods (1989) notes, by a fetishisation of avant-gardist practices. It is not surprising, therefore, that the values and concerns of the avant-garde emerge in the discourse of Theatre and Performance Studies. In Chapter 3, I analyse how key avant-gardist themes—theatricality as “essence”, loss of faith in language and a valorisation of corporeality, theatricality as personally and politically emancipatory—are themselves imbricated in the wider discourse of modernism. In Chapter 4, I discuss the single English-language book, published to date, which critically engages with theatricality as a concept: Elizabeth Burns’s Theatricality: A Study of Convention in the Theatre and Social Life (1972). As I have demonstrated with my analysis of the discursive field and genealogy of avant-gardist thematics, I argue that implicit theories of theatricality inform contemporary discourses; theories that, in fact, deny this genealogy. Approaching her topic through the two instruments of sociology and theatre history, Burns explores how social and theatrical conventions of behaviour, and the interpretations of that behaviour, interact. Burns’s key insight is that theatricality is a spectator operation: it depends upon a spectator, who is both culturally competent to interpret and who chooses to do so, thereby deciding (or not) that something in the world is like something in the theatre. Part Two, “The Heritage of Theatricality”, delves further, chronologically, into the genealogy of the term. This part explores Burns’s association of theatricality with an idea of theatre by paraphrasing a question asked by Joseph Roach (after Foucault): what did people in the sixteenth century mean by “theatre” if it did not exist as we define today? This question threads through Chapters 5 to 7 which each explore various interpretations of theatricality not necessarily related to the art form understood by us as theatre. I begin by examining the genealogy of the theatrical metaphor, a key trope of the Renaissance, and one that has been consistently invoked in a range of circumstances ever since. In Chapter 5 explore the structural and thematic elements of the theatrical metaphor, including its foundations, primarily, in Stoic and Satiric philosophies, and this provides the ground for the final two chapters. In Chapter 6 I examine certain aspects of Renaissance theories of the self and how these, then, related to public magnificence—the spectacular stagings of royal and civic power that reached new heights during the Renaissance. Finally, in Chapter 7, I show how the paradigm shift from a medieval sense of being to a modern sense of being, captured through the metaphor of a world view, manifested in a theatricalised epistemology that emphasised a relationship between knowing and seeing. The human spectator thus came to occupy the dual positions of being on the stage of the world and, through his or her spectatorship, making the world a stage.
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Pham, Van Khanh. "Theatricality in Tintoretto's religious paintings." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22618.
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Tintoretto, one of the great Venetian masters of the sixteenth century, is renowned for his compositional innovations. The painter also worked as a stage and costume designer for the Compagnie della Calza. As a result, he selected and combined elements of other disciplines in his pictures.This thesis focuses on the fusion of the arts in Tintoretto's imagery. A comprehensive analysis of this interdisciplinary aspect reveals the subtlety of Tintoretto's creative mind. The challenge is to discover Tintoretto as a stage designer who conceived pictures as theatrical performances. Instead of the traditional preparatory sketch, he built a miniature stage in order to visualize the scene in tangible forms existing in light and space. The design of the setting, the gestural choreography of his personages and the distribution of lighting were analysed and then translated into painted illusion. With this unusual methodology, Tintoretto invented forceful mise-en-scenes which induce the spectator to perceive the imaginary as real. A substantial knowledge of stagecraft also enabled him to bring to vibrant life the dramatic episodes of the Bible on canvas. Through such artfully constructed theatrical illusion, Tintoretto not only re-creates a vision for his audience, but above all, conveys the depth of his spiritual experience.
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Papadi, D. "Tragedy and theatricality in Plutarch." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1444999/.
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The present thesis focuses on the role of tragedy and on the multiple versions of theatricality in selected Essays and Lives of Plutarch. Most interestingly the 'tragic' does not emerge exclusively from the many quotations from the tragedians which are dispersed in the whole of the Plutarchan corpus, especially in his Essays it also emerges from distinctive suggestions of tragedy, tragic imagery, tragic parallels and texturing. Plutarch acknowledges the importance of tragedy in literary education, but is still very ready to criticise what the poets say. Even so, he does not treat tragedy negatively in itself, but figures it as a possibly bad and corrupting thing when it is wrongly transferred to real-life contexts. In this way he requires from his readers thoughtfulness and reflection on that relation between tragedy and real life, while he also makes them reflect on whether there is a distinctive 'tragic stance of life', and if so whether a philosophical viewpoint would cope with real life more constructively. In the Lives there may be less explicit thematic hints of tragedy, yet there is a strong theatricality and dramatisation, including self-dramatisation, in the description of characters, such as Pompey and Caesar, particularly at crucial points of their career and life. By developing the idea that the 'tragic' aspects may relate to the ways in which characters are morally or philosophically deficient or cause them to falter - but if so, in a way that is itself familiar from tragedy - they also relate extremely closely to the characteristics which make the people great. The tragic mindset (this idea will be illustrated from Plutarch's direct references to tragedy as well as his allusions to the theatrical world) offers a fresh angle in reading Plutarch's work and makes the reader engage more in thinking how both 'tragic' and theatre can be used as a tool to explore a hero's distinctiveness in addressing the issues of his world.
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Robertson, Jacob L. "Theatrical Ideology: Toward a Rhetoric Theatricality." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2858.pdf.
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Barakat, Mohsen Mosilhi A. "The theatricality of Edward Bond's plays." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279150.
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Azevedo, Gisel Carriconde. "Installation and theatricality thinking through objects." Thesis, University of East London, 2012. http://roar.uel.ac.uk/1788/.
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The last four years have been intense. The discoveries in the studio, the struggles with my readings and writings, having my work discussed and criticized, the close contact with other artists, scholars, curators and museums, combined with my travels abroad and the experience of living in a metropolis like London, enlightened my practice, enabling me to see from where my work came and find some of the questions it poses. Researching art history proved to be helpful in establishing the context where Installation Art emerged and developed. Claire Bishop’s critical writings provided me with the theory to understand the installation approach to the viewer, and Michael Fried’s criticism of ephemeral works of art and his claims for the autonomy of the art object, established the starting point of my research. My explorations into sculpture brought studio-life at the centre of my creative process and allowed me to look at installation with fresh eyes, reaffirming its importance within my practice and giving me the objectivity necessary to be critical as well. Thinking in terms of ‘making’ increased my awareness of the connections of my work and material culture and brought to the surface the role that audience and objects play in my work. The variety of media I explored and my interest in addressing art institutions and art history made it clear that I am not interested in formal experiments but in working from within the system of values, ideas and practices that form the whole of our culture, visually and theoretically, high and low. This report is organized in seven sections plus references and three appendices. The first section is a brief account of my educational and creative background followed by a shortened version of the proposal I submitted at the end of the first year. The next four sections constitute the main part of my investigation, reflecting the development of theory and practice during the doctorate. The last section is a general conclusion about the whole process. The style of writing reflects the subjective process of describing and analyzing my path throughout the art doctorate. The text is a collage of data, personal thoughts, quotes, aphorisms, diagrams, remarks, doubts and opinions; a bricolage that mirrored my creative process. I owe a lot to my doctorate colleagues and tutors, who helped to push my art further and strengthen me as an artist. I am especially grateful to Alison Winkle, Eemyun Kang, Geoffrey Brunell, Hideyuki Sawayanagi, Karen Raney, Mark Sowden, Sharone Lifschitz, Tim Weston and Tetriana Ahmed Fauzi. Further, I’d like to thank Aharon Amir, Ana Dumitriu, Carla Barreto, Danilo Antonelli, Darius Sokolov, Dulce Mourão, Fabi Borges, Hilan Bensusan, Josephine and David Beaumont, Gilda Carriconde Azevedo, Jussara Zottmann, Laura Virginia, Olga Shaumann and Eric Korn, Philip Jones, Priscilla Salvino, Rachel Cohen, Rita Monteiro, Rogerio Quintão, Susan Jones and Walter Menon who in different ways, generously contributed to my doctorate. Finally, I would like to acknowledge the support of the Brazilian Central Bank museum of money which made my study possible.
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Howell, Anthony James. "The romantic gypsy : history, theatricality, and Bohemianism." Thesis, Swansea University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681240.
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Atkin, Tamara. "Reforming drama : theology and theatricality, 1461-1553." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508434.
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Watt-Smith, Tiffany. "Flinching self-experimentation and theatricality 1872-1918." Thesis, Queen Mary, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538674.
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Turberfield, Peter. "Pierre Loti and the theatricality of desire." Thesis, University of Reading, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428290.
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Von, Held Phoebe Annette. "Alienation and theatricality in Brecht and Diderot." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251595.
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Imre, Zoltan. "Theatre, theatricality and resistance : some contemporary possiblities." Thesis, Queen Mary, University of London, 2005. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1865.
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Theatre, Theatricality, and Resistance is concerned with how certain elements of contemporary Western - mainly British and Hungarian - culture are manifested through theatrical activity, both on and off stage. In so doing, the thesis asks the extent to which resistance is pc'ssible in contemporary theatre and theatricality. The thesis argues that conventional Western theatre is grounded in escapism and nostalgia. Restricted by its own institutional system, ideological function, and commercial aims, conventional theatre reaffirms the spectators' psychological and emotional desires, and confirms the hegemonic views and assumptions of contemporary postindustrial societies. In so doing, it silences the various voices available in society and erases even the possibility of resistance. Then the thesis proposes that while theatre is regarded as a marginalized commodity on the cultural market, theatricality has now produced a number of new practices in postindustrial societies. As the everyday appears as representation in various, constantly evolving and continuously improvised, collective and individual cultural perfor'nances, theatricality is not only thoroughly utilised by dominant social groups, but is also open to resistant voices left out of public discourses. These voices express their resistance by rewriting the means, practices, and strategies that the dominant culture employs. Finally, the thesis investigates those theatre practices (labelled `resistant') that are alert to recent changes in theatricalised society. These practices reconsider social, political, and cultural boundaries; confront logocentricity; and place equal emphasis on 2 visual, oral, textual, and proximal elements, as well as the audience's creative-interactive participation. Theatre can thus reflect on the anomalies of the theatricalised society, social and sexual (in)difference, gender assumptions, and ethnic stereotyping, and resist the lure of power. Through these practices, theatre may attain complexity, endangering institutions, hierarchies and power, and offer alternatives to the dominant ideology by fusing popular and high culture, and giving visual, textual, intellectual and sensual pleasure to its participants.
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Stroh, Stephanie. "Embodiment and theatricality in post-museum practice." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/39273/.
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A recent shift to a more performative and relational understanding of the museum and its practices can be witnessed in the field of museum studies. This shift reimagines the museum as experience, process or performance, and is reflected in what has been termed the 'post-museum'. The post-museum challenges the representational practices of the museum, and introduces a potential 'liqud imaginary' which dissolves the traditional boundaries of what constitutes a museum. While these ideas point to relevant changes in the way museums are perceived and practiced, the field has so far failed to explore the implications of this shift for the practice of museum research. This study examines the potential of the post-museum for developing new approaches to research practices. It contributes to the field of museum studies by exploring creative research methods that qualify as site-responsive, experimental means of critically engaing with the museum. These creative methods of research are developed on-site at the National Maritime Museum Greenwich, London. Under-represented in the museological literature, maritime museums provide potent opportunity as sites for experimentation into creative, more-than-representational approaches to museum research. The study examines creative research methodologies through the embodied mode of inhabitation, which it conceptualises through the notions of dwelling and travelling. Drawing on the concept of the 'mariner's craft' from maritime literary criticism and so-called wet or liquid ontologies from human geography, the research explores the potential of post-museum thinking from a cross-disciplinary perspective. Inhabiting the Museum through creative-experimental doings, the thesis-in-motion maps out an uncertain voyage into the uncharted territories of creative maritime museum research, a voyage of exploration, intervention, and creativity.
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Willis, Emma C. R. "Absent others: dark tourism, theatricality, and ethical spectatorship." Thesis, University of Auckland, 2011. http://hdl.handle.net/2292/7165.
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To call the twentieth century a catastrophic one, is to acknowledge the collapse of humanist values. Events such as the Holocaust, genocides in Rwanda and Cambodia, and numerous other atrocities demonstrated the utter failure of social and political frameworks. The incomprehensible scope of such suffering also profoundly challenged representational practices; as widely cited, Adorno stated that there could be no poetry after Auschwitz (34). Yet, we cannot turn away from such disasters. This thesis is concerned with how theatricality allows us to face such grievous history, and seeks to engage a theatrical analysis to help clarify what is at stake in such spectatorship. In order to examine theatricality as a mode of ethical responsiveness, I offer two contrasting sets of examples: tourist sites and theatrical performances. The sites I consider are examples of 'dark tourism,' destinations that depict death and disaster. I explore how theatricality arises in response to the key challenge that underlies these places, which is how to make past suffering available to the spectator at the same time as acknowledging that such representation is never completely possible. In discussing a series of sites including Rwanda, European concentration camps, museums and memorials in South East Asia and a New Zealand example, it is this tension, and the difficulty of locating and sustaining an ethical performativity that I explore. In contrast with the tourist sites discussed, I consider theatrical examples that have sought to represent the same history. I discuss works such Jerzy Grotowski's Akropolis, Catherine Filloux's play, made in response to the Tuol Sleng Genocidal Museum in Cambodia, Photographs from S21, and Erik Ehn's Maria Kizito, which deals with the first trial of Rwandan genocidaires. Through this interdisciplinary analysis, I ask how theatricality's ability to make available something of the experience of the other might be thought of in ethical terms. I draw on the work of Emmanuel Levinas, particularly his image of the 'face of the other,' in order to consider the relationship between spectator and absent other. I intend to demonstrate that a theatrical analysis helps us to understand such encounters, touristic and theatrical, more clearly.
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Gurbanova, Sabina <1996>. "Theatricals and Theatricality in Jane Austen's "Mansfield Park"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18991.
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Theatricals and Theatricality in Jane Austen’s “Mansfield Park”
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“Mansfield Park” is one of the Jane Austen’s novel that deals most directly with theatrical subjects. Themes in the novel are strongly connected with the choice of the popular eighteenth-century play, “Lover’s Vows”. A performance of that play as a home-theatrical covers a significant place in the first volume of the book.
In the novel, The Bertrams, her cousins and their fashionable new neighbours Mary and Henry Crawford, decide to set a staging of a popular drama to spend joyful time, while patriarch Sir Thomas is on business trip in Antigua. “Theatre” at Mansfield Park extends from billiard room to all places, Sir Thomas’s Study. The episode in the first volume that describes Sir Thomas’s return from Antigua, is the point when theatricality in this novel is destroyed by his order to burn every copy of Lover’s Vow. Despite the destruction of theatre as place, theatricality as a topic turns out to spread over the novel.
Even though the theatrical content occupies a dominant position in the novel, the vision of the theatre presented in the novel might be considered complicated, even negative. The theatricals initiate acts of moral degradation that the novel ultimately condemns. Furthermore, the theatre and the specific play chosen are criticized and resisted on moral grounds by main characters that are identified to be positive characters (Fanny Price and Edmund Bertram), and celebrated by those who are considered to be characters with lower moral values (Maria Bertram, Tom Bertram and The Crawfords).
Additionally, by paying attention to the description of the theatricals indicated by Fanny Price and Henry Crawford, it is possible to examine the similarity of their language. Although each of them states their opinion in a completely different way, both Fanny and Henry characterize theatricals in terms of “discontent” or “anxiety”. For them, the theatre is not just an object but the very site of anxiety.
In “Mansfield Park”, the theatre which colonizes the rest of the novel, becomes strongly connected with unavoidable social existence and political postures. As a novel about theatricality, “Mansfield Park” describes theatrical forms as a danger threatening the interests of a certain period society.
This paper aims to demonstrate the effect of the theme Theatre and Theatricality in the novel of “Mansfield Park” by Jane Austen by providing a deep literary analysis and approach to the topic from different perspectives.
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Sava, Sharla. "Cinematic photography, theatricality, spectacle : the art of Jeff Wall /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/3632.
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Emfietzis, Grigorios. "Discovering, creating and experiencing notions of theatricality in musical performance." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6433.
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This thesis consists of a portfolio of musical compositions and a written commentary. The submitted works creatively challenge the form of a conventional concert by exploring methods of bringing to the fore the theatrical side of musical performance: its inherited or implemented conceptual and visual aspects. The portfolio is divided into three main categories. The first comprises a series of pieces that balance between music theatre and conventional concert practices. The second category includes works that reform many aspects of the traditional concert presentation, without breaking away from it. The third category includes works that experiment within the territory determined by the previous categories. The written commentary presents theoretically the compositional approach used throughout the portfolio and provides a brief philosophical background, such as is necessary to explain the underlying concepts, ideas, preoccupations and concerns. It also contains a comprehensive analysis of the submitted works, their aims, contextual links, applied methodologies, associations with other composers’ works and interconnections between them.
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Diamond, Jeff Barja. "Theatricality and power : politics and "play-acting" in the European Renaissance." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39319.
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In and around the princely courts of Europe, Renaissance humanists drew upon the teachings of classical antiquity, often reinterpreting them to suit their own intellectual and ethical needs. One such need concerned balancing notions of achievement predicated upon gaining others' favor, with ideals of constancy and integrity. Evidence of this dilemma can be found in the works of Niccolo Machiavelli, Desiderius Erasmus, Thomas More, and Michel de Montaigne. In each of these cases, the attachment to differing conceptions of accomplishment and human dignity resulted in contradictions in their writings, and in their lives.
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Doyle, Charlotte J. "The actor, theatre and theatricality in Spanish film from 1952-1989." Thesis, Aberystwyth University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263295.
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Bernhardt, Paul. "Entertaining fictions : Chaucer, literature, and play." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338626.
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Schmidt, Theron. "The politics of theatricality, community and representation in contemporary art and performance." Thesis, Queen Mary, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538671.
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Dundjerovich, Aleksandar Sasha. "Theatricality of Robert Lepage : a study of his transformative 'mise-en-scene'." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302114.
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Willis, Christopher Timothy. "Performance, narrativity, improvisation and theatricality in the keyboard sonatas of Domenico Scarlatti." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/283830.
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Ioannou, Christina <1987>. "THE THEATRICALITY OF PUBLIC SPACE & THE ECONOMIC IMPACT OF URBAN PLANNING." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4405.
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Working for the Louisiana c/o Venice exhibition ‘Life Between Buildings’, organized by the Museum of Modern Art, located in Humlebæk, Denmark, and in collaboration with Gehl Architects, I had the opportunity to get familiar with the projects realized by Jan Gehl and his collaborators in cities around the world.
Having concluded my undergraduate degree in Theatre Studies, I have always been charmed by the fact that our life could be compared to a theatre performance, which takes place in a city identified as a theatre stage, with a temporary setting and props, and where all of us play one or even more roles during our lifetime.
As it is often written in theories, it is evident the presence of an ‘invisible hand’ which conducts our lives, and which, from my point of view, could be detected in the projects done by Gehl Architects and especially as the ‘hand’ of Jan Gehl, who is acting as a metteur en scène, setting his scenography in public spaces, creating a people-friendly environment, where life can flourish, and inviting citizens to interact, influencing their life conditions, their social relationships and the business affairs.
In the present research paper I will try to support my opinion through the theories written by philosophers and theorists of the theatre and social life. Also I would like to develop these ideas by presenting the case of urban strategies studied by Gehl Architects, which could contribute to the way people should live, in cities planned according to the ‘human scale’, achieving the return of the quality of life in the urban spaces, re-introducing the long forgotten terms of interaction, communication and participation in everyday social life – notions that, seen from a perspective of mise-en-scène, are also used in the ‘theatre language’ for what the theatre is trying to attain between the actors and the audience in a commonplace prescribed by rules.
Through this case there is another issue that emerges and I would like to touch: How could a good urban planning influence not only the social life of the city but also the entrepreneurship? How could policies create a fertile terrain where talent and creative people will be attracted to cluster? A soil, which will be tolerant to the diversity, innovation and new experiences and use this incoming creativity as an economic and social motor, which will bring welfare to the society? A ground, which will invite businesses to invest, pointing to a positive impact in the economy of the city during the creative industries’ era, turning the urban setting in a smart city?
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Barker, Roberta Ellen. "Knaves and shape-shifters, Webster's malcontents, class and theatricality in early modern England." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24797.pdf.
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Spiegel, Jennifer. "Staging ecologies : the politics of theatricality and the production of global ecological subjectivities." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/3469/.
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Since the latter decades of the twentieth century, environmental threats posed by global industrialization have become a matter of growing public concern. Increasingly grievances are aired in the streets around the world, and are broadcast in the popular media. However, with the prominence of techno-scientific and ecomanagerial approaches to the ‘ecological crisis’ ecological discourse may be in the process of becoming the new rubric of global governance. Here I engage debates concerning biopolitics and the production of subjectivity, in order to assess the implications of the theatricality of interventions for recasting the terms according to which ecological problematics are approached. I pursue this question: How can theatrics intervene in shaping the political ecology of the future? I begin this thesis by presenting a theory of the politics of theatricality as it applies to the development and reshaping of global ecological politics. In the subsequent chapters, I develop this theory in light of the uses of theatricality in the World Urban Festival, an ‘arts-for-social-change’ festival on the theme of ‘sustainability’ held in Vancouver; an environmental health education program launched in Ecuador with international support; and within local and international activist movements in the aftermath of the Bhopal Gas Leak, widely considered to be the worst industrial disaster of the twentieth century. I argue that while the theatricality of such interventions can promote a particular ecological ethic that minimizes the politics at stake, theatrical interventions can also challenge the de-politicized naturalization of ecological problems. I conclude that the context and nature of relationships staged in and through each event shapes the politics of theatricality, and in turn, the production of global ecological subjectivities. As such, I identify the various challenges and opportunities signalled by this trend toward staging ecologies.
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Gkountouna, Sotiria. "Mediated breath : interfaces between Beckett's intermedial Breath, Fried's theatricality and the visual arts." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594109.
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Mediated Breath examines a wide range of possibilities of understanding and redefining the context in which the corporeal function of breathing is represented in art. during the performative turn, and in relation to contemporary debates around presence and relational aesthetics. The thesis aims to examine Beckett's Breath, both as a minimalist art work in order to see how it might contribute to debates led by Fried around minimalism and (anti)theatricality, and as a text for and related to contemporary intermedial production in order to explore how intermedial art practices contribute to new understandings, for example of the body's intermedial relationship to the world. The above issues are addressed, in relation to the special significance that respiration acquires by means of an artistic system. The thesis examines, in particular, Beckett's Breath (1969) in the spectrum of intermedia aesthetics, high-modernist art criticism and theories on theatricality, so as to comprehend Beckett's ultimate venture to define the borders between a theatrical performance and a purely visual representation, in the context of the interface between the theatre and the visual arts. Beckett's playlet demonstrates a decisive moment in the history of theatrical experimentation, in part because of the new relationship it developed towards the fonnal possibilities of the theatrical event. The exposition of the components of a medium in skeletal fonn is pivotal for understanding aspects of Beckett's intermedia practice. Breath is analysed, alongside Michael Fried's seminal essay on minimalism "Art and Objecthood" (1967) and the "Three Dialogues with Georges Duthuit" (1949). Beckett's final piece of discursive writing. considered within the context of its subject matter, the tension between abstraction and expression, the dilemma of artistic expression and the impossibility of expression in painting. The "Three Dialogues," also, illuminate specific aspects of the playlet, principally Beckett's decision to eradicate the text and the human figure, hence, the interest lies in the ways that Beckettian aesthetics translates into practice. This reading attempts to provide a theoretical model for thinking about the intersection of critical discourses in the visual arts and the theatre, more specifically about tbe notion of anti-theatricalism in the theatre and the modernist anti-theatrical impulse in the visual arts. In this perspective, Breath serves as an indication of the fonnative, productive role of anti-theatricalism in the theatre and not as an external attack on it. Breath, as a representative piece of minimal ism in the theatre, is paradigmatic of Beckett's aesthetics of impoverishment and his fidelity to failure. As such it resists recuperation and can be seen as a critique of the conditions of art making, display, marketing and interpretation, in contrast to minimalist art, which became dependent on these processes.
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Ward, T. "Compound magic : Virtuosity, theatricality and the experience of theatre in the Jacobean Period." Thesis, University of East Anglia, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235190.
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Kanzler, Katja. ""To Sue and Make Noise" - Legal theatricality and civic didacticism in Boston Legal." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-162984.
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The legal drama episode from which this dialogue is taken depicts an impossible case: a Sudanese immigrant, who lost most of his family to the violence in Darfur, wants to sue the U.S. government for failing to intervene in the face of obvious genocide. The case is unwinnable. Lori Colson’s construction of a legal basis for the case is more than shaky. But neither the client nor his lawyers expect to win the case. Their proclaimed objective – to “make noise” – pinpoints a significant cultural potential of litigation, of its “real” practice in the courtroom and, even more importantly, in its various forms of mass-medialization and fictionalization: to raise public awareness about instances of injustice, to educate the public and encourage civic debate.
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Svendsen, Zoë Anna. "Making space for practice : theatricality and the Gate Theatre, Notting Hill, 1979-2002." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/283856.
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Skwirblies, Lisa. "Theatres of colonialism : theatricality, coloniality, and performance in the German Empire, 1884-1914." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/106458/.
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This dissertation investigates the nexus between theatre and colonialism in the German empire between 1884 and 1914. It introduces the concept of colonial theatricality, through which it explores to what extent theatre and colonialism have been productive of each other’s orders, knowledge formations, and truth claims. This dissertation thus looks at the empire through its cultural manifestations and its ‘representational machinery’, specifically the theatre. It provides an understanding of the German colonial empire that goes beyond its territorial, administrative and military strategies. In order to do so, the dissertation discusses a broad set of performances that the German empire brought forth at the turn of the century: popular theatre performances that mediated the colonial project to a domestic audience, amateur theatre societies that staged ‘German culture’ in the colonies, colonial ceremonies that included repertoires of the settler as well as of the indigenous population, court-hearings of African individuals residing in Germany claiming their rights, and a petition from the former German colony Kamerun charging the German government with crimes against humanity. Beyond the appearance of the colonial project as a topical issue on stage, this dissertation argues for a deeper-seated interdependence between theatre and colonialism, one that can be detected in the dynamics of ‘seeing’ and ‘showing’. Through the concept of colonial theatricality as a particular mode of perception and representation akin to both the theatre and the colonial enterprise, this dissertation suggests a new framework for looking at the entangled histories of metropole and colony in focusing on the empire’s ordering truth, its formations, effects, and ambivalences.
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Ojima, Chihiro. "The Theatricality of Everyday Life in the Plays of the Children of Paul’s." Kyoto University, 2020. http://hdl.handle.net/2433/253351.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第22515号
人博第918号
新制||人||220(附属図書館)
2019||人博||918(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 廣野 由美子, 准教授 池田 寛子
学位規則第4条第1項該当
34
Kanzler, Katja. "To Sue and Make Noise' - Legal theatricality and civic didacticism in Boston Legal." Universitätsverlag Winter, 2011. https://tud.qucosa.de/id/qucosa%3A28582.
Full textAbstract:
The legal drama episode from which this dialogue is taken depicts an impossible case: a Sudanese immigrant, who lost most of his family to the violence in Darfur, wants to sue the U.S. government for failing to intervene in the face of obvious genocide. The case is unwinnable. Lori Colson’s construction of a legal basis for the case is more than shaky. But neither the client nor his lawyers expect to win the case. Their proclaimed objective – to “make noise” – pinpoints a significant cultural potential of litigation, of its “real” practice in the courtroom and, even more importantly, in its various forms of mass-medialization and fictionalization: to raise public awareness about instances of injustice, to educate the public and encourage civic debate.
35
Touma, Josephine. "Painting performance: art and theatricality in the work of Antoine Watteau (1684-1721)." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11858.
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This thesis focuses on the artistic oeuvre of Antoine Watteau (1684-1721), reassessing the artist’s practice in light of eighteenth-century French theatrical culture. Watteau’s singular aesthetic has been the subject of much scholarly debate. The characteristic ambiguities of his paintings, which have occupied scholars from the beginnings of modern interest in the artist, remain only partially understood. This thesis builds upon existing scholarship, locating Watteau's theatrical subjects historically, in terms of both early eighteenth-century theatrical practice (including set design, play illustrations and accounts of spectatorship and performance) and contemporary aesthetic theories that compare and align the visual and performing arts. Watteau developed a visual language of theatricality that reached beyond depicting characters, costumes and scenarios; based in the paradoxical aesthetics of performance and spectatorship. This thesis explores such issues by examining both overlooked artworks (such as the decorative cycle for the Hôtel de Nointel and a painting known as La Rêve de l’artiste) as well as familiar works that invite a fresh reading (Les Comédiens italiens, Les Plaisirs du bal, La Perspective and L’Enseigne de Gersaint)— in light of new sources and points of reference. In these works, Watteau suggested that the mimetic arts of performance and painting originate in the artistic imagination, and they also invite the viewer to participate with an imaginative response. Ultimately, Watteau’s paintings are concerned with the paradoxical pleasures of viewing that arose from the heady atmosphere of the early eighteenth-century theatre.
36
Spina, Danton Christopher. "Confused Spaces: Theatricality as a device for defining different types of public space." DigitalCommons@CalPoly, 2013. https://digitalcommons.calpoly.edu/theses/1136.
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Confused Spaces has come to the conclusion that theatricality can be a device for defining different types of public space. This book aims to define theatricality in architectural terms by taking principles from the disciplines of theater and urban design. It limits the scope of the definition to a specific set of elements of theatricality that include spectacle, transition, flexibility, and compactability. After attempting to define why these elements of theatricality are valid architectural concepts, the text then pushes to understand the experience that these elements can create. Through the use of historical and contemporary references, an argument for theatricality can already be found to exist but simply has not been clearly defined. The best methods of studying the design concepts are initially discussed. It is believed that in addition to a thorough case study of an existing structure which practices theatricality, the best way to explain the concepts of the idea as well as analyze them would be through several design attempts. Architectural competitions become the venue for experimentation. Three competition entries are submitted that attempt to implement theatricality. One more competition is created and results in an exhibition of the entries as well as an installation which can be studied and analyzed in a physical space. By using principles distilled from all the preceding research and design analysis, a theoretical large-scale design is explored. The design combines significant site data with all the design principles defended in the text up to this point. The design becomes the most complete visual representation of the core concept for theatricality. In conclusion, it is determined that the principles of theatricality clearly have a significant impact on the public and the pedestrian experience. It is encouraged for the concept to be used as a design device for creating pedestrian-friendly spaces in the future.
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Gill, Zachary Whitman. "Soldiers performing/performing soldiers spectacular catharsis, perpetual rehearsal, and theatricality in the US infantry /." Diss., [La Jolla] : [Irvine] : University of California, San Diego ; University of California, Irvine, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3359846.
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Thesis (Ph. D.)--University of California, San Diego and the University of California, Irvine, 2009.Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 239-249).
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Townsend, Emily. "Player King early modern theatricality and the playing of power in William Shakespeare's Henriad /." Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/635.
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Apgar, Jennifer L. "Performing passing theatricality in Zoë Wicomb's Playing in the light and Nella Larsen's Passing /." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/english_theses/50/.
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Thesis (M.A.)--Georgia State University, 2008.Title from title page (Digital Archive@GSU, viewed June 21, 2010) Pearl McHaney, Renée Schatteman, committee chairs; Audrey Goodman, committee member. Includes bibliographical references (p. 80-81).
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Apgar, Jennifer L. "Performing Passing: Theatricality in Zoë Wicomb's Playing in the Light and Nella Larsen's Passing." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/english_theses/50.
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Acts of “passing” inform the plots of Zoë Wicomb’s Playing in the Light and Nella Larsen’s Passing. Examples of contemporary South African fiction and Harlem Renaissance fiction respectively, these texts explore racial passing and its correlative, social passing. Social passing includes enactment of social relationships, responds to class anxieties, and requires repression of emotions as participating characters attempt to fix their performed roles into permanent identities. At issue are the texts’ multiple enactments of passing with special interest paid to these acts’ constitutive theatricality. Characters perform within narrative settings, locations subsequently deconstructed exposing both implicit and explicit theatrical functions. Threshold spaces of doors and windows form frames within settings, focusing the audience’s gaze and simultaneously creating and dismantling private and public places to reconstitute them as theater. This study culminates in reflections on the tension between the relative freedom and containment of characters that pass.
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Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Morgan, George MacGregor. "London! O Melancholy! : the eloquence of the body in the town in the English novel of sentiment." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2573.
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Morgan reads the treatment of gesture in Clarissa (Richardson, 1747 - 48), Amelia (Fielding,1 751), and Cecilia (Burney, 1782) to study the capacity the sentimental novel attributes to physical forms of eloquence to generate sociability and moderate selfishness in London. He argues that the eighteenth-century English novel of sentiment adopts a physiology derived from Descartes's theory of the body-machine to construct sentimental protagonists whose gestures bear witness against Bernard Mandeville's assertions that people are not naturally sociable, and that self-interest, rather than sympathy, determines absolutely every aspect of human behaviour. However, when studied in the context of sentimental fiction set in the cruel and unsociable metropolis of London, the action of this eloquent body proved relatively ineffectual in changing its spectators for the better. In the English novelistic tradition that stems from Samuel Richardson's Clarissa (1747 - 48), selfishness lies at the roots of civilization, and inculcates modern urban people with instinctively theatrical mores: metropolitan theatricality, marked out in the gestures of the polite body, works to vitiate the sociability that might naturally animate everyday human intercourse. Clarissa responds to the dilemma of the intrinsic theatricality and self-interestedness of modern civil society with a heroine whose gestures (that is, whose physical states) demonstrate an eloquence that partially counteracts some of the effects self-love has upon the metropolis. But while sympathy and natural eloquence do little to diminish London's submission to selfishness, they remain, in Clarissa, unequivocally good. In contrast with Clarissa, Henry Fielding's Amelia (1751) and Frances Burney's Cecilia (1782) criticize both phenomena. In these novels, both by written by socially conservative authors, natural eloquence and sympathy do not generate sociability in London at all and do not even ensure personal virtue unless they are tempered by the discipline of some kind of theatricality. For Fielding and for Burney, unregulated sympathy becomes a problem to which the best remedy is a modicum of stage-craft. But, strangely enough, all three novels indirectly licence the principles of the self-interest they ostensibly attack. Ultimately, these novels of sentiment self-consciously position sympathy and natural eloquence as supplemental discourses that might protest against the dominant practices of Mandevillian self-interest that produce the social order of the metropolis. The net result is that the novel of sentiment implicitly tolerates the dominance of self-interest in the areas of public activity that lie mostly outside the subject-matter with which sentimental fiction principally concerns itself.
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Ferreira, Pedro Isaías Lucas. "A espetacularidade e a teatralidade na cena cinematográfica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/98629.
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A pesquisa parte do pressuposto de que o trabalho do ator no Cinema enfrenta adversidades que são características do sistema de produção cinematográfico. Dentre elas está a necessidade de contracenar com o aparato tecnológico utilizado para o registro de imagem e som. Além disso, a dinâmica de trabalho em uma produção audiovisual não favorece uma interação entre a equipe e o elenco no momento em que a cena acontece; não visa estabelecer um elo de comunicação sensível entre atuação e demais presentes no “set” de filmagem. O aqui e agora do trabalho do ator na cena cinematográfica está sob constante risco de ter uma assistência pouco participativa durante o seu acontecimento. O objetivo deste trabalho é estudar algumas formas com as quais diferentes realizadores e pesquisadores lidaram com essa questão, utilizando como instrumental teórico de análise o conceito de espetacularidade sob a perspectiva da Etnocenologia. Para empreender esse estudo é necessária a realização de uma apropriação dos conceitos de espetacularidade e de teatralidade na relação entre equipe, elenco e aparato técnico na encenação cinematográfica. Nessa apropriação de conceitos algumas experiências de criação cênica em Teatro e Cinema do próprio pesquisador também serão utilizadas como material de apoio. O que se busca com essa pesquisa é fazer uma contribuição ao debate sobre a Etnocenologia e o trabalho do ator/diretor - de Cinema e de Teatro - em uma perspectiva que apresenta entrelaçamentos da arte teatral com a arte cinematográfica.The research assumes that the actor's work in Cinema facing adversities that are characteristic of cinematic production system. Among them is the need to act with the technological apparatus used for recording image and sound. Moreover, the dynamics of working in an audiovisual production does not encourage interaction between the cast and crew at the time that the scene takes place, it’s not intended to establish a sensitive communication link between the dramatic act and other gifts in "set" of the filming. The here and now of the actor's work on the film scene is under constant risk of having a little participatory assistance during your event. The objective of this work is to study some ways in which different directors and researchers have dealt with this issue, using as theoretical tools of analysis the concept of spectacle from the perspective of Ethnoscenology. To undertake this study is necessary to perform an appropriation of the concepts of spectacle and theatricality in the relationship between staff, cast and technical apparatus in cinematic staging. In that appropriation of concepts some experiments scenic setting in Theatre and Cinema of the researcher will also be used as support material. The intention of this research is to make a contribution to the discussion about Ethnoscenology and work of actor/director - Film and Theatre - in a perspective that presents twists of theatrical art with the art of cinema.
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Willmer, David. "Theatricality, mediation, and public space : the legacy of Parsi theatre in South Asian cultural history /." Online version, 1999. http://bibpurl.oclc.org/web/21701.
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Robbins, Hannah M. "'A chance for stage folks to say "hello"' : entertainment and theatricality in 'Kiss Me, Kate'." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/19002/.
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As Cole Porter’s most commercially successful Broadway musical, Kiss Me, Kate (1948) has been widely acknowledged as one of several significant works written during ‘the Golden age’ period of American musical theatre history. Through an in-depth examination of the genesis and reception of this musical and discussion of the extant analytical perspectives on the text, this thesis argues that Kiss Me, Kate has remained popular as a result of its underlying celebration of theatricality and of entertainment. Whereas previous scholarship has suggested that Porter and his co-authors, Sam and Bella Spewack, attempted to emulate Rodgers and Hammerstein’s Oklahoma! (1943) by creating their own ‘integrated musical’, this thesis demonstrates how they commented on contemporary culture, on popular art forms, and the sanctity of Shakespeare and opera in deliberately mischievous ways. By mapping the influence of Porter and the Spewacks’ previous work and their deliberate focus on theatricality and diversion in the development of this work, it shows how Kiss Me, Kate forms part of a wider trend in Broadway musicals. As a result, this study calls for a new analytical framework that distinguishes musicals like Kiss Me, Kate from the persistent methodologies that consider works exclusively through the lens of high art aesthetics. By acknowledging Porter and the Spewacks' reflexive celebration of and commentary on entertainment, it advocates a new position for musical theatre research that will encourage the study of other similar stage and screen texts that incorporate themes from, and react to, the popular cultural sphere to which they belong.
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Chalker, Melissa Grace. "Contemporary Non-objective Art." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18614.
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My project, Contemporary Non-objective Art, is a practice-led investigation into the dominant narratives surrounding non-objective or abstract art, and how they can be revisited and reimagined. This project aims to challenge typical and chronological ideologies that have defined non-objective art and to demonstrate a new outlook. Particularly by demonstrating how theatricality in art can be embraced, filling the work with both irony and symbolic weight. Throughout this project I use the term “non-objective art” as a way of describing and focusing on the aesthetic and technical elements of my work and practice. I want to stress that this is a visual language of modernist painting and sculpture as a form of practice— even when it is carrying the historical values of its time. I argue that the modernist narrative has changed, and that this is an important element of contemporary reductive practices—in particular, geometric abstraction. The social and cultural narrative of modernity is now self-consciously inflected with the self-critique that led to postmodernity. This has created new contexts and interests in art practice that are no longer aligned with the reductive idealism of early 20th century non-objective or “abstract” art.1 At a time when artists are struggling to maintain sense of non-objective art, I hope to use this paper and my artwork to add strangeness and irony as a way to find new interest and vitality in non-objective art. My research illustrates a resistance to the principals and ideas of the early 20th century through the 21st century’s visual language of unconventionality.
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Filimonova, Alexandra. "Theatricality And The Chronotope In The Magus By J. Fowles And England, England By J. Barnes." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611248/index.pdf.
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The thesis reveals the main principles of the theatrical chronotope and examines the ways in which it is embodied in the novels of two postmodern authors &ndashThe Magus by John Fowles and England, England by Julian Barnes. These are analyzed as presenting two different variants of texts that employ the theatrical chronotope to exploit its different possible semantic implications. The thesis argues that in The Magus theatricality is employed to convey the author&rsquo
s philosophical and aesthetical thoughts. The main qualities of the theatrical universe, actualized in the novel, are its epistemological potential determining the protagonist&rsquo
s quest in the &ldquo
heuristic mill&rdquo
of the metatheatre, and the multileveled structure of theatrical reality, combining different degrees of conventionality, which serves to posit the question of the relationships of aesthetical and actual reality. In England, England, theatricality is used to investigate the nature of modern society presented as a kind of totalitazing spectacle. Accordingly, the theatrical chronotope is used to construct a simulative reality, manifesting that of the modern society in replacing the actual reality and experience of living with the illusory pseudo-experience of consuming the images of reality and living, in its role-imposing and transforming abilities manipulating both personal and national identity.
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Greeley, Anne Lindsey. "Being and theatricality : the staging of the metaphysical in Giorgio de Chirico's 'Pittura Metafisica'. 1910-1914." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.724965.
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Leong, Haymen Gar Kern. "“Her sensibility was potent enough!” : theatricality, moral philosophy, and the feminine ideal in Sense and Sensibility." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33749.
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Much work has been done recently on the way late eighteenth and early nineteenth century British women novelists portray female experience. A considerable portion of this work on Jane Austen emphasizes a link between contemporary books on feminine conduct and the novel’s portrayal of its heroine’s subjectivity as well as the impact of the theatre and ideas about the theatre on her novels’ representations of feminine propriety. Nancy Armstrong argues that conduct literature for women in the eighteenth century became “such a common phenomenon that many different kinds of writers felt compelled to add their wrinkles to the female character” (65). Austen’s conception of the female ideal draws on conduct literature but she combines theatrical elements in her portrayals to introduce elements of social change. Recent studies have demonstrated Austen’s deep and abiding interest in theatrical representation and theatrical sociability. Critics, such as Joseph Litvak, argue that Austen’s novels share certain representational strategies with the theatre and “their very implication in a widespread social network of vigilance and visibility – of looking and of being looked at – renders them inherently, if covertly, theatrical” (x). This essay builds on this research; however, it focuses on another less discussed influence upon Austen’s novels. Specifically, it considers the influence of the moral philosophy of the Scottish Enlightenment thinkers, particularly the writings of David Hume and Adam Smith, on the novel’s use of theatricality to represent the feminine ideal. Focusing on Sense and Sensibility, my argument is that Austen eschews Humean sympathy and uncontrollable passion in favour of Smith’s impartial spectator. Austen’s novel suggests a conservative model of proper feminine conduct that is characterized by perspicuity and a morality defined by Christian principles. Her emphasis on Christian principles, particularly conformity and self-denial stems, I argue, from her Tory Anglican beliefs and conscientious efforts to underscore the importance for females to adhere to tradition and regulate their desires. Supporting a Johnsonian perspective about human nature that private interests and desires must be curtailed, Austen stresses moral behaviour to support the Burkean model of preserving tradition and maintaining the existing hierarchical model of social structure.
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Eastham, Andrew David. "The ideal stages of aestheticism : theatricality in the fiction and criticism of Pater, Wilde and James." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415448.
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