“Pseudo-wits and polished frauds”: directing Molière's The Learned Ladies examines the preparation, pre-production, and rehearsal process behind The Learned Ladies, staged at the University of British Columbia’s Frederic Wood Theatre from February 7-16, 2008. As detailed in the following paper, my objective was to examine the text through the lens of the commedia dell’arte and its influence on the playwright’s characters and dramaturgy, as well as Molière's feminism. In the rehearsal hall, my focus was on actor creation and “play.” Chapter 1 summarizes my pre-production research, and includes biographical information on both the playwright and translator, as well as the above noted commedia and early feminist influences, while Chapter 2 provides a detailed directorial analysis of Molière's text. A journal – chronicling the entire production process from early design meetings through rehearsals and the run of the show – makes up Chapter 3. Finally, Chapter 4 is a short reflection on the process, outlining major shifts in my thinking and technique, and concluding with my final thoughts on the production.

Richard Serra's sculpture constitutes a political act through its analytical and operative strategies: analytical, when the work exposes the structures that frame our intersubjectivity, and operative, when the work acts as an example of resistance to the habitual acceptance of these structures. The significance of this oeuvre to architecture is that Serra's sculpture deliberately presents itself as something just shy of architecture, claiming its critical role to be that abandoned by--and proper to--architecture.

No description available.

This study examines the writings of Richard Whitford, early sixteenth-century English Bridgettine Father and author of devotional literature. Since a canon of his writings has not yet been satisfactorily established, the study begins by examining all works attributed to Whitford and their claim to a place in the corpus of his writings. The appearance of Whitfordts name as self-acknowledged author within the text of a work and/or reference to the work in another work known for the above reason to be his are considered indisputable evidence of his authorship. Chapters 2 and 3 examine the salient characteristics of all works falling into this category. Chapter 4 looks at all other works attributed to Whitford and, based on the evidence provided by chapters 2 and 3, accepts or discounts his authorship of the works. Chapter 5 provides a physical description of most early printed editions of Whitford's writings and traces their history as printed books. A comparison of different editions of Whitford's works reveals that his thought remained conservative throughout his life but that he was constantly considering ways in which he might best convey his message to his audience. Chapter 6 is a detailed study of sources, such as contemporary writings, the Bible, the writings of the Church Fathers and the pagan writings of antiquity, used by Whitford in his works and the ways in which he used them. Chapter 7 examines Whitford's writings in the context of contemporary devotional literature. It will be seen in this chapter that they hold a peculiar place in the devotional literature of the early sixteenth century, not so much because of their content but because of their presentation. The appendix provides an edition of Syon Ms. 18, A looking glace for the religious-, quite possibly by Whitford and never previously edited.

No description available.

“Pseudo-wits and polished frauds”: directing Molière's The Learned Ladies examines the preparation, pre-production, and rehearsal process behind The Learned Ladies, staged at the University of British Columbia’s Frederic Wood Theatre from February 7-16, 2008. As detailed in the following paper, my objective was to examine the text through the lens of the commedia dell’arte and its influence on the playwright’s characters and dramaturgy, as well as Molière's feminism. In the rehearsal hall, my focus was on actor creation and “play.” Chapter 1 summarizes my pre-production research, and includes biographical information on both the playwright and translator, as well as the above noted commedia and early feminist influences, while Chapter 2 provides a detailed directorial analysis of Molière's text. A journal – chronicling the entire production process from early design meetings through rehearsals and the run of the show – makes up Chapter 3. Finally, Chapter 4 is a short reflection on the process, outlining major shifts in my thinking and technique, and concluding with my final thoughts on the production.

ix, 267 leaves : graphs, tables ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Psychology, 1980

Münster (Westfalen), Universiẗat, Diss., 2007 (Nicht für den Austausch).

Thesis (Ph.D.) -- University of Adelaide, Dept. of Psychology, 1980.

Thesis (M.A.)--Wheaton College, 2005. Action Research Paper (M.A.)--Wheaton College, 2005. / Includes bibliographical references.