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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
111

Howard Barker's drama of aporias : from a phenomenology of the body to an ontology of the flesh

Fakhrkonandeh, Alireza January 2015 (has links)
In this thesis, I intend to approach and explore Howard Barker’s corpus, interweaving philosophical and critical analysis. This thesis posits Barker as primarily a European dramatist in whose tragic theatre aesthetics, ethics, and ontology are treated aporetically. Barker’s drama, in this study, is succinctly characterized as the drama of sense and différance which is inherently traversed with the question of aporia. The concept of aporia forms and inform this thesis. Aporia, as deployed here, designates a situation or condition in which the conditions of possibility proves as the conditions of impossibility. Furthermore, my deployment of “aporia” more than being confined to a strict philosophical-conceptual sense or logic, articulates a topological mode of relationality between two entities or processes which is at once non-synthetic and non-dualistic. To demonstrate the aporetic nature of the three foregoing domains in Barker, I will focus on four pivotal matters: body, death, subjectivity, and language. The sections concerned primarily with the body aim to investigate the ways the body plays an essential, pervasive role in Barker in its various respects prominent among which are ontology, ethics, and aesthetics. In Barker, the body is not only treated as the locus of an aesthetic process of self-fabrication, self-cultivation and re-configuration of perception and sensibility, but also as the ground (or vector) for encountering, and relating to, the Other and/or the Event; and, finally, as the medium of political resistance and subversion. The body is demonstrated to be the ground, and place of register, of contestation, convocation, and intersection between immanence and transcendence, hetero-affectivity and auto-affectivity, the lived and unlived body, and autonomy and heteronomy. I have proposed a thesis called ‘con-tactile aesthetic-ethic’. This thesis is predicated on four principles: proximity, flesh, inter-corporeality, and transitivity – of corporeal schemas, affective traces, embodied attitudes, and figural patterns; though the role of desire is not negligible. Consequently, I will expose and ponder on various facets of such moments in Barker through considering moments involving trauma, pain, transcendence/transgression, intimacy, sacrifice and eroticism. I will deliberate death from two standpoints: aporetics of death and aesthetics of death. It is my contention that, as regards Barker’s conception and depiction of death, two distinct, yet interrelated, ways can be discerned. Two propositions are thus advanced and pursued. Firstly, death in Barker involves a possibility of impossibility with all its existential-ontological implications. Second, death in Barker entails, and transpires as, an impossibility of possibility. As such, it is my argument that the nature of death (in Barker’s works) is fundamentally aporetic. Initially I will elicit and delineate the significant affinities Barker shares with Heidegger with respect to the existential-ontological dimensions of death and their import in Barker’s cosmos and his characters’ subjective, intersubjective and socio-political lives (death as a criterion for existential authenticity, individuation, and autonomy). Subsequently, I will identify and probe the crucial points at which he diverges from a Heideggerian attitude, and evinces idiosyncrasies which are more congruent, variously, with Derridean, Levinasian, and Blanchotian stances with respect to notions such as death as impossibility of possibility, death as limit, and death as gift from the Other, and death as liminal space for relation with radical alterity exteriority, the encounter with and exposure to the evental and self-transcendence.
112

The economy of the 'drinking house' : notions of credit and exchange in the tavern in early modern English drama

Campton, Charlotte Caroline January 2014 (has links)
This thesis traces how the drinking house was used by writers of early modern English drama to try to make sense of the period’s culture of exchange. Organised around an examination of five plays, the project focuses on the way in which playwrights engaged with and examined notions of credit, circulation, and the commercialisation of hospitality. By offering close readings through the lens of the drinking house, I make fresh interpretations of the plays. Moreover, I seek to demonstrate the wider literary tradition dealing with this space that, to some extent, has been neglected. With this in mind, I also draw on other popular texts from the period, such as ballads, jest books and rogue pamphlets, which establish certain conventions and narratives that emerge in the drama. In Shakespeare’s 1 Henry IV and 2 Henry IV, the reckoning – or tavern bill – is used as an emblem through which Hal negotiates his moral and economic redemption, in the face of Falstaff’s threat to the wider network of credit established in the tavern space. Dekker and Webster’s Westward Ho also stages credit as both a productive and unpredictable force. In the context of its Brentford location, the drinking house in that play is presented as a transformative space that allows for the possibilities of an alternative economic model. Irrepressible forces of commercialism define the Light Heart in Jonson’s The New Inn; forces that effect character transformations and champion a fluid economy in contrast with landed-estate living. In Brome’s The Demoiselle, these conventions are upended, and the commercialism of the New Ordinary is dispensed with in favour of a more settled economy. The thesis testifies to the investment writers made in the drinking house as a dramatic space and as a space to be dramatised, a space through which the possibilities and energies of exchange were staged.
113

Signaling and uncertainty : c case study

January 1978 (has links)
by Devid A. Caste? Nils R. Sandell. / Contracts DOE-E(49-18)-2087, ONR- N00014-76-C-0346.
114

Play-making on the edge of reality : managing spectator risk in early English drama

van Pelt, Nadia January 2013 (has links)
This thesis places the notion of risk and the diversity of treatment that the management of risk involves, at the centre of the discourse about Early English drama. It locates the spectator’s experience on the edge of reality and fiction. Offering an alternative to current theories of metatheatricality and cognitive theory, this research attempts to contribute to knowledge by arguing that the most important element of the dramatic experience exists between the two poles of an awareness of artifice and absorption, and that the dramatic experience is managed by playwright, actor and spectator with respect to these two poles. This thesis focuses on the spectator, not just on the absorbed spectator who ‘lives’ in the drama, such as one finds in cognitive studies, or on the reflective spectator who is conscious of the artifice of drama, such as in metatheatrical studies, but rather on participatory spectators, and on spectators moving between the two positions of absorption and reflection. The case studies in this thesis are reflective of the contexts of early English dramatic performance: they show how similar issues were controlled differently in different contexts; that there might be no clear boundary between Catholic and Protestant drama in terms of spectator management; that some playwrights had political reasons to believe it best if they did not manage their spectators’ experience, while other playwrights displayed a deep commitment to controlling not only spectators’ experiences and responses during the performance but also afterwards, suggesting that risk management is not an act but rather a process; that dramatic performance could cause disaster if not sufficiently managed, or if the performance context in which the drama was performed, was misjudged, but that the use of the dramatic medium could also be recuperated by later events of a similar nature. Examining drama in its specific literary and historical context, this thesis reconstructs the play-experience not only through the plays, but also through a study of how plays were described in Star Chamber records, ambassadorial records, eye-witness accounts, and other records. It clarifies early drama’s most fundamental characteristic to be an intervention in society, and as such always relating to non-dramatic issues, and inevitably carrying risk with it.
115

Nathan Field's theatre of excess : youth culture and bodily excess on the early modern stage

Orman, S. January 2014 (has links)
This dissertation argues for the reappraisal of Jacobean boy actors by acknowledging their status as youths. Focussing on the repertory of The Children of the Queen’s Revels and using the acting and playwriting career of Nathan Field as an extensive case-study, it argues, via an investigation into cultural and theatrical bodily excess, that the theatre was a profoundly significant space in which youth culture was shaped and problematised. In defining youth culture as a space for the assertion of an identity that is inherently performative, the theatre stages young men’s social lives to reflect the performativity of masculinity in early modern culture. Chapters One to Three focus on the body of Nathan Field by investigating the roles that he performed in the theatre to claim that the staging of bodily excess amounted to an effort to inculcate correct paths of masculinity. Chapters Four and Five offer detailed analysis of the plays written by Nathan Field, finding that Field was keen to champion positive aspects of youth culture and identity by reforming bodily excess on stage. Chapter One asserts that George Chapman’s Bussy D’Ambois (1603) identifies the protagonist’s excessive violence as a failure to adhere to humanist teachings; a sign that youth culture is dependent upon the lessons learnt in school, whereas Chapter Two finds that Eastward Ho (1605) condemns the monstrous youthful drunken body before encouraging the audience to value apprenticeship as a positive site of youth identity. Chapter Three argues that John Fletcher’s Faithful Shepherdess (1607) reveals a range of polluted young bodies to demonstrate the importance of moderating the humoral fluctuations of youth before Chapter Four finds Field to be a conservative dramatist who ridicules excess with explicit didactic intentions in his Woman is a Weathercock (1610) and Amends for Ladies (1611). Finally Chapter Five locates aspects of excessive service in Field and Fletcher’s The Honest Man’s Fortune (1613) to problematise aspects of youth culture, friendship and eroticism. The dissertation concludes with a retrospective appraisal of Field’s multifarious identities that championed youth culture, morality and celebrity.
116

The Possibilities and Limitations of Using Drama to Facilitate a Sense of Belonging for Adult Refugees, Asylum Seekers and Migrants in East London

Smith, Anne January 2013 (has links)
There is symbiosis between theatre and belonging. This thesis examines the ways in which a sense of belonging can be more effectively facilitated for adult refugees, asylum seekers, migrants and their families through drama practices rooted in a relational ethic of care. Findings engendered by practice-based research projects in the London Boroughs of Hackney, Barking and Dagenham and Redbridge are articulated by this thesis. These projects, carried out between 2008 and 2010, were framed as creative approaches to English language learning and were developed in partnership with the charities Lifeline Projects and the Open Doors Project. They modelled access for all regardless of age or English speaking ability, focusing on participant-centred play and improvisation. At the beginning of the twenty-first century, the impact of UK government policy on the lived experience of refugees, asylum seekers and migrants and their negative representation across different media has resulted in a need to develop alternative strategies for support that work in conjunction with agencies and voluntary sector organisations and fulfil a need for a sense of belonging from their clients. My methodologies have included practice-based research, interviews with participants and other practitioners and reading across the fields of performance studies, relational ethics, psychology and education. I identify ‘practice’ in practice-based research as professional practice consonant with the fields of health and social care. The theoretical frameworks I am working within include: Brown’s (2010) definition of genuine belonging; Pettersen’s (2008) mature, reciprocal care; Maslow’s (1954) hierarchy of need; Krashen’s (1983) theory of adult second language acquisition and Thompson’s (2009) argument for the radical potential of joy and beauty. The thesis addresses the need for a greater understanding of the practices which generate authentic belonging in drama and second language education outside a formal education context.
117

The plays of John Fletcher : a critical study

Rowland, Richard C. January 1957 (has links)
No description available.
118

The religious policy of al-Mutawakkil ʻAlā Allāh al-ʻAbbāsī, 232-247/847-861 /

Tikriti, Bahjat Kamil. January 1969 (has links)
This thesis examines the religious policy of the caliph al-Mutawakkil ala Allah, the tenth Abbasid caliph, (232-247/847-861). The study focuses on the following headings: the main features of al-Mutawakkil's life and reign; his attitude towards 1) the Ahl al-Kitab, 2) the orthodox Muslims, 3) the Mu'tazila, 4) the Shi'a, and 5) the Sufis. It is suggested that although al-Mutawakkil's policy toward each of these groups was governed by his own strong orthodoxy, the policy was conditioned chiefly by political factors.
119

Dynamic patterns of brain cell assemblies : a report based on an NRP work session held May 14-16, 1972, and updated by participants : Aharon Katzir Katchalsky and Vernon Rowland, co-chairmen : report

January 1974 (has links)
by Vernon Rowland and Robert Blumenthal ; Yvonne M. Homsy, writer-editor. / "First published as volume 12, no. 1, March 1974, of the Neurosciences Research Program bulletin." Includes index. / Bibliography: p. 154-187.
120

Politics and power in the Gothic drama of M.G. Lewis

Pearson, Rachel January 2011 (has links)
Matthew Lewis's 1796 novel The Monk continues to attract critical attention, but the accusation that it was blasphemous has overshadowed the rest of his writing career. He was also a playwright, M.P. and slave-owner. This thesis considers the need to reassess the presentation of social power, primarily that of a conservative paternalism, in Lewis's dramas and the impact of biographical issues upon this. As Lewis's critical reputation is currently built upon knowledge of him as a writer of „Gothic' works, this thesis considers a range of his „Gothic' plays. The Introduction explores the current academic understanding of Lewis and provides a rationale for the plays chosen. Chapter One explores how The Monk prefigures Lewis's dramas through its theatrical elements and Lewis's reaction to violence on the continent in the 1790s. The remainder of the thesis examines Lewis's deployment of three conventions of Gothic drama in order to explore social power. Chapter Two discusses the presentation of the Gothic villain as one who usurps and abuses power through a focus on The Castle Spectre. Chapter Three considers Lewis's Gothic heroes in Adelmorn, the Outlaw; Rugantino, or, the Bravo of Venice and Venoni; or, the Novice of St. Mark's against his actions in Parliament and the trial by Court-Martial of his uncle General Whitelocke. Lewis uses these plays to advocate the qualities of mercy, benevolence and courage in those with jurisdiction over others. Chapter Four considers Lewis's use of Gothic spectacle in two 1811 plays, One O' Clock! or, the Knight and the Wood Daemon and Timour the Tartar, which return to a focus on usurpation. Factors considered include the use of Renaissance influences and Lewis's rift with his father. Finally, the Coda examines Lewis's attempts to put his theory of paternal power into practice when he inherited two Jamaican estates.

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