Thesis (Ph. D.)--University of California, Los Angeles, 1982. / Typescript. Vita. Includes bibliographical references (leaves 195-202).

Thesis (M.A.)--York University, 2008. Graduate Programme in Higher Education. / Typescript. Includes bibliographical references (leaves 107-110). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51548

Diss.--Universität Zürich, 1990. / Bibliogr. p. 281-343.

Cantonese opera, a Chinese regional operatic genre sung in the Cantonese dialect popular in the Pearl River Delta area and overseas Cantonese communities, has shown its vitality through absorbing various elements of theatrical art and culture, thus often moving between tradition and innovation. It is to be argued that adaptation has always been the most essential means of introducing changes to the genre, and it is precisely because of this need for change from the practitioners or the audience that innovation emerges.;The current thesis investigates how adaptation contributes to changes in Cantonese opera in different developmental stages of the genre by mediating the conflict between tradition and innovation. Focuses include the establishment of Cantonese opera by adapting other regional operas into paichangxi [episodic repertoire] and its re-adaptation to different media; the role adaptation and re-adaptation played in Cantonese opera reform in the 1930s in introducing new elements and establishing aesthetic traditions of contemporary Cantonese opera; how adaptation and re-adaptation promoted the canonization of Tong Tik-sang's works since the 1950s; and the role adaptation played in recently produced works for the Hong Kong Academy for Performing Arts aiming at training performers as well as searching for a possible path for the continuation of Cantonese opera. It presents a never-ending cycle of tradition formation and innovation absorption, catalyzed by adaptation, that shapes the constantly changing face of Cantonese opera.

M.A. / This dissertation conducts a semiotic analysis of the transposition of The French Lieutenant's Woman from novel to film. Special attention is paid to the concept of narrative point of view. The study is introduced by a chapter outlining the theoretical approach followed in this dissertation, after which a careful analysis of The French Lieutenant's Woman as written narrative and as film is attempted. The success of this adaptation is illustrated by showing how Karl Reisz uses the same principles of subversion, violation and manipulation which give Fowles's narrative style its distinctive character. It is also shown that an adaptation can be successful as long as the particular characteristics of the specific medium are taken into account.

Videogame adaptations have been a staple of cinema and television since the 1980s and have had a consistent presence despite receiving overwhelmingly negative reactions. Recognising the perseverance of videogame adaptations, I examine some of the key issues and debates surrounding the genre with in-depth analysis of the source material, the machinations of the film and videogame industries, and the films themselves, specifically relating to three prominent onscreen videogame adaptations. Following an introduction to the various theories and areas of study already performed in this field, all of which I incorporate into an intricate, blended methodology, I explore issues of fidelity, localisation, and evolution that occur when adapting Sonic the Hedgehog out of the confines of its limited narrative. In examining adaptations of Mortal Kombat and Street Fighter, I explore how cinematic genres (such as the Hong Kong martial arts and American action movies) have influenced the creation of videogames and the production of their film and television adaptations. Finally, I delve into the history of zombie horror films, which influenced the Resident Evil franchise. As this became the longest-running (and, by extension, most successful) live-action videogame franchise, I explore the complex production of videogame adaptations, their critical and financial reception, and their ability to evolve into multimedia franchises. Overall, my work is designed to take videogame adaptations seriously by examining them through in-depth analysis, exploring how they convey the gameplay mechanics of their source material, analysing why they remain so popular despite their negative reputation, and by establishing an academic framework by which to discuss them with the same reverence afforded to literary adaptations.

This thesis discusses the state of contemporary audio drama in the US, the UK, and Europe, looking particularly at drama in public service broadcasting contexts and within commercial format radio and within newer, Web-based forms.

Sound transmission by the hyoid apparatus during echolocation in bats Chelsie C.G. Snipes1 and Richard T. Carter1 1 East Tennessee State University, Johnson City TN, USA The morphology of the stylohyal-tympanic bone articulation found in laryngeally echolocating bats is highly indicative of a function associated with signal production. One untested hypothesis is that this morphology allows the transfer of a sound signal from the larynx to the tympanic bones (auditory bulla) via the hyoid apparatus during signal production by the larynx. To test this hypothesis, we used µCT data, CAD editing software, and finite element analysis (FEA) to model the propagation of sound through the hyoid chain into the tympanic bones. This involved making digital segmentations from the µCT data of the tympanic bones and cartilaginous segments and converting it into a digital mesh body. Since the cartilaginous segments are not visible in CTs, we segmented the air in each gap and subsequently used a Boolean function in CAD software to fit each bony end into their respective cartilaginous segment. Further post-processing of the model included a reduction in the number of facets bodies and smoothing surfaces which allowed us to convert it into a solid body model. The solid body geometry was then uploaded into FEA software and assigned material properties for cortical bone, cartilage, and bulla. Additional biomechanical data, including Young’s Modulus, Poisson’s ratio, and speed of sound through each material were defined in previous literature. We ran two FEA analysis with our model: the first was an acoustic analysis that modelled sound propagation through our material (bone and cartilage), and the second was a coupled modal and structural analysis that modelled resonant behavior and sound pressure wave propagation from the hyoid body to the tympanic bones. Our models support the hypothesis that bats use this physical connection between the larynx and auditory bulla to transfer sound (mechanical excitation). Our models show both pressure waves and vibration due to resonance could be used to transfer this signal and this resonance behavior can be modulated by restraining the hyoid apparatus, perhaps through muscle contraction. We propose that by modulating the resonant behavior of the hyoid apparatus, bats can selectively filter which frequencies of sound are transferred from the larynx to the auditory bulla during echolocation signal production.

Screenplay for animated feature film. Story and characters are based on a short novel, The Adventures of Hank the Cowdog. first in a series. This adaptation aims to translate the humor and unique dog-centered perspective of the original source into the medium of film. Hank the Cowdog, head of security on an isolated ranch, works undercover inside a pack of coyotes to solve a series of chicken murders. To solve the case, Hank defends his ranch, sheep and chickens from a devious and powerful coyote leader, Scraunch. With help from a variety of friends and a change in attitude, Hank saves the ranch. Screenplay places detective film conventions in an action-adventure cartoon format. Thesis includes notes on adaptation process.

The Wanderer is an orchestra piece 18'42" in duration. The purpose of this project is to provide the composer an opportunity to express through music his experience with God, rebellion, and returning as the wanderering son did in the Bible's parable.