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No description available.

The subject of this dissertation is John Arden's dramaturgy. It covers the stage plays written by Arden (alone or with Margaretta D'Arcy) during their career in the "professional" theatre--that is, from The Waters of Babylon to and including The Island of the Mighty. It approaches them as one dramaturgically coherent opus and identifies and examines the basic artistic and cognitive emphases immanent to it. / The study explores two fundamental and related constitutive features of Arden's dramaturgy: diachronically, its adherence to the forms, conventions, and techniques of popular or traditional theatres, and synchronically, its radical political emphasis as expressed in a categorically plebeian and collectivistic bias. It begins by situating Arden in his time and his tradition, and then discusses how other significant choices of his--the emphasis on story-telling (Part 2), the supra-individual approach to dramaturgic agents (Part 3), and his ludic theatricality (Part 4)--flow out of and contribute to the consistency of his dramaturgy. Part 5 focuses on a detailed analysis of The Island of the Mighty. / Arden's rejection of the established bourgeois theatre with its illusionist character and individualist ideology and his orientation towards a dialectical show distinguishes his work from that of his English contemporaries. It can be linked to that radical alternative tradition in modern dramaturgy which culminates in Bertolt Brecht.

Thesis (B.A.Hons.) from the Department of Geography, University of Adelaide, 1977. / Includes bibliographical references (p. i-iii).

Inaug.-diss.--Breslau. / Cover title. Lebenslauf. p. [84]. "Hilfsmittel": p. [83].

Thesis (Ph. D.)--Washington State University, August 2006. / Includes bibliographical references (p. 230-241).

The political popular theatre which has developed in the West since the 1960s challenges the current hegemony in Western cultures by attacking its basic models of knowledge, yet little critical attention has been paid to the dramaturgies particular to this form. An application of the Possible Worlds theory, the concept of ludic framing, and feminist "standpoint" theory to the Irish stage plays written by Margaretta D'Arcy and John Arden after they left the "legitimate" stage, shows how the dramaturgy of this theater is a critical part of its strategic challenge to the status quo. This analysis shows how D'Arcy and Arden foreground the encompassing Theatre Possible World, within which the performance takes place, in order to cast doubt on the natural character of generally accepted meanings, and to induce the audience to consciously choose the frames within which it makes sense of action.

Diss. : Philosophische Fakultät : München : 1985-1986. - Bibliogr. p. 427-436. Résumé en anglais. -

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Clinical trials are important to the advancement of medical science. They provide the experimental and statistical basis needed to determine the benefit of diagnostic and therapeutic agents and procedures. The more patients enrolled in a clinical trial, the more confidence we can have in the trial's results. However, current practices for identifying eligible patients can be expensive and time-consuming. To assist in making identification of eligible patients more cost effective, we have developed a system for translating the eligibility criteria for clinical trials to an executable form. This system takes as input the eligibility criteria for a trial formatted as first order predicates. We then map these criteria against concepts in a target database. The mapped criteria are output as an Arden Syntax medical logic module using virtual medical record queries in the curly braces. The system was able to successfully process 85 out of 100 trials attempted. From these 85 trials, the system idendified 1,545 eligibility criteria. From these criteria, we generate 520 virtual medical record queries, 253 of which were deemed useful in helping to determine eligibility.