Inaug.-Diss.--Ludwig-Maximilians-Universität, Munich. / Bibliography: p. 400-448.

Pit musicians have fallen through the cracks of musical theater scholarship. In all my research, I have yet to come across any sources that thoroughly examine musical theater from the perspective of the musicians who perform in its orchestras day in and day out. Thus, this thesis documents Richard (Dick) R. Smith's life as a professional musician living and working--in vaudeville and on Broadway--in midcentury New York City. Smith might be relatively unknown, but he played a significant role in a variety of musical contexts. By understanding his life, we gain valuable insight into histories that have only focused on the experiences and achievements of actors, bandleaders, composers, orchestrators, and conductors, among others. Examining Smith's experiences also help us understand something about the hundreds, if not thousands, of similarly anonymous pit musicians whose talents and hard work made New York City's vibrant musical life possible.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1944. / Typescript. Vita. "Index of plays discussed in chapter 4": leaves 1371-1379. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 1345-1370).

Thesis (D. Min.)--McCormick Theological Seminary, 2002. / Includes bibliographical references.

Thesis (doctoral)--Christian-Albrechts-Universität Kiel, 1973. / Vita. Includes bibliographical references (p. [258]-278).

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This practicum is an exploration of the meaning of spirituality in the discourse of landscape architects as a means of understanding how people experience the urban and public realm in a relational and community driven approach. The spiritual is discussed as a relationship between the dualisms of the ordinary and extraordinary and the strange and familiar. Further, multicentered neighbourhoods build attachment to place in diverse and unique ways that build strong communities that embrace difference and seek to embody those at the margins of society. Further communities that strive for plurality create broad openness that is welcoming and inclusive. Finally, the relational city is designed from a place of generosity such that territorial bounds are loosened and communities operate with great empathy. The neighbourhoods of Wolseley, Armstrong’s Point and West Broadway are explored in narrative and imagery to actualize the theory and create cause for five design interventions concluding each chapter. / February 2016

Prior to the fall of 2011, only eight African American female playwrights had ever been produced on Broadway. In this context, the 2011-2012 Broadway season made theatre history when it featured the work of three black women playwrights: Stick Fly by Lydia Diamond, The Mountaintop by Katori Hall and an adaptation of The Gershwin’s Porgy and Bess by Suzan-Lori Parks. This project, which focuses on Diamond’s Stick Fly and Hall’s The Mountaintop as Broadway debuts of new plays, seeks to situate these works within a post-black aesthetic that rejects narrow and limiting constructions of blackness. This project also recognizes the significance of Diamond and Hall as female African American playwrights whose texts allow for complex representations of black womanhood, and proposes that the relationship between post-blackness and black feminism is fluid and permeable, allowing us to better understand both the meanings of blackness and the experiences of black women. / text