No description available.

No description available.

Inaug.-Diss.--Kiel. / Lebenslauf. "Literaturverzeichnis": p. [v]-vi; "Verzeichnis der für die vorliegende Abhandlung in betracht kommenden Dramen nebst Abkürzungen, unter denen sie zitiert sind": p. [vii]-ix.

Inaugural dissertation - Kiel. / Errata slip inserted after title page.

published_or_final_version / Chinese / Master / Master of Philosophy

This thesis is about the cultural bargain; the balancing relationship between author monopoly and user affect desires, as applying to the ambiguity of characters. Character culture is a hybrid of the characters that are created and sold by authors with artistic and legal concerns, and the character-affect-relationship of the audience users of those characters. This study examines the law and industry practices in the United States and Canada as it relates to character and the limited scope of the law in defining just what exactly a character is. Also, I examine the major issues in the cultural bargain between the ownership of characters of authors, and the appropriation of characters by audiences, through the dominate arguments for both authors and audiences and the issue of privileged accessibility to characters. By "appropriate", I am referring to any act of an audience member, utilizing a character they do not own, in new ways, that the original author of the character did not give permission for, or approve. Finally, I present my analysis of how the cultural bargain may experience a balance between both authors and audience, by defining characters using the audience affect interpretation as criteria.

This case study aims to better understand the process through which a college theatre actor creates and presents a dereified reified "self' (the character(s) they are portraying) in a play environment, and to consider to what extent this process is conscious. In essence, the actor attempts to take nothing for granted, taking apart and examining assumptions and their cultural context. This study posits that the actor is consciously aware of and is able to recognize and manipulate culture to construct a "self' (the character) within a "play universe." This study is unique as it focuses on the actors themselves as the agents of reification as well as dereification as their processes intersect with the director, the script, and eventually the audience. This study also considers the influence of play theory on developing and breaking the "rules" of the created cultural world of the stage play by utilizing the anthropological research methods supplemented with an analysis of the personal journals of cast members. The subject population is a cast of college-age students (18-28 years old), both males (9) and females (8), from Ball State University's Theatre and Dance Department who participated in the fall 2007 production of The Human Faustus Project, directed by Jennifer Blackmer. / Department of Anthropology

Thesis (Ph.D.)--Auburn University, 2007. / Abstract. Includes bibliographic references (ℓ. 86-96)

Thesis (Ph. D.)--University of Hong Kong, 2008. / Includes bibliographical references (leaf 172-175) Also available in print.

Thesis (M.A.)--Texas State University-San Marcos, 2008. / Vita. Includes bibliographical references (leaves 74-80). Also available on microfilm.