Thesis (Ph. D.)--University of Georgia, 1983. / Includes studies of Marilyn Miller, Ethel Merman, Mary Martin, and Carol Channing. Includes bibliographical references (p. 145-165).

Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains v, 96 p. Includes bibliographical references.

Thesis (D.M.A.)--Boston University / Tonight we will recreate musical moments from the plays of Don Pedro Calderon De La Barca, who lived from 1600 until 1680. During his long span of life he dominated the brilliant Baroque playwrights and poets for several generations. He took the rich heritage of drama forms which Juan Del Encina, Tirso De Molina, Lope De Vega and many others had created, and under the magnificent patronage of the Hapsburgs--Philip III, Philip IV, and Carlos II--Calderon brought the one-act sacred plays, called autos sacramentales, to their definitive form. For us he is particularly interesting for the enormous amount of music he employed in his plays, and the creative ways in which he used the musical forms , and because he wrote the first librettos for Spanish opera and for the musical comedies, called zarzuelas. Calderon produced three types of plays: the one-act sacred plays, the three-act comedies and three-act dramas [TRUNCATED]

The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.

This study examined five seminal television series — I Love Lucy, The Dick Van Dyke Show, The Jeffersons, The Cosby Show, and Home Improvement — for episodes of conflict. Those episodes of conflict were then analyzed through thematic analysis. Using Baxter's (1988) relational dialectical tensions as a theoretical framework, the internal tensions present in romantic relationships (i.e., autonomy v. connection, novelty v. predictability, and openness v. closedness) served as themes to organize the data. After identifying the dialectical tensions present in each of the series, the shows were then compared to determine if a shift had occurred in each of the dialectics over time. / Department of Communication Studies

The purpose of this thesis is to analyze DVD covers for the genre romantic comedy from the 2000s as a way to obtain patterns and codes provided by the genre. The theoretical framework consists of previous research that analyzed various posters, theories about semiotics, genre, and visual rhetoric.  These theories will help answer the main question and help with the analysis. The objects for observation are ten DVD covers from the genre romantic comedy and a qualitative content analysis is used for this thesis. The movies are from the US and they are all high in Box Office. Box Office stands for how many tickets were sold and how much money a film has earned. The use of numbers from Box Office shows that the movie had a successful marketing prior coming out as DVD. The analysis focuses also on movies from the year 2003 – 2012 as a way to get a ten years gap and also get the contemporary movies. The results show that there are codes and patterns provided from various DVD covers. Visual expressions as clothing, angles, perspectives, postures, facial expressions and colors say a lot about how the genre is visualized. It's also important for these visual expressions to work together – as they tell a story about the relationships and the characters, and also what the movie is going to be about. The main conclusion is that the woman is usually the one who is in focus and she is the active one. This doesn't necessary mean that the woman is in a higher position when it comes to the society or that she'll always have the upper hand in the relationship, but she is the one that has the upper hand right now. It's also clear that the DVD covers show when the couples aren't happily ever after. / Syftet med uppsatsen är att analysera DVD-omslag för genren romantisk komedi från 2000-talet för att få fram mönster och koder som ges från genren. Det teoretiska ramverket består av tidigare forskning som analyserat olika affischer - samt teorier om semiotik, genre och visuell retorik. Dessa teorier används för att svara på frågeställningen och för att hjälpa till vid analysen. En kvalitativ innehållsanalys har analyserat tio olika DVD-omslag för genren romantisk komedi. Filmerna som analyserats är från USA och anses som höga inom Box Office. Begreppet Box Office står för hur många biljetter som har sålts och hur mycket pengar en film tjänat in. Användingen av siffor från Box Office visar att filmen hade en lyckad marknadsföring innan den kom ut på DVD, vilket gör att den används för denna analys. Analysen fokuserar sig också bara på filmer från år 2003 – 2012 då man får ett mellanrum på tio år och filmerna blir samtida. Resultatet från den kvalitativa metoden visar att det finns koder och mönster som ges från olika DVD-omslag. Visuella uttryck som kläder, vinklar, perspektiv, kroppshållning, ansiktsuttryck och färger påverkar mycket hur ett DVD-omslag uppfattas och säger mycket om hur genren visualiserats. Det är också viktigt att dessa visuella uttryck arbetar ihop då de tillsammans berättar något om relationerna, karaktärerna och vad filmen kommer att handla om. Slutsatsen visade att kvinnan oftast är den som är i fokus och aktiv. Detta betyder inte nödvändigt att kvinnan är i en högre position i samhället eller att hon kommer alltid att ha övertaget i relationen, men att hon styr just nu. Det är också tydligt att DVD-omslagen inte visar när paren är lyckliga i alla sina dagar.

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This dissertation explores the representation of dueling and honor in five theatrical works in order to answer one central question: How does the Golden Age concept of honor transform in the age of Enlightenment? This question may be broken down into specific inquiries, such as: 1) How is honor filtered through sentiment? 2) How did eighteenth-century ilustrados use theater to attempt to resolve the conflict between using violence to defend one’s honor and the Enlightenment ideal of avoiding excess? and 3) How did honor affect the private citizen and his relationship to the state in plays? During the eighteenth century, the age of sensibility rewrote the duel, transforming it from a ritual connected with the aristocracy into an act tied to individual, often middle-class lives. This project begins with an early play by José de Cañizares, Por acrisolar su honor (1711) and then examines sentimental comedies published and performed toward the end of the century: Gaspar Melchor de Jovellanos’ El delincuente honrado (1773), Luciano Francisco Comella’s La Jacoba (1789), Antonio Valladares de Sotomayor’s El vinatero de Madrid (1784) and Gaspar Zavala y Zamora’s El amante generoso (1791). Sentimental comedies use sensibility to focus on individuals’ honor conflicts. An analysis of the representation of dueling offers a glimpse of the complex intermingling of multiple definitions of Spanish culture, where neither a lone enlightened model nor an identity based primarily on Spain’s Baroque past prevails. While sentimental comedies present conclusions that ostensibly exalt honor as virtue and rely on a belief in humanity’s goodness to resolve their conflicts, their representations of dueling point to a tense coexistence of multiple definitions of Spanish identity in the eighteenth century. Virtue is never enough to override the accusation that someone is a coward for not accepting a dueling challenge. The inclusion of extra elements that cater to social prejudices of the time also undermines the notion of honor-as-virtue. The contradictions revealed by sympathetic representations of dueling may point to the failure of sensibility as a cohesive model for resolving dramatic conflicts in a society with such diverse definitions of honor and citizenship.

This thesis was designed to determine whether there are significant differences in family sitcoms between type of response and family type; between action and family type; between type of interaction and family type; and whether there are more positive than negative responses on both types of sitcoms.Seven nuclear and single-parent family situation comedies which are presently being shown on network prime-time television were compared to one another. A content analysis using a goodness-of-fit test was utilized to determine if parenting differences between the two types of family situation comedies existed.A chi-square showed that there is no difference between the number of negative and positive scenes in each type of sitcom. Finally, it was shown that no major parenting differences exist between single-parent and nuclear family sitcoms presently viewed on network prime-time television. / Department of Journalism