Akademisk avhandling--Humanistika fakulteten--Universitet i Lund, 1989.

Texte remanié de: Thèse de doctorat--Études Grecques--Paris 4, 2002. / Préface en allemand. Contient des textes en grec traduits en français. Notes bibliogr.

Thesis (Ph. D.)--University of Chicago. / "Reprinted from The Botanical Gazette, Vol. XLVI, No. 5." "Literature cited": p. 377-378. Also available on the Internet.

Texte remanié de: Diss.--Bryn Mawr (Pa.)--Bryn Mawr College, 1988.

No description available.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 229-236).

The Fairy Star; or Boucicault's Revenge is based on an incident which occurred in the relationship between actress Agnes Kelly Robertson and her common-law spouse, the actor and dramatist Dion Boucicault. The action of the play takes place late in the afternoon of September 3, 1875, in the parlor of Robertson's home, Langham Place. The dramatic conflict revolves around their meeting for the first time after a two-year separation, during which time Boucicault had forced Robertson to virtually retire from the stage and remain at home with their six children. When Robertson learns that Boucicault desperately needs her to star in his latest theatrical production, she sets out to win back her place as the star of both his life and his plays.

Texte remanié de: Dissertation--Fachbereich Geschichts- und Kulturwissenschaften--Giessen--Justus-Liebig-Universität, 2001. / Bibliogr. p. 345-363.

The Octoroon, by Dion Boucicault, is a play that Boucicault himself argued is “an effective intervention in the slavery debate, one designed to reveal the real cruelties of the slavery system” (Mullen 91). By calling The Octoroon an intervention, Boucicault intimated that his play could influence what was happening during the antebellum period of United States history by starting a dialog between opposing factions. While Boucicault did indeed contribute to this dialog, he is also known for not choosing a side. “‘Nothing in the world,’ protested the Times, ‘can be more harmless and non-committal than Mr. Boucicault’s play.’ It had in it ‘no demonstrations in favor of the down-trodden, no silly preachings of pious negroes, no buncombe of Southern patriots, no tedious harangues of Eastern philanthropists.’ The Octoroon was exactly what it had intended to be ‘a picture of life in Louisiana!’” (Kaplan 551). By simply writing a play that paints “a picture of life in Louisiana,” Boucicault was able to allow his work to present the complex issues that are the ingredients in this dramatic portrait.

No description available.