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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 9 of 9 (0.032 seconds)Spelling suggestions: "subject:"dollhouse"" "subject:"dollhouses""
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Casting the DollhouseWong, April 10 December 2013 (has links)
The Dollhouse is a model of domestic life; its material framework, spatiality, passage, function and aesthetic describe the architectural construction of a domestic ideal. Yet, the dollhouse is not simply an architectural model; it is made specifically to house a doll. While architecture structures the movement of the body, social constructions mold the body as well as its image. Thus, both architectural and social frameworks come together simultaneously to form the cast of the dollhouse, for which the doll is molded to fit.
But now she is trapped inside the dollhouse - her fortress and asylum - she is held captive in its frames and assessed on how well she fits; if she has been trained to use all the props, if she can suit the wardrobe, and play the pre-scripted roles. She must embody the doll in order to find a place of belonging. Thus the domestic ideal is cast in exclusion of the real woman inside the doll, whose presence becomes a screaming absence found in the impressions left from the cast.
I have assembled the casts of four Dollhouses and the Dolls made to fit inside them. Fabricated by an interplay of pairing and comparison, a formation between image and text, it is the meeting of two surfaces, of inside and outside, and a woman in between.
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Joss Whedons kvinnor : En analys av kvinnosynen i tv-serierna Dollhouse och Firefly / Joss Whedons women : An analysis of the portrayal of women in the tv shows Dollhouse and FireflyRothén, Linn January 2012 (has links)
Uppsatsen är en analys där de två amerikanska science fiction-serierna Dollhouse (Joss Whedon, 2009) och Firefly (Joss Whedon, 2002), som sänts i både svensk och amerikansk tv har granskas. Syftet är att titta närmare på hur kvinnor och deras kroppar framställs i serierna och i reklamen för sagda serier. Genom en kvalitativ innehållsanalys granskas de båda serierna, där fokus har legat på hur de kvinnliga karaktärerna framställs i båda serierna men också på hur de marknadsförs i reklamen innan serierna har sänts. Uppsatsen är uppdelad i tre teman; ”den kvinnliga hjälten”, ”kvinnans roll” och ”den kvinnliga kroppen”. Serierna har valts ut eftersom de båda är gjorda av regissören Joss Whedon som tidigare gjort serien Buffy the Vampire Slayer (Joss Whedon, 1997), en serie som hyllats för sin positiva framställning av kvinnor. I slutdiskussionen finns sedan en sammanfattning på vad som uppsatsen har kommit fram till. Diskussionen innehåller även reflektioner över Joss Whedons ambition att framställa kvinnor på ett bra och accepterat sätt, men också hur andra serier idag gör framsteg i sina porträtt av kvinnor och deras kroppar.
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All Through the Night: A Comparison of Two DollhousesRoyer, Karen M 19 April 2019 (has links)
Holograms are a newer form of digital media. Digital media is changing traditional arts. They are also shaping how people play. How holograms have influenced play and crafting is not well understood. This project used dollhouses to examine how crafting a digital dollhouse relates to crafting a tangible dollhouse. Further, the project examined how playing in both dollhouses compares. Two dollhouses were created by the author/craftsperson. She reflects on her craft practices, relating her two experiences. Adult play testers describe their play experience in the holographic dollhouse and tangible dollhouse. The author’s experience creating is analyzed through its material, social and playful aspects. She found each dollhouses had both material and immaterial qualities. She preferred playing alone in the dollhouses and found the creation process of the dollhouses was both play and work at the same time. The play testers’ experience was also examined through material, social and playful characteristics. Their responses to the survey indicated that grasping objects was difficult in both dollhouses. They reported that they would have preferred to play alone in the dollhouses and that both dollhouses felt playful. An area of potential research that was uncovered involved a question of ownership of the dollhouse and how this may have changed the results of the study.
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DysfunctionalThompson, Gina R. 07 May 2016 (has links)
Dysfunctional examines the relationships and experiences that contribute to my art. I grew up in an unsafe environment, with dysfunctional people. This work serves as a peek inside some of those emotions and explores issues of codependence and abusive family systems that suffer but endure. There is no victim in this story only a strong survivor who wants to cultivate awareness through her work. I have revisited this subject as a way to overcome shame. By being vulnerable and sharing my experiences I am able to heal.
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"Now There's No Difference": Artificial Subjectivity as a Posthuman Negotiation of Hegel's Master/Slave DialecticMcCormick, Casey J 01 May 2011 (has links)
This thesis examines the theme of robot rebellion in SF narrative as an incarnation of Hegel’s Master/Slave dialectic. Chapter one analyzes the depiction of robot rebellion in Karel Capek’s R.U.R. Chapter two surveys posthuman theory and offers close readings of two contemporary SF television series that exemplify ontologically progressive narratives. The thesis concludes that posthuman subjectivity sublates the Master/Slave dialectic and encourages practical posthuman ethics.
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MantleHannon, David 21 March 2018 (has links) (PDF)
Through a large-scale installation called mantle, I explore how the queer body becomes uncanny to the home through a human sized dollhouse and using scenic design ideas. Home for many is a safe place, but for queers, it can be a difficult one, wrought with not belonging in a childhood of heteronormativity. Being stuck in that heteronormative space is what I communicate through a stage set, composed of four theater flats, printed and collaged wallpaper, free-standing photos mounted on MDF, a giant necklace in a separate room, and impromptu pieces made in the space.
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A Grammar of Consubstantiality: A Burkean Feminist Rhetorical Analysis of Third-Person Identity Constitution in Science-Fiction TelevisionChambers, Leslie Ann B 13 September 2018 (has links)
No description available.
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Toward a Rhetoric of Scholar-FandomCochran, Tanya R. 01 December 2009 (has links)
Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.
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Toward a Rhetoric of Scholar-FandomCochran, Tanya R. 01 December 2009 (has links)
Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.
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