手稿本. / Thesis (M.A.)--香港中文大學. / Shou gao ben. / Includes bibliographical references (leaves 515-519). / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 導論 --- p.1-49 / Chapter 第二章 --- 成語的分析與研究 --- p.50-167 / Chapter 第一節 --- 成語的性質和特色 / Chapter 第二節 --- 典故語 / Chapter 第三節 --- 習用語 / Chapter 第四節 --- 諺語 / Chapter 第三章 --- 俗語的分析與研究 --- p.168-284 / Chapter 第一節 --- 俗語的性質和特色 / Chapter 第二節 --- 鄙語 / Chapter 第三節 --- 俚諺語 / Chapter 第四章 --- 俳諧語的分析與研究 --- p.285-367 / Chapter 第一節 --- 俳諧語的性質與特色 / Chapter 第二節 --- 歇後語 / Chapter 第三節 --- 隱喻語 / Chapter 第四節 --- 協謔性的歇後語與隱喻語 / Chapter 第五章 --- 方外語的分析與研究 --- p.368-418 / Chapter 第一節 --- 方外語的性質和特色 / Chapter 第二節 --- 釋語 / Chapter 第三節 --- 道語 / Chapter 第六章 --- 外來語的分析與研究 --- p.410-439 / Chapter 第七章 --- 特殊單性語詞的分析與研究 --- p.440-500 / Chapter 第一節 --- 特殊單性語詞的性質和特色 / Chapter 第二節 --- 一般性的語詞 / Chapter 第三節 --- 別解性的語詞 / Chapter 第八章 --- 結論 --- p.501-514 / 參考書目 --- p.515-519

published_or_final_version / English Studies and Comparative Literature / Master / Master of Philosophy

No description available.

Thesis (Ph. D.)--University of Hawaii at Manoa, 1995. / Includes bibliographical references (leaves 183-194). / Microfiche. / x, 194 leaves, bound ill. 29 cm

This doctoral project began in the early 1980s when I became involved in making a community theatre event on Salt Spring Island with a group of artists accomplished in disciplines other than theatre. The production was marked by an orientation toward creating stage images rather than a literary text and by the playful exploitation of theatricality. This experiment in theatrical performance challenged my received ideas about theatre and drama. As a result of this experience, I began to see differences in original, small-venue productions which were considered part of the English-Canadian alternate theatre scene. I determined that the practitioners who created these events could be considered a second generation to the Alternate Theatre Movement of the 70s and settled on identifying their practice as Second Wave. The singular difficulty which Second Wave companies experience is their marginalization by mainstream theatre reviewers. These critics not only promote productions but also educate audiences and other theatre practitioners about theatre practice. Second Wave productions defy conventional descriptive categories which are founded on the assumption that theatre practice is the interpretation of a literary drama; thus they seem to fall short of their artistic potential. At issue here is the way we talk about theatre in English Canada: the conventions which authenticate our discourse and the implications of this discourse which makes material the three-way dynamic--knowledge/power/practice--as it pertains to our theatre institution and cultural value systems. In this study, three Second Wave productions were selected as sample case studies. I recognized these theatre events as different because they employed performance practices from the popular theatre tradition to generate their plays. Tears of a Dinosaur (One Yellow Rabbit, Calgary) used puppets; Doctor Dapertutto (Theatre Columbus, Toronto) used clowning techniques; and Down North (St. Ann's Bay Players, Cape Breton Island) used local folk performance conventions. In English-speaking theatre, popular traditions are trivialized; they are spoken of in derogatory terms as lesser forms or entertainments. Sometimes they are discursively constructed as paratheatrical or outside theatre. I concluded that the Second Wave negotiation between the popular traditions and the conventional or literary paradigm for theatre as an art form is stylistically indicative of postmodernism. At the same time, this practice is politically subversive, a postcolonial gest, because the employment of paratheatrical traditions undermines discursive norms about English-Canadian theatre and thus destabilizes the dominant cultural narratives which sustain the hegemonic status quo. / Graduate

D.Litt. et Phil. / The following aspects are covered in this study: The historical development of Zulu drama. This development is divided into the following periods: Pre-colonial, Missionary and Post-Missionary; the period under discussion is the latter. Structuralism and Semiotics are applied to one-act plays. The Semiotic approach views drama as communication: every aspect of the dramatic space is viewed as a sign conveying meaning. Pfister's approach is also applied in this study. Research undertaken in African languages in South Africa on drama thus far is also examined so as to direct the present study toward a particular need. This is done in Chapter 1. In. Chapter 2 plot development and various types of plot in oneact plays are studied to ascertain which plot type is preferred by authors of one-act plays. Character is also studied in this chapter. In Chapter 3 theme is studied to determined whether it is open or closed. Dialogue is discussed in Chapter 4. Didascalies as a sign system and their significance and function are studied in Chapter 5. The final chapter, Chapter 6, is the evaluation of one-act plays in Zulu.

Jakob Michael Reinhold Lenz (1751-1792), whose plays have been acclaimed as the prototype of the modern drama of Brecht and Durrenmatt, is a controversial figure who rose to prominence on the German literary scene in the early seventeen seventies. Among Lenz's theoretical writings is the influential essay "Anmerkungen ubers Theater," in which he introduces his innovative dramatic theories and describes the independent protagonists he envisions for the German stage. In the same essay, he demands "Zuwachs unsrer Existenz" (a heightened awareness of existence) from contemporary drama. However, in marked contrast to the "Anmerkungen," the protagonists of his two most prominent plays, Der Hofmeister (1774) and Die Soldaten (1776), are self-alienated, ontologically insecure individuals who seem victims of the socio-political realities of their times. Not surprisingly, critics are divided in their opinion as to what the contradictions in Lenz's oeuvre signify. Lenz was a student of Immanuel Kant's between 1768 and 1770, a time when the latter was formulating ideas that would find their full expression years later in his critical philosophy. In 1770, Kant presented his inaugural address "de mundi sensibilis atque intelligibilis forma et principiis" (On the Form and Principles of the Sensible and Intelligible World) to the assembled faculty and students of KCnigsberg Academy, among them J.M.R. Lenz. It is in the inaugural dissertation that Kant introduces his thesis of the individual as an inhabitant of two "worlds," the noumenal and the phenomenal, a central concept in his first critique, Kritik der reinen Vernunft, which would be published in 1781. This study examines Lenz's thoughts as they surface in his theoretical essays and his major plays and puts forward the thesis that it is Kant's division of the self into an intelligible and a sensible realm which prompts Lenz's call for "Zuwachs unsrer Existenz." Lenz's quest is fuelled, furthermore, by his acute awareness of the ontological insecurity of the individual self, an awareness which seems to anticipate the thought of Kierkegaard. The overriding purpose of this thesis is, through a reevaluation of Lenz's theoretical and dramatic works, to elucidate this eighteenth-century writer's quest for authentic being, a quest that he considered to be the individual's most urgent task. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Arthur Kopit's plays express what I believe to be the dominant cultural anxiety of the latter half of the 20th century: the conflict between the human need for order and meaning and our existence in a chaotic and fragmented world. The playwright's works depict the traumatic impact of this conflict on people both individually and collectively; at the bottom of the dilemma is the human inability to accept our inevitable mortality. Kopit's plays also express deep cultural anxieties of their particular social moment. Reductively summarized, the causes of those anxieties are family dysfunction (_Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad_ – 1960), the Vietnam War (_Indians_ – 1969), aging and disability (_Wings_ – 1978), nuclear proliferation (_End of the World With Symposium to Follow_ – 1987), obsessive materialism (_Road to Nirvana_ – 1991), and technological invasions of privacy (_BecauseHeCan_ – 2000). Kopit's works feature breakdowns in personal identity (through characters and action), cultural identity (through themes and settings), and aesthetic identity (through formal elements). At the heart of those breakdowns are the identity components of "commemoration" (memory, history/myth, artistic tradition), perception, and language. Ultimately, those components prove to be insufficient bases for identity – but the only ones available. The playwright puts his protagonists into crises that call into question their senses of self. Those crises expand from the personal to the cultural by virtue of their context in the turbulent late 20th-century U.S. society; individuals in crisis become emblematic of "America" in crisis. And the form reinforces this content. Each play combines and distorts established genres, techniques, and/or other works in ways that break down their aesthetic identities. Further, the theatrical effect of each play parallels the experience undergone by the characters, so that the causes – and cultural dimensions – of their personal crises are felt firsthand by audience members. Kopit's oeuvre thus provides tremendous insight into the complexities of existence in the contemporary age. / A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2003. / April 7, 2003. / American Drama, Immortality, Identity, Fear of Death, Memory, Aesthetic Form, Narrative Disruption, Reality and Illusion / Includes bibliographical references. / John Degen, Professor Directing Dissertation; Karen Laughlin, Outside Committee Member; Carrie Sandahl, Committee Member.

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