Inaugural dissertation - Greifswald. / At head of title: Deutsche Philologie. Lebenslauf. "Literatur-verzeichnis": p. 136-147.

Thesis--University of Washington. / Vita. Another copy has number: Thesis 27070. Bibliography: leaves [315]-323.

Thesis (M.A.)--Guo li zheng zhi da xue. / Cover title. Reproduced from ms. copy. Includes bibliographical references (p. 196-202).

The author's thesis, Paris. / A study of the four plays Esmoreit, Hertoghe van Bruuyswijc (or Gloriant) Lanseloet van Denemerken and Winter ende somer, sometimes called the "Abele spelen", preserved in a 15th century ms. of the Hulthem collection, now in the Bibliothèque royale de Belgique. "Bibliographie": p. [147]-150.

Inaug.-diss.--Münster. / Lebenslauf. "Benutzte ausgaben der behandelten stücke": p. 61. "Benutzte literatur": p. 62.

Originally presented as the author's mājistīr. / In Arabic. Includes bibliographical references (p. 369-382).

Inaug.-diss.--Giessen. / Lebenslauf. "Literatur": p. 53-56.

From the introduction:This dissertation explores the nature and development of dramatic space in early modern England. Arguing that essential to its quality and character was the early modern player’s ability to produce highly creative and productive spatial textures and experiences, this dissertation examines some of the shifting attitudes to and uses of space from ca. 1516 (the date of publication of Thomas More’s Utopia) to the first decade of the 17th century for what they reveal about the spatial economies that common playing responded to, participated in, developed and sustained. The theoretical basis for the work draws from the phenomenological philosophy of Lefebvre, de Certeau, Merleau-Ponty and Derrida – all of whom offer different but complementary ways of recognising the instrumental role of primordial experience (as opposed to the forms of intellectualised knowledge through which experience is subsequently organised and mediated) in the production of meaning. For Mike Pearson and Michael Shanks, recognizing space as the product of experience is the necessary first step toward opening up the creative approaches necessary for recontextualising the past. Rather than approaching the past looking for ‘things’ to collect and curate, Pearson and Shanks engage with it as an embodied field, wandering through it as one would a landscape, noting its various identities, instabilities and its constantly shifting textures. Their highly spatial and spatialising approaches take account of what is lost when we engage with the past solely (or even largely) through texts (and the discourses texts sustain), and they argue for stories (plural) about the past rather than the production of single, dominant and authorising texts on it. Similarly, Michel de Certeau, asserting the value of the knowledge that is derived from stories, argues for a theory of narration in relation to practices and the spaces practices produce – for de Certeau, stories (plural) cannot be reduced to a single meaning, they ‘are not about movement, they make movements, not objects but effects, they transform, they do exactly what they say they do […] they bring invisible geographies into contact with the ordered realm of the rational’ (italics original). In seeking to describe and account for the ephemeral and elusive nature of early modern dramatic space, this dissertation recognises the impossibility of such a task (of translating primordial experience into language). However, by taking into account some of the spatial transactions and exchanges that early modern dramatic production participated in, the story told here attempts to make visible a normally invisible geography by pointing out those logics of practice (‘the ordered realm of the rational’) through which that geography is/was produced.

This is the first holistic study of English cross-dressed performers. It will situate drag performers within their cultural context in order to establish how their concerns, motivations, employment, communities, friendships, self-perception and artistic ambitions impact on their performances. Furthermore, it utilises performance and ethnographic analysis of a number of artistes to demonstrate how modern drag politicises communities and forms an accessible critique of social roles. Furthermore, it aims to reunite Queer Theory with the realities of its effects on society. The first chapter establishes the study’s position within the overarching framework of Queer Theory. A troupe of drag performers are examined in light of Judith Butler’s theories of performativity to elucidate how the social aspects of gender can be developed. Then, Kate Bornstein’s work is used to illustrate how individuals can use these identities as a conscious method of self-development. Following this, the second chapter explores the social role drag performers have, sometimes inadvertently, chosen. Developing the theories of the interrelationship between belief, LGBTQ sexuality and otherness purported by Kate Bornstein, it asserts the educational and social role that can be taken by drag performers. The third chapter focuses on the messages that these LGTBQ shaman (a theory developed from Laurence Senelick’s work) convey to their community via performance. Case studies illustrate how the performers tailor their acts to politicise their often apathetic audiences. This work is extrapolated in the fourth chapter, which focuses on the community-wide Pride Parade performances. The Rabelaisian carnivalesque is used to argue that the carnivals encourage the audience to review their gender development, revitalising the culture. Finally, the fifth chapter demonstrates how these differing theoretical strands enable televised drag performance to challenge censure by questioning ‘otherness’ itself. This is achieved with reference to horror theory, camp and the performances of Danny La Rue, amongst others, and the cultural impact of the programme Little Britain (2003). The thesis demonstrates that drag is, in fact, a dialogue that can engage and politicise mainstream culture.

No description available.