Global ETD Search

21	Katherine Mansfieldová v tématech a motivech své poetické tvorby / Katherine Mansfield in Themes and Motifs of her Poetic Creation Křížová, Barbora January 2017 (has links) The diploma thesis focuses on the poems of Katherine Mansfield and the extent to which chosen themes and motifs reflect her personal life. It also aims at the interconnection of the themes in her poetry with the other genres the writer used. The study is predominantly based on two biographies, collections of Mansfield's poems, letters, diary entries and short stories. Owing to a great number of her letters, diary entries and detailed autobiographies, the thesis presents the life and work of Katherine Mansfield with her sources of inspiration; in the practical part it attempts to connect the themes and motifs from Mansfield's poetry with the events in her life and different genres she chose to use. Key words Katherine Mansfield, Katherine Mansfield's poetry, Katherine Mansfield's biography, Katherine Mansfield's short stories, Modernist Literature, New Zealand Literature
22	A class apart : the servant question in English fiction, 1920-1950 McQueen, Anna January 2016 (has links) In the reading of the servants in examples from the period 1920-1950, the servant question is invoked to expose the workings of class. The servants in these narratives of Bowen, Green, Taylor, Waugh, Mansfield and Panter-Downes, lady’s maids, housekeepers, nannies, a butler and a chauffeur, are in thrall to the collective structures of societal ordering, and reluctant with respect to social mobility. Class was not fully being negotiated in this period, in fact little change was visible. Fer example intimacy, such as that between the lady’s maid and her mistress, meant that class confrontation was unlikely. The nanny showed that culturally constructed mechanisms such as nostalgia could be employed to discourage the desire for change. In terms of the socio-historical context any transformation in the make-up of domestic life – that is, the move towards homes without servants - was a fairly gradual business. But, there was a widespread belief in a change that had not really taken place – and that certainly had not taken place within domestic service. Any transformation of society was superficial; the governing ranks would not permit their disempowerment through genuine class change. I contend that the literature supports this perspective. Servants desire subservience; they find comfort in the familiarity of the system of household ranking-by-status. In the process, authority itself is portrayed as being less immutable, more malleable and thereby equipped for the future. In this sense the narratives read in this thesis go to make up a literature of resistance, in refutation of the overwhelming narrative of the time, progressing instead the notion that class must persist with its boundaries intact, as its hegemony is desirable and necessary for the smooth, successful operation of society. 823
23	Actor Alone: Solo Performance in New Zealand Parker, George January 2008 (has links) This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand. solo performance theatre New Zealand theatre Bruce Mason Mervyn Thompson Jim Moriarty John Broughton The End of the Golden Weather Coaltown Blues Michael James Manaia The Case of Katherine Mansfield Cathy Downes A Long Undressing Michael Parmenter The Ballad of Jimmy Costello Tim Balme Krishnan's Dairy Jacob Rajan Ka Shue Lynda Chanwai-Earle Hatch or the Plight of the Penguins Geoff Chapple Stuart Devenie Colin McColl man alone performance solo community hall marae Free Theatre Ella Herbert Achternbusch actor alone

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