Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Michigan, 1981. / Includes bibliographical references (p. 352-362) and index.

Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains x, 167 p. Includes bibliographical references.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This study investigates the relationship between Aphrodite's literary image and her cultic role in Athenian civic religion. The plays and fragments, especially those in the Aristophanic corpus, demonstrate that in Old Comedy the goddess not only holds the role of sexualized patroness of femininity, but also reflects the political associations of her Athenian cults. Chapter I investigates the cultic role of Aphrodite in Athens and her place within the Athenian religious and social system. At Athens, Aphrodite reveals aspects beyond her popular panhellenic position as a deity of love and overseer of marriage, but never displays the relationships to sacred prostitution claimed in some late-antique sources. Aphrodite's sanctuaries were associated with such putative pioneers of democracy as Theseus and Solon. The uniquely Athenian cult of Aphrodite Pandemos, worshipped in association with Peitho, emphasized her importance in the Athenian political system as a representative of (seductive) persuasion. Analysis shows that the "Platonic" dichotomy between Aphrodite Pandemos and Urania reflects later (mis)readings of Plato's Symposium. The fragments of Old Comedy (Chapter II) illustrate how Aphrodite aided the introduction of female protagonists onto the comic stage, both as hetaerae, who worshipped Aphrodite as their patroness, and Athenian wives, who were comically depicted as licentious and bibulous. Understanding Aphrodite's role as the mediator between comic raunchiness and female decorum helps explain the origins of the erroneous traditions regarding the dedication of prostitutes to the goddess. Chapters III and IV examine Aphrodite in the Aristophanic corpus, with Chapter IV entirely devoted to the Lysistrata. Aristophanes explores Aphrodite's comic persona to highlight the social and political issues of Athens, often associating the degeneration of the city with men's unnatural connection to Aphrodite. In the Lysistrata, Aphrodite plays her most extensive role in extant comedy and exhibits her political associations. The solidarity of the female protagonists depends on Aphrodite's role as a symbol of unification and social reform. The goddess in association with Athena successfully presides over Lysistrata's peace plot as the embodiment of the late fifth-century political slogan of "eros for the city" played out in the seduction of Kinesias by Myrrhine. / 2031-01-01

The mass media portrays traditional forms of marital status in contemporary films despite changing demographics. This thesis argues that romantic relationships are presented as a normative and significant part of completing a predetermined life course in adulthood. Specifically, recent films are entrenched with ideological messages regarding heterosexual marriage and fail to represent singles adequately. In Canadian society, legal marriage is becoming less frequent, common law relationships are increasing, family formations are more diverse, and individuals are happily choosing to be single. Therefore, it is crucial to explore if the media, a powerful socializing agent, communicates a preference for marriage by promoting the ideology of marriage. A content analysis was performed on nine top grossing films that were released in 2010. Overall, the findings demonstrate that regardless of changing demographics, the media privileges marriage and marginalizes singlehood. These films contribute to strengthening traditional ideologies of marriage and family and reinforce discrimination against singles.

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À l'époque élisabéthaine, l'apprentissage marquait le début d'un long parcours professionnel. Après avoir terminé sa formation, un jeune artisan obtenait sa liberté et devenait membre à part entière de la corporation qui l'avait engagé. Ce statut de freeman lui conférait de fait la citoyenneté londonienne et l'obligeait à exercer ses droits et ses devoirs civiques. Tout apprenti pouvait donc ambitionner de devenir à son tour maître et propriétaire d'un atelier. Sa progression sociale dépendait de sa capacité à se plier au jugement de son maître et à patienter jusqu'à l'obtention de sa salutaire liberté. De nombreux dramaturges élisabéthains ont transposé l'apprentissage sur scène et ont fait de l'apprenti un personnage de répertoire tour à tour veule et héroïque, fustigeant ses excès ou encensant ses exploits. Dans la représentation qu'elles donnent de l'apprentissage, les comédies citadines ont fidèlement décrit la vie de la Cité et de ses corporations. / In Elizabethan times, apprenticeship marked the beginning of a long professional journey. After completing his training, the young craftsman was granted his freedom and became a full member of the livery company that had hired him. This status of freeman gave him London's citizenship and compelled him to exert his civic rights and duties. Every apprenticeřs ambition was to become in his turn a master and a householder. His upward mobility depended on his ability to comply with his master's judgment until he obtained his freedom. Many Elizabethan playwrights staged the training of apprentices, thus making the apprentice a stock character, criticising his excesses and praising his high deeds. Through the representation of apprenticeship, city comedies have faithfully described the life of the City and that of its livery companies.

Thesis--Auburn University, 2008. / Abstract. Vita. Includes bibliography (p.112-137).

Thesis (M.A.)--Georgia State University, 2009. / Title from file title page. Mary Stuckey, committee chair; Kathryn Fuller-Seeley, Alisa Perren, Alessandra Raengo, committee members. Description based on contents viewed June 11, 2009. Includes bibliographical references (p. 86-89).

Thesis (M. Mus.)--Southern Illinois University at Carbondale. / Vita. Includes bibliographical references (leaves 35-37; discography: leaves 38-40).