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Not available / text

Thesis (Ph. D.)--Columbia University, 1923. / Vita. Published also without thesis note. Bibliography: p. 95-99.

Thesis (Ph. D.)--Columbia University, 1923. / Vita. Published also without thesis note. Bibliography: p. 95-99.

Thesis (M.A.)--Eastern Illinois University, 2010. / Includes bibliographical references (leaves 85-88).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Comparative Literature, 2008. / Includes bibliographical references.

According to Lewis Seifert, “Fairy tales are obsessed with femininity … These narratives are concerned above all else with defining what makes women different from men and, more precisely, what is and is not acceptable feminine behaviour” (1996: 175). This study, then, will demonstrate how certain patriarchal ideas associated with fairy tales are disseminated when fairy tale elements are reworked in film, visual art and the novel. The aim of this project, more specifically, is to show how certain stereotypical representations of women endure in works that could be read as feminist appropriations of Hans Christian Andersen’s ‘The Little Mermaid’. Stereotypical representations of women are numerous and may include: depicting females as fitting neatly into what is often called the virgin/whore or Madonna/whore binary opposition; depicting women as being caring and kind, but also passive, submissive and weak; and depicting older women as being sexually unattractive and evil (Goodwin and Fiske 2001:358; Sullivan 2010: 4). It must be said that the list of stereotypes relating to women given here is far from exhaustive.

In the unique world of a play, dramaturgy provides the essential multi-dimensional foundation for comprehensive exploration. As the identity of dramaturgy is complex and continues to evolve, the artistic value discovered through practice positively contributes to the theatrical experience for both artists and audience members. This substantial element is mostly absent from theatrical experiences for youth, usually making a meaningful appearance in professional and collegiate theatre productions. To promote the importance of dramaturgy, I attempt to construct and explore a learning opportunity at Long Lake Camp for the Arts, a summer performing arts camp for youth artists and performers. This theoretical framework will provide the foundation for possibly implementing a dramaturgical experience to enrich the theatre program in the near future. I will consider the following questions: How do you introduce dramaturgy and make it accessible to young artists? What will serve as foundational theories in practice? What methodologies will prove most effective? To build a fundamental pathway into the world of dramaturgy at Long Lake Camp for the Arts, I will investigate the emergence and history of dramaturgy through the works of Aristotle and Gotthold Ephraim Lessing and uncover its evolution and practice through the contributions of Elinor Fuchs and other contemporary artists and scholars. I look to utilize Inquiry-Based Learning methods to empower youth with agency to analyze the scope and practice of modern dramaturgy. As I engage with Inquiry-Based Learning methods, I will ask: What are the intersections of Inquiry-Based Learning and dramaturgy? What essential questions will prove most effective? This thesis will generate explorative, dramaturgical and educational framework through the lenses of scholar, artist, and educator. It is my intent that such substructure will provide a contemporary experience for educating young artists about dramaturgy, thus inspiring arts organizations, such as Long Lake Camp for the Arts, to expand their educational programming for youth.

Audiences relay morbid support towards the enjoyment of horrific entertainment. Such examples are the success and long-standing allure spectators hold towards musicals such as Phantom of the Opera, Spring Awakening, Heathers, and more. These are shows that include themes of death, darkness, and tragedy which are presented. Using Abraham Maslow's Hierarchy of Needs and Motivation, The Jungian Archetype of Shadow, and Catharsis I will show how audiences are supportive of protagonists who portray actions resulting in death, darkness, and murder despite the societal pressure to find such subject matter as offensive, vile, repugnant, or obscene. By referencing the characters found in Sweeney Todd, Little Shop of Horrors, and A Gentleman's Guide to Love & Murder and through deep analysis and study of these psychological ideas, I plan to show how spectators ultimately fulfill their own Maslownian and Shadowesque desires from witnessing such instances of horrific entertainment resulting in catharsis.