Thesis (M. Arch.)--University of Detroit Mercy, 2004. / "23 April 2004". Includes bibliographical references (p. 95-96).

Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 264-268). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph.D.)--Duquesne University, 2009. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 163-175) and index.

Thesis (M.Phil.) - University of Queensland, 2002. / Includes bibliography.

Thesis (doctoral)--Universität Wien, 1991. / Includes bibliographical references (p. 185-191).

Thesis (Ph.D. (Economics and Economic History)) - Rhodes University, 2006.

In the following thesis I argue that from within a postmodern framework the ‘realist narrative mode’ finds its position as the narratological form of choice for communicating historical and biographical ‘truth’ under question. Furthermore, as the formal distinctions between ‘fictional’ and ‘factual’ writing become less clear, I propose that the writer’s approach to his/her craft must also be redefined. Under such conditions I argue that each individual text defines and legitimises its own particular terms of reference and narrative form. The act of writing within a postmodern framework therefore, is not only a craft, but also a philosophical activity and as such requires the writer to enter the world of theoretical fiction. Sculpting in Ice is the product of one such text entering into this process. This thesis demonstrates in action the process by which the play text for Sculpting in Ice develops its own theory of fiction through the writing of that fiction. The primary focus of the thesis is, therefore, to explore the relationship between writing and theory and to render explicit the particular ‘theory of fiction’ created during the writing of Sculpting in Ice.

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abstract: ABSTRACT This narrative study traces the development of a dance curriculum as it unfolded in an inner city public school. It examines the curriculum emergence through intersecting worlds of artistic practice, improvisation, lived experience and context. These worlds were organized and explored through themes of gender, emotion, longing and intersections and examined through lenses of critical theory, aesthetics and currere. It examines the interior dialogue within one individual educator who is both a dance artist and a teacher and reflects the differing and at times conflicting perspectives within those two positions. The curriculum acquired the name "curriculum by accident" because several highly unexpected events contributed to its development. The students were initially suspicious and hostile and presented significant resistance to classical dance as an artistic form. This resistance was circumvented through creative process and improvisation. The act of improvisation became both a way to approach teaching and curriculum development and as an artistic process. Improvisation courts chance, the unplanned and the accidental through a structure in which the unknown is as valued as the known. The school setting is one full of known subjects; curriculum, settings, procedures, people and expectations. Curriculum by accident was a circumstance in which a known (school) and an unknown (the evolving curriculum) melded. The development of curriculum by accident was a response to an array of intuitive and serendipitous cues. The curriculum seeped through the cracks of school experience and transmuted into a curriculum that was very successful. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2010

abstract: The purpose of this study is to examine how community-based youth theater ensembles create conditions for youth to practice cultural agency and to develop a sense of themselves as valuable resources in a broader community development process. The researcher employed a qualitative methodology, using a critical and interpretive case study approach which enabled her to document and analyze three community-based youth theaters in New York City: Find Your Light, a playwriting/performance program for youth associated with the NYC shelter system; viBeStages, an all-girl youth ensemble (part of viBe Theater Experience or "viBe"); and Ifetayo Youth Ensemble (IYE), a multi-age ensemble for youth of African descent living in Flatbush and its surrounding neighborhoods (part of Ifetayo Cultural Arts Academy). All three programs are youth-based performing arts ensembles with a mission-driven focus on positive youth development and community building; they are long-term engagements, active in their communities for at least three years; and they are all part of arts organizations that value artistry as their principle means of impacting communities. All of the young artists involved in these programs participated in a sustained process of creating original performance pieces based on stories relevant to their lives and/or the lives of their communities. This dissertation examines how, through their playmaking processes, they began to identify, critique and experiment with commonly held beliefs about human agency and interaction, to activate and embellish the symbolic systems and repertoires that make up their communities, and to practice new ways of coming together. Through their use of artistic practices, the youth developed a sense of themselves as viable shapers of their communities and, in varying degrees, also used other aspects of culture (values, rituals, traditions, aspirations and the arts) to make meaning, contribute, and shape their cultural locations, offering new forms, symbols, structural models and imaginings. / Dissertation/Thesis / Ph.D. Theatre 2010