Thesis (M.A.)--Zhongguo wen hua xue yuan, 1976. / Cover title. Reproduced from ms. copy. Bibliography: p. 99-100.

published_or_final_version / Journalism and Media Studies Centre / Master / Master of Journalism

Thesis (Ph. D.)--Columbia University, 1945. / Without thesis note. Bibliographical references included in "Notes" (p. [170]-180) Bibliography: p. [181]-185.

Thesis (Ph. D.)--University of California, Los Angeles, 1980. / Includes vita. "Plays from the Toone Marionette Theater": leaves 313-409. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 410-421).

This dissertation investigates the development of early modern Japanese joruri puppet theater in the eighteenth century, focusing on representations of female characters in the works of three major playwrights. Joruri developed as a theatrical form combining chanting, music, and puppetry that was regularly performed for urban commoners. The plays were also commercially printed for leisure reading. The genre achieved immense popularity and exercised significant influence over early modern popular consciousness. The contemporary bakufu government licensed theaters and controlled what could appear on stage. In the shadow of this censorship, joruri developed genre conventions that reinforced the social order based on Confucian ideals, a strict class and gender hierarchy in which individuals were of less importance than the family, clan, or state. For this reason, joruri is often viewed as becoming progressively more formulaic and conservative. However, I argue that joruri playwrights straddled the fence between preserving a formula that reinforces the Confucian ethical order and its rigid gender and class hierarchy in order to avoid being banned and subverting it to speak to the audiences' anxieties about authority and the existing societal order. The instances of subversion often involved renegotiation of the genre conventions surrounding female characters whose tribulations arose from their low positions in the social order and whose tragic circumstances were highlighted by the drama. By examining the representations of innovative female characters by three major playwrights over the course of joruri's development, I show that the essence of these plays lies in these moments when joruri creates an alternative world where the repressed voice emerges, gender and class expectations are revisited, and the societal status quo is called into question. Chapter One provides an overview of the history of joruri, particularly in relation to women, its major playwrights and theaters, and its formal conventions. Chapter Two focuses on the representations of prostitutes as heroines in love suicide plays by Chikamatsu Monzaemon (1653-1724). I argue that Chikamatsu subverted the contemporary class and gender hierarchy by depicting prostitutes, who were at the bottom of the social hierarchy, as morally exemplary romantic heroines. Chapter Three examines the recurrent representations of stepmothers in Namiki Sosuke's (1695-1751) plays in the context of the existing conventional representations of stepmothers in joruri. I argue that Sosuke's unconventionally realistic depictions of the dark psychology and transgressive behavior of seemingly-exemplary stepmothers highlight the conflict between individual desire and social obligation and call into question the absolute priority of social obligation. Chapter Four examines the work of Chikamatsu Hanji (1725-1783) written during a time when joruri and kabuki were engaged in a particularly strong cycle of mutual influence and borrowing. I argue that Hanji's reinvention of provincial daughters as unconventionally outspoken in the female realm of love, and yet pawns in the male realm of politics, subtly criticizes societal norms that subordinate the value of the individual to the maintenance of the social order. Through examination of how each playwright established and renegotiated joruri's genre conventions in creating his innovative female characters, this dissertation sheds light on the multiple functions of joruri: as didactic theater, popular entertainment, and a site for subtle criticism where early modern conceptions of gender and class and societal norms were reexamined and reimagined.

Thesis (Ph. D.)--University of Michigan, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 581-585).

Thesis (M.A.)--Bowling Green State University, 2008. / Document formatted into pages; contains v, 92 p. : ill. (some col.) Includes bibliographical references.

M.A.(Greek) / Please refer to full text to view abstract

This study utilized an ethnographic methodology to examine and describe the various aspects and processes occurring in a children's group as the members created their own puppets and accompanying puppet plays. Individual and interactive behavior patterns were isolated and analyzed as a means of gaining an in depth understanding of the puppetry process. The puppetry process, in turn, was viewed in terms of information it provided regarding the individual members and the group process. The facilitative and non-facilitative aspects of the procedure were delineated. The adult leader met with a group of six boys, in grades four and five, for 12 one-hour sessions in which they made puppets and then created puppet plays around issues that they had articulated as problems. The group sessions were videotaped and transcribed. The transcriptions were coded in an effort to extensively analyze the puppetry process and the group process, and the ways in which the two processes interacted. An independent observer/rater was utilized in order to provide some validity for the researcher's reported results. The puppet-making task appeared to offer an opportunity for individuals to begin to come together in a common, but individual task. Characteristic styles and individual personality dynamics were evidenced. General response to the task was enthusiastic, with varying degrees of satisfaction expressed regarding their finished products. The play-creating and performing process met with less success than the puppet-making. While the group members appeared to be generally amenable to contributing ideas for the puppet plays, the process met with far more resistance in the cooperative task of putting their ideas into a finished product. The group discussion and interaction that occurred around these tasks provided a vehicle by which to view levels of interpersonal skills and the group's overall stage of development. The puppets the children created appeared to act as metaphors in expressing the group members' views of themselves and in enabling the symbolic representation of some of their central concerns. The plays they created paralleled the process that actually took place in the group. The subject matter and content of the puppets and plays provided information and evidence as to how each member approached and solved problems. The discrepancies in the ways in which the researcher and the independent observer/rater viewed the positive and negative social/emotional interactions of the group members, coupled with the small number of subjects included in this study preclude generalizing to other groups of children at this time. Further studies, with additional groups of children, utilizing parametric statistics are called for before any such generalizations can be made.

Educational television began in 1932 at the State University of Iowa. Until 1952, the potential of its contributions to education were not fully recognized. In 1952, however, the Federal Communication Commission created non-commercial television station. From that point in time, educational television has mushroomed.