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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 131 to 140 of 371 (0.156 seconds)Spelling suggestions: "subject:"british islet."" "subject:"british islam.""
| 131 |
Beckett’s Theatre: Revolving and Rewinding HistoriesWeiss, Katherine 28 May 2010 (has links)
No description available.
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| 132 |
Lost Ones and Haunting Ghosts: Beckett and ShepardWeiss, Katherine 29 December 2009 (has links)
No description available.
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| 133 |
Samuel Beckett’s Film: A Tribute to James JoyceWeiss, Katherine 10 February 2006 (has links)
No description available.
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| 134 |
Samuel Beckett’s <em>Waiting for Godot</em>Weiss, Katherine 07 March 2013 (has links)
No description available.
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| 135 |
Ibsen’s <em>A Doll’s House</em>Weiss, Katherine 24 March 2008 (has links)
No description available.
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| 136 |
James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's <em>Film</em>Weiss, Katherine 01 September 2012 (has links)
Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.
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| 137 |
Animating Ghosts in Samuel Beckett's <em>Ghost Trio</em> and … but the clouds …Weiss, Katherine 01 September 2009 (has links)
Excerpt:On his 59th birthday, Samuel Beckett began writing his first television play, Eli Joe (1965), in which he explored the technological possibilities offered by the camera.
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| 138 |
<em>What Where</em>: Reading Faces and Surfaces on the Beckettian Stage and ScreenWeiss, Katherine 01 January 2007 (has links)
No description available.
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| 139 |
R/evolving Technology in Samuel Beckett’s <em>Happy Days</em>Weiss, Katherine 01 January 2007 (has links)
No description available.
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| 140 |
Exploding Bombs: Masculinity and War Trauma in Sam Shepard’s DramaWeiss, Katherine 01 January 2007 (has links)
This paper examines violence and masculinity in Sam Shepard's work as a symptom of war trauma, apparent in his characterization of several of his male characters as war veterans and the violent language accompanying his other characters. War becomes a cultural disease infesting and destroying the family on Shepard's stage.
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