Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 237-268). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 237-268). Also available on the Internet.

Thesis (Ph. D.)--University of Chicago, 1915. / "Private Edition, distributed by the University of Chicago Libraries, Chicago, Illinois." Includes bibliographical references and index.

Thesis (Ph. D.)--University of California, San Diego, 2004. / Accompanied by compact disc sound recording of 11 Pachuco trio songs by Lalo Guerrero with Trio Imperial. Vita. Includes bibliographical references (leaves 200-209).

Thesis (Ph. D.)--University of Chicago, 1915. / "Private Edition, distributed by the University of Chicago Libraries, Chicago, Illinois." Includes bibliographical references and index.

Thesis (Ph. D.)--University of Chicago, 1915. / "Private Edition, distributed by the University of Chicago Libraries, Chicago, Illinois." Includes bibliographical references and index. Also available on the Internet.

Thesis (M.A.)--Queensland University of Technology, 2004. / Title from PDF title page (viewed on Mar. 25, 2006). Includes bibliographical references (p. 117) and filmography (p. 118).

The aim of this essay is to explore the relation between actor and costume in the context of theatrical discourse and using as an axis Heracles’ lion skin. The word actor is used to denote the agent of theatrical/mimetic action while the word costume stresses the function and power of a theatrical costume. In the Introduction section the context of the research is being described. The methodological field is that of the recently explored theatrical discourse which derives from metatheatrical studies and is based on critical treatises on theatre. In the first chapter the importance of lion skin as a prominent costume for the articulation of theatrical discourse is being analyzed from different angles. In chapter two the metatheatrical use of Heracles’ lion skin is used as a base for the construction of theatrical discourse about the function of theatre in a dramatic text. In the following section, Heracles’ lion skin is used to describe actor’s relation to his tragic skeue and is also reconstructed anew as a pantomime costume indicative of the dynamics developed between performer and costume. In Libanius’ A Reply to Aristidis On Behalf of Dancers the emphasis on the transformative power of the costume is being discussed (chapter 4). In chapter 5 the emergence of lion skin in the debate around the relation between actor and costume constitutes the epilogue of a long-lasting debate on the dynamics of relation between actor and costume. / Σκοπός αυτής της εργασίας είναι να εξερευνήσει την σχέση μεταξύ ηθοποιού και κοστουμιού στο πλαίσιο του λόγου περί θεάτρου και χρησιμοποιώντας ως άξονα για τη συζήτηση αυτή την λεοντή του Ηρακλή. Η λέξη «ηθοποιός» χρησιμοποιείται για να δηλώσει τον υπεύθυνο της θεατρικής ή μιμητικής πράξης ενώ η λέξη «κουστούμι» χρησιμοποιείται για να δοθεί έμφαση στη λειτουργία και δύναμη ενός θεατρικού κουστουμιού. Στην εισαγωγή περιγράφεται το πλαίσιο της έρευνας. Το μεθοδολογικό πεδίο είναι αυτό του πρόσφατα μελετημένου λόγου περί θεάτρου ο οποίος προέρχεται από μελέτες για το μεταθέατρο και βασίζεται σε συγγράμματα που συζητούν το ρόλο του θεάτρου. Στο πρώτο κεφάλαιο διερευνάται από διάφορες οπτικές γωνίες η σημασία της λεοντής ως κατεξοχήν κοστουμιού για την άρθρωση του λογου περι θεάτρου. Στο κεφάλαιο δύο η μεταθεατρική χρήση της λεοντής του Ηρακλή χρησιμοποιείται ως βάση για την δημιουργία συζήτησης για τη λειτουργία του θεάτρου μέσα σε ένα δραματικό κείμενο. Στην επόμενη ενότητα, η λεοντή του Ηρακλή χρησιμοποιείται για να περιγραφεί η σχέση του ηθοποιού με την τραγική σκευή του και επιπλέον συνθέτεται εκ νέου ως κουστούμι της παντομίμας ενδεικτικό της δυναμικής σχέσης που αναπτύσσεται ανάμεσα στον καλλιτέχνη και το κουστούμι. Στο έργο του Λιβάνιου Απάντηση στον Αριστείδη Υπέρ των Ορχηστών συζητείται η έμφαση που δίνεται στην δύναμη του κουστουμιού να μεταμορφώνει αυτόν που το ενδύεται (κεφάλαιο 4). Στο κεφάλαιο 5 η επανεμφάνιση της λεοντής στη συζήτηση για τη σχέση του ηθοποιού με το κουστούμι συνιστά τον επίλογο μια μακραίωνης συζήτησης για τη δυναμική που αναπτύσσεται ανάμεσα στους δύο πιο σημαντικούς παράγοντες για την δημιουργία και τη λειτουργία του θεάτρου.

This thesis looks to explore the rise of women in television comedy and the accompanying implications of this phenomenon. Using a historical framework, this thesis looks at the progression of representations of women in television comedies beginning in the 1950s up to today. Considering factors such as the rise of social media, as well as online television streaming services such as Hulu and Netflix as more legitimate avenues to distribute content, this thesis traces women’s place within television comedy, and argues that shows such as Parks and Recreation, The Mindy Project, and Broad City serve as examples of the progress that has been made in achieving gender equality on television, as well as stepping stones for how much more progress must be made in the future.

Orientador: Margarida Maria de Carvalho / Resumo: Tradicionalmente reduzida a um impulso exclusivo de comicidade, a inserção de personagens femininas nas comédias de Aristófanes foi lida por alguns historiadores como uma preocupação do teatrólogo em ridicularizar a imagem da mulher grega. Ao nos debruçarmos sobre a leitura das peças Lisístrata (411 a.C.), As Tesmoforiantes (411 a.C.) e Assembleia de Mulheres (392 a.C.), encenadas no contexto da Guerra do Peloponeso e posterior derrota de Atenas, formulamos a hipótese de que a esposa legítima foi representada como mantenedora da cidade ateniense, uma vez que percebemos a ênfase em sua importância cívica por ser considerada um veículo justo de crítica nas peças aristofânicas. Ao problematizar os acontecimentos e decisões políticas de seu período, o comediógrafo o fez inserindo mulheres ativas em suas obras, responsáveis por aconselhar seus maridos sobre aquilo que julgavam prejudicial à pólis. Pela lei de Péricles, vigente a partir de meados do V século a.C., eram essas mulheres ativas que carregavam o compromisso de reproduzir cidadãos atenienses, contribuindo para a manutenção da lógica democrática clássica. Em nossa visão, o poeta publicita a faceta atuante e interventora do feminino justamente porque ela estava calcada na legitimidade da transmissão da cidadania. Pautados na análise da documentação textual e na História de Gênero, pretendemos compreender a participação feminina, especificamente das esposas legítimas, na sociedade ateniense do V e início do IV séculos a.C.,... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Traditionally reduced to an exclusive comicality impulse, the insertion of female characters in the comedies of Aristophanes was read by some historians as a concern of the playwright in ridiculing the image of Greek woman. When we dive into the reading of Lysistrata (411 BC), Thesmophoriazusae (411 BC) and Assemblywomen (392 BC), staged in the context of the Peloponnesian War and subsequent defeat of Athens, we formulated the hypothesis that the legitimate wife was represented as maintainer of the Athenian city, since we perceive the emphasis in her civic importance as a righteous vehicle of criticism in Aristophanes‘ plots. In problematizing the occurrences and political decisions of his period, the playwright did it inserting active women in his plots; they were responsible for advising their husbands on what they judged to be harmful to the polis. By the law of Pericles, valid since the middle of the fifth century BC, these active women were committed to reproducing Athenian citizens, contributing to the maintenance of the classical democratic logic. In our view, the poet shows the acting and intervening facet of the feminine precisely because it was based on the legitimacy citizenship transmission. Based on the analysis of the textual documentation and on Gender History, we intend to understand the feminine participation, specifically of the legitimate wives, in the Athenian society of the fifth and beginning of the fourth centuries BC, by problematizing the relation bet... (Complete abstract click electronic access below) / Mestre