Thesis (Ph.D.)--McMaster University, 1999. / Includes bibliographical references (leaves 263-270). Also available via World Wide Web.

Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 181-186). Also available for download via the World Wide Web; free to University of Oregon users.

Univ., Diss.--Mainz, 2005. / Literaturverz. und Diskogr. S. [327] - 339. Mit engl. Zsfassung.

Thesis (Ph.D)--Murdoch University, 2007. / Thesis submitted to the Faculty of Arts and Education. Includes bibliographical references (leaves 259-287).

Thesis (Ph. D.)--University of California, San Diego, 1999. / Vita. Includes bibliographical references (leaves 180-189).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 1998. / Abstract and vita. Includes bibliographical references (leaves 233-240).

Thesis (M.A.)--Victoria University of Wellington, 2009. / Includes bibliographical references.

Thesis (Ph.D.)--Duquesne University, 2009. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 284-322) and index.

This thesis examines contemporary interpretations of a selection of important texts written by New Zealand women between 1910 and 1940, and also a film and film script written more recently (which are considered as re-readings of a novel by Mander). The thesis argues that, though reading or meaning-making is always an activity of construction there will, at any given moment, always be reasons for preferring one way of reading over another-a reading most appropriate to a situation or circumstances. This study is motivated by a desire to understand how literary criticism has changed in recent years, particularly under the influence of feminism, and how a reader today can make a choice among competing methods of interpretation. Comparisons are drawn between various possible readings of the texts in order to classify methods of reading, particularly nationalist and feminist reading strategies. The over-all tendency of the argument is to propose a more self-critical and self-conscious approach to reading, and to develop a materialist and historical approach which I see as particularly important to the New Zealand context in the 1990s. / Thesis is now published as a book. Paul M. (1999) Her Side of the Story: readings of Mander, Mansfield and Hyde. Dunedin: Otago University Press. http://www.otago.ac.nz/press/ for more information.

This thesis explores the topic of literature-into-film adaptation by investigating the use of New Zealand fiction by film-makers in this country. It attempts this task primarily by examining eight case-studies of the adaptation process: five features designed for cinema release (Sleeping Dogs, A State of Siege, Sons for the Return Home, The Scarecrow and Other Halves), one feature-length television drama (the God Boy), and two thirty-minute television dramas (The Woman at the Store and Big Brother, Little Sister, from the series Winners and Losers). All eight had their first screenings in the ten-year period 1975-1985. For each of the case-studies, the following aspects are investigated: the original work of fiction, a practical history of the adaptation process (including interviews with people involved), and a study of changes made during the scripting and shooting stages. The films are analysed in detail, with a focus on visual and auditory style, in particular how these handle the themes, characterisation and style of the original works. Comparisons are made of the structures of the novels and the films. For each film, an especially close reading is offered of sample scenes (frequently the opening and closing scenes). The thesis is illustrated with still photographs – in effect, quotations from key moments – and these provide a focus to aspects of the discussion. Where individual adaptation problems existed in particular case-studies (for example, the challenge of the first-person narration of The God Boy), these are examined in detail. The interaction of both novels and films with the society around them is given emphasis, and the films are placed in their cultural and economic context - and in the context of general film history. For each film, the complex reception they gained from different groups (for example, reviewers, ethnic groups, gender groups, the authors of the original works) is discussed. All the aspects outlined above demonstrate the complexity of the responses made by New Zealand film-makers to the pressure and challenges of adaptation. They indicate the different answers they gave to the questions raised by the adaptation process in a new national cinema, and reveal their individual achievements. / Whole document restricted, but available by request, use the feedback form to request access.