Thesis (Ph. D.)--University of Hawaii, 1994. / Includes bibliographical references (p. 318-335).

Thesis (Ph. D.)--Ohio State University, 1992. / Advisor: Dagmar C.G. Lorenz, Dept. of German. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 353-367).

Thesis (Ph. D.)--Ohio State University, 1992. / Advisor: Dagmar C.G. Lorenz, Dept. of German. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 353-367).

Thesis--University of Pennsylvania. / Bibliography: p. 159-172.

Thesis (Ph. D.)--University of Hawaii, 1994. / Includes bibliographical references (p. 318-335).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Vita. Typescript. Includes bibliographical references.

Diss.--Universität Hamburg. / Bibliography: v. 2, p. 319-340.

Thesis (PhD(Practical Theology)--University of Pretoria, 2005. / Includes bibliographical references

劉洋. / "2004年1月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 100-107). / 附中英文摘要. / "2004 nian 1 yue". / Liu Yang. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 100-107). / Fu Zhong Ying wen zhai yao. / 摘要 --- p.1 / Chapter 第一章 --- 導論 --- p.1 / Chapter 1.1 --- 硏究目的和範圍 --- p.1 / Chapter 1.2 --- 硏究背景 --- p.2 / Chapter 1.3 --- 考查工作及資料搜集 --- p.6 / Chapter 第二章 --- 二人轉簡介 --- p.8 / Chapter 2.1 --- 源起及發展 --- p.8 / Chapter 2.2 --- 與東北民歌及戲曲的關係 --- p.17 / Chapter 2.3 --- 語言特點 --- p.22 / Chapter 2.4 --- 二人轉的音樂風格 --- p.25 / Chapter 2.5 --- 觀眾的參與及影響 --- p.33 / Chapter 第三章 --- 二人轉女演員概述 --- p.35 / Chapter 3.1 --- 女演員出現的地理及歷史因素 --- p.35 / Chapter 3.2 --- 女演員的出現及發展 --- p.36 / Chapter 3.3 --- 女演員的服裝、道具及扮相 --- p.39 / Chapter 3.4 --- 女演員的表演 --- p.44 / Chapter 3.5 --- 女演員的舞蹈 --- p.58 / Chapter 第四章 --- 三位女演員的表演特色 --- p.68 / Chapter 4.1 --- 閆學晶 --- p.68 / Chapter 4.2 --- 王娟 --- p.74 / Chapter 4.3 --- 梁學華 --- p.81 / Chapter 4.4 --- 二人轉女演員特點總結 --- p.86 / Chapter 第五章 --- 結論 --- p.89 / Chapter 5.1 --- 總結 --- p.89 / Chapter 5.2 --- 未來的硏究方向 --- p.98 / 參考著作 --- p.100 / 附錄 --- p.108 / 附錄I藝訣 --- p.109 / 附錄II譜例 --- p.112 / 譜例2-1 選自《西廂》唱段 --- p.113 / 譜例2-2 選自《西廂》唱段 --- p.114 / 譜例2-3 選自《西廂》唱段 --- p.116 / 譜例4-1 選自《皇親夢》唱段 --- p.118 / 譜例 4-2 選自《皇親夢》唱段 --- p.119 / 譜例 4-3 選自《包公斷后》唱段 --- p.121 / 譜例 4-4 選自《包公斷后》唱段 --- p.123 / 譜例 4-5 選自《包公斷后》唱段 --- p.124 / 附錄III圖例 --- p.125 / 圖例2-1 嗩吶、二胡、琵琶 --- p.126 / 圖例3-1 丑靴、旦舞鞋、服裝 --- p.127 / 圖例3-2 大板和手玉子、扇子、手絹 --- p.128

During the early decades of the 20th century, a public and governmental concentration on authentic Canadian culture included the languages and cultural practices of Indigenous peoples. The position of Indigenous peoples as ‘original’ to the land was conflated as evidence that their cultures were authentic, and as such, uniquely ‘Canadian’. During the late 1930s and early 1940s, a small group of children from the Osoyoos Indian Band along with their Irish immigrant teacher produced a series of short dramatic plays based on traditional Okanagan stories. This thesis examines how the production, circulation, and consumption of these Okanagan-based plays by children came to be seen as a manifestation of early Canadian drama that was arguably a part of the foundation of an emerging national identity.