Universiẗat, Diss., 2003--Frankfurt (Main).

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'Tis Pity She's a Whore. An Elizabethan revenge tragedy by John Ford, was produced and directed by Kenneth Livingstone, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Frederic Wood Studio Theatre, from March 8-11, 1967. The following is a detailed record of that production along with the director's analysis and interpretation of the script. 'Tis Pity She's a Whore was produced on a budget of $300.00, with a 90 hour rehearsal period and had a five performance run in a theatre seating approximately ninety people. The play was performed by a predominantly student cast in a setting designed by Harry Soloveoff and with original music composed by Leon Dubinsky which was played each night by a small group of musicians employing recorders, guitars, drums, bells and a virginal. This record is divided into three main sections. The first is an essay which starts by discussing the historical background of the play with reference to its position in the genre of Revenge Tragedy. This is followed by a brief biographical note on the author and then a detailed analysis of the play with reference to the significant critical interpretations available and concludes with a discussion of the directorial concept adopted for this production. The director's interpretation is compared to, and contrasted with, the various critical views already mentioned. The essay is followed by a short bibliography which is not intended as a complete academic record of works on Ford, but merely indicates those views which were taken into consideration in the preparation of this production. The second section is made up of the actual script; showing cuts, blocking, significant divisions and indicating light, music and scenery cues. Each scene is preceded by a brief analysis which indicates the major units within the scene and the directorial approach taken in terms of purpose, action, dominant emotions, character dominance, and particular difficulties Involved. The third section is made up of various tables, records, and illustrations relating directly to the production. Included are lists of light cues, music cues, set changes, properties, costumes, cost lists, and box office reports. Also included are transcripts of the music composed for the production, a sample of the program, and copies of the press reviews. The illustrations include colour photographs of the production, and finally, blueprints of the floor plan and working drawings. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 325-334).

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 325-334). Also available via World Wide Web.

Thesis (Ph.D.) - University of St Andrews, March 2008.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

‘The Ophelia Versions: Representations of a Dramatic Type from 1600-1633’ interrogates early modern drama’s use of the Ophelia type, which is defined in reference to Hamlet’s Ophelia and the behavioural patterns she exhibits: abandonment, derangement and suicide. Chapter one investigates Shakespeare’s Ophelia in Hamlet, finding that Ophelia is strongly identified with the ballad corpus. I argue that the popular ballad medium that Shakespeare imports into the play via Ophelia is a subversive force that contends with and destabilizes the linear trajectory of Hamlet’s revenge tragedy narrative. The alternative space of Ophelia’s ballad narrative is, however, shut down by her suicide which, I argue, is influenced by the models of classical theatre. This ending conspires with the repressive legal and social restrictions placed upon early modern unmarried women and sets up a dangerous precedent by killing off the unassimilated abandoned woman. Chapter two argues that Shakespeare and Fletcher’s The Two Noble Kinsmen amplifies Ophelia’s folk and ballad associations in their portrayal of the Jailer’s Daughter. Her comedic marital ending is enabled by a collaborative, communal, folk-cure. The play nevertheless registers a proto-feminist awareness of the peculiar losses suffered by early modern women in marriage and this knowledge deeply troubles the Jailer’s Daughter’s happy ending. Chapter three explores the role of Lucibella in The Tragedy of Hoffman arguing that the play is a direct response to Hamlet’s treatment of revenge and that Lucibella is caught up in an authorial project of disambiguation which attempts to return the revenge plot to its morality roots. Chapters four and five explore the narratives of Aspatia in The Maid’s Tragedy and Penthea in The Broken Heart, finding in their very conformism to the behaviours prescribed for them, both by the Ophelia type itself and by early modern society in general, a radical protest against the limitations and repressions of those roles. This thesis is consistently invested in the competing dialectics and authorities of oral and textual mediums in these plays. The Ophelia type, perhaps because of Hamlet’s Ophelia’s identification with the ballad corpus, proves an interesting gauge of each play’s engagement with emergent notions of textual authority in the early modern period.

Examining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists--John Ford, Jim Sheridan, and Paul Greengrass--explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers’ complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order. In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan’s work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass). / text