The problem of this study was to trace through available sources the history of Norma and Mel Gablers' work concerning the curricular appropriateness of textbooks and interpret in terms of motivation, scope, and effectiveness the identified impact of their work. The purpose of this study was to present a comprehensive report documenting specifically that which the Gablers have done, said, and represent. A chronology of events of the Gablers' textbook involvement from 1961 through 1981 has been recorded. Material written and/or distributed by the Gablers through their organization, Educational Research Analysts, has been reviewed and summarized with extensive documentation to convey the philosophy and intentions of the Gablers since their work in this area began. Specific passages of textbook content petitioned against by Norma Gabler before the Texas State Textbook Adoption Committee have been presented as organized around the Gabler outline, "Textbook Reviewing by Categories." Media presentations featuring the Gablers have been reviewed for the purpose of informing others about what types of information have been presented to the American public about this issue and to offer a glimpse into the human nature characteristics of the Gablers as personalities. Professional educator reaction into this probe of textbook content is offered to relate the numerous concerns expressed about the monitoring of educational materials. Finally, an analysis of the Gablers' efforts and identified observations as to their effectiveness and influence have been recorded conveying the extent and success of the Gabler involvement as it pertains to textbook content.

Western plays were introduced to Korea in the early twentieth century. Although the Japanese cultural influence was evident in the interpretations, as the plays were initially translated into Japanese and performed by Japanese theatre, those productions of Western plays gave Korean theatre lovers a new insight about different conventions and traditions of Western plays. The strong influence of Western plays, particularly Realism, was dominant in playwrighting and production. Henrik Ibsen's A Doll's House has proved to be one of the most influential foreign pieces of literature in Korea. In the cultural and social climate of Korea during the 1920's, the character Nora became a revolutionary figure who slammed shut the door to her house and marriage to go out into the world. She was worshipped and idolized by Korean readers—by both genders—who eagerly longed to leave the realm of their suffocating morality. There have been various Korean versions of Nora appearing in Korean plays and other literature, as a result of the strong impact of Nora in Korea. In the plays of the 1930's, Korean versions of Nora were given two choices: one was to slam shut the door to the male-dominant society, the other to kill herself, which is a somewhat Korean manifestation of Hedda Gabler. Although there was no record of translation of Hedda Gabler into Korean during the 1930's period, Hedda Gabler has been performed recently in Korea by various Korean theatre groups. The aim of this Korean translation of Hedda Gabler is to provide Korean readers and audiences with a faithful and competent translation as well as to promote a better understanding of Hedda Gabler. In spite of the wide cultural distance, Hedda Gabler and A Doll's House appeal to Korean readers and audiences. Neither Nora nor Hedda has the same predicament and qualification as a Korean woman, but their spiritual aspiration is similar to that of a Korean woman. There exists no private measurement to remedy their dilemma. However, Hedda's spiritual battle and the palpable consequence of her struggle still need to be told to Korean readers and audiences. In the course of the translation work, this need has been strongly sustained and the writer hopes this translation will be useful in Korea. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Habilitationsschrift-Marburg. / Bibliography: p. [289]-304.

Magíster en artes visuales / La tesis aborda el resentimiento social desde una óptica personal. El autor del texto se pone como objeto de estudio asumiendo su particular posición frente al tema. Esa reflexión preliminar, se convierte en un ensayo en los campos del arte universal y la sociedad chilena actual. El objetivo es revelar como la pintura ha sido registro de clase y evidencia de un deseo expreso de figuración el mismo que se manifiesta en las páginas de vida social. El texto propone que esas páginas, junto con materializar las aspiraciones de la clase alta y desatar la envidia y resentimiento de otros, son el símil del retratismo decimonónico. Tras analizar las relaciones entre arte y sociedad, y el encuentro entre pintura y fotografía el texto indaga en el impacto que ambos asuntos tienen sobre la obra realizada por el autor entre los años 2001 y 2004, enfocándose en la exposición Pintor de la corte, muestra dedicada a ironizar pictóricamente el mundo expuesto en las páginas de vida social de los diarios El Mercurio y revista Cosas.

My research identifies the existing parallels between the repressive societal structures portrayed in the play Hedda Gabler (1890) and central political issues addressed by representatives of the German and Austrian women’s movement at the turn of the 19th century. Norwegian playwright Henrik Ibsen shows how oppressive social conditions negatively affect his female characters, but he does not offer satisfactory alternatives to their suffering. I selected the theoretical writings of Helene Stöcker and Rosa Mayreder as more “radical” opinions of the first German and Austrian women’s movement because they present solutions to the repressive societal structures Ibsen addresses. Since many voices of the women’s movement describe literature as a political tool that has the power to influence society’s worldview, my research demonstrates that the political effectiveness of fictional texts like Hedda Gabler is increased once these texts are linked to theoretical feminist writings. In my literary analysis, I focus on the following categories discussed by Ibsen, Stöcker, and Mayreder: (1) The “old maid” question, (2) Devotion and sacrifice as parts of female education, (3) Unhappy marriages, (4) Unfulfilling motherhood and (5) The repressed female sexuality. My research centers on the perspective of selected feminists in the German-speaking world by emphasizing women’s voices and shifting the spotlight from the male-dominated theater at the time, thus leading to new insights and interpretations. In my analysis, I show that Hedda Gabler’s desperate cry for freedom is reflected in the reality of many middle-class German and Austrian women at the end of the 19th century and remains relevant for women’s rights debates in the present.

The following thesis is an exploration in creating TheatreUNO’s production of A Doll’s House and Hedda Gabler. The goal of directing the production of A Doll’s House and in performance of Hedda Gabler in repertory was to walk the fine line of honoring the original intentions of the playwright while simultaneously making the performances accessible to a contemporary audience. This thesis will include an in-depth look at the process of both productions, analysis, research and production materials. A Doll’s House and Hedda Gabler ran in repertory at The University of New Orleans April 12-28 2018.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-28T16:24:26Z No. of bitstreams: 1 Dissertação_Final.pdf: 17824700 bytes, checksum: 0904420438597fd9bdaae588be4d7bef (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-30T13:48:25Z (GMT) No. of bitstreams: 1 Dissertação_Final.pdf: 17824700 bytes, checksum: 0904420438597fd9bdaae588be4d7bef (MD5) / Made available in DSpace on 2018-08-30T13:48:25Z (GMT). No. of bitstreams: 1 Dissertação_Final.pdf: 17824700 bytes, checksum: 0904420438597fd9bdaae588be4d7bef (MD5) / Este estudo analisa o processo criativo de concepção e construção do cenário da montagem de Hedda Gabler, de Henrik Ibsen, encenada pela Companhia de Teatro da UFBA, em 1996, sob direção de Harildo Déda e cenografia de Ewald Hackler. A pesquisa foi desenvolvida a partir de um passeio histórico-teórico, com reflexões sobre a fisicalidade e percepção espacial, o espaço cenográfico, as mudanças históricas ocorridas no espaço da representação e um panorama da estética naturalista e de seus principais encenadores, tendo em vista as conexões estéticas com a montagem em foco. A base de reflexão são os sete aspectos de uma produção integrada de construção e montagem da cenografia, defendidos por Pamela Howard, além do suporte teórico de estudiosos e exegetas, a exemplo de Pavis, Ubersfeld, Berthold, Roubine e Almeida Prado. Apoiando-se nos esboços e desenhos elaborados para a montagem, a metodologia também contempla entrevistas com a equipe técnica, associadas às observações do pesquisador, que exerceu a função de assistente da cenografia. Ao final, descreve-se e analisa-se o processo cenográfico, levando-se em conta os sete aspectos postulados por Howard. O objetivo é contribuir para um melhor entendimento dos mecanismos e dos procedimentos utilizados pelos cenógrafos, a partir da análise, considerações e questionamentos sobre o complexo processo cooperativo da montagem em estudo. / This study analyses the creative process of design and construction of the Henrik Ibsen´s Hedda Gabler, produced by the Companhia de Teatro da UFBA, in 1996, directed by Harildo Déda and designed by Ewald Hackler. The research was developed from a historical, theoretical trip, reflecting the physicality and space perception, the historical changes occurred in the performance and through a panorama of naturalistic esthetics and its main designers. The reflective bases and the seven aspects defended by Pamela Howard, and the theoretical support of scholars like Pavis, Ubersfeld, Berthold, Roubine and Almeida Prado. Relying on sketches and drawings elaborated for the production, the method also contemplates interviews with the technical crew, associated to the observation of the researcher, who was assistant set design. At the end the process is described and analyzed, in account Howard’s seven aspects. The objective is to contribute for a better understanding of the mechanisms and processes used by set-designers from the analyses, considerations and questionings on the complex cooperative process of the production in view.

No description available.

Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Elliott School of Communication

This written portion of my thesis is aimed at documenting and synthesizing how I, as director, staged an adaptation of Henrik Ibsen’s Hedda Gabler through ongoing collaboration with a creative team comprised of dramaturges, designers, and actors. I walk the reader through my exploration of Ibsen’s life and work through travel to the International Ibsen Festival in Oslo, Norway, and describe how I endeavored to lead the production’s creative team by applying feminist theories in directing and embracing the possibility of failure as a means of discovery. I discuss the casting process and establishment of an all-women ensemble, explore the major themes I identified in the play, and reflect on how the creative team strove to subvert the societal expectation of a historical production rooted in realism through designs and artistic choices inspired by the western canon’s ongoing grasp on contemporary theater programming.