Thesis (M.A.)--Ohio State University. / Bibliography: leaves 109-112. Available online via OhioLINK's ETD Center

Thesis (M.A.)--University of Wisconsin--Madison, 1972. / Vita. Title from title screen (viewed July 3, 2008). Includes bibliographical references. Online version of the print original.

Thesis (M.A.)--University of Wisconsin--Madison, 1972. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references.

MICHAEL P. FROHLING, for the Master of Fine Arts degree in Theater, presented on 29 March 2010, at Southern Illinois University Carbondale. TITLE: VISUAL STORYTELLING: THE LIGHTING DESIGN OF A RAISIN IN THE SUN MAJOR PROFESSOR: Mark Varns Visual Storytelling: The Lighting Design of A Raisin in the Sun is a culmination of the lighting design for the play Raisin in the Sun, by Lorraine Hansberry. This production by Southern Illinois University Carbondale's Department of Theater was produced in February 2009. This thesis chronicles the design process in all aspects from beginning to end. The document begins with a textual analysis of the script along with accompanying research. The second chapter focuses on design meetings and the process of coming to decisions about "Raisin". These decisions were arrived at through careful considerations of metaphoric analysis and through imagistic research using internet search engines and volumes of different artists. It also describes the implementation of those decisions. Chapter three focuses on the goals and evaluations of the production. A series of appendices contains image research, light plot, applicable paperwork, and production photos.

No description available.

This thesis s a study of Lorraine Hansberry as a person, an intellectual, a black and a writer. Her two plays, A Raisin in the Sun and The Sign in Sidney Brustein's Window, are analysed in relation to her background and the themes and movements that the writer of her time pondered. It was found that Lorraine Bansberry's plays like those of the writers of her time, through themes of social conflict, modern man's dilemma of false dreams and disillusionment came to the onclusion that in the long run man irrespective of titles is capable of everything humanly possible. Her play To Be Young Gifted and Black, was cited as a basic source for her background, ideas and conceptions.The thesis studies the relation of Lorraine Hansberry's intellectuality, blackness and artistic potential, to her work and consequently conclusions were drawn that these three sides combined to make of Lorraine Hansberry a committed intellectual and a powerful writer.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 244-254). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 244-254). Also available on the Internet.

This thesis examines the politics of black identity in African American literature during what has come to be known as the ‘age of three worlds’. Across four chapters, I analyse texts by Ralph Ellison, Richard Wright, James Baldwin, and Lorraine Hansberry, exploring the way in which their writing plays out within and against the geopolitical exigencies of the Cold War and contemporaneous discourses of Civil Rights and black (inter)nationalism. In doing so, I explore the contrasting ways in which each of them displaces the binary logic that is typically seen as defining the 1950s, as a means of reconstituting both American and African American identity. Rejecting either/or identities, they all decentre prevailing notions of national and cultural identity by juxtaposing them with alternative spaces and temporalities, the result of which is a dual perspective that is simultaneously local and transnational. By extricating themselves, whether physically or intellectually, from a monolithic discursive framework, Ellison, Wright, Baldwin, and Hansberry recast the idea of double consciousness famously articulated by W. E. B. Du Bois in The Souls of Black Folk (1903). Instead of being a self-negating non-identity that serves as the psychological corollary to African Americans’ marginalised status, ‘two-ness’ is transmuted into a privileged vantage point that allows them to both intervene on the world historical stage as empowered modern subjects and renegotiate their relationship with the United States. What this two-ness amounts to, I argue, is a kind of dissonance. ‘Dissonance’, Duke Ellington claimed in 1941, names black people’s ‘way of life in America. We are something apart, yet an integral part’. The principle of introducing a ‘wrong’ note into a piece of music in order to generate new modalities of expression found in jazz is transposed into a social and literary context by the writers examined in this thesis. Each of them embodies and mobilises the socially grounded sense of being apart and a part alluded to by Ellington as a means of defamilarising normative notions of race, gender, and sexuality as they pertain to American-ness. In their place, they posit alternative forms of knowledge and politicised identity that reconstitute what it means to be both black and American in the middle of the twentieth century.