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

Thesis (M.F.A.)--Boston University / An examination of eight films starring the American actress Joan Crawford, covering the period 1927 to 1962, analyzing performative style, character construction, utilization and subversion of gender norms, cultural context, and importance of costuming

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Indiana University-Purdue University Indianapolis (IUPUI) / Joan Didion, a native of Sacramento, California, is the author of many acclaimed collections of journalism and memoir, the first of which were Slouching Towards Bethlehem (1968) and The White Album (1979). Eve Babitz, a lifelong resident of Los Angeles, has produced two such volumes: Eve’s Hollywood (1974) and Slow Days, Fast Company: The World, The Flesh, and L.A. (1977). While much critical ink has been spilled over Didion’s oeuvre, Babitz was, until the recent reprinting of the aforementioned titles, known best as an artist and muse. Perhaps due to this disparity in recognition and renown, no extant critical piece serves to compare the nonfiction of Didion and Babitz, despite their close geographic and social proximity. In viewing their early work side by side, the Golden West of the 1960s and ’70s emerges as the clearest point of comparison; however, the ways in which Didion and Babitz use place and time in their work often differ due to the marked contrasts in the identities they convey. In characterizing herself as a journalist and an observer, Didion offers a perspective that feels objective but is, at turns, wry and cool. Babitz, writing in a manner that was, at one time, considered autofiction, positions herself as the freewheeling focal point around which Hollywood’s dizzying cultural landscape unfolds. By manipulating the constructs of place and persona, these writers are better equipped to tell the story at hand and analyze their places within it, cementing their work in California’s literary canon.

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Who was Joan of Arc? That was the first question in my mind before I began my journey of studying this remarkable young woman. I had no idea how special she was. I thought she was just another historical figure that gets lost in history books. All I really knew about her was that she was burned at the stake. What I didn't know was that she led a country's army into battle at the age of seventeen.The adaptation of Mark Twain's novel, Personal Recollections of Joan of Arc into a full length play involves in-depth research into French and English society, religion, war strategy, The Hundred Years War and many other aspects that affected the young Jehanne d'Arc. Research also included in-depth study of the life of Mark Twain. After months of research, the playwriting process began. The process ending with new knowledge in playwriting, dramatic structure and a work that reflects how Joan of Arc can inspire an individual as a true heroine. A staged reading of the play, Personal Recollections of Joan of Arc, was presented on Monday, December 3rd, 2012 at the Next Door in Johnson City, Tennessee.

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This thesis analyzes the relationship between Joan Jonas’s 1976 videotape Good Night Good Morning and the existing historiographical discourse on video art from the 1970s. I begin with a careful analysis and historical contextualization of Rosalind Krauss’s seminal 1976 essay on video art, “Video: The Aesthetics of Narcissism.” I then compare her essay with a number of present-day interpretations of video art that are in part motivated by a departure from Krauss and identify a range of presuppositions that have persisted through the art historical discourse on video art from the mid-1970s forward. Finally, I demonstrate that the terms of this essentially medium-specific discourse are too limited to offer a satisfying analysis of Good Night Good Morning and argue that understanding Jonas’s work requires an intermedial analysis. / text

Esta tesis tiene como objetivo identificar si la implementación del modelo DirCom puede ir más allá del campo empresarial y aplicarse dentro de la política peruana, especialmente, en el trabajo de los movimientos políticos cuyas herramientas de comunicación políticas les permiten articular esfuerzos en las campañas electorales. Ante esto, puede que la comunicación política y sus vertientes, ya sea el marketing, branding y propaganda política no sean las únicas herramientas ni estrategias de comunicación dentro de una carrera electoral para la consolidación de un movimiento político. Este trabajo plantea que el modelo DirCom de Joan Costa puede ser aplicado dentro de la política peruana, especialmente, en una organización política para darle un cambio y renovación, consolidar su identidad, reputación, credibilidad y preservar los activos intangibles que hoy en día permiten construir lazos de confianza y cercanía con las audiencias. A lo largo de esta tesis de investigación se puede ver, también, que en el ámbito político aún no existe una clara visión de que la campaña es permanente y no termina con el proceso electoral.