Thesis (M.A.)--Memorial University of Newfoundland, 1999. / Bibliography: leaves 77-79.

Lynn Riggs was an early to mid-20th century Native American playwright who wrote twenty-four full length plays, his sole enduring success being Green Grow the Lilacs, the play upon which the musical Oklahoma! is based. For much of the early part of Riggs’s career, he was considered a uniquely pioneering and promising playwright, cited in competition with Eugene O’Neill as vying for the position of best playwright of their age. But while O’Neill has gone on to be considered America’s Greatest Playwright, the life and works of Lynn Riggs, save for his contribution to Rodgers and Hammerstein, have gone largely forgotten and unexamined. It is the purpose of my paper to 1) provide a biographical sketch of the man, 2) give an overview of several major themes that run through his work, and 3) provide some theory and analysis as to why the promise of this young and distinctly Native American voice was never adequately fulfilled in his lifetime. I will attempt to argue that a combination of circumstances including Riggs’s poor home life, his at times misogynistic and racist points of view, America’s inability to see Native Americans as other than caricatures and, quite simply, bad luck put much of Riggs’s writing on a fast track to failure and contemporary obscurity.

This study maps a way of looking at design history in New Zealand through the investigation of a taxon of industrially manufactured ceramics. Understanding design as an enfolded process of production, distribution, mediation and consumption, three threshold moments are identified as occurring within the European settlement period: the internationalisation of commodity production and consumption; the emergence of import substitution; and the deregulation of the market. While production has formed an element in the design of ceramics in New Zealand, it is contended that greater significance lies in both the trade and the mediation of these commodities and in particular in the way these have influenced local consumer choice. Emerging from this study, a series of key binaries become apparent: between the metropolitan centre and the frontier; between state and business; and between the traditional and the progressive. Likewise, the positioning of design within the institutionalised sites of power-or its absence from them-has been a prime force both in the development of manufacturing industry and in determining the nature of the consumer market.

This study maps a way of looking at design history in New Zealand through the investigation of a taxon of industrially manufactured ceramics. Understanding design as an enfolded process of production, distribution, mediation and consumption, three threshold moments are identified as occurring within the European settlement period: the internationalisation of commodity production and consumption; the emergence of import substitution; and the deregulation of the market. While production has formed an element in the design of ceramics in New Zealand, it is contended that greater significance lies in both the trade and the mediation of these commodities and in particular in the way these have influenced local consumer choice. Emerging from this study, a series of key binaries become apparent: between the metropolitan centre and the frontier; between state and business; and between the traditional and the progressive. Likewise, the positioning of design within the institutionalised sites of power-or its absence from them-has been a prime force both in the development of manufacturing industry and in determining the nature of the consumer market.

Thesis (Ph.D.)--Princeton University, 2005. / Includes bibliographical references (leaves 234-255).

Thesis (MPhil)--University of Stellenbosch, 2006. / On title page: Master of Philosophy (Ancient Cultures). Bibliography.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 215-226).

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