Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 50).

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 217-229).

Thesis (Ph.D.)--University of Iowa, 2009. / Thesis supervisor: Cheryl Herr. Includes bibliographical references (leaves 234-250).

Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 50). Also available in print.

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 267-275).

Thesis--Indiana University. Vita. / Description based on print version record. Bibliography: l. 139-158.

Title: Performing Work: Internationalism and Theatre of Fact between the U.S.A. and the U.S.S.R. Theatre’s public, and yet intimate emotional ability to demarcate extraordinary occurrences and provoke communal escalation make it useful for internationalist organizing. “Performing Work: Internationalism and Theatre of Fact between the U.S. and the U.S.S.R.,” traces 1920s and 1930s leftist theatre through transnational circuits of political and aesthetic dialogue. I argue that these plays form a shared lexicon in response to regional economic and political challenges. Sergei Tretiakov’s Rychi, Kitai/Roar, China! (1926); Hallie Flanagan and Margaret Ellen Clifford’s Can You Hear Their Voices? (1931); Langston Hughes’s Scottsboro Limited (1931); and Hughes, Ella Winter, and Ann Hawkins’s Harvest (1933-34) constitute the dissertation’s primary texts. “Performing Work” begins by reading the Soviet play Roar, China! as a work of theatre of fact which performs conflicted internationalisms in plot, and in its politicized production history. The middle chapters track revisions to Soviet factography and internationalism by three American plays in light of the Depression, racism, feminism, and labor disputes. The study considers the reception of Russian and English translations, as well as figurative translations across cultural contexts. Performance theory and literary history support this analysis of dramatic forms—embodied, temporal, and textual. I narrow my study to four plays from the United States and Soviet Union to argue for the tangible impact of ephemeral contact and performance in order to resist polarizing simplification of relationships between these two countries. The three central figures of this study, Sergei Mikhailovich Tretiakov (1892-1937), Hallie Flanagan (1890-1969), and Langston Hughes (1909-1967) each had either direct or indirect contact with one another and with each other’s theatrical work. This study is primarily concerned with the transnational circulation of politically significant dramatic form and only secondarily occupied with verifying direct influence from one author to another. The four plays participate in transnational dialogue on working conditions, cultural imperialism, racist legal systems, and gender inequality. This dissertation includes previously published material. / 10000-01-01

abstract: The Female Patient: American Women Writers Narrating Medicine and Psychology 1890-1930 considers how American women writers, including Charlotte Perkins Gilman, Zelda Fitzgerald, Sarah Orne Jewett, Edith Wharton, and Gertrude Stein, use the novel form to examine medical culture during and after the turn of the 20th century. These authors insert the viewpoint of the woman patient, I argue, to expose problematics of gendered medical relationships and women’s roles in medicine, as well as the complexities of the pre-Freudian medical environment. Issues such as categorizing and portrayal of mental illness, control and perception of the patient through treatment, women's alternative medical practices, addiction, and the immigrant and minority patient are all examined. In doing so, the goal of revising medicine's dominant narratives and literature's role in that objective may be achieved. Authors using the subjectivity of the patient help to refigure perspectives of women's medical and social encounters. Utilizing historical record and sociocultural theorizing, this dissertation presents the five women authors as essential in creating new narratives of modernity and ways of understanding medical experience during this time. / Dissertation/Thesis / Doctoral Dissertation English 2016

Made available in DSpace on 2014-06-11T19:28:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-27Bitstream added on 2014-06-13T19:57:49Z : No. of bitstreams: 1 silva_vcp_dr_prud.pdf: 3765480 bytes, checksum: b3304a56f6ce9088e150c5a2b0a14efa (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A partir do estudo da cidade de Palmas, capital do Estado de Tocatins, o desafio fundamental da tese proposta é analisar o imaginário da cidade projetada e implantada, constituída num tempo compactado e, ainda, como esse espaço organizado no tempo ausente apresenta traços e encaixes na realidade do pós-modernismo. Brasília e Palmas são cidades do tempo ausente que, diferente das demais cidades não planejadas ou projetadas, tem o seu espaço-tempo surgido simultaneamente. Compreendemos teoricamente essa compactação ou simultaneidade, como ausência de tempo. A cidade de Palmas foi projetada e surgiu nessa condição de compactação temporal, sua paisagem urbana detem imagens cheias de simbolismos que jogam com a subjetividade do tempo... / From a study on the city of Palmas, the capital of the state of Tocantins-Brazil, the fundamental problem on the thesis proposal is to analyze the Idea of an implanted pre designed city, settled in a compact period of time and still as IF this organized period of absent time presents treats and fits into post modernism reality. Brasília and Palmas are cities that belong to the so called “absent time” that different from other cities Just haven’t been put into blueprint or pre-planned. They both have time and space emerged simultaneously. We theoretically understand that this compaction or simultaneity as “absence of time”. The city of Palmas has been put into blueprint and came to being into a time compaction condition. It´s urban design and landscaping is filled up with symbolism that simply plays with time subjectivity. The monuments are random temporal maps that represent different periods of time though they are all rather recently made creating an illusion to others perception with the goal of bringing some historic sense to the city. The path to understanding the city and its present/absent temporality on which it has been designed is based on a multiplicity logic that sketches and overlays urban image polysemy... (Complete abstract click electronic acces below)

Submitted by MARIA DO SOCORRO GOMES TORRES null (liuregis@hotmail.com) on 2016-12-14T21:24:44Z No. of bitstreams: 1 Maria do Socorro Gomes Torres -Repositório UNESP.pdf: 2204441 bytes, checksum: 0b5463c8eca6265e1cdec54da9ed7532 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-15T16:46:42Z (GMT) No. of bitstreams: 1 torres_msgt_dr_sjrp.pdf: 2204441 bytes, checksum: 0b5463c8eca6265e1cdec54da9ed7532 (MD5) / Made available in DSpace on 2016-12-15T16:46:42Z (GMT). No. of bitstreams: 1 torres_msgt_dr_sjrp.pdf: 2204441 bytes, checksum: 0b5463c8eca6265e1cdec54da9ed7532 (MD5) Previous issue date: 2016-08-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Magma, gênese poética do escritor João Guimarães Rosa, constitui-se a base sólida desta tese de doutoramento, em Teoria da Literatura. Tem-se como corpus os poemas da coletânea que apesar de premiada em, 1937, não obteve a recepção merecida, em virtude do autor não ter publicado a obra. O estudo aprofundado dos poemas mostra que o lirismo voltado para os rios, a água e as cores é aspecto crucial em sua composição. Não é novidade vincular a produção rosiana ao Modernismo, o que é novo é abordar uma obra inicial como Magma, tendo em vista os aspectos anteriores. Optamos por realizar uma abordagem que contempla (i) a análise da fortuna crítica; (ii) o contexto de produção, relacionando a gênese poética de João Guimarães Rosa às demais produções poéticas do Modernismo, sobretudo, do primeiro e do segundo momentos; (iii) a análise dos poemas. Para a construção da tese partimos do estudo da fortuna crítica de Magma, atendo-nos à recepção da mesma e às análises que da coletânea foram feitas. O suporte teórico e crítico para a realização desta tese ateve-se a estudos acerca do Modernismo brasileiro, entre eles Affonso Ávila (2013), José Guilherme Merquior (1965), aos estudos voltados para a compreensão do texto poético como Octavio Paz (1982). Além disso, buscamos contextualizar Magma no universo do Modernismo brasileiro, de modo a estabelecer pontos de aproximação e distanciamento entre o que faz João Guimarães Rosa e o que fazem os modernos. Em seguida, organizamos os poemas da obra em vertentes, apoiando-nos em parte nos trabalhos de Maria Célia Leonel. As fronteiras entre tais vertentes não são firmemente delimitadas, porém, acreditamos que há um ganho analítico na organização do livro segundo essa perspectiva, pois, são temas que percorrem toda a coletânea, também, toda a obra subsequente do autor. Por fim, coube investigar em que medida, tais temas, que se apresentam na obra com fronteiras pouco fluidas, se articulam, a partir de um discurso moderno que os aproxima. Ou seja, a partir dos instrumentos fornecidos pelas etapas anteriores procuramos responder à seguinte pergunta: em que medida aspectos do Modernismo articulam-se em Magma, para garantir o diálogo entre as vertentes apontadas e, para, além disso, garantir a originalidade e a riqueza da obra poética de João Guimarães Rosa?. / Magma, poetic genesis of the writer João Guimarães Rosa, constitutes the solid foundation of this doctoral thesis in Literary Theory. There have as corps poems that make up the collection, which despite awarded in 1937, did not get the deserved reception, and this, perhaps, hindered the development of researches on / from it, that situated within the context of Brazilian Modernism. Researches that show at the same time, the extent to which collection moves away from that same literary context, since the poems are linked by a discourse that tenses the very idea of Modernism, responsible for ensuring the originality of the work. The in-depth study of the poems shows that primitivism / nationalism, playful, philosophical, lyrical are crucial aspects in its composition. Unsurprisingly link to Rosa's production to Modernism, what is new is to approach an initial work as Magma, in view of the previous aspects. We decided to use an approach that includes (I) the analysis of the critical fortune; (II) the context of production, linking the poetic genesis of João Guimarães Rosa to other modernist poetic productions, especially the first and second times; (III) the analysis of poems. For the construction of the thesis we start from the study of criticism of Magma fortune, especially the study of Maria Célia Leonel (2000), being guided by the receipt of the same and the analyzes of the work they were made. The theoretical and critical support for the realization of this thesis it is adhered to studies of Brazilian modernism, including Affonso Avila, studies aimed at understanding the poetic text as Octavio Paz (1982). In addition, we seek to contextualize Magma in the universe of Brazilian modernism, in order to establish points of approximation and distancing between what is João Guimarães Rosa and what do the Modernists. Then we organized the poems of the work areas: primitivist / nationalist, lyrical, playful and philosophical. The boundaries between the strands are not firmly defined, but we believe that there is an analytical gain in book organization according to this view, because the themes run throughout the collection, too, all the subsequent work of the author. Finally, we investigate to what extent these issues, which are present in the work with little fluid boundaries, articulate, from a modernist discourse approaching them. That is, from the tools provided by the previous steps seek to answer the following question: to what extent modernist aspects are articulated in Magma to ensure dialogue between the identified aspects and to also ensure the originality and richness of work poetic of João Guimarães Rosa?.