In my writing, I’m deeply concerned with abuse culture, femininity, and queerness. Too Much is the product of two years of processing my feminine identity and discovering my queer identity. This book is a coming out for me as a queer writer and an assault victim. It’s also a defiance of the censorship I’ve been confronted with in my life as a poet and a women. Oftentimes, in workshop or in conversation, I’ve gotten comments about my writing and myself being “too much.” These comments always appeared around moments that dealt with sexuality, violence, queerness. Initially, I reveled in this. It felt good to create discomfort in my readers, but I began to realize it was a kind of censorship, a deliberate turning away from the truth of abuse culture, violence, and feminine sexuality. So, I kept going. The stichic form has been transformative for me as a writer, as has been my exploration of new narrative poets. I love the trajectory and power in a poem with short lines and plain talk that refuses to break or pause for breath. We live in a world that is selective. We are buried in avalanches of news stories, Instagram posts, tweets, texts, new music, old music, TV, online shows, porn, writing. As a poet, I am interested in how I can possibly begin to catalogue all this cascading information even from just my own point of view. How much does depicting real life influence my work when I’m not even sure where real life ends and fantasy begins? What is my responsibility to the truth? To MY truth? I want Too Much to feel this way, true to experience, true to the way life is now. I want it to feel like too much and not enough all at once.

The following thesis is a brief view of production of UNO's Spring 2009 production of Shakespeare's classic comedy Much Ado About Nothing. This thesis will include analysis, research, production book, documentation from the production, and an evaluation of the process of bringing the production to life. The play was performed in New Orleans, Louisiana, at the University of New Orleans Performing Arts Center Robert E. Nims Theatre on April 23, 24, 25, and 30 as well as May 1, 2, and 3.

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This thesis adds to the existing literature on the too-much-choice effect. The effect documents a range of negative consequences as a result of choosing from extensive choice sets, such as increased decision difficulty, increased deferment likelihood, and increased feelings of uncertainty, regret and dissatisfaction with chosen options. The research presented in this thesis investigates the effect of choice amount in the novel domain of volunteering, specifically which organisation to volunteer for. This is an experiential choice rather than the material choices typically studied. The first three field studies focussed on real volunteering recruitment ‘events’ to gain preliminary insight into this new context. Study 1 demonstrated that an opt-out request for future contact consent elicited the greatest compliance. Study 2 found that only around half of the students that had intended to volunteer at the beginning of a year had done so by the end, but for those that had done so, volunteering was a positive and beneficial experience. Study 3 demonstrated the effectiveness of volunteer ‘events’ for the recruitment of volunteers, despite there being an extensive number of organisations present. Five further studies used an experimental methodology and focussed on choosing from computer based choice sets to simulate online volunteer recruitment. Study 4 found evidence of the too-much-choice effect. The greater the number of options looked at on a real volunteering website, the greater was the likelihood of decision deferment. This was mediated by decision difficulty. Study 5 replicated these findings using a more controlled experimental design and hypothetical organisations. Studies 6, 7 and 8 investigated potential choice architectural moderators of the too-much-choice effect. Option categorisation facilitated students’ decisions but not non-students (Study 6), deferment likelihood was reduced if options were presented in a ‘box’ format rather than a ‘list’ format (Study 7) and option familiarity appeared to have no effects on decisions (Study 8). Overall, this research demonstrates that extensive choice can be problematic in the novel context of volunteering and it begins to investigate choice architectures that have the potential to help people deal with extensive choice. The limitations and implications of these findings in relation to volunteer recruitment are discussed as well as possible avenues for future research.

This thesis serves as documentation of my efforts to explore and define my creative process as an actor in creating the role of Beatrice in William Shakespeare's Much Ado About Nothing. This includes research, character analysis, rehearsal journal and an evaluation of my performance. Much Ado About Nothing was produced by the University of New Orleans Department of Film, Theatre and Communication Arts. The play was performed in the Robert E. Nims Thrust Theatre of the Performing Arts Center at 7:30 pm on the evenings of April 23 through 25 and April 30 through May 2. There was a student matinee the morning of Friday, May 1 at 9:30 am as well as one public matinee at 2:30 pm on Sunday, May 3, 2009.

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This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays. I suggest that correlations in phrasing and imagery might undermine antitheatrical rhetoric: for example, the plays portray certain theatrical, revelatory deceptions as traps which free their victims instead of killing them. Such 'lies' are differentiated from actual deceits by their potentially relational characteristics: deceptions which reveal the truth require audiences to put aside their self-interest and certainty to consider alternative realities which might reflect, reconfigure, and expand their understanding of the world and of themselves. The resulting truths lead either to the creation or renewal of relationships, as in Much Ado About Nothing and As You Like It, or offer glimpses at the possibility of renewal, which is ultimately denied, as in Hamlet and King Lear. In both cases the imperatives for truth and right action are underscored not obscured, as antitheatricalists would have argued through the audience's vicarious experience of either the gains or losses of characters within the plays. / Dissertation (MA)--University of Pretoria, 2017. / English / MA / Unrestricted

A popular perception persists that the Franciscan friars of Romeo and Juliet and Much Ado About Nothing bear heavy blame for the results of the play, adversely for Friar Lawrence and positively for Friar Francis. The friars do formulate similar plans, but their roles vary significantly. I contrast their approaches using Michel Foucault's definition of pastoral power, with Friar Lawrence as an overly manipulative friar controlling the lovers in spiritual matters, and Friar Francis as a humble military friar returning from the Wars of Religion to share his authority with others. This distinction--especially with Friar Lawrence appearing chronologically first--demonstrates Shakespeare as more fluid in religious themes, contrary to a significant body of scholarship that asserts Shakespeare's pro-Catholic sympathies.

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MFA Thesis for Shanell B. Papp on Loners, textiles, video/film, re-purposing and pattern breaking.<p> w/ work from Marcel Duchamp, Edward Keinholz, Rene Magritte, Joseph Beuys, Eugene Atget, Arthur Fellig (Weegee), David Hoffos, Sarah Lucas, Tracey Emin, Mike Kelly, Allyson Mitchell, Madonna, Weird Al.