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Rebecca Rush and challenging ideals of independence through post-revolutionary women's roles in education, marriage, and motherhoodKunkel, Aspen R. January 2008 (has links)
Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on July 14, 2009). Includes bibliographical references (p. 64-66).
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She's the Man : A Close Reading of Gender in The Return of the Soldier by Rebecca WestMeurling, Frida January 2016 (has links)
This essay focuses on gender behaviour in The Return of the Soldier by Rebecca West. The claim for this essay argues that West has changed the traditional gender roles in her novel by giving female characters masculine attributes and the male character feminine attributes. The theoretical framework provides a comparison of how West’s gender construction in her novel differs from older literature. The comparison is carried out by providing examples from two novels from the nineteenth century, in which we can see how men and women could be portrayed. The theoretical framework also discusses feminist theories by Toril Moi, masculinity studies by Alex Hobbs, and typical gender stereotypes according to Jeff Hearn. These theories are used to analyse how the characters’ gender behaviour is affected by social factors and how West deviates from the traditional construction of gender roles.
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Between WavesUnknown Date (has links)
Between Waves is a lyrical memoir that explores the changes I faced in
transitioning into American life after growing up in rural England. The book is written in
two parts; the first is set mostly in England, the second takes place primarily in Florida. I
interweave a present, reflective voice through both parts to challenge the ideas of love,
loss, and learning to say goodbye as well as attempting to illustrate how perceptions of
each can change over time.
The lyrical structure of the memoir allows for swift transition between memories,
themes, and locations without limitations of a chronological or linear storyline. The
stories detailed throughout the memoir are meditative, subjective perceptions that intend
to determine what it means to be a child, a parent, a transplant, and what it means to find
home within it all. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection
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A Phrenological Assesment of Rebecca Harding Davis’s Sketch, “Blind Tom”Davis, LeAnne M 18 December 2013 (has links)
In this essay, I examine how the nineteenth-century cultural phenomenon of phrenology is made apparent in the abolitionist arguments of Rebecca Harding Davis’s “Blind Tom” (1862), a nonfiction character sketch of the popular blind slave and idiot savant-musician. The first portion of my argument constructs a probable reality that allows for the influence of Davis’s exposure to phrenology first as a student, then later as a writer. I then perform a critical assessment of “Blind Tom,” revealing how Davis relies upon phrenological terminology, such as that employed by famous phrenologist Orson Squire Fowler, in her descriptions of the musician’s physical appearance in order to call for his freedom, from not only slavery on the Georgian planation he called home, but also, from being paraded as an sideshow and a spectacle before audiences across America.
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An analysis of the treatment of the double in the work of Robert Louis Stevenson, Wilkie Collins, and Daphne du MaurierAbi-Ezzi, Nathalie January 2000 (has links)
No description available.
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From sound effect to sound design: the development of a dramaturgical model for sound design in Rebecca – the musicalPurcell, Kevin J. Unknown Date (has links) (PDF)
This dissertation presents a notional model, as a taxonomic system, to describe dramaturgical elements of sound design in musicals. Developed in tandem with a prototype virtual environment interface - termed ‘The MaxStage’ - and authored in the Max/MSP software, the thesis uses Rebecca - the musical as a case study to test the efficacy of the model. Rebecca - the musical is in the form of a Broadway-style musical. Consisting of two Acts, the work is an adaptation of Daphne du Maurier’s novel of the same name. Whereas the technical art and practice of sound design for large-scale Musicals is increasingly well documented, the art form of sound design as a dramaturgical element in its own right, has received less attention. Analyses of the rôle of Sound-Designers in the theatre have tended to perpetuate the concept that sound design is commensurate with sound reinforcement. This tendency, however, delimits the creative potential of sound design to inform and elucidate the drama, as an extension of the musical score. A potentially more fluid interrelationship between music and sound design is postulated, as observed in the work of Sound-Designers for interactive computer games. As an electronic form of non-linear theatre, it is argued that new methodologies in adaptive-audio techniques, increasingly evident in computer gaming design, are relevant in defining an invigorated dramaturgy for sound design within the stage theatrical context.
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In a different context : rereading works by Elizabeth Stuart Phelps, Maria Cummins, and Rebecca Harding Davis /Bauermeister, Erica Rechtin. January 1989 (has links)
Thesis (Ph. D.)--University of Washington, 1989. / Vita. Includes bibliographical references (leaves [211]-218).
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The viola in early twentieth-century music : a performer's analysis of works by Rebecca Clarke, Paul Hindemith and Ernest Bloch /Man, Pauline. January 2005 (has links) (PDF)
Thesis (M.Phil.) - University of Queensland, 2006. / Includes bibliography.
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Violin and voice as partners in three early twentieth century English works for voice and violinRutland, John Paul. January 2005 (has links)
Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Apr. 18, 2002, and Oct. 25, 2005. Includes bibliographical references (p. 95-96).
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Directing Rebecca Gilman's Boy Gets Girl: A Southern Feminist's View on What I’m Supposed to do as a WomanJordan, Kelley McGahey 01 May 2018 (has links)
“Directing Rebecca Gilman’s Boy Gets Girl…” reviews the process of directing Boy Gets Girl by Rebecca Gilman, presented on October 26-29, 2017, in the Cristian H. Moe Laboratory Theater at Southern Illinois University in Carbondale, Illinois. This document chronologically details the year-long production process for the director, beginning with the preliminary research and discussing the development of a concept, through formulating designs, conducting rehearsals and observing performances, and concluding with a post production evaluation. This document begins with Chapter 1, exploring the preliminary research which developed into the director’s concept and vision for production. Chapter 2 explains the pre-production process, including design and production meetings, dramaturgy, and publicity. Chapter 3 details the production process, including auditions, callbacks, rehearsals, and performances. Chapter 4 is a personal reflection and committee evaluation of the overall production, including the recognition of opportunities for future growth as a director.
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