Rekindling the flame: the revival of the sadir katcheri (bharata natyam) -- "It is a strict law that bids us dance": the Kwakiutl Hamatsa dance -- Poetry in motion: the hula -- We are all on this earth together: the Plains Indians sun dance -- The churning of the oceans: the survival of the Khmer classical dance ofCambodia -- Of two worlds: the whirling dervishes of Kenya -- A better way of life: the ghost dance of the Plains Indians -- "The only people can shout is right here": the unbroken chain of the ring-shout dance -- Visca sardana!: the astronomical dance of Catalonia -- Capoeiristas: righteous avengers -- The raqs sharqi (belly dance) faces trouble -- Bringing in the May -- All's well that ends well: the English Morris dance -- Feet on fire: Irish dance at the crossroads -- Sacred, yet profane: the Afro-Brazilian batuque and samba -- It takes two to tango! "This work provides an exploration of dances banned around the world. The sixteen case studies reveal the meaning of the dance to each culture and the importance of the art form to the creation of healthy sociological and political climates. Chapters detail each dance's origins, technical steps and movements, costumes, music, and political history." / https://dc.etsu.edu/etsu_books/1083/thumbnail.jpg

The St. Johns Bridge is a 1,207 foot span suspension bridge crossing the Willamette River in Portland, Oregon, connecting the Portland communities of St. Johns and Linnton on the eastern and western banks, respectively. Commissioned in 1928, the bridge was completed in 1931, with much fanfare in the local community. The two neighborhoods are some distance from downtown Portland, and the bridge brought prestige to an otherwise nondescript locale. It was designed by the New York-based firm of Steinman & Robinson. David Barnard Steinman (1886-1960) acted as the public face for the firm, however, and the design of the bridge has traditionally been ascribed to him in the literature. Steinman was one of the most prominent bridge engineers of the twentieth century, and is recognized today, as he was even within his lifetime, as such. It was a position which he worked fervently to attain. Steinman wrote extensively concerning the St. Johns Bridge and spoke of it as his own; his extensive use of the St. Johns Bridge as an example of aesthetics in bridge engineering is related to the early twentieth-century debate between engineers and architects regarding the role of each in bridge design. As an engineer who sought, without the aid of the architect, to build bridges which were objects of beauty, he asserted the role of the engineer as artist. The predisposition toward the engineered machine aesthetic in the intellectual climate of the avant-garde in the early twentieth century enabled Steinman to style himself as such an artist--even though the St. Johns Bridge, which he frequently employed in this regard, was not a work of functionalist aesthetics. While the architectural avant-garde was borrowing from the engineer for artistic rejuvenation, Steinman was in an advantageous position to argue for the engineer-artist, thereby casting the engineer as an individual sui generis, equal to and without need of the architect.

In the first chapter I will discuss Renoir's involvement with the Goncourt brothers and his close interest in the themes of the Rococo. I will show how his connection with the Rococo surpasses superficial imitation and brings Renoir into direct dialogue with eighteenth-century ideas and motifs. In the second chapter I will explore the ideas about women that arose in the eighteenth century as seen in the philosophy of Jean-Jacques Rousseau and how Renoir puts them to use in his paintings of his wife, Aline. I will discuss Renoir's dialogue with Rousseau's natural roles for women, especially the practice of breastfeeding. In the last chapter, we will look at Renoir's career as an Impressionist in Paris and his interaction with the fashion of the day. During the rise of haute couture in Paris, emerging fashion was embraced most famously by Baudelaire, who despised the idealization of nature. Here we will look at Renoir's retort to Baudelaire's ideas. I seek to show that naturalism, as understood by Rousseau, is present in various ways throughout Renoir's Impressionist period, even as financial reasons constrained the artist to represent the busy city life of Paris. In summation this thesis will analyze Renoir's depictions of women, his love of eighteenth century artists, and the ideal of the natural woman he would return to throughout his career. I seek to demonstrate that Renoir was not superficially engaged with the Rococo Revival; rather, we shall see how deeply Renoir is in debt to Rousseau's ideas and Rococo aesthetics.

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The main assertion of this thesis is that both 19th century and contemporary Gothic literary texts are characterised by fugitivity, embodied by the fugitive ‘figure’ which through its ambiguity is re-deploying the distinction proposed by Ross Chambers – inescapably both narrative and textual. The fugitive figure is intimately related to desire and its textual mobilisation. This mobilisation simulates the paradoxical experience of the sublime in which the pursuer of the fugitive figure is left speechless before the feared and desired unnamable other. Anne Rice’s ‘The vampire chronicles’ are discussed, as are ‘Frankenstein’, ‘The strange case of Dr Jekyll and Mr Hyde’ and ‘Dracula’. Analysis of these texts constitutes a ‘genealogy’, conceived and executed in poststructuralist terms, consisting of a deconstructive analysis inflected by psychoanalytic inputs. The genealogy is applied to indicate the importance of the family structure and its potential for dissolution in Gothic texts, and recreates a search for origins, which is a recurring theme in Gothic writing. The fugitive figure, through its embodiment of insatiable desire, is beyond either narrative or tropaic apprehension. It is in continual metamorphosis and invites pursuit in its different guises. However, although it appears as the objectified pursued, it actually arises from within the pursuer, so any attempt to arrest the disruptive flow it signifies is, although unavoidable and necessary, a self-deceptive act doomed to failure. This failure is registered simultaneously at narrative and textual levels. / Doctor of Philosophy (PhD)

This study demonstrates that much of the Gothic novel's effect results from the form of the classical tragedy. Experimentation with that form as the basic structure of the novel begins with Horace Walpole, extending through Ann Radcliffe and Charles Maturin. Walpole, the innovator, uses the form--architectonic movements and particularized devices-to bring dramatic action back to a genre which was withering due to Richardson's epistolary structure. The plotting of The Castle of Otranto relies on tragic movement: exposition, complication, minor crisis, incitement of tragic force, climax, catastrophe. Also, to move action, Walpole uses peripeteia and anagnorisis more broadly than a dramatist. Because of his expanded use of the two devices, Walpole adds spectacle or the supernatural to crisis, climax, and catastrophe. Desiring to offset pathos, he creates fear--specifically terror, the fear of death.Ann Radcliffe uses Walpole's strategy in The Italian but modifies the tragic structure somewhat. Hers is a more expansive work than Otranto, and she emphasizes the ironies of her protagonist's decline. Equally important, she uses the true supernatural, she continues experimenting with minor character, and generalizing the use of peripeteia to increase ironic possibilities occurring between characters, characters and narrator, or book and audience. Because these ironies are so much like undercutting, The Italian seems more like a modern novel.Because Charles Robert Maturin was himself a dramatist, the architectonic technique of Melmoth the Wanderer is also tragic. Maturin uses the tragic form recursively, adding bewildering, ambiguous depth to the novel. The many tragedies are interlocked. Individually, each teaches about the human condition. As a whole, the tragedies are Melmoth's hell on earth, though his victims' fleshly tragedies never match his own hopeless spiritual tragedy. Structurally, Maturin uses periketeia and anagnorisis frequently, oftentimes mixing in spectacle and the supernatural. Other major contributions are Maturin's use of a temporally and spatially free protagonist and his emphasis of the fear of eternal damnation. Since that is Melmoth's final lot, the author withholds climax and catastrophe for the novel's end.Thus, the Gothic suggests itself as a source for the "dramatic novels" of later mainstream authors like George Eliot.

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Dr. Carrie Sandahl, Florida State University, School of Theatre. Title and description from dissertation home page (viewed June 15, 2004). Includes bibliographical references.

Thesis (Ph. D.)--Queen's University at Kingston, 1997. / Includes bibliographical references.

Thesis (M.A.) -- University of Texas at Arlington, 2008.

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 189-194).