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1	A comparative analysis of four of the principal works of Rodgers and Hammerstein, and the plays and novels from which they stem Morton, Carla Lechner. January 1962 (has links) Thesis (M.S.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references. Rodgers, Richard, Hammerstein, Oscar,
2	The musico-dramatic evolution of Rodgers and Hammerstein's South Pacific / Lovensheimer, James A., January 1900 (has links) Thesis (Ph. D.)--Ohio State University, 2003. / Includes abstract and vita. Includes bibliographical references (p. 276-283).
3	"We'll find a new way of living" racism in Showboat, South Pacific, the King and I, and West Side story / Florjancic, Linda M. January 2005 (has links) Thesis (M. Mus.)--University of Akron, School of Music, 2005. / "August, 2005." Title from electronic thesis title page (viewed 11/28/2005). Advisor, Brooks Toliver; Faculty Reader, Michele Tannenbaum; School Director, William Guegold; Dean of the College, Mark S. Auburn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
4	The liberal Protestant influence on the musical plays of Oscar Hammerstein II circa 1943-1959 Bradley, Kathryn A. January 2013 (has links) This thesis explores the American liberal Protestant religious influences on Oscar Hammerstein II, and investigates how they are manifested in his musical plays written with Richard Rodgers in the period 1943-1959. Identifying these influences, which stem from Hammerstein's Protestant maternal family and from his attendance during his youth at the prominent Universalist church, The Church of the Divine Paternity, enable a widening of the theological engagement with popular culture to include the neglected realm of musical theatre. Having identified the Rodgers and Hammerstein musical play as a particularly powerful popular art form that explores the existential questions faced by human beings, I investigate the previously unexplored Unitarian and Universalist influences on Oscar Hammerstein II, refuting claims that he was part of the Jewish theatrical community on Broadway. Tracing these influences in Hammerstein's lyrics and libretti shows his response to these fundamental questions as human beings seek to create meaning and build identity in relation to that which is ‘other'. Within Hammerstein's personal philosophy I distinguish, the relationship between human beings and God, and the ethical relationships between human beings in community. I begin by exploring the Unitarian moral philosophy and belief in the fatherhood of God found in Carousel, The Sound of Music and Cinderella, and engaging with the Universalist depiction of the restoration period of the soul found in Carousel. Having revealed Hammerstein's liberal Protestant understanding of this relationship, I turn to his social and political activism connecting it to a social gospel understanding of the brotherhood of man and assertion of human unity. Engaging with his ‘American' musicals – Oklahoma!, Carousel, and The Sound of Music - and his ‘Asian' musicals – South Pacific, The King and I, and Flower Drum Song - separately, I question the theological implications of his late nineteenth- and early twentieth-century understanding of human unity have with regard to diversity. Throughout each of his musicals evidence is adduced of an unwavering belief in the progress of humankind onward and upward, as he reveals a significant liberal Protestant understanding of the nature of humanity, the brotherhood of man, and the possibility for human development and change. 780.92
5	Sing for Your Costumes: A Costume Design Thesis on The Boys from Syracuse Baker, Terry 01 May 2018 (has links) This thesis document is a presentation and exploration of the process involving the costume design for The Boys from Syracuse (music by Richard Rodgers, lyrics by Lorenz Hart, book by George Abbott) in the McLeod Theatre at Southern Illinois University Carbondale during February 2018. This light-hearted, farcical musical reminds us that life doesn’t have to be so serious. It explores our ability to be consumed by our own responsibilities, which causes us to escape to the theater and just enjoy a show. Chapter 1 contains the research, background information, and script analysis that was conducted to further enhance and inform the design of the costumes. This chapter also contains the goals that I wanted to achieve within my design and personal growth. Chapter 2 focuses on the design process and how each costume evolved through collaboration and discussion. Chapter 3 documents the build process of the design and how it was realized. An examination of the dress rehearsals and the production’s four performances are also contained within this chapter. Chapter 4 documents an analysis of the entire design and its evolution through outside critiques and commentary supported by personal self-reflection. Costume Design Costumes Golden Age Musical Rodgers and Hart The Boys from Syracuse
6	The Musico-Dramatic Evolution of Rodgers and Hammerstein's South Pacific Lovensheimer, James A. 31 March 2003 (has links) No description available. Music Theater Richard Rodgers Oscar Hammerstein II South Pacific Musical theater
7	A Hundred Million Messages: Reflections on Representation in Rodgers andHammerstein’s Flower Drum Song Thalheim, Sabina M. 09 August 2013 (has links) No description available. Music Theater Music Musical Theater Theater Chinese American Chinatown Orientalism Rodgers and Hammerstein David Henry Hwang C. Y. Lee
8	If it's good enough for Shakespeare the bard and the American musical / Silverberg, Carol E. January 2009 (has links) Thesis (Ph. D.)--State University of New York at Binghamton, Department of English, General Literature and Rhetoric, 2009. / Includes bibliographical references.
9	"You've Got to Be Carefully Taught": Reflections on War, Imperialism and Patriotism in America's South Pacific Butler, Jayna D. 09 November 2013 (has links) (PDF) Underneath the romance, comedy and exoticism, South Pacific is a story that questioned core American values, exploring issues of race and power at a time when these topics were intensely relevant-the original opened just four years post WWII, on the heels of Roosevelt's aggressive expansionist response to domestic instabilities. Much has been written about the depiction of war and racial prejudice in South Pacific. However, examining such topics in the context of their cultural and political moment (both in 1949 and 2008) and through the lens of Terry Eagleton's unique take on morality, is not only a fascinating study, but an intensely relevant and unchartered endeavor. This work concerns the evolution of an American code of ethics as it has been reflected and constructed in both Broadway productions of Roger and Hammerstein's South Pacific (c.1949, 2008). Specifically, it examines the depiction of WWII, America's imperialistic foreign policy, and the function of American patriotism in light of Terry Eagleton's theories surrounding an evolving code of ethics in 20th/21st century America. By so doing, this thesis uncovers answers to the following questions: What were the cultural and political forces at work at the time South Pacific was created (both in 1949 and 2008), and how did these forces influence the contrasting depictions of war, imperialism and patriotism in each version of the musical? In what ways were these productions reflective of a code of ethics that evolved from what Eagleton would classify as moral realism (prescriptive of behavior) to moral nihilism (reflective of behavior)? How did the use of this increasingly reflexive moral code make this politically controversial musical more palatable, and therefore commercially viable during the contrasting political climates of WWII and the recent war on Iraq? Determining answers to questions such as these enables us as a society to look back on our history-on our mistakes and triumphs-and recognize our tendency to find pragmatic justification for our actions rather than acknowledging the possibility of the existence of objective truth, which remains unchanged through time and circumstance. South Pacific war American expansionism imperialism prejudice American patriotism ethical moral nihilism moral realism relativism evolution code of ethics pragmatic justification objective truth historiography World War II war on Iraq musical theatre Broadway New York Terry Eagleton Richard Rodgers Oscar Hammerstein Joshua Logan Bartlet Sher Mary Martin Ezio Pinza Kelli O'Hara Paul Szot Film and Media Studies Theatre and Performance Studies

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