A retired actress and her quirky family trap four guests in elaborately woven games in Noel Coward’s Hay Fever. Within the concept of “playing house,” the glamour of Coward’s work lives on through scenery, costumes, and lighting, while his quirkier side is highlighted in hopes of making his Comedy of Manners accessible to a new audience.

Examining the print media representations of South African runner, Caster Semenya, is the focal point of this study. Both local and international print media are considered. The dissertation sets out to draw parallels between the representation of Semenya and early 19th century representations of Sarah Baartman. Links between the race of these two women and their “othering” on the basis of their gender are drawn. The study explores the medical and scientific justifications for “othering” these two women, the lack of agency that is attributed to both Semenya and Baartmann, and also discusses the use of humour as a tool of negotiating their “otherness”.

I projektet .To Be Continued undersöker och visar jag exempel på hur jag som blivande industridesigner kan underlätta materialåtervinningen av elektroniska produkter. Plast som material står i fokus i projektet . Den övergripande idén är att utveckla och formge exemplen på smarta metoder och lösningar för sammansättning och nedmontering av elektroniska produkter. Det övergripande syftet är att framställa ett designförslag som, på grund av hur den är sammansatt, ska kunna främja materialåtervinning och på så sätt kunna ingå i en cirkulär ekonomi. För att presentera tydliga förslag på sammansättningar av elektroniska produkter har jag valt att formge en kaffemaskin, som alltså är framarbetad utifrån de metoder och lösningar som utvecklats i detta projekt. Designförslaget, som presenteras i texten, är en kaffemaskin. Kaffemaskinen är uppbyggd med en grundstruktur där komponenterna staplas på varandra och som tillsammans bildar både formen på insida och utsida av kaffemaskinen.

For decades now, musicians have been using crossover to expand their career and earn more knowledge about the music industry. Soprano Sarah Brightman and duo 2 Cellos are classically trained musicians who implemented crossover into their career and used their classical training as guidance of become successful. Musicians who restrict themselves only to classical music may approach danger regarding a career and livelihood, which includes audience interest, employability and financial instability. In this study the term “crossover” refers to classical artists’ who use their skills to perform other genres. Crossover gives artists the chance to appeal to larger audiences and extend their repertoire of music while using techniques used in classical works. Classical musicians such as Sarah Brightman and 2 Cellos are being forced to cross musical genres because of employability, declining audience interest in classical music and financial instability. Within this research I am going to compare and analyze the crossover of one classical vocalist, Sarah Brightman, and a classical instrumentalist group named 2 Cellos. My research will focus on the following three questions: Research Question #1 What are the critical factors for successful crossover for classical musicians to pop? Research Question #2 What crossover processes did Sarah Brightman and 2 Cello’s employ to transition from classical to pop music? Research Question #3 Was Sarah Brightman’s and 2 Cellos crossover to pop music successful according to the definition and parameters of success? This paper ends with a conclusion highlighting my findings, which summarizes the major points of this research and provide ideas for further research on the concept of crossover. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Chan, Woon Ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 91-94). / Abstracts in English and Chinese. / Abstract (English) --- p.i / Abstract (Chinese) --- p.ii / Acknowledgements --- p.iii / Chapter 1 --- Introduction --- p.1 / Chapter 2 --- A New Understanding of Reality: Innovation within the Canon of Realism and Naturalism --- p.19 / Chapter 3 --- Sarah Kane: Bodies and Pain --- p.41 / Chapter 4 --- Harold Pinter: The Dilatory Space --- p.63 / Chapter 5 --- Conclusion --- p.83 / Works Cited and Bibliography

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What can lead authors to come up with entirely different textual portraits of the same nation? My dissertation is an exploration of the rhetorical construction of emotion in nonfiction narratives about the United States from the Second World War to the present. I emphasize the importance of one particular rhetorical strategy: synecdoche, a substitution of part for the whole. I argue that synecdoche is as much a strategy for seduction as it is a rhetorical strategy, and therefore an emotional strategy as well. As the authors in my dissertation -- John Steinbeck, Charles Kuralt, Truman Capote and Sarah Vowell -- write of the nation, they simultaneously write of their irresistible, irrevocable attachment to the nation. In this way, these studies of the United States act like a Rorschach test, as a projection of affect onto what the authors claim to be an objective national portrait. (And we respond to them accordingly: consider the number of "America's" we encounter daily, and how many of them we automatically accept or dismantle.) The ambivalence the authors in my study feel, I would argue, comes only after the portrait is complete. The pleasure is in the process: the result is seldom as rewarding. It has become commonplace to argue that "nations provoke fantasy." I argue that nations provoke fantasy because they are necessarily synecdochical. Synecdoche provokes fantasy because synecdoche is fantasy: the seduction of another through the persuasion that similar parts represent shared wholes. However, the nation is not only a fantasy. This is where the word "fictionable" enters into the study. As one major critic has defined it, the "fictionable" is that which is "available for conversion into fiction." The "nation" as a concept is certainly fictionable, and it is well worth considering -- as an entity and experience -- that has become so much a part of the way we tell stories about ourselves, that it can come to function as a backdrop on which we project both our political ideologies and personal desires.

This thesis provides a framework to understand and apply the philosophical principles of paternalism to determine the most reasonable actions states can take in regard to marijuana legalization. As matters currently stand in U.S. policy, states must decide whether they will prohibit, decriminalize, or legalize marijuana. First, I will give a brief history of marijuana regulations and societal perceptions in the United States. Second, I will define and differentiate concepts of illegalization, decriminalization, and legalization from one another. Third, I will summarize and analyze Joel Feinberg and Sarah Conly's arguments against and for paternalism, respectively. I will conclude by applying the strengths of each philosopher's arguments with respect to the marijuana debate to offer a policy that is both just and effective.

This paper describes the making of It’s Me, Sarah, a University of New Orleans thesis film. It explores the process of creating the film in three parts. Part one will examine the pre-production, including the writing and preparation for the shoot. Part two will detail the production, including the shooting affairs. Part three will cover the post-production process, which will include the editing. The document will then reference these three segments regarding the film’s theme and will conclude by evaluating whether the final film achieves its intended conception.

This thesis examines the relationship between dramatic structure and women's responses to oppression. By looking at Blasted by Sarah Kane, Father Comes Home from the Wars Parts 1, 2, & 3 by Suzan-Lori Parks, and Feminaal by Nina Morrison, I examine the ways that questions of structure become questions of gender. I argue that these plays’ forms are purposeful embodiments of resistance and aggression and that the energetic connection between these plays is a current of anger.