According to Philippe Lejeune’s “autobiographical pact,” a text can only be considered an autobiography when the author, narrator, and character all share the same proper name. Any exceptions are thusly designated as works of fiction, regardless of whatever biographical resemblance may be detected between the author and character. This thesis aims not to challenge this useful generic distinction, but to develop an authoritative system for approaching the oft-neglected side of the equation: works of autobiographical fiction, and autobiographical dramas in particular. I propose to develop a reception-based methodology (the Biographical Grid) for assessing author-character resemblance with as much empiricism as possible. This is done by extracting the author’s biographical material in relation to the chosen fictional character (often the play’s protagonist) via their characterization within the text, and organizing this material within a specially-designed table. Each of these units is then assigned a numerical score based upon its correspondence with the author’s publicly-known biographical data. The result is not only a qualitative value assigned to the degree of resemblance between the character and its author, but moreover indicates precisely which character traits enforce the autobiographical kinship, and which represent conscious deviations from the biographical record as part of the process of fictionalization. This information can then be applied to well-informed analyses of the text’s use of its autobiographically-inspired content. Using Tolstoy’s play, The Light Shines in Darkness, as a case study, I demonstrate the process of building, testing, and applying the grid to assess a work of autobiographical drama. My systematic approach to autobiographical dramas of this kind supports the development of further research into methods of biographical criticism while strengthening analytical readings of individual plays.

This dissertation examines a recent work for flute and piano, Here Everything Shines, by a living composer, Charlotte Bray, including a study, analysis and performance guide. The composition was largely inspired by the late Cape Verdean singer Cesária Évora and her song Petit Pays. My research explores the influence of Évora's song on Here Everything Shines, including the melodic development, tonal center, style and freedom of her singing and the impact the song has on a performer's interpretation of Here Everything Shines. The study examines the text of the song, the emotions evoked and reflects on the compositional elements in Here Everything Shines. Originally written for flute and guitar and commissioned by Tom Kerstens for International Guitar Foundation, Here Everything Shines was published in 2015. Bray transcribed it for violin and piano at request of Darragh Morgan and Mary Dullea and subsequently for flute and piano at my request. This dissertation compares the three versions for flute and guitar, violin and piano, and flute and piano and examines the variations between flute and violin as well as guitar and piano parts. The performance guide includes the composer's input on both interpretation and implementation of her ideas throughout the work.