Diss.--[Kunstgeschichte]--Hamburg--Universität Hamburg, 1985.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Dans ce mémoire, j'explore la quête d'identité de personnages féminins dans des nouvelles et je fais ressortir les liens qu'une telle quête entretient avec l'ironie dans les recueils de Suzanne Myre : J'ai de mauvaises nouvelles pour vous, Nouvelles d'autres mères et Humains aigres-doux. Je montre que c'est avec ironie que Suzanne Myre présente des jeunes femmes en détresse qui se placent délibérément en marge de la société. Celles-ci écorchent les autres par une parole ou des pensées cruelles. Par ailleurs, elles ne manquent pas de retourner cette arme contre elles-mêmes, pour mieux se reconstruire. La partie réflexive de ce mémoire comporte deux chapitres. Dans les premières pages, j'aborde la notion d'"identité narrative", telle que définie par Paul Ricoeur, en lien avec les notions de mêmeté et d'ipséité, ainsi que de la"concordance discordante", pour rendre compte de la perception négative de soi et de la perte d'estime des protagonistes féminins. Le second chapitre étudie la part d'ironie dans les recueils. Après avoir caractérisé l'ironie au féminin, je présente les victimes de ce trope pour analyser ensuite l'ironie rhétorique, tant explicite qu'implicite, au service justement de la dépréciation de soi des protagonistes. Dans la partie création, j'aborde la problématique identitaire dans huit nouvelles qui comportent chacune une forme d'ironie spécifique, l'ironie du sort. Un peu comme chez Suzanne Myre, les personnages féminins dans mes textes sont tous à certains égards à la recherche de leur identité.

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Through a close analysis of Suzanne Collins’ Hunger Games series and Veronica Roth’s Divergent series, it will be shown that these two-current young adult dystopian book-film crossovers pose several relevant parallels to contemporary real-world problems. By deciphering a pattern on what garners their popularity, and most importantly analyzing the aspect of why they reached such levels of recognition, we can then begin to close in on just how important these two series are in representing the 21st century young American mindset. Taking into the equation also, how the overall-arching genre of dystopia has evolved with the times and has now adapted to reflect contemporary anxieties and fears. Looking into several elements such as a newfound desire for strong female roles, persuasive antagonists that are inspired by realistic historical precedents, and an unsettling desensitization towards violence and gore, we can then see that the successful equation of The Hunger Games and Divergent series reflects mainstream interests evocatively and effectively. It is not just an intervention into the encompassing utopian/dystopian tradition, but into today’s sociology. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

The present essay is the evaluation of women’s conditions and gender equality in the novel, the Hunger Games by Suzanne Collins. Different conditions of women such as the political, physical, marital and financial are analyzed in Panem society before and after the revolution. It is also discussed, which aspects of women’s lives are improved and which aspects are left unchanged after the rebellion of the novel. How far may revolution and the political system be influential upon the development of women and the decrease in male domination in Panem, as an example of real communities? In the final process of analysis, the lack of meritocracy in Panem society is discussed as the result of gender discriminations or the essence of policy. There are also comparisons between Panem and Greece and their heroes. The result of this comparison is, discovering a fluctuation in values, morals and political thoughts from ancient times up to an unknown future. Katniss as the heroine and the ideal female of society is primarily analyzed in each part, and then the other female characters are explored, depending on their roles and importance in the different parts.

Diss.--History--New York university, 2000. / Bibliogr. p. 289-608.

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This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges notions of authenticity and singular 'ownership' of technique by considering the importance of collaborative cross-fertilisation with other practitioners. This research includes a broader exploration of the literature, histories and discourses about the variety of practices that are often problematically classified as Physical Theatre in relation to the identification of the key components of Bing and Chekhov's pedagogy. The first chapter presents this mapping in tandem with the argument that McDermott's term of Embodied Theatre is more appropriate for Bing and Chekhov's practice. The second chapter further refines the frame of analysis to Embodied Play. Chapters three and four consider how Chekhov and Bing respectively used forms of Embodied Play. Chapter five considers how Bing and Chekhov extended their methods of Embodied Play in training which led to radical approaches to working collaboratively with text and writers. It concludes that this movement from the use of play solely for the acquisition of discrete skill or character creation to extended forms of Embodied Play enabled them to train actors to work as empowered creators of small-scale performance in their Schools/Studios, and ultimately to engage in devising processes for professional productions. Consequently, this helps to fill the gap in scholarship on the early experiments in devised Embodied Theatre. In conclusion the focus on Bing addresses the either inadequate, or absent, analyses of her practice in many of the existing historical studies which are dominated by the patrilineal narratives of Jacques Copeau and Michel Saint-Denis. The consideration of Chekhov's practice also challenges the current discourse on play centring on Le Jeu and presents the argument for an expanded term able to consider different artists not just those from the French male lineage. Concurrently, this focus on Chekhov's use of Embodied Play has added to the scholarship on his pedagogic and theatre-making practices.