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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 171 to 176 of 176 (0.024 seconds)| 171 |
Actor Alone: Solo Performance in New ZealandParker, George January 2008 (has links)
This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.
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Kamloops Chinuk Wawa, Chinuk pipa, and the vitality of pidginsRobertson, David Douglas 07 February 2012 (has links)
This dissertation presents the first full grammatical description of unprompted (spontaneous) speech in pidgin Chinook Jargon [synonyms Chinúk Wawa, Chinook]. The data come from a dialect I term ‘Kamloops Chinúk Wawa’, used in southern interior British Columbia circa 1900. I also present the first historical study and structural analysis of the shorthand-based ‘Chinuk pipa’ alphabet in which Kamloops Chinúk Wawa was written, primarily by Salish people. This study is made possible by the discovery of several hundred such texts, which I have transliterated and analyzed. The
Basic Linguistic Theory-inspired (cf. Dixon 2010a,b) framework used here interprets Kamloops Chinúk Wawa as surprisingly ramified in morphological and syntactic structure, a finding in line with recent studies reexamining the status of pidgins by Bakker (e.g. 2003a,b, forthcoming) among others. Among the major findings: an unusually successful pidgin literacy including a widely circulated newspaper Kamloops Wawa, and language planning by the missionary J.M.R. Le Jeune, O.M.I. He planned both for the use of Kamloops Chinúk Wawa and this alphabet, and for their replacement by English. Additional sociolinguistic factors determining how Chinuk pipa
was written included Salish preferences for learning to write by whole-word units (rather than letter by letter), and toward informal intra-community teaching of this first group literacy. In addition to compounding and conversion of lexical roots, Kamloops Chinúk Wawa morphology exploited three types of preposed grammatical morphemes—affixes, clitics, and particles. Virtually all are homonymous with and grammaticalized from demonstrably lexical morphs. Newly identified categories include ‘out-of-control’ transitivity marking and discourse markers including ‘admirative’ and ‘inferred’. Contrary to previous claims about Chinook Jargon (cf. Vrzic 1999), no overt passive
voice exists in Kamloops Chinúk Wawa (nor probably in pan-Chinook Jargon), but a previously unknown ‘passivization strategy’ of implied agent demotion is brought to light. A realis-irrealis modality distinction is reflected at several scopal levels: phrase, clause and sentence. Functional differences are observed between irrealis clauses before and after main clauses. Polar questions are restricted to subordinate clauses, while alternative questions are formed by simple juxtaposition of irrealis clauses. Main-clause interrogatives are limited to content-question forms, optionally with irrealis marking. Positive imperatives are normally signaled by a mood particle on a realis clause, negative ones by a negative particle. Aspect is marked in a three-part ingressive-imperfective-completive system, with a marginal fourth ‘conative’. One negative operator has characteristically clausal, and another phrasal, scope. One copula is newly attested. Degree marking is largely confined to ‘predicative’ adjectives (copula complements). Several novel features of pronoun usage possibly reflect Salish L1 grammatical habits: a consistent animacy distinction occurs in third-person pronouns, where pan-Chinook Jargon 'iaka' (animate singular) and 'klaska' (animate plural) contrast with a null inanimate object/patient; this null and 'iaka' are non-specified for number; in intransitives,
double exponence (repetition) of pronominal subjects is common; and pan-Chinook Jargon 'klaksta' (originally ‘who?’) and 'klaska' (originally ‘they’) vary freely with each other. Certain etymologically content-question forms are used also as determiners. Kamloops Chinúk Wawa’s numeral system is unusually regular and small for a pidgin; numerals are also used ordinally in a distinctly Chinook Jargon type of personal name. There is a null allomorph of the preposition 'kopa'. This preposition has additionally a realis complementizer function (with nominalized predicates) distinct from irrealis 'pus' (with verbal ones). Conjunction 'pi' also has a function in a syntactic focus-increasing and -reducing system. / Graduate
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Monarch Cheers, Integration Whimpers, and a Loyalty Conflict: Kansas City Call's Coverage of the Black Yankees, 1937-1955Eames, Eric M. 05 December 2008 (has links) (PDF)
Already regarded as one of the top teams in Negro League baseball, the Kansas City Monarchs became known as a powerhouse unit in the 1930s and 40s. They rolled into towns with lights, amazing athletes, and competitive play. They won championship after championship during these years as Kansas City baseball fans strongly supported them. As they became an integral part of the city, the Monarchs' success, open-seating policy, and jazzy home openers fostered a large following of mixed-race fans. The local black newspaper, the Kansas City Call, held them up on a pedestal, while sportswriters for the mainstream Kansas City Star/Times downplayed the Monarchs' accomplishments and influence in the community. This thesis focuses on the relationship the Call had with the best team in black baseball through the context of its treatment of games, players, league officials, and team owners, as well as other patterns and tactics. Analysis of the Star/Times coverage is also considered to show variances in coverage between one city's race-divided newspapers. Negro League baseball and the African American newspapers that covered the teams grew out of and illustrated the segregation laws and prejudices feelings that existed in the United States during most of the twentieth century. Over time, especially when the sports world moved into the post-integration period, the Call's bolstering of the Monarchs deteriorated as the paper's promotion of democracy steered its sportswriters away from a baseball organization that symbolized segregation. The different types of coverage by the Call throughout the twenty-year study can be described as all-out promotion, balance, and abandonment. In the 1950s nostalgia and conflict existed, as the Call's sportswriters became torn on how to cover a team that was once the pride of the black community, but now represented inequality. In an attempt to remedy this torment, the Call tried to convince black baseball officials to remove the “Negro League” stigma by signing players of all races in order to mirror the more democratic Major Leagues. The white press, meanwhile, ignored the bigger issues of black baseball as one Negro League team after another died in the 1950s. The Star/Times peripheral coverage of the Monarchs provides context to the social issues and discriminatory practices at play in Missouri. As this thesis outlines the coverage of the Monarchs through the Black and White newspapers of Kansas City, previous research is substantiated and challenged to provide a fuller account of Jim Crow's effects.
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Too foul and dishonoring to be overlooked : newspaper responses to controversial English stars in the Northeastern United States, 1820-1870Smith, Tamara Leanne 30 September 2010 (has links)
In the nineteenth century, theatre and newspapers were the dominant expressions of popular culture in the northeastern United States, and together formed a crucial discursive node in the ongoing negotiation of American national identity. Focusing on the five decades between 1820 and 1870, during which touring stars from Great Britain enjoyed their most lucrative years of popularity on United States stages, this dissertation examines three instances in which English performers entered into this nationalizing forum and became flashpoints for journalists seeking to define the nature and bounds of American citizenship and culture. In 1821, Edmund Kean’s refusal to perform in Boston caused a scandal that revealed a widespread fixation among social elites with delineating the ethnic and economic limits of citizenship in a republican nation. In 1849, an ongoing rivalry between the English tragedian William Charles Macready and his American competitor Edwin Forrest culminated in the deadly Astor Place riot. By configuring the actors as champions in a struggle between bourgeois authority and working-class populism, the New York press inserted these local events into international patterns of economic conflict and revolutionary violence. Nearly twenty years later, the arrival of the Lydia Thompson Burlesque Troupe in 1868 drew rhetoric that reflected the popular press’ growing preoccupation with gender, particularly the question of woman suffrage and the preservation of the United States’ international reputation as a powerfully masculine nation in the wake of the Civil War.
Three distinct cultural currents pervade each of these case studies: the new nation’s anxieties about its former colonizer’s cultural influence, competing political and cultural ideologies within the United States, and the changing perspectives and agendas of the ascendant popular press. Exploring the points where these forces intersect, this dissertation aims to contribute to an understanding of how popular culture helped shape an emerging sense of American national identity. Ultimately, this dissertation argues that in the mid-nineteenth century northeastern United States, popular theatre, newspapers, and audiences all contributed to a single media formation in which controversial English performers became a rhetorical antipode against which “American” identity could be defined. / text
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Political Atheism vs. The Divine Right of Kings: Understanding 'The Fairy of the Lake' (1801)Post, Andy 30 April 2014 (has links)
In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.”
My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings. / A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.
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Action in Chronic Fatigue Syndrome: an Enactive Psycho-phenomenological and Semiotic Analysis of Thirty New Zealand Women's Experiences of Suffering and RecoveryHart, M J Alexandra January 2010 (has links)
This research into Chronic Fatigue Syndrome (CFS) presents the results of 60 first-person psycho-phenomenological interviews with 30 New Zealand women. The participants were recruited from the Canterbury and Wellington regions, 10 had recovered. Taking a non-dual, non-reductive embodied approach, the phenomenological data was analysed semiotically, using a graph-theoretical cluster analysis to elucidate the large number of resulting categories, and interpreted through the enactive approach to cognitive science.
The initial result of the analysis is a comprehensive exploration of the experience of CFS which develops subject-specific categories of experience and explores the relation of the illness to universal categories of experience, including self, ‘energy’, action, and being-able-to-do.
Transformations of the self surrounding being-able-to-do and not-being-able-to-do were shown to elucidate the illness process.
It is proposed that the concept ‘energy’ in the participants’ discourse is equivalent to the Mahayana Buddhist concept of ‘contact’. This characterises CFS as a breakdown of contact. Narrative content from the recovered interviewees reflects a reestablishment of contact.
The hypothesis that CFS is a disorder of action is investigated in detail.
A general model for the phenomenology and functional architecture of action is proposed. This model is a recursive loop involving felt meaning, contact, action, and perception and appears to be phenomenologically supported.
It is proposed that the CFS illness process is a dynamical decompensation of the subject’s action loop caused by a breakdown in the process of contact.
On this basis, a new interpretation of neurological findings in relation to CFS becomes possible. A neurological phenomenon that correlates with the illness and involves a brain region that has a similar structure to the action model’s recursive loop is identified in previous research results and compared with the action model and the results of this research. This correspondence may identify the brain regions involved in the illness process, which may provide an objective diagnostic test for the condition and approaches to treatment.
The implications of this model for cognitive science and CFS should be investigated through neurophenomenological research since the model stands to shed considerable light on the nature of consciousness, contact and agency.
Phenomenologically based treatments are proposed, along with suggestions for future research on CFS. The research may clarify the diagnostic criteria for CFS and guide management and treatment programmes, particularly multidimensional and interdisciplinary approaches.
Category theory is proposed as a foundation for a mathematisation of phenomenology.
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