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The Performance of Gender with Particular Reference to the Plays of Shakespeare
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dixon, Luke (1998) The performance of gender with particular reference to the plays of Shakespeare. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6384/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
The Performance of Gender with Particular Reference to the Plays Of
The Performance of Gender with particular reference to the plays of Shakespeare A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Luke Dixon School of Drama and Theatre Arts Middlesex University April 1998 MX 7309012 3 IIIýýWII IIIIIXVýýýwýýllllýý ABSTRACT An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of `As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those productions analysed. The thesis then presents the results of a series of workshops with actors into the playing of gender and examines, by means of an experiment employing Gender Schema Theory, how actors construct gender in a production of `Twelfth Night'. The final part of the thesis describes a controlled experiment into audience perception of gender using a scene from `Hamlet'. Theories are presented about the nature of the performance of gender on stage and the use of theatrical conventions, the relationship between social conventions and stage conventions, about the way in which an actor builds a character, the influence of biological sex on actors' creativity, and about audience perception. TABLE OF CONTENTS Chapter I Contexts, methodology, terminology. -
Performing Queer Shakespeare
Performing Queer Shakespeare by Chad Allen Thomas A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2009 Doctoral Committee: Professor Valerie J. Traub, Chair Professor David M. Halperin Professor Barbara C. Hodgdon Assistant Professor Jane Westlake i © Chad Allen Thomas 2009 For Steve Burrus, with my deepest gratitude. ii Acknowledgements This has been one tough trek, and I could not have gotten to the end without a great deal of support. First, I would like to acknowledge the debt I owe my dissertation committee. David Halperin, Barbara Hodgdon, and E.J. Westlake have been supportive, demanding, generous, and all-around excellent advisors. My biggest debt of gratitude, however, goes to my dissertation chair, Valerie Traub, who helped me give a form to inchoate flashes of queer identification. Without belaboring the point, I could not have even conceived this dissertation without Valerie – she was companionate, patient, rigorous, disciplined, an advocate and truly visionary. At Michigan, my cohort and colleagues in the English department have been incredibly supportive, and I feel humbled to be part of such fantastic company. In particular, my dissertation writing group was vital in helping clarify my ideas and shape my argument: Kentston Bauman, LaMont Egle, Gavin Hollis, David Lavinsky, and Amy Rodgers. At Michigan, the Early Modern Colloquium was a valuable resource, and usually good for a laugh or two, so thanks are owed to several generations of participants: Jenny Evenson, Holly Dugan, Marjorie Rubright, Laura Ambrose, Aaron McCullough, Ari Friedlander, and Katie Will. -
Queering the Textures of Rock and Roll History
ABSTRACT Title of Dissertation: QUEERING THE TEXTURES OF ROCK AND ROLL HISTORY Vincent Lamar Stephens, Doctor of Philosophy, 2005 Dissertation Directed by: Professor Nancy L. Struna, Department of American Studies My dissertation provides an alternative history to traditional rock histories by exploring how the experiences of several key gay, lesbian and bisexual musicians expose the restrictive sexual and gender economies of the rock era music industry. Industrial discrimination has led many queer performers to downplay their sexualities and simulate conformist gender behavior. Rock historians have consistently overlooked hierarchies of sexuality and gender which necessitates a corrective history. My study begins by challenging historical views of rock music as socially progressive and illuminating how the rock industry failed to correct pre-rock industry racial biases, which are evident in the economic exploitation of early African-American rock performers and the scarcity of African-Americans at the executive levels of rock production and distribution. Premature historical celebrations of racial progress have severely limited critical attention to more invisible forms of sexual and gender discrimination in the industry including homophobia and sexism. I also challenge the dominant historical argument of canonical rock histories that rock music’s corporate expansion fundamentally tainted the rock’s aesthetic quality and social importance during periods when the commercial and creative influence of queer and/or female performers and audiences gained centrality. Rock has maintained its vitality as more diverse performers and sensibilities have informed its cultural scope. My study describes the contributions of several queer performers to rock era music and illustrates how they have resisted sexual and gender invisibility through discernible strategies signifying sexual and/or gender differences. -
Gay Subcultural Histories and Practices / by B. Fergus Foley
SIGNIFICANT OTHLRS: GAY SUBCULTURAL HISTORIES AND PRACTICES B. Fergus Foley B.A., Simon Fraser University 1987 THESIS SUBMITTCO IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Communication @B. Fergus Foley 1992 SIMON FRASER UNIVERSITY August, 1992 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME: B. Fergus Foley DEGREE: Master of Arts (Communication) TITLE OF THESIS: Gay Subcultural Histories and Practices EXAMINING COMMIT I kt: CHAIR: Dr. Pat Howard, Assistant Professor - I - Dr. Martin ~\ba Associate Professob Senior Supervisor Dr. Alison Beale Assistant Professor F~uzannede castell Professor Faculty of Education DATE APPROVED: 199 2. PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or othcr educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copy~ngof this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. Title of Thesis/Project/Extended Essay Author: (signature) (name) iii ABSTRACT Contemporary gay cultural practices affirm the identities of individual men and their communities which have evolved over the past twenty-five years in various metropolitan centres.