An Exploration of Doppelganger As Found in the Music and Text Of
ii © 2008 Terri L. Brown All Rights Reserved iii ABSTRACT Jonathan L. Chambers, Advisor This study explores the use of, and reaction to, the music used in Susan Glaspell’s The Verge. Through close textual and musical analysis, and by extension, historical investigation, the argument is made that Glaspell’s The Verge is a virtual “shadow” play, or doppelganger, of Jacques Offenbach’s opera The Tales of Hoffman, from which some of the music is taken. The exploration further contends that through the use of the hymn, Nearer, My God, To Thee, by Lowell Mason and Sarah Flower Adams, Glaspell also extends a vision of gender relations that reaches far beyond Hoffman’s misogynistic, patriarchal space insofar as it creates a compellingly powerful religious viewpoint: an embodiment of the Christian Godhead, as a precursor to the late twentieth century social and existential feminist perspective. iv The dissertation is dedicated to my wonderful husband and eternal companion David, and my two beautiful daughters, Madison and Mackenzie, who have personally sacrificed more than anyone could ever know to help me achieve my personal goals. I will be forever grateful to each of you, now and always. v ACKNOWLEDGMENTS I wish to thank all those who have helped me complete this monumental task: to Jonathan Chambers for being not only a great advisor, teacher, writer, and scholar, but for being a wonderful human being throughout the process; to Ronald Shields and Lesa Lockford for helping me believe that I could actually do this; to Scott Robinson, Department Chair of Theatre Arts at Central Washington University, for his constant support, both personally and professionally – I will follow you anywhere; to Leslee Caul, my incredibly talented editor, and colleague – but most of all, my friend.
[Show full text]