Matching Items (6)
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- All Subjects: Theater
- All Subjects: English literature--Early modern, 1500-1700--History and criticism.
- Creators: Hughes, Erika
Description
This dissertation considers why several characters on the Early Modern Stage choose to remain silent when speech seems warranted. By examining the circumstances and effects of self-silencing on both the character and his/her community, I argue that silencing is an exercise of power that simultaneously subjectifies the silent one and compels the community (textual or theatrical) to ethical self-examination. This argument engages primarily with social philosophers Pierre Bourdieu, Alain Badiou, and Emmanual Levinas, considering their sometimes contradictory ideas about the ontology and representation of the subject and the construction of community. Set alongside the Early Modern plays of William Shakespeare, Ben Jonson and Thomas Kyd, these theories reveal a rich functionality of self-silencing in the contexts of gender relations, aberrant sociality, and ethical crisis. This multi-faceted functionality creates a singular subject, establishes a space for the simultaneous existence of the subject and his/her community, offers an opportunity for empathetic mirroring and/or insight, and thereby leads to social unification. Silence is, in its effects, creative: it engenders empathy and ethical self- and social-reflection.
ContributorsKrouse, Penelope (Author) / Perry, Curtis (Thesis advisor) / Thompson, Ayanna T (Thesis advisor) / Fox, Cora V (Committee member) / Arizona State University (Publisher)
Created2011
Description
How do trees (live and representational) participate in our theatrical and performed encounters with them? If trees are not inherently scenic, as their treatment in language and on stage might reinforce, how can they be retheorized as agents and participants in dramatic encounters? Using Diana Taylor’s theory of scenario to understand embodied encounters, I propose an alternative approach to understanding environmental beings (like trees) called “synercentrism,” which takes as its central tenet the active, if not 100 percent “willed,” participation of both human and non-human beings. I begin by mapping a continuum from objecthood to agenthood to trace the different ways that plants and trees are used, represented, and included in our encounters. The continuum provides a framework that more comprehensively unpacks human-plant relationships.
My dissertation addresses the rich variety of representations and embodiments by focusing on three central chapter topics: the history of tree representation and inclusion in dramatic literature and performance; interactions with living trees in gardens, parks, and other dramatic arenas; and individual plays and plants that have a particularly strong grasp on cultural imaginaries. Each chapter is followed by one or more corresponding case studies (the first chapter is followed by case studies on plants in musical theatre; the second on performing plants and collaborative performance events; and the last on the dance drama Memory Rings and the Methuselah tree). I conclude with a discussion of how the framework of synercentrism can aid in the disruption of terministic screens and facilitate reciprocal relationships with trees and other environmental agents.
My dissertation addresses the rich variety of representations and embodiments by focusing on three central chapter topics: the history of tree representation and inclusion in dramatic literature and performance; interactions with living trees in gardens, parks, and other dramatic arenas; and individual plays and plants that have a particularly strong grasp on cultural imaginaries. Each chapter is followed by one or more corresponding case studies (the first chapter is followed by case studies on plants in musical theatre; the second on performing plants and collaborative performance events; and the last on the dance drama Memory Rings and the Methuselah tree). I conclude with a discussion of how the framework of synercentrism can aid in the disruption of terministic screens and facilitate reciprocal relationships with trees and other environmental agents.
ContributorsDe Roover, Megan Laura (Author) / Underiner, Tamara L. (Thesis advisor) / Hughes, Erika (Committee member) / Goggin, Peter (Committee member) / Arizona State University (Publisher)
Created2018
Description
This research study examines the interaction between youth queer narratives and young people through examining my core research question, How do young people engage, interpret, and respond to queer narratives? Applying a feminist narrative analysis to examine the qualitative data, I propose a methodological research shift where the voices of youth are valued as content experts; an artistic shift that moves content-creation away from a top down traditional media model and towards a youth-centered new media approach for art making; an aesthetic shift away from over-used stereotypes, tropes, and stale representations and instead innovate to represent intersectional, spectrum-based diversity of the LGBTQ+ experience.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
ContributorsWaldron, Andrew (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Hunt, Kristin (Thesis advisor) / Saldana, Johnny (Committee member) / Hughes, Erika (Committee member) / Arizona State University (Publisher)
Created2018
Description
ABSTRACT
In this study, I analyze the construction of childhood and nature in a number of Korean Theatre For Young Audience (TFY) works and family movies produced since 2000. Studying The Tale of Haruk, Gamoonjang Baby, Oseam and The Way Home, I explore the childhood memes that surface in the analysis and how they relate to dominant cultural understandings of Korean childhood. Both nature and childhood are metaphorical spaces reflecting the specificity of the cultural context in which they are situated. And in the works I explore, the two are paired in interesting and complex ways and for ideological reasons, the study of which produces a deeper understanding of the construction of Korean childhood. The “child" in Korean TFY has not been thoroughly explored in earlier scholarly work, nor do many preceding studies explore the performance texts of Korean TFY from an analytic stance. This is a serious gap in the literature, considering the significance of the discourse on childhood as a major conceptual framework bolstering TFY and the centrality of the performative aspect of the field. Thus, this study is meaningful as one of the first doctoral works to analyze the performance texts of Korean TFY and the first work to explore Korean TFY from a childhood studies framework. The findings of this interdisciplinary work will be of interest to the field of childhood studies and TFY, broadly defined. In studying the works, my main methodology has been detailed performance analysis. Through the analysis, interesting tropes of Korean childhood emerge, some of which have not been addressed explicitly before. My work reveals Korean childhood as a hybrid cultural assemblage reflecting the complexity of the Korean cultural context, where historical, current, native and foreign ideas about childhood mingle.
In this study, I analyze the construction of childhood and nature in a number of Korean Theatre For Young Audience (TFY) works and family movies produced since 2000. Studying The Tale of Haruk, Gamoonjang Baby, Oseam and The Way Home, I explore the childhood memes that surface in the analysis and how they relate to dominant cultural understandings of Korean childhood. Both nature and childhood are metaphorical spaces reflecting the specificity of the cultural context in which they are situated. And in the works I explore, the two are paired in interesting and complex ways and for ideological reasons, the study of which produces a deeper understanding of the construction of Korean childhood. The “child" in Korean TFY has not been thoroughly explored in earlier scholarly work, nor do many preceding studies explore the performance texts of Korean TFY from an analytic stance. This is a serious gap in the literature, considering the significance of the discourse on childhood as a major conceptual framework bolstering TFY and the centrality of the performative aspect of the field. Thus, this study is meaningful as one of the first doctoral works to analyze the performance texts of Korean TFY and the first work to explore Korean TFY from a childhood studies framework. The findings of this interdisciplinary work will be of interest to the field of childhood studies and TFY, broadly defined. In studying the works, my main methodology has been detailed performance analysis. Through the analysis, interesting tropes of Korean childhood emerge, some of which have not been addressed explicitly before. My work reveals Korean childhood as a hybrid cultural assemblage reflecting the complexity of the Korean cultural context, where historical, current, native and foreign ideas about childhood mingle.
ContributorsKang, Yoona (Author) / Woodson, Stephani Etheridge (Thesis advisor) / Hughes, Erika (Committee member) / Bedard, Roger (Committee member) / Arizona State University (Publisher)
Created2015
Description
In the United States, we tend to understand linguistic systems as separate and autonomous, and by this understanding, bilinguals are people who speak two different languages and switch between them. This understanding of bilingualism, however, does not reflect the reality of the way many bilinguals use language. Rather than “code-switch” between two languages, sociolinguists posit that many bilinguals understand their language as a single linguistic system, and choose different elements of that system in different situations, a process termed, “translanguaging.” Translanguaging provides an alternative framework for examining bilingual language as an ideological system in plays, particularly plays which use translanguaged dialogue to describe the experiences of young people who dwell on and cross borders, a category of plays I term, “Border Theatre for Young Audiences (TYA).” This descriptive study utilizes grounded theory and close reading theoretically grounded in border studies and sociolinguistic theory to determine what roles Spanish and English play in Border TYA as autonomous systems, and as pieces of a new, translanguaged system. Playwrights of Border TYA u translanguaging as a structural metaphor for cultural negotiation to examine identity, belonging, and borders. Translanguaging provides subaltern characters a process for communicating their experiences, examining their identities, and describing encounters with borders in their own unique linguistic system. Border TYA, however, does not exclusively translanguage. Border TYA also incorporates monolingual dialogue and translation, and in these instances the languages, Spanish and English, function autonomously as tools for teaching audience members to recognize vocabulary and cultural experience.
ContributorsSchildkret, Elizabeth (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Underiner, Tamara (Committee member) / Garcia, Lorenzo (Committee member) / Bernstein, Katherine (Committee member) / Hughes, Erika (Committee member) / Arizona State University (Publisher)
Created2017
Description
“Trauma, Typology, and Anti-Catholicism in Early Modern England” explores the connection between the biblical exegetical mode of typology and the construction of traumatic historiography in early modern English anti-Catholicism. The Protestant use of typology—for example, linking Elizabeth to Eve--was a textual expression of political and religious trauma surrounding the English Reformation and responded to the threat presented by foreign and domestic Catholicism between 1579 and 1625. During this period of the Elizabethan and Jacobean eras, English anti-Catholicism began to encompass not only doctrine, but stereotypical representations of Catholics and their desire to overthrow Protestant sovereignty. English Protestant polemicists viewed themselves as taking part in an important hermeneutical process that allowed their readers to understand the role of the past in the present. Viewing English anti-Catholicism through the lens of trauma studies allows us greater insight into the beliefs that underpinned this religio-political rhetoric.
Much of this rhetorical use of typology generated accessible associations of Catholics with both biblical villains and with officials who persecuted and executed Protestants during the reign of Mary I. These associations created a typological network that reinforced the notion of English Protestants as an elect people, while at the same time exploring Protestant religio-political anxiety in the wake of various Catholic plots. Each chapter explores texts published in moments of Catholic “crisis” wherein typology and trauma form a recursive loop by which the parameters of the threat can be understood. The first chapter examines John Stubbs’s Discovery of a Gaping Gulf (1579) and his views of Protestant female monarchy and a sexualized Catholic threat in response to Elizabeth I’s proposed marriage to the French Catholic Duke of Anjou. The second chapter surveys popular and state responses to the first Jesuit mission to England in 1580. The final chapters consider the place of typology and trauma in works by mercantilist Thomas Milles in response to recusant equivocation following the thwarting of the Gunpowder Plot in 1605 and in Thomas Middleton’s A Game at Chess (1624) as a response to the failure of marriage negotiations between the Protestant Prince Charles and the Catholic Spanish Infanta.
Much of this rhetorical use of typology generated accessible associations of Catholics with both biblical villains and with officials who persecuted and executed Protestants during the reign of Mary I. These associations created a typological network that reinforced the notion of English Protestants as an elect people, while at the same time exploring Protestant religio-political anxiety in the wake of various Catholic plots. Each chapter explores texts published in moments of Catholic “crisis” wherein typology and trauma form a recursive loop by which the parameters of the threat can be understood. The first chapter examines John Stubbs’s Discovery of a Gaping Gulf (1579) and his views of Protestant female monarchy and a sexualized Catholic threat in response to Elizabeth I’s proposed marriage to the French Catholic Duke of Anjou. The second chapter surveys popular and state responses to the first Jesuit mission to England in 1580. The final chapters consider the place of typology and trauma in works by mercantilist Thomas Milles in response to recusant equivocation following the thwarting of the Gunpowder Plot in 1605 and in Thomas Middleton’s A Game at Chess (1624) as a response to the failure of marriage negotiations between the Protestant Prince Charles and the Catholic Spanish Infanta.
ContributorsKimbro, Devori (Author) / Hawkes, David (Thesis advisor) / Fox, Cora (Thesis advisor) / Ryner, Bradley (Committee member) / Irish, Bradley (Committee member) / Arizona State University (Publisher)
Created2015