Modifying the Mask: the Transformation of the Dramatic Monologue Across the Works of Robert Browning, Norman Dubie, and Frank Bidart

Thesis (Master's)--University of Washington, 2016-06

The GeoLogic of Lorine Niedecker’s “Lake Superior”

Thesis (Master's)--University of Washington, 2016-06

Original Intentions

Thesis (Master's)--University of Washington, 2016-06

Essay as Earnest Game

Thesis (Master's)--University of Washington, 2016-06

Beastiarium

Thesis (Master's)--University of Washington, 2016-06

Breaking (Down) the Sound Barrier: Explorations of Sound Patterning as a Distinct and Disparate Layer of Meaning

Thesis (Master's)--University of Washington, 2016-06

Divine Immolation

Thesis (Master's)--University of Washington, 2016-06

The Art of the Contemporary Anti-Racist American Poem: ‘In-Between Spaces,’ Exploding Conventions, and Listening as Form

Thesis (Master's)--University of Washington, 2016-06

Collected Short Stories

Thesis (Master's)--University of Washington, 2016-06

The Collective Protagonist: Multiple Points of View and the Search for Truth in Familial Narratives

Thesis (Master's)--University of Washington, 2016-06

New technologies and journalism practice in Nigeria and Ghana

New technologies are generally perceived as the basic tool for survival in modern society. But the extent of their availability and use, as well as their impact on newspaper journalism practice in West Africa is unknown. This paper presents the results of a study that investigated the impact of new technologies on newspaper journalism practice in two West African countries — Nigeria and Ghana. The study, conducted in five newspapers in the two countries, found that, although a majority of the journalists believed the new technologies have improved the quality of their newspapers, fewer than half of the journalists were unimpressed with the level of the technologies available to them in the performance of their duties.

Beauty and the market: Actress postcards and their senders in early twentieth century Australia

A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).