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You searched for +publisher:"York University" +contributor:("Rubin, Donald H."). Showing records 1 – 3 of 3 total matches.

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1. Wagner, Anton Reinhold. The Habitus of Mackenzie King: Canadian Artists, Cultural Capital and the Struggle for Power.

Degree: PhD, Theatre and Performance Studies, 2015, York University

This dissertation analyzes the struggle between William Lyon Mackenzie King, Canada’s longest-serving Prime Minister (1922-1930, 1935-1948), and Canadian artists to define and determine the nature and distribution of arts and culture in Canada prior to the 1949 Royal Commission on National Development in the Arts, Letters and Sciences. Using Pierre Bourdieu’s theories of habitus, “fields” of knowledge and power, and religious, social and cultural capital, the dissertation analyzes the central paradox of why—despite his decades-long involvement in half-a-dozen artistic disciplines—King failed to implement cultural policies as Prime Minister that would have benefited Canadian artists and the arts and culture in Canada. The dissertation applies Pierre Bourdieu’s model of social change in which “priests” with conservation strategies and charismatic “prophets” with subversion strategies compete among the “laity” for consumers of their respective symbolic goods to document how artists organized locally and nationally to accumulate social, cultural and political capital in their attempt to compel the federal government to implement their cultural objectives—state support for the arts. The dissertation posits that Mackenzie King’s inability to control his sexual impulses led him to espouse a conception of art whose primary function was to project Christian character and ideals. By establishing King’s religious and sexual habiti, I am able to show why he felt compelled to project such an idealized characterization in works of art depicting himself, members of his family, and public figures whose service to the nation he felt should be emulated by Canadians. As Leader of the Liberal Party, Leader of the Opposition in Parliament and as Prime Minister, King was able to use his political and economic power in the political field over three decades (1919-1948) to define who was a real artist and who was not, what constituted artistic legitimacy and what was the artistic and economic value of Canadian cultural production. The dissertation suggests that the analysis of King’s relationship with the arts and artists provides the key to unlocking the enigma of Mackenzie King and that in the struggle between artists and the Prime Minister over the nature and distribution of arts and culture in Canada, the artists won. Advisors/Committee Members: Rubin, Donald H. (advisor).

Subjects/Keywords: Canadian studies; Fine arts; Sociology; Mackenzie King; Pierre Bourdieu; Habitus; Cultural capital; Max Weber; Canadian cultural history; Canadian cultural policy; Government lobbying; Ministry of culture; Government subsidy; Lawren Harris; Group of Seven; Canadian Arts Council; Federation of Canadian Artists; Cultural democracy; Vincent Massey; Massey Commission; Royal Commission on National Development in the Arts; Letters and Sciences; Herman Voaden; Allied Arts Council; Matthew Arnold; Canada Council; William Lyon Mackenzie; Isabel Mackenzie King; John King; Joan Patteson; J.W.L. Forster; Walter Allward; Vimy Memorial; Bert Harper; Ernest Wise Keyser; William Wilfred Campbell; John Wentworth Russell; Émile Brunet; Pierre-Charles Lenoire; Bertram Brooker; Frederick Lessore; Louise “Louie” Burrell; Giuseppe Guastalla; Robert Tait McKenzie; Emanuel Hahn; Homer Watson; Carl Ahrens; Stanley Gordon Moyer; William Orpen; Josef Hilpert; National Gallery; H.S. Southam; Public Archives; Arthur Doughty; Deane Russell; Yousuf Karsh; Felix de Weldon; Avard Fairbanks; Frank O. Salisbury; Elizabeth Wyn Wood; Walter Herbert; Roy Mitchell; Walter Abell; John Coulter; Augustus Bridle; F.B. Housser; William Arthur Deacon; The Secret of Heroism; Marcus Adeney; Kingston Conference of Canadian Artists; House of Commons Special Committee on Reconstruction and Re-establishment; Gray Turgeon; Dorise Nielsen; Community centres; Brooke Claxton; Georges Bouchard; CBC Radio; Arthur Phelps; John Martin-Harvey; Interdepartmental Committee on Canadian Hand Arts and Crafts; Eric Brown; H.O. McCurry; Canadian Diamond Jubilee; National War Memorial; Spiritualism; The occult.

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APA (6th Edition):

Wagner, A. R. (2015). The Habitus of Mackenzie King: Canadian Artists, Cultural Capital and the Struggle for Power. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/29894

Chicago Manual of Style (16th Edition):

Wagner, Anton Reinhold. “The Habitus of Mackenzie King: Canadian Artists, Cultural Capital and the Struggle for Power.” 2015. Doctoral Dissertation, York University. Accessed August 03, 2020. http://hdl.handle.net/10315/29894.

MLA Handbook (7th Edition):

Wagner, Anton Reinhold. “The Habitus of Mackenzie King: Canadian Artists, Cultural Capital and the Struggle for Power.” 2015. Web. 03 Aug 2020.

Vancouver:

Wagner AR. The Habitus of Mackenzie King: Canadian Artists, Cultural Capital and the Struggle for Power. [Internet] [Doctoral dissertation]. York University; 2015. [cited 2020 Aug 03]. Available from: http://hdl.handle.net/10315/29894.

Council of Science Editors:

Wagner AR. The Habitus of Mackenzie King: Canadian Artists, Cultural Capital and the Struggle for Power. [Doctoral Dissertation]. York University; 2015. Available from: http://hdl.handle.net/10315/29894

2. Tumarkin, Pola Rachel. An Historiographical Reading of the Founding of Canada's National Theatre School.

Degree: PhD, Theatre and Performance Studies, 2016, York University

On November 2, 1960, French director and teacher Michel Saint-Denis declared the National Theatre School of Canada (NTS)the nations first professional theatre training institutionopen, and the Canadian theatreits English and French traditionsentered a new stage of professional development. But how did it get there? This historiographical study of the NTS founding is the first thorough examination of the complex process through which the only bi-cultural, co-lingual school in Canada was established, from first inklings in the nineteenth century to its official opening in 1960. This dissertation utilizes Thomas Postlewaits four-part model of historiographical theory to explore and document the various contexts which helped to shape the ways in which the School was structured, operated, and received by the public at the time it opened. While the National Theatre School of Canada is clearly recognized as an important part of the professional Canadian theatre, it is argued here that the details of the Schools foundingeven nowremain contradictory, forcing the discussion to focus more on the results of the school after it officially opened rather than on the ideas which created it. After half a century, it seems time to articulate, at the very least, those founding debates, adding them to Canadas theatre history and giving them relevance in todays increasingly diverse Canada. Advisors/Committee Members: Rubin, Donald H. (advisor).

Subjects/Keywords: Theater; National Theatre School of Canada; Michel Saint-Denis; Canadian theatre history; Twentieth century actor training; Actor training in Canada; Mavor Moore; Vincent Tovell; Powys Thomas; Herbert Whittaker; Pauline McGibbon; Roy Stewart; Yves Bourassa; Lady Flora Eaton; Donald Davis; James de Beaujeu Domville; David Gardner; Jean Gascon; Gratien Gélinas; Michael Langham; David Ongley; Robin Patterson; Tom Patterson; Jean Pelletier; Yves Prévost; Jean-Louis Roux; Robertson Davies; Bilingualism; Bi-culturalism; Co-lingualism; Professional theatre in Canada; Theatre training in Canada; Dominion Drama Festival; Canadian Theatre Centre; Canada Council; Massey Commission; Theatre schools in Canada

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Tumarkin, P. R. (2016). An Historiographical Reading of the Founding of Canada's National Theatre School. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/32289

Chicago Manual of Style (16th Edition):

Tumarkin, Pola Rachel. “An Historiographical Reading of the Founding of Canada's National Theatre School.” 2016. Doctoral Dissertation, York University. Accessed August 03, 2020. http://hdl.handle.net/10315/32289.

MLA Handbook (7th Edition):

Tumarkin, Pola Rachel. “An Historiographical Reading of the Founding of Canada's National Theatre School.” 2016. Web. 03 Aug 2020.

Vancouver:

Tumarkin PR. An Historiographical Reading of the Founding of Canada's National Theatre School. [Internet] [Doctoral dissertation]. York University; 2016. [cited 2020 Aug 03]. Available from: http://hdl.handle.net/10315/32289.

Council of Science Editors:

Tumarkin PR. An Historiographical Reading of the Founding of Canada's National Theatre School. [Doctoral Dissertation]. York University; 2016. Available from: http://hdl.handle.net/10315/32289

3. Laviolette, Byron James. From Clowns to Computers: Performing Theatrical Interactivity and Pervasive Transmedia Fictions.

Degree: PhD, Theatre and Performance Studies, 2014, York University

The Collins English Dictionary defines “Interaction” as “a mutual or reciprocal action or influence”, and “Interactivity” as “allowing or relating to continuous two-way transfer of information between a user and the central point of a communication system”. This study will analyze the range of pre-existing interactive theatre types, using the model of interaction theorized by Gary Izzo in The Art of Play. This model will be used to categorize and problematize the various strategies developed and deployed through seven years of practical interactive research in the theatre. The sites of this research include five productions I worked on as a director, from 2008-2012, with Toronto-based U.N.I.T. Productions, featuring clown duo Morro and Jasp, and an eight-month long, massive, trans- media fiction project called ZED.TO, created by The Mission Business, a local event design company where I worked in 2012 as both writer and narrative designer. The central research question steering this dissertation is twofold. First, what strategies of interactivity already exist and how has the pre-existing theory of audience interaction behind these strategies evolved through the production and performance of these two projects? Second, in what ways have these strategies been proven effective, in real-time or during online encounters, to encourage an audience to believe, trust, share, play and ultimately participate inside an interactive theatre production? To prove the efficacy of these strategies, observations and opinions of both the public and the press are examined. The answers to these research questions trace the sources, evolution and distribution of these strategies from within the established theatre practice (including improvisation and clown) as well as interactive approaches sourced from game design and social media. This multidisciplinary research helps to define what strategies work towards achieving interactivity in the theatre and how, or when, it is appropriate to utilize it during a theatrical production. In essence, this study examines, through a survey of the history of immersive and interactive theatre, the strategies realized by the Morro and Jasp clown series and ZED.TO and how these projects have contributed to the evolving theory and practice of interactivity in the theatre. Analyzing such strategies will create a sourcebook for those seeking to bring theatre into the digital world as well as understand (and perhaps even undertake) the performance of pervasive interactive narratives in the future. Advisors/Committee Members: Rubin, Donald H. (advisor).

Subjects/Keywords: Theater; Multimedia; Design; Player; Theatre; Improvisational Comedy; Street Theatre; Variety Theatre; Audience Participatory Theatre; Intimate Theatre; Interactive; Pervasive; Transmedia; Clown; Morro; Jasp; U.N.I.T. Productions; Gaming; Game Design; ByoLogyc; ZED.TO; Mission Business; Agency; Play; Trust; Sharing; Believe; Belief; Play; Status; Alternate Reality Game; Pervasive Game; LARP; Audience; Participant

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Laviolette, B. J. (2014). From Clowns to Computers: Performing Theatrical Interactivity and Pervasive Transmedia Fictions. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/27646

Chicago Manual of Style (16th Edition):

Laviolette, Byron James. “From Clowns to Computers: Performing Theatrical Interactivity and Pervasive Transmedia Fictions.” 2014. Doctoral Dissertation, York University. Accessed August 03, 2020. http://hdl.handle.net/10315/27646.

MLA Handbook (7th Edition):

Laviolette, Byron James. “From Clowns to Computers: Performing Theatrical Interactivity and Pervasive Transmedia Fictions.” 2014. Web. 03 Aug 2020.

Vancouver:

Laviolette BJ. From Clowns to Computers: Performing Theatrical Interactivity and Pervasive Transmedia Fictions. [Internet] [Doctoral dissertation]. York University; 2014. [cited 2020 Aug 03]. Available from: http://hdl.handle.net/10315/27646.

Council of Science Editors:

Laviolette BJ. From Clowns to Computers: Performing Theatrical Interactivity and Pervasive Transmedia Fictions. [Doctoral Dissertation]. York University; 2014. Available from: http://hdl.handle.net/10315/27646

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