ingest cdrApp 2018-06-13T20:33:32.727Z 51cd2fe2-3fd7-401f-a923-a97bc3db68a2 modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-06-13T22:00:52.472Z Setting exclusive relation addDatastream MD_TECHNICAL fedoraAdmin 2018-06-13T22:00:53.078Z Adding technical metadata derived by FITS addDatastream MD_FULL_TEXT fedoraAdmin 2018-06-13T22:01:05.090Z Adding full text metadata extracted by Apache Tika modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-06-13T22:01:27.900Z Setting exclusive relation modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-07-11T04:31:24.985Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-16T13:55:20.177Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-09-27T00:30:18.966Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-10-12T01:05:40.178Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2019-03-20T19:03:19.734Z Catherine Viano Author Department of Romance Studies College of Arts and Sciences Theater as Machine, Theater of Machines in Seventeenth-Century France According to traditional historiography, seventeenth-century French theater is characterized by a pure, unified, classical and disciplined aesthetic known as Classicism. However, several theatrical pieces resist this Classical ideal with special effects and the use of theater machines. My dissertation examines this “spectacular aesthetic” that plays a fundamental role in theater production throughout the century. I show that theater machines were used across genres, in tragedies, comedies, tragi-comédies, comédie-ballets, ballets de cour and operas. The ubiquity of machine effects in all kinds of dramatic entertainment testifies to the power or popularity of the spectacular throughout the Classical period. This project also examines how playwrights and engineers use machines to stage powerful acts or perhaps undermine the authority behind those acts. My dissertation unfolds in three chapters, each devoted to exploring the efficacy of dramatic spectacle from aesthetic, critical and cultural early modern perspectives. By focusing on the value playwrights, machinists, and actors had for the effects theater machines produced, I will expand upon our understanding of how dramatists interpreted the range of affective responses to theater, including but not limited to Aristotle’s catharsis. Moreover, by comparing seventeenth-century approaches to the spectacular with more recent thinking about the role of technology in producing wondrous effects in entertainment, the dissertation compares seventeenth-century notions with today’s understandings of the affective responses to spectacle. Spring 2018 2018 French literature Corneille, Desseins, Early modern French spectacle, Machine Plays, Theater Machines, Wonder and Spectatorship eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Romance Languages and Literatures Ellen Welch Thesis advisor Dominique Fisher Thesis advisor Hasan Melehy Thesis advisor Dorothea Heitsch Thesis advisor John Lyons Thesis advisor Jessica Wolfe Thesis advisor text Catherine Viano Author Department of Romance Studies College of Arts and Sciences Theater as Machine, Theater of Machines in Seventeenth-Century France According to traditional historiography, seventeenth-century French theater is characterized by a pure, unified, classical and disciplined aesthetic known as Classicism. However, several theatrical pieces resist this Classical ideal with special effects and the use of theater machines. My dissertation examines this “spectacular aesthetic” that plays a fundamental role in theater production throughout the century. I show that theater machines were used across genres, in tragedies, comedies, tragi-comédies, comédie-ballets, ballets de cour and operas. The ubiquity of machine effects in all kinds of dramatic entertainment testifies to the power or popularity of the spectacular throughout the Classical period. This project also examines how playwrights and engineers use machines to stage powerful acts or perhaps undermine the authority behind those acts. My dissertation unfolds in three chapters, each devoted to exploring the efficacy of dramatic spectacle from aesthetic, critical and cultural early modern perspectives. By focusing on the value playwrights, machinists, and actors had for the effects theater machines produced, I will expand upon our understanding of how dramatists interpreted the range of affective responses to theater, including but not limited to Aristotle’s catharsis. Moreover, by comparing seventeenth-century approaches to the spectacular with more recent thinking about the role of technology in producing wondrous effects in entertainment, the dissertation compares seventeenth-century notions with today’s understandings of the affective responses to spectacle. Spring 2018 2018 French literature Corneille, Desseins, Early modern French spectacle, Machine Plays, Theater Machines, Wonder and Spectatorship eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Romance Languages and Literatures Ellen Welch Thesis advisor Dominique Fisher Thesis advisor Hasan Melehy Thesis advisor Dorothea Heitsch Thesis advisor John Lyons Thesis advisor Jessica Wolfe Thesis advisor text Catherine Viano Author Department of Romance Studies College of Arts and Sciences Theater as Machine, Theater of Machines in Seventeenth-Century France According to traditional historiography, seventeenth-century French theater is characterized by a pure, unified, classical and disciplined aesthetic known as Classicism. However, several theatrical pieces resist this Classical ideal with special effects and the use of theater machines. My dissertation examines this “spectacular aesthetic” that plays a fundamental role in theater production throughout the century. I show that theater machines were used across genres, in tragedies, comedies, tragi-comédies, comédie-ballets, ballets de cour and operas. The ubiquity of machine effects in all kinds of dramatic entertainment testifies to the power or popularity of the spectacular throughout the Classical period. This project also examines how playwrights and engineers use machines to stage powerful acts or perhaps undermine the authority behind those acts. My dissertation unfolds in three chapters, each devoted to exploring the efficacy of dramatic spectacle from aesthetic, critical and cultural early modern perspectives. By focusing on the value playwrights, machinists, and actors had for the effects theater machines produced, I will expand upon our understanding of how dramatists interpreted the range of affective responses to theater, including but not limited to Aristotle’s catharsis. Moreover, by comparing seventeenth-century approaches to the spectacular with more recent thinking about the role of technology in producing wondrous effects in entertainment, the dissertation compares seventeenth-century notions with today’s understandings of the affective responses to spectacle. Spring 2018 2018 French literature Corneille, Desseins, Early modern French spectacle, Machine Plays, Theater Machines, Wonder and Spectatorship eng Doctor of Philosophy Dissertation Romance Languages and Literatures Ellen Welch Thesis advisor Dominique D. Fisher Thesis advisor Hassan Melehy Thesis advisor Dorothea Heitsch Thesis advisor John Lyons Thesis advisor Jessica Wolfe Thesis advisor text University of North Carolina at Chapel Hill Degree granting institution Catherine Viano Creator Department of Romance Studies College of Arts and Sciences Theater as Machine, Theater of Machines in Seventeenth-Century France According to traditional historiography, seventeenth-century French theater is characterized by a pure, unified, classical and disciplined aesthetic known as Classicism. However, several theatrical pieces resist this Classical ideal with special effects and the use of theater machines. My dissertation examines this “spectacular aesthetic” that plays a fundamental role in theater production throughout the century. I show that theater machines were used across genres, in tragedies, comedies, tragi-comédies, comédie-ballets, ballets de cour and operas. The ubiquity of machine effects in all kinds of dramatic entertainment testifies to the power or popularity of the spectacular throughout the Classical period. This project also examines how playwrights and engineers use machines to stage powerful acts or perhaps undermine the authority behind those acts. My dissertation unfolds in three chapters, each devoted to exploring the efficacy of dramatic spectacle from aesthetic, critical and cultural early modern perspectives. By focusing on the value playwrights, machinists, and actors had for the effects theater machines produced, I will expand upon our understanding of how dramatists interpreted the range of affective responses to theater, including but not limited to Aristotle’s catharsis. Moreover, by comparing seventeenth-century approaches to the spectacular with more recent thinking about the role of technology in producing wondrous effects in entertainment, the dissertation compares seventeenth-century notions with today’s understandings of the affective responses to spectacle. French literature Corneille; Desseins; Early modern French spectacle; Machine Plays; Theater Machines; Wonder and Spectatorship eng Doctor of Philosophy Dissertation Romance Languages and Literatures Ellen Welch Thesis advisor Dominique D. Fisher Thesis advisor Hassan Melehy Thesis advisor Dorothea Heitsch Thesis advisor John Lyons Thesis advisor Jessica Wolfe Thesis advisor text University of North Carolina at Chapel Hill Degree granting institution 2018 2018-05 Catherine Viano Author Department of Romance Studies College of Arts and Sciences Theater as Machine, Theater of Machines in Seventeenth-Century France According to traditional historiography, seventeenth-century French theater is characterized by a pure, unified, classical and disciplined aesthetic known as Classicism. However, several theatrical pieces resist this Classical ideal with special effects and the use of theater machines. My dissertation examines this “spectacular aesthetic” that plays a fundamental role in theater production throughout the century. I show that theater machines were used across genres, in tragedies, comedies, tragi-comédies, comédie-ballets, ballets de cour and operas. The ubiquity of machine effects in all kinds of dramatic entertainment testifies to the power or popularity of the spectacular throughout the Classical period. This project also examines how playwrights and engineers use machines to stage powerful acts or perhaps undermine the authority behind those acts. My dissertation unfolds in three chapters, each devoted to exploring the efficacy of dramatic spectacle from aesthetic, critical and cultural early modern perspectives. By focusing on the value playwrights, machinists, and actors had for the effects theater machines produced, I will expand upon our understanding of how dramatists interpreted the range of affective responses to theater, including but not limited to Aristotle’s catharsis. Moreover, by comparing seventeenth-century approaches to the spectacular with more recent thinking about the role of technology in producing wondrous effects in entertainment, the dissertation compares seventeenth-century notions with today’s understandings of the affective responses to spectacle. Spring 2018 2018 French literature Corneille, Desseins, Early modern French spectacle, Machine Plays, Theater Machines, Wonder and Spectatorship eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Romance Languages and Literatures Ellen Welch Thesis advisor Dominique D. Fisher Thesis advisor Hassan Melehy Thesis advisor Dorothea Heitsch Thesis advisor John Lyons Thesis advisor Jessica Wolfe Thesis advisor text Catherine Viano Creator Department of Romance Studies College of Arts and Sciences According to traditional historiography, seventeenth-century French theater is characterized by a pure, unified, classical and disciplined aesthetic known as Classicism. However, several theatrical pieces resist this Classical ideal with special effects and the use of theater machines. My dissertation examines this “spectacular aesthetic” that plays a fundamental role in theater production throughout the century. I show that theater machines were used across genres, in tragedies, comedies, tragi-comédies, comédie-ballets, ballets de cour and operas. The ubiquity of machine effects in all kinds of dramatic entertainment testifies to the power or popularity of the spectacular throughout the Classical period. This project also examines how playwrights and engineers use machines to stage powerful acts or perhaps undermine the authority behind those acts. My dissertation unfolds in three chapters, each devoted to exploring the efficacy of dramatic spectacle from aesthetic, critical and cultural early modern perspectives. By focusing on the value playwrights, machinists, and actors had for the effects theater machines produced, I will expand upon our understanding of how dramatists interpreted the range of affective responses to theater, including but not limited to Aristotle’s catharsis. Moreover, by comparing seventeenth-century approaches to the spectacular with more recent thinking about the role of technology in producing wondrous effects in entertainment, the dissertation compares seventeenth-century notions with today’s understandings of the affective responses to spectacle. 2018-05 2018 French literature Corneille; Desseins; Early modern French spectacle; Machine Plays; Theater Machines; Wonder and Spectatorship eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Ellen Welch Thesis advisor Dominique D. Fisher Thesis advisor Hassan Melehy Thesis advisor Dorothea Heitsch Thesis advisor John Lyons Thesis advisor Jessica Wolfe Thesis advisor text Viano_unc_0153D_17941.pdf uuid:9c33323f-3ee3-46c2-bf4a-21190a0d5c25 2020-06-13T00:00:00 2018-06-08T23:20:36Z proquest application/pdf 842048