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NEED: Practice expressing ideas orally and functioning in a collaborative setting NEED: Practice preparing and delivering oral presentationshttps://digitalscholarship.unlv.edu/btp_expo/1040/thumbnail.jp

A phenomenological criticism: A phenomenologically based methodology for analyzing theatrical works

The thesis, using Husserlian phenomenology, presents a descriptive, analytical approach for theatrical works. The methodology consists of two parts: feeling and meaning. Feeling covers the reader/viewer\u27s experience of the work; meaning covers the source of that experience in the work. An introductory portion asks the analyzer to describe the autonomous aspects of the work. The evaluative conclusion asks the reader/viewer to describe change or lack thereof in the personal perspective; Abraham Maslow\u27s hierarchy of needs, Edith Stein\u27s treatment of empathy, and Ernst Cassirer\u27s paradigms of cultural expression are all used to enrich the analytical approach. Two plays, Caryl Churchill and David Lan\u27s A Mouthful of Birds, and Jean Genet\u27s The Screens, and one performance piece, Holly Hughes\u27 Dress Suits for Hire, demonstrate the approach

Iterations of One: The Shema as Polemic Trope in the Synoptic Gospels and Qur\u27an

A panel of scholars ostensibly addressed “Shema in the Synoptic Gospels” at the 2017 Boston meeting of the National Association of Professors of Hebrew. “Ostensibly” because while all the essays acknowledge the significance of the keystone of both Jewish theology and liturgy for the authors of the New Testament, every essay focused on something larger than the narrow announced topic. Each, following the lead of Dr. Roberta Sabbath of the University of Nevada at Las Vegas, who describes the polemical nature of the Shema, notes how the statement of God\u27s unity (whether or not followed by the Love and Tzitzit Commands) functions within the theological and cultural argument among Jews, Christians and Muslim, and within the Jewish and Christian communities as well

Romancing Visual Women: From Canon to Console

This dissertation juxtaposes the romantic modal treatment of powerful, admired women which canonical male authors and feminist authors and critics construct with those constructed by contemporary women for the visual mass media of video, broadcast television, and computer. The discourse of the former produces the figure of a fragmented woman who is rare, supernatural, marginalized, and impossible. The discourse of the latter produces the figure of a psychologized woman who is typical, natural, mainstream, and possible. To examine the discourse of impossibility, I use three canonical works: Augustine\u27s Confessions; Chretien de Troyes\u27 Perceval; and Dante\u27s Divine Comedy. I also survey feminist critics and artists and discover a cultural positioning by the critics and a construction of the feminine by the artists analogous to that of the canonical fathers--marginal, utopic, fragmented, and impossible. To examine the discourse of possibility, I analyze four works by women produced for the video, television, and computer, all of which narrativize the psychologized inner life of the female hero: Candida Royalle\u27 s erotic videos, Revelations and Three Daughters; Neema Barnette\u27s made-fortelevision movie, Scattered Dreams; and Jane Jensen\u27s novelized computer game, Gabriel Knight. All the women authors covered in this dissertation assume that women viewers and players enjoy a variety of specular pleasures traditionally considered male privilege: erotica, recognition, narrative, action, and power. Their work women/technology, women/power. It also breaches the traditional boundaries between art and politics and science and art

Troubling Topics, Sacred Texts: Readings in Hebrew Bible, New Testament, and Qur’an

Abrahamic scriptures serve as cultural pharmakon, prescribing what can act as both poison and remedy. This collection shows that their sometimes veiled but eternally powerful polemics can both destroy and build, exclude and include, and serve as the ultimate justification for cruelty or compassion. Here, scholars not only excavate these works for their formative and continuing cultural impact on communities, identities, and belief systems, they select some of the most troubling topics that global communities continue to navigate.　Their analysis of both texts and their reception help explain how these texts promote norms and build collective identities. Rejecting the notion of the sacred realm as separate from the mundane realm and beyond critical challenge, this collection argues—both implicitly and sometimes transparently—for the presence of the sacred within everyday life and open to challenge. The very rituals, prayers, and traditions that are deemed sacred interweave into our cultural systems in infinite ways. Together, these authors explore the dynamic nature of everyday life and the often-brutal power of these texts over everyday meaning

Archiving the One October 2017 Las Vegas Tragedy: Social Media as Greek Chorus

This presentation is an effort to find some meaning, and to preserve the memory of One October, as it evolved in Las Vegas

Sacred Tropes: Tanakh, New Testament, and Qur\u27an as Literature and Culture

Contemporary sacred text scholarship has been stimulated by a number of intersecting trends: a surging interest in religion, sacred texts, and inspirational issues; burgeoning developments in and applications of literary theories; intensifying academic focus on diverse cultures whether for education or scholarship. Although much has been written individually about Tanakh, New Testament, and Qur’an, no collection combines an examination of all three. Sacred Tropes interweaves Tanakh, New Testament, and Qur’an essays. Contributors collectively and also often individually use mixed literary approaches instead of the older single theory strategy. Appropriate for classroom or research, the essays utilize a variety of literary theoretical lenses including environmental, cultural studies, gender, psychoanalytic, ideological, economic, historicism, law, and rhetorical criticisms through which to examine these sacred works

33rd Annual FWPCA Session 1.3 Video

Jiemin Bao Appropriating Buddha in American Advertisements Kate Morgan Don’t Tell Her: Ancient Buddhist Metaphysics as depicted in Lulu Wang’s “The Farewell” James Broucek QAnon and the Great A-Bakening of 202

Shoah Survivors Project

About This Project: Story telling informs the development of a collaboration between Sabbath and the UNLV Dance Department over the last few years. Beginning with Sabbath’s world literature classes and the Dance Department choreography classes, students and faculty collaborated to bring to dance stories from the world’s great religions and world views. Choreographic Collaboration then progressed to using oral histories to inform the choreography after Sabbath transcribed four Veterans’ testimonials. All these interviews were completed on campus, and all the collaborations took place in person at UNLV’s Marjorie Barrick Museum of Art. Planning to continue in the tradition of in-person collaboration and performance, Sabbath interviewed four Las Vegas Holocaust Survivors in their homes February 2020: Henry Kronberg (age 100), Sabina Wagschall Callwood (age 83), Steven Nasser (age 87), Alexander Kuechal (97). When the pandemic hit in March 2020, plans for an in-person collaboration were shelved. In October 2020, the Dance Department and College of Fine Arts approved its Communications Coordinator and filmmaker, Shahab Zargari, for capturing in film the four survivors in their homes reading a transcription of their interview testimonials. Between October 2020 and June 2021, choreographer Cathy Allen (Associate Professor of Dance), Louis Kavouras (Chair, UNLV Dance Department), Zargari, and Dance Department student and alumnae dancers continued to choreograph, perform, and capture in film various dance segments. Some of these segments were choreographed specifically for the collaboration, other segments were enlisted for the collaboration. The dance performances and filming took place in the UNLV Dance Studio One, Clark County Wetlands Park, and various other locations in Las Vegas and Henderson, Nevada. Research included US Holocaust Museum historical material, an educational banner exhibit—How Did You Survive? created by Esther Finder and Heidi Straus, period music including Klezmer and Yiddish songs, and consultation support from the Sperling-Kronberg-Mack Holocaust Resource Center Library of Las Vegas, Center Librarian Susan Dubin. The project received additional support from the Survivor and Second-Generation Survivor community of Las Vegas, Raymonde (Ray) Fiol and Esther Finder. After content was established, the artistic work of filmmaker Shahab Zargari interwove excerpts from the filmed survivor testimonials with dance and historical material to form the structure and content of the resulting Docudance. The final artistic presentation in film is about 28 minutes