{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"A Remembrance of the Belle:  Emily Dickinson On Stage","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/72579"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"In September 2009, I served as the Production Dramaturg for the New York premiere production of Emily: An Amethyst Remembrance.  During my research process, I learned that the true persona Emily Dickinson does fit into one particular stereotype.  In this thesis I provide, I examine three different theatrical interpretations of the character of Emily Dickinson:  Allison's House by Susan Glaspell, The Belle of Amherst by William Luce, and Emily: An Amethyst Remembrance by Chris Cragin.  Though each of these texts are quite different in structure, they each depict woman who is strong and loving; she is not afraid of the world, but rather it is her choice to exclude herself from it.  These plays provide audience members the opportunity to get to know the famous poet on a more personal level, and their perceptions about her cannot help but be changed by the end of the performance."},{"label":"dcterms.available","value":"2012-05-15T18:04:53Z"},{"label":"dcterms.contributor","value":"Maxine Kern."},{"label":"dcterms.creator","value":"Lee, Caitlin Elizabeth"},{"label":"dcterms.dateAccepted","value":"2015-04-24T14:52:41Z"},{"label":"dcterms.dateSubmitted","value":"2012-05-15T18:04:53Z"},{"label":"dcterms.description","value":"Department of Dramaturgy"},{"label":"dcterms.format","value":"Application/PDF"},{"label":"dcterms.identifier","value":"Lee_grad.sunysb_0771M_10141.pdf"},{"label":"dcterms.issued","value":"2010-05-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2015-04-24T14:52:41Z (GMT). No. of bitstreams: 3\nLee_grad.sunysb_0771M_10141.pdf.jpg: 1894 bytes, checksum: a6009c46e6ec8251b348085684cba80d (MD5)\nLee_grad.sunysb_0771M_10141.pdf.txt: 97225 bytes, checksum: a66feeed285c7597991dace842bab98c (MD5)\nLee_grad.sunysb_0771M_10141.pdf: 231674 bytes, checksum: 16417cbfdf0c71d62b11d185cf931598 (MD5)\n  Previous issue date:    1"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"Chris Cragin, Dramaturgy, Emily Dickinson, Production, Susan Glaspell, William Luce"},{"label":"dcterms.title","value":"A Remembrance of the Belle:  Emily Dickinson On Stage"},{"label":"dcterms.type","value":"Thesis"},{"label":"dc.type","value":"Thesis"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/10%2F00%2F01%2F100001252167250088918105993909054834542/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/10%2F00%2F01%2F100001252167250088918105993909054834542","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}