CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
PEER GYNT:
An
'mE BALL OF THE l«>UNTAIN KING
abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
SPECIAL MAJOR
by
Lucille Rae Weldon
May 1988
The Abstract of Lucille Rae Weldon is approved:
Music
R/TV/F
Theatre
Donald S.
Acting As
Graduate Studies, Research and
International Programs
Chair
California State University, Northridge
ii
This Abstract
Is Dedicated To
Mr. Robert Wells,
Dr. William A. Spindel!,
Marie, Freeman, and Wade.
iii
"What we love we shall
grow to resemble."
Bernard of Clairvaux
iv
(l
TABLE OF CONTENTS
Page
DEDICATION
iii
ABSTRACT
1
SCRIPT
6
ENDNOTES
12
APPENDIX A
17
Master Symbol
18
19
APPENDIX B
Photographs of the Show
20
26
APPENDIX C
Invitation Advertisement
27
APPENDIX D
28
Program
29
AUDIO TAPE
v
'
ABSTRACT
PEER GYNT:
THE HALL OF THE MOUNTAIN KING
by
Lucille Rae Weldon
Master of Arts in Special Major
The coursework outlined in my Special Major Program which
most influenced me to choose Peer Gynt for my culminating experience was Scenic Projection (1980) in which students in the
class were required to design a Master Symbol for a three-act
play.
Since I was the only graduate student in the class, more
was required of me, so my Master Symbol was to be for a five-act
play.
Of those plays that I researched, I enjoyed Peer Gynt best.
I found that other designers had tested scenic projection for
this play (Paul Wild at the Theatre of Essen, 1922, and Paul
Planner used the GKP projection system at the Burgtheatre in
Vienna in 1924).
The development of a new lighting industry in
the theatres became overnight a coequal branch of design, giving
the theatre a new measure of kinetic capability which the contemporary artist learned to value - first in film, and today in
1
television, in light shows, in multimedia, and in environmental
art (Feher, 1970).
Perhaps Peer's great adventures and grand fantastic stories
appealed to my childhood recollections of my own grandfather's
tales of crossing a terrible, raging ocean when he left Norway
at age four to come to this country.
THEATRE
Drawing from Ibsen's original stage play, I paraphrased a
scene in narrative style, making sure that some of the more
im-
portant Norse mythology, religion, superstition and folklore were
readily apparent to an audience.
I suggested some of the symbolic
metaphors and subordinated them by the more visible moods and
general surface action.
I chose from this work the most "fantastic" scene of all for
my Student Art Gallery Production.
This scene was The Hall of the
Mountain King.
MUSIC
I researched the music written by Grieg for this work, taking
note of the various rewrites, and chose sections of the most favorite concert version which has come to us as Suite No. 1, op. 46
(Peters, 1886) to augment the narrative, bridge between scenic
changes, and provide a backdrop for the staging.
2
RADIO/TV/FILM
With myself as Producer/Director, an audio tape was
created at the KCSN Radio Station.
The Engineer was Mr. Ed Lytle,
a retired professional in the field who regularly volunteered at
the station.
The Narrator was Ray Tippo, KCSN General Manager,
also a professor in the School of Communication and Professional
Studies.
to-reel
Our combined efforts gave me a broadcast quality reel7~
rps audio tape with a duration of six and one-half
minutes.
STAGING
I made a critical decision regarding the location for the
project (The Student Art Gallery) and the vehicles which would
carry the project and would tie all the elements together in a
cohesive work, one which would demonstrate all of the above.
A major factor that seriously bounded the scale size of the
set was the room size (nearly 24 feet square) and a low ceiling
height.
Strangely, the factor that most affected the entire show
was the throw distance of the slide projectors onto the rear projection screen.
This determined the size of the screen, and the
rest of the set was scaled accordinglY.
Since the scene was of a
most fantastic nature, I decided that a fairy-tale-book would
be appropriate as visualization for the audience.
Painted flats could be raised or lowered in front of the
rear projection screen, and were sized slightly larger.
They
each had a four inch wide black border for continuity and to keep
the visualization inside the picture frame.
3
Blackouts for scenic
changes were bridged by music interludes.
I handled the mechanics
of the changes; the lowered flats were hidden behind velvet drapes.
I rented theatrical lighting devices and dimmers and set the
whole thing up, making certain that the rules for exhibit were all
followed.
The display seemed more important than everything else,
so the sound reproducing equipment, slide projectors, fade/dissolve
unit and control boards were carefully placed on grey painted
stands of varying sizes and heights.
The adjustable metal stands
for the front projections were locked into place, cables twined or
neatly taped to the floor.
I removed all the gallery track lights, keeping two for the
required posted signs and the guest register.
The electrical load capacity of the room was an extremely
limiting factor, but officials from the Health and Safety Office
and Plant Operations good naturedly located and changed two outside lines so that I could bring in enough voltage to run the show
without blowing any fuses or even the building main.
lines were run and securely taped down.
The extra
I required the audience
to stand behind a tape line for their safety and so they could not
interfere with the equipment.
I had complete artistic control over my project and ran it
singlehandedly for the required days (see the program, last page).
The audience reactions were varied, and most were intrigued by the
idea of multimedia presentation and asked many questions.
One pro-
fessor brought her entire class in to discuss at length each medium
used.
4
Overall, the show was a success, and after I had struck the
set, replaced the gallery track lights, returned the rental equipment and hauled everything home, I reluctantly turned in the keys.
5
,, .
THE HALL OF THE MOUNTAIN KING
Paraphrased by
Lucille Rae Weldon
6
THE HALL OF THE MOUNTAIN KING
ACT ONE
EXT. MOUNTAINSIDE--DAY
MUSIC INTRODUCTION FADES IN
(MORNING MOOD), LIGHTS UP
SLOWLY. MUSIC UNDER AS
NARRATOR BEGINS.
NARRATOR
On a lovely summer afternoon, Peer Gynt
wanders about the mountainside enjoying
the weather and being in touch with
nature and imagining all manner of beasts
in the changing shapes of the billowing
clouds. I
In the distance a woman is crossing the
slopes and as she nears he sees she is
one of the women he has heard about so
often around his father's table as a
young lad; a Green Lady, immortal and
powerful with magic, yet limited by violent emotions and an all-too-human heart.2
They call out greetings and speak to each
other, boasting the nobility of their parents, she claiming to be the Mountain King's
daughter and he claiming his mother is a
queen.3
Peer learns that she is discontented with
the males of her own kind and is seeking
a human for companionship.4
He assures her that she need not fear his
mortal temper and promises that she shall
always be well fed and cared for and that
he shall never strike her. She rejoices
in his promises and they set off to meet
her father and to bargain for their new
kingdom--and reminds Peer that the Mountain Folk have an ancient custom, that all
they have has a double shape.S
BLACKOUT.
7
THE HALL OF THE M>UNTAIN KING
Ac:£TWO
INT. MOUNTAIN KING'S CAVE
MUSIC BRIDGE, MORNING MOOD FOR
SCENE CHANGE, THEN INTRODUCTION
FOR HALL OF THE MOUNTAIN KING.
LIGHTS FADE UP ON NEW SCENE,
MUSIC UNDER NARRATOR'S ENTRANCE.
NARRATOR
They arrive at the Royal Hall and are
greeted by the Mountain King, a sinister
and ugly troll.7 Peer Gynt quavers not a
bit, caught up in his dreams that he is a
wunderkindt8 and his wait for the gods to
show him his destiny. In exchange for the
Green Lady's hand and half the kingdom,
which is her dowry, and the other half at
the time of his death, the King makes demands of Peer and threatens that if even
one pledge is broken the bargain is off
and that Peer will not get out alive!
Peer agrees to many dangerous pledges,
cleverly answers questions and riddles
and gradually takes on troll-like characteristics.
MUSIC OUT.
NARRATOR (CONT)
Upon his acceptance of all the terms and
conditions, a celebration is ordered.
(MORE)
MUSIC UP BRIGHTLY,
ANITRA' S DANCE, FADES
UNDER NARRATION.
(CONTINUED)
8
CONTINUED:
NARRATOR (CONT)
As the Green Lady and her Sister dance,
Peer glimpses their "double shape" and
sees that one is a witch and the other
a hag.9 He laughs, and the Green Lady
weeps. Seeing that she is insulted he
convinces her that he was joking.
The King knows what Peer has seen and
offers to scratch his eyes so that he
will never see clearly againlO and endanger his pledges. Peer balks, then
refuses with thanks, declaring on the
spot his intention to simply take his
departure. The Green Lady faints and
is carried away •••
(MORE)
MUSIC OUT.
NARRATOR (CONT)
••• and the Royal Court sets up howling.
SPECIFIC TIME AND BAR ENTRANCES OF MUSIC (THE HALL
OF THE MOUNTAIN KING): NARRATOR WAITS HIS CUE.
NARRATOR (CONT)
The King glares at Peer contemptuously,
declares he is angry and sleepy, bids
all his "children" to kill Peer quickly.
The King leaves to tend to his daughter
and his own rest.
HALL MUSIC UP, FRENETIC, NARRATOR WAITS CUE.
STROBE CUE, SLOW-TOFAST.
(CONTINUED)
9
CONTINUED:
NARRATOR (CONT)
Peer desperately fights off black elves,
small trolls, devils, hobgoblins and imps,
but there is no escape. The melee intensifies to a feverish pitch and he cries
out to his mother for help--he is dying!
HALL MUSIC ENDS ON
ABRUPT CRESCENDO.
BEAT. SFX.
NARRATOR (CONT)
Suddenly the sound of church bells are
heard afar off and all the devil's children disperse in a turmoil amid wild
shrieks. The Hall and everything in it
blurs, and in an instant--simply disappears.ll
ABRUPT BLACKOUT.
10
THE HALL OF THE MOUNTAIN KING
ACT THREE
EXT. MOUNTAIN-NIGHT
IMMEDIATELY MUSIC PICKS UP
MORNING MOOD AT A SPECIFIC
BAR, TIMING FOR ENDING EFX.
NARRATOR
Peer Gynt finds himself lying in the
grass; he shakes his head and rubs his
eyes. Above, the evening star glows
and Peer believes he sees the face of
his deceased mother--she is now an
Ange1.12 Her face fades away and in
its place he sees another. This time,
the face of the young maiden who truly
loves him.l3 She has been at prayers
at the church, calling on all saints
to keep Peer Gynt in their care. It
was she who rang the bells,l4 the
Holy sounds driving off all evil. Her
face, too, fades away and ••• the star
brightens .15
STAR SLOWLY UP FROM
FIRST MENTION, PEAKS
WITH FINAL CHORD OF
MUSIC, MORNING MOOD.
BLACKOUT AFTER BEAT.
THE END
11
NOTES
1 This is the first time in the text a reference is made to
Peer's gazing up at the sky.
The second time he sees flying geese.
Both times he is in some sort of trouble and his looking upward
is considered symbolic of wrestling with good and evil.
Rolf
Fjelde, trans., Peer Gynt, by Henrik Ibsen (University of Minnesota Press, 1983), pp. 21 and 49.
2 Green Ladies were forest spirits and had a very bad reputation which was well-deserved; grouped with Sylphs.
Fays are
a species not wholly human or completely satisfied to remain
within the bounds of Fairyland.
The one Peer encounters appears
to have qualities ascribed to both.
Gnomes (San Francisco:
Lana Slaton, Giants and
Troubador Press, 1978), pp. 10 and 20.
3 Peer has acquired a reputation as being a great liar.
He
is also caught up in great fantasies, believing himself to be a
prince and can therefore refer to his mother as a queen.
(Fjelde,
p. 51.)
4 If she were taken to church and Peer married her, the moment
the church bells rang, she would gain an eternal soul.
D'Aulaire, Trolls (New York:
Ingri
Doubleday & Company, Inc., 1972),
p. 51.
12
5 In one myth, a boy tricks three trolls out of their one
eye that they all share.
Looking through it, he finds that raging
trolls looked gentle and kind, light was dark, dark was light, and
everything was askew.
(D'Aulaire, p. 41.)
6 When I masterminded the audio tape, I had a particular form
in mind, as follows:
"A" (Morning Mood); "B" (The Hall of the
Mountain King); "C" (Anitra's Dance); "B" (The Hall of the Mountain King); "A" (Morning Mood).
This "A-B-C-B-A" form was re-
ferred to as classical symmetry.
(Thierry Kuntzel, "Seminar on
Film Semiotics," National Conference on the Teaching of Film,
University of Wisconsin-Milwaukee, 24-28 Mar.
1976.)
7 Biggest and strongest of all the trolls were those who
lived inside the mountains.
They had the strength of fifty men
and they also had great magical powers and could throw spells
over people.
The trolls were very rich, for they owned all the
silver and gold hidden in the mountains.
The richest of them
were the troll-kings, and every mountain range had its king.
(D'Aulaire, pp. 5 and 14.)
8 For the sake of the audience, I used a word they would
probably be more familiar with rather than the Nordic Askeladd or Ashiepattle.
There is controversy among critics as to
whether Peer is a genius, fool, or megalomaniac.
Henrik Jaeger as follows:
Logeman quotes
"As a rule he [an Askeladd] is the
youngest of three brothers ••• he occupies a very modest place; he
is supposed to be lazy, stupid as well as incapable ••• he has very
13
often in the beginning appearances against him, but as aoon as he
comes away from the narrow conditions at home, he ahows what stuff
he is made of.
He has both heart and head in their proper place,
and he is the genius born under the lucky star, executing without
any diffic:ulty the task that neither his clever brothers nor any
one else has been able to manage •••• "
(Connecticut:
in A Cotmnentary
On
Peer Gynt
Greenwood Press, 1970), p. 21.
9 Again, for the sake of the audience I used the words "witch"
and "hag" to maintain continuity in the theme.
cribes what peer has seen, a cow and a sow.
The original des-
(Fjelde, p. 58.)
10 Discovering the truth, to be faced with alternatives implies making a choice, and here Peer chooses between the ways of
the underworld (spiritual death) or the way of spiritual life.
Be-
neath the surface action and story lies Ibsen's theme which he has
so effectively woven in and symbolized.
(Fjelde, p. xix.)
11 Peer is rescued by something "outside himself"--the
chiming of the church bells.
This is probably another metaphor for
the religious belief in a Savior.
meaning:
A quote from Logeman will add
"Anyone who has even tried to penetrate into the drama-
tic poem at all, will have found how very clearly Ibsen has here
foreseen the difficulties that beset the unfortunate student that,
without any special knowledge of all this and without a big library, tries to master its intricacies.
There is the Norwegian
folklore then in the first place, with which the play, more especially the earlier part of it, is soaked through as if the expression may pass.
And apart from the actual allusions to men and
14
things that the play is full of, there is the much more subtle,
much more elusive substratum of Ibsen's own ideas, conceptions,
ideals, his longings, and his disappointments that must be clear to
the student in order to enable him to understand the play in all
its bearings.
'It is of no little moment to him that wishes to
understand Ibsen and especially his relation to Norway, to try and
get to the bottom of all his associations with Norwegian spiritual
life,' Eitrem has written.
And this is not only of some moment,
but absolutely necessary."
(Logeman, pp. viii and ix.)
12 Again we find Peer looking upward.
away.
His mother has passed
Is it imagination, fantasy that he sees her face?
The play
from beginning to end is sprinkled with this theme, so I turn to
it to show his mother teaching him fantasy to avoid pain, and quote
her, "It's so painful staring fate in the eyes; You'd much rather
shake your troubles off and just do anything not to think.
Some
turn to brandy, others to lies, and we--well, we took to fairy
tales of princes and trolls and strange animals.
Stolen brides too.
But who'd have thought those infernal stories would be in him yet."
And the Boyg who says, "He was too strong.
hind him."
There were women be-
(Fjelde, pp. 43 and 6 7.)
13 Solveig is clearly no ordinary woman ••• she seems so far
from ordinary as to be almost incredible.
In the over-all pattern
of the play, Solveig is everything that the trolls are not.
are vindictive; she forgives.
They
(Fjelde, p. xix.)
14 ••• that in Solveig's faith, her hope and her love is eternity's claim, from which she never departs.
15
The real center of her
life is in a timeless realm where love emanates and retums; and
she participates in that timelessness.
(Fjelde, p. xix.)
15 Here we have a confluence of the themes of good and evil,
spiritual life and death, Peer escaping the clutches of the Buttonmolder (reincarnation) by falling into the arms of the maiden (virgin) who truly loves him.
we are at the end of the play, we have
the sun rising, giving my audience a happy ending and giving us a
symbolic metaphor or two (the Resurrection, that love conquers
death, the hope that the troll within Peer Gynt is immobilized at
last).
The shifting illusions and realities of the stage are the
counterpart and fit medium of the selfsame shifts within Peer's
life, by which we are eventually brought up to that last and most
impressive change of scene when, for him as perhaps for us, before
the ultimate hour, a light breaks through; and out of the strange
mercy of the universe, the sun rises still one more time.
pp. xxvi and 228.)
16
(Fjelde,
APPENDIX A
Master Symbol
17
A Master Symbol is a scenographer's logo.
It represents the
singular key idea that enables assimilation and synthesis of all
the elements or components that make up an entire production.
This design is my logo for Ibsen's Peer Gynt and is intentionally abstract, surreal.
Original art work by Marie
s.
Vorce, commissioned, pen and
ink on acrylic.
Photographed by The Camera Box Studio.
18
APPENDIX B
Photographs of the Show
19
The requirements for the Student Art Gallery Show included
posting its title and my name in block letters of specified size
on a clean, freshly painted white wall.
I chose the color motif of maroon and grey for the show (maroon lettering and grey display stands) and the required reception (grey tablecloths, maroon paper plates, cups, napkins, and
maroon plastic table service) with special touches of maroon
shades in the flower arrangement.
and comraderie.
We all enjoyed a light repast
I provided souvenir printed matchbooks as a final
treat.
The show was meant to entertain an audience, and Phantastique
Phantasies was meant to link the nature of the scene with Peer
Gynt's natural inclination for adventure and fantasy, and to
further link my abstract of the more scholarly treatment of Peer
Gynt:
The Hall of the Mountain King.
This photograph was taken at the Gallery Show by Julie and
Kenneth Curetin and transferred from slide to print by Mark's
Color Lab.
20
ll
This photograph depicts the exhibit of the equipment and
demonstrates one problem in transferring three-dimensional art to
a two-dimensional format--the room and the equipment look askew.
The control mechanisms are all on or behind the low display
stand in the foreground; from left to right is a) the dimmer board
with "x" "y" faders and four patch capacity; b) the n guage railroad track control; c) strobe
control~
d) rear projection control;
e) Pioneer portable cassette system (hidden) for audio control.
BOSE amplifiers are located strategically on either side of
the set on tall stands, carrying the best sound to the audience.
Beefy Baby Stands with Baby Doubleheaders hold lighting instruments (each with a set of barndoors to control light spread); two
Fresnels and the strobe (left); one Fresnel and one 3.5 x 6 Leko
with patternholder (right).
The basic components of the set are its knotty pine frame, reinforced with metal ells and hand varnished; a pulley and rope system to raise or lower the flats; metal gliders to firmly hold the
flats in place; curtains sized to hide lowered flats; n guage tracks
to move characters; large wing nuts to wrap and secure ropes.
Carousel slide trays are set on eye level stands behind the
set for rear projections and can cross-fade-dissolve for effects.
I had complete artistic control over the show/exhibit and
ran it singlehandedly.
This photograph was taken at the Gallery Show by Julie and
Kenneth Curetin and transferred from slide to print by Mark's
Color Lab.
21
'
'
.
" ••• they are met by a sinister and ugly troll."
This troll was sculpted in white plasteline by
w.
Wade Weldon
and I photographed it in black and white in a grassy spot.
I
added blue gel to the slide holder and rear projected it on cue.
I chose the color blue for the opening of Act Two to indicate a cool reception.
As the mood changes, blue is replaced,
first by yellow-orange, then seguays into all red.
The front projectors were loaded with corresponding colors
to the rear projections to keep the elements of the scene in
close harmony.
This photograph was taken at the Gallery Show by Julie and
Kenneth Curetin and transferred from slide to print by Mark's
Color Lab.
22
" ••• and the Royal Court sets up howling.
The King glares at
Peer contemptuously ••• bids all his 'children' to kill Peer quickly."
This photograph demonstrates the seguay in the lighting cues
that correspond to the colors used to represent the changing mood
of the Troll King.
The blue color is nearly gone, and was the
most neutral for the cool reception in the beginning; as Peer
hedges on his promises, I used yellow-orange, and when the order
is given to kill Peer, red is introduced and slowly takes over
completely.
This photograph also demonstrates the use of additive (light)
and subtractive {pigment) color mixing; in this case, designed to
enhance one another.
Two flats are used in Act Two.
Visually one flat is repre-
sentational of roots dangling from the roof of the cave, and the
other depicts the cave entrance as trap-like.
The use of two flats
increases the depth of field important to this visualization and
(not shown) rear projections indicate the back depths and hiding
places as Peer attempts to escape the attack.
The roots are a very careful duplication of a section from
the Master Symbol.
This photograph was taken at the Gallery Show by Julie and
Kenneth Curetin and transferred from slide to print by Dupliquick.
23
(l
"Suddenly the sound of church bells are heard afar off and
all the devil's children disperse in a turmoil amid wild shrieks.
The Hall and everything in it blurs •••• "
I used white plastilene to sculpt this tmp, then photographed
it in several positions in a grassy spot.
I added red gel to the
slide holders and had several poses loaded in the carousel projectors.
The imp was rear projected at the height of the attack on
Peer, and coincided with front projected red lighting along with
a strobe, which varied from a slow-to-fast pulse as the music
reached its crescendo.
Red should be used very sparingly in theatre and all the
visual arts because in the psychology of color it represents
anger, blood, death, and/or hell.
This close up photograph was taken at the Gallery Show by
Julie and Kenneth Curetin and transferred from slide to print by
Mark's Color Lab.
24
•
,.
" ••• and the star brightens."
Here we have a confluence of the themes of good and evil,
spiritual life and death, Peer escaping the clutches of the Buttonmolder (reincarnation) by falling into the arms of the maiden
(virgin) who truly loves him.
We are at the end of the play, we
have the sun rising, giving my audience a happy ending and giving
us a symbolic metaphor or two (the Resurrection, that love conquers death, the hope that the troll within Peer Gynt is immobilized
at last).
The shifting illusions and realities of the stage are
the counterpart and fit medium of the selfsame shifts within Peer's
life, by which we are eventually brought up to that last and most
impressive change of scene when, for him as perhaps for us, before
the ultimate hour, a light breaks through; and out of the strange
mercy of the universe, the sun rises still one more time (see
endnote 15).
The flat in this photograph was originally designed and
painted (watercolor) to coordinate and enhance both the opening
and closing scene's front projected colored lighting, first for
day (yellow-orange gel) and last for night (blue gel).
The star
was also front projected; gobo 106, Evening Stars 2 (1980) by
The Great American Market.
This photograph was taken at the Gallery Show by Julie and
Kenneth Curetin, and transferred from a slide to a print by
Mark's Color Lab.
25
The requirements for the Student Art Gallery Show included
sending invitations.
I wanted to notify a special group of friends (we were all
members of the same trade organization) so I decided to announce
the show in their flyer which had a circulation of 400 to 500
copies.
Marie
s.
Vorce typeset and prepared a camera ready 3 X 5
advertisement which I submitted to Al Lampkin on March 28, 1985;
it appeared in ALMA (Associated Latter-day Media Artists), California Chapter Ed., Apr. 1976, 2, p. 6.
27
Q
You are cordially invited to attend
Phantastiqut Phantasits
a new and exciting adventure in multi-media
Created, Produced, and Designed By
Luty Rat Wtldon
in partial fulfillment of the requirements for a
Special M A Degree
Inquire at CSUN Information Booths at
Nordhoff/Lindley or Prairie/Darby
Information: Phone (805) 584-0213
Parking:
CSUN STUDENT
ART GALLERY
Presentation Hours:
Aprll15:
11:30-3:30
&4:30 -7:30
Aprll16 -18:
11:00-3:00
&4:00-7:00
•
(l
APPRENDIX D
Program
28
•
I personally organized the information for the program and
turned it over to Marie S. Vorce who did the typesetting, cutand-paste-up, making it camera ready.
She turned it over to Freeman F. Vorce, who used an ITEK
to transfer the image onto a chemically light sensitive plate.
He then used an AB DICK 9840 photo-offset printing press to run
several hundred copies.
This is a complex process which he re-
peated for a double-sided copy.
I mailed most of them as invitations, reserving the last
100 copies for the Gallery Show.
I feel proud of and am sentimental about these programs;
I believe them to be both professionally done and an artistic
creation in their own right.
29
--------------------~
CRiAT£0, PROOUC£0 AND OUIGN£0
by
Luty Rat UJtldon
In partial fulfillment of the requirements for
the California State University, Northridge
Special Master of Arts Degree.