Analysis. Criticism. Theory.
REPRODUCTION AND MEANING: A DRAMATURGY MANIFESTO
For her Comparative Literature seminar in Criticism and Theory, Arushi co-wrote a paper, "Reproduction and Meaning: A Dramaturgy Manifesto," with peer Frederick D. Miller, on the role of dramaturgy in the capitalist production process. The paper explores the function of dramaturgy in reproducing meaning and reflects on experiences as dramaturgs at Penn State's School of Theatre. (The writers are pursuing publication for the paper.)
ON HAMLET & HENRY V
In her Shakespeare studies, Arushi produced an essay on each, Hamlet, and Henry V. She analyzes the topics of appearance, reality, and madness in Hamlet, exploring humanity's relationship with the subjective. She interprets the "wooing scene" in Henry V, through its language of domination, power, and politics, to assert an understanding of the titular character as pursuing non-consensual personal and political relations.
PASSION BLOGS: ADAPTATIONS & GRIEF STORIES
During the 2020-2021 academic year, Arushi maintained two passion blogs, Adaptations and Grief Stories. Adaptations explores the process of narrative adaptation for several stories, between mediums and across cultures and time. Grief Stories explores the function of several narratives as "grief stories," and how they depict loss, healing, and redemption.
ON GRETA GERWIG'S LITTLE WOMEN (2019)
For her Comparative Literature Class on Narrative Theory: Film and Literature, Arushi wrote an essay, "The Realization of Authentic Artistry Through Maturation in Greta Gerwig’s Little Women," exploring Greta Gerwig's 2019 film, Little Women, as a work of meta-narrative and adaptation. The essay discusses the film in relation to amatonormativity, narrative theory, feminism, and the agency and authenticity of artistry.
A PARADIGM SHIFT: AMERICAN MUSICAL THEATRE
For her year-long Honors Rhetoric and Civic Life class, Arushi wrote a paper analyzing a paradigm shift in the history of American musical theatre. The paper employs the neo-Marxist theory of bourgeois theatre in discussing capitalist theatre. Discussing musical theatre's appeal to social progressivism over the course of its history, the paper tracks a change from the form serving the wealthy to serving the wealthy under the guise of serving the masses.
ADVOCACY CAMPAIGN: "HOAX"
For her year-long Honors Rhetoric and Civic Life class, Arushi created an advocacy campaign that aims to persuade 18- to 24-year-olds to get vaccinated immediately. The campaign rewrites Taylor Swift’s, “hoax”, changing the hook from,“Your faithless love’s the only hoax / I believe in”, to, “Your vaccine drug’s the only hoax / I believe in”. Composed of a lyric video, multiple remixes, and a TikTok post, the campaign aims to use familiarity and novelty in the parody to convince the audience to take action.