I denna uppsats studeras realismens framställning i filmskapandet, dels genom visuella tekniker men även genom handling- och ämnesmässiga val. Studien fokuserar på tre filmer som alla är regisserade och skrivna av filmskaparen Harmony Korine, dessa filmer är: Gummo (1997), Julien Donkey-Boy (1999) och Trash Humpers (2009). För att studera filmernas framställning av realism utifrån syftet med studien diskuteras och appliceras teorier angående ämnet från bland annat John Orr, Robert Stam och Geoff King. Eftersom syftet med studien är att studera realismen utifrån de specifika val som Korine har gjort i filmskapandet diskuteras även idén om en auteur. Både teorierna ifrån Orr och King är grundade i auteurteorin. King har även en utgångspunkt i den amerikanska independentfilmen som Harmony Korine är en aktiv filmskapare inom. I analysen diskuteras sedan Gummo, Julien Donkey-Boy och Trash Humpers separat och med hjälp av de framlagda teorierna om realism argumenterar analyserna olika sätt som filmerna framställer realism genom de visuella samt de handling- och ämnesmässiga valen.

<p>In everyday life women are exposed to sexist language. Terms and usages that exclude or discriminate women are referred to as sexist language. This takes into account that one presumes that maleness is the standard, the norm, and that femaleness is the non-standard, or the exception. The aim of this paper was to find whether gratuitous modifiers such as <em>girl, lady, female </em>and <em>woman </em>are used more frequently than the male markings and whether <em>girl </em>is used to a wider extent than <em>boy</em> to denote an adult. The aim includes two aspects of sexist language. Firstly, the aspect of calling women <em>girls</em> and men <em>men</em>, called non-parallel treatment. Secondly, the fact that it is more common for unmarked terms to refer to males while when referring to females a marked term is needed. As primary source for the study the Time Corpus was used, which is an online corpus containing over 100 million words and ranges from 1923-2007. The conclusion of this essay was that the female sex is more commonly marked and that <em>woman/women</em> are the most commonly used premodifiers. Gender markings most likely apply to occupations and labels which are thought of as either typically male or female. Furthermore, it was found that <em>girl </em>was used to a wider extent than <em>boy</em> to denote an adult. In addition, the results presented a possible change of trends where <em>girl</em> referred to a child to a larger extent in contemporary English.</p>

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 300-307). Available also in a digital version from Dissertation Abstracts.

A number of scholars in the past decades have addressed the importance of conducting researches on audiences. They have examined fan identities, fan behaviours, fan communities, fandom, fan consumption patterns and anti--‐‑fans with different methods such as applying sociological, psychological, economical, and cultural approaches. Many of these studies have made conclusions on fans in general and some have generated behavioural patterns into theories, but they have rarely explored the affections of individual enthusiasts with participating in fan activities as well as understanding fans’ daily livings as an in--‐‑depth investigation. This dissertation mainly focuses on drafting portraits of a group of Hong Kong fans who are supporting a Japanese boy band called Arashi. In order to discuss their subconscious identities, motivations, fan activities and unauthorised fan groups organisations, this research has been carried out grounding on an anthropological approach that ethnographic participant‐observations and interviews were applied to form case studies. To depict these cases, daily livings of individual Hong Kong Arashi admirers, events organised by unofficially formed fan groups, and researcher’s experiences of attending Arashi’s live concerts were documented and analysed. At last, a summary is drawn to illustrate the significant of these Hong Kong fans. The key implication of this thesis is to provide a new perspective on studying individual fans and fandom as an aca-fan. There are also case studies to unfold fans’ inner mechanisms on choosing and ranking idols as well as how do they interpret their idols into new meanings. This paper is not a generalisation of Hong Kong fans of popular music but an attempt to demonstrate different representations from cases of Arashi’s fans in Hong Kong by means of ethnography documentations. / published_or_final_version / Modern Languages and Cultures / Doctoral / Doctor of Philosophy

In 1765, Boston artist John Singleton Copley sent Boy with a Squirrel—a portrait of his half-brother Henry Pelham—across the Atlantic Ocean; the painting ended up in the hands of London-based artists Joshua Reynolds and Benjamin West. Because the work did not depict a patron and it was intended for an artistic audience, Boy with a Squirrel challenges the functionality of traditional portraiture in mid-eighteenth century colonial America. In Boy with a Squirrel, Copley uses form, iconography, and composition as a way to assert to his English counterparts his belonging to the London art community, showcasing his knowledge and even mastery of British and continental traditions. Copley communicates his membership in the London art public through his use through the formal lexicon of his desired audience, effectively Anglicizing his forms. While Anglicization plays a central role in the emergence of the public self in the mid- eighteenth-century American colonies, Copley's adaptation of Anglicizing forms challenges many of the standard conventions. Though the exchange of information between Britain and the American colonies was slow and incomplete, Copley would have had many different opportunities to learn about the British and continental traditions he hoped to demonstrate. The circulation of books and prints, the display of private collections, John Smibert's copies of masterworks, and the growing awareness of the Grand Tour all would have informed Copley's awareness of these British tastes. / text

I argue in this dissertation that U.S. rhetorics of national masculinity, while consistently present during the twentieth century, have changed shape in response to economic, social, and political crises. My research begins with the early twentieth-century Boy Scouts of America. It then moves to the late twentieth century, focusing on Ronald Reagan's inaugural speeches and the U.S. Army's campaign brochures, seeking to understand how U.S. national boundaries around masculinity have been drawn and redrawn according to political economies of the body. In these examples, the middle class struggles to define itself against realities of advancing capitalism that threaten the social capital of whiteness, manhood, and middle-class status.In chapter one, I present a literature review of masculinity, gender, and nationalism theories and an overview of my research methods.In chapter two, I present a rhetorical analysis of American masculinist nationalism at the turn of the 20th century, focusing on rhetoric that was used to develop boys and young men into masculine preservers of the nation, including training manuals from the Boy Scouts of America. I particularly concentrate on narratives of the formation and beginnings of the BSA. I connect the rhetoric of these narratives to the concurrent changes in Roosevelt's military goals. In chapter three, I examine how, beginning with President Ronald Reagan, the economy became rhetorically tied to ideals of freedom and democracy. I argue that the effect of this rhetorical shift has been that national projects that were formerly tied to national pride and service can now be executed through calls to improve the national economy or even one's individual economic status.In chapter four, I argue that this rhetorical shift has changed the rhetoric of Army recruiting. I analyze U.S. Army recruiting brochures and surveys to argue that masculinist nationalism in this context maintains elements from early-twentieth-century masculinity, but incorporates rhetoric of economic individualism that stems from Reagan's era.In chapter five, I draw from examples in the three analysis chapters of my dissertation to make observations about the nature of masculinist nationalism in the U.S., and suggest areas for further research stemming from my dissertation.

Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005. / A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies. Dissertation, libretto and score of the opera. Bibliography: p. 138-141.

Thesis (M.A.)--York University, 2002. Graduate Programme in Ethnomusicology. / Typescript. Name on certificate page : Eric James Alexander Wood. Includes bibliographical references (leaves 219-224). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82965.

Thesis (M.S.)--B.Y.U. Department of Sociology and Anthropology.

Techn. University, Diss., 2004--Berlin.