Thesis (Ph. D.)--Carleton University, 2005. / Includes bibliographical references (p. 317-343). Also available in electronic format on the Internet.

Thesis (Ph. D.)--Washington State University, May 2009. / Title from PDF title page (viewed on June 3, 2009). "Department of American Studies." Includes bibliographical references (p. 177-188).

Thesis (Ph.D.)--University of Edinburgh, 2007.

Thesis (D.A.)--Illinois State University, 1988. / Title from title page screen, viewed September 9, 2005. Dissertation Committee: L. Moody Simms (chair), Edward L. Schapsmeier, W. Mark Wyman, Lawrence W. McBride, John R. McCarthy. Includes bibliographical references (leaves 373-390) and abstract. Also available in print.

Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Gay male culture is suffused with indications of the importance of women and bonds with women. Indeed the Stonewall riots, mythologised moment of the birth of modern gay politics, are often said to have been catalysed by gay male grief at the death of Judy Garland. Why should a culture apparently founded on same-sex desire be so preoccupied with relationships across gender difference? The thesis attempts to map the shape and effects of bonds with women by using a materialist analytical framework in relation to texts and their critical retinue. The first chapter looks at A Streetcar Named Desire, a play that has engendered significant cultural contest which spans key historical and political shifts in the nature of gay male identity. This chapter attempts to show how a diverse range of critical engagements with Tennessee Williams's work, including authoritative and resistant, heterosexual, homosexual and queer ones, exhibit considerable investment in the proposition that the playwright's sexuality not only structures a libidinous desire, but a gender identification. The second chapter situates gay men within the homosocial gender bonds mapped by Eve Sedgwick, and draws attention to the dissident opportunities gay male culture has exploited within this narrative system. It goes on to examine the potential political and cultural links between such strategies and the resistance of straight women who are also organised as homosocial subjects. This chapter includes a reading of Tarantino's Pulp Fiction as homosocial text and looks at a number of autobiographical and journalistic writings which identify a predominant dissident strategy which I refer to as heterosocial bonds. The latter part of the thesis comprises two complementary chapters. The first of these, chapter three, assesses the plausibility of heterosocial bonding in the representations of relationships between straight women, lesbians and gay men in the American situation comedy Roseanne. Chapter four conducts a similar inquiry in relation to Pedro Almodovar and the representational alignment he makes with women in the film Women on the Verge of a Nervous Breakdown. The analysis conducted in both of these chapters attempts to treat the texts not only as generic and formal representations,but as attempted acts of bonding. The thesis attempts to judge the political expediency and effectiveness of heterosocial bonding, and locates the difficulty and contingency of such endeavours within the fabric of homosocial structures.

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My thesis is both an oppositional history and a (re)definition of British Underground Cinema culture (1959 - 2(02). The historical significance of Underground Cinema has long been ideologically entangled in a mesh of academic typologies and ultra leftist rhetoric, abducting it from those directly involved. The intention of my work is to return definition to the 'object' of study, to write from within. This process involves viewing the history of modem British culture not as a vague monolithic and hierarchic spectrum but rather as a distinct historical conflict between the repressive legitimate Art culture of the bourgeoisie and the radical illegitimate popular culture of the working class. In this context, Underground Cinema can be {re)defined as a radical hybrid culture which fused elements of popular culture, Counterculture and Anti-Art. However, the first wave of Underground Cinema was effectively suppressed by the irrational ideology of its key activists and the hegemonic power of the Art tradition. They disowned the radical popular and initiated an Avant-Garde/Independent cinema project which developed an official State administrated bourgeois alternative to popular cinema. My conclusion is that Underground Cinema still has the potential to become a radical and commercial popular culture but that this is now frustrated by an institutionalised State Art culture which has colonised the State funding agencies, higher education and the academic study of cinema. If the Underground is to flourish it must refuse and subvert this Art culture and renew its alliance with radical, experimental and commercial pop culture. My methodology is an holistic interactive praxis which combines research, writing, film/video making, digital design, performance and political activism. My final submission will be an open and heterodox mesh of polemic, history and entertainment. Its key components will be a written thesis which will locate this praxis within its intellectual context and a web site which will integrate my research and practice 1997-2003.

The thesis places Wales within a postcolonial framework, and uses postcolonial theory to analyse the emergence of Welsh identities. Positioning ‘Wales’ and the ‘Welsh’ as subjects of study in relation to the British Empire suggests how discursive processes of power in Wales take place parallel to those in other areas of the Empire. In analysing these processes, the thesis illustrates the different effects of power in different local contexts. Welsh identities are shown as emerging and being produced by these discursive processes, and are found to be often resistant and complicit with dominant discourses in the same movement. In the central chapters of the thesis, the emergence of Welsh identities is analysed with reference to particular discourses and events: education, ritual, literary criticism and popular culture. These are, in Chapter 1, the Blue Books controversy; in Chapter 2, the investiture of the Prince of Wales in 1911 and again in 1969; and, finally, in Chapter 3,the construction of different theories of literary criticism and the role of play and authenticity in Welsh popular culture. Using the work of Michel Foucault, the thesis rejects the notion of an original and essential Welsh identity and takes power to be fluid and productive of subjects. Various articulations of Welsh identity appear as dynamic, hybrid and linked to particular discourses, allowing us to understand the emergence of such identities without reference to a pre-given Welsh identity.