Thesis (B.Sc)--University of Hong Kong, 1997. / "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, April 30, 1997." Also available in print.

Thesis (Ph.D.)--Bowling Green State University, 2006. / Document formatted into pages; contains xi, 326 p. Includes bibliographical references.

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Thesis (Th. M.)--Dallas Theological Seminary, 1992. / Includes bibliographical references (leaves 73-78).

Some research has been done on this subject, although sparsely. The purpose of this study is to determine how, why, and to what extent representation in fiction matters, in regard to socially stigmatized groups of people, focusing on mental health, sexuality, and gender roles. The main focus is on bonding with fictional characters, how it relates to representation and its importance. Eleven (cis)female participants shared their own experiences with this. Each written reply was condensed, eventually narrowed down to three main components considered central to this phenomenon; (1) a sense of isolation, (2) an inability to cope, and (3) relatability in characters. These components can all be connected to loneliness, which suggests that loneliness plays a large part in one's sense of self-worth. Thus, representation can be argued to be vital, due to its function of including and speaking for stigmatized groups of people, granting a sense of belonging and support.

The doll placement technique is a projective instrument which yields objective measures from which inferences may be drawn. Subjects place pairs of dolls to represent social encounters described to them by the experimenter. When the dolls have been placed, the distance between them and the angles at which they stand can serve as a source of information either about the personality of the placer or about the way in which he perceives the relationship between the interactors represented. Most experimental work employing figure placements has used flat felt figures which subjects have mounted on a flannel graph. This method limits an investigator to one dependent variable, the inter-figure distance. However if three dimensional dolls are placed three dependent measures can be derived from a placement, one of distance and two of orientation. It has been demonstrated that a reliable correlation exists between the spatial relations between figures placed by a person and the spatial relationships between real interactors. The theoretical analysis of the determinants of interpersonal distance and orientation in social encounters which has been worked out by students of non-verbal behaviour is therefore able to serve as a basis for the interpretation of the spatial characteristics of doll placements. Previous work with the doll placement technique has concentrated on the distance between dolls. The present study explored the determinants of figure orientations. Firstly an analysis was made of the types of orientation pattern that can occur when two persons are involved in a social encounter. Secondly, an experiment was performed which was designed to explore whether asymmetry in an orientation pattern might act as a cue to determine how individual figures in a pair were perceived. Thirdly, two doll placement studies were performed which were designed to investigate the conditions giving rise to asymmetrical orientation patterns and the determinants of direct and indirect orientations. The confidence or anxiety attributed to an interactor represented by a figure proved to be a major determinant of its spatial position. The results of the study indicate that the use of the angle measures in the analysis of doll placements considerably enhances the value of the technique. It is argued that the doll placement method could be profitably employed both as a clinical instrument and as a research tool for cross-cultural psychology.

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This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.

This dissertation examines Elias Canetti‟s novel, Auto-da Fé, in an attempt to show how it depicts the manifestations of violence and the effects of traumaon the individual and on modernist society. This analysis of Auto-da Fé concentrates on the representation of trauma on a fictional level at a time when Europe was experiencing political, social and economic upheaval after the First World War. Auto-da Fé provides an intense emphasis on the psychological effects of trauma on the characters; thereby reflecting the turmoil of this period. An analysis of Canetti‟s novel, in the light of trauma, reveals an enigmatic testimony not only to the nature of violent events, but of the way trauma resists simple comprehension. I argue that this gives rise to complexities within the narration by tracing the insistently recurring words and symbols which point to an interpretation beyond the thematic content of the text, namely one which repetitively bears witness to hidden wounds within individual consciousness. The titles of the three parts of Auto-da-Fé reflect a condition of somatic and sychosomatic dislocation: “A Head without a World”, “Headless World”, and “The World in the Head”. My argument is that the fictional trauma in Canetti‟s novel contains several characters who suffer from a breach of the self and the inability to comprehend society. The inability to fit into society results in the protagonist creating an isolated refuge in order to protect himself from the outer world. However, his alienation exacerbates his physical and emotional dislocations and ultimately leads to his destruction.