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This study attempts to address a gap in existing subcultural research. While there has been extensive work done on the experiences of men in subcultural groupings, the examination of women's experiences is sadly lacking. Using a combination of participant observation and ethnographic interviewing, this study looks at the role women play in the local rock music scene. Some interesting themes emerge that challenge existing notions that women are either marginal or absent from subcultural activity. Women in the scene occupy a richly contradictory social position. While they exercise an impressive degree of sexual and financial autonomy, as illustrated by their initiation of relationships and breadwinner roles in partnerships with male musicians, they also adopt many goals and behaviors typically associated with mainstream constructions of proper femininty. Women in the rock scene are seldom performers, instead they are concentrated i n the role of the "nurturent caretaker" (Cole 1993: 89/90) allowing the male musicians to retain recognition, prestige and power in the scene. This construction of the male role as central reflects the acceptance of patriarchal ideology in the scene and obscures the contribution of women to the material maintenance of the subculture. Women's roles in the scene can be characterized as a simultaneous acceptance and rejection of mainstream prescriptions for feminine behavior. While women in the rock scene are undeniably the focus of much sexual objectification and exploitation, they cannot be viewed as either passive or dependent. Women are described by scene members as sexually powerful decision makers, and although women's power is cast in disappointingly sexual terms, it is the active nature of this sexuality that leads me to describe women not as "passive" sexual objects, but rather as "active" sexual objects. Women's experiences in the rock scene are inextricably linked to heterosexual relations with male musicians. While rock women focus on the same goals of marriage and motherhood as mainstream women, their relationships are characterized by complications imposed by the rock lifestyle. According female participants, the overt sexuality of the scene, lack of financial stability , and the consuming nature of the music business combine to challenge the maintenance of a healthy relationship with a musician. However, while women's willingness to deal with such obstacles is puzzling, it can be seen as determination to transcend traditional limitations on masculine and feminine roles. The rock scene, despite its disproportionate consequences for women, offers both women and men alternatives to mainstream constructions of masculinity and femininity. The scene is identified by both female and male participants as offering excitement, spontaneity and passion absent in mainstream society.

Seeing Subjects plots a literary history of modern Britain that begins with Dorian Gray obsessively inspecting his portrait’s changes and ends in Virginia Woolf’s visit to the cinema where she found audiences to be “savages watching the pictures.” Focusing on how literature in the late-19th and 20th centuries regarded images as possessing a shaping force over how identities are understood and performed, I argue that modernists in Britain felt mediated images were altering, rather than merely representing, British identity. As Britain’s economy expanded to unprecedented imperial reach and global influence, new visual technologies also made it possible to render images culled from across the British world—from its furthest colonies to darkest London—to the small island nation, deeply and irrevocably complicating British identity. In response, Oscar Wilde, Joseph Conrad, T. S. Eliot, and others sought to better understand how identity was recognized, particularly visually. By exploring how painting, photography, colonial exhibitions, and cinema sought to manage visual representations of identity, these modernists found that recognition began by acknowledging the familiar but also went further to acknowledge what was strange and new as well. Reading recognition and misrecognition as crucial features of modernist texts, Seeing Subjects argues for a new understanding of how modernism’s formal experimentation came to be and for how it calls for responses from readers today.

This study attempts to address a gap in existing subcultural research. While there has been extensive work done on the experiences of men in subcultural groupings, the examination of women's experiences is sadly lacking. Using a combination of participant observation and ethnographic interviewing, this study looks at the role women play in the local rock music scene. Some interesting themes emerge that challenge existing notions that women are either marginal or absent from subcultural activity. Women in the scene occupy a richly contradictory social position. While they exercise an impressive degree of sexual and financial autonomy, as illustrated by their initiation of relationships and breadwinner roles in partnerships with male musicians, they also adopt many goals and behaviors typically associated with mainstream constructions of proper femininty. Women in the rock scene are seldom performers, instead they are concentrated i n the role of the "nurturent caretaker" (Cole 1993: 89/90) allowing the male musicians to retain recognition, prestige and power in the scene. This construction of the male role as central reflects the acceptance of patriarchal ideology in the scene and obscures the contribution of women to the material maintenance of the subculture. Women's roles in the scene can be characterized as a simultaneous acceptance and rejection of mainstream prescriptions for feminine behavior. While women in the rock scene are undeniably the focus of much sexual objectification and exploitation, they cannot be viewed as either passive or dependent. Women are described by scene members as sexually powerful decision makers, and although women's power is cast in disappointingly sexual terms, it is the active nature of this sexuality that leads me to describe women not as "passive" sexual objects, but rather as "active" sexual objects. Women's experiences in the rock scene are inextricably linked to heterosexual relations with male musicians. While rock women focus on the same goals of marriage and motherhood as mainstream women, their relationships are characterized by complications imposed by the rock lifestyle. According female participants, the overt sexuality of the scene, lack of financial stability , and the consuming nature of the music business combine to challenge the maintenance of a healthy relationship with a musician. However, while women's willingness to deal with such obstacles is puzzling, it can be seen as determination to transcend traditional limitations on masculine and feminine roles. The rock scene, despite its disproportionate consequences for women, offers both women and men alternatives to mainstream constructions of masculinity and femininity. The scene is identified by both female and male participants as offering excitement, spontaneity and passion absent in mainstream society. / Arts, Faculty of / Sociology, Department of / Graduate

It is generally accepted in British Columbia that Canada Land Inventory Class 1 to 4 lands are arable, yet in many instances commercial farms exist on lands of lower capability. A case study was done for an area (1.6 km * 2.9 km) southeast of Nanaimo, B.C. to determine if Canada Land Inventory Class 4 and 5 soils are biophysically suitable for Pyrus (pear) and Mai us (apple) orchards, and if such a development would be socioeconomically feasible. The critical biophysical conditions governing orchard development identified were climate (freeze free period, effective growing degree days, dormancy period and minimum winter temperature); soils (depth, drainage, texture/% coarse fragment content and topography); and groundwater availability for irrigation. The critical economic conditions were land tenure (Tree Farms and parcel size); current land use; and fruit yields and prices. While all biophysical conditions were favourable to apple orchards, the soils were found to be too coarse textured for pear orchards. Maps outlining the critical biophysical and socioeconomic conditions were prepared and overlayed. The composite map identified one area with realistic development potential for apple orchards. Although soils, land tenure, parcel size and current land use decreased the area available for orchards, the lack of groundwater for irrigation was found to be the most limiting factor to orchard development. Estimates of costs and returns for a 3.3 ha apple orchard over a 25 year period were done. Using these estimates, the net present value of the orchard was determined for three discount rates: 5%, 8% and 10%; and for five prices per kilogram: $0.15, $0.22, $0.33, $0.44 and $0.66. At prices of $0.15, $0.22, $0.33 and $0.44 (at discount rates of 10% and 8%), orchard establishment was not feasible. However, at prices of $0.44 (and discount rate of 5%) and $0.66, orchard establishment was feasible. / Science, Faculty of / Resources, Environment and Sustainability (IRES), Institute for / Graduate

This study notes similarities and differences between the United States (U.S.) and the United Kingdom (U.K.). Study findings suggest that while at first glance the United Kingdom and the United States may seem similar in many ways, the differences between these countries are great, making each one unique.

To realise the potential for mussel culture in British Columbia, mariculture research must identify specific environments and suitable locations which promote maximum growth in mussels. The present study investigates the possible advantages, through nutritional enrichment, of salmon farms as sites for mussel culture. Mussels were cultured at different distances around two salmon farms on the east coast of Vancouver Island (Departure Bay and Genoa Bay). Three parameters of mussel growth: condition index, carbohydrate content, and crude protein content were monitored at 3-6 wk intervals from September 1988 to August 1989. Distinct seasonal differences in growth were observed, but distance from the farm did not substantially influence mussel growth. Adult mortality and larval settlement were similarly unaffected. Contrary to prediction, the farms did not increase available food for mussels. Measures of seston and chlorophyll concentration, made concurrently with the mussel collections, indicated that neither a direct contribution of nutrients in the form of feed and fish faeces, nor an indirect contribution of waste ammonia to augment phytoplankton production, occurred. This was despite currents flowing, at least part of the time, in such a direction as to transport potential nutrients from the farms to the mussels. / Science, Faculty of / Zoology, Department of / Graduate

This study examined impact of national culture on human resource management (HRM) functioning in present-day Pakistan.

This thesis contends that the image of fire is a multivalent and theologically valuable image for application in British Christian communities. My research offers an original contribution by contextualising the image of fire for Christian practice in Britain, and combining critical observation of several contemporary fire rites with theological analysis. In addition, I conduct original case studies of three Scottish fire rituals: the Stonehaven Fireball Ceremony, the Beltane Fire Festival, and Up-Helly-Aa in Lerwick, Shetland. The potential contribution of fire imagery to Christian practice has been overlooked by modern theological scholarship, social anthropologists, and Christian practitioners. Since the multivalence of the image has not been fully recognised, fire imagery has often been reduced to a binary of ‘positive' and ‘negative' associations. Through my study of non-faith fire rituals and existing Christian fire practices, I explore the interplay between multivalence, multiplicity, and liminality in fire imagery. I demonstrate that deeper theological engagement with the image of fire can enhance participation, transformation, and reflection in transitional ritual experience. I argue that engaging with the multivalence of the image of fire could allow faith communities to move beyond dominant interpretive frameworks and apply the image within their own specific context. First, I orientate the discussion by examining the multivalence of biblical fire imagery and establishing the character of fire within the British social imagination. Second, I use critical observation of community fire practices in non-faith contexts to build a new contextual framework for the analysis of fire imagery. Finally, I apply my findings to a contextual analysis of existing Christian fire practices in Britain. Throughout, I argue that sensory and imaginative interaction with the image of fire provides a way to communicate and interact with theological ideas; experience personal and communal change; and mediate experience of the sacred.