Bibliography: leaves 276-295. / vi, 448, [32] leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Education, 1995

The 32- hour documentary series <i>Canada: A Peoples History</i> was aired in 2000-2001 and has been widely disseminated: it is now available as video and DVD sets and has been aired in at least nine languages. In this thesis I examine the packaging of the series, that is, the images and promotional blurbs on the boxed DVD set and the introductory and concluding segments of the series, and I intensively examine Episode 10 Taking the West (1873-1896). Through Critical Discourse Analysis, I closely examine the language and other semiotic material used in <i>Canada: A Peoples History</i> to analyse power relationships in the series. As well as paying attention to the overall structure of the verbal and visual text, I am attentive to the way in which grammar and words are used, and the representation that is portrayed through these elements. In this thesis, I find that while the series does include women and Aboriginal people, <i>Canada: A Peoples History</i>s use of language and images portrays a Canadian identity that privileges Whiteness and masculinity and that presents current power imbalances in society as natural and inevitable. By devaluing women and Aboriginal people in its representation, <i>Canada: A Peoples History</i> lends legitimacy to the systemic discrimination against women and Aboriginal people in Canadian society. I find that the series presents past events as inevitable, over which people had no control or influence, and I argue that this presentation encourages people to accept the current situation, rather than challenging it and seeking alternatives.

The 32- hour documentary series <i>Canada: A Peoples History</i> was aired in 2000-2001 and has been widely disseminated: it is now available as video and DVD sets and has been aired in at least nine languages. In this thesis I examine the packaging of the series, that is, the images and promotional blurbs on the boxed DVD set and the introductory and concluding segments of the series, and I intensively examine Episode 10 Taking the West (1873-1896). Through Critical Discourse Analysis, I closely examine the language and other semiotic material used in <i>Canada: A Peoples History</i> to analyse power relationships in the series. As well as paying attention to the overall structure of the verbal and visual text, I am attentive to the way in which grammar and words are used, and the representation that is portrayed through these elements. In this thesis, I find that while the series does include women and Aboriginal people, <i>Canada: A Peoples History</i>s use of language and images portrays a Canadian identity that privileges Whiteness and masculinity and that presents current power imbalances in society as natural and inevitable. By devaluing women and Aboriginal people in its representation, <i>Canada: A Peoples History</i> lends legitimacy to the systemic discrimination against women and Aboriginal people in Canadian society. I find that the series presents past events as inevitable, over which people had no control or influence, and I argue that this presentation encourages people to accept the current situation, rather than challenging it and seeking alternatives.

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Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 295-311). Also available in print.

Thesis (Th. M.)--Westminster Theological Seminary, Philadelphia, 2003. / Includes vita. Includes bibliographical references (leaves 198-200).

Thesis--M.A., University of Hong Kong, 1984.

Rapping has long been used by people who are from the margin of society as a way to give a voice (Campbell, 2005; Ibrahim, 1999). As a member of the marginalized group and as the first and only Asian who claimed a seven-time victory on Freestyle Friday on Black Entertainment Television (BET), Jin Au-Yeung has received a noticeable amount of attention. At the same time, he has faced a lot of unfavourable experience as an Asian rapper in American society. This study employs Fairclough’s (1989) model of CDA approach to find out how Jin constructs his identity and establishes his ideology through his lyrics, and how his construction of identity and establishment of ideology reflect the social practice in American society. Fifteen songs written by Jin were chosen for the analysis according to the three interrelated stages in CDA: description, interpretation and explanation. Results show that Jin constructs his personal identities as a professional rapper and as a Chinese American and establishes his ideology of having one human nation despite the difference in races through his rap lyrics. These are achieved through the co-occurrence of “I” and “to be”, and promoted through the use of rhyming and code-switching. It was also interpreted that Jin’s personal identities and ideology are shaped through the social ideology on Asian Americans, which is probably reflected through the social practice in American society. / published_or_final_version / Applied English Studies / Master / Master of Arts in Applied Linguistics

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