Thesis (Th.M.)--Dallas Theological Seminary, 2008. / Description based on print version record. Includes bibliographical references (leaves 55-60).

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The dissertation is an investigation of modern subjectivity as it is expressed in the form of celebrities. First of all, it establishes that celebrities are linked to both the development of a democratic culture, where there is an investment in conceptions of the popular will for political and cultural legitimation, and consumer capitalism, where power and subjectivity are intimately connected to the commodity and a consumer identity that is formed through commodities. Secondly, the dissertation establishes that the significance and meaning of the celebrity in contemporary culture are linked to its dual formation by the culture industries and by the audience which embraces and remakes the meaning of the produced celebrity. A critical reading of individual celebrities that have emerged from different domains of the culture industries is conducted which integrates a hermeneutic of intention into a hermeneutic of reception. Thirdly, the work shows how the forms of public subjectivity privileged in the entertainment industries are elemental parts of the construction of the contemporary political leader. / The dissertation concludes that the celebrity, along with other forms of public personalities that emerge in the public sphere, is an attempt to contain or embody a certain type of power that is difficult to sustain because of its connection to mass sentiment and supposed forms of irrationality. The celebrity then is the continual attempt to embody this affective power in contemporary political and popular culture.

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 315-349). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29537

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Thesis (M.S.)--University of Wisconsin--Madison, 1961. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [146]-164).

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What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame. Using a novel computational measure for the novelty of the artists’ works, I explore how their creativity and fame evolve over 1905-2000 in five markets. I find no statistical evidence for a positive relationship between creativity and fame; in fact, the statistical evidence is in favor of a negative relationship between creativity and fame through several time periods. The results suggest that creativity (measured by expert or machines) is not a driver of fame. In effect, it further supports the conclusions of chapter 2 and 3.

The FAME yield from microalgae of two in situ transesterification methods were compared to a typical Folch et al. (1957) extraction followed by transesterification using the Hilditch et al. (1964) procedure. A method based on Park & Goins (1994), utilizing 0.5 N NaOH in methanol, then 14 % BCl3 in methanol, was found to be superior to a method based on Lepage & Roy (1986), utilizing acetyl chloride in methanol. The Park & Goins (1994) method was equivalent to the traditional method and was, therefore, selected for further study. In establishing the parameters of the method, water contents up to 0.55 mL were not found to inhibit the reaction within the maximum lipid load, conservatively assessed at ~1 mg. The reaction time and temperature required to produce a maximum FAME yield was 10 min at 90 °C for the BCl3-catalyzed reaction, while the NaOH-catalyzed reaction happened instantaneously at ambient temperature.