LL.M. (Commercial Law) / This research will consider to what extent fictional characters may be protected by copyright law. The discussion will concentrate on the position in the United States of America, the United Kingdom and South Africa. It appears that the reluctance to afford copyright protection to fictional characters stems from their dichotomic nature. As such, the impact of the idea/expression dichotomy will be examined as it is the key issue in determining whether a fictional character will be protected by copyright.

The character of James Bond which was first introduced in Ian Fleming’s first novel Casino Royale in 1953 and was then featured in 11 subsequent novels, 2 volumes of short stories, and 24 film adaptations has long been considered to be the ultimate man’s man. There is no feat he cannot conquer, villain he cannot best, or lady he cannot bed. However, in an examination of both the novels and the film, clues exist to Bond’s deeper psyche—most notably his repressed homosexuality. While much discussion has been had of Bond’s misogyny, in many ways it masks his true identity possibly even from himself. Utilizing a framework of theoretical analysis drawing upon Sigmund Freud, Jack Hallberstam, Judith Butler, Susan Sontag, Laura Mulvey, and Charles Klosterman (among many others), this dissertation will fully explore the character Fleming created. Additionally, by examining how the male gaze and camp elements have been utilized by the filmmakers in the Bond films, analysis will be conducted how those elements contribute to a “queerness” of the character’s film incarnations. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

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.

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 280-285).

He, Xiao. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 196-202). / Abstracts in English and Chinese. / Abstract --- p.3 / Acknowledgement --- p.5 / Chapter Chapter 1 --- Introduction --- p.8 / Chapter 1.1 --- Who are the Cosplayers? --- p.13 / Chapter 1.2 --- Why Cosplay? --- p.15 / Chapter 1.3 --- Why Hong Kong? --- p.17 / Chapter 1.4 --- Research Questions --- p.19 / Chapter 1.5 --- The Background of Cosplay --- p.21 / Chapter 1.6 --- Cosplay Events in Hong Kong --- p.24 / Chapter 1.6.1 --- Large-scale commercial conventions --- p.25 / Chapter 1.6.2 --- Cosplay and dôjinshi events held by universities --- p.27 / Chapter 1.6.3 --- Small-scale privately organized photo-taking events --- p.28 / Chapter 1.7 --- How to Get the Costumes --- p.31 / Chapter 1.8 --- Literature Review --- p.33 / Chapter 1.8.1 --- Globalization and Localization --- p.33 / Chapter 1.8.2 --- Youth Subculture and Fandom Culutre --- p.36 / Chapter 1.9 --- Methodology --- p.39 / Chapter 1.9.1 --- In-depth Interview --- p.39 / Chapter 1.9.2 --- Participant Observation --- p.40 / Chapter 1.9.3 --- Media Studies --- p.43 / Chapter 1.9.4 --- Language --- p.44 / Chapter 1.10 --- Outlines of the Chapters --- p.45 / Chapter Chapter 2 --- The Japaneseness for the Cosplayers --- p.48 / Chapter 2.1 --- Emphasis on Japanese Originality --- p.48 / Chapter 2.2 --- Japanese Elements in their Cyberculture --- p.56 / Chapter 2.3 --- High Reputation for Japan --- p.61 / Chapter 2.4 --- "From ""Odorless"" to ""Japanese""" --- p.66 / Chapter 2.5 --- Summary --- p.70 / Chapter Chapter 3 --- Cosplayer Cyberculture --- p.73 / Chapter 3.1 --- Cosplayers Online --- p.74 / Chapter 3.1.1 --- Public Space --- p.76 / Chapter 3.1.2 --- Dark Space --- p.79 / Chapter 3.1.3 --- Personal Space --- p.84 / Chapter 3.2 --- The Contradiction --- p.88 / Chapter 3.3 --- A Long-lasting Discussion: Effort or Enjoyment --- p.98 / Chapter 3.4 --- Summary --- p.105 / Chapter Chapter 4 --- "Pretty Girls, Pretty Boys, and Their Audiences" --- p.108 / Chapter 4.1 --- "Pretty Girls, Photographers, and the Other Girls" --- p.109 / Chapter 4.2 --- Pretty Boys --- p.116 / Chapter 4.3 --- Pretty Boys in Love --- p.132 / Chapter 4.4 --- Summary --- p.143 / Chapter Chapter 5 --- The Meanings of Cosplay --- p.146 / Chapter 5.1 --- Mainstream Values and the Education System in Hong Kong --- p.146 / Chapter 5.2 --- Cosplayers as Secondary School-Students --- p.150 / Chapter 5.3 --- The Meanings of Cosplay: Four Cases --- p.157 / Chapter 5.3.1 --- "Te's Story: ""I'm going to work in art and design""" --- p.157 / Chapter 5.3.2 --- "Tsu's Story: ""I mustn't let my parents knew that I'm cosplaying""" --- p.166 / Chapter 5.3.3 --- "Story of a Mother: ""I want to let her try anything that interests her""" --- p.171 / Chapter 5.3.4 --- "Saki's Story: ""Cosplay is just an interest after all'" --- p.175 / Chapter 5.4 --- Summary --- p.179 / Chapter Chapter 6 --- Conclusion --- p.181 / Chapter 6.1 --- A Review of the Chapters --- p.181 / Chapter 6.2 --- Comparison with Previous Studies --- p.186 / Bibliography --- p.196

Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 114-120).