This PhD explores the experience of female journalists working in the Saudi Arabian press. It looks at the difficulties they face as women journalists, their motives for working in this area and their writings. The research discusses how the culture gender segregation in Saudi Arabia impacts upon Saudi media representations of gender stereotypes and the role of print media (the press) in exposing women’s issues to the public and forming public opinion. I utilised a media studies’ approach adopting an Islamic feminist perspective. I generated data from indepth interviews with seven Saudi female journalists working in Saudi press, who discuss female-related topics as well as content analysis of related press articles. The analysis indicated that the Saudi culture of extreme gender segregation has impacted on the experience of female journalists, particularly on their ability to compete with male journalists. As my analysis argues, my participants report experiencing female segregation and discrimination mainly affecting their pay, job opportunities, promotion, availability and access to information. My findings further suggest that the media in Saudi Arabia is the most direct venue for women to express their views and discuss their issues. In accordance with previous studies in the field, my study reveals that Saudi Arabian women interpret feminism within the boundaries of their specific culture and Islamic standpoint. Lastly, I discuss how current political, social and economic reforms in the region, which influence women’s status in the public arena, are reflected in the Saudi press.

This study highlights the significance of equal participation of men and women as central to the future health of politics and the democratic process in Wales. Following affirmative action taken by two major Welsh political parties, the National Assembly for Wales has been notable for the high level of female representation among its membership since the legislature was created in 1999. The large number of women in the Assembly is a unique phenomenon both politically and geographically. However, the question that remains unanswered is this: in spite of equal political representation in the Assembly, are men and women now treated equally and fairly by the Welsh press? This research is the first comparative study of press representations of men and women in a political institution that has an almost equal number of male and female representatives. It specifically attempts to examine how 12 Welsh newspapers portrayed female Assembly Members [AMs] during a three-month Welsh national election period as well as during a later three-month routine press coverage period. It draws on content and discourse analyses of the press coverage of over 3000 articles from about 1000 newspaper editions during the two periods studied. It is also based on data generated by in-depth interviews with 28 AMs from the current Assembly. This study shows that when there has been a relative equal participation of women in a political institution over a period, the gender issue initially remains noticeable and “business as usual”. However, over time, more complex media representations of male and female politicians have been observed and gender bias has gradually become less salient and controversial than before, both in colleagues’ perceptions of women politicians and in media representations, because gender parity has become a norm.

The Revolutionary era was a period of radical political change in France which dissolved traditional boundaries of privilege. It was also a time of creative experimentation on the stage, the street, and in print. Performance and theatrical language were an integral part of the French Revolution. This interdisciplinary thesis makes a vital contribution to knowledge of the cultural production of the French Revolution by analysing the theatrical influences in its satirical prints. It argues that printmakers drew from different aspects of Revolutionary performance to create their prints, from street singers and fairground performers to unsanctioned Revolutionary events and topics favoured by the stage, including the representation of Revolutionary characters in hell. These depictions – observed for the first time under thematic banners – provide a new insight into the multiplicity of opinions, beliefs and attitudes during the French Revolution.

The category of young adult (YA) fiction encompasses a wide range of genres; but despite this generic diversity, it has so far failed to represent the full range of communities that make up contemporary British society. Discussions are ongoing between professionals in the publishing industry and campaigning individuals and organisations who are aiming to redress this imbalance. Writers making new work are in a position to help effect a change, but acknowledging and responding to the call for inclusion can be far from straightforward, with questions being raised such as: ‘how far can a writer stray from their own lived experience?’ and ‘how can a writer avoid tokenism or cultural appropriation when writing for inclusion?’ This thesis consists of a new YA contemporary novel, Sea Change, and an accompanying critical essay, which reflects on the challenges I encountered while aiming to write for inclusion. Set in the Scottish Highlands, Sea Change is a contemporary YA crime novel, in which the world of the sixteen-year-old protagonist, Alex, is thrown into turmoil when he discovers a dead body next to his fishing boat. The decisions Alex makes following this discovery set in motion the plot of the story. The narrative, as it unfolds, facilitates the exploration of themes frequently associated with adolescence, such as friendship, risk-taking and the maturation into an adult identity, along with themes specifically linked to Alex’s status as a member of marginalised communities because of his sexuality and social class, such as prejudice, acute stress brought on by economic pressure, and low self-esteem. This thesis, then, reviews the opinions and recommendations being expressed by campaigners for greater diversity, and exposes the uncertainties and challenges a writer faces when aiming to write for inclusion.

Although scholarly interest in the field of emblematics has increased greatly over the last decade, there is still much to be done, particularly in the area of religious emblems. The emblem form has been considered from the perspective of individual author, geographical factors and theological background but there have been few comparative studies with respect to religious emblems. This study will compare Protestant and Catholic emblems produced during the Reformation and Counter- Reformation, drawing on specific examples from, in particular, France, but also Germany and England. Emblems played a huge role in early-modern life. They expressed contemporary thought and also became part of the physical environment, being etched into stone, or wood, or sewn into cloth as decoration. In a period of such political, civil, and religious unrest, it would, therefore, seem likely that the Catholic and Protestant emblem would be quite distinct types either expressing theologically opposed notions, or manipulating the text/image relationship in quite different ways. Understanding how these emblems functioned, therefore, necessitates close reading, indeed, reading in the way the emblems were intended to be read. This study, therefore, will address the question of differences through detailed analysis of specific examples. This study begins with an introduction which gives a brief history of emblem literature and a review of relevant secondary material. Key terms and definitions regarding emblems are also explained here. This chapter also introduces the authors of the emblems analysed in later chapters. The first part of this thesis examines the emblem form in the wider context of the Reformation. From an initial overview of some of the key issues of the Reformation in chapter one, chapters two and three move on to analyse closely a wide corpus of Catholic and Protestant emblems. In these chapters the emblem is broken down into its component parts of verse and picture. Chapter two examines the religious emblem from the perspective of motif while chapter three approaches the emblem from a thematic angle. The second part of this study adopts a different approach presenting case studies of three authors. Chapter four explores the importance of the visual element in the emblems of Protestant author Rollenhagen. Chapter five investigates the Jesuit influences which shape the emblems of Catholic Berthod. While chapters four and five offer an insight into the work of prototypical Protestant and Catholic authors chapter six demonstrates the successful fusion of both Protestant and Catholic influences in the emblems of Wither. Indeed, this study suggests that the differences between Protestant and Catholic at this time are largely exaggerated with respect to emblems. Protestant and Catholic emblems are not, this study maintains, in essence all that different. It argues that, in fact, Protestant and Catholic emblems were often very close in terms of content and that the real difference is in the way they manipulate the text/image relationship.

This thesis parts from the premise that avant-garde art collectives produce discourses meant to articulate the opposition to the art/life divide as one that interrelates fields such as aesthetics, politics, philosophy, and even economics. By utilizing a comparative framework, it plays on the complementarity and differences between four 1960s groups that formed very specific organizations directed at challenging society, in one way or another related to the Situationist International: The Situationist Times (France), King Mob Echo (UK), Black Mask and its transformations (US), and S.NOB (Mexico). Through the medium of magazines, they intended to reach a mass audience that in the act of reading and looking at their images and texts would be prompted to discern organizations that undermined the world-system. Thus, the Situationist Times attempted to form a (people’s) movement that in an applied creativity that rejected the metanarrative of progress would be able to realize the malleability of history. King Mob followed a conspiratorial logic with the idea of a dis-organized mass suddenly acting in concert against states. Black Mask and its transformations played with the idea of a war for territory, the occupation of a ‘free zone’ by a community in the midst of a dominated world. Finally, S.NOB’s idiosyncratic anarchism came from an opposition to the totalizing discursive practices of the Mexican Revolution, giving primacy to fragmentation and an anti-organizational bent; while it had no direct relationship to any of the above groups, it shows how their techniques and theories develop out of an engagement with Surrealism and past avant-gardes. S.NOB provides not a counterpoint but a contextual revelation of the limits of these collectives, in the Bataillean sense that opens all of them up to a ‘contamination’ with historicity and thought that treats all of them as equal in scope and importance.

Since the 1990s, studies within the inter-disciplinary fields of crime, the media and children have been wide-ranging. In spite of this however, to date, research into the media’s reporting on the missing and murdered child has been a neglected area of study. This thesis redresses this gap by providing the first significant study into the missing and murdered child and the way in which the media interrogates this phenomenon within the mediated public sphere. Reflecting on historical and contemporary debates and ideas about the public sphere, the thesis draws on current literature and considers the way in which mediated narratives about the missing and the murdered child, reinforce particular ideological and cultural assumptions about the politics of childhood, motherhood, community and privacy. The thesis considers the way in which the media’s coverage of the missing and the murdered child has contributed to the ‘emotionalization’ of the public sphere. The study examines established viewpoints about the nature of an emotionalized public sphere and the extent to which it undermines Western values associated with liberal democracy. A qualitative textual analysis of two case studies was conducted into the media’s coverage of two high-profile incidents of child murder and abduction- the Soham murder investigation in 2002 and the disappearance of Madeleine McCann, 2007. Samples for analysis were drawn from both print and broadcast media including five UK national tabloid newspapers- Daily Mail, Daily Mirror, Sun, Daily Star, Daily Express together with an episode of the BBC’S Crimewatch. Findings from this study reveal that a public sphere shaped by emotion provides a vehicle whereby subaltern counter-publics, the voice of ordinary citizens takes precedence. Moreover, I argue that the distinctiveness of this research is that it highlights the way in which a mediated public sphere informed by emotion appears to promote active citizenship and engagement with matters of public concern, of which the missing and the murdered child are but two examples. Finally, I suggest that it is through participation, and perhaps social and political engagement in response to such incidents, that contributes to the reformulation of a mediated public sphere and thereby sustains the very doctrines that underpin the role of the state and civil society.

Serving the good of the community is a professional value prized by those who work in the provincial press. It is also seen as a vital role for local newspapers by those outside the industry. A localised form of the Fourth Estate, the good of the community therefore justifies and underpins the routines and news values of those who work in regional and local news organisations. This thesis investigates the extent to which this notion serves as a functional value for the English provincial news industry; it positions it within an historical context to understand its relationship with the economic structure of the local newspaper. As such, after Foucault, it constitutes the good of the community as a discursive position which functions in different ways during different periods of development for the provincial press. The history of the provincial press is charted from its inception in the eighteenth century to the present day. This history conceptualises its development within six distinct stages; as such it seeks to demonstrate the fluidity of the notion of serving the good of the community which is presented as absolute by the industry. Interviews with current workers within the industry are used to expose the way in which the concept functions for the industry today and concomitant changes wrought by digital innovation. These demonstrate that the notion functions best at those titles which enjoy direct investment in their ability to act in a way which serves the good the community; conversely it is most under threat at those titles which are increasingly removed from their locale for reasons of profit. This thesis ends with the suggestion that preserving the ability of the provincial news industry to serve the good of the community necessitates a new approach to an assessment of its value; it suggests that alternative funding models are needed if the ability of the industry to meet this goal is to be retained.

Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).

Chapter 1 considers culture as a product of communication. The central problem is to understand how an array of influencing factors such as food supply, technology and physical and intellectual environment are represented, stored and shared as 'food culture'. It considers mechanisms by which culture might be transmitted from one location to another including the relevance of historical literature and Louis Hartz's notion of Australia as a 'cultural fragment' cast off from the Old World. Chapter 2 shows that the Australian literature represents a discourse in which information about various aspects of feeding was gathered from local and overseas sources and circulated for instruction, entertainment and use. The discourse and the means of conducting it were products of their age. Public participation was evident in the correspondence columns of weekly newspapers and in 'contributory' cookery books. The discourse drew on various themes that were prominent in other Western discourses and reflected social and moral values of the times. It evidenced beliefs that the manner of a society's feeding demonstrates the extent of its' civilisation and that refinement of food and feeding contributes to the improvement of society. It also reflected nationalist sentiment and demonstrated some attempts to develop a distinctive Australian cuisine. Chapter 3 supports these claims with detailed analysis of recipes published in a sample of journals and cookery books. Chapter 4 describes five instances which illustrate in more depth the influence of print media in culture development. The first two show deliberate use of print media to reform cookery practice. The third shows the role of print in cookery education, suggesting an alternative mechanism by which cookery in Australia retained its British character. The fourth tests the idea that the transmission of food and science cultural influences from the Old World to the New followed broadly similar paths and questions the origins of the domestic science movement. The fifth examines commercial influences exerted through print media and notes that food production, processing and distribution enterprise was to become increasingly influential as Australia (and other countries) turned to industrial feeding. The thesis concludes with some reflections on the processes of culture formation and the role of mass communications. It suggests that food culture is both an expression of conceptions of character and identity and a formative influence on them, that the engine of cultural change has been industrial progress and, finally, that the communication system which supports and enriches food culture may also tend to undermine it.