This thesis examines the ways in which homosexual clergy transcend the hypocrisy identified by the study as inherent within the Church of England's approach to them. It explores ways in which the homosexual respondents employ strategies to negotiate cognitive dissonance caused by the Church's stigmatisation of their lifestyle. It concludes by exploring reasons, hitherto largely unidentified, that explain why homosexual clergy choose to remain within the homonegative Church, presenting the Transcendent Vocation as their overarching motivation. This term, coined by the thesis, represents a conviction of God's calling felt so strongly by the homosexual respondents that they were determined to remain within the institution regardless of its treatment of them. Since the decriminalisation of homosexual acts in 1967 and despite subsequent secular liberalisation,' the Church of England has continued to maintain its traditional homonegative teaching. Successive reports have' . expressed the Church's desire to listen to the experiences of homosexuals. Focussing on the lived experiences of twelve heterogeneous homosexual clergymen, this thesis makes an important contribution to the 'listening process' as it explores how attitudes to homosexuality· shown to have developed during the period 1967-2007 have affected them. It provides evidence that homosexual clergymen are victims of hypocrisy on the part of the Church of England, and identifies reasons why they choose to tolerate this situation." Through analysis of interview data, not only from homosexual clergy but also from ten retired heterosexual clergymen whose ministries spanned the forty-year period, the thesis examines how, as secular attitudes became progressively more liberal and legal reforms outlawed discrimination, the Church made increasing use of hypocrisy in its approach to homosexual clergy. It is shown how the Church hypocritically manages to continue to use the services of practising homosexual clergy while officially forbidding them to exist, and that remarkably such clergy accept this state of affairs because of their Transcendent Vocation.

Thesis (Ph.D.)--University of Western Sydney, Nepean, 1996. / Includes bibliography.

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1994. / Vita. Abstract. Includes bibliographical references (leaves 105-110). Also available via the Internet.

Thesis (Ph.D.)--Bowling Green State University, 2008. / Document formatted into pages; contains vi, 217 p. Includes bibliographical references.

Thesis (M.S.)--Western Washington University, 2010. / Includes bibliographical references (leaves 40-44). Also issued online.

Thesis (Ph. D.)--University of Calgary, 2001. / Includes bibliographical references (leaves 234-247).

Thesis (M.A.)--Ohio State University, 1985. / Includes bibliographical references (leaves 146-170). Available online via OhioLINK's ETD Center

Indiana University-Purdue University Indianapolis (IUPUI) / This critical literature review explores the ways in which scholars have discussed depictions of fictional women-loving women (WLW) in film and on television in the past five years. This study is guided by both sexual script theory and the intersectional perspective. Prior studies of WLW in fiction have largely focused on the areas of homonormativity, race, bisexual-erasure, WLW stereotypes, gender dynamics, WLW communities, and post-modern representation. Earlier research has focused on those areas to the exclusion of giving more attention to exploring the use of queerbaiting in modern storytelling. Future research should include analyses of more recently featured fictional WLW characters and WLW relationships in film and on television in addition to more research on queerbaiting overall.

Ina Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 87-90). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Table of Contents --- p.ii / Abstract --- p.iii / Introduction --- p.1 / The Gendered Vampires in Contemporary Culture / Vampires and Contemporary Culture --- p.1 / Woman/Lesbian as Vampire --- p.7 / "Ortner and ""the Angel in the House""" --- p.9 / "Mulvey, Postfeminist Media Critics and the Female Body" --- p.10 / Butler and the Lesbian Phallus --- p.12 / Feminism and Postfeminisms --- p.14 / Chapter Chapter One --- The Woman Vampire: The Fallen Angel --- p.18 / Woman and Nature --- p.18 / The Angel and the Woman Vampire --- p.23 / The Postmodern Dracula --- p.33 / Conclusion --- p.39 / Chapter Chapter Two --- The Girl Vampire: The Resistant Female Body --- p.40 / The Male Gaze --- p.40 / """When the Woman Looks"" at a Woman" --- p.47 / The Postmodern Female Body --- p.56 / Conclusion --- p.58 / Chapter Chapter Three --- The Lesbian Vampire: The Female Desire --- p.60 / The Lacanian Phallus --- p.60 / The Lesbian Phallus --- p.64 / The Lesbian Vampire --- p.67 / The Dark Kiss and Female Sexual Pleasures --- p.70 / Conclusion --- p.78 / Conclusion --- p.81 / Towards an Autonomous Representation of Womanhood / Bibliography --- p.87

The majority of this thesis consists of my creative work in poetry, accompanied by researched information and concepts that serve to contextualize and illuminate the poems themselves and my creative process. Key areas of scholarship that underlie my poetry include the tropes and motifs of Gothic literature from the Romantic era to the present; the progression of women’s writing, particularly writing by women identifying as lesbian; and the conflation of female writers and characters with the concept of the ‘monstrous’ and transgressive. Also informing the two research chapters are some of the basic concepts about abjection and depression developed by philosopher and theorist Julia Kristeva. The collection of my poems contains both narrative and lyric poems. The final chapter, following on from my collection of sixty-eight poems, outlines my creative progress as I developed my particular poetic aesthetic. It is heavily informed by my growing acquaintance and comfort level with my own darkness and depression reflected in Gothic tropes, lesbian fiction, and aspects of Kristevan theory. The progression of my craft as a writer led me to strive for an effective expressive balance between the abstractions of the French Symbolists and Surrealists and a more ‘Imagistic’ focus on accurate, concrete imagery.