Steven Patrick Morrissey was the lead singer of the 1980s British band The Smiths. Since the band's demise in 1987, Morrissey has had a successful career as a solo performer. Morrissey is a rich case study for the analysis of mediated celebrities. This dissertation examines the ways in which Morrissey's public persona has shifted throughout his career. These changes have to do with the nature of popular cultural mediation, the status of celebrity, and Morrissey's engagement with issues of gender and desire. / Morrissey's celebrity persona, or star image, takes shape within the ongoing production of what Roland Barthes refers to as enigma, and its incompleteness is thus one of its consistent features. This star image is constructed from---and within---"streams" of information which are produced and circulate over time. The unending character of this "stream" is such that Morrissey's star image is perpetually produced and continues to evolve. The sense of the celebrity's image as incomplete leads, in turn, to an ongoing impulse, on the part of fans and observers, to find resolution. Throughout his career, Morrissey has maintained mystery around key aspects of his identity, in particular his sexuality, his feelings about England, and his relationship to pop stardom. This dissertation explores the various elements which contribute to Morrissey's enigmatic star image: critical press; music videos; live performance; musical syntax; and interviews. This dissertation explores the interaction of these various elements, and how they have given rise to ongoing speculation within fan and critical discourse, and it explores the particular kinds of mystery and gender roles which arise to accompany these sorts of enigmas. / As a celebrity, Morrissey is subject to the gaze of an audience in a way that has historically been construed as objectifying, and theorized within important works as feminizing. Morrissey's principle response to this objectification has been the maintenance of a constant sense of enigma. While other performers might seek clarification of their images as a means of controlling them, Morrissey's response to ongoing objectification is the ongoing production of enigma. His active control of his image is manifest through his constant transformation of that image.

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Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains vii, 234 p. Includes bibliographical references.

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This thesis seeks to argue for the problematising role of tradition and generational influence in the work of three Northern Irish poets publishing since the late 1990s. The subjects, Colette Bryce (b. 1970), Leontia Flynn (b. 1974) and Sinéad Morrissey (b. 1972), emerged coterminously, each publishing with major UK publishers. Together they represent a generation of assured female poetic voices. This study presents one of the first critical considerations of the work of these poets, and it remains conscious of the dominance of conceptions of tradition and lineage which are notable in poetry from Northern Ireland from the twentieth-century onwards. In suggesting that this tradition is problematised for emerging women poets by precursor-peer dominance and the primacy of male perspectives in the tradition, this thesis combines a study of poetics, themes relating to gender, detachment and paratexts. From consideration of these elements, it proposes that contemporary poets are not necessarily subject to the powers of tradition and influence, but rather, are capable of a selective approach that in turn demonstrates the malleability of contemporary traditions. The approaches are laid out in four chapters which move from a consideration of “threshold” paratexts (following from the work of Gérard Genette), including book reviews and dedications, through studies of thematic divergence and detachment, the changing status of women’s poetry traditions within Northern Ireland and beyond, the significance of gendered subjects in poetry, and influence found not in thematic or paratextual aspects, but in the individual aspects of poetic form. These aspects combine to form poems and the tradition(s) in which they continue. The thesis provides extensive coverage of the work of Bryce, Flynn, and Morrissey, combining close readings with the application of theoretical frameworks interrogating the implications of literary traditions on later writers (especially when the writers are temporally and culturally close), giving particular consideration to gender and feminist politics. It explores a variety of different critical truisms applied to the poetic generations that precede the younger poets and identifies both compliance and divergences from the contemporary Northern Irish canon. In doing so, this study simultaneously illuminates the frailties of the popular, overwhelmingly male, tradition, particularly as regards to representations of women, and provides direction for studies of post-millennial Northern Irish poetry.

<p> The Morrissey Formation of the Kootenay Group was mapped and sampled in three outcrops in southwestern Alberta and southeastern British Columbia; Burnt Ridge and Sparwood Ridge in British Columbia and Adanac Mine sight in Alberta. </p> <p> The lowest unit mapped was within the upper Fernie Formation (Passage beds) and consists of interbeds of sandstone and siltstone that were deposited as shallow water marine sediments. </p> <p> The Morrissey Formation conformably overlies the Fernie Formation and contains two members; the Weary Ridge Member and the Moose Mountain Member. The Weary Ridge Member consists of fine to medium grain, parallel and trough crossbedded sandstone, that was deposited as a delta-front-sand facies produced by coalescing of delta-sands from three to four delta complexes. The overlying Moose Mountain Member consists of high angle trough crossbedded, coarse grain, "salt and pepper" sandstone representing a distributary mouth bar environment. The Moose Mountain Member is unconventional in that the upper portion contains two units not seen in other sections. A marine trace fossil unit and a beach unit are both found within the upper portion of the member. These two units represent a transgression caused by channel switching and a regression and reworking of sediments into a beach respectively. </p> <p> Above the Morrissey Formation are the continental coals and fluvial systems of the Mist Mountain Formation. </p> <p> Petrographic studies on twenty five thin sections show two sedimentary sources for the Formation. The first source being chert rich Upper Paleozoic carbonates and the second source is Lower Paleozoic clastics that have previously been derived from a metamorphic complex of the Canadian Shield. The sandstones are cemented by quartz syntaxial overgrowths implying that there was a moderate degree of pressure solution, indicating a fairly high overburden pressure during diagenesis. </p> / Thesis / Bachelor of Science (BSc)