Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 254-273). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.

No description available.

In this study I analyze how Lower and Upper Canadians in the period 1790-1850 articulated ideas of the self in relation to concepts provided by the Enlightenment and more particularly by the notion of selflove. Canadians discussed the importance of individual self-interest in defining the self and in formulating the ties that would unite a multitude of strangers who were expected to live in peace with one another regardless of their religious, cultural and social affiliations. Scholarly discussion about the making of identities in the Canadas has, for the most part, focussed on community-defined identities even though it has always largely been accepted that the Canadas were 'liberal' and individualistic societies. The writings of known and educated Canadians show that the making of identities went well beyond community-defined attributes. To widen the understanding of the process of identity-making in Canada, I have utilized a wellknown medieval metaphor that opposes order to contingency or, as in the civic tradition, contrasts virtue and fortune-corruption. It becomes evident that those who insisted on a community-defined identity that subsumed the self in the whole had a far different understanding of contingent motifs than those who insisted on the primacy of the self in the definition of humanity. But both ways of dealing with contingency continued to influence how Canadians came to understand who they were. No consensus emerged and by 1850 the discussions of the Canadian self were rich and complex. The dissertation pays special attention to the methodological implications of utilizing binary oppositions such as the trope order vs contingency in fashioning the images of peoples and nations in ways that engage 'post-modern' notions regarding the construction of the identity of the 'Other'.

Since Confederation, Canada has struggled to define itself and to develop a sense of national identity. Given its array of cultures and languages, its geographical vastness, and its proximity to the United States, Canada's identity crisis has become a fixture in the discourse of Canadian nationalism. Recently, a private organization, The Charles R. Bronfman Foundation, funded the production of the Heritage Minutes series. These dramatized historical moments were designed to impart upon Canadians a common set of historical images and meanings upon which Canadians could construct a sense of national identity. This thesis examines the ways in which the nation has been historically defined within the context of Canada through the Heritage Minutes . By means of discourse analysis, this thesis will elaborate on the dominant and recessive thematic patterns utilized by the CRB, to demonstrate that the Heritage Minutes construct a meta-narrative of Canadian nationalism and identity through six recurring themes.

Canadian superhero comic books represent a politically significant opportunity to study popular conceptions of national politics, cultures, and identities. Canadian superheroes are 'others' in the shadow their American neighbours, but embrace this 'Not-American otherness' as a central factor defining Canadian national identity. The diversity of Canadian multiculturalism collapses into a monolithic white/male/Anglophone identity produced in the tensions created by the binary relmionship between 'self-as-other' and 'American' articulated by the texts, creating one universalised and naturalised "Canadian" identity. This thesis seeks to politicise existing surveys that ignore the political implications of the comic book texts, and to critique other problematic methodologies in the comics discourse: tendencies towards canon-building, and resistance to interdisciplinary methodologies. I forward a social/cultural/political analysis that draws equally on my multiple backgrounds and subject positions as a university-educated art historian, a popular culture critic, a Canadian, and a (feminist) reader and fan of superhero comic books. / Graduate

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1978. / "Annotated bibliography": leaves 371-428. / Microfiche. / v, 428 leaves

Thesis (M.A.)--Trinity Evangelical Divinity School, 1988. / Abstract lacking from microfiche. Includes bibliographical references (leaves 698-719).

Thesis (Ph.D.)--University of Melbourne, Dept. of English, 1998. / Typescript (photocopy). Bibliography: p.338-359.

Thesis (Ph.D.). / Written for the Dept. of History. Title from title page of PDF (viewed 2007/08/29). Includes bibliographical references.