Thesis (M.A.)--Ohio State University, 1926. / Includes bibliographical references (leaves 48-49). Available online via OhioLINK's ETD Center.

Thesis (M.A.) - Carleton University, 2009. / Includes bibliographical references (p.109-117). Also available in electronic format on the Internet.

Adaptation from literature to film has always been a much criticized enterprise, with fidelity criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion. However, this type of thinking is somewhat limited, becoming circular and going nowhere productive. Instead, taking into account what has come before, this thesis attempts to settle on a method of examination that moves away from fidelity criticism and towards an approach that aligns itself with cultural studies. Adaptations, then, can be seen as products of the historical, cultural, political and general socio-economic framework out of which they emerge, owing perhaps more to their context of production than to their source material. In order to provide a case study that reflects this idea, this paper looks to an author who has been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct. Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride & Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and economic viability, and also the malleability of her text, which allows filmmakers to use it in a number of different contexts, while still embodying the source material.

According to most developmental psychologists 'non-basic' emotions such as jealousy, pride, empathic concern and guilt do not emerge before the second year of life, despite limited evidence for this proposition. Critical examination of the major theories of emotional development reveals (i) that this belief stems from the assumption that young infants are incapable of interpersonal awareness, and (ii) that this incapacity is invariably explained in terms of lack of representational skills. Three studies are presented investigating the possibility that, in fact, young infants are capable of these emotions. The first is a study of 37 adults' perceptions of an expression resembling adult expressions of shyness and embarrassment which is displayed in infants as young as two or three months during positive interactions (Reddy, 2000). The second is an experimental study of jealousy of the mother's loving attention in 24 five-months old infants. The third is a longitudinal study of 6 infants through their first year of life employing a bottom-up methodology to explore a wide range of 'non-basic' emotions, their developmental course, and the determinants of this course. On the whole, results from these studies suggest that: (i) infants are indeed capable of a large number and possibly all 'non-basic' emotion, (ii) the age of first emergence and the frequency of later occurrence of these emotions can vary widely across infants, and (iii) their development is context-related rather than age-related. These results are explained by calling upon relational approaches that do not set a cut-off age for the emergence of early interpersonal awareness.

Adaptation from literature to film has always been a much criticized enterprise, with fidelity criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion. However, this type of thinking is somewhat limited, becoming circular and going nowhere productive. Instead, taking into account what has come before, this thesis attempts to settle on a method of examination that moves away from fidelity criticism and towards an approach that aligns itself with cultural studies. Adaptations, then, can be seen as products of the historical, cultural, political and general socio-economic framework out of which they emerge, owing perhaps more to their context of production than to their source material. In order to provide a case study that reflects this idea, this paper looks to an author who has been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct. Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride & Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and economic viability, and also the malleability of her text, which allows filmmakers to use it in a number of different contexts, while still embodying the source material.

This thesis is focused on the commercialization of the Atlanta Pride Festival during the years 1992-1997. Through personal interviews, I have concluded that the Atlanta Pride Festival produced complicated experiences for participants who had mixed feelings about the commercialization.

Adaptation from literature to film has always been a much criticized enterprise, with fidelity criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion. However, this type of thinking is somewhat limited, becoming circular and going nowhere productive. Instead, taking into account what has come before, this thesis attempts to settle on a method of examination that moves away from fidelity criticism and towards an approach that aligns itself with cultural studies. Adaptations, then, can be seen as products of the historical, cultural, political and general socio-economic framework out of which they emerge, owing perhaps more to their context of production than to their source material. In order to provide a case study that reflects this idea, this paper looks to an author who has been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct. Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride & Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and economic viability, and also the malleability of her text, which allows filmmakers to use it in a number of different contexts, while still embodying the source material. / Arts, Faculty of / Theatre and Film, Department of / Graduate

The aim of this study is to get a picture of how communities in the Swedish church, more precisely in Växjö diocese, work with LGBTQ questions. Furthermore, this study pays attention to the different factors that might have affected this work over the years, and I will also investigate if the work with LGBTQ questions differ between the communities I have picked for this study. To conduct this study, a qualitative method is used in form of semi-structured interviews. This study uses Goffman’s theory of stigma, as well as Foucault’s theory of power, as a theoretical framework to analyse the collected data. The result shows that although there are no specific guidelines in how the communities are supposed to work with the LGBTQ questions, work is underway in the diocese of Växjö. For instance, in connection to the annual Pride-festival, the communities try to engage themselves by showing that there is an acceptance towards LGBTQ-persons within the Swedish church. The result also shows that there are some specific factors that affect the work related to LGBTQ questions, such as the fact that gay marriages are legal by law in Sweden.

Den här uppsatsen undersöker fenomenet Pinkwashing med utgångspunkt i Stockholm Pride 2018. I den här uppsatsen används begreppet Pinkwashing för att förklara en marknadsstrategi som innebär att man använder ”queervänlighet” för att verka mer framåtsträvande men ofta med syfte att nå större ekonomiskt resultat. Studien tar stöd i teorierna Pinkwashing, CSR och CMR samt aktivism (queeraktivism). För att svara på frågerställningarna utfördes samtalsintervjuer för att undersöka hur ett urval personer förhåller sig till begreppet. Hälften av Intervjurespondenterna definierade sig som HBTQ-personer och hälften gjorde inte det. Personerna som intervjuades ansåg att exponeringen under pride är på både gott och ont men ansåg att det är viktigt att företag tar socialt ansvar och inte bara en vecka om året.

My experimental film essay, Whether Patterns explores how the language of weather is used to describe political actions, and, in so doing, naturalize them. I show how the Pride Parade has become a well-established and regular seasonal occurrence, in contrast to its disruptive origin in the Stonewall Riots. When we talk about a political “climate,” as we often do, we imply that the political situation is out of our control, that it is something we must endure or wait out or “weather.” In my film, I juxtapose the sonic and visual effects of weather with footage I have taken at Pride parades throughout the country, and with found footage that documents the history of the gay rights movement. In so doing, I complicate the image of the parade space, and show how it has become untethered from its original radical context.