Commercial strips are ubiquitous elements of the American landscape. They offer important opportunities for inquiry into the ways in which cities are adapted, preserved, and redeveloped over time. This research examines the dynamics of reinvestment along central city commercial strips in Austin, Texas. Research was aimed at understanding the relationship between reinvestment in existing commercial buildings and larger processes of redevelopment and change along commercial strips undergoing transition. Case study commercial strips were selected that had been established in the early to mid-twentieth century and that had experienced decline and subsequent reinvestment. Historic patterns of land use, transportation, and economic trends are described and related to the relatively recent growth of concentrations of local businesses and reinvestment activity along case study commercial strips. “Core samples” of preservation and adaptive reuse were examined using spatial data, building surveys, historical data, and interviews with associated actors. Additional interviews were conducted with actors who have initiated, influenced, and regulated reinvestment, including business and property owners, developers, neighborhood activists, a media correspondent, city officials, among others. This research details the private, public, and community-based actors who shape the character of reinvestment; the influx of new businesses and retention of iconic businesses; and conflicts and negotiations at the edges of commercial and residential districts and between public and private sectors. The dissertation relates observations along Austin’s commercial strips to four themes identified in the literature and their associated views of improvement: 1. commercial strips as “wicked problems” of land use and transportation; 2. commercial strips as cultural landscapes and roadside heritage; 3. commercial strips as concentrations of commercial properties with opportunities for sustainability and retrofitting of commercial properties; and 4. commercial strips as contested arenas of gentrification. This research highlights the importance of understanding the durability of existing land development patterns and of incorporating an understanding of the continued and adaptive use of buildings and urban fabric in land use planning. It presents emerging opportunities for preservation practice beyond standard practices of survey and landmarking. It illustrates the many ways in which actors have agency, or “choreograph” change individually and collectively, in responding to opportunities and challenges presented in the context of social and economic change. / text

This paper explores the way Hong Kong independent comics encapsulate the essence of the city. Independent comics are distinguished from mainstream comics by their specific mode of production. More significantly they demonstrate an emphasis on subjective personal creativity and craftsmanship, which stands out sharply in the pervasive objective culture in modern society. Adopting an anthropological approach in representing local ways of living, these comics attempt to map an identity of Hong Kong in a way that is free from confusing influences of her postcolonial history, her political subordination to China and the global capitalist forces. The artists of independent comics embrace the essence of local culture by focusing on space and cultural memory and thereby rediscovering the truth and characteristics of life in Hong Kong. As a form of popular cultural text, Hong Kong independent comics package the local identity and history into fashionable goods for cultural consumption. Together with this, the articulation of a shared past creates forces of cohesion that binds the community together and offers a way for the people to negotiate their identity. / published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

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D. Tech. Language Practice / The graphic novel has become the means through which a generation of contemporary writers has chosen to communicate the myths of our time to the world, yet unlike their counterparts in classic mythology, they have not yet enjoyed the same depths of investigation. As a medium with the ability to conjure up powerful, emotive reactions, the graphic novel is now in need of a means of substantiating the responses and reactions to the medium. This study has set out to prove that through the utilisation of a three-pronged analytic model that incorporates analytical approaches from the schools of Myth- and Archetypal Criticism, visual analysis, and particularly Linguistic Criticism an authoritative literary critique can be produced on a graphic novel that would reveal and comment on the three primary constituents of the medium, namely: language; story; and graphic illustration. In addition, this study has aimed to provide contextualisation for the nature and development of the graphic novel against the backdrop of postmodernism for the purposes of explaining the sociological, cultural and temporal influences that prompted and promoted the development of the comic book into what we now know as the graphic novel. A secondary aim of this study has been to provide further legitimacy to the concept of contemporary mythology through the exploration of this controversial concept and, by virtue thereof, set the scene for the incorporation of Myth-criticism into a multi-pronged analytic model.

LaRossa, Jaret, Gadgil, and Wynn (2000, 2001) conducted a content analysis of 495 comic strips published on Father’s Day and Mother’s Day in the United States from 1945 to 1999 in order to determine whether the culture of fatherhood and gender disparities in the media had changed over the past half-century. Drawing on their research, I conducted a similar kind of analysis of 246 comic strips published on Father’s Day and Mother’s Day in Japan from 1950 to 2004. By comparing and contrasting the results in the two studies, I show how comic portrayals of families have changed in Japan and in the United States, and demonstrate the value of analyzing comic strips in cross-national research.

Joe Sacco and Chester Brown are two artists who emerged out of a vibrant tradition of autobiographical comics in the eighties and nineties. This paper argues that Sacco's Palestine and Brown's Louis Riel announce a new way of writing the self rejuvenating the autobiographical genre in comic books which has been lamented for having become overused and excessively solipsistic. Sacco's flamboyant expressionism opposes Brown's aesthetic of silence. Brown's silence is configured so that it is not an absence of speech, but a suppression of it in which attention is continually being drawn to the unspoken. A close analysis of Sacco and Brown's comics reveals the different ways in which their complementary aesthetics construct different subject positions for the reader. Sacco simulates a sense of being there and uses his subjectivity as a vehicle for drawing a reader in, while Brown's Louis Riel collapses these distinctions between absence and presence such that there is no point of entry into the work with which a reader can sustain illusory bonds of identification.

In this creative project, I propose that comics can be used fruitfully to introduce undergraduates to the image-word dynamic, helping them become betters critics, more thoughtful consumers, and more effective creators of images. In addition, I argue that such a course of study be housed in an undergraduate rhetoric and composition major. Therefore, this project accomplishes three goals: it explores the rhetorical function of comics; second, it justifies the inclusion of comics in an undergraduate rhetoric-composition program; and, third, it provides a master syllabus for four classes that would provide the experience necessary to students wishing to study visual, verbal, and visual-verbal rhetorics. / Department of English

Thesis (M.A.)--York University, 2006. Graduate Programme in Interdisciplinary Studies. / Typescript. Includes bibliographical references (leaves 159-167). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=4&did=1240690011&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1194986884&clientId=5220

Thesis (Ph. D.)--University of Adelaide, 1990. / Typescript. Includes bibliographical references (in v. 3).