Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 253-259). Also available on the Internet.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 225-236).

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 23-24). Also available on the Internet.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 59-61).

Thesis (doctoral)--Universität, Essen, 1999. / Includes bibliographical references (p. 249-265).

Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. John Degen, Florida State University, School of Theater. Title and description from dissertation home page (viewed Sept. 29, 2003). Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 55-56).

Thesis (Ph. D.)--University of California, Los Angeles, 2002. / Vita. Includes bibliographical references (leaves 269-279).

I offer some tentative thoughts on Sto:lo relations with the forest and, in turn, suggest how those relations may inform Sto:lo views on identity and culture. While highlighting the variety and complexity of Sto:lo attitudes toward the forest, I pay particular attention to those that appear contradictory. In so doing, I suggest that such "contradictions" are instead necessary antagonisms that spring from the constantly changing pressures to which the Sto:lo have been subjected, as well as from the ways in which they have struggled to cope with such pressures. More specifically, in pointing to Sto:lo attitudes towards forest work and forest conservation, I suggest that the Sto:lo have been forced and even encouraged to make claims to their identity that do not, and need not, conform with what is considered "traditional." In this way, my discussion is structured around the relationship between a sense of Sto:lo identity and the notion of cultural continuity, while aimed at highlighting the material as well as the intellectual realities behind that relationship. In a broader context, my discussion is aimed at reinforcing the need for more flexible examinations of Native identity; those that will highlight what it means to live in a modern Native culture, and what it means to be vulnerable to power.

The Exotic World Museum is a small amateur ethnographic museum created by Harold Morgan and founded on his extensive tourist travels with his wife Barbara. It consists of over 500 pictures, photographs, labels and artifacts which cover the walls and ceiling of the back room of Alexander Lamb's Wunderkammer Antiques, where it is currently housed. Through this museum, Morgan has created an identity for himself as a world traveler and a learned man. As such, the collection stands as a narrative of Morgan's life, portraying the identity he has projected for himself. Morgan constructs this identity by establishing authenticity through the Museum and tourist experience, by using the National Geographic as a projection in which to place himself, and by creating an encounter between Self and Other. As such, the study of Exotic World has larger implications in the context of the history of museums and of collecting in general.