Thesis (Ph. D.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 213-248).

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 165-179).

Thesis (M.A.)--University of London. / Bibliography: p. 150-153.

Thesis (Ph.D.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 213-248) Also available in print.

nÃo hà / A prÃtica drag queen diz respeito a um processo de adequaÃÃo que desloca a aparÃncia corriqueira de uma pessoa para uma outra que pode transitar entre gÃneros (masculino, feminino, polimorfo, diversos) e espÃcies (humano e animal, como à o caso de drags que se apresentam como animais e atà alienÃgenas). O presente trabalho tem por objetivo observar e participar dessa prÃtica na cidade de Fortaleza â CE com intuito de absorver seus processos de criaÃÃo, adaptaÃÃo, montagem e desmontagem. Entender as mutaÃÃes as quais essa prÃtica està sujeita, as influÃncias externas e a capacidade de adaptaÃÃo das drag queens estudadas. Usar lentes analÃticas que possibilitem enxergar as prÃticas atravÃs de uma epistemologia da performance que leve em consideraÃÃo a decolonizaÃÃo do pensamento e a apreensÃo crÃtica da tradiÃÃo cientÃfica europeia. O estudo se configura por meio de uma experiÃncia etnogrÃfica embasada no exercÃcio da descriÃÃo densa e de entrevistas pontuais. Os registros foram feitos mediante diÃrio de campo, fotografias, vÃdeos e gravador de voz. Concluiu-se que a prÃtica drag queen na cidade de Fortaleza â CE passou e passa por mudanÃas constantes no que diz respeito à tradiÃÃo e ao surgimento de novas formas de fazer drag. Formas essas impactadas pelo reality show americano RuPaulâs Drag Race e sua tendÃncia de transformaÃÃo da drag queen em um produto passÃvel de ser comercializado mundialmente atravÃs da TV. Observou-se ainda que, ademais da forte influÃncia trazida por esse reality show, o contexto local tem se mostrado resistente Ãs tentativas de suplantaÃÃo da tradiÃÃo, tendo como elementos de resistÃncia o bate- cabelo e o dialeto yorubà que se contrapÃem à forÃa histÃrica de opressÃo conhecida como colonizaÃÃo.

The Queen Charlotte transform fault zone, which lies immediately east of the Queen Charlotte Islands, marks the boundary between the oceanic Pacific and the continental North American plates. Relative plate motions suggest that oblique underthrusting of the Pacific plate beneath North America may be presently occurring along this transform fault. To investigate this plate boundary and the implications of oblique subduction on crustal structure beneath the region, an onshore-offshore seismic refraction survey was conducted in 1983. The survey was designed to sample the crust beneath the Queen Charlotte Islands and across Hecate Strait to the mainland of British Columbia. Six ocean bottom seismographs and 11 land based stations were deployed along a 200 km line extending from 20 km west of the Queen Charlotte Islands to the mainland. Thirteen 540 kg and twenty 60 kg explosive charges were detonated along a 110 km long east-west line in the ocean to the west of the receivers. The multiple shots recorded on multiple receivers, all along the same line, effectively reverses the profile over some of its length. The objective of this study is to provide a model of the deep crustal structure beneath the fault zone, the Queen Charlotte Islands, and Hecate Strait. An exemplary subset of the extensive data set was selected to meet this objective. Beneath the deep ocean the Moho dips at about 2° to the east. At the Queen Charlotte terrace, a 25 km wide zone immediately west of the active Queen Charlotte fault, the dip of the Moho increases to about 5°. The crust is about 12 km thick at the terrace and 18 km thick at the eastern edge of the Queen Charlotte Islands, and in excess of 30 km thick at the mainland. The terrace unit itself is divided into two units - an upper unit with low velocity (4.1 km/s) and high gradient (0.3 km/s/km) and a lower unit with a high velocity (6.5 km/s) and a low gradient (0.05 km/s/km). This model, while not definitive, supports the interpretation of oblique shallow underthrusting of the Pacific plate beneath the Queen Charlotte Islands. The upper terrace unit could represent a sedimentary accretionary wedge and the lower terrace unit - the subducting slab. A model in which compression across the Queen Charlotte transform fault zone is taken up by deformation of the Queen Charlotte Islands in the form of crustal shortening and thickening is not compatible with the thin crust beneath the islands and Hecate Strait. / Science, Faculty of / Earth, Ocean and Atmospheric Sciences, Department of / Graduate

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In this paper, I analyze the life and collection of Christina, Queen of Sweden (1626-1689), as a complex and shifting performance of gender, authority, and other aspects of identity. I argue that Christina’s education and life experiences actively informed her collecting preferences for certain types of mythological figures, which became an effective tool of her self-fashioning as a ruler who broke away from what she viewed as the confines and expectations of her gender. I will demonstrate how her strategies as an astute patron and collector of the arts were central to her subversive presentation as an almost androgynous self-exiled ruler in Rome, who could emulate both male and female virtues equally in order to transfer her former political power to new social and cultural capital. Christina’s collection, newly assembled in the Palazzo Riario in Rome, served this purpose by creating a controlled environment that enforced particular relationships between collector and spectator, spectator and collected objects, as well as among the objects themselves. This thesis weds the various theories of Queen Christina and her collection into a comprehensive theory of her larger project of self-fashioning, arguing that her collecting practices regarding both ancient and contemporary works followed a cohesive philosophy in her politics of collection and display, even while largely challenging the decorum of female patronage. Christina’s self-promoted identity as Minerva of the North forces the viewer to contemplate the items in the collection both on their own and in conversation with one another as part of a larger display. In the nudes of the Stanza dei Quadri on her second floor, as well as the antiquities featured on the ground floor, Christina used the relationship between images and sculptures to create an allegorical pantheon focused on her own self-control and authority. In understanding objects’ interactivity, it is possible to interpret Christina’s renovations to the Palazzo Riario and the display of her collection as a modern day Parnassus or Arcadia, which she used to establish her Roman home as a primary location of scholarship and creation. The contents and display of her collection extended her desired persona as a leader of wisdom and user of knowledge not easily bound by the constraints of either gender. The metaphorical space of Arcadia that she created strengthened her alignment with Minerva, the goddess of wisdom and warfare, and implicitly also with Apollo, who presided over Parnassus. In the case of Queen Christina, we have found that in addition to the personal prestige associated with obtaining valued items, the display of these items in a kind of curated space added value and meaning to the viewing experience. / Art History