According to current U.S. labor statistics, Black male executives are underrepresented in every major industry in the United States. Common impediments preventing Black males from occupying executive positions include workplace white supremacy, biculturalism, repressive structures, and disparate career development. Using critical race theory as a framework, this basic qualitative study investigated the experiences of eight male executives, five Black and three white, from various industries to understand their perceptions and perspectives on race and racism, and examined their workplace lived experiences to study why there are not more Black males in the e-suite. Moreover, strategies to increase Black male representation in executive leadership positions were explored. The results of this study indicated white supremacy and norms are ubiquitous and dominant in the workplace. Consequently, this prevailing workplace ideology determines an organization’s culture, policies and practices, and, altogether, trigger traumas for Black males. Black male participants associated many of their workplace experiences with traumas in the forms of white favoritism, marginalization, stereotyping, microinvalidation, and compulsive assimilation. As a coping mechanism, they found support and organizational belonging through social networking in peer relationships and affinity groups, but their white counterparts almost exclusively used networking for career advancement.5 An emergent strategy from this study to increase Black male representation in the e-suite was the notion of a designed relationship model between aspiring Black male executives and equity-minded white male executives. However, because scholarship concerning career barriers impeding Black males from executive leadership positions is limited, future research is required to better understand the relationship between their workplace traumas and their underrepresentation.

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Orifice of Return is a collection of poetry that posits Black femme bodies as living and breathing archives, corporeal manifestations of intuitive and intellectual claims at survival. The poems in this collection illustrate the multifaceted nature of my craft, through which the personal, the collective, and the political are commingled, but wrestling forces. As Audre Lorde declares, there are many kinds of open, the poems of this collection are orifices, textual portals, spatial and temporal fissures, and entryways into Black past, present, and future. These poems use received forms (the ghazal, the ode, the cento, the obverse, litany, etc.) and employ stylistic devices like (direct address, song lyrics, colloquial speech and slang, etc.) These poems interrogate histories and imagine speculative futures for Black folks. They exist in lineage— familial, imagined, literary ancestral, and with the theoretical underpinnings of Black feminist hauntology and Toni Morrison's "rememory." Some of these poems are lyrically driven, while others are performance and rhythmically driven— all facing inwards and outwards, aware of the world they exist in. / Master of Fine Arts / ORIFICE OF RETURN is a poetry collection.

An exposition of South African English radio drama tracing the historical, cultural and political issues which led to the demise of the art form in 1999, and its resurrection at ICASA’s insistence in 2006. The research demonstrates the ideological influences of both British Imperialism and Afrikaner Nationalism on the development of South African radio drama, drawing parallels between the development of Afrikaans radio drama, Zulu radio drama and English radio drama. The study also deconstructs the role played by English language radio drama in underpinning the ideologies of whiteness, and illustrates attempts made towards transformation from 1985. The recent development of an essentially South African form of radio drama is described, and the effects of new ideological constraints imposed by the SABC are discussed. The study also provides a critical lens through which the SABC’s failure to observe its public service mandate is made evident. / Afrikaans & Literature / M. A. (Afrikaans & Theory of Literature)

This thesis offers theoretical and practical explorations of how multimedia arts-based methods and embodied storytelling support critical and transformative understandings of law. Using theatre as both subject and method, the author demonstrates how laws live in bodies, with a focus on race, whiteness, migration and the Komagata Maru. Drawing on various theatre practices as well as critical race, feminist and performance scholarship, the author calls for a new way of interacting with law: jurisprudential theatre. Jurisprudential theatre is a method that employs autobiography, utopian visioning, legal research and audience involvement to create plays that examine existing law while filling affective spaces that existing law neglects. This method builds an alternate archive that supplements existing laws but can also be used to study them. The author explains the method through a performance art piece titled Re-embodying. She then uses jurisprudential theatre to examine the legal history of the Komagata Maru through case law and two play texts, all of which lay the groundwork for the method’s application in the first draft of a play titled Eustitia. “Rather than laying my life and research out in a chronological, linear fashion with smooth transitions, this thesis blends scholarly, autobiographical, episodic and creative writing – sometimes abrupt, sometimes guided. This framework takes you on a journey to the Komagata Maru through my experiences and understandings of race, whiteness, law and trauma. This thesis asks you to bear witness while offering you life stories, performance art, the draft of a play, images and academic prose. I invite you to join me in a creative and performative process that will move you beyond the confines of the page to online worlds and internal realms. Why? To study and experience (as best we can in a text-based relationship) the internal and embodied consequences of law alongside its external, material and relational impacts.” / Graduate / 0465 / 0398 / 0631 / dhaliwal.preeti@gmail.com

For at least the past two decades, international Anglicanism has been gripped by a crisis of identity: what is to be the dynamic between autonomy and interdependence? Where is authority to be located? How might the local relate to the international? How are the variously diverse national churches to be held together 'in communion'? These questions have prompted an explosion of interest in Anglican ecclesiology within both the church and academy, with particular emphasis exploring the nature of episcopacy, synodical government, liturgy and belief, and common principles of canon law. However, one aspect of Anglican ecclesiology which has received little attention is the place of provincial polity and metropolitical authority across the Communion. Yet, this is a critical area of concern for Anglican ecclesiology as it directly addresses questions of authority, interdependence and catholicity. However, since at least the twentieth century, provincial polity has largely been eclipsed by, and confused with, the emergence of a dominant 'national church' polity. This confusion has become so prevalent that the word 'province' itself is used interchangeably and imprecisely to mean both an ecclesial province in its strict sense and one of the 39 'member- churches' which formally constitute the Anglican Communion, with a handful of 'extra-provincial' exceptions. The purpose of this research project is to untangle this confusion and to give a thorough account of the development of provincial polity and metropolitical authority within the Communion, tracing the historical origins of the contemporary status quo. The scope of this task is not in any way intended to be a comprehensive history of the emergence of international Anglicanism, but rather to narrowly chart the development of this particular unit of ecclesial polity, the province, through this broader narrative. The historical work of Part One in itself represents an important new contribution to Anglican Studies; however, the project aims to go further in Parts Two and Three to identify from this context key questions concerning the problems facing contemporary Anglican polity as the basis for further theological and ecclesiological reflection. Part Two examines how provincial polity has given way to an assumption of the 'national church' as the building block of the Communion. To what extent is it consonant with Anglican tradition? How is it problematic? What tensions exist with a more traditional understanding of the province? How might all this relate to wider political understandings and critiques of the 'nation- state' in an increasingly globalised world? Along with the emergence of a 'national church' ecclesiology, so too has the role of the 'Primates' been magnified. Part Three charts this development, culminating in a critique of the recent 2016 Primates' Meeting. What is the nature of primacy within Anglicanism and how does it relate to metropolitical authority? What is the right balance of honour and authority as it relates to primacy? How do Anglican understandings of primacy correspond to those of the Roman and Orthodox Communions? Finally, Part Four attempts to give some concrete focus to the preceding discussion through the illustrative example of the Anglican Church of Australia, which is frequently cited as being analogous to the Communion in having a loose federal system and resolutely autonomous dioceses. The prevalence of this 'diocesanism' has recently been criticised by the Royal Commission into Institutional Responses to Child Sexual Abuse. However, there has been a recent revival of provincial action within the Province of Victoria in response to these issues which will be evaluated to discern what the Australian example might offer toward a theologically robust and credible ecclesiology for Anglicanism into the twenty-first century.

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