Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin. / Photocopy of original typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (x leaves ).

Thesis (M.A.)--University of Wisconsin--Madison, 1961. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 74-75).

Thesis (M.A.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf [155]).

Thesis (M.S.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [116]-118).

Thesis (Ph. D.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains ix, 284 p. : maps. Includes abstract. Includes bibliographical references (p. 261-284).

Since the earliest days of broadcast television in the 1950s, network television has maintained a keen fascination with Asian/American women, who implicitly helped secure the boundaries of white women’s “empire of the home.” This dissertation inquires into when and how Asian/American women have been represented on U.S. network television. Bringing together questions and analyses of beauty, race, and gender to better understand how Asian/American femininity has been negotiated within the conventions of network television, I argue that the figure I call the Asian/American femme—suspended between feminine subject and feminized object—appeared on network television to mediate and obscure moments of U.S. national and imperial crisis. In addition to analyses of specific programs and network television texts, this dissertation examines the racialized and gendered mistreatment that Asian/American performers have experienced working within the television industry. By combining textual analysis with analysis of industrial practices and performers’ star-texts, I work to understand how network television has imagined Asian/American women’s gender and sexual debts to the nation, as well as how key Asian/American performers, through their own feminine labor, enact the “resolution” of Asian/American women’s tenuous status in the nation. Far from advancing in a linear progression from stereotypical to more sensitive and complex representations, the Asian/American femme on U.S. network television, I argue, instead demonstrates how television, as a social and racial technology, accommodates shifting racial, gender, and sexual discourses in U.S. dominant culture. / 10000-01-01

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This paper examines U.S. political and social discourse on the 2014 Gaza-Israel conflict and attempts to better understand U.S. foreign policy in the Middle East, specifically on Israel. By examining official U.S. government documents, media articles, and pop culture platforms, this project identifies dominant narratives within the United States on Israel and the Palestinian territories. The complicated notions of identity that were discursively expressed within the United States on the 2014 Gaza-Israel conflict are deconstructed and discussed to further the academic discussion on U.S. relations in the Middle East. / Master of Arts / This paper examines U.S. political and social discourse on the 2014 Gaza-Israel conflict and attempts to better understand U.S. foreign policy in the Middle East, specifically on Israel. By examining official U.S. government documents, media articles, and pop culture platforms, this project identifies dominant narratives within the United States on Israel and the Palestinian territories. The complicated notions of identity that were discursively expressed within the United States on the 2014 Gaza-Israel conflict are deconstructed and discussed to further the academic discussion on U.S. relations in the Middle East.

Over the past two decades, the term postmodern has crept into presidential studies. Despite this, the notion of applying the term to the presidency may obscure more than it reveals. Throughout this period, various political scientists such as Rose, Barilleaux, Schier, Bruce Miroff, and others, as well as communications scholars like Shawn Parry-Giles and Trevor Parry-Giles have merged the term postmodern with the study of the presidency; yet there continues to be no agreement on what exactly the postmodern presidency is or represents. For some, the postmodern presidency signifies a distinct era, fundamentally different from those of the past. For others, the postmodern characteristics and leadership style necessary to govern in a changing political and social landscape define the contemporary presidency. Thus, despite being used for nearly two decades, the term postmodern continues to be mired in ambiguity. With the many differing views that make up the literature of the postmodern presidency, numerous questions arise. Is the onset of the postmodern presidency a result of a fundamental shift in the presidency, occurring regardless of who occupies the Oval Office, or is it better characterized as a shift in the individual traits of presidents necessary to govern during a newly emerging era? Does the core of the postmodern presidency center on foreign policy as a reflection of the end of the Cold War, or can it be better attributed to the rise of public politics, the decline of political parties, and the onslaught of media coverage that surround the contemporary presidency? The following chapters attempt to analyze the concept of the postmodern presidency, comparing the many definitions and timeframes that surround the term as a means of critically examining the existing work on the postmodern presidency. / Master of Arts