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Dalal-Clayton, Anjalie. "Coming into view : black British artists and exhibition cultures 1976-2010." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.
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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.
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Topping, John. "Coming to terms with globalization, hegemony and agency in British Columbia schools." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0002/MQ45253.pdf.
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Stern-Peltz, Marie Cecilie Hoxbro. "Coming of age : the First World War in British fiction, 1989-2014." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4130.
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This thesis breaks with conventional distinctions between British adult and young adult fiction to offer a comparative study of 'coming of age' in the historical novel since the late 1980s. 1989 marks the 75th anniversary of the outbreak of the First World War and the symbolic end of the Cold War. It inaugurates a period of reflection in Britain on the relationship between the past and the future that centres on tropes of childhood, adolescence, adulthood and personal growth. Drawing on Erik Erikson's theory of 'identity crisis', I bundle these manifold tropes together under the heading 'coming of age' in order to focus on these identities as transitional states of becoming rather than being. My thesis is split into four chapters, each focusing on a specific aspect of coming of age. In Chapter 1, I define the nineties' shift, arguing that Pat Barker's Regeneration Trilogy (1991-5) and Sebastian Faulks' Birdsong (1993) explore coming of age and the war in relation to a growing concern over the stability of adulthood and the past. In Chapter 2, I demonstrate that young adult fiction takes up the themes discussed in the previous chapter, but presents it more explicitly in terms of the transition from adolescent to adult. Michael Morpurgo's Private Peaceful (2002) and Linda Newbery's The Shell House (2003) in different ways engage with the teenage reader negotiating the present through reading about the First World War. Chapter 3 sustains this focus on young adult fiction, moving onto a discussion of coming of age in national contexts. Drawing on the work of Bryan Turner and others, I argue that Linda Newbery's Some Other War (1990), Theresa Breslin's Remembrance (2002) and Marcus Sedgwick's The Foreshadowing (2005) use the First World War to explore new ideas of citizenship in the context of gender and participation. Chapter 4 looks at adult novels which reflect on the First World War in relation to contemporary protagonists. Drawing on Svetlana Boym's theory of nostalgia, I argue that Pat Barker's Another World (1998) and Alan Hollinghurst's The Stranger's Child (2011) question whether it is desirable to reconstruct past models of masculinity and family. This thesis offers a new framework for thinking about the place of the First World War in contemporary British culture, in relation to shifting cultural constructions of adulthood, adolescence and British identity in the nineties and beyond.
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Topping, John F. "Coming to terms with globalization: Hegemony and agency in British Columbia schools." Thesis, University of Ottawa (Canada), 1999. http://hdl.handle.net/10393/8459.
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Numerous authors in the fields of International Relations (IR) and International Political Economy (IPE) have pointed out the limits of contemporary theories in explaining the complexities of the globalization phenomenon. Greater attention to the construction of identity and to agency, it is proposed here, could well provide a more complete set of knowledge with which to better assess globalization. This thesis considers the place of Robert Cox's theory in understanding identity and agency in globalization. It examines the high school curriculum of Career and Personal Planning (CAPP), a course introduced in British Columbia, Canada, in September 1995. Through its messages to students, teachers and administrators, CAPP carries claims and assumptions about how individuals and communities in the contemporary world order construct who they are, as well as how they come to take action in matters that affect them.
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Teixeira, Christopher. "THE CRIME OF COMING HOME: BRITISH CONVICTS RETURNING FROM TRANSPORTATION IN LONDON, 1720-1780." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2226.
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This thesis examines convicts who were tried for the crime of  returning from transportation at London s Old Bailey courthouse between 1720 and 1780. While there is plenty of historical scholarship on the tens of thousands of people who endured penal transportation to the American colonies, relatively little attention has been paid to convicts who migrated illegally back to Britain or those who avoided banishment altogether. By examining these convicts, we can gain a better understanding of how transportation worked, how convicts managed to return to Britain, and most importantly, what happened to them there. This thesis argues that convicts resisted transportation by either avoiding it or returning from banishment after obtaining their freedom. However, regardless of how they arrived back in Britain, many failed to reintegrate successfully back into British society, which led to their apprehension and trial. I claim that most convicts avoided the death penalty upon returning and that this encouraged more convicts to resist transportation and return home. The thesis examines the court cases of 132 convicts charged with returning from transportation at the Old Bailey and examines this migration home through the eyes of those who experienced it. First, the thesis focuses on convicts in Britain and demonstrates how negative perceptions of transportation encouraged them to resist banishment. The thesis then highlights how convicts obtained their freedom in the colonies, which gave them the opportunity to return illegally. Finally, the thesis shows that returned felons tried to reintegrate into society by relocating to new cities, leading quiet honest lives, or by returning to a life of crime.M.A.
Department of History
Arts and Humanities
History MA
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Severn, Stephen Edwin. "Only connect the coming together of social classes in late-nineteenth and early-twentieth century British fiction /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/223.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Schweitzer, Bethany S. "Coming to America sixth form students' reasons for considering undergraduate study in the United States /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1242409170.
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Gibson, Melanie Elizabeth. "Remembered reading : memory, comics and post-war constructions of British girlhood." Thesis, University of Sunderland, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391217.
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Tsai, Yi-Shan. "Young British readers' engagement with manga." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/252712.
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This thesis presents young British readers? engagement with manga regarding literary, aesthetic, social, and cultural dimensions. The study explores young readers? points of views of their reading preference ? manga. I investigated how children interpreted manga, with respect to the artistic techniques, the embedded ideologies, and the cultural elements therein. I also looked into children?s participation in manga fandom and its social meanings. This allowed me to explore what attracted British readers to this exotic text. This study involved 16 participants from two schools, aged between 10 and 15, with genders represented equally. The participants were grouped by gender in each school. Each group of students received three group interviews based on three manga that they were required to read in advance. Individual interviews with each student followed the group interviews, and all the students were asked to keep reading reflections. The findings show that the attraction of participants to manga includes at least five dimensions. First, manga is a visually rich text, which not only had great power in rendering vicarious experiences to the students, but also allowed the struggling students to grasp the meanings of the text better. Second, both the verbal and the visual storytelling were characterised as fragmentary, which inspired the students? imagination to join the creation of the story. Third, manga provided a temporary shelter where the participants could forget a stressful and frustrating reality. In addition, they felt that they gained renewed hope, refreshed energy, and insights to face potential challenges and difficulties in their lives. Fourth, the elements of Japaneseness and otherness made manga reading a rich experience of an exotic culture. Fifth, manga afforded collective pleasures in fan communities where the students could express their passion and gained a sense of identity.
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Huxley, David. "The growth and development of British underground and alternative comics, 1966-1986." Thesis, Loughborough University, 1990. https://dspace.lboro.ac.uk/2134/7306.
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Initially the terms 'underground' and 'alternative' are defined British underground periodicals and comics displayed a distinct influence from American underground publications, both in terms of their political ideas and their visual styles. After 1973 a less politically motivated form of alternative comic developed. The comparative financial failure of the majority of these comics is discussed. It can be said that these comics reflect their ideas and meanings through their drawing styles as well as their obvious political and social content. A wide range of comics is then examined in terms of their construction and underlying narrative structure, using a series of empirical tests devised for this purpose. The aim of these tests is to see if underground or alternative comics can be distinguished from mainstream comics by their form and structure rather than just their content. The influence of alternative comics can be felt both in the growing sophistication of mainstream British comics and in the reuse of comic imagery in graphic design and advertising.
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Norris, Van. "'Drawing comic traditions' : British television animation from 1997 to 2010." Thesis, University of Portsmouth, 2012. https://researchportal.port.ac.uk/portal/en/theses/drawing-comic-traditions(f3e59083-7442-4c7a-8ae6-f323fcc08fb1).html.
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This thesis examines the shifts within mainstream British television animation between 1997 and 2010 and it discusses how British animation’s close relationship with live-action television comedy reveals a map of contemporary attitudes and tastes. The British animated texts in this period reacted to their shifting industrial and broadcasting landscape. The historical moment of the late 1990s was determined by the successes of the American animated sitcom The Simpsons, which profoundly affected the way British practitioners conceived of the medium’s capabilities within a mainstream television environment.
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Rana, Baljit Kaur. "Combing work and family : the experiences of British South Asian women, men and dual-career couples." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297969.
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Salisbury, Derek. "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books." ScholarWorks @ UVM, 2013. http://scholarworks.uvm.edu/graddis/209.
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At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture
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Ben-Nasr, Leila. "The Narrative Space of Childhood in 21st Century Anglophone Arab Literature in the Diaspora." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1546475958114273.
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Cotter, Michael. "New ways to express old hatred : the transformation of comic racism in British popular culture." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17855.
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New Ways To Express Old Hatred is a sociological account of the consistencies and changes comic racist discourse has experienced over the past forty years in British popular culture, accounting for both content and communicative form in relation to the ethics and aesthetics of humour. The main focal point of the study concerns a case study representative of the communicative changes installed by the digitalisation of media in the cultural public sphere. Sickipedia.org which demonstrates a contemporary, participatory comic community that is simultaneously representative of popular culture. Sickipedia.org circulates explicit comic racist material on a large scale across several formats including its main website, several smart phone applications and a range of social media including Facebook and Twitter. This contemporary emergence of comic racism is discussed in relation to the historical context of wider comic racism in British popular culture, comparatively evaluating the form and content of material from the 'clubland' humour of the 1970s, the anti-racist tradition of 1980s Alternative comedy, the thematically fragmented popular comedy of the 1990s through to prejudicial liquidity evident in more recent comedy. The central argument being asserted is that comic racist discourse has been consistently reproduced for the last forty years. However its communicative form, aesthetic presentation and in some cases its content has undertaken a process of transformation in order for it to be circulated in contemporary popular cultural products unchallenged by both social critics and institutional authorities. Critical humour studies stresses that ridicule-based humorous discourse must be treated critically, especially if that ridicule is directed at groups who are socially marginalised. Comic racism represents the discursive stability of traditional racist discourses that have circulated in society since the Enlightenment, reproducing the ideological perspectives of white supremacy, social exclusion of 'Others' and the perceived, amalgamated biological and cultural inferiority of non-white 'races'. Drawing from content analysis and critical discourse analysis of Sickipedia.org, this study, on a textual level, with reference to theory and history, critically discusses the persistent reproduction of comic racism in the cultural public sphere of the UK, deconstructing the hateful messages embedded in racist jokes and providing an original contribution to critical humour studies.
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Licari-Guillaume, Isabelle. "« Vertigo's British Invasion » : la revitalisation par les scénaristes britanniques des comic books grand public aux Etats-Unis (1983-2013)." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30044/document.
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Cette thèse porte sur la trajectoire éditoriale et artistique de la collection Vertigo créée en 1993 par DC Comics, maison d’édition états-unienne spécialisée dans la bande dessinée. Je me propose d’aborder Vertigo à travers l'apport des scénaristes britanniques employés par DC Comics depuis le milieu des années quatre-vingt. Leur rôle est en effet considérable, tant au moment de la fondation de Vertigo par la rédactrice Karen Berger que dans le succès ultérieur dont jouit la collection. La genèse de Vertigo met en lumière l’importance du phénomène appelé l’ « Invasion britannique », c’est-à-dire l’arrivée sur le marché états-unien de nombreux créateurs qui sont nés et travaillent à l’étranger pour DC Comics. Cette « invasion » révélera au public américain des scénaristes de tout premier plan tels Alan Moore, Grant Morrison ou Neil Gaiman, dont la série The Sandman est considérée comme un jalon majeur de l’histoire du média. La critique existante au sujet de Vertigo en général tend d’ailleurs à se focaliser sur la portion du corpus produit par les Britanniques, mais sans nécessairement prendre acte de cette spécificité culturelle. Le travail à mener est donc double ; d'une part, il s'agira de retracer une histoire du label en tant qu'instance productrice d'une culture médiatique particulière, qui s'inscrit dans un contexte socio-historique et repose sur les pratiques et les représentations de l'ensemble des acteurs (producteurs et consommateurs au sens large), eux-mêmes nourris d'une tradition qui préexiste à l'apparition de Vertigo. Il sera dès lors possible de prendre appui sur cette connaissance contextuelle pour interroger la poétique du label, et ainsi identifier les spécificités d’une « école » britannique au sein de cette industrie culturelleThis thesis deals with the editorial and aesthetic history of the Vertigo imprint, which was created in 1993 by DC Comics, a US-American comics publisher. I shall consider in particular the contribution of British scriptwriters employed by DC and then by Vertigo from the 1980s onwards. Theise creators played a tremendous role, both at the time of Vertigo's founding by editor Karen Berger and at a later date, as the imprint gathered widespread recognition. The genesis of the Vertigo imprint sheds light on the so-called “British Invasion”, that is to say the appearance within the American industry of several UK-based creators working for DC Comics. Spearheaded by Alan Moore, the “invasion” brought to the fore many of the most important scriptwriters of years to come, such as Grant Morrison and Neil Gaiman, whose Sandman series has been described as a major landmark in the recognition of the medium. Existing criticism regarding Vertigo tends to focus on the body of work produced by British authors, without necessarily discussing their national specificity. My goal is therefore double; on the one hand, I intend to write a history of the label as the producer of a specific media culture that belongs to a given socio-historical context and is grounded in the practices and representations of the field's actors (producers and consumers in a broad sense). On the other hand, the awareness of the context in which the books are produced shall allow me to interrogate the imprint's poetics, thus identifying the specificity of a “British school of writing” within the comics mainstream industry
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Young, Hilary. "Representation and reception : an oral history of gender in British children's story papers, comics and magazines in the 1940s and 1950s." Thesis, University of Strathclyde, 2006. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21645.
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This thesis explores the representation and reception of gender in British children's reading material during the 1940s and 1950s. Chapter One traces the methods and concepts I have used to investigate an audience history of reading. The relationship between gender and memory in oral history and the uses of audience reception theory are considered. Chapter Two considers schoolboy story papers and comics and the tension between middle-class and working-class masculinities presented in the material. Chapter Three focuses on the changing representations of femininity in three groups of material for girls: the schoolgirl story paper and comic; 'erotic bloods'; and women's service magazines. Chapters Four and Five reposition the actual readers at the centre of the text using oral testimony gathered in Glasgow and Mass-Observation replies to a directive on childhood reading. Chapter Four focuses on the memories of male narrators' reading experiences as young boys. The chapter considers the relationship between class and masculinity as experienced and identified by the readers in response to characters from the story papers and comics. Chapter Five is divided into two sections. The first considers women's memories of reading story papers and comics intended for both schoolgirls and schoolboys. The second section considers women's memories of reading older women's magazines at a young age to negotiate the transition from girlhood to womanhood. In addition Chapters Four and Five reflect upon wider activities associated with reading such as the acquisition of papers, the place of reading and the games and roles developed from the material. The gendered myth systems surrounding the activity of reading and how female and male readers negotiated, accepted and rejected these myths are also considered. In conclusion this thesis addresses the relative 'absence' of children's reading culture from earlier work in cultural historical studies, a cross-gendered consideration of popular childhood reading material and the wider relationship between gender and memory in oral history.
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Drew, Raymond, and n/a. "Coming through." University of Canberra. Communication, Media & Tourism, 1996. http://erl.canberra.edu.au./public/adt-AUC20060705.150107.
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Coming Through, a novel based on factual events, explores elements of the
alternative sub-culture in Australia in the period between 1959 and 1980.
Dual protagonists, Anna Martin and Jack Rose, personify aspects of the
movement that would later be known as 'psychedelic romanticism.'
The narrative follows Jack Rose's disenchantment with the prevailing social
system and his efforts to achieve personal integration and his conflict with societal
pressures to conform. Likewise, in a parallel narrative, it describes the events that
surround Anna Martin's early institutionalisation and her attempt to achieve personal
authenticity.
When the protagonists finally encounter one another they find that a common
and binding philosophy has drawn them together.
The thesis looks at the prevailing social notions of'normality' at the time and
the problems associated with alienation and the struggle to found alternative life styles
in a society they deem to be repressive.
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Brainard, David. "Coming about." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12293.
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Thesis (M.F.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
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Brodersen, Folke, and Kerstin Oldemeier. "Coming-out." Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A15946.
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Der Begriff Coming-out ist in politischer, wissenschaftlicher und alltagspraktischer Hinsicht mit verschiedenen Bedeutungen belegt. Ausgehend von seiner ursprünglichen Verwendung für die Initialisierung junger Edelfrauen auf einem semi-öffentlichen Heiratsmarkt im 19. Jahrhundert wurde er später für die (erstmalige) Thematisierung einer Nicht-Heterosexualität/Cisgeschlechtlichkeit üblich. Daran anschließend hat er etliche historisch-soziale Transformationen erfahren, die vor allem auf einer Verschiebung bzw. auf einer Umkehrung der Ökonomie der Sichtbarkeit beruhen, die sexuelle Abweichung formiert und ins Zentrum gesellschaftlicher Aufmerksamkeit setzt.
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Thomas, Evan Benjamin. "Toward Early Modern Comics." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502561240762248.
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Newman, Zoë G. "Coming together, coming apart, identity, community and political struggle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq28717.pdf.
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Fogelberg, Johanna, and Michelle Törnquist. "”Fröken kommer! Fröken kommer!” ”Teacher´s coming! Teacher´s coming!”." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-27214.
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AbstractLeken är av stor betydelse för barns sociala och kommunikativa utveckling, vilket betonas i läroplanen för förskolan. Syftet med vår studie är att studera hur möjligheter och begränsningar för socialt samspel kommer till uttryck i barns kommunikation med varandra och i verksamhetens fysiska och sociala miljö. Med den fysiska miljön menar vi utrymme, möbler och material, och med den sociala miljön menar vi pedagoger och regler. Studiens metodologiska utgångspunkt är en kvalitativ metod. Vår empiri har samlats in genom observationer som har analyserats utifrån våra två frågeställningar, med hjälp av en innehållsanalys. Studien tar sin teoretiska utgångspunkt i ett sociokulturellt perspektiv som betonar det sociala samspelet och dess betydelse för utveckling och lärande. Resultaten visar att kommunikationen och miljön på avdelningen vi befann oss på, både möjliggör och begränsar barn för socialt samspel i den självinitierade leken på olika sätt. Barnen kan själva begränsa sitt sociala samspel genom både kroppslig och verbal kommunikation. Den fysiska miljön har vid våra observationstillfällen endast möjliggjort socialt samspel. Den sociala miljön har däremot utgjort begränsningar för socialt samspel i form av regler och tillsägningar. Utifrån våra resultat kan vi dra slutsatsen att det verkar som att det är förskolepersonalens förhållningssätt som ligger till grund för hur barns sociala samspel möjliggörs eller begränsas ur ett sociokulturellt perspektiv. Det innebär att pedagogerna behöver ha en medveten närvaro som gör det möjligt att stötta barnen när de behöver stöd. Det handlar också om att pedagogerna har ansvaret att utforma miljön utifrån barnens intressen och behov. Det framgår att pedagogernas säkerhetstänk går före barnens intressen och att inga alternativ till andra aktiviteter ges, och därmed hämmar barns sociala samspel. Däremot har barnen begränsat sina egna sociala samspel genom både verbal och kroppslig kommunikation.
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Vanderpool, James D. "On Coming Home." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/117.
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In today’s society, more of the population is finding itself with multiple points of reference to what they consider as home. Anyone who finds they have more than one place that they feel tied to for one reason or another, considers the impact of these places on their identity. The scale of experience with the places where we live, visit and grow up influences the scale of impact upon our identity. Even a vacation or a visit to a certain place influences us, and thus also changes the place because we interact with it. I am showing, through sculptural and creative media, the layering effect of locational identity and the journeys we make to physically and conceptually link those identities.
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Hyatt, Maripatricia. "Coming Full Circle." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1959.
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Artist Statement From my earliest memories pattern and repetition of the details in my surroundings were things that caught my attention. The patterns found in the living room wallpaper, the fabric of my mom’s dress, the texture in the buttons found in the sewing box were all fascinating to me. Figuring out the rules of the pattern and being able to predict what came next satisfied my need for order. More recently, I have found myself breaking the rules of predictability by disrupting pattern and combining unexpected materials. With a focus on textiles, I am inspired by and drawn to processes that can be used to simulate the lines, pattern, repetition, and unexpected variety that is found in nature and architecture. There is whimsy in the multiple threads that make up the sights around us expressed in color and stitched line. I cycle through a process of identifying textures and patterns that attract me, then finding new ways to translate them in my art.
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Elliott, Georgina F. "Coming to understand." Thesis, City University London, 2015. http://openaccess.city.ac.uk/14554/.
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One might presume that human beings would benefit in psychological and indeed relational terms from studying sexual behaviour. Yet research on the female orgasm only gained momentum in the mid – late twentieth century (Kinsey, 1953; Krantz, 1958; Masters and Johnson, 1966). The latter piece of research was conducted at the time of the second-wave feminist movement, which “took up arms” in the clitoral vs. vaginal orgasm debate (Freud, 1931, as cited in Rieff, 1997). It was advocated by feminist writers that female orgasm resulted from clitoral stimulation, which controversially challenged the notion that it occurred in the context of heterosexual penile-vaginal stimulation, through sexual intercourse for reproductive purposes. Since this time the body of research on female orgasm has grown, but it is still limited, and has primarily taken a quantitative approach. This research was conducted in part, and in response to the paucity of qualitative research in this area, as well as the more recent medicalization of female sexual “problems”, and the continued oppression and abuse of female sexuality through pornography and practices such as female genital mutilation (FGM). A non-clinical sample of eight women were recruited and semi-structured interviews were conducted in order to answer the following research question: “What is the lived experience of reaching female orgasm in the context of a sexual relationship?” An interpretative phenomenological analysis was carried out on the data. Three superordinate themes emerged; “Anticlimax”, “This is my orgasm”, and “The challenge of our orgasm”. The women experience this phenomenon through a sense of control and restriction related to painful emotions including anxiety, anger and shame; through a developed sense of freedom in understanding and learning how to satisfy their own sexual needs; and through a contradictory experience of personal freedom versus a female – male relational power dynamic experienced as dominated - dominant respectively. The phenomenon is also made sense of through the concept of romantic love. This study has been successful in answering the research question and highlighting the need for further qualitative research on the female orgasm. The research is applicable and important for the field of counselling psychology because it highlights this complex phenomenon as both an intrapsychic and inter-psychic experience, which can be made sense of through the “lens” of multiple psychological theories. It has implications for psychotherapeutic practice, e.g. sex and relationship therapy, and will also be of interest to other sub-disciplines such as evolutionary psychology and feminist psychology. Limitations of the research are discussed as well as recommendations made for further research.
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Fynboe, Scott Christian. "Coming to terms [poems] /." Diss., Online access via UMI:, 2005.
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Hey, Jessica L. ""Coming out" by numbers." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1189022132.
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Nguyen, Hoa N. "Coming In and Coming Out: Navigating the Spaces between Cultural and Sexual Identity." Diss., Virginia Tech, 2017. http://hdl.handle.net/10919/78303.
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The present study addresses three objectives: 1) to explore the experiences of lesbian, gay, bisexual, and queer (LGBQ) persons who are coming in the United States as students and coming out about their sexual orientation, 2) to explore the cultural narratives that emerge in their disclosure process, and 3) to generate ways to support LGBQ international students. Research on the disclosure process for LGBQ persons have been comprised largely of white, middle-class individuals and families. This narrative inquiry broadens our understanding of how LGBQ persons from different cultures define and experience the coming-out process, particularly in the context of moving to a different country. Twelve LGBQ international students shared their coming in, coming out stories through interviews, journals, a timeline, online forum, and picture. Narrative analysis of their stories consisted of three methods: thematic, structural, and dialogic. These findings provide directions for future research, clinical practitioners, educators, and student affairs personnel working with international students.Ph. D.
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Rodriguez, Denise M. Fournier. "Coming Out, Coming Together, Coming Around: An Interpretative Phenomenological Analysis of Families' Experiences Adjusting to a Young Family Member's Disclosure of Non-Heterosexuality." NSUWorks, 2014. http://nsuworks.nova.edu/shss_dft_etd/1.
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Young people who identify as lesbian, gay, or bisexual (LGB) are disclosing their sexual identity--or coming out--at progressively younger ages, making it more important than ever for the general population to understand, tolerate, and accept diversity in sexual identity. This study was designed to fill the gap in the existing literature about how the coming out process affects LGB young people's families of origin. Three LGB young people participated in the study, along with a member of each of their families. The researcher conducted semi-structured interviews with each of the participants, as well as a conjoint interview with each of the three families.
The findings of this interpretative phenomenological analysis (IPA) study illustrate the many ways in which a young person's coming out reverberates within the family system, offering a relational understanding of the coming out experience. The results of the study emphasize the process-oriented nature of coming out and the means by which that process is influenced by and influences family relationships and overall family dynamics. Centered on the various ways in which LGB young people prepare to disclose their sexual orientation to their families and how their family members adjust to the disclosure, the study offers a historically and culturally situated overview of the coming out experience in the family. Based on the results of the present study, the researcher offers suggestions for future studies on this subject and presents the implications of the study for LGB young people, their families, and family therapists.
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Ringeborn, Ulrika. "Att komma hem : Coming home." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12927.
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In this essay I analyze the meaning of the concepts home and at home and the feeling of coming home. What is a home and what different interpretations are there regarding the concepts of home and being at home? What kinds of feelings are aroused by coming home? The world we live in offers great opportunities to travel, which in itself creates a perspective on the meanings of the concepts. The world we live in also forces people to move from their homes, families and countries due to various reasons, which creates various problems and a certain urgency concerning the concepts. I describe basic terms concerning the concepts, both regarding concrete definitions and more abstract notions, and then compare them with my own reflections. Based on my writing project Coming home I discuss these questions in various ways. I also describe the considerations I have made regarding these issues and the impact they have made in the text collection. I present my own description of home as a result of and defined by the emotions this term creates and where the moods are decisive. The intention with Coming home is to offer different perspectives on and reflections upon the various feelings of coming home expressed by my own voice in the literary texts under study.
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Motzko, Eric M. "Coming out or forced out." Menomonie, WI : University of Wisconsin--Stout, 2007. http://www.uwstout.edu/lib/thesis/2007/2007motzkoe.pdf.
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Zanger, Maggy. "Coming Soon: The Perfect Alfalfa." College of Agriculture, University of Arizona (Tucson, AZ), 1991. http://hdl.handle.net/10150/295688.
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Lee, Bethany Tyler Marks Corey. "The museum of coming apart." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11000.
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Avasthi, Amitabh. "Superfish : the coming blue revolution." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/103824.
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Thesis: S.M., Massachusetts Institute of Technology, Dept. of Humanities, Program in Writing and Humanistic Studies, September 2012.Includes bibliographical references (leaves 36-41).
by Amitabh Avasthi.
S.M.
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Cano, José Carlos. "True Blood, I’m coming out." La Mirada de Telemo, 2011. http://repositorio.pucp.edu.pe/index//handle/123456789/20360.
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Este texto es una reflexión en torno a la figura del vampiro a partir de la serie de televisión “True blood”, producción original de HBO Este artículo toma como marco de referencia exclusivamente la Temporada 1 de la serie
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Baptist, Joyce Alexandria. "Coming Out: One Family's Story." Diss., Virginia Tech, 2002. http://hdl.handle.net/10919/29115.
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This case study elicits the process of coming out of a 6 member family-of-choice of an adult gay man in rural New Hampshire. 27.5 hours of face-to-face interviews were conducted with the family individually and collectively. Reflexivity, as a technique, was used extensively. Four themes were identified: Embracing gay identity, integrating as a family, building social networks, and social awakening. This study addresses the complexities of how multiple individuals negotiate rules and accommodate diverse viewpoints within a family system, provides insight into a family's journey of accepting their gay identity, utilizes personal narratives of family members, and reveals how the reflexive process contributes to a family's creation of new stories. Implications for clinical practice and future research are discussed.Ph. D.
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Lee, Bethany Tyler. "The Museum of Coming Apart." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11000/.
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This dissertation comprises two parts: Part I, which discusses use of second person pronoun in contemporary American poetry; and Part II, The Museum of Coming Apart, which is a collection of poems. As confessional verse became a dominant mode in American poetry in the late 1950s and early 60s, so too did the use of the first-person pronoun. Due in part to the excesses of later confessionalism, however, many contemporary poets hesitate to use first person for fear that their work might be read as autobiography. The poetry of the 1990s and early 2000s has thus been characterized by distance, dissociation, and fracture as poets attempt to remove themselves from the overtly emotional and intimate style of the confessionals. However, other contemporary poets have sought to straddle the line between the earnestness and linearity of confessionalism and the intellectually playful yet emotionally detached poetry of the moment. One method for striking this balance is to employ the second person pronoun. Because "you" in English is ambiguous, it allows the poet to toy with the level of distance in a poem and create evolving relationships between the speaker and reader. Through the analysis of poems by C. Dale Young, Paul Guest, Richard Hugo, Nick Flynn, Carrie St. George Comer, and Moira Egan, this essay examines five common ways second person is employed in contemporary American poetry-the use of "you" in reference to a specific individual, the epistolary form, the direct address to the reader, the imperative voice, and the use of "you" as a substitute for "I"-and the ways that the second-person pronoun allows these poems to take the best of both the confessional and dissociative modes.
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Mason, Glenn. "'Coming out' stories : a narrative study into 'coming out' as lesbian and gay to the family." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/coming-out-stories-a-narrative-study-into-coming-out-as-lesbian-and-gay-to-the-family(b55b6441-a0d2-4855-8083-5ea6be12bdfa).html.
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Background: The 'coming out' literature reveals there is a high degree of selectivity and fear of rejection around disclosure of sexual identity to others. It is suggested this distress can be particularly elevated around disclosure of sexual identity to the family. Recent research suggests that the age of disclosure around sexual identity within the family is shifting, but even with the recent growth of research within the lesbian, gay and bisexual community, researchers still do not fully understand the complexities of the 'coming out' process. Aim: This narrative study aimed to collect 'coming out' stories to better understand the process an adolescent goes through in disclosing their sexual identity to family. Participants: Seven participants were recruited through snowball sampling, four adolescents (one female and three male) who self-identified as lesbian or gay and three parents (three mothers) who had children that self-identified as lesbian or gay. Method: Participant stories were audio recorded in one semi-structured narrative interview, lasting up to 90 minutes. A narrative analysis was carried out drawing upon Labov's (1972) structural analysis and an adaption of Polkinghorne's (1995) narrative 'plots' to develop Thematic Concepts from the participant stories. Analysis: The structural analysis showed that participants did not restrict their stories to a single event of 'coming out' to the family. They spoke about 'coming out' experiences based around numerous chronological events across their life to date, and included evaluations of these. Five Thematic Concepts were developed from the seven participant stories - (1) the influence of self - a sense of knowing something; (2) the influence of the school environment; (3) the influence of culture and religion; (4) the influence of the digital age/new media; and (5) the influence of the family. Conclusions and Implications: Research literature suggests that 'coming out' should not be viewed as a one-time event, but an on-going process evolving across the lifespan. Historical and socio-political factors must also be considered in understanding the process of 'coming out'. With regards to clinical practice, this study suggests counselling psychology should be pro-active in advancing educative interventions to address heteronormativity and discrimination within society, as well as considering systemic approaches when working therapeutically with sexual minorities.
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Brown, Marni A. "Coming Out Narratives: Realities of Intersectionality." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/sociology_diss/63.
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Coming out of the closet and sharing a disclosure narrative is considered an essential act to becoming gay (Jagose 1996; Meeks 2006). Although coming out experiences vary by time and place, sexuality scholars note the assumed difficulties when claiming a non-heteronormative identity, including stress, isolation, and rejection (Chauncey 1994; Faderman 1991; Herdt 1993; 1996; Savin-Williams and Ream 2003). In the late 1990s, a post-closet framework emerged arguing that coming out of the closet has become more common and less difficult; “American homosexuals have normalized and routinized their homosexuality to a degree where the closet plays a lesser role in their lives” (Seidman Meeks and Traschen 1999:19). Moreover, post- gay activists and writers such as James Collard (1998) contended that being and doing gay “authentically” involves moving past oppression and despair and living an openly gay life. In light of such arguments, this dissertation research was constructed to explore coming out experiences. I collected 60 narratives from self- identified lesbians and gay men living in Atlanta, New York, and Miami and analyzed these narratives using an intersectional framework. Intersectionality highlights the ways in which multiple dimensions of socially constructed relationships and categories interact, shaping simultaneous levels of social inequality (Crenshaw 1989; 1995). Through the multiple and sometimes complicated intersections of race, class, gender, capital, place, religion, and the body, my analysis exposes institutional and interactional dimensions of power, privilege, and oppression in coming out narratives. Indeed, the kind of "American" or "routinized" homosexuality described by post-closet scholars privileges white, non-gender conforming, middle-class individuals, most often male and urban. Coming out stories that express or embody elements of non-normativity are marginalized and marked as different. In conclusion, intersectionality exposes how privilege functions as a dimension to coming out stories, leading to marginalization and oppression amongst already discriminated identities.
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Peters, Clinton Crockett. "The Divine Coming of the Light." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157628/.
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The Divine Coming of the Light is a memoir-in-essays that covers an experience, from 2007 to 2010, when I lived in Kosuge Village (population 900), nestled in the mountains of central Japan. I was the only foreigner there. My memoir uses these three years as a frame to investigate how landscape affects identity. The book profiles who I was before Japan (an evangelical and then wilderness guide), why I became obsessed with mountains, and the fall-out from mountain obsession to a humanistic outlook. The path my narrator takes is one of a mountain hike. I was born in tabletop-flat West Texas to conservative, Christian parents in the second most Republican county by votes in America. At 19, I made my first backpacking trip to the San Juan Mountains of western Colorado and was awed by their outer-planetary-like massiveness. However, two friends and I became lost in the wilderness for three days without cell phones. During this time, an obsession possessed me as we found our way back through the peaks to safety, a realization that I could die out there, yes, but amid previously unknown splendor. I developed an addiction to mountains that weakened my religious faith. Like the Romantic poets before me, God transferred from the sky to the immense landscape. I jettisoned my beliefs and became an outdoor wilderness instructor. On every peak I traveled up, I hoped to recreate that first conversion experience when I was lost in the woods. After college, while teaching English in Kosuge Village, I learned about the mountain-worshipping religion Shugendo: a mixture of Buddhism, Shintoism, and Shamanism. I climbed dozens of peaks, spending several days backpacking. However, while in Japan, I was nearly fatally injured on a solo, month-long hike. I saw the accident as a warning and turned my attention to studying writing and literature. When I came to Japan, I went up mountains, but as I left, I came down. The book profiles my experiences with mountains and my double disillusionment, leveling off with a humanistic outlook, leaving the narrator less a wanderer but more willing to empathize with other people.
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Colley, Kenna. "Coming to Know a School Culture." Diss., Virginia Tech, 1999. http://hdl.handle.net/10919/28799.
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The purpose of this study was to identify specific cultural elements within one elementary school to provide information about the school's identity and functioning. These elements included values, beliefs, play, rituals, ceremonies, and cultural objects. Schools are distinct and unique cultures. The culture of each school building drives the daily happenings. The culture either enhances or stifles growth. By creating an awareness of school culture, educators can better understand the meaning of their day to day activities and how their school evolves towards continuous improvement. The aim of interpreting a school culture is thus to understand meaning and symbols as they have been created by the members of the culture (Schultz, 1995).
This study uncovered evidence to demonstrate that the awareness of stakeholders of a school's culture influences how the culture works. Interviews, artifact collection, digital photographs, meeting analysis, and fieldnotes from observations comprise the data. The interviews were conducted with educators, staff, and parents to ascertain their perceptions of their culture. Artifacts include documents such as weekly bulletins and meeting agendas that reflect the cultural workings. These focus on personal and social aspects of the culture such a party invitation, which spoke of the members' personal and interpersonal connections. Digital photographs were taken of inanimate objects within the building that visually depicted the values of the culture. Meetings play a key role in cultivating and representing a culture's values and beliefs. Meeting analysis helped to emphasize how this culture made decisions and how the culture structured its daily rhythm. Fieldnotes based on direct observations of meetings an - 3 -d of key events within specific locations in and around the school building were taken. Data sources were analyzed across interconnected themes. These themes explain how the culture worked and why its members did the things they did. This study isolated specific cultural elements, specified the internal relationships among those elements, and then characterized the whole culture based on the current knowledge of the culture.Ed. D.
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Mitchell, Lorianne D., and Wesley Ramey. "Greenwashing: A Case for Coming Clean." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/8333.
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Wilmot, Cassandra. "Coming clean: the treatment of traces." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006121.
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Coming Clean is a mixed media installation which aims to address and express ambivalent feelings or notions of loss arising particularly in the absence of a comprehensive narrative or history by focussing on what remains. By researching the role of indexical signs and strategies, particularly as they are deployed by the artist Doris Salcedo, I explore the capacity for these traces to not only effectively mark and memorialise loss, but to also convey the state of loss as experienced by the bereaved without providing a narrative account of the events which preceded them. The domestic ritual of washing is both alluded to and used as a metaphor in etchings, photographic prints and readymade objects to illustrate my concerns, with particular emphasis on the dialectic between what is revealed or concealed. Using representations or traces of this task of laundry to examine this dialectic between concealment and revelation, I comment on the anxiety of dealing with incomplete narrative inheritances by considering how traces of the past which impose themselves on the present may affect both remembrance and the ritual of loss, while also taking into account the complexities behind the disclosure of sensitive information in families.
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Jenkins-Adams, Bertha A. "“Coming out gave me my life back:” investigating the coming out process for professional African American lesbians." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/20565.
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Doctor of PhilosophySchool of Family Studies and Human Services
Karen Myers-Bowman
The overarching research question addressed by this qualitative dissertation is “What are the meanings, structures, and essences of the lived experiences of the coming out process for professional women who are African American lesbians (PAALs)?” The study was designed to 1) fill an existing gap in the literature by examining the coming out processes of PAALs, 2) gain an understanding of the challenges and stressors associated with the intersection of gender, race, and sexual orientation, and 3) explore the diversity of experiences that PAALs may have when coming out to family, friends, and colleagues. Purposeful sampling was used to recruit 10 women between the ages of 25 and 65. Each participant completed a face-to-face interview. Data analysis yielded 21 codes that were then aggregated into five themes and several subthemes that serve as the basis of a 5-level model for describing their coming out process: Confusion, Suppression, The Turning Point, Disclosure, and Proving Self. These levels are progressive but may overlap depending on where the individual is in the coming out process. The findings show that the experiences of PAALs demonstrated the influences of culture, race, and gender in the personal and professional lives of lesbians who have come out, or who are in the process of disclosing their sexual orientation. Additionally, some PAALs are motivated to disclose their sexual identity in order to inspire other young lesbians to come out and express their true sexual orientation.
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Cessna, Leesha Michelle. "A good coming and a bad coming : the dual symbolic roles of mice in ancient Egyptian representations." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61156.
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This thesis examines the symbolic role played by textual, 2- and 3-dimensional representations of mice in Ancient Egypt from the Old Kingdom to the New Kingdom. Many of these attestations are found in funerary contexts and performed a medico-magical role. By building on an interpretive framework established by Warren Dawson in the 1920s, this paper demonstrates that the mouse had two opposing yet complimentary roles in Egyptian medical and religious practice. On one hand, the mouse’s powerful fertility was life giving, but on the other, its fertility could turn to the propagation of disease. Certain conventions of depiction and verbal description ensured that the mouse was controlled and prevented from expressing its negative qualities. Furthermore, the power of the mouse was subordinated to both the Nile and the sun god. These symbolic roles are reflective of much later medical interpretations of mice that prevailed from the Greco-Roman period into the early modern era. Thus, this study expands on Dawson’s work to demonstrate the historical origins of later medical practices. The study concludes with an examination of mouse representations in the broader context of Egyptian mythology and cosmology. It is evident that the duality expressed by the mouse is a common element of Egyptian invention as is the convention of controlling a dangerous force by verbal cues and terminology. Lastly, these mouse objects are indicative of the Ancient Egyptian’s familiarity with the physical world and the role of disease vectors and water in the spread of disease.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Nickerson-Smith, Rhonda. "Coming home, spiritual journeyers recovering from addictions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0024/MQ52000.pdf.
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Jones, Camilla H. "Religio-spirituality and the coming-out process." Diss., Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/613.
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Guittar, Nicholas A. "Out a sociological analysis of coming out." Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4910.
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This study uses a constructivist grounded theory approach to investigate the meaning of "coming out" for LGBQ individuals. Analysis of open-ended interviews with 30 LGBQ persons revealed three main themes. First, coming out does not have a universal meaning among LGBQ persons; rather, it varies on the basis of an individual's experiences, social environment, and personal beliefs and values. Coming out is a transformative process, and an important element in identity formation and maintenance. Second, despite being attracted only to members of the same sex, ten interviewees engaged in a queer apologetic, a kind of identity compromise whereby individuals disclose a bisexual identity that they believe satisfies their personal attractions for only members of the same sex and society's expectation that they be attracted to members of the opposite sex. Third, both gender conformity (e.g., female=feminine) and gender non-conformity (e.g., female=masculine) present unique challenges to coming out. Because they are assumed to be straight, gender conformists must make a more concerted effort to come out. Gender non-conformists may experience greater ease coming out broadly because they are "assumed gay," but they also experience greater opposition from family and friends who resist gender non-conformity. This study provides important insight into the meaning of coming out as well the influences of heteronormativity and gender presentation on coming out. Implication and recommendations for future research are included.ID: 030423119; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 189-196).
Ph.D.
Doctorate
Sociology
Sciences
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Demo, Mary Angasia Ondiaka. "The coming of Christianity into Luhya Land /." Berlin : Viademica-Verl, 2008. http://d-nb.info/991690397/04.
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