Hodges, Hugh

Games, and especially video games are fast becoming the most pervasive media form, and live streaming games is fast becoming the most pervasive way of experiencing those games. This thesis looks at the history of broadcast, the practices of technological hobbyists, the social and technological aspect of games, gaming communities that transform game narratives, and gaming communities that transform political narratives. It demonstrates how the study of video game live streaming can be used as a model to study and analyze the production, consumption, and reciprocal relationship between the producers and consumers of media.

Author Keywords: Bill Gates is the Devil, Broadcast, Gaming, Ham Radio, Live Streaming, Video Game Live Streaming

This thesis creates an adaptation of William Shakespeare's The Tempest that reshapes the play through a focus on queer identities. Specifically, through setting the play at a Drag club and changing the characters accordingly a nuanced view of how gender roles shape the interactions we have with ourselves, our society, and our environment. The chapters that proceed the adaptation provide evidence and supporting clarification for the ideas brought up in the adaptation.

Author Keywords: Adaptation, Drag, Gender, Queer, Shakespeare

This thesis creates an adaptation of act five, scene three of William Shakespeare's Titus Andronicus that reshapes the play by focusing on female empowerment through the character Lavinia. Specifically, by using other Shakespearean characters' dialogue that can speak towards her situation, I have written a monologue and stage directions for Lavinia. The same patriarchal superstructures which existed in the West during the time of Shakespeare and at the time of the play's setting—and which still exist today—ensure that Lavinia remains silenced. Through my adaptation, I aim to challenge these structures in a meaningful way by returning both voice and agency to Lavinia.

Author Keywords: Adaptation, Agency, Metamorphosis, Patriarchy, Revenge, Voice

This thesis presents a critical history of stand-up comedy alongside rhetorical analyses of specific stand-up routines and performances to argue for stand-up's efficacy as a therapeutic artform. Through analysis of the history, function, and content of satire, this thesis presents stand-up comedy as an artform utilized for more than just simple laughter. Stand-up comedy, as a form and genre, provides the unique ability to engage with difficult subject matter, traumatic experiences, and offense for the benefit of both listener and audience in a way that subverts, therapizes, and equalizes instances of discrimination, trauma, and denigration.

Author Keywords: Abjection, Offense, Satire, Stand-up Comedy, Therapy

The central question of this research is "What is poetry?" The ambiguity and unintelligibility of the question itself forces the writing to take two different approaches to it. The first approach is to define poetry not by what it is but by how it is related to the human being and to the world. Seeing poetry as its relation to Being allows a definition of poetry based on its function. This approach draws on philosophical discussions how poetry is related to the human and how Being can be extended into poetic creation. Martin Heidegger's move from seeing poetry as the possibility of worldmaking to seeing it as a place of dwelling, and, in his later works, as unconcealment and the extension of Being as the House of Being, marks the direction of philosophical discussions in this paper. In this sense, poetry is defined as a creative possibility, where the speaking being comes in close contact with the speaking things and speaks of being.The second approach is to define poetry not as a whole but as some of its essential parts, as "poetic imagination" for instance. This attempt to define the poetic imagination draws on long-running discussions of imagination, metaphor, metaphorical thinking, image and imaging. It also relies on Freud's discussions of how dreams function as textual phenomena: the poetic imagination, this approach argues, is similar to dreaming. The poet's conscious and unconscious engagements with language create an uncanny experience where the relation between object and its poetic image is simultaneously known and unknowable. The third part of this study focuses on Lacan's move from the symbolic unconscious to the real unconscious, in order to shed light on how the real is related to its linguistic reality. This brings the discussion to a point where language is replaced by lalangue in order to knot the real directly to the symbolic.

Author Keywords: poetic creation, poetic imagination, poetry

This study is an attempt to look at how orality plays a role in modern society to move people to action in a social engineering process. By examining the theories for the formation of publics as outlined by Jurgen Habermas and Michael Warner, I argue for the existence of an oral public and further show that it can be engineered with some of the tools provided. This theoretical foundation provides a pathway for a thorough examination of orality as a tool for social engineering and shows how the practices moved the people in the past. In this study, I posit that the oral traditions are still alive and well in modern times and still function as a tool for moving people to social action. To achieve this, orality makes use of popular culture. This study examines elements of popular culture with a view to unearthing the presence of oral modes and how they are still carrying on the same function of social engineering in a modern society. This study concludes by positioning orality as a relevant tool for social engineering in modern Nigerian society and affirms that it is still relevant in the areas of politics, literature and cultural productions with possibilities yet untapped in the area of digital technology.

Author Keywords: Nigeria, Orality, Popular culture, Publics, Public Sphere, Social Engineering

This three-part history explores Web 2.0's ability to make music products a collaborative, ongoing creative process that is reflective of early twentieth century live-music publics, where the realization of a performance was actualized by performers together with their audience in a shared physical space. By extension, I follow the changing dynamic of the producer/consumer relationship as they transitioned through different media and formats that altered their respective roles in music making. This study considers the role that rock ideology, specifically that of the 'indie-rock' habitus, plays in shaping both a rock artist's desired image and a fan-base's expectations. How rock musicians use the internet reveals their own views on authenticity in recorded music and the extent to which they are willing to participate in a public with their audience. Primary case studies used are: Neil Young, Dave Bidini, Beck Hansen and Joel Plaskett.

Keywords: popular music; indie-rock; Web 2.0; rock music collaboration; fan participation; publics; authenticity; habitus; Neil Young; Dave Bidini; Beck Hansen; Joel Plaskett; Song Reader; Scrappy Happiness; Canadian music

Author Keywords: authenticity, fan participation, indie-rock habitus, popular music, rock music collaboration, Web 2.0

This thesis is an attempt to explore the role that musical texts played in the development of a public by writing a work of fiction and then applying to it a critical exegesis. Part One, the literary text Some Of This Is True, (re-)creates and remembers punk in its iteration in Regina, Saskatchewan, in the late 1970s. Part two, the critical exegesis, examines how the theories of public formation outlined in Michael Warner's Publics and Counterpublics can partially explain the creation and behaviour of publics, but not entirely. Similarly Mikhail Bahktin's theory of carnival helps explain punk, but not entirely. Some gaps can be filled partly with theory borrowed from art history that reveals useful links between punk and Continental art movements; Michel Foucault's concept of heterotopia fills other gaps. Literature fills the rest.

Author Keywords: Creative Writing, Heterotopia, Michael Warner, Michel Foucault, Mikhail Bakhtin, Punk & Punks

This thesis explores the rhetoric of theft imposed on online music by comparing file

sharing to shoplifting. Since the litigation between the music industry and Napster, file sharing has been perceived, both by the entertainment industry and by a music listening public, as a criminal act. However, file sharing has more in common with home taping and music archives than it does with music shoplifting. It differs from theft in terms of law, motivation and publicness. In reviewing three histories -- a history of petty theft, a history of policing online music, and a history of shoplifting narratives in popular music culture -- the implications for the cultural production of popular music and popular music identity become apparent. In the end, file sharing links itself more to parody and the concept of fairness than it does to youth rebellion and therefore is unsuitable for sustaining a traditional music industry and the values it has formed with its public.

Author Keywords: copyright, cultural production, file sharing, mp3, popular music, shoplifting

This study will focus on how immigrants from Sub Saharan African (SSA) countries use humour as a tool for integration and belonging (and ultimately citizenship) in Canada. My aim is to investigate, through a detailed analysis of popular culture productions from immigrant communities, the strategies and techniques of humour that immigrants employ as a mode of communication with fellow immigrants, their immediate host community and the governmental authorities of Canada. I am particularly interested in how African immigrants use their oral background and cultural memory in the production of jokes and other humour products as a way of interacting, first with fellow immigrants as the primary audience and recipients of the humour and, second, with Canadian society at large.

Using the 'Signifying' theory of Henry Louis Gates (1988) and Mikhail Bakhtin's (1968) concept of the "Carnivalesque" as the theoretical framework for this study, I argue that immigrants from SSA countries are using humour to question hegemonic regulations that portrays them as victims, while providing alternative narratives of themselves as subjects with human agency. I further postulate that immigrants are taking advantage of the policy of multiculturalism that exists in Canada in a positive manner as an enabler for their humour. In turn, they are using the humour produced to communicate and break down social barriers, while building bridges across communities and social strata. I bolster my arguments with a consideration of humour in three genres of popular culture – literature, standup comedy and film – to show how immigrants rely on their home culture to produce humour in an effort to find belonging in Canada as contributors rather than victims.

This thesis is the first work to examine SSA humour, produced by immigrants from these countries, in the context of their immigration and integration into Canada, and the first to present extended literary criticism of the works of immigrant writers, Tololwa Mollel, Yabome Gilpin-Jackson and Segun Akinlolu. This is also the first study on the comedy of Arthur Simeon, originally from Uganda and the film of Phina Brooks, originally from Nigeria. My analysis apprehends the immigrant voice in the writings and productions of these artists and places their works in conversation with Canadian literary/cultural criticism. Until now, there has been no study of the function of humour produced by African immigrants in Canada. It is my hope that this study will not only fill that gap, but also lay the groundwork for future study in this field that I believe holds a lot of socio-cultural promise, especially in the area of cohesive habitation amongst different ethnic groups.

This study aims to contribute to conversations on immigration and its impact on Canadian society as part of nation-building and national consciousness.

Author Keywords: African Stand up Comedy, Humour, Immigration, Multiculturalism, Popular Culture, Postcolonialism