English (Public Texts)

Through an exploration of shared stories, hauntings and the sea, this study outlines the idea that an ideological shift is a necessary first step to address the impact of colonialism in the publishing industry. This thesis draws sustained attention to the ways in which colonialism has an inextricable material effect on the publishing industry, and focuses on the myriad ways this past material and ideological holdovers shape the frameworks of book production. The vestiges of colonialism continue to be carried forward as a constitutive element of the present, creating a complex situation of material forces and conditions that need to be negotiated to create a more inclusive and diverse literary landscape that accurately reflects the experiences and voices of marginalised communities.Referring to something both subtler and more apparent than reformation, this thesis argues that a shift in ideology is necessary to address the impact of colonialism on literary culture. The shift proposed by this thesis is inspired by the ocean, specifically the Caribbean Sea. As it invites a rethinking of traditional capitalist publishing practices by acknowledging the historical limitations and systemic inequalities at the emergence of postcolonial West Indian literature. This shift involves moving towards alternative literary production and study that are more generative, appreciative, and beneficial to minoritised groups whose histories make themselves known in the present, inscribed into our stories in an accumulation of tides.

Author Keywords: Hauntology, literary situation, Postcolonial literature, Tidalectics, West Indian Literature

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 argues that Canada, as it is regarded by the Canadian citizenry, exists as a collection of public-facing narratives within a collectively imagined national mythos. This mythos, as it stands in 2022, is an accumulation of layers of narratives built on the foundation of former British imperial myths honed by bourgeois ideologies and ideals into a uniquely 'Canadian' nationalism through the propaganda of the Great War, the Second World War, the Cold War, and the 'War on Terror.' In attempting to deconstruct this collection of narratives, this thesis employs a historical materialist approach and uses the theories of Marx, Lenin, Gramsci, and Althusser to argue for the importance of an internationalist perspective which has been neglected in the insistence on an inward domestic approach to the identity of Canada as a nation.

Author Keywords: Canada, Capitalism, Marxism, Media, Neoimperialism, Propaganda

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 case study's fan fiction and its subsequent non-RPF romance novel version reveal a complex blend of the fan fiction, romance novel, intimatopia, pornography, slash fan fiction, Real Person Fan Fiction, and Men's Hockey Real Person Fan Fiction genres and subgenres. Intimatopia's ideological framework provides a specific method for the romance novel's reordering of self and society, as well as a description of the resulting ordered society and self. As analysis of the reader comments left on the Archive of Our Own fan fiction reveals, intimacy is also critical to the fan fiction's community, because the reader is driven to comment by the text's affective power. The relationship between the reader and the text is primary for the reader, whereas the author's primary aim is to seek an intimate relationship with their readers. There is a conceptual link between the literary and social contexts through their privileging of intimacy as a mode of interaction for the texts's characters, readers, and authors.

Author Keywords: Archive of Our Own, community, fan fiction, intimatopia, Men's Hockey Real Person Fan Fiction, romance novel

As a result of the COVID-19 pandemic, print death notices have increased in number, length, and deviations, often as the only form of public recognition for the deceased. This thesis provides close readings through feminist and anti-ageist lenses of ninety print death notices, published in The Peterborough Examiner and Peterborough This Week between October 2019 and October 2021. These readings inform and illustrate the deindividualization of older women in death notices as the product not only of the limitations of language and format, but of a community that panders to regional public interests and traditional ageist tropes of femininity to create worthy public subjects. An exploration of ambiguities, contradictions, and overdeterminations that break with conventions of death notices reveals unintentional makeovers, deindividualization, and the sidelining of older women as subjects of their own memorials and photos in an extension of the systemic and internalized gendered ageism older women experience in life.

Author Keywords: Ageism, COVID-19, Death Notices, Deindividualization of Women, Feminism, Older Women

This thesis examines how co-creators Kelly Sue DeConnick and Valentine De Landro's 2014 graphic work, Bitch Planet, is in all conceivable ways a seminal and prescient example of — to use their term — "non-compliance" in the comics form and industry. From its inception as a feminist dystopia, written by a white woman and illustrated by a Black man, in an industry that is over-represented by white men, Bitch Planet is a prime example of activist comics that is situated perfectly within the "Blue Age" of comics, to use the term coined by comic scholar Adrienne Resha. This is evident in the main narrative of Bitch Planet in which, in an industry still over-represented by white characters, the main cast of characters are four Black women and one Japanese-American woman, each of whom we see come up against a theologically patriarchal white supremacist system that imprisons them for crimes that are gendered, racialized, classist and ableist. DeConnick and De Landro's collaboration with other artists extends from Laurenn McCubbin's satirical paratextual in-universe advertisements on the back page of each comic which complement Bitch Planet's main narrative to an invitation to world- building to the greater comic community, allowing creators with marginalized identities to craft short comic stories that satirically and deeply explore the socio-political issues developed in the main narrative of Bitch Planet. The final act of "non-compliance" comes out of the expansion of authorship of Bitch Planet to the readership via the letters pages, and beyond: highlighting readers' Twitter messages, connecting with them through Tumblr, and posting pictures of fan "non-compliant" tattoos within the pages of Bitch Planet.

Author Keywords: Bitch Planet, comics, critical race studies, dystopia , gender studies, intersectional feminism

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 considers the fanfiction genres of slash-fiction, and Alpha/Beta/Omega fiction through an analysis of fandom's embedded gift economy structures. Previous research on fanfiction and fandom structures have often characterized the gift economy nature of these spaces as countercultural and as separate from the frequent exploitation inherent in economic-based systems. There has been less attention paid to considering the potential disruptions that can come with unregulated and large-scale sharing. This thesis undertakes a critical discourse analysis of Alpha/Beta/Omega slash-fiction with a focus on commodity fetishism to reveal how the subgenre's relationship with the fanfiction gift economy complicates and at times counters the conception of these spaces as a 'queer utopia.' The purpose of this research is to dismantle traditional archetypes within Alpha/Beta/Omega fanfiction by exploring how male Omegan characters become fetishized cultural commodity objects internally through interactions with Alpha characters and externally through the desires of fanfiction readers and writers.

Author Keywords: Alpha/Beta/Omega, Commodity Fetishism, Fanfiction, Gift Economy, Queer Theory, Slash-fiction

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