Previous scholarship on labor rhetoric has concentrated on the impact of declining union membership and contemporary activist strategies on the part of unions. The press release is a common form of communication that organized labor employs in order to reach its publics. This study explores the press releases of the Texas State AFL-CIO to determine to what extent this level of labor discourse meets the criteria of a rhetorical genre. This study employs the methodology for generic criticism laid out by Foss for identifying genres. The study concludes that a genre of labor rhetoric exists and that the genre was used extensively to promote the Texas State AFL-CIO as a socially-conscious and politically motivated organization.

This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.

This thesis tests the necessity of terrorism in articulating Homeland Security citizenship. Chapter 1 orients the study, reviewing relevant literature. Chapter 2 examines the USDHS Ready Kids program's Homeland Security Guide, mapping a baseline for how Homeland Security citizenship is articulated with the overt use of terrorism. Chapter 3 investigates the USDHS Ready Kids program, charting the logic of Homeland Security citizenship when the threat of terrorism is removed from sense making about preparedness. Chapter 4 compares the findings of Chapters 2 and 3, evaluating the similarities and differences between these two articulations of Homeland Security citizenship and concluding that the logic that cements Homeland Security into American society does not depend on the threat of terrorism against the United States.

Grounded in the social constructivism tradition, this study examined the role of communication in the glocalization and acculturation of HIV/AIDS by a section of sexually active Ugandans then living in Rakai district during the advent of the epidemic in 1982. Sixty-four women and men participated in ten focus group discussions in Rakai and Kampala districts. Five themes emerged from the data highlighting how individuals and communities made sense of the epidemic, the omnipresence of death, how they understood the HIV/AIDS campaign, and how they are currently coping with its backlash. The study concludes that HIV/AIDS is socially constructed and can be understood better from local perspectives rather than from a globalized view. The study emphasizes the integration of cultural idiosyncrasies in any health communication campaigns to realize behavioral change.

Grounded in a social penetration perspective, this exploratory study aspires to examine the impact of self-disclosure on intercultural friendship development between Taiwanese and native English speakers by a section of the following populations: (a) Taiwanese sojourning in the US, (b) native English speakers sojourning in Taiwan, and (c) Taiwanese in Taiwan. This research employed a triangulation of quantitative surveys and qualitative interviews to answer the proposed research questions and hypothesis regarding four dimensions and six topics of self-disclosure. Consistent with the quantitative results, the five themes that emerged from the qualitative analysis indicate both unique challenges in self-disclosing to intercultural friends and a positive association between self-disclosure and cultural adaptation. Additionally, this study highlights the role of self-disclosure in the four identified stages of intercultural friendship development. Finally, findings from this study have implications for the social penetration theory, anxiety/uncertainly management theory, and theory of adaptation in intercultural dyads.

This thesis project explores Chicana feminist Gloria Anzaldúa's notion of a new mestiza consciousness, in which the marginalized ethnic American woman transcends her Otherness, breaks down the borders between her different identities, and creates a Thirdspace. Through the rehearsal and performance process, three ethnic American women employed Robert Scholes' model of textuality-the consumption and production of texts-as a framework to construct a new mestiza consciousness, and create a Thirdspace. The project set to determine what strategies were significant rehearsal techniques for encouraging the cast members to exercise textual power and claim a new mestiza identity, a Thirdspace. The results reveal four overarching factors involved in assuming textual power through rehearsal and performance in the production-building trust, having appropriate skills, assuming ownership and responsibility, and overcoming performance anxiety. The discussion addresses the direct link between Thirdspace and Scholes' notion of production of original texts.

Disney animation represents a powerful source of economic and cultural production. However, following the death of Walt Disney, the animation division found itself struggling to survive. It was not until the 1989 release of the hugely successful animated film The Little Mermaid that Disney would reclaim its domination among children's cultural producers. Additionally, The Little Mermaid inaugurated a shift in Disney's portrayals of gender as the company replaced the docile passive princess characteristic of its previous animated films with a physically active and strong willed ambitious heroine. Grounded in an understanding of Disney's cultural significance as dominant storyteller, the present study explores gender in The Little Mermaid by means of narrative performativity. Specifically, I analyze the film's songs "Part of Your World," "Under the Sea," and "Poor Unfortunate Souls" as metonymic narrative performances of gender that are (1) embodied, (2) materially situated, (3) discursively embedded and (4) capable of legitimating and critiquing existing power relations.