This utilized identification theory to determine if faculty identify with the university and recognize its mission. The study also explored how faculty differentiate between a traditional university and a metropolitan research university. Finally, the study explored whether the faculty consider the University of North Texas to be a Metropolitan Research University. UNT full-time faculty members (N=224) completed questionnaires to indicate their identification with the university and their recognition of the university mission. Analysis showed that faculty have not come to a consensus on the definition of a MRU and that they do not identify with UNT.

This thesis studies the Supreme Court decision, Korematsu v. United States, 323 U.S. 214 (1944) and its historical context, using a narrative perspective and reviewing aspects of narrative viewpoints with reference to legal studies in order to introduce the present study as a method of assessing narratives in legal settings. The study reviews the Supreme Court decision to reveal its arguments and focuses on the context of the case through the presentation of the public story, the institutional story, and the ethnic Japanese story, which are analyzed using Walter Fisher's narrative perspective. The study concludes that the narrative paradigm is useful for assessing stories in the law because it enables the critic to examine both the emotional and logical reasoning that determine the outcomes of the cases.

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of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies.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.