This study critically investigates the U.S.-American Western and its construction of sexuality and gender, revealing that the heteronormative matrix that is upheld and defended in the genre is consistently preceded by the exploration of alternative sexualities and ways to think gender beyond the binary. The endeavor to naturalize heterosexuality seems to be baked in the formula of the U.S.-Western. However, as I show in this study, this endeavor relies on an aporia, because the U.S.-Western can only ever attempt to naturalize gender by constructing it first, hence inevitably and simultaneously construct evidence that supports the opposite: the unnaturalness and contingency of gender and sexuality. My study relies on the works of Raewyn Connell, Pierre Bourdieu, and Judith Butler, and amalgamates in its methodology established approaches from film and literary studies (i.e., close readings) with a Foucaultian understanding of discourse and discourse analysis, which allows me to relate individual texts to cultural, socio-political and economical contexts that invariably informed the production and reception of any filmic text. In an analysis of 14 U.S.-Westerns (excluding three excursions) that appeared between 1903 and 1969 I give ample and minute narrative and film-aesthetical evidence to reveal the complex and contradictory construction of gender and sexuality in the U.S.-Western, aiming to reveal both the normative power of those categories and its structural instability and inconsistency. This study proofs that the Western up until 1969 did not find a stable pattern to represent the gender binary. The U.S.-Western is not necessarily always looking to confirm or stabilize governing constructs of (gendered) power. However, it without fail explores and negotiates its legitimacy. Heterosexuality and male hegemony are never natural, self-evident, incontestable, or preordained. Quite conversely: the U.S.-Western repeatedly – and in a surprisingly diverse and versatile way – reveals the illogical constructedness of the heteronormative matrix. My study therefore offers a fresh perspective on the genre and shows that the critical exploration and negotiation of the legitimacy of heteronormativity as a way to organize society is constitutive for the U.S.-Western. It is the inquiry – not necessarily the affirmation – of the legitimacy of this model that gives the U.S.-Western its ideological currency and significance as an artifact of U.S.-American popular culture.

In her poems, Tawada constructs liminal speaking subjects – voices from the in-between – which disrupt entrenched binary thought processes. Synthesising relevant concepts from theories of such diverse fields as lyricology, performance studies, border studies, cultural and postcolonial studies, I develop ‘voice’ and ‘in-between space’ as the frameworks to approach Tawada’s multifaceted poetic output, from which I have chosen 29 poems and two verse novels for analysis. Based on the body speaking/writing, sensuality is central to Tawada’s use of voice, whereas the in-between space of cultures and languages serves as the basis for the liminal ‘exophonic’ voices in her work. In the context of cultural alterity, Tawada focuses on the function of language, both its effect on the body and its role in subject construction, while her feminist poetry follows the general development of feminist academia from emancipation to embodiment to queer representation. Her response to and transformation of écriture féminine in her verse novels transcends the concept of the body as the basis of identity, moving to literary and linguistic, plural self-construction instead. While few poems are overtly political, the speaker’s personal and contextual involvement in issues of social conflict reveal the poems’ potential to speak of, and to, the multiply identified citizens of a globalised world, who constantly negotiate physical as well as psychological borders.

The present thesis is devoted to a construction which defies generalisations about the prototypical English noun phrase (NP) to such an extent that it has been termed the Big Mess Construction (Berman 1974). As illustrated by the examples in (1) and (2), the NPs under study involve premodifying adjective phrases (APs) which precede the determiner (always realised in the form of the indefinite article a(n)) rather than following it. (1) NoS had not been hijacked – that was too strong a word. (BNC: CHU 1766) (2) He was prepared for a battle if the porter turned out to be as difficult a customer as his wife. (BNC: CJX 1755) Previous research on the construction is largely limited to contributions from the realms of theoretical syntax and a number of cursory accounts in reference grammars. No comprehensive investigation of its realisations and uses has as yet been conducted. My thesis fills this gap by means of an exhaustive analysis of the construction on the basis of authentic language data retrieved from the British National Corpus (BNC). The corpus-based approach allows me to examine not only the possible but also the most typical uses of the construction. Moreover, while previous work has almost exclusively focused on the formal realisations of the construction, I investigate both its forms and functions. It is demonstrated that, while the construction is remarkably flexible as concerns its possible realisations, its use is governed by probabilistic constraints. For example, some items occur much more frequently inside the degree item slot than others (as, too and so stand out for their particularly high frequency). Contrary to what is assumed in most previous descriptions, the slot is not restricted in its realisation to a fixed number of items. Rather than representing a specialised structure, the construction is furthermore shown to be distributed over a wide range of possible text types and syntactic functions. On the other hand, it is found to be much less typical of spontaneous conversation than of written language; Big Mess NPs further display a strong preference for the function of subject complement. Investigations of the internal structural complexity of the construction indicate that its obligatory components can optionally be enriched by a remarkably wide range of optional (if infrequent) elements. In an additional analysis of the realisations of the obligatory but lexically variable slots (head noun and head of AP), the construction is highlighted to represent a productive pattern. With the help of the methods of Collexeme Analysis (Stefanowitsch and Gries 2003) and Co-varying Collexeme Analysis (Gries and Stefanowitsch 2004b, Stefanowitsch and Gries 2005), the two slots are, however, revealed to be strongly associated with general nouns and ‘evaluative’ and ‘dimension’ adjectives, respectively. On the basis of an inspection of the most typical adjective-noun combinations, I identify the prototypical semantics of the Big Mess Construction. The analyses of the constructional functions centre on two distinct functional areas. First, I investigate Bolinger’s (1972) hypothesis that the construction fulfils functions in line with the Principle of Rhythmic Alternation (e.g. Selkirk 1984: 11, Schlüter 2005). It is established that rhythmic preferences co-determine the use of the construction to some extent, but that they clearly do not suffice to explain the phenomenon under study. In a next step, the discourse-pragmatic functions of the construction are scrutinised. Big Mess NPs are demonstrated to perform distinct information-structural functions in that the non-canonical position of the AP serves to highlight focal information (compare De Mönnink 2000: 134-35). Additionally, the construction is shown to place emphasis on acts of evaluation. I conclude the construction to represent a contrastive focus construction. My investigations of the formal and functional characteristics of Big Mess NPs each include analyses which compare individual versions of the construction to one another (e.g. the As Big a Mess, Too Big a Mess and So Big a Mess Constructions). It is revealed that the versions are united by a shared core of properties while differing from one another at more abstract levels of description. The question of the status of the constructional versions as separate constructions further receives special emphasis as part of a discussion in which I integrate my results into the framework of usage-based Construction Grammar (e.g. Goldberg 1995, 2006).

This thesis discusses revue as a significantly inter-cultural genre in the history of global theatre. During the ‘modernisation’ period in Europe, America and Japan, most major urban cities experienced a boom in revue venues and performances. Few studies about revue have yet been done in theatre studies or in urban cultural studies. My thesis will attempt to reevaluate and redefine revue as a highly intercultural theatre genre by using the concept of liminality. In other words, the aim is to examine revue as a genre built on ‘modern composition of betweenness’, bridging seemingly opposing elements, such as the foreign and the domestic, the classic and the innovative, the traditional and the modern, the professional and the amateur, high and low culture, and the feminine and the masculine. The goal is to regard revue as a liminal genre constructed amidst the negotiations between these binaries, existing in a state of constant flux. The purpose of this approach is to capture revue as a transitory phenomena in five dimensions: conceptual, spatial, temporal, categorical and physical. Over the course of six chapters, this inter-disciplinary discussion will reveal the reasons why and the ways by which revue came to establish its prominent position in the Japanese theatre industry. The whole structure is also an attempt to provide plausible ways to apply sociological considerations to theatre studies.

Die Dissertation ‚Konzepte von Geschlecht im Porno-Rap. Eine korpus- und genderlinguistische Frame-Analyse‘ befasst sich mit sprachlichen Realisierungen, die Konzepte von Geschlecht (‚Mann‘ und ‚Frau‘) in deutschsprachigen Rapmusik-Texten des sog. ‚Porno-Rap‘ – im Zuge des sog. ‚Gangsta-Rap‘ – herstellen. Grundlegend dabei ist, dass die sprachlichen Realisierungen von Konzepten, die einer linguistischen Analyse zugänglich sind, untrennbar mit kognitiven Konzepten verbunden sind. Aus der Zentralität bestimmter Ausdrücke sowie der ihnen zugeordneten Werte sind analytische Zugänge möglich, die einen Zusammenhang – im Sinne eines Potentials – von sprachlichen und kognitiven Konzepten herstellen. Sprache bildet demnach einerseits Konzepte ab, gestaltet sie jedoch auch grundlegend mit, was auch die Möglichkeit begründet, sie linguistisch zu untersuchen. Mit Frames können Wissensordnungen identifiziert, analysiert und deren Funktion in Verstehensprozessen sowie interpretativen Vorgängen bestimmt werden. Linguistische Ansätze beziehen sich dabei auf kognitionswissenschaftliche Erkenntnisse. Die Erfassung und Beschreibung der Frames und ihrer Wissenselemente von ‚Frau‘ und ‚Mann‘ bieten hierfür zahlreiche detaillierte und differenzierende Vergleichsmöglichkeiten der Geschlechtskonzeptionen. Auf Grundlage der vorhandenen Sprachbasis ist die Frage wesentlich, welcher Art und Strukturiertheit die im Diskurs enthaltenen Werte als Bestandteil der Konzepte für ‚Frau‘ und ‚Mann‘ als sprachliche Realisierung sind, um die Gestalt der Konzepte zu identifizieren, zu deskribieren und damit Aussagen über deren kognitives Potential treffen zu können. Die Konzepte von Geschlecht im untersuchten Rap-Diskurs sind durch die qualitativ-hermeneutische und quantitativ-korpuslinguistische Frame-Analyse offengelegt. Vor diesem Hintergrund werden 236 Texte weiblicher Porno-Rapperinnen und männlicher Porno-Rapper analysiert und damit der Fokus durch die jeweilige Bestimmung eines Selbst- und Fremdbildes bzgl. ‚Mann‘ und ‚Frau‘, als Konzepte für Geschlecht im Diskurs auf den Untersuchungsgegenstand gerichtet. Die Untersuchung der Konzepte von ‚Frau‘ und ‚Mann‘ offenbart drei wesentliche Erkenntnisse: Es besteht erstens eine Struktur der Binarität, die zweitens als ungleichwertige identifiziert ist und drittens konstituierende Wechselbezüge zwischen ‚Mann‘ und ‚Frau‘ belegt. Sprachliche Gewalt und deren Prozesse, die immanenter Teil des ‚Porno-Rap'-Diskurses und in rekurrenter Form nachgewiesen sind (bspw. die Wissenselemente Verletzungsmacht / Verletzungsoffenheit sowie Triebdominanz / Triebgewalt), können potentiell als Gewalt über diesen Kontext hinaus wirken und sich zugleich in das Soziale eines Individuums und/oder eines Kollektivs einschreiben. Ein Bewusstsein über die in dem Diskurs vermittelten Werte (Instanzen im frame-semantischen Sinn) ermöglicht, bestimmten Einstellungen, Denkprozessen und Handlungen kritisch reflexiv zu begegnen – insbesondere im Hinblick auf Konstatierungen linguistischer Sprachkritik, gemäß derer eine Sprachwahl konstitutiv (eine) ‚Wirklichkeit‘ schafft und nicht belanglos ist.