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I feel like I can get home from here is an archive of the resilience, multiplicity, and survival of butch lesbians who continue to straddle the margins of a larger LGBTQ community and heterosexual world, and the lines of hypervisibility and erasure. As both a print book and digital archive, this project aims to compile meaningful textual and visual content about butch lesbians into one space and explore themes of identity, childhood, community, memory, history, and trajectories. Combining digital photography, questionnaire answers, interview transcripts, photo manipulation, and personal writings, the project aims to encapsulate a snapshot of contemporary understandings of butch embodiment in a manner that is documentary and figurative. 60 participants shared their stories and experiences in the form of in-person interviews and an online questionnaire. I feel like I can get home from here highlights the ideas that butch is a multiplicitous and nebulous identity that is vital to understandings of gender and sexuality and that a butch-designed archive can combat systematic erasure and stereotyping. Within its scope, the project serves as its own standalone emotive archive and gives greater depth and voice behind a butch image superficially propagated by media and commonplace stereotyping. The project derives influence from and negotiates theories that deal with symbolic annihilation and the conceptual archive, lesbian semiotics and identification, and (lesbian) photography. At its core, this project is a celebration, a living history, and a deep embodiment of community and love that speaks to a butch past, present, and future and the possibilities of masculinity.

My research is centered upon my ongoing project GenderFail, a publishing and programming initiative featuring the perspectives of queer and trans people and people of color. GenderFail: The Queer Ethics of Dissemination is a collection of writings on queer collaboration, archiving as a collective act, and publishing as a site of queer community. The following text also illustrates the importance of creating and maintaining an intersectional platform as a non-binary white queer subject. I examine and define the role of “queer identity” in my own work while mapping the history of failure by white queers, including myself, in the of articulation of intersectionality. By understanding how intersectionality is important in a queer-focused collaborative practice, I seek to emphasize the messiness of citation, collaboration, and community in relation to my discursive uses of printed matter.

The Epic is situated between history and the myth. It is a tribute to the entire cultural experience of a society to one character who has made a mark on their time, and derives all past, present, and future values of that society from this character thus rendering the epic a source of identity serving to distinguish itself from others. And of all the places in the world there is no place I would rather be. From the mind of the critically acclaimed visionary who brought you illuminazioni, Non Worldwide and Paradiso, Comes part one of An earth shattering Epic Globalist Thriller, Introducing : ONTICIDE 1 A new novel by Chino Amobi

Sunset Iridescence is a one of a kind sculptural bookwork which reflects the essence of the wings of the Madagascar Sunset Moth. My work is very much about the physical qualities of the materials I use. The papers, inks and gilding supplies used to recreate the colors and iridescence of the moth are described. A comparison of color created by pigment and color created by the refraction of light rays is discussed. Parallels are drawn between the structure of the codex and the behavioral patterns of the moths. The local name for the Madagascar Sunset Moth is Lolonandriana - lolo for `spirit or soul,' andriana for `noble.' I was inspired by this concept of the soul to publish a letterpress printed chapbook. Unlike Flying in an Airplane is a short memoir of one of my experiences as a flight nurse. It recalls the first moments of lifting off in a helicopter as I prepared to stabilize and transport a critically ill child.

Poetry by Post is a four-month poetry subscription service that will run from November of 2013 to February of 2014. I will produce one mailing per month that will include a letterpress-printed broadside that features a poem of my choosing and an accompanying literary analysis and reply postcard, also letterpress-printed, all contained within calligraphed envelopes and posted with vintage stamps. Subscriptions are available at $150 for the series or $50 for an individual mailing and will not exceed 50 in number. The inaugural Poetry by Post will feature Midwestern poets Jennie Kinneberg Wrisley, Eric McHenry, Catherine Tufariello, and Ted Kooser. I have taken "Midwestern" to mean anyone who has simply spent a good bit of time in the large swath of land in the middle of the U.S. And much like the Midwest, the poetry featured will be plainspoken but no less profound for that.

This paper examines the establishment of papermaking in Central Asia in the 7th to 8th century CE. Additionally, it examines the historical and contemporary status of papermaking in Uzbekistan based on primary sources gathered during a research trip, and historical sources. Both textual research and experimental papermaking research were conducted for this paper. Designed as a foundation for further study, this paper includes early textual sources mentioning papermaking, information gathered from interviews, personal observations, and maps highlighting areas of importance. The first part surveys the development of the discussion surrounding the establishment of the craft in the region. By combining early and contemporary research and highlighting and discussing new sources, possible scenarios of the establishment of papermaking in Central Asia are further investigated. Pursuing this line of inquiry, the paper provides a full overview of the history and development of the different papermaking regions of Uzbekistan, following a detailed description of the tradition in the city of Kokand based on first-hand accounts from the early 20th century. The second part of this paper includes a description of the author’s process of recreating historical tools, techniques and paper based on data and information gathered during the research trip as well as information drawn from historical sources. In addition, the author explores different theories such as the debate about which raw materials were used, and hypotheses regarding the development of the paper mould.

Desde os anos 1970, o narcotráfico tem figurado papel de destaque nos principais veículos de comunicação da América Latina, com uma cobertura caracterizada pela superficialidade e, em alguns casos, flertando com o sensacionalismo. Porém, alguns repórteres foram bem-sucedidos ao aproximar o narcotráfico e a reportagem, principalmente, a partir da produção de livros-reportagem. O tema influenciou a literatura do continente (originando termos como narcoliteratura, narconarrativa e narcocultura), bem como o contexto do tráfico de drogas proporcionou a produção editorial de obras de não ficção, a partir dos anos 80, atingindo o ápice nos anos 90 e 2000. Desta forma, esta dissertação, apoiado no referencial teórico da análise crítica da narrativa, proposta por Luiz Gonzaga Motta (2013), buscou analisar a contribuição do livro-reportagem em relação à produção cultural da narcoliteratura, a partir do estudo de duas obras: Abusado: o dono do morro Dona Marta (Record, 2011), de Caco Barcellos e El Cártel de Sinaloa (Randon House, 2009), de Diego Enrique Osorno. De forma geral, debruçando-se sobre características como enredo, personagens, tempo, espaço e narrador, encontrou-se aproximações narrativas entre o que ficou considerado como narconarrativas (MEJÍAS; SANTOS; URGELLES, 2016) e a produção jornalística do livro-reportagem. / Since the 70\'s, the cover of drug trafficking showed superficiality in narratives and, the process almost industrial, does not allow a deep analysis. Despite this fact, some journalists was succeded uniting the drug trafficking and the reportage, mainly, with the production of non-fiction books. This theme had influenced the literature of continent (creating terms like narcoliteratura, narconarrativa and narcocultura), as well, the context of drug trafficking provided a mass editorial production of non-fiction books, starting in final of the 80\'s, and reaching the apex in the 90\'s and 2000. In this way, this dissertation, referenced in the concepts of critic analysis of narrative, developed by Luiz Gonzaga Motta (2013), will analyse the contribution of the non-fiction books in relation to the cultural production of narcoliteratura, from the analysis of two books: Abusado: o dono do morro Dona Marta (Record, 2011), of Caco Barcellos and El Cártel de Sinaloa (Randon House, 2009), of Diego Enrique Osorno. In general, looking at characteristics such as plot, characters, time, space and narrator, we found narrative approximations between that was considered narconarrativas (MEJÍAS; SANTOS; URGELLES, 2016) and the journalistic production of the non-fiction books.

Doctor of Philosophy / This dissertation presents the results of three empirical studies on price formation and liquidity in financial futures markets. The research entails three related areas: the effect of taxes on the prices of Australian stock index futures; the efficiency of the information transmission mechanism between the cash and futures markets; and the price and liquidity impact of large trades in interest rate and equity index futures markets. An overview of previous research identifies some important gaps in the existing literature that this dissertation aims to resolve for the benefit of arbitrageurs, investment managers, brokers and regulators.

The aim of this study is to examine the tension between 'commerce and culture' in the dynamic development of the Australian children's publishing industry, within the wider context of international children's publishing history. It aims to refute a commonly stated 'truism' - that the conflict between the cultural value of a book and the need to market it threatens the integrity of the authors, publishers and the books themselves. Instead, it demonstrates that the tension between cultural and commercial definitions of the book publisher's role lies at the heart of the dynamism which has fuelled the development of a publishing climate, and created really innovative publishing. Publishing has too often been examined as if the sole motive of the publisher should be to produce books of quality, and though this is certainly the primary objective of the publishers which are the focus in this study, it is imperative to recognize that the dissemination of 'quality' literature and cultural product has always been dependent upon the recognition of commercial strategies which are often naively dismissed as being opportunistic and even extraneous to the publisher's purpose. As this thesis endeavours to show, the pioneering efforts of John Newbery, the Religious Tract Society, E.W. Cole, Ward, Lock & Co., and Australia's first publisher Angus & Robertson and of later publishers such as Penguin, Scholastic, Lothian, Omnibus, Allen & Unwin and others, were founded just as much upon the shrewd recognition of a viable market as they were upon the aim to enrich young readers' lives. In fact it is the symbiotic partnership between these two objectives which has fuelled their successes and their failures. It is where publishers either steer a path paved only with good intentions or one paved entirely with gold that their enterprises generally falter. The study owes a significant debt to the achievements of those who have documented Australian children's publishing 'output' so assiduously - Maurice Saxby's groundbreaking histories (1969, 1971, 1993) and Marcie Muir and Kerry White's comprehensive bibliographical tools (1982, 1992). Contrary to those endeavours, though, this study'goes back-stage' to the area where the publishing 'action' happens. Consequently it does not provide a comprehensive overview of every publication or author; it does not cover every genre and style. Rather it is concerned to document the activities of publishers which have produced books for children in Australia, in brief, and to isolate key examples of publishing enterprises within this coverage which represent 'case studies' of the different types of companies which have played a successful part in publishing development. This work is intended to be of interest not simply to either children's literature or Australian literature theorists, but to book historians, and to media, cultural studies and entertainment industry theorists. It was based on a belief that cultural histories of this nature are valuable in tracking the growth of a society and also in demonstrating that creative endeavours are never simply that. They are the result of a complex interweaving of a variety of factors, and that therefore artists approach creativity 'at their peril' without first understanding something of the world into which they are entrusting their creations. Consequently there were several objectives in the study which were to: 1. contextualize Australian children's publishing within a history of children's publishing internationally, with particular reference to early commercial beginnings in Britain and to British Empire developments, but also with appropriate reference to growth in the USA; 2. contextualize Australian children's publishing within the broader range and expansion of the book publishing industry in Australia, particularly the latter's economic growth and cultural influence since WWII, but also including an overview of foundational developments from the nineteenth century; 3. contextualize Australian children's publishing within social, educational and cultural developments, such as the development of education programs, the expansion of public and school libraries, the changes in government policy related to children and books, shifting social attitudes towards the child, and the impact of entertainment and media industries; 4. examine the roles played by various individuals, especially publishers, managers, editors, marketers, booksellers, librarians, teachers and professional commentators in the development of the Australian children's publishing industry. Their roles will be analysed in the context of various industry-particular questions such as a) the oft-remarked upon tensions that exist in publishing, between for example, 'craft-like' and bureaucratic structures; b) the interplay between 'structure and agency' in the industry; c) the shift from a 'library market' to a 'mass market' under such influences as globalization and media; d) whether publishing is necessarily more 'Australian' if it is done by independent, rather than multinational companies; and e) the influence that the 'internal' structure of publishing has had on its development, e.g. the isolation of children's publishing from the mainstream, the predominance of women as agents in its development, and so on; 5. finally, discuss the implications of globalization since the 1970s, and posit future directions in the production, marketing and consumption of children's properties. This study examines the industry from a critical perspective relying not on the evaluation of quality as opposed to mass market literature, but viewing all forms of trade literature for children as part of a dynamic whole. It therefore traces the origins of publishing in English-language countries briefly first before examining the Australian situation, and shows that from the very beginning, publications for children have been the products of both altruistic and profit-driven objectives. It concentrates on the post-WWII period, on certain key enterprises and trends which have been particularly successful, suggesting that those publishing houses and those individuals within them who 'balance' commerce and culture with the most skill, are those who succeed in making 'good' books readily accessible to those for whom they have been created. This thesis celebrates the fact that children's publishers have always demonstrated an admirable combination of opportunism and idealism, the two characteristics which are essential to a successful publishing company. Australia has been fortunate in rearing several enterprising individuals whose early publishing attempts laid the ground for the currently successful houses. Without E.W. Cole, William Steele at Ward, Lock and Co., Frank Eyre at Oxford University Press, Andrew Fabinyi at Cheshire, Barbara Ker Wilson at Angus & Robertson, Anne Bower Ingram at William Collins, the later successes of key individuals at Penguin Books Australia, Scholastic Australia, Allen & Unwin, Lothian Books and Omnibus Books and countless others may not have been planted in such fertile ground. This study predicts that the future of Australian children's publishing lies in the recognition of the essential role played by commercial instincts in shaping cultural endeavours.