My text formulates a theory of postmodern invisibility while examining the condition of cultural invisibility. As I track strategies of position and space in contemporary American literature and music, I propose a tactic for attaining cultural visibility that draws from Jean Baudrillard's notion of the-more-visible-than-the-visible, postmodern aesthetics and the cultural metaphor of the optics of the vision system.In our technoculture, Ralph Ellison's Invisible Man and his narrator's choice of an invisible identity, though wonderfully evocative, is no longer a viable solution to the dilemma of cultural invisibility. Later contemporary American fiction, especially Don DeLillo's White Noise, offers a strategy that oscillates between invisibility and visibility and is ineffective in curing cultural invisibility. My project centers on Leslie Marmon Silko's Ceremony and her representation of a storytelling ceremony that can cure the problem of cultural invisibility. Silko proposes a narrative mode capable of representing and accomplishing cultural work by reversing the flow of culture. Nathaniel Mackey's jazz-inspired fiction, Dibot Baghostus's Run (1993), expands Silko's magical blueprint by employing a culturally dense, hyper-visible narrative mode.Like Silko and Mackey, cultural theorist Trinh Minh-ha, anthropologist Michael Taussig, and sociologist Stephen Pfohl employ the more-visible-than-the-visible composition strategy of collage. Their writings, as well as the aesthetic of hiphop, serve as a model for my text because in collage, there is room for disorientation, noise, local elements, plurality, recomposition, hyper-visibility, and the sampling of crosscultural artifacts and debris. Experiencing a montage can shock sensory perceptions into novel paradigms of representation and, as Silko and Mackey hope, bring about a meaningful cultural visibility.For Minh-ha, Silko, and Mackey, stories and other cultural artifacts circulate freely like gifts. The pleasure is in transmitting, circulating, and retransmitting the story: the pleasure of making the story more-than-visible. Then the story functions, as Minh-ha states, "as a cure and a protection [that] is at once musical, historical, poetical, ethical, educational, magical." While my text strives to represent several of these elements, my theory of postmodern invisibility reflects and transmits a narrative mode that is capable of curing the problem of cultural invisibility. / Department of English

This project explores the ways in which several Welsh writers, and English writers of Welsh descent, respond to and reconstruct the related notions of Britishness and Welshness during the late 19th and 20th centuries. Gerard Manley Hopkins, Saunders Lewis, David Jones, and Kate Roberts each reveal nuances in perspective during this period in which the British Empire reached its peak and required popular justification for doing so. Each author also participates in a form of Modernism, whether mainstream or specific to literary trends in Wales; in each case, such Modernisms are defined by an embracing of Welshness as an alternative to Anglocentric modernity. Through employing Judith Butler’s theory of performativity as it relates to ethnicity, this project contribute to the fields of Postcolonial Theory and Welsh Studies through evaluating how these authors construct and perform identity markers in the late 19th and 20th centuries for political purposes. Applying these critical paradigms to the four authors shows how constructions of ethnic identity serve political ends – particularly in relation to how collective national identity responds, whether through resistance, participation or some combination of the two, to the broader aims of the British Empire. / Department of English

This study examines the interpretive possibilities in the shorter fiction of Post-War German literature. The corpus includes works by Rolf Hochhuth, Friedrich Durrenmatt and Martin Walser. The historical framework of the theory of the novella and short story provides a basis for a discussion of genre, extended to include the coordinates of metaphor and metonymy. With the exception of one text designated as a novel, these works demonstrate interlocking and restricted motif complexes, repetitive and parallel structure and the integration of most narrative components. They project a tenor of hermetic plurality from a vehicle of abbreviated and truncated referential discourse. They use myth and intertextuality to show general principles to be extrapolated from specific contexts. Metafiction complements the theme of the subject not at one with itself. A partial resolution to the incertitude of existence, rendered according to Freud and Lacan, is offered through the emerging role of women as a stabilizing factor.

Includes errata tipped in between leaf 224 and 225. / Bibliography: leaves 226-238. / 238 leaves ; 30 cm / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--Adelaide University, Dept. of English, 2001

Thesis (Ph. D.)--Lehigh University, 2006. / Includes vita. Includes bibliographical references (p. 381-395). Also issued online.

Thesis (MA)--Stellenbosch University. 2015 / ENGLISH ABSTRACT: Seeking to explore modes of self-representation in women’s life writing and the ways in which these subjects manipulate the autobiographical ‘I’ to write about gender, the body, race and ethnic related issues, this thesis interrogates the autobiographies of three renegade women whose works were birthed out of the de/colonial South African context between 1854-1948. The chosen texts are: Marina King’s Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke’s Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), and two memoirs by Petronella van Heerden, Kerssnuitsels (1962) and Die 16de Koppie (1965). My analysis is underpinned by relevant life writing and feminist criticism, such as the notion of female autobiographical “embodiment” (239) and the ‘I’s reliance on “relationality” (248) as discussed in the work of Sidonie Smith and Julia Watson (Reading Autobiography). I further draw on Judith Butler’s concept of “performativity” (Bodies that Matter 234) in my analysis in order to suggest that there is a performative aspect to the female ‘I’ in these texts. The aim of this thesis is to illustrate how these self-representations of women can be read as counter-conventional, speaking out against stereotypical perceptions and conventions of their time and in literatures (fiction and criticism) which cast women as tractable, compliant pertaining to patriarchal oversight, as narrow-minded and apathetic regarding achieving notoriety and prominence beyond their ascribed position in their separate societies. I argue that these works are representative of alternative female subjectivities and are examples of South African women’s life writing which lie ‘dusty’ and forgotten in archives; voices that are worthy of further scholarly research which would draw the stories of women’s lives back into the literary consciousness. / AFRIKAANSE OPSOMMING: In ‘n poging om metodes van self-uitbeelding te bespreek en die manier waarop die ‘ek’ van vroulike ego-tekste manipuleer om sodoende te skryf oor geslagsrolle, die liggaam, ras en ander etniese kwessies, ondersoek hierdie verhandeling die outbiografieë van drie onkonvensionele vrouens se werk, gebore vanuit die de/koloniale konteks in Suid-Afrika tussen 1854-1948. Die ego-tekste wat in hierdie navorsingstuk ondersoek word, sluit in: Marina King se Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke se Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), en twee memoirs geskryf deur Petronella van Heerden, Kerssnuitsels (1962) en Die 16de Koppie (1965). My analise word ondersteun deur relevante kritici van feministiese en outobiografiese velde. Ek bespreek onder andere die idee dat die vroulike ‘ek’ liggaamlik “vergestalt” (239) is in outobiografie, asook die ‘ek’ se afhanklikheid van “relasionaliteit” (248) soos uiteengesit in die werk van Sidonie Smith en Julia Watson (Reading Autobiography). Verder stel ek voor, met verwysing na Judith Butler, dat daar ‘n “performative” (Bodies that Matter 234) aspek na vore kom in die vroulike ‘ek’ van Suid- Afrikaanse outobiografie. Die doel van hierdie tesis is om uit te lig dat hierdie selfvoorstellings van vroue gelees kan word as kontra-konvensioneel; dat die stereotipiese uitbeelding van vroue as skroomhartig, nougeset, gedweë ten opsigte van patriargale oorsig, en willoos om meer te vermag as wat hul onderskeie gemeenskappe vir hul voorskryf, weerspreek word deur hierdie ego-tekste. Die doel is om sodanige outobiografiese vertellings en -uitbeeldings te vergelyk en sodoende uiteenlopende vroulike subjektiwiteite gedurende die periode 1854-1948 te belig. Ek verwys deurlopend na voorbeelde van ander gemarginaliseerde Suid-Afrikaanse vroulike ego-tekse om aan te dui dat daar weliswaar ‘n magdom ‘vergete’ en ‘stof-bedekte’ vrouetekste geskryf is in die afgebakende periode. Ek voor aan dat die ‘stem’ van die vroulike ‘ek’ allermins stagneer het, en dat verdere bestudering waarskynlik nodig is.

Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.

This thesis is a study of representations of disability in a selection of Anglophone Indian literature written between 1981 and 2006. In this thesis, I argue that, in fiction by Salman Rushdie, Rohinton Mistry, Indra Sinha, and Firdaus Kanga, disability often takes on positive symbolic value as it represents the potential for the postcolonial polis to survive and thrive, but that the ultimate death or medical normalisation of disabled characters in many of these narratives is tied to a loss of political optimism. While these texts in many instances disturb norms surrounding able-bodiedness and disability, they often ultimately narrate a pessimistic conformity to scripts of normalization, and in so doing, map the unjust triumph of a prescriptive national or international politics onto a prescriptive politics of the body. As disability is eliminated, so is the potential for resistance to latent colonial or hegemonic forms. On the other hand, those fictions that narrate a sustainable disabled presence suggest the potential for the community or nation to emerge from oppressive social structures unscathed. I focus on applying literary disability scholarship to Indian novels which demand scrutiny through a disability studies lens, given their dependence upon the disabled body as a metaphoric object and the continuities in their disability representation and the representation of history. While the focus of my work is upon the nuances of disability representation as it is used to parallel the rise (and sometimes fall) of political optimism in these examples of Anglophone Indian literature, I also read toward an understanding of how the postcolonial perspective of these fictions may inflect and complicate disability representations, and investigate Western notions of normalcy as they are represented as intruding upon this literature and as disciplining the body in these texts. This disciplining is further explored through an ancillary reading of how medical apparatus and infrastructure, such as hospitals, ambulances, and especially doctors, are represented in this group of novels, as it is often in conjunction with the medical establishment that disabled characters are subjected to (neo) colonial violence. In the first chapter, which takes the form of a critical introduction, I discuss the terms of my argument within the development of disability studies, and position myself within the debates and concerns of literary disability studies in particular. I consider the antecedents and development of what is now called the cultural model of disability, and discuss how literary disability scholarship, which began its development with a focus on Western texts and contexts, has begun to extend its range of inquiry to become global in scope. I consider examples of the interplay of contemporary Indian history with biopolitical ideals and the paradigm of normalcy as it has been articulated by Lennard Davis and his intellectual predecessors including Canguillheim and Foucault. In the second chapter, which is entitled "The Medical and the Monstrous: Disability in Salman Rushdie's Midnight's Children, Shame, and The Moor's Last Sigh," I consider how the disabled body is created as an object of competition in an ideological agon between a violent, globalized modernity and a sometimes-idealized fictive past. While Rushdie often represents the disabled body in a very simplified and rather bigoted register, he also to some extent engages with the more complex potentialities of disability to represent the failure of the state. The normalizing perpetration of a Westernized medical apparatus against disabled people becomes the proof and of political disintegration and the dissolution of hope for the emergent nation, whether in Rushdie's fictional version of India or Pakistan. In the third chapter, "Disability and the Realization of Metaphor in Rohinton Mistry's Such a Long Journey and A Fine Balance," I consider Rohinton Mistry's disability representations in relation to his engagement with the tradition of European realism. While Mistry attempts to re-locate the normal type articulated by the European novel, and subverts the conventions of European fiction even as he employs them, he still depends upon a largely uncontested tradition of disability representation. While he re-locates the norm in many demographic respects, he does not fully manage to rescue disability from an ancillary and symbolic role in the fiction. Mistry uses disabled characters symbolically to imagine political upheaval from a disadvantaged and sometimes from a subaltern position, creating in disabled characters their symbolic correlates. In my fourth chapter, "Collective Disability and the Dis-located Norm in Indra Sinha's Animal's People," I consider the ways in which this novel effaces paradigms of normalcy by imagining an environment in which disability is the unifying commonality of community life. While Mistry and Rushdie ultimately write disability as narrative anomaly in the ways described by Mitchell and Snyder, Sinha inverts the paradigm of the anomalous body in his fictional representation of the Bhopal disaster. The failure of the Indian state to protect its citizenry results in collective disability identification, while those able-bodied individuals who might be treated as normal in another fiction become suspicious outsiders. In my fifth chapter, "Unaccommodating Fictions: Disability, Authorship, and the Politics of Failure in Firdaus Kanga's Trying to Grow," I consider the ways in which gay, disabled, Parsi writer Firdaus Kanga represents failure and dependency as character weakness. Kanga validates neoliberal competition by re-imagining the potential for economic and social attainment as properties of mind at the exclusion of the body, and, in so doing, inaugurates an adaption of paradigms of normalcy. Kanga's imaginary valorises the economically competitive individual, but simply removes the constraint of bodily normalcy from this ideal marketable man. For Kanga, economic freedom from parental, societal, or governmental intervention is edifying, as masculinity is achieved through uninhibited competition. In my conclusion, "Good Doctors and Bad Doctors in Rushdie, Mistry, Sinha, and Kanga," I consider the representation of the clinic and of physicians in addition to the representation of disabled people in the novels included in this thesis. Doctors and medical apparatus become symbolic correlates for different political impositions and political strategies, often representing the abuses and failures of government or of public policy. I will frame my discussion within Foucault's concept of the clinic, and will consider the ways in which traditional and Western medicine take on symbolic meaning in these fictions of India.

'Aspects of Modern Scottish Literature and Ecological Thought' argues that the science and philosophy of 'ecology' has had a profound impact on Scottish literature since the mid-nineteenth century to the present day, and relates the work of successive generations of Scottish writers to concurrent developments in ecological thought and the environmental sciences. Chapter One suggests that, while Romantic ways of thinking about the natural world remained influential in nineteenth-century culture, new environmental theories provided fresh ways of perceiving the world, evident from the writings of Scottish mountaineers. Chapter Two explores the confrontation of modernity and wilderness in the fiction and travel writings of Robert Louis Stevenson, and some contemporaries such as John Muir. Chapter Three suggests that ecologically-sensitive local and global concerns, rather than 'national' ones per se, are central to the work of Hugh MacDiarmid, Lewis Grassic Gibbon and others, while Chapter Four demonstrates that post-war 'rural' writers including Nan Shepherd, Neil Gunn, Edwin Muir and George Mackay Brown, often viewed as peripheral, are actually central and of international relevance, and challenges the assumption that there is a fundamental divide between Scottish rural and urban writing. Finally, Chapter Five argues that contemporary writers John Burnside, Kathleen Jamie and Alan Warner are not only reviewing human relationships with nature, but also the role writing has to play in exploring and strengthening that relationship, helping to determine the ecological 'value' of poetry and fiction. By looking at Scottish literature through the lens of ecological thought, and engaging with international discourses of 'Ecocriticism', this thesis provides a fresh perspective in contrast to the dominant critical views of modern Scottish literature, and demonstrates that Scottish writing constitutes a heritage of ecological thought which, in this age of environmental awareness, should be recognised as not only relevant, but vital.

This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.