Thesis (Masters) -- University of Ballarat, 2008. / Submitted in partial fulfillment of the requirements for the degree of Master of Arts (Visual Arts), Arts Academy. Bibliography: leaves 56-58.

The author's Habilitationsschrift (Universität Hamburg, Wintersemester 1977/78). / Includes indexes. Includes bibliographical references (p. [269]-293).

Thesis (Ph. D.)--University of California, San Diego, 2003. / Vita. Includes bibliographical references (leaves 290-300).

This project addresses problems for theorists of writing and composition that arose in the 1990s when capital privatizes the production of internetworked writing and starts operating in the manner of a practicing compositionist. I begin by noting that capital in the 1990s converted internetworked writing machines into fixed capital and started composing its version of the cultural form of the "social" we call the Internet. Thereafter, I argue that composition theorists can best understand the Internet, internetworked writing, and internetworked subjectivities if they regard capital as a formidable compositionist, one capable of making the machinofactured internetworked composition into a privately owned means for organizing the direct production of internetworked social writing and internetworked social being. I engage with this problem by pointing out that capital's private production of the internetworked social subsumes both the interindividual site of sociolinguistic p roduction and the individual internetworked writer. I go on to establish that capital uses its control of end-user license agreements to transform the writer subsumed by capital into a privately controlled intellectual property. I argue that capital subjects internetworked writers to a form of accelerated decrepitude because the internetworked writer's cycle of life gets tied in to cycles of software and hardware upgrade, overwrite, and erasure. And, finally, I demonstrate that capital converts the internetworked population of commodified writers, along with their commodified writing and commodified formal compositions, into allegorical symbols insofar as "every commodity is a symbol, since, in so far as it is value, it is only the material envelope of the human labour spent upon it" (Marx, Capital, vol. 1, chapter 2). On the strength of these positions, I argue that composition theorists should develop a theory of internetworked writing and composition that makes the following assumpt ions: capital has become a compositionist; internetworked compositionists and compositions have become commodities; and internetworked compositions, compositionists, and composition theorists -- for having become commodities -- have entered into an age of allegory -- that is, an age wherein internetworked compositions necessarily make other, allegorical reference to relations of production and exchange that support capital's ongoing production of the composed, commodified, and festishized internetworked "social."

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This thesis explores the notion that we may be able to more fully understand the etiology of serial murder. Specifically, it concludes that the behaviours of serial murderers can be allegorical of unresolved childhood trauma - that in the murderous actions of the adult there can be a depth of subconscious allegorical connection to the repressed (forgotten) and unresolved trauma of the murderer's own childhood. The focus for this hermeneutic inquiry is the intersection that can be constructed between the phenomenon of serial murder and the assertion of the psychoanalyst Alice Miller that every perpetrator of violence was once a child who was (himself or herself) a victim. Alice Miller's concept of Poisonous Pedagogy is explained and critiqued. Her belief that our childhoods tell the stories of our adult behaviours is questioned in light of the similar theoretical ground of Life History, Life Narrative, Psychobiography, and Psychoanalytic Narrative. Miller's contention that there are directly allegorical connections between childhood abuse and adult murderous behaviours is illustrated by her analysis of the life of Jurgen Bartsch. A hermeneutic examination of the biographic records of two other serial murderers (Ted Bundy and John Wayne Gacy) is then undertaken to question the available support for Miller's contentions It is concluded that there is strong support for Miller's assertions regarding the etiology of violence, and that violent adult behaviour, even serial murder, can be allegorical of unresolved childhood trauma. It is suggested that there is a need to extend this area of research through face-to-face engagement with perpetrators of violence. It is recommended that we directly engage serial murderers in personal discourses that will allow further exploration of Miller's notion that serial murderers' behaviours are allegorical echoes of harm that was done to them.

Thesis (Ph.D.)--Ohio University, June, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (doctoral)--Freie Universität Berlin. / Includes bibliographical references (p. [172]-182).

The author's Habilitationsschrift (Universität Hamburg, Wintersemester 1977/78). / Includes indexes. Includes bibliographical references (p. [269]-293).