This essay is a study of three fiction novels by the Swedish author Amanda Svensson: Hey Dolly (2008), Välkommen till den här världen (2011) and Allt det där jag sa till dig var sant (2014). A unified theme for the novels is identity making where the three young female protagonists try different identities and explore who they are. The aim of this study is therefore to investigate in which ways the protagonists explore their identities and how this is expressed. Gender theory and genre theory are used when analyzing the characters in the novels. In the analysis it becomes clear that the protagonists explore their identities in different ways. The three young women are aware of that they live in a society in which male and female gender stereotypes exist. In some cases they adjust to the gender roles but in many cases they also observe the gender stereotypes and problematize them. Therefore the protagonists sometimes differ from how a stereotype woman is portrayed.

"March 2002". / Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005. / Bibliography: p. 324-344. / Introduction: framing the texts -- Subversive voices -- Formulating a theoretical position -- Performance: a complete process -- On second thoughts: rewriting contemporary culture -- Performing On second thoghts -- Dialogic voices: Amanda Stewart and # -- Performing # -- Voices of desire: Ania Walwicz and Soft -- Performing Soft -- Marginal voices: Hazel Smith and Poet without language -- Performing Poet without language -- Conclusions: interpreting subversive voices. / This study considers the text and performance of four Australian experimental poets, Chris Mann, Amanda Stewart, Ania Walwicz and Hazel Smith. My aim is to demonstrate how the genre of experimental poetry uses language and performance in such a way as to rewrite existing dominant discourses. The challenge as an analyst is to find ways into such reflexive texts that use intertextual resources of critical theory as their subject matter. The perspective employed here engages with the theories posited by the texts and allows for a theoretical position removed from the structure and theories informing them. -- The study is organised in two parts. First, I consider the subversiveness of the genre drawing on Raymond Williams' notion of the emergent, followed by a discussion of important predecessors in the field of experimentation. I then outline the particular method of enquiry and theoretical framework used here to analyse the meaning potential of such works. Systemic Functional Grammar and Multimodal Discourse theory are discussed and their particular application in this study. The second part of the thesis applies these theories to the experimental works. -- I begin explaining my theoretical position by considering the weakness of the commonly used theories of Kristeva's 'semiotic' to analyse such works. I found Systemic Functional Grammar, as developed by Michael Halliday and then Terry Threadgold, to be a useful tool for elucidating the meaning potential behind the fractured grammars in the texts. It also provided a way of conceptualising enunciative positions and the way intertextual resources might be rewritten. From within this linguistic framework I was able to discern subversive messages from the intertwined theories ranging across the texts from Marxism, structuralism, psychoanalysis, feminism and multiculturalism. -- The performance posed another challenge as the improvised spoken texts, uniquely performed by these artists, create a subversive listening position for the audience, which engages with both the words and sounds for their sonic and semantic qualities. I consider many ways of addressing the role and behaviour of the performer and listener as well as the performance as a creative process, emerging from the two. I engage the model put forward by Kress and Van Leeuwen for analysis of multimodal texts which provides a functional approach to meaning potential in the performance and its varying layers. Within this model, I found prosody most useful for its ability to notate intonation, key, disjuncture and stress, exposing the dialogic voices and the relationship between semantics and sound in the performances. This form of communication is equivalent to the indexical entailment of sound and music which forms the basis for communication between performers, and between performer and audience. The dialogic situation is enhanced by both prosody and indexical entailment providing possible meanings. I use some traditional musicological analysis but my aim is to move away from such formalistic descriptions to consider culturally inscribed sounds and their interpretation using a functional model. -- Throughout, the complexity of experimental performance is evident but the theoretical frame used here might be applied to other works of this nature as a means of further understanding the semiotic web in subversive texts. / Mode of access: World Wide Web. / 344 p., music

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura

<p>A search for a diffuse flux of cosmic neutrinos with energies in excess of 10¹⁴ eV was performed using two years of AMANDA-II data, collected in 2003 and 2004. A 20% evenly distributed sub-sample of experimental data was used to verify the detector description and the analysis cuts. A very good agreement between this 20% sample and the background simulations was observed. The analysis was optimised for discovery, to a relatively low price in limit setting power. The background estimate for the livetime of the examined 80% sample is 0.035 ± 68% events with an additional 41% systematical uncertainty.</p><p>The total neutrino flux needed for a 5σ discovery to be made with 50% probability was estimated to 3.4 ∙ 10^-7 <i>E</i>^-2 GeV s^-1 sr^-1 cm^-2 equally distributed over the three flavours, taking statistical and systematic uncertainties in the background expectation and the signal efficiency into account. No experimental events survived the final discriminator cut. Hence, no ultra-high energy neutrino candidates were found in the examined sample. A 90% upper limit is placed on the total ultra-high energy neutrino flux at 2.8 ∙ 10^-7 <i>E</i>^-2 GeV s^-1 sr^-1cm^-2, taking both systematical and statistical uncertainties into account. The energy range in which 90% of the simulated <i>E</i>^-2signal is contained is 2.94 ∙ 10¹⁴ eV to 1.54 ∙ 10¹⁸eV (central interval), assuming an equal distribution over the neutrino flavours at the Earth. The final acceptance is distributed as 48% electron neutrinos, 27% muon neutrinos, and 25% tau neutrinos.</p><p>A set of models for the production of neutrinos in active galactic nuclei that predict spectra deviating from <i>E</i>^-2 was excluded.</p>

A search for a diffuse flux of cosmic neutrinos with energies in excess of 1014 eV was performed using two years of AMANDA-II data, collected in 2003 and 2004. A 20% evenly distributed sub-sample of experimental data was used to verify the detector description and the analysis cuts. A very good agreement between this 20% sample and the background simulations was observed. The analysis was optimised for discovery, to a relatively low price in limit setting power. The background estimate for the livetime of the examined 80% sample is 0.035 ± 68% events with an additional 41% systematical uncertainty. The total neutrino flux needed for a 5σ discovery to be made with 50% probability was estimated to 3.4 ∙ 10-7 E-2 GeV s-1 sr-1 cm-2 equally distributed over the three flavours, taking statistical and systematic uncertainties in the background expectation and the signal efficiency into account. No experimental events survived the final discriminator cut. Hence, no ultra-high energy neutrino candidates were found in the examined sample. A 90% upper limit is placed on the total ultra-high energy neutrino flux at 2.8 ∙ 10-7 E-2 GeV s-1 sr-1 cm-2, taking both systematical and statistical uncertainties into account. The energy range in which 90% of the simulated E-2 signal is contained is 2.94 ∙ 1014 eV to 1.54 ∙ 1018 eV (central interval), assuming an equal distribution over the neutrino flavours at the Earth. The final acceptance is distributed as 48% electron neutrinos, 27% muon neutrinos, and 25% tau neutrinos. A set of models for the production of neutrinos in active galactic nuclei that predict spectra deviating from E-2 was excluded.

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The focus of this thesis is on cultural translation as a means of understanding the relationship between sociocultural identity with respect to bourgeois white female sexuality and interpretations by news journalists, writers and filmmakers. The thesis brings translation scholar Lawrence Venuti’s description of foreign and domestic texts (2008) into conversation with Catherine Cole’s analysis of journalists as active interpreters of newsworthy events (2010) to support my view of the media as a translator of sociocultural identity. The thesis outlines the construction of bourgeois white femininity within the U.S. imaginary and a more detailed account of its direct impact upon journalistic production and reception. I accomplish this by analyzing the media treatment of two white females accused of murder whose criminal cases were brought into the public eye: Aileen Wuornos and Amanda Knox. I examine sociocultural expectations within the United States, as reflected in journalistic accounts, regarding appropriate ‘performances’ of bourgeois white femininity. Referring to the construction of bourgeois white femininity as a performative framework, I track its fabrication in media headlines, televised reports and articles of the Wuornos and Knox cases from sources like The New Yorker, Time, CNN and Fox News. My aim is to discover the different ideations, or translations, of this performative framework in written journalism and consider the repercussions of deviating from social expectations of bourgeois white womanhood. I then examine documentaries and televised interviews of Wuornos and Knox (from the Discovery Channel, ABC News, Netflix and other sources) where the same performative framework appears within their cinematic depictions. My findings regarding the journalistic translations of bourgeois white femininity reveal a particular form of weaponization of the news media in U.S. society with respect to white women. I extend my discussion to a review of the 2016 presidential election and Democratic party candidate Hillary Rodham Clinton’s own vexing position within the news media as a bourgeois white woman who, throughout the campaign, was accused of criminal activity. By scrutinizing the proliferation of this particular performative framework by the media, I press for more reflective and unbiased journalistic coverage of women in the future.

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Literary descriptions of shifting from and transgressing assigned sex were common in 19th Century Sweden. This thesis forms a contribution to the larger project of writing a history of Swedish trans literature, and develops new interpretations of certain works of fiction by applying a transgender studies perspective. Through trans readings the thesis also examines what potential and possible implications literature might have for trans people beyond the literary realm. Trans readings are able to supplement earlier research by providing a nuanced understanding of the production of trans- and cisgenders. The theoretical perspectives used in the thesis are drawn for the most part from queer and transgender studies. The thesis adopts a conceptual understanding of trans as a movement, and aims to widen the scope of what may be considered relevant to a history of trans literature. The primary objects of analysis are the 1833 autobiography of widely known thief and cross-dresser Lasse-Maja (Lars Molin), C.J.L. Almqvist’s Drottningens juvelsmycke (1834), and Aurora Ljungstedt’s Moderna typer (1874). In closing, two texts from the fin-de-siècle are also closely read; Amanda Kerfstedt’s Reflexer (1901) and Frida Stéenhoff’s “Ett sällsamt öde” (1911). A wide range of other fiction is additionally studied in order to establish a contextual pattern of trans literary traditions. The thesis demonstrates that trans permeates all kinds of fiction, and that the characters analysed construct both trans and cis gender categories. It concludes that trans is done in a variety of ways, and with a variety of meanings in 19th and early 20th century literature. Trans is often depicted as a positive, fruitful and desirable act, through trans characters who are both themselves subjects of erotic desire and who become symbols of liberty and emancipation. Other trans figures however are often counter images of what are considered to be correct sexes, and are depicted as threatening and/or ridiculous. Both these negative and positive representations of trans affirm the gender binary. At the same time, they also break and destabilize that same binary, and the trans characters in the study both can and cannot be interpreted as transgressing cis- and heteronormativity respectively.