Thesis (Ph.D.) -- University of Texas at Arlington, 2008.

Thesis (Ph.D.) -- University of Texas at Arlington, 2008.

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains vii, 175 p. Includes abstract and vita. Advisor: Caroline Clark, College of Education. Includes bibliographical references (p. 160-175).

Thesis (Ph.D.)--Ohio State University, 2003. / Title from OhioLINK abstract page. Abstract only.

Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 16, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Andrew Hoberek. Vita. Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 170-187).

<p> Writing about food and eating food are both environmental acts. The ways in which humans conceive of edible material&mdash;by speaking about it and growing it in the ground&mdash;are reflections of their view of the natural world. </p><p> Ecological fiction like Karen Tei Yamashita&rsquo;s <i>Through the Arc of the Rain Forest</i> connects imagined visions of food with the current reality of our agricultural system in the United States. In both the fictitious narratives and lived experience, synthetic polymers overtake almost every aspect of life, including edible matter. The ubiquitous <i> plasticization</i> of food is one of the main causes of the current global environmental crisis. </p><p> Ultimately, the treatment of food in ecological fiction and in practice reveals our mistreatment of the environment and of our own bodies. Employing a systems-based way of thinking ecologically make visible the yet invisible lines of interconnection among the natural world, edible matter, and living beings.</p>

This first full length reading of the Peruvian Alfredo Bryce Echenique's 1970 novel Un mundo para Julius approached from a deconstructionist viewpoint shows how prior misreadings have led to its being interpreted primarily as a realist work with innovative passages. Through extended close reading, it is shown to be an early Latin American example of postmodern entropic comedy. Parody and the ludic aspects of the novelist's art in the work present a view of reality in which all metanarratives are negated. An analysis is included of deconstructionist theory/strategies showing deconstruction's contribution through non-belief in the primary text to recognition of the viability of translation studies as an academic discipline. The first translation into English of Bryce's novel accompanies the dissertation and is drawn upon extensively for interpretation of passages that have previously caused interpretative problems. The prominence of the comic in postmodern literature is discussed, along with the nature and provoking of laughter. Explanations are suggested for Bryce's highly comic novel not being read as such; rather, in prior criticism the tragic has been foregrounded at the expense of the comic elements. It is suggested that Bryce's and other Latin American novels of the 1960s and early 1970s be viewed as marking a transition from modernism to postmodernism, putting Latin American literature in line with the novelistic mainstream worldwide. The boom, far from being a new move in Latin American literature of the 1960s, is seen as belated critical recognition of a modernism which dates back at least to the 1920s, with sporadic manifestations of the postmodern spirit existing there from the same time. Since the nature of deconstruction is to affirm that no definite conclusions or final readings may be drawn, this dissertation is put forth in the spirit that it be conducive to refutation and to foster further readings of the work of Bryce and neglected modernist and postmodernist Latin American writers whose work should by now be seen as part of world literature and not as a local or exotic variant.

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This project investigates the employment of new media technologies toward anarchistic revolutionary purposes in three postmodern texts: Williams S. Burroughs’s Nova Trilogy, Thomas Pynchon’s Vineland, and Grant Morrison’s The Invisibles. Spanning over three decades, these texts examine the continuous need for anarchist organizations to develop new and generative practices of resistant tactics against authoritarian hegemonic forces in order to remain relevant. This thesis explores how media technologies are used by these anarchist groups in order to break both the body and technology out of instrumentalizing purposes by apparatuses of control. In developing new embodiments that exist beyond the categorizations of power and authority, these authors demonstrate ways in which anarchist organizations are able to subvert the increasingly networked machinations of control and create potential embodied sites of resistance outside the realm of domination.