Thesis (Ph. D.)--University of Sydney, 2001. / Title from PDF title page (viewed on May 9, 2005). Pages 1-6 wanting. Includes bibliographical references (p. [219]-234).

Thesis (MFineArt)--University of Melbourne, VCA Art, The Faculty of the Victorian College of the Arts and Music, 2010. / Typescript. Includes bibliographical references (p. 41-44)

In affluent western societies, digital communication and information technologies increasingly reshape our social relations and identities, the way we perceive our selves and others. Given that we are all communicative and relational bodies in complex webs of power, the media of communication are central to the ways we are socially structured and relate to one another. The purpose of my thesis is to sketch a framework which can account critically for the dangers and benefits of embodying digital technologies while rethinking the gendered body politics of the everyday world. In this thesis, I develop a set of theoretical abstractions through which to think our bodies. With these theories, I paint images of modern body politics and of the micro- and macro-politics of power over life in larger socio-historical processes. M y textual analysis of Tampax's TRoom (http://www.troom.com), a corporate website exemplifies thinking these broader historical and social issues of embodiment. I focus on this website as a discursive frame that calls girls as free and subjugated subjects into digital texts of feminine protection. Thinking girl bodies through and against the 'civilizing' and disciplinary dimension of digital and sanitary technologies provides us with both liberating and confining images of what it may be like to be or become a girl. In the conclusion, I present the image of cyborgs, as hybrids of human organism and technology, to think our selves through everyday life techniques and technologies. Tamponed cyborgs provide realities that reformulate a bodily unity, capture contemporary issues of "girls" embodiment and incorporation of technology, and contribute to an understanding of the possibilities for discursive remappings of girls' social relations and selves. / Arts, Faculty of / Anthropology, Department of / Graduate

Maximal oxygen uptake (VO2max) is the internationally recognized measure of a person's cardiorespiratory fitness. Currently the most accurate way of assessing one's true VO2max involves the use of maximal exercise tests, which require the use of specialized equipment, and are time consuming and costly. The purpose of this study was to determine the validity of the submaximal Siconolfi step test to estimate VO2max. A second purpose was to determine if body fat percentage improved the validity. Thirty-six individuals underwent a maximal treadmill test, in which VO2max was directly measured, and the step test. Results indicate that, although VO2max estimates generated by the Siconolfi step test are highly correlated to true VO2max (r =.887; p<.01), the values consistently underestimated a person's aerobic fitness. It was also determined that body fat percentage did not contribute to the prediction of VO2max.

This dissertation layers trauma studies theory with feminist theories of performance and autobiography to investigate how women's autobiographically based performances of illness experience disrupt and/or reinforce master discourses of medicine, identity, and knowledge. Feminist theories of performance and autobiography share with trauma studies the distrust of traditional frames and mechanisms of representation, and seek to discover new methods of interpreting experiences that lie "outside the realm" of normative discourse. These theories are further linked by their shared focus on agency and identity construction and an understanding of autobiography that emphasizes the limitations of language and memory which allows for aporia, contradiction, and dissonance, and the belief that testimony functions as a politicized performative of truth. Employing these theoretical perspectives, Carr investigates how these performances witness to radical reconfigurations of identity through the transference of trauma into conveyable life narrative -- even when those narratives falls outside the paradigm of traditional storytelling structures. Carr questions how the structures and content of these performances reveal what traumas are inflicted not only through illness, but also through treatment and care within the western medical model. Throughout the study Carr examines the moments when the cognitive structures of trauma are transmitted into performance through a variety of feminist and avant-garde performance techniques. Carr investigates the work of specific performers and contextualizes the performances within popular culture and medical discourse. Performances analyzed include; Robbie McCauley's Sugar, Susan Miller's My Left Breast, Brandyn Barbara Artis's Sister Girl, and Deb Margolin's bringing the fishermen home and Three Seconds in the Key. Carr questions how the formerly or currently ill female body performing in public disrupts notions of fixed and stable identity while examining the myriad identity constructions embedded within illness narrative. Rather than simplistic triumphant stories of individual cure and recovery, these complex expressions of traumatic experience reveal patterns of cultural oppression that keep the ill female body isolated and silenced. This study attempts to intervene in that silence by foregrounding these politicized performances.

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

This thesis contends that technologically-derived resurrections of human bodies and bodily fragments can be viewed as indicative of a 'post-biological' ontology. Drawing from examples in which human bodies are resurrected, both figuratively and actually, this thesis puts forward the term 'post-biological subject' as an ideological framework for conceptualising the reconfiguration of human ontology that results from various medical technologies that 'resurrect' the human body. In this instance, the term 'postbiological', borrowed from Hans Moravec who uses it denote a future in which human being is radically disembodied and resurrected within a digital realm, is used somewhat ironically: where Moravec imagines an afterlife in which the body is discarded as so much 'meat', the post-biological afterlife of the body in this thesis centres around a form of corporeal resurrection. Corpses, living organs and excreta may all be resurrected, some of them in digital format, yet this kind of resurrection departs radically from the disembodied spiritual bliss imagined in many conceptualisations of resurrection. The post-biological subject resists ontological delineation and problematises boundaries defining self and other, living and dead, and human and nonhuman and is fraught with a number of cultural anxieties about its unique ontological status. These concerns are analysed in the context of a number of phenomena, including melancholy, horror, monstrosity and the uncanny, all of which similarly indicate an anxious fixation with human ontology. The purpose of discussing post-biological bodies in relation to phenomena such as melancholy or the uncanny is not to reinstate as ideological frameworks the psychoanalytic models from which these concepts are derived, but rather to use them as starting points for more complex analyses of postbiological ontology. The first and second chapters of this thesis discuss instances in which the human body is posthumously modified, drawing on Gunther von Hagens's Body Worlds exhibition and the Visible Human Project. The Body Worlds plastinates are situated in a liminal and ambiguous ontological space between life and death, and it is argued that their extraordinary ontological status evokes a form of imagined melancholy, wherein the longed-for and lost melancholic object is a complete process of death. In the case of the Visible Human Project, it is argued that the gruesome and highly technologised process of creating the Visible Male, wherein the corpse is effectively dehumanised and iv rendered geometric, evokes the trope of horror, while at the same time being fraught with a nostalgic longing for a pre-technological, anatomically 'authentic' body. The third and fourth chapters of this thesis discuss instances in which the living human body is reconfigured, focusing on immortal cell lines and organ transplantation, and on medical imaging technologies such as computed tomography and magnetic resonance imaging. In the third chapter it is argued that organ transplantation and the creation of immortal cell lines give rise to profound anxieties about ontological contamination through their capacity to render permeable the imagined boundaries defining self, and in this way invoke the monstrous. The fourth chapter interrogates the representation of medical imaging in Don DeLillo?s novel White Noise, arguing that the medical representation of the body functions as a form of double, a digital doppelganger that elicits an uncanny anxiety through its capacity to presage death.

Thesis (doctoral)--Innsbruck, Universität, 2000. / Originally presented as the author's thesis (doctoral - Innsbruck) under the title: Zur ethischen Relevanz der Körperlichkeit in der feministischen Theologie und Philosophie. Includes bibliographical references (p. 248-263).

This study explores the interaction between feminist science fiction and feminist theory, focusing on the body and embodiment. Specifically, it aims to demonstrate that feminist science fiction novels of the 1990s offer an excellent platform for exploring the critical theories of the body put forward by Judith Butler in particular, and other feminist/queer theorists in general. The thesis opens with a brief history of science fiction's depiction of the body and feminist science fiction's subversions and rewritings of this, as well as an overview of Judith Butler's theories relating to the body and embodiment. It then considers a wide range of feminist science fiction novels from the 1990s, focusing on four key areas; bodies materialised outside patriarchal systems in women-only or women-ruled worlds, alien bodies, cyborg bodies and bodies in cyberspace. An in-depth analysis of the selected texts reveals that they have important contributions to make to the consideration of bodies as they develop and expand the issues raised by theorists such as Butler, Elisabeth Grosz, Luce Irigaray and Julia Kristeva.

<p>This study explored the perceptions of black South African women residing in Khayelitsha, Site B, about thinness, HIV./AIDS and body image. Obesity is a major public health problem in developed as well as developing countries. The HIV/AIDS epidemic has been escalating in Sub-Saharan Africa and has been said to be the leading cause of death in South Africa.</p>