Fan studies has examined how fan fiction resists heteronormativity by challenging depictions of gender and sexuality, but to date, this inquiry has focused disproportionately on slash, to the exclusion of other genres of fan fiction. Additionally, scholars disagree about slash’s subversive effects by setting up a seemingly stable dichotomy—subversive vs. misogynistic—where one does not necessarily exist. In this project, I examine multiple genres of fan fiction—namely, slash arising from bromances; femslash from female friendships; incestuous fan fiction from dysfunctional familial relationships; and polyamorous fics. I chose fics from four televisions shows—NBC’s Revolution, MTV’s Teen Wolf, the CW’s The Vampire Diaries, and its spin-off, The Originals—and closely read them to identify patterns in their representations of gender and sexuality and how they connect to the source texts. Taking a dialogic “both/and” approach, I argue that critics claiming that slash is often not subversive are right to a point, but miss a key potential of fan fiction: its ability to evoke possibility—for new endings, relationships, and sexualities. Heteronormativity often asserts itself in endings; queerness plays in the middles and margins. So, too, does fan fiction. While some individual fics may reinforce elements of heteronormativity, many also actively question and transgress norms of gender, sexuality and love. Further, they embrace fluidity and possibility, and engage with the source texts and larger culture around them in a way that provides a subversive interpretation of both and offers insight into the function of the constructed nature of institutionalized heterosexuality.

Digital media are moldable spaces where an image is simultaneously a thought. This instance and flexibility enables digital existences to be malleable, transformative, situational, and unstable. They are plastic images. Video games generate digital bodies that are a fusion of subjectivities and cybernetic simulations, in a perceivable and ambiguous process. Such bodies are extensions of ourselves, being girlish, imperfect, unfinished and happening—digesting and emitting clusters of feelings, regardless of our biological gender and age. The performative experience of play is progressively departing from spectacle, gambling and competition, and increasingly shifting towards an emotional journey of alternate realities, spreading subjectivities into the visible and invisible areas of screens. Such experience, and our plastic identities that reside within, marks a collaborative attempt between designers and audience to establish a new protocol of liquid perspectives functioning within and beyond digital space. Digital plasticity itself is a practice, as well as an inextricable process of understanding and deploying identities in the contemporary media-saturated pluralistic environment.

This thesis investigates women’s geographical movement in medieval England from the perspective of mobility and freedom. It uses pilgrimage accounts from medieval miracle story collections and to gather information about individual travel patterns. The study uses GIS to analyze gendered mobility patterns, and to investigate whether there were noticeable differences in the distance which men and women traveled and the geographical area of the country they originated. It also analyzes the nearness of men’s and women’s respective origin towns to alternative pilgrimage locations, as a means of examining the factors determining gendered travel mobility. The study finds that women’s travel distances were less than men’s, especially in the later medieval period, but that they were in fact more likely than men to come from areas proximate to alternative pilgrimage sites. This suggests the existence of higher mobility capacity for women living in areas with greater contact with other travelers.

This dissertation, G.A.M.E., refashions James McNeill Whistler’s book, The Gentle Art of Making Enemies, into a hypermediated facsimile text and archive. By remediating the text, the socio-historical context of the Victorian time period in which Whistler lived is reestablished, making his book more accessible to twenty-first century audiences. The era studied in this dissertation includes the expansion of the idea of celebrity, the power of the press, and the concept of art for art’s sake from 1863 through 1892. In order to showcase these concepts, archival materials, such as personal correspondence, newspaper clippings, and published pamphlets, from this period were collected, digitized, and organized into a digital archive and edition. In 1890, Whistler, an American-born, British-based artist known for his arguments with the critics of his day, published The Gentle Art, a collection of previously printed letters and pamphlets. Throughout the book, Whistler refers to people, publications, and events relevant to himself and his work. Persons unfamiliar with those references may find themselves frustrated while reading due to the lost social and historical context referred to on the pages, because those references remain difficult to access. G.A.M.E., makes Whistler’s The Gentle Art more accessible by realizing the proto- hypertextual nature of his book. Like many modern-day websites, The Gentle Art contains numerous references to references – a virtual daisy chain of associations Whistler made to and with his work encircling his artistic philosophy, art for art’s sake. From 1890, when the book was published, until now, Whistler’s “links” have remained dormant on the page. G.A.M.E. activates those links and reanimates The Gentle Art via a hypermediated facsimile text for twenty-first century readers. The Gentle Art of Making Enemies is a window into the late Victorian art world. G.A.M.E. houses and archives this contextual material in order to resurrect The Gentle Art and reconcile it with the man who created it.

Book reviewing has a fraught history in the United States. Reviewers have long been accused of not being analytical enough. It should be no wonder then with the emergence of social media that online book reviewing has become increasingly popular. Online reviewers, especially book bloggers, are no literary gatekeepers in their own right, shaping the tastes of readers across the world. Book blogs in particular pay special attention to titles which have long been derided by institutions such as libraries, academia, publishers, and bookstores. These literary gatekeepers typically ignore romance, fantasy, mystery, science fiction, young adult fiction, comic books, and certain kinds of children’s literature, calling it lowbrow. Book bloggers, though, demonstrate that such genre fiction is much more than escapist, mixing enjoyment with the literary. In addition, book blogs create space for women who have been systematically excluded from reviewing. The primary way that they do this is by subverting the male gendered language and structure of reviews.

The The’wá:lí Community Digital Mapping Project is a collaborative, scholarly project for which the final product is a digital, layered map of the reserve and traditional lands of the Stó:lō (Xwélmexw) community of The’wá:lí (Soowahlie First Nation). The map, containing over 110 sites and stretching from Bellingham Bay, Washington in the west to Chilliwack Lake, B.C. in the east, is hyperlinked with audio, visual and textual media that tell stories about places of importance to this community. The map is intended to give voice to many different senses of and claims to place, and their intersections, in the The’wá:lí environment, while also exploring the histories of how these places and their meanings have changed over time. It expresses many, often conflicting, ways of understanding the land and waterways in this environment, and presents an alternative to the popular, colonial narrative of the settlement of the Fraser Valley. Thus, the map, intended ultimately for The’wá:lí’s use, is also meant to engage a local, non-Indigenous audience, challenging them to rethink their perceptions about where they live and about the peoples with whom they share their histories and land. The essay that follows is a discussion of the relationship-building, research, writing and map-building processes that have produced the The’wá:lí Community Digital Map. / Graduate / 2017-08-21 / 0740 / 0509 / 0366 / sabinatrimble@gmail.com

Cette thèse se propose d’examiner le concept de « livre augmenté » à partir d’une posture théorique articulée à une pratique de médiateur et d’éditeur multimédia exercée à la Bibliothèque nationale de France (BnF) pendant une vingtaine d’années. Notre recherche pose la question de la reconfiguration du livre dans l’espace numérique à travers les notions de remédiatisation et d’éditorialisation, c’est-à-dire du point de vue de l’évolution des formes médiatiques et des pratiques éditoriales. La conception de deux prototypes — le livre-application Candide réalisé à la BnF et le livre-web Odyssée réalisé à l’Université Paris-VIII — nous a permis d’interroger les frontières du livre et de formuler les concepts d’enrichissement et d’augmentation au regard de la clôture du livre. Nous défendons la thèse d’un objet-livre numérique nécessairement clos, enrichi par l’éditeur et le lecteur, augmenté par des extensions virtuelles sur le web ou en applications. L’expérience de lecture et la transmission des œuvres s’y trouvent renouvelées par des pratiques intermédiatiques et une nouvelle sensorialité des supports numériques. / This thesis proposes to examine the concept of "enhanced book" from a theoretical posture articulated to a practice of mediator and multimedia editor exercised at the French National Library (BnF) during twenty years. Our research raises the question of the reconfiguration of the book in the digital environment through the notions of remediation and editorialization, that is to say, from the point of view of the media forms and editorial practices evolution. The design of two prototypes — the Candide app-book carried out at the BnF and the Odyssey web-book conducted at the University of Paris VIII — enabled us to examine the boundaries of the book and formulate the concepts of enrichment and enhancement regarding to the enclosure of the book. We defend the thesis of a digital object-book necessarily closed, enriched by the editor and the reader, enhanced by virtual extensions on the web or in applications. The experience of reading and transmitting the works are renewed by intermediate practices and a new sensoriality of digital media.

Neste trabalho apresenta-se um estudo lológico conduzido sobre um manuscrito do século XVII contido no COD. 13282 da Biblioteca Nacional de Portugal o Sumario de todas as cousas succedidas em Berberia desde o tempo que começou a reinar o Xarife Mulei Mahamet no anno de 1573 te o m do anno de sua morte 1578 no dia da batalha d\'Alcaçer Quibir, em que se perdeo Dom Sebastiam Rey de Portugal. Além do códice em questão, o texto é registrado em outro manuscrito o Ms. No 41, Serie 2422 da Biblioteca Nacional de Espanha, editado em 1987 por Francisco Loureiro com o título Crónica do Xarife Mulei Mahamet e del-Rey D. Sebastião (1573-1578). O tratamento reservado ao texto por Loureiro a preferência por uma edição modernizada, não precedida por outra que respeitasse a língua original, unido ao fato de o estudioso desconhecer o manuscrito da BNP dene um problema. O que se esconde por trás da proposta de Loureiro é a representação de uma questão maior, que abarca difusamente as práticas de publicação dos relatos e crônicas sobre as relações luso-marroquinas. Por isso, fez-se essencial repassar as principais perspectivas metodológicas concernentes às edições deste conjunto documental. A partir de tal reexão, o presente trabalho assume como tarefa disponibilizar ao público acadêmico uma fonte para a História da Língua em uma forma adequada, propondo uma descrição codicológica do manuscrito da BNP juntamente com sua edição diplomática. A metodologia adotada reete principalmente a proposta teórica de Ivo Castro e Maria Ana Ramos (1986), que sugerem basear as escolhas editorias na distinção entre estratégia e táticas de transcrição, introduzindo o conceito de campo bibliográco. / In this work we report on a philological study of a 17th century manuscript included in COD. 13282 of the National Library of Portugal the Sumario de todas as cousas succedidas em Berberia desde o tempo que começou a reinar o Xarife Mulei Mahamet no anno de 1573 te o m do anno de sua morte 1578 no dia da batalha d\'Alcaçer Quibir, em que se perdeo Dom Sebastiam Rey de Portugal. The text is also contained in the Ms. No 41 Serie 2422 of the National Library of Spain, published in 1987 by Francisco Loureiro, who entitled it Crónica do Xarife Mulei Mahamet e del-Rey D. Sebastião (1573-1578). However, Loureiro\'s editorial choices (e.g. his preference for a modernized edition, not preceded by another that would respect the original language of the text, besides the fact he was not aware of the existence of the BNP manuscript) represent a problem. Moreover, Loureiro\'s proposal takes back to a broader issue, which regards the publication practices of the chronicles and historical accounts about Portuguese occupation of Barbary. Therefore, we examined the main methodologies used for the publication of these documents. From these reections, we assumed the task of making a linguistic source avaliable to the academic audience, by proposing a codicological description of the BNP manuscript and its diplomatic edition. The methodology adopted refers mainly to the theoretical proposal of Ivo Castro and Maria Ana Ramos (1986), who suggest to establish the editorial criteria upon the distinction between transcription strategy and tactics and introduce the concept of bibliographical eld.

La médiatisation des activités boursières suscite un regain d’intérêt en sciences humaines et sociales. Cette thèse aborde ce sujet sous l’angle de sa formation historique : nous cherchons à décrire le processus de codification d’une écriture journalistique. En France, la chronique boursière a une date de naissance. Le 29 janvier 1838, le banquier et idéologue saint-simonien Isaac Pereire publie une « Revue de la Bourse de Paris » dans le Journal des débats. Vingt ans plus tard, chaque grand quotidien généraliste emploie un chroniqueur boursier ou bulletinier, qui se rend quotidiennement aux séances du Palais Brongniart. Ainsi se trouvent posés les termes d’une acceptabilité : la chronique boursière se dote graduellement des traits d’une rubrique journalistique standardisée. Le sous-titre de notre thèse en énonce les trois objectifs principaux. Il est successivement question de situer l’avènement du journalisme boursier dans le cadre d’une métamorphose générale des cultures textuelles, de décrire le développement d’une écriture journalistique de la donnée et enfin, de rendre compte de l’état des archives numérisées, qui nous parviennent sous la forme d’un journalisme en données. Nous avons souhaité tirer parti de la numérisation massive de la presse ancienne pour constituer des corpus élargis. À partir de notre application Pyllica, nous avons pu récupérer les chroniques boursières hebdomadaires du Journal des débats parues de 1838 à 1870. Le traitement automatisé des données textuelles (ou text mining) permet de situer avec précision les évolutions structurelles de procédés stylistiques. Cette thèse se présente ainsi comme une contribution à l’étude informatisée des poétiques journalistiques. / The mediatization of stock exchange activities has stirred a renewed interest in social sciences. This doctoral thesis tackles this topic through its historical development : it aims to describe the codification of a journalistic writing. In France, the stock exchange section has its Anno Dominici : on the 29th January 1838, the businessman and saint-simonian thinker Isaac Pereire launches a « Revue de la Bourse de Paris » in the Journal des débats. Twenty years later, each significant French daily has recruited a stock exchange chronicler. The main purpose of our work consist in identifying the factors that brought a shapeless text into a standard journalistic section. The subtitle of this thesis addresses three subsequent ambitions : to clarify the general setting that has allowed the creation of financial journalism, to analyze the establishment of a vintage form of “data journalism” and, then, to indicate that this older form of “data journalism” has been read as a set of data. The massive digitization of old newspapers has created the opportunity to study wider corpora. We developed an application, Pyllica, to scrap the collections of the French National Library and were able to store in a database all the weekly stock exchange sections published in the Journal des Débats from 1838 to 1870. The use of text mining techniques has allowed to determine precisely the evolution of stylistic and editorial motives. This thesis thus appears as a general contribution to the digital study of newspaper poetics.

Cette thèse explore les ventes aux enchères publiques parisiennes, en analysant le lancement de nouveaux marchés artistiques entre les années 1830 et 1939. Pour cela, une base de données de 2 126 catalogues a été constituée, soit 286 076 œuvres intégralement retranscrites, puis ce corpus a été associé aux procès-verbaux des ventes correspondantes, conservés aux archives de Paris. Ces documents fournissent des informations sur les prix d’adjudication des objets, les vendeurs et les adjudicataires, et permettent ainsi de retracer précisément la provenance des œuvres, tout en menant une analyse quantitative du marché et des collections. Les procès-verbaux ont été complétés par les archives des commissaires-priseurs parisiens, en particulier leurs quitus ou relevés de comptes individuels.L’ensemble de ces sources a été pris en compte pour identifier ces « nouveaux » marchés artistiques et les acteurs qui firent le pari des enchères, en s’interrogeant sur les dispositifs de mise en valeur qui permirent d’assurer – ou non – le succès de leur lancement dans l’arène des ventes publiques. Cette interrogation touche l’histoire de l’art de façon très intime puisqu’elle analyse, de façon diachronique, le regard que les prescripteurs et les collectionneurs portèrent sur certains objets, les érigeant ou non au rang d’« œuvres » d’art. De façon corollaire, il s’agira d’étudier les raisons du succès ou de l’échec de tel ou tel type d’objets, ou de certains artistes plutôt que d’autres. Pour répondre à ces questions, une méthodologie pluridisciplinaire a été développée en histoire de l’art, utilisant les outils de visualisation propres aux humanités numériques et empruntant des techniques et des concepts à l’économie et à la sociologie. / This research investigates the Parisian auction sales from the 1830 until the interwar period, with a particular focus on the launching of new artistic markets. To do so, 2,126 auction catalogues were collected and transcribed, then matched with the minutes of the sales, curated at the archives de Paris. This data gathering led to global yet accurate set of 286 076 artworks – paintings, drawings, sculptures, antiques, Asian, Oriental, pre-Columbian and “primitive” artefacts – mentioning the description of the works, their hammer prices and the identity of both sellers and purchasers. In addition of this corpus, the auctioneers’ archives were analyzed, with a particular focus on their individual quitus or account statements. Reconsidering the history of taste, these sources allow to identify the new artefacts which were sold at auction, the players who bet on these novelties, their incentives, and the market mechanisms they used in order to promote them – with success or not. A transdisciplinary methodology, based on art history, economics, sociology and digital humanities, enables to answer these issues.