In this thesis I argue that the early conceptualization of American identity was achieved through the dehumanization of blacks at slave auctions, and that the subjugation of this group informed more areas of the collective, normalized, American identity than just race. I contend that blacks were deprived of qualities that are considered inherently human (and American) and reduced to the facts of their bodies. To do this, I analyze newspaper advertisements for slave auctions, abolitionist editorials, and postings for runaway slaves. I also look at primary accounts of slave auctions that speak to the performative nature of the setting. I analyze the former set of texts to see how black bodies, in the context of their sale at auction, are discursively constructed in print media. In regard to the latter set of texts I discuss how slaves auctions mimicked theatrical settings, and how this staging and spectacularization of black bodies influenced the creation of a collective national identity. I argue that the emphasis on the slave’s body in newspapers and the spectacle of it on the auction block function to dehumanize blacks in such a significant manner that they become distinct from their free, white counterparts in ways that go beyond racial difference. This thesis expands on scholarship that considers the influence the institution of slavery had the normalizing of whiteness in America by positing that characteristics fundamental to American identity, such as individualism and creativity, were also established through the dehumanization of the blacks.

This thesis is a textual analysis and discourse analysis that examines the social and programmatic construction of the videogame Minecraft by interrogating how code, design, and fan modifications limit and facilitate play in and outside the game. This thesis will argue that the constitution of gender--and subjectivity, more broadly--is reflected in the language, space, and bodies that shape the boundaries of the virtual world. What makes a player "cyborgian" when they embody a virtual avatar may have less to do the abstraction of agency into a computerized self and more to do with the way in which humans create and maintain conduits to exist between worlds that are both digital and material.

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Image of religion in Bioshock: Infinite computer game Master's thesis - Bc.Jiří Kothera Few mainstream computer games have caused such controversy as Bioshock: Infinite (Irrational Games, 2013). The third installment of the Bioshock series is set in the fictional city of Columbia in an alternate history of early twentieth century, which at first glance appears to be a perfect social utopia. After a while, however, the narrative begins to uncover the multilayered problems of society oppressed by a fraction of the white elite and religious fanaticism embodied by the character of Z.H.Comstock, the charismatic leader of the whole community. The popularity of the game and its stable position at the top of the various popularity charts are not only due to the attractive audiovisual processing and complex game mechanics. It is primarily a story that uses (for a mass audience product) an unprecedented amount of religious symbolism - especially Christian, historical references, polysemic story elements and the story based on the concepts of Frontier myth and American exceptionalism. This work deals with the analysis of narrative and religious-social phenomena appearing in the game, especially those that are directly related to the religious and nationalistic topics in the United States.