A collection of poems exploring ghosted ancestors, folktales, the queer black body, gender, and magical realism.

La mission Cassini fourmille d'outils de haute précision pour l'exploration de Saturne, de ses satellites et de son système d'anneaux. L'instrument UVIS permet d'analyser la structure des anneaux par l'observation d'occultations stellaires. Il dispose pour cela de la meilleure résolution spatiale disponible (de l'ordre de la dizaine de mètres, variable avec la géométrie de l'occultation et la navigation de la sonde), ce qui permet de mieux comprendre la physique inhérente aux anneaux. En particulier, nous avons été à même d'observer, disséquer, modéliser et valider les interactions entre les anneaux et les satellites. Nous nous sommes intéressés dans un premier temps à des structures larges de quelques kilomètres, créées par des résonances avec des satellites extérieurs aux anneaux principaux. L'observation de telles structures dans l'anneau C, ainsi que l'association de certaines avec des résonances nous a permis de contraindre les paramètres physiques des anneaux. Cependant, la plupart des structures observées ne peuvent être expliquées par de simples résonances avec des satellites extérieurs, même si nous ne connaissons pas les autres mécanismes pouvant générer de telles signatures. Nous avons identifié 4 ondes de densité associées aux résonances de Linblad interne 4:1 avec Mimas, 2:1 avec Atlas, 6:2 avec Mimas ou 4:2 avec Pandore, ainsi qu'une onde verticale nodale, la Titan -1:0. En modélisant la relation de dispersion de ces ondes, nous avons pu déterminer la densité de masse surfacique (entre $0.22 ~(\pm 0.03)~$ to $1.42 ~(\pm 0.21)~\mathrm{g~cm^{-2}}$) et les coefficients d'extinction massique (entre $0.13~(\pm 0.03)$ et $0.28~(\pm 0.06)~\mathrm{cm^{2}~g^{-1}}$). Ces valeurs, plus grandes que dans l'anneau A et la Division de Cassini où Colwell et al., 2009 avait déterminé des coefficients d'extinction massiques de 0.01 -- 0.02 $\mathrm{cm^{2}~g^{-1}}$ dans l'anneau C et 0.07 -- 0.12 $\mathrm{cm^{2}~g^{-1}}$ dans la Division de Cassini, indiqueraient des particules plus petites dans l'anneau C. On peut alors emettre l'hypothèse que soit les particules des différents anneaux ont différentes origines, soit les présentes distributions ne sont pas primordiales et ont subi des évolutions différentes. La masse de l'anneau C est estimée équivalente à celle d'un satellite d'une trentaine de kilomètres de rayon, avec une densité proche de celle de Pan ou Atlas tandis que son épaisseur serait comprise entre 2 et 6 mètres. En appliquant une analyse similaire aux autres anneaux principaux, nous avons pu également déterminer leurs masses, en accord avec les précédentes études. L'étude des sillages de satellites tels que Pan ou Daphnis nous a permis d'invalider la presence de lune suffisament grosse dans la division de Huygens pour créer des sillages dans l'annelet Huygens. Cependant, nous avons observé une population de trous nets dans l'anneau C et la Division de Cassini. Nous interprétons ces "ghosts" comme les zones de vide créées autour de petites lunes au sein des anneaux (ces signatures, en forme de "S", sont appelées "propellers"). Plus petits que les propellers observés dans l'anneau A, ceux-là seraient larges de quelques dizaines de centimètres à quelques dizaines de mètres. Au moyen de simulations numériques et d'algorithmes de Monte-Carlo, nous avons montré que ces propellers définissent une seconde population de particules, ne pouvant être interprétée comme une prolongation des distributions de particules proposées par Zebker et al., 1985: nous estimons des indices de lois de puissance pour ces distributions cumulatives de taille de particules autour de 0.8 pour la Division de Cassini et 0.6 pour l'anneau C (au lieu de respectivmeent 1.75 et 2.1). La question de l'âge et de la durée de vie de ces propellers rejoint celle de leur formation: ont-ils été formés par accrétion ou ont-ils migré dans les anneaux après fragmentation d'un corps plus massif? Espérons que la prolongation de la mission Cassini pourra apporter des élements pour trancher sur l'origine des ces lunes.

Using the literary device of a fictional interview between the artist and a sympathetic intellectual, I explore concepts relating to subjectivity, pedagogy, memory, “Southernness,” whiteness, the deceptive nature of images, social justice, and 20th century art as they relate to a contemporary artistic practice.

This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was at two o’clock in the afternoon.

This dissertation proposes that West Indian contemporary male writers develop literary authority, or a voice that represents the nation, via a process of individuation. This process enables the contemporary male writer to unite the disparities of the matriarchal and patriarchal authorial traditions that inform his development of a distinctive creative identity. I outline three stages of authorial individuation that are inspired by Jung’s theory of individuation. The first is the contemporary male writer’s return to his nationalist forebears’ tradition to dissolve his persona, or identification with patriarchal authority; Fred D’Aguiar’s “The Last Essay About Slavery” and Feeding the Ghosts illustrate this stage. The second is his reconciliation of matriarchal (present) and patriarchal (past) traditions of literary authority via his encounter with his forebears’ feminized, raced shadow; Robert Antoni’s Blessed Is the Fruit evidences this process. The third is the contemporary male writer’s renunciation of authority defined by masculinity, which emerges as his incorporation of the anima, or unconscious feminine; Marlon James’s The Book of Night Women exemplifies this final phase of his individuation. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2013.

科学研究費補助金 研究種目:基盤研究(C) 課題番号:17520162 研究代表者:松岡 光治 研究期間:2005-2007年度

This study situates the literary works of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein in a genealogy of American modernist war writing by women that disrupts and revises patriarchal war narrative. These authors take ownership of war and war-related trauma as subjects for women writers. Combining the theories of Dominick LaCapra, Judith Butler, Elaine Scarry, and Elizabeth Grosz with close readings of primary texts, I offer feminist analyses that account for trauma and real-world materiality in literary representations of female embodiment in wartime. This framework enables an interdisciplinary discussion that focuses on representations of war and trauma in conjunction with identity politics.I examine Lowell's poetry collection Men, Women and Ghosts (1916), Barnes's novel Nightwood (1936), H.D.'s poem Trilogy (1944-1946), and Stein's novel Mrs. Reynolds (1952). The chapters highlight the progressively feminist and personal ownership of war and trauma embedded in the texts. Lowell and Barnes begin the work of deconstructing gendered binary constructions and inserting women into war narrative, and H.D. and Stein continue this trajectory through cultivation of more pronounced depictions of women and their bodies in war narrative.The strategies are distinct and specific to each author, but there are common characteristics in their literary responses to World War I and World War II. Each author protests war: war is destructive for Lowell, perverse for Barnes, traumatic for H.D., and disruptive for Stein. Additionally, each author renders female bodies as sites of contested identity and as markers of presence in war narrative. The female bodies portrayed are often traumatized and marked by the ravages of war: bodily injury and psychological and emotional distress. H.D. and Stein envision strategies for resolving (if only partially) trauma, but Lowell and Barnes do not.This project recovers alternative war narratives by important American modernist women writers, expands the definition and canon of war literature, contributes new scholarship on works by the selected authors, and constructs an original critical framework. The ramifications of this study are an increased awareness of who was writing about war and the shape that responses to it took in avant-garde literature of the early twentieth century. / Department of English

The thesis consists of the novel The Fox and the Mirror and an accompanying exegesis. The novel is an historical fantasy set in a world based on early medieval (12-13th century) Japan. The main characters are a young female shaman, Hatsu, and a young warrior’s assistant, Sada, who is a Buddhist believer. When Hatsu’s village and shrine are destroyed by warriors and her summoning mirror is stolen, she is abandoned by her kami . To experience the kami’s presence again, she must follow the thief and retrieve the mirror before it can be used to resurrect an ancient evil. Sada must capture Hatsu and bring her back to his lord, or his family will suffer. Yet he is entranced by Hatsu and feels guilt at the destruction of her village. He must choose whether to abandon his former life and stay with Hatsu, or betray her. In the novel I have tried to invoke the feel of a place and time where the supernatural is as real as the physical world; I also try to imagine how a religion as alien to Japanese native beliefs as Buddhism became a part of that country’s spiritual culture. In the exegesis I reflect upon how I used various kinds of history, both written and unwritten, to build the world, characters and narratives of The Fox and the Mirror, and thereby explore some ways in which historical fantasy, as a sub-genre of historical fiction, is capable of presenting an ‘authentic’ view of the past, in spite of its non-realistic nature. I identify three main ways historical fantasy writers can provide an authentic view of the past: by using telling details from an historical era; by incorporating documented events and persons into the story; and by portraying the world as people in the past believed it to be. Historical fantasy is different from realistic historical fiction in that it can more easily incorporate elements belonging to shared cultural heritage, such as beliefs regarding the dead and the supernatural. This characteristic involves writers in research using material that involves other ways of knowing the past—in particular the expressions of belief such as religion, popular customs, folk tales, and oral history. With the broadening of our historiological perspectives in the postmodern climate, historical fantasy based on non-documentary forms of history may come to be seen as another way of knowing the past.

Από τις εμφανίσεις φαντασμάτων στην αρχαιοελληνική λογοτεχνία, άλλες παρουσιάζονται ως ιστορικά γεγονότα, όπως οι εμφανίσεις φαντασμάτων στον Ηρόδοτο, ενώ άλλες υπηρετούν τους σκοπούς του δημιουργού, ενσωματωμένες σε αμιγώς λογοτεχνικά έργα. Η έρευνά μας, επικεντρωμένη στην δεύτερη ομάδα, εξετάζει επιφάνειες φαντασμάτων στον Όμηρο και την αττική τραγωδία, συγκεκριμένα δε αυτές του Πατρόκλου (Ἰλ. Ψ 59-108), του Δαρείου (Πέρσ. 598-842), της Κλυταιμήστρας (Εὐμεν. 94-139) και του Πολυδώρου (Ἑκ. 1-58). Η επιλογή των συγκεκριμένων περιπτώσεων υπαγορεύεται αφενός από την προαναφερθείσα κοινή λογοτεχνική φύση τους, και αφετέρου από την ομοιότητα στα χαρακτηριστικά των σκηνών, δηλαδή των συνθηκών εμφάνισης (χρόνος, χώρος, κατάσταση του ζωντανού δέκτη), της όψης και της συμπεριφοράς των φαντασμάτων (άυλη εμφάνιση, διατήρηση της μορφής, γνωστικό επίπεδο των φαντασμάτων) και της λειτουργίας τους ως λογοτεχνικών χαρακτήρων. Ειδικότερα, ως προς τις συνθήκες εμφάνισης παρατηρείται ισχυρή σύνδεση των φασματικών χαρακτήρων με την νύχτα και τα όνειρα, με την μοναχικότητα του ζωντανού στον οποίο εμφανίζονται, ενώ ο τόπος της εμφάνισης καθορίζεται σε μεγάλο βαθμό από την ευχέρεια που παρέχει στο φάντασμα να επιτύχει την ικανοποίηση των αιτημάτων του. Αναφορικά με την όψη και την συμπεριφορά τους, η έρευνα αποκάλυψε ότι, παρά την άυλη φύση τους (γνωστή ήδη από τους ακυρωμένους εναγκαλισμούς Αχιλλέα-Πατρόκλου στην Ἰλιάδα και Οδυσσέα-Αντίκλειας στην Ὀδύσσεια), οι ψυχές των νεκρών διατηρούν την μορφή του ζωντανού εαυτού τους, ενίοτε φέροντας και τα θανατηφόρα τραύματά τους. Κατά παρόμοιο τρόπο, η συνομιλία μαζί τους εκτυλίσσεται συνήθως σε φυσιολογικές συνθήκες, σαν να πρόκειται δηλαδή για ζωντανό, με εξαίρεση την άγνοιά τους για ορισμένα γεγονότα του Επάνω κόσμου, κυρίως για όσα έχουν συμβεί κατά την παραμονή τους στον Άδη. Τέλος, το αίτημα του φαντάσματος για ταφή ή εκδίκηση εις βάρος του δολοφόνου του (παράμετροι που καθορίζουν σε μεγάλο βαθμό την εμφάνιση), αποσκοπεί στην αποκατάσταση της τάξης (όσον αφορά το ίδιο το φάντασμα και την διαχείριση του νεκρού σώματός του) και, συνεπώς, προωθεί την πλοκή. / Of the appearances of ghosts in the ancient Greek literature, some are incorporated in historical works (such as in the work of Herodotus), whereas others are part of sheer literary works. Our dissertation focuses on four instances from the second category: the ghosts of Patroclus (Iliad 23.59-108), Darius (Aesch. Persae 598-842), Clytemnestra (Aesch. Eumenides 94-139) and Polydorus (Eurip. Hecuba 1-58). The selection of these instances is not only based on their literary context, but mainly on the correspondence on the matters of conditions, in which they make their appearance, on their look and behaviour and, finally, on their function. Particularly, it seems that there is a close connection between ghosts and the night and dreams, as well as with the loneliness of the living person, who meets them. They also seem to appear in places that facilitates the fulfillment of their demand. As for their look, despite their insubstantial nature (known already from the Iliad and Odyssey), the ghosts maintain the appearance of their body, in the case of the biaiothanatoi bearing the wounds, that caused their death. Their knowledge of the Upper World varies, as they sometimes ignore facts, which have happened after their death. Finally, their demand for burial or vengeance against their murderers aims to the instauration of order and, because of its importance, advances the plot.

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