No description available.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Note:

As an alternative to print media, digital media make us newly aware of the materiality of experimental poetic texts and require us to account for their media-specific differences. Although already several theoretical models have been put forward to define these differences, so far few poems have been analyzed in terms of their media-specific textual materiality. This thesis seeks to fill this gap in the applied media-specific analysis of experimental poetry. It combines traditional close reading with a media-specific approach in order to investigate the relationship between the physical characteristics and signifying strategies of four experimental poetic texts in various digital and non-digital media. It critically interrogates the specific use of the given medium in each poem, and illustrates that their respective textual materiality cannot be specified in advance based on general assumptions concerning the medium in question. A digital poem is not inherently more innovative than a non-digital poem. Rather, a poem is perceived as innovative if it resists conventional reading strategies by establishing a particularly complex, dynamic, and effectively anomalous sense of textual materiality, which necessarily only emerges from the direct interplay among text, object, and reader.

Tidig ekonomisk teori fokuserar på produkten istället för på producenten. I ekonomisk sociologiska studier och forskning om marknaden menas ofta i motsättning till detta att vem som gör är viktigare än vad som görs. Marknaden anses inom den ekonomiska sociologin vara en social konstruktion som skapas utan avsikt och självreproducerar sig. Aspers centrala ordningsprinciper för marknaden gör skillnad på marknader ordnade enligt status och marknader ordnade enligt standard. Målet med denna studie är att förstå och förklara vilken typ av marknad marknaden för äkta smycken i Stockholms innerstad är. För att ta reda på det analyseras kulturen bland guldsmeder, som driver eget företag i Stockholms innerstad, utifrån Patrik Aspers teori om marknaden. Huvudfrågan är därav; vad är det för typ av marknad. För att kunna besvara detta, måste vi först besvara hur kulturen på marknaden skapas. Det vill säga, hur konstrueras mening på marknaden. Metoden som används är etnografisk och empirin består av totalt sex djupintervjuer, fem kortare intervjuer samt deltagande observation. Mening konstrueras genom att guldsmeder skapar en kollektiv identitet och nischar sig på marknaden. Studien föreslår en utveckling av Aspers statusbegrepp vilken är distinktionen mellan intern och extern status. Marknaden för äkta smycken är en estetisk marknad som befinner sig i gränslandet mellan status och standardmarknad. Guldsmeder är tvungna att förhålla sig till det standardiserade guldpriset, men är samtidigt aktörer på statusmarknaden för äkta smycken. Undersökningens slutsats är att marknaden för äkta smycken är en estetisk marknad ordnad enligt status.

Ce mémoire s’emploie à cerner les contours de la pensée incréative telle que la précise Kenneth Goldsmith dans les essais Uncreative Writing (2011) et Wasting time on the Internet (2016). S’appuyant sur un corpus de textes qui vise à analyser les conséquences de ce nouveau rapport au monde instauré par l’avènement du numérique, notre réflexion s’applique à révéler comment cette redéfinition de nos pratiques s’accompagne d’une transformation de notre rapport au texte, au langage et à la création. Le numérique ne doit plus se définir en termes d’outils ou d’avancées technologiques. Il est un espace qui nous entoure et dans lequel nous évoluons. Cet espace a favorisé la mise en place d’un nouveau rapport envers le savoir et ses moyens de production, de diffusion et de réception. À la base de cet écosystème numérique réside du langage : du code binaire. Des images, aux sons et aux vidéos qui sillonnent le Web, tout procède du langage. Internet propose de se confronter à l’abondance textuelle qui structure l’espace numérique en inondant la page de mots et de leur matérialité. Cette série de textes qui se divisent en section dont les titres reprennent les noms de mèmes célèbres est le résultat d’un travail de création employant des méthodes littéraires issues d’une pensée incréative telle que développée par Kenneth Golsmith. Ainsi, basées sur le concept de postproduction (Bourriaud), ces compositions font appel à des stratégies de copie et d’appropriation et usent des mots comme des matériaux de construction. Le lecteur est invité à les lire/non-lire en redonnant leur sens à des blocs de langage décontextualisés. / This dissertation seeks to identify the contours of uncreative thinking as articulated by Kenneth Goldsmith in the essays Uncreative Writing (2011) and Wasting time on the Internet (2016). Based on a corpus of texts that aims to analyze the consequences of this new relationship to the digital world, our reflection applies to reveal how this redefinition of our practices is accompanied by a transformation of our relationship to text, language and creation. Digital should no longer viewed only as tools or technological advances. It is a space that surrounds us and in which we evolve. This space has favored the establishment of a new relationship with knowledge and its means of production, dissemination and reception. At the base of this digital ecosystem lies language: binary code. From images, to sounds and videos that crisscross the Web, everything proceeds from language. Internet proposes to confront the textual abundance that structures the digital space by flooding the page with words and their materiality. This series of texts, which are divided into sections whose titles take up the names of famous memes, is the result of a creative work employing literary methods stemming from uncreative thinking as put forward by Kenneth Golsmith. Thus, based on the concept of postproduction (Bourriaud), these compositions call upon strategies of copying and appropriation and use words as building materials. The reader is invited to read/decode them by giving back meaning to decontextualized blocks of language.

Recent scholarship on conceptual writing has turned to the role of affect in poetry. Critics such as Calvin Bedient claim that by using appropriated text and appealing to intellectual encounters with poetry based around a central “concept,” conceptual writing diminishes or even ignores affect. Bedient in particular is concerned with affect's relationship with political efficacy, a relationship I call “æffect.” I make the case that because of its use of appropriated material, we must examine the transformation from source text to poetic work when discussing affect in conceptual writing. Kenneth Goldsmith's Seven American Deaths and Disasters, which consists of transcriptions of audio recordings made during and immediately following major American tragedies, involves a specific kind of affective transformation: the cliché. I discuss what makes a cliché, especially in relation to affect, before turning to Sianne Ngai's Ugly Feelings and her concept of “stuplimity.” Stuplimity is an often ignored and not easily articulated affect that arises from boredom and repetition. Stuplimity is critical for Seven American Deaths and Disasters, especially for the “open feeling” that it produces in its wake. This uncanny feeling indicates a changing tide in conversations about conceptual writing. Rather than focus on the affect of æffect, we should instead turn to the effect. / text

This thesis examines representations of trust in selected British sentimental novels of the eighteenth century. It focuses principally on the manner in which sentimental prose fiction reflects and participates in the shift from premodern to modern formations of trust. Commenting on the nature of modern trust, Anthony Giddens claims that, with the move to modernity, trust relations in the intimate sphere become increasingly dependent on emotional mutuality, while trust in institutions becomes increasingly impersonal and disengaged from assessments of moral character. / My work explores this dual shift in three sentimental novels. It first analyzes Samuel Richardson's Pamela (1740) and contends that Richardson denies the concept of honor its epistemological role in practical deliberations. The denial of the epistemology of honor uncouples the mechanism of personal trust from assessments of role and role performance and thus makes the trust in persons in the intimate sphere less dependent on institutional forms of trust. To replace honor's role in the formation of trust, Richardson proposes that the sentiments can provide reliable grounds for trust in the intimate sphere. However, he denies the sentiments a role in the formation of an encompassing social trust among strangers and mere acquaintances. The thesis proceeds to read Henry Fielding's Amelia (1751). In order to argue that Fielding envisioned divergent grounds for trust relations, it maintains that Fielding considers trust relations in the intimate sphere and trust relations in public life as based on the sentiments and fair distribution respectively. To conclude, the thesis investigates Oliver Goldsmith's The Vicar of Wakefield (1766) to uncover the manner in which Goldsmith distinguishes personal trust in the intimate sphere from general system trust, which Goldsmith ultimately envisions as an ontological trust in providence.

Whilst literature exists describing prevalence and theories about mechanisms of development of deformity, there is a distinct lack of research that examines how deformity can be measured despite it being an area of identified need. This study established the inter- and intra-rater reliability of the Goldsmith Index of Body Symmetry and examined the relevance of the information it provides within the context of a comprehensive postural assessment for individuals with cerebral palsy in conjunction with a commonly used clinical assessment ... Results demonstrated that high index levels were not exclusively associated with people with windswept deformity. Postural patterns of windsweeping, frog leg (abducting) and scissor (adducting) postures and hip extension were found to occur in all categories, suggesting that asymmetry is not confined to one particular postural pattern. Clinically observable changes were identified through comparison of the supine evaluation and index scores. The flexibility of postural components (or the ability to correct asymmetry) in a supine position for the SD categories demonstrated wide variation. However, subjects in the 3+SD groupings had fixed scoliosis and the majority (83%) also had fixed pelvic obliquity and rotation. All other subjects up to the 3SD category had flexible pelvic obliquity and rotation. No definitive differences in postural components between groups were identified in sitting positions, which was attributed to the influence of gravity on the body in an upright posture. Examination of sitting ability and index level did not demonstrate any relationship, suggesting that greater independence in sitting is not necessarily associated with a lower Goldsmith Index. The study highlighted that assessment of posture is complex, and that no single tool provides the answers required to manage a person’s posture. It demonstrates the need for clinicians to be aware that subjective clinical assessment may not be sufficient to adequately assess and detect changes in posture, and that the Goldsmith Index of Body Symmetry provides objective data that can be used as a powerful adjunct in interpreting clinical assessment and supporting the evaluation of clinical interventions.

No description available.