Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 256-263). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 256-263). Also available on the Internet.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 189-196).

This thesis argues that critical understanding of historical narratives needn’t be limited to cold, clinical applications of logic and reason. By doing a close textual reading of Frank Miller and Lynn Varley’s graphic novel, 300 and Zack Snyder’s 2007 film adaptation, I posit that critical analysis of popular narratives is better served when pathos takes a central role. Traditional rhetorical criticism tends to favor empirical evidence and fact over emotional, narrative truth. Yet, the writing, recounting and interpretation of history are more akin to arts than sciences. Historical narratives are subject to the same influences and techniques that make poetry, sculpture and music evocative and memorable. Therefore, the closest method by which to recreate the experience of historical events is through pathos. Pathos can serve to focus the attention of an audience and cultivates an intuitive understanding of historical, social, and cultural events.

This thesis approaches Chronic Fatigue Syndrome (CFS) as a biopolitical problem, that is as a shifting scientific object which needs to be studied, classified and regulated. Assemblages of authorities, knowledges, and techniques make CFS subjects and shape their everyday conduct in an attempt to increase their supposed autonomy, wellbeing and health. CFS identities are, however, made not only through government, scientific and medical interventions but also by the patients themselves, a biosocial community that collaborates with scientists, educates itself about the intricacies of biomedicine, and contests psychiatric truth claims. CFS is a socio-medical disorder, an illness trapped between medicine, psychology and society, an illness that is open to debate, and therefore difficult to manage and standardise. CFS is, thus, more than a fixed and defined medical category; it is a performative and multiple category, it is a heterogeneous world. This thesis studies that performative complexity by assembling different pieces of empirical data that constitute its heterogeneity: medical and psychiatric journals and monographs, self-help books, CFS organisations’ magazines, newsletters and websites, illness narratives and social studies of CFS, CFS blogs, and qualitative interviews with diagnosed CFS patients and CFS activists. The thesis delineates different interventions by medicine, science, the state and the patients themselves and concludes that CFS remains elusive, only partially standardised, in an on-going battle between all the different actors that want to define it for their own situated interests.

This is a dissertation about care. Based on over ten years of experience with Southeast Asia and sixteen months of ethnographic research for this project, I address the issue of caregiving primarily from the perspective of those providing care at home for elderly people in urban Northern Thailand and from the vantage point of national and international public health initiatives aimed at supporting such endeavors. In turn, I use the intimate experiences of caregivers to interrogate the politics of aging, long-term care, and national identity. What emerges is an understanding of caregiving different from that of liberal humanitarianism and biomedicine alike. With a focus on social relationships and embodied care practices, I show how forms of attention, obligation, giving, and receiving in urban Thai settings do not always equate with their counterparts in standard global health accounts. Instead, local values are put into action with significant ramifications for the performance and promotion of care. I examine local and global techniques of power and care embedded in the growing number of volunteer organizations directed at the elderly. With attention to class, religion, and history, I trace the interpersonal, social, and political influences reflected in caregiver subjectivity and propose a distinctly Thai logic of psychosocial support that underlies the experience of the caregivers and aid workers with whom I worked. Examining family dynamics and the stories people tell about the future, I trace a new imaginary for long-term care at play, apparent at both the individual and the institutional level. And I develop the concept of the "social body," arguing that attention to and care of the collective is crucial for making sense not only of the disorienting varieties of volunteerism marking the shifting ground of long-term and end-of-life care in Thailand, but also of the larger scale political upheavals afoot in that country today. / Anthropology

This dissertation seeks to show that the figure of the female letter-writer in English Renaissance literature, rather than reflecting the culture’s desire to contain, undermine, or destroy the notion of women’s textual production, in fact represents the culture’s desire to imagine and see women as writers. The image of the female letter-writer was sufficiently pervasive both to normalize the idea that real women might properly engage in textual production, and to function as a literary trope which was used to investigate issues beyond gender ideology. “Author of Prodigies” explores representations of women’s epistolary creation in a broad selection of fictional texts, primarily drama. Based on these representations, I argue that the figure of the female letter-writer functioned as a means through which the fragile and epistemologically fraught relationship between the subject and the writing in which she engages was explored. In Chapter One, I focus primarily on the history of early feminist criticism, issues of how letters are related to non-epistolary texts, Renaissance notions of subjectivity and its relationship to gender, and how subjectivity was understood to adhere in epistolary writing. In Chapter Two, I examine texts in which female characters pen letters in their own blood. Blood letters figure the fragility, marginality, and vulnerability associated with self revelation in a context in which female subjectivity was not comfortably acknowledged. Chapter Three features texts that contemplate the fantasy of female characters wooing their beaux by merging epistolary production and metadramatic performances of femininity. These characters use gendered social constraints to their advantage, revealing themselves to be sufficiently skillful to manipulate social and material signs of their marginalized position in order to achieve their personal desires. Chapter Four focuses on male fetishization of women’s intellectual labour through letter-writing, and the ways in which women writers anticipate and manipulate this response. These depictions of women’s mental work are infused with mystery, which is integral to the pleasure of imagining women engaged in letter-writing. However, as the terms of the fetish are being established in these texts they are also in the process of being normalized. / Thesis (Ph.D, English) -- Queen's University, 2008-12-15 21:08:25.539

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The influence technology has on human subjectivity has been the occupation of philosophy for some time. Recent technological advance has re-motivated the speculation on subjectivity where a bodily dimension of subjectivity becomes necessary to understand the complexities of subjectivity as it is formulated in contemporary society. In this thesis subjectivity has been schematized according to its states relative to the body to demonstrate how technology and its mythologies influences and define individual subjectivity and the larger constructive factors that shape that subjectivity. Various examples are used to show the contemporary postmodern response to technological subjective imposition as subjectivity both negotiates and responds to the four orders of subjectivity: dormant, active, material, and terminal. As shall be demonstrated, each subjective form is constituted by a series of technologies and mythologies that form a reciprocal and continuous pattern illustrated by individual, cultural, bodily, and communicative models.

Constructing the Female Subject in Anglo-Norman, Middle English and Medieval Irish Romance Giselle Gos Doctor of Philosophy Centre for Medieval Studies University of Toronto 2012 Abstract Female subjectivity remains a theoretical question in medieval romance, a genre in which the feminine and the female have often been found to exist primarily as foils for the production of masculinity and male identity, the Other against which the masculine hero is defined. Woman’s agency and subjectivity are observed by critics most often in moments of transgression, subversion and resistance: as objects exchanged between men and signs of masculine prestige, female characters carve out their subjectivity, agency and identity in spite of, rather than with the support of, the ideological formations of romance. The following study makes a case for the existence of a female subject in medieval romance, analogous to the oft-examined male subject, a subject in both senses of the term: subjected to the dominant ideology, the subject is also enabled in its agency and authority by that ideology. I combine a feminist poststructuralist approach to discourse analysis with a comparative methodology, juxtaposing related romance texts in Anglo-Norman, Middle English and Medieval Irish under the premise that stress-points in ideological structures must be renegotiated when stories are revised and recast for new audiences. The principal texts considered are Roman de Horn, King Horn, Horn Childe and the Maiden Rimnild; Gamair’s Haveloc episode, Lai d’Haveloc, Havelok the Dane; Gui de Warewic, Guy of Warwick, The Irish Lives of Guy of Warwick and Bevis of Hampton; The Adventures of Art, Son of Conn, Mongán’s Love for Dubh Lacha. Through close attention to textual change over time, a profound shift can be seen in the emergence of female characters which cease to be symbols, signs and objects but through a variety of discourses and narrative strategies are established as subjects in their own right.