The politicized use of humor in accented cinema is a tool for negotiating particular formations of identity, such as sexuality, gender, ethnicity, and class. The body of work produced by contemporary women filmmakers working in Australia, specifically Tracey Moffatt, Monica Pellizzari, and Clara Law, illustrates how these directors have employed critical humor as a response to their multiple marginalization as women, Australian, and accented filmmakers. In their works, humor functions as a critical tool to deconstruct the contradictions in dominant discourses as they relate to (neo)colonial, racist, globalized, patriarchal, and displaced pasts and presents. Produced within Australian national cinema, but emerging from experiences of geographical displacements that defy territorial borders, their films illuminate how critical humor can inflect such accepted categories as the national constitution of a cinema, film genre, and questions of exile and diaspora. Critical humor thus consti tutes a cinematic signifying practice able, following Luigi Pirandello's description of umorismo, to decompose the filmic text, and as a tool for an ideological critique of cinema and its role in (re)producing discourses of the nation predicated on the dominant categories of whiteness and masculinity. The study offers a theoretical framework for decoding humor in a film text, focusing on the manipulation of cinematic language, and it provides a model for a criticism that wishes to heighten the counter-hegemonic potential of cinematic texts, by picking up on the humorous, contradictory openings of the text and widening them through a parallel dissociating process. / Finally, critical humor in the accented cinema of women filmmakers like Moffatt, Pellizzari, and Law is shown to constitute a form of translation and negotiation performed between the national, monologic constraints of film production and cinematic language, the heteroglossia of the global imaginaries that have traveled since the beginning with film technology, and the local and diasporic accents informing a filmmaker's unique style and perspective. / by Alessandra Senzani. / Thesis (Ph.D.)--Florida Atlantic University, 2008. / Includes bibliography and filmography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.

Ce projet de recherche en danse est né du désir et du besoin de questionner ma propre pratique artistique en danse contemporaine, en la mettant en perspective et en conversation avec celle de deux autres artistes chorégraphes, Monica Klingler et Barbara Manzetti. L'étude de ces (nos) pratiques, que j'ai qualifiées de "mineures" (au sens deleuzien) a été réalisée en les approchant par le "milieu", dans leur devenir, en les "accompagnant" pendant une période délimitée, celle de la durée de la thèse. Les questions qui dynamisent la recherche concernent les notions de présent et de vivant, contenues dans le terme "processus" : comment rendre compte de processus créatifs au moment même de leur surgissement? Comment se positionner pour pouvoir les décrire, les analyser? Une autre question explorée à travers différentes pratiques d'écriture, dont la thèse, est celle du rôle de l'écriture dans un projet de danse. Quelles pratiques d'écriture mettre en place pour accompagner la danse, pour la penser et pour la partager à travers le langage? L'analyse des démarches artistiques des trois artistes étudiées a été réalisée à l'aide de concepts issus de théories féministes. Elle s'appuie sur la notion de "hors de soi", du choix d'exacerber la vulnérabilité (Judith Butler) ; sur le positionnement des artistes comme des sujets non unitaires, des "sujets nomades" et en devenir (Rosi Braidotti) ; sur la mise en mouvement de formes fluides, changeantes et non réductibles à une œuvre, à l'"un" (Luce Irigaray).La recherche, considérée comme un "processus de danse", a donné forme à différents projets artistiques, Materia Viva, Figuras, Avec le masque, ainsi qu'à l'écriture de la thèse.

This study of Canadian adventure romance for adolescents seeks to demonstrate the cultural significance of the genre through close readings of James Houston's Frozen Fire and The White Archer, Monica Hughes's Hunter in the Dark and Ring-Rise, Ring-Set, as well as Markoosie's Harpoon of the Hunter. By means of a semiotic-structuralist approach I examine the texts as a signifying system conveying discourses that constitute a code of connection to the social context of contemporary young-adult readers.Structured on the formula: separation-initiation-return and informed by the symbolism of death-rebirth, the stories hold out the promise of a life-enhancing return. Roland Barthes's definition of myth as a mode of signification underpins my discussion of how the narrative conventions become vehicles of existential truths by replicating and intensifying adventurous experiences. With the quest for identity and the polarization between two worlds as structural determinants, the selected books juxtapose the values of Western civilization with those expressed through the Canadian North and its indigenous population. As a defining category of Canadian identity, the northern wilderness provides the space and the challenges for the protagonists' initiatory experiences. My application of the dichotomy self-other to the selected books provides a number of polarized positions such as civilization-wilderness, white-native, male-female, and conscious-unconscious, polarities through which the different discursive levels of the texts are generated. Arguably, the formulaic character of the journeys into the unknown allows the stories to signify on various levels, thus inviting both psychological and ideological readings of the texts.It is primarily through a recycling of narrative conventions that Houston and Hughes invest their work with significance. By focusing on the structural and thematic similarities of adventure romance, my examination attempts to elucidate the parallels to mythic adventure and archaic rites of initiation with the aim of validating the role of the genre as symbolic representations of the process of maturation and vicarious rites of passage. The conclusions I draw have a bearing on much of Houston's and Hughes's fiction, on the genre of romance as a whole, and to some extent on the adjacent genres of fantasy and science fiction. / <p>Behandlar James Houston, Monica Hughes och Markoosie.</p> / digitalisering@umu

This thesis uses affect theory and studies of emotion to analyse literary representations of the everyday in fictional and non-fictional writing about Muslim migrant women in the UK from 1906 to 2012. Postcolonial literary studies tend to value exceptional events over mundane life, which causes possible issues of exoticism and a danger of homogenising distinct experiences. This thesis offers a theorisation of migration that foregrounds everyday experience through an engagement with theories of objects, bodies and space, as well as emotional experiences that are specific to migrant subjectivity. It analyses two groups of texts: early twentieth century travel writing by Atiya Fyzee, Shahbano Begum Maimoona Sultan and Zeyneb Hanoum, and contemporary literary texts by Yeshim Ternar, Farhana Sheikh, Monica Ali, Leila Aboulela, Elif Shafak and Fadia Faqir. The thesis is structured thematically into three sections, each section containing two chapters, one about travel writing and another about contemporary texts. In the first section, in order to examine how the texts negotiate foreignness in daily life, I consider hospitality theory, which describes how social power relations are based on roles of host and guest. In the second section, I argue that melancholia is an emotional experience endemic to migrancy. The texts demonstrate how this emotion is manifest communally as well as individually, which also shows the political potential of emotion. In the third section, I investigate how emotional processes of migration are described spatially in the texts. The findings of this research show that emotional knowledge is a major concern for migrant writers as a way of engaging with and critiquing the social and political climates of each text. This is produced through narrations about feeling in general and specific emotions, such as irritation or anxiety. Emotional experience is illustrated in conjunction with identities that are both fluid and intersectional, where gender and class converge with ethnicity and religion. The texts also show specifically affective styles of writing that concentrate on focalising women's intimate experiences through, for example, diary entries, bildungsroman or psychological realism. While the differing contexts reflect the particularities of each experience, there are sufficient similarities of narrative content and style to suggest that affective experience is a major concern for this body of literature. Overall, this thesis demonstrates the productive uses of affect theory as a critical stance for analysing postcolonial literature.

Abstract Software process assessment and improvement came under the spotlight in the discussion of software engineering when the Software Engineering Institute published the maturity model for software process capability determination in 1987. Since then, several new approaches and standards have been developed. This thesis introduces a European software process assessment and improvement methodology called BOOTSTRAP, which was initially developed in an ESPRIT project starting from lean and kaizen philosophy. The focus is on the evolution of methodology and how it was developed, using an experimental research approach. The work covers also enhancements to the methodology investigated in the SPICE, PROFES and TAPISTRY projects. The enhancements expand the original methodology into new specific application areas, keep it compliant with new quality standards and certification, improve the efficiency of the assessment method, enhance the focus from process to product and strengthen improvement monitoring and support. To address these areas, the new BOOTSTRAP methodology releases offer tailored and enhanced assessment reference models and enhanced assessment and improvement methods. The new features also facilitate more frequent and even continuous assessments with software measurement-based indicators. The thesis explains the origin and features of BOOTSTRAP software process assessment and improvement methodology and how it was developed for professional use. The discussion starts with the evolution of the methodology. Then the new trends and demands are introduced and new features of the BOOTSTRAP methodology described. The conclusion discusses how the methodology developed to be able successfully to support professional software process assessment, to align it with the evolution of software engineering, to adopt the features and requirements of the underlying standards in order to conform to the requirements set by ISO 15504 standard and to become validated in practice. / Tiivistelmä Ohjelmistoprosessin arvioinnista ja parantamisesta tuli ohjelmistotekniikan keskeinen kiinnostuksen kohde kun Carnegie-Mellon yliopiston ohjelmistotekniikan instituutti SEI julkaisi kypsyysmallinsa ohjelmistoprosessin kyvykkyyden arviointiin vuonna 1987. Siitä lähtien maailmalla on syntynyt lukuisa määrä uusia malleja ja standardeja tälle alueelle. Tässä väitöskirjassa esitellään eurooppalainen ohjelmistoprosessin arviointi- ja parantamismenetelmä BOOTSTRAP, joka kehitettiin alun perin Euroopan unionin ESPRIT tutkimusohjelman rahoittamassa projektissa lähtien japanilaisesta ohut-ajattelusta (Lean) ja sen jatkuvan parantamisen periaatteesta (Kaizen). Esitys keskittyy menetelmän kehittymiseen ja siihen miten menetelmä käytännössä kehitettiin käyttäen kokeellista tutkimustapaa teollisessa ympäristössä. Työ kattaa myös alkuperäiseen menetelmään tehdyt laajennukset, jotka syntyivät yhteistyössä SPICE, PROFES ja TAPISTRY projekteissa tehdyn tutkimuksen tuloksena. Tehdyt laajennukset mahdollistavat menetelmän käytön uusilla sovellusalueilla, takaavat menetelmän yhteensopivuuden alan laatu- ja sertifiointistandardien kanssa, parantavat menetelmän tehokkuutta, laajentavat menetelmän käyttöaluetta prosessin arvioinnista sisältämään myös tuotteen kehittämisen arvioinnin ja vahvistavat parantamisen seurantaa ja tukemista. Toteuttaakseen näiden uusien ominaisuuksien vaatimukset uudet BOOTSTRAP menetelmän julkistukset tarjoavat räätälöityjä ja laajennettuja mallikuvauksia arviointien tekemiseksi sekä entistä täydellisempiä lähestymistapoja arviointien suorittamiselle ja parantamiselle. Menetelmän uudet ominaisuudet mahdollistavat myös usein toistuvien arviointien suorittamisen ja jopa jatkuvan arvioinnin ohjelmisto-mittauksia hyödyntäen. Väitöskirjassa kuvataan yksityiskohtaisesti BOOTSTRAP menetelmän lähtö-kohdat ja ominaisuudet ja se kuinka menetelmä onnistuttiin kehittämään ammattimaiseen ohjelmistoprosessin arviointiin ja parantamiseen sopivaksi. Ensin kuvataan menetelmän kehittyminen ja sitten edetään alan uusien kehitystrendien ja vaatimusten esittelyyn siihen kuinka BOOTSTRAP menetelmä uudet ominaisuudet vastaavat näihin vaatimuksiin. Yhteenvedossa osoitetaan kuinka kehittämisessä onnistuttiin saamaan aikaan uusi menetelmä, joka sopii ammattimaiseen ohjelmistoprosessin arviointiin, vastaa kaikilta osin alan kehittymisen vaatimuksia, sisältää alan standardien vaatimukset täyttävät käytännössä koestetut ominaisuudet, jotka takaavat menetelmän vastaavuuden ISO 15504 standardin vaatimuksiin.

Cardiovascular diseases are the leading cause of death in most industrialised countries and in developing countries the trend in cardiovascular-related deaths is increasing. World-wide, type 2 diabetes mellitus (T2DM) is an emerging cause of disability and premature death. Both these conditions are closely associated with the consumption of energy-dense foods and food products that are poor in nutrients, as well as with a sedentary lifestyle. Pharmacological and surgical interventions can improve the outcome and delay the progression of the disease, but in terms of population-level prevention there is no substitute for the adoption of a healthy lifestyle. SETTING The underlying studies were conducted in Västerbotten (the VIP study), and in Norrbotten and Västerbotten combined (the MONICA Project). Norrbotten andVästerbotten are the two northernmost counties in Sweden. Since the mid-1980sthe prevalence of cardiovascular disease has decreased and diabetes rates haveremained stable in this region, despite of an unbroken trend of increasing body weight. OBJECTIVE The aim of this thesis is to describe changes in reported dietary habits, estimatetheir relative importance as risk factors for diabetes and cardiovascular disease, and finally to identify lifestyle components as potential targets for intervention. RESULTS The first paper describes changes in self-reported food consumption between 1986 and 1999. During this period, the population in question switched from products with high saturated fatty acid content (e.g. milk containing 3% fat, butter) to foods containing less saturated fat (e.g. milk containing 1.5% fat, vegetable oil, low-fat margarine); pasta and rice were consumed more often, and potatoes were consumed less. Convenience foods (e.g. hamburgers, snacks, sweets) became more popular, whilst traditional dishes (e.g. potato dumplings, black pudding, blöta) decreased in popularity. Fruit and vegetable intake remained low. In paper two we study the effects of these changes in food intake on the risk of developing T2DM using body fat distribution as an early indicator. Increased consumption of convenience foods was associated with unfavourable changes (smaller hip circumference and larger waist circumference), whereas the increased consumption of vegetable oil and pasta was associated with low-risk fat distribution. In the third paper we report studies on the association between fat consumption and T2DM. We used the pattern of fatty acids in the membranes of red blood cells as a marker of fat intake. In addition to confirming earlier findings (markers of the intake of saturated fat are associated with increased risk of T2DM and markers of unsaturated fat are associated with reduced T2DM risk), we also identified associations between two markers of milk-derived saturated fat intake and enterolactone, a biomarker of dietary fibre intake, and the risk of developing myocardial infarction. Our results indicate that moderately high levels of enterolactone intake in men are associated with lower risk of experiencing myocardial infarction. Manuscript 5 ranks education level, physical activity, smoking status, and self-reported intake of dietary fibre and fatty acids according to their effects on body fat distribution. Increased levels of physical activity, a higher education level and a reduced intake of saturated fat from meat were ranked as the most strongly associated factors in both men and women. Increased intake of dietary fibre from grains in women, and increased intake of dietary fibre from fruits and vegetables in men, was also inversely associated with average waist circumference. CONCLUSION Both questionnaire-based and biological markers of the risk of developing diabetes or cardiovascular disease have been identified. Based on available population level measurements, reduced consumption of convenience foods, increased consumption of whole-grain products, fruits and vegetables, vegetable oil and pasta as well as increased physical activity are potential goals for interventions in northern Sweden.

Bound Together elucidates how gay and lesbian leather communities, in the years between 1966 and 1984, contested and expanded fungible notions of sex, community, and history, mostly through material and visual cultural systems: dress codes such as the hanky code, architectural spaces (bars, bathhouses, private clubs), garments, posters, advertisements, newsletters, films, and performances. In examining visual and material cultures, procedures of archival research, as well as the physical states of key archives associated with historic gay and lesbian leather communities, this dissertation opens out a discussion of a set of visual documents and terms rarely considered within the discipline of art history, or academia at large. Through rigorous rhetorical experimentation Bound Together seeks to propose new ways of writing histories. Long and short chapters are interpolated, telescoping between historical leather communities and key works of contemporary art which reformat 1970s documents and visual sources. Jean Luc-Nancy’s conception of “being-with,” a state of coterminous existence that lies at the foundation of being and subjecthood, provides an ideal framework for coming to terms with the challenges of writing leather histories. Nancy’s notion is one that privileges mutual and relational difference. The structure of Bound Together works similarly, building a set of differential modes of viewing, analyzing and writing. In this way I wish to, in the words of Tilottama Rajan, use “history as the condition for an internal distanciation and for self-reflection on what we do,” and to furthermore present alternatives to a discipline’s often “routinized, even commodified […] repeatable techniques.” / text

Testing the Seams of the American Dream: Minority Literature and Film in the Early Cold War delineates the concept of the liberal tolerance agenda in early Cold War. The liberal tolerance message of the U.S. government, the Democratic Party, and others endorsed racial tolerance and envisioned the possibility of a future free from racism and inequality. Filmmakers in often disseminated a liberal message similar to that of the politicians in the form of “race problem” films. My shows how these films and the liberal tolerance agenda as a whole promises racial equality to the racial minority in exchange for hard work, patriotism, education, and a belief in the majority culture. My first chapter, “Washing White the Racial Subject: Hollywood’s First Black Problem Film,” performs a close reading of Arthur Laurents 1946 play Home of the Brave, which features a Jewish American protagonist, in conjunction with a reading of the 1949 film version, which has an African American protagonist. The differences between the two texts reveal the slippages in the liberal tolerance agenda and signal the inability of filmmakers to envision racial equality on the big screen. “The American Institution and the Racial Subject,” my second chapter, discusses the 1949 film Pinky as well as Américo Paredes’s George Washington Gómez and Monica Sone’s Nisei Daughter. All of these works suggests that the attainment of education promises entry into the mainstream by racial minorities, yet Paredes and Sone question this process by interpreting it as resulting in the dual segregation of their protagonists. My third chapter, “Earning and Cultural Capital: The Work that Determines Place,” looks at the promise that with hard work anyone can attain the American Dream. I show how the 1951 film Go for Broke!, Ann Petry’s The Street, and José Antonio Villarreal’s Pocho work to dispel this American myth. My final chapter, “The Regrets of Dissent: Blacklists and the Race Question,” examines the 1954 film Salt of the Earth alongside Chester Himes’s If He Hollers Let Him Go and John Okada’s No-No Boy to reveal the dangerous mixture of race and dissent in this era. / text

This essay examines how family-related violence was depicted in art in Sweden during the 70s, 80s and 90s. A major shift in the views of violence within the family and in relationships occurs during this period, which becomes evident through a change in laws but is also visible in an ongoing social debate. Basing my research on a number of works by female artists, depicting violence, I have analysed ways of interpreting and understanding the violence in these images, in relation to the changed views on family, gender roles and violence. The female perspective on violence is often the same as the perspective of the violated, and I have chosen to study female artists, thus assuming that a changed attitude is most clearly reflected in this group.The artists included in the study are Marie-Louise Ekman, Marja Ruta, Kristina Abelli Elander, Maria Lindberg, Maria Friberg and Monica Larsen Dennis, Helene Billgren, Tuija Lindström, Charlotte Gyllenhammar, Anna-Maria Ekstrand and Annika von Hausswolff.The works are grouped into four categories based on a model created by Gregory H. Stanton, which he developed in the survey of genocide. His model depicts ten stages in which violence slowly increases. My division is in four stages and is named structural violence, embodied acts of violence or abuse, crime victims or traces of crime, and consequences of violence. Seen over the period covered by the study, one can observe an increase in the number of images with violent content. The depictions change from being political messages to becoming more provocative and questioning power structures. This is a development which is happening simultaneously with the breakthrough of postmodern art.The artists have in several works been influenced by or relate to images of violence shown in news media and popular culture, a genre that grows during the 1980s home video epoch. But the art not only interacts with other visual media, it also wants to involve the viewer by exploring and questioning values and hierarchies in society.The girl as a symbol of an innocent victim is represented in several of the works, and the girls are given a much greater freedom of action in the artworks than in reality. A concealed aggression is made visible and in several of the works the girls act violators.Depiction of violence has not been treated as a theme or categorized as a separate genre in the arts. To the extent that I have found analyses of works containing violence in the arts, there has been a hesitative attitude and the images have been perceived as simple in a communicative or interpretive aspect. In my study, I come to another conclusion, Seeing that the processing of violence in the artistic works creates a counter-image to stereotypical and simplified images in media and and so helps us to see the normative values, power imbalances, behaviours and expectations that are often the basis for acts of violence.

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