This dissertation explores the challenges posed by the materialities of oceans and other extraterritorial spaces to state capture and capital development. Utilizing theories emerging political geographers surrounding vertical and volume components of territory and theoretical engagements with materiality of non-terrestrial spaces, this research seeks to investigate entanglements of the geopolitical and geophysical in constructing and practicing (re)interpretations of territory and sovereignty, power and space. A focus on New Zealand and the South Pacific serves to unravel these cross scalar, dynamic categories of national territory and sovereignty in relation to the emerging political and social constructions of the deep sea, sea level, and air space, as well as the blurred and shifting boundaries of each. Contextualizing historical and regional contingencies of the spatial organizations of maritime space, this dissertation seeks to open up new ocean imaginaries and ontologies by making explicit the material, technical and political constructions that produce offshore territories.

This study examines the modernist fiction by three transnational women writers who turned to the ocean in their writing during the first half of the twentieth century to navigate their divided or hyphenated national identities. The Anglo-Irish writer Elizabeth Bowen (1899-1973), the Finland-Swedish author Hagar Olsson (1893-1978), and the New Zealand short story writer of English descent, Katherine Mansfield (1888-1923), use ocean space in their fiction, in the form of both sea imagery and material seascape settings, to unsettle ideologically limiting and culturally anchored categories of identity, gender, class, place and time. The modernist aesthetics and marginal ethics of these white colonial women who existed at a slant to the geographical and cultural center of the British, masculine metropolis pivot on two competing ocean views. First, the sea features in their work as a historically compliant, smooth surface in the service of the establishment, enabling and justifying imperial expansion and colonial settlement, as well as defining and patrolling the uncompromising borders of the land-based modern nation state. Alternately, the ocean comes to disrupt progressive imperial models of history, to inspire fluid and transgressive ideologies, to bear witness to violent histories submerged by official records, and to confound our sense of scale and chronological time through outsized subterranean ecologies that blur the line between land and water, and, as a consequence, throw into question larger fundamental, ontological distinctions, such as that between the ‘human’ and the ‘non-human,’ or ‘more-than-human.’ By bringing postcolonial and ecocritical perspectives to bear on Bowen, Mansfield and Olsson’s literary representations of the ocean, my study contributes to the current expanding reach of modernist studies, ushering into the critical spotlight global regions previously overlooked and misfit writers traditionally dismissed, to locate that which modernity originally defined itself against at the vibrant heart of that construction.

H.D.’s novel Palimpsest has often been analyzed using psychoanalytic theories due to her relationship with Sigmund Freud and his work. However, her own approach to the science of psychoanalysis reveals that she often complemented her scientific understanding with her syncretic religious beliefs, a perspective she referred to as “spiritual realism,” which suggests that analysis with a spiritual nuance may provide a deeper understanding of the novel’s intended purpose. Postsecular theory makes for a useful lens by which to analyze Palimpsest’s treatment of reintegrating spiritual knowledge into Freud’s secular understanding of the modern world by providing the benefits of such a paradigm shift. Because H.D. adopted the ocean as her metaphor for spirituality, eternity, and transcendence, integrating oceanic and archipelagic theories also help to analyze H.D.’s intentions for spiritual realism by providing the characteristics with which illustrate her ritualistic writing process and its transformative experiences.My reading of the novel using postsecular and oceanic/archipelagic theories reveals that Palimpsest has more significance beyond a psychoanalytic treatment of H.D.’s own traumatic past. Instead, H.D.’s reasons for breaking down secular constructs of reality—such as time, space, memory, and individuality—emerge, showing that as an artistic modernist, she was attempting to outline the spiritual solution to modernity’s weaknesses and secularity’s limitations. By providing examples of characters’ poetic communions with eternity, Palimpsest explores the spiritual potential within humanity’s palimpsestic multi-layered consciousness, expressing how that which can transcend time, space, limits of communication, and personal failures can be discovered inward through outward spiritual connection to the eternal. This reading also provides justifications for H.D.’s decisions to write poetic prose novels, an answer to the alienating secular approaches to psychoanalytic knowledge that denied her identity as a poet-oracle, revealing her intent to share spiritual realism’s transformative power despite its secular critics.