This dissertation is concerned with a fundamental problem at the heart of Arendt’s The Human Condition—namely, ‘the problem of idleness’. This problem is related to the three types of human Arendt identifies as correlated to dominant activities in one’s life, animal laborans, homo faber, and the acting person. It explores Arendt’s predictions of an oncoming automation crisis, and the possibility of a corresponding crisis in the production—consumption cycle. The problem of idleness can be understood as the claim that if people are provided freedom from job-holding so that they may pursue other activities, they would likely turn to consumption to occupy their time. I claim that this problem of idleness is important in any consideration of an oncoming automation crisis, especially in relation to Universal Basic Income (UBI) as a solution to such a crisis. I claim that there is a hole in the UBI literature concerning this problem of idleness, and if left unaddressed it would result in both an ineffective UBI, and in a crisis of meaning for the general populace. This dissertation demonstrates what the problem of idleness is, why it is important, and what possible solutions exist. This contributes to the UBI literature by diagnosing and attempting to solve a gap in the literature which I argue would cause practical challenges in the implementation and stability of a UBI system. I also contribute to the Arendtian literature by problematizing traditional readings of Arendt, and offering a reappraisal of her thought on Marx, art, and the social.

Sara Payson Willis Eldredge Farrington Parton, more famously known as the elusive Fanny Fern, employs three autobiographical personae mediated by fiction in her debut novel, Ruth Hall: (1) Ruth Hall, the novel's protagonist; (2) Floy, the fictional Ruth's pseudonym; and (3) Fanny Fern, Parton's real-life pseudonym and the name under which Ruth Hall was published. Together these personae assert a fragmented presence that incorporates various voices and lives, allowing for exploration, growth, and interactivity.Philippe Lejeune's autobiographical contract outlines three specific guidelines for autobiography—that it be a narrative, that it explore personal history, and that it link author and protagonist. Ruth Hall participates in two-thirds of Lejeune's contract, though Parton's conscious fictionalization demands a revisiting of the autobiographical contract, revealing the impossibility of recording truth as well as the impracticality of a unitary self.Through her use of autobiographical personae in Ruth Hall and in her personal life, Parton succeeds in rewriting the narrative of domesticity for the nineteenth-century American woman. Her self-conceptualization embraces multiplicity as she demands to be seen as "more than."

Denna studie behandlar monsterkroppar i HBO:s tv-serie True Blood (2008 – 2014) och deras tillblivelse samt orientering utifrån skevhet, performativ materia och temporalitet. Med utgångspunkt i Sara Ahmeds queera fenomenologi analyseras empirin genom en queer och reparativ läsning i syfte att studera huruvida True Blood som tv-serie kan ha emancipatorisk och subversiv potential. Studiens empiriska omfång utgörs av sju sända säsonger av True Blood, innehållandes totalt åttio avsnitt, och som urval har primärt tre kvinnliga karaktärer följts. Dessa tre karaktärer definieras ha monsterkroppar utifrån den normativa människokroppen. I analysen diskuteras, förutom de tre valda karaktärerna, även andra monsterkroppar. Slutsatsen är att True Blood som text utmanar och ifrågasätter, genom sina monsterkroppar, normativa föreställningar och räta linjer och därmed anses ha emancipatorisk och subversiv potential.

The purpose of this study is to trace how Sara Willis Parton achieved unprecedented literary celebrity status as Fanny Fern during the first three years of her professional career, 1851-1853. While most critics point to her famously lucrative contract with the most popular newspaper of the 1850s, the New York Ledger, in 1854 as the beginning of her fame, I argue that she had already fully achieved that fame and had done so by writing for small Boston newspapers and publishing a highly successful collection of her articles by 1853. Further, Fern was able to achieve such a high level of success because of a keen business sense, intuitive marketing savvy, an ability to promote herself, an original writing style, and a creative use of personas. My study provides an important addition to Fern scholarship by addressing the largely overlooked early years of her writing career. To date, scholars either make no mention of her first three years or do so only to demonstrate the point that Fern achieved notable success when she signed a contract for one hundred dollars a column with Robert Bonner, publisher and editor of the New York Ledger. Prior to that contract, Fern worked as a freelance writer for the Boston Olive Branch and the Boston True Flag, earning less than five dollars for each sketch she submitted. The critical assumption has been that her initial work prepared her for the fame she would achieve writing for Bonner, but in fact Bonner would not have hired her had she not already achieved significant fame, for Bonner hired only highly celebrated writers. My study explores how Fanny Fern became a famous writer. When she began writing, Fern wrote under a number of previously unknown pseudonyms for local newspapers, but within three years her distinctive style, rhetorical skill, and iconoclastic persona had made ―Fanny Fern a household name. Fern‘s unique ability to engage a popular audience, I would argue, is the principal difference between Fern and other famous contemporary women writers.

An examination and exploration of ‘the (syn)aesthetic style’, a particular sensate mode of performance and appreciation that has become prominent in recent years in contemporary arts practice. The (syn)aesthetic performance style fuses disciplines and techniques to create interdisciplinary and intersensual work with emphasis upon; the (syn)aesthetic hybrid; the prioritisation of the body in performance and the visceral-verbal ‘play-text’. ‘(Syn)aesthetics’ is adopted as an original discourse for the analysis of such work, appropriating certain quintessential features of the physiological condition of synaesthesia to clarify the impulse in performance and appreciation which affects a ‘disturbance’ within audience interpretation. Original terms employed attempt to elucidate the complex appreciation strategies integral to this performance experience. These include the double-edged semantic/somatic or making-sense/sense-making process of appreciation, which embraces the individual, immediate and innate, and the ‘corporeal memory’ of the perceiving body. Liveness and the live(d) moment are considered, alongside notions of ritual and transcendence and the primordial and technological. The argument surveys the inheritance that saw to this contemporary style emerging, in Britain in particular, considering female performance practice, intercultural and interdisciplinary ensemble performance and the ‘New Writing’ aesthetic. Critical and performance theorists referred to include Friedrich Nietzsche, the Russian Formalists, Roland Barthes, Julia Kristeva, Hélène Cixous, Luce Irigaray, Antonin Artaud, Valère Novarina, Howard Barker and Susan Broadhurst. Contemporary practitioners highlighted as case studies exemplary of (syn)aesthetic practice are Sara Giddens, Marisa Carnesky, Caryl Churchill and Sarah Kane. Furthermore, documentation of a series of original performance workshops explores the (syn)aesthetic impulse in performance and analysis from the perspectives of writer, performer and audience. (Syn)aesthetics as an interpretative device endeavours to enhance understanding of the intangible areas of performance which are increasingly difficult to articulate, thereby presenting a mode of analysis that extends performance theory for students and practitioners within the arts.

Bibliography (leaves 281-294). / vi, 294 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / by Mandy Dyson / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1998?

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2009. / Directed by Mary Ellis Gibson; submitted to the Dept. of English. Title from PDF t.p. (viewed May 5, 2010). Includes bibliographical references (p. 194-207).

I beskrivningar av Sara Stridsbergs författarskap är Birgitta Trotzig ett återkommande namn. Främst har deras språkliga likheter betonats, men det finns även innehållsmässiga likheter då de båda återkommer till att skriva om moderskap. I denna uppsats jämförs hur moderskap gestaltas i Brigitta Trotzigs Dykungens dotter (1985) och Sara Stridsbergs Happy Sally (2004). Främst studeras hur moderskap gestaltas i de två romanerna, på vilka sätt moderskapet bryter från de rådande könsnormerna samt på vilka sätt verken problematiserar de moraliska aspekter och dilemman som kvinnlig frigörelse och moderskap innebär. Jämförelsen görs genom en tematisk komparativ läsning, och nyckelbegrepp i läsningen är genuskontrakt och norm. I båda romanerna ges en komplex bild av moderskapet, där både kvinnor som vill ha barn och kvinnor som väljer att göra abort skildras. I både Dykungens dotter och Happy Sally finns karaktärer som bryter mot den traditionella modersrollen och mot genuskontraktet, och för dessa normbrott krävs att de betalar ett pris. En skillnad i romanerna är huruvida karaktärerna bryter mot normen av fri vilja eller inte.

Petroleum or crude oil is a complex mixture formed by aliphatic, aromatic and naphthenic hydrocarbon, and other compounds containing sulfur, oxygen, nitrogen, and organometallic constituent complexed with nickel and vanadium. To crude oil characterization the separation by classes SARA (saturated, aromatics, resins and asphaltenes) is one of the most applied method. This method presents certain disadvantages such as excessive expense of solvents, adsorvents and lenghty analysis time. In this context, this study aims to evaluate the SARA fractionation efficiency by the conventional method and by reducing scale. In this study, it was used 7 different samples of crude oil from Carmópolis field from the Mercês and Jericó stations, provided by advanced recovery process with steam injection. The miniaturization of the SARA method has shown promise in relation to the conventional technique, meeting the criteria of the methodology and presenting recovery between 87-98%. Analysis by GC/MS contributed to confirm the efficiency of the separation of fractions by the macro and micro column through selective ion monitoring (m/z 142, 156 and 170). The relative areas for both the GC-FID and by GC-MS chromatograms showed to the fractions of macro and micro column that the fraction of saturated compounds compared with Malteno showed similar relative profiles and areas, demonstrating that the gas chromatographic system is inappropriate to the analysis of aromatic and resin fraction. However, the aromatic (15-19%) and resin fraction (14-16%), when analyzed separately, showed no relative areas equivalent to the isolated gravimetric percentage, confirming the discrimination of the chromatographic system to more polar fractions of oils. / O petróleo ou óleo bruto é uma mistura complexa formada por hidrocarbonetos alifáticos, aromáticos e naftênicos, além de outros compostos contendo enxofre, oxigênio, nitrogênio e constituintes organometálicos complexados com níquel e vanádio. Para a caracterização de óleos brutos, um dos métodos mais empregados é o método de separação por classes SARA (Saturados, Aromáticos, Resinas e Asfaltenos). Este método apresenta algumas desvantagens, como o gasto excessivo de solventes e adsorventes, e longo tempo de análise. Neste contexto, o presente trabalho tem como objetivo avaliar a eficiência do fracionamento SARA pelo método convencional e realizar a miniaturização do procedimento. Neste estudo foram utilizadas 7 amostras de óleo bruto do Campo de Carmopólis (SE) provenientes das estações Mercês e Jericó, que foram obtidas pelo processo de recuperação avançada com injeção de vapor. A miniaturização do método SARA mostrou-se promissora em relação à técnica convencional, atendendo aos critérios da metodologia e apresentando recuperação entre 87-98%. A análise por Cromatografia Gasosa/Espectrometria de Massas (GC/MS) contribuiu para confirmar a eficiência na separação das frações pela macro e microcoluna através do monitoramento seletivos de íons (m/z 142, 156 e 170). O estudo das áreas relativas tanto por Cromatografia Gasosa com detector de Ionização por Chama (GC-FID) quanto por Cromatografia Gasosa/Espectrometria de Massa (GC-MS) mostrou para as frações da macro e microcoluna, que a fração de compostos saturados quando comparada com o malteno apresentaram perfis e áreas relativas equivalentes, demonstrando que o sistema cromatográfico a gás é inapropriado para a análise das frações aromática e resinóica. As frações aromática (15-19%) e resinóica (14-16%), quando analisadas isoladamente, não apresentaram áreas relativas dos picos equivalentes aos percentuais gravimétricos isolados, confirmando a discriminação do sistema cromatográfico para frações mais polares dos óleos.

På sociala medier såsom Facebook, Twitter och Instagram kan både förlag och författare informera om kommande boksläpp, specialerbjudanden och signeringar, och genom att ha en närvaro i dessa medier gör de sig utöver detta tillgängliga och synliga för människorna som köper och läser deras böcker. Författaren har dessutom möjlighet att skapa en relation till sina läsare som sträcker sig bortom böckerna och eventuella intervjuer i traditionella medier. Genom sociala medier kan läsarna följa författaren när hon får sin första recension, går på releasefester och skriver på sitt nya alster. Som följare kan man kommentera bilderna, ibland kan man också skicka direktmeddelanden och eventuellt få ett svar tillbaka. Den här uppsatsen tittar närmare på hur en svensk författare idag – Sara Bergmark Elfgren – förhåller sig till sociala medier i allmänhet och till Instagram i synnerhet i relation till sitt författarskap. Undersökningen behandlar också hur några svenska förlag ser på Instagram som ett sätt att marknadsföra sig och skapa intresse för sin verksamhet genom en närvaro på Instagram. Uppsatsen behandlar även den litterära offentligheten och diskuterar hur den idag sträcker sig längre än till dagstidningarnas kulturdelar och recensioner på teve.