This study is positioned within existing debates about the meaning and role of academic literacy, how it shapes and then frames the academic and professional writing practices of business students. It explores relationships between literacy, individual writers and the academy. It goes beyond merely locating these relationships, pointing more to the need to understand how particular student and staff groups within the faculty describe academic writing practices, and in turn act upon these descriptions. Current formulations of academic literacy reflect a heavy emphasis by academic and professional communities on the commodity value of 'literacy skills'. This happens despite the fact that not much is known about the details and current culture of literacy practices in Australian universities, and how these are inflected by different disciplinary areas and cross-cultural factors. Given the divergent applications of literacy that exist across the business professions, there remains a distinct lack of consensus over the meaning of literacy in business higher education communities. Institutional responses reflect this lack of consensus, and are expressed as inflections around a perceived 'crisis' in tertiary literacy standards. Business and professional faculties, while simultaneously embracing the economic and policy imperative underlying mass education, are seen to remain scornful of the service obligation this brings. Implicit in current understandings of academic literacy are the taken for granted connections between basic literacy, reading and writing, schooling, education and employment. These connections underwrite the relations of institutional arrangements, everyday practices, policy construction, and the conditions for student evaluation in the faculty. This study begins from where literacy is located 'bodily', and provides in the first instance a content analysis which explicates and presents student discussions on various ways of thinking about, framing and reframing academic writing. The project then turns to contemporary literacy theory for an explanation of how a community discourse of 'academic literacy' is conceived, produced and in turn reproduced. Contemporary literacy theory has embraced three theoretical frameworks in its move away from a traditional uni-dimensional view of literacy, namely critical social theories, discourse and textual studies, and ethnographic research methodologies (Smith 1988). This trinity of frameworks is used in the second instance to examine a series of interviews with student writers. This data makes visible the means by which institutions value certain literacy practices over others, practices which support the naturalized world of writing required by the faculty and its professional communities. Dominant literacy practices are identified, and interpretive procedures from the field of Ethnomethodology are used to account for the ways in which discourses on academic writing both reflect and produce social and community realities. Theories of discourse are used to examine the social construction of student writing practices within this local faculty community by identifying the attributes and assumptions that are attached to different community members to account for aspects of writing practice. The key to understanding academic literacy practices is found in explication of the social processes and practices that organise the 'everyday' world of the business faculty. This project discloses how the subjective world of academic literacy is organised, and how this form of organisation is articulated 'to the social relations of the larger social and economic process' (Smith 1988:152). In the strict context of this study, this means being able to disclose for certain groups of student writers, how their situations and literacy practices are organised and determined by social processes outside the scope of their 'everyday' world. This process of discovery requires the researched to actively construct 'local' referents as categories and concepts which, when applied to a faculty context, can form an observable, local practice as a dialectic 'between what members do in tending the categories and concepts of (an) institutional ideology' on academic writing (Smith 1988:161). The interpretive practices students use to analyse literacy practices bring academic literacy into being. The outcomes of the study show that the relationships between literacy, the individual and the academy are currently explained and understood in terms of the connections that can be made between existing professional and academic community discourses. Here the concept of a 'literacy crisis' resides. It is expressed through informant talk as a perceived fall in academic literacy standards. Informant debate on what has caused this decline is generally expressed through two key positions. One of these holds a rhetorical view of literacy as a somewhat natural and procedural outcome of the higher educational process, positioning literacy within an oppositional framework of deficit cultural and linguistic models. A second view evokes a competitive agenda of limited and limiting academic and professional opportunities. Behind these arguments and their rebuttals, lie assumptions about the 'literate' person as a member of the faculty. In arguing that research into the field of academic literacy has concealed a student sub-text, this study argues that literacy has been constructed, implemented and investigated from the perspective of the institution. It follows that academic literacy can be better understood as a socially constructed and signifying space, one which includes opportunities for students to create their own powerful identities as writers and as members of professional and faculty communities. This project bridges many aspects of student experience, with the major focus upon that which has been excluded by the absence of students from the making of the topics and the relevance of the discourse. For this compelling reason, this project has direct relevance to teachers, researchers, fieldworkers and policy-makers involved in the overlapping fields of literacy and higher education.

<p>At the community of Little Gidding from the late 1620s through the 1640s, in a special room known as the Concordance Chamber, Mary Ferrar, Anna Collett, and their sisters sliced apart printed Bibles and engravings, then pasted them back together into elaborate collages of text and image that harmonize the four gospels into a single narrative. They then bound these books between elaborate covers using a method taught to them by a bookbinder's daughter from Cambridge. The resulting volumes were so meticulously designed that one family member described the process as "a new kind of printing." Collectively, these books are known as the Little Gidding Harmonies, and they are the subject of Cut/Copy/Paste.</p><p>By close-reading the Little Gidding Harmonies, Cut/Copy/Paste illuminates a unique Caroline devotional aesthetic in which poets, designers, and printmakers collaboratively explored the capacity of the codex to harmonize sectarianism. Proceeding chronologically, I begin in the Elizabethan and early Stuart periods, when women writers like Isabella Whitney, Mary Sidney Herbert, and a range of anonymous needleworkers laid the groundwork for the Harmonies' cut-up aesthetic by marrying the language of text-making to textile labor (Chapter 1). Situating women's authorship in the context of needlework restores an appreciation for the significance and centrality of ideologically gendered skills to the process of authoring the Harmonies. Building on this chapter's argument, I turn next to the earliest Harmony to show how the Ferrar and Collett women of Little Gidding, in conversation with their friend George Herbert, used cutting and pasting as a way of bypassing the stigma of print without giving up the validation that publication, as in making public, brings. This early volume attracted the attention of the court, and Little Gidding soon found itself patronized by King Charles, Archbishop Laud, and an elite coterie who saw in the women's cut-and-paste "handiwork" a mechanism for organizing religious dissention (Chapter 2). In response, Little Gidding developed ever more elaborate collages of text and image, transforming their writing practice into a full-fledged devotional aesthetic. This aesthetic came to define the poetry of an under-appreciated network of affiliated writers, from Frances Quarles and Edward Benlowes to Royalist expatriate John Quarles, Mary Ferrar at Little Gidding, and her close friend Richard Crashaw (Chapter 3). It fell out of favor in the eighteenth century, derided by Alexander Pope and others as derivative and populist; yet annotations and objects left in one Little Gidding Harmony during the nineteenth century witness how women, still denied full access to publishing in print, continued to engage with scissors and paste as tools of a proto-feminist editorial practice (Chapter 4). The second half of the last chapter and a digital supplement turn to the Harmonies today to argue for a reorientation of digital humanities, electronic editing, and "new media" studies around deeper histories of materialist or technical tropes of innovation, histories that do not always begin and end with the perpetual avant-gardism of modernity.</p><p>This project participates in what has been called the "material turn" in the humanities. As libraries digitize their collections, the material specificity of textual objects - the inlays, paste-downs, typesetting, and typography occluded by print editions - becomes newly visible through high-resolution facsimiles. Cut/Copy/Paste seizes this moment of mass remediation as an opportunity to rethink the categories, concepts, and relationships that define and delimit Renaissance literature. By reading early modern cultural production materially, I reveal the richness of the long-neglected Caroline period as a time of literary experimentation, when communities like Little Gidding and their affiliates developed a multimedia, multimodal aesthetic of devotion. Yet, even as this project mines electronic collections to situate canonical texts within a wider field of media objects and material writing practices, it also acknowledges that digital media obscure as much as they elucidate, flattening three-dimensional book objects to fit the space of the screen. In my close readings and digital supplement, I always return to the polyphonic dance of folds and openings in the Harmonies - to the page as a palimpsest, thickly layered with paper, ink, glue, annotations, and evidence of later readers' interactions with it. By attending to the emergent materiality of the Harmonies over the longue durée, Cut/Copy/Paste both deepens our knowledge of seventeenth-century devotional literature and widens the narrow lens of periodization to consider the role of Little Gidding's cut-up method in past, present, and future media ecologies.</p> / Dissertation

My dissertation traces the formation and growth of the reader of the Bengali novel in nineteenth century Bengal through a close study of the writings by Bankimchandra Chattopadhyay that comment on—and respond to—both the reader and the newly emergent genre of the Bengali novel. In particular, I focus on the following texts: two novels written by Bankim, Durgeśnandinī (The Lady of the Castle) (1865) and Bishabṛksha (The Poison Tree) (1872), literary essays published in nineteenth century Bengali periodicals, personal letters written by Bankim and his contemporaries, and reviews of the novels, often written and published anonymously. I suggest that by examining the reader of the Bengali novel it becomes possible to understand how the individual Bengali negotiates the changes occurring in nineteenth century Bengal—an era in which traditional beliefs collide with the intellectual and technological innovations brought on by colonial modernity. As my dissertation shows colonialism is far from being a disembodied institution operating at the level of governments and ideologies. Instead, it becomes evident that with the novel, colonial modernity enters the Bengali home in the form of changing moral paradigms. What the Bengali reader chooses to read, and how she performs her reading come to have a real import in her quotidian life. The three sites of reading I examine—the reader as a textual event in the novels, the reader as imagined in the literary essays, and the anthropological reader writing and responding to the reviews of the novels—revitalises the overdetermined field of the postcolonial novel by shifting the focus from the novel as a stable literary object being consumed by a relatively passive reader, to an active reader whose reading practice shapes both the genre and the subject reading it.

The surface-level experience of hypertextuality as formless and unbounded, blurring boundaries among texts and between readers and writers, is created by a deep structure which is not normally presented to readers and which, like the ultrastructure of living cells, defines and controls texts' nature and functions. Most readers, restricted to surface-level interaction with texts, have little access to the deep structure of any hypertext. In this dissertation, I argue that digital hypertexts differ essentially from paper texts in that hypertexts are constructed in multiple layers, with surface-level appearance and behavior controlled by sub-surface ultrastructure, and that these multiple layers of structure enable and necessitate new methods of textual study designed for digital texts. Using participant-observation from within my own practice as a webmaster, I closely examine the sub-surface structural layers that create several kinds of Web-based digital hypertexts: blogs, forums, static Web pages, and dynamic Web pages. With these hypertexts as the primary models, along with their enabling software and additional digital texts-wikis, news aggregators, word processing documents, digital photographs, electronic mail, electronic forms-available to me as a reader/author rather than a webmaster, I demonstrate methods of investigating and describing the development of digital texts. These methods, like methods already established within textual studies to trace the development of printed texts, can answer questions about accidental and intentional textual change, the roles of collaborators, and the ways texts are shaped by production processes and mediating technologies. As a step toward a formalist criticism of hypertext, I propose concrete ways of categorizing, describing, and comparing hypertexts and their components. I also demonstrate techniques for visualizing the structures, histories, and interrelationships of hypertexts and explore methods of using self-descriptive surface elements in paper-like texts as partial substitutes for the sub-surface self-description available in software-like texts. By identifying digitization as a gateway to cooperation between human and artificial intelligences rather than an end in itself, I suggest natural areas of expansion for the humanities computing collaboration as well as new methodologies by which originally-printed texts can be studied in their digital forms alongside originally-digital texts.

This thesis is about the ways in which Thomas Middleton and William Rowley’s play The Changeling has been edited, performed, and archived in the twentieth and twenty-first centuries. It proposes a more integrated way of looking at the histories of performances and texts than is usually employed by the institutions of Shakespeare and early modern studies. Crucially, it suggests that documented archival remains of performance should be admitted as textual witnesses of a play’s history, and given equal status with academic, scholarly editions. I argue that—despite at least a century of arguments to the contrary—performance is still considered secondary to text, and that this relationship needs to become more balanced, particularly since the canon has begun to expand and early modern plays beyond Shakespeare have begun to see more stage time in recent years. In addition, I begin to theorise social media as archives of performance, and begin to suggest ways forward for archiving the performance of early modern drama in the digital turn. In order to support these arguments, I offer a series of twentieth- and twenty-first-century productions of The Changeling as case studies. Through these case studies, I seek to make connections between The Changeling as text, The Changeling as performance, and the various other texts and performances that it has interacted with throughout its life since 1961. In presenting analyses of these texts and performances side-by-side, within the same history, I aim to show the interdependency of these two usually separated strands of early modern studies and make a case for greater integration of the two in both editorial, historiographical, and performance practices.

The Catherine Byron Letters is an edited and annotated collection of letters mostly exchanged between Catherine Byron, the mother of the poet, and her solicitor John Hanson. The importance of this correspondence was first established by Doris Langley-Moore in Lord Byron: Accounts Rendered (1974), which documents the poet's finances from the time of his birth. Since then the letters have been used extensively by Megan Boyes in My Amiable Mamma: A Biography of Mrs. Catherine Gordon Byron (1991) and by J. V. Beckett and Sheila Aley in Byron and Newstead: The Aristocrat and the Abbey (2001). For this project I have transcribed and edited the portion of Catherine Byron's correspondence now in the John Murray Archives at the National Library of Scotland, amounting to 92 letters which are here reproduced in their entirety. While some are familiar letters, most of the correspondence is concerned with the business of providing for the young poet's education at Harrow and at Cambridge, paying off his mounting debts, managing the Newstead Abbey estate, and pursuing the lawsuits which entangled the family finances. I have edited the transcribed letters using the TEI (Textual Encoding Initiative) markup language, adding optional punctuation where necessary to clarify the sense as well as headnotes and additional annotations for personal names, places, and technical terms where they require elucidation. The resulting machine-readable XML documents have been made into a website on which I have collaborated with Professor Radcliffe. / Master of Arts

In its introduction and four chapters, this project demonstrates that Shakespeare responded to—and powerfully shaped—the early modern English literary marketplace. Against the longstanding critical limitation of the category “Literature” that restricts it to the printed book, this dissertation argues that the literary is not so much a quality of texts as a mode of exchange encompassing not merely printed books but many other forms of representation. Whether writing for the stage, the page, or both, Shakespeare borrowed from and influenced other writers, and it is these specifically formal transactions that make his works literary. Thus, we can understand Shakespeare’s literariness only by scrutinizing the formal features of his works and showing how they circulated in an economy of imaginative writing. Shakespeare self-consciously refashioned words, styles, metrical forms, and figures of speech even as he traded in them, quickly cornering the literary market between 1595 and 1600. Shakespeare’s practice as a writer thus preceded and made possible his reputation both in the theater and in print. / text

<p> Cobequid Bay is a macrotidal embayment with a large intertidal sand bar complex at the east end, located at the head of the Bay of Fundy. Two sand bars were sampled in order to observe variations in impact pit densities on the surfaces of quartz sand grains, and to identify the pattern of grain size distribution over two intertidal bedforms. </p> <p> V pit densities obtained by viewing the quartz grain surfaces at magnifications of 10,000 and 5,000X with a scanning electron microscope indicate a linear correlation with grain size. The number of small V's appears to be consistent for all grain sizes, with the result that V's larger than approximately 1/5 micrometer produce the linear variation noted. Two trends of V pits formation combine to produce a "plateau", in which two grain size classes have similar V pit densities. This plateau corresponds to the break-point between the traction population and the intermittent suspension population. Trend one consists of the bombardment of large, well exposed grains (transported in the traction layer), by smaller saltating grains, while trend two consists of grain impacts between smaller grains in the concentrated "rheological layer". </p> <p> Two different grain size patterns were discovered on the two sampled bedforms. A fining upward trend toward the crest on both the stoss and slip faces was observed on an ebb dominated megaripple on Selmah Bar. The exact opposite pattern was noted on an ebb dominated sandwave from East Noel Bar. On this bedform, an upward coarsening trend toward the crest was discovered on both the stoss and slip faces. These two patterns correspond to the patterns observed by Dalrymple (1977) in his studies of intertidal bedforms. </p> / Thesis / Bachelor of Science (BSc)