Spanning the period from the early years of the Cold War to the early twenty-first century, Crossing Out argues that medical theories of gender variance which emerge in the middle of the twentieth century are bound by the Cold-War–era discursive limits within which they were articulated, and that the ideological content of those theories persists into late-century research and treatment protocols. I parallel these analyses with interrogations of literary representations of transgendered subjects. What emerges most powerfully from this analysis of literary works is their tendency to signify in excess of the medical foreclosures, even when they seem consistent with medical discourse. By reading these two discursive systems against each other, the dissertation demonstrates the ability of literary discourse to accommodate multifaceted subject positions which medical discourse is unable to articulate. Literature thus complicates the stories that medical culture tells, revealing complex and multivariate possibilities for transgendered identification absent from traditional medical accounts. In tracing these discursive intersections the dissertation draws on and extends Michel Foucault’s theory of subjugated knowledges and Judith Butler’s writings on the formation of gendered subjects. Chapter One establishes the Cold War context, and argues that there are significant continuities between 1950s theories of intersexuality and Cold War ideology. Chapter Two extends this analysis to take in theories of transsexualism that emerged in the same years, and analyzes the discursive excesses of a 1950s pulp novel representation of a transsexual. Chapter Three establishes that the ideological content of the medical theories remained virtually unchanged by the 1990s, and argues that multivalent literary representations of transgenderism from the same decade promise the emergence of unanticipated forms of gender identity that exceed medical norms. Chapter Four is concerned with transgendered children, as they are represented in medical writing and in young adult and children’s literature. Interrogating fiction which negotiates between established medical discourse and an emergent transgender discourse, the chapter argues that these works at once invite and subvert a pathologizing understanding of gender-variant children while simultaneously providing data that demands to be read through the lens of an emergent affirmative notion of trans-childhood.

In 1881, an Ontario-based group known as the Temperance Colonization Society began looking towards the Canadian West with a speculative eye. Interested in acquiring tracts of land from the Canadian Government, the Temperance Colonization Society hoped to one day establish a new colony free from the temptations of alcohol and the troubles associated with older colonies. By 1884, a settlement was established along the south shore of the South Saskatchewan River. This was the beginning of Saskatoon.<p> As Saskatoon grew from a small settlement founded on temperance ideals to a recognized municipal corporation, the meaning of the material culture associated with this transition also changed. Two archaeological sites pertaining to this transition, the Marr Residence at 326 11th Street East (FaNp-5) and the 11th Street Privy site (FaNp-31), currently comprise the only excavated privy assemblages in the city and hold rich potential for shedding light on urban consumption behaviour at the turn of the 20th century. This study will analyze the archaeological assemblages recovered from these excavations under the scope of consumer behaviour. By orienting the essence of this study towards an archaeology of consumerism, information regarding the dimensions of everyday life in the Saskatoon area at the turn of the 20th Century can be ascertained.

In 1881, an Ontario-based group known as the Temperance Colonization Society began looking towards the Canadian West with a speculative eye. Interested in acquiring tracts of land from the Canadian Government, the Temperance Colonization Society hoped to one day establish a new colony free from the temptations of alcohol and the troubles associated with older colonies. By 1884, a settlement was established along the south shore of the South Saskatchewan River. This was the beginning of Saskatoon.<p> As Saskatoon grew from a small settlement founded on temperance ideals to a recognized municipal corporation, the meaning of the material culture associated with this transition also changed. Two archaeological sites pertaining to this transition, the Marr Residence at 326 11th Street East (FaNp-5) and the 11th Street Privy site (FaNp-31), currently comprise the only excavated privy assemblages in the city and hold rich potential for shedding light on urban consumption behaviour at the turn of the 20th century. This study will analyze the archaeological assemblages recovered from these excavations under the scope of consumer behaviour. By orienting the essence of this study towards an archaeology of consumerism, information regarding the dimensions of everyday life in the Saskatoon area at the turn of the 20th Century can be ascertained.

Lili Boulanger (1893-1918) is the first female composer to win the Prix de Rome in France. She had an early death due to Crohn¡¦s Disease at the age of twenty-four. During her brief and difficult life, she completed more than thirty musical pieces, one third of which were choral works. The 1913 Prix de Rome award is a clear line of demarcation of Lili's choral compositions. The early secular choral works, composed for the preparation of the first round of Prix de Rome(1911 to 1913), are much less known; her four well-known grand sacred choral works¡Ð¡§Psaume 24¡¨, ¡§Psaume 129¡¨, ¡§Psaume 130¡¨ and ¡§Vieille prière bouddhique¡¨¡Ðwere written between 1913 and 1918. Regrettably, the early secular works have been overwhelmed by the four splendor sacred works in the past century. Nine of the early works survive, and they were: ¡§Sous bois¡¨, ¡§Renouveau¡¨, ¡§Les sirènes¡¨, ¡§Soleils de septembre¡¨, ¡§Pentant la tempête¡¨, ¡§La source¡¨, ¡§Hymne au soleil¡¨, ¡§Pour les funérailles d¡¦un soldat¡¨ and ¡§Soir sur la plaine¡¨. The lyrics are from nineteen-century French poems; the music has such extreme intensity, dramatic power, demanding vocal techniques, as well as challenging piano skills. This thesis consists of five parts: an introduction, a basic review of Lili Boulanger¡¦s life and works, the analysis of the nine secular choral works, the interpretation of the works and a conclusion. There are also three appendices attached. Appendix 1 offers the translation and a pronunciation guide of the nine works. Appendix 2 is the program of the conducting recital. Appendix 3 is the program of the lecture recital.

This study is an evaluation of the function and the meaning of parliamentary spaces of the Turkish Republic, focusing on the parliamentary complex of the Turkish Grand National Assembly in the capital city of Ankara. Parliament buildings are symbols of the nation and the nation state, representing the national identity via expressional aspects of their functional space. The issue is of national prestige, security and power that remain in effect albeit adapting to changing situations in time. This study attempts to contribute to a better understanding of the spatial, stylistic as well as the urban characteristics of parliamentary spaces in Turkey by examining the earlier experiences in late Ottoman and early Republican periods, and by not only analyzing the establishment of the complex as designed by Holzmeister in the late 1930s, but also evaluating its enlargement as affected by the changing exigencies in contemporary political agendas after the Assembly had started to use the complex in the 1960s until today. The study examines the formation and the transformation of the Assembly complex in Turkey under the pressure of the highly dynamic political realities of the twentieth century, in order to reflect upon the continuities and discontinuities in functions and meanings of the parliamentary spaces throughout the process.

Beginning in March of 1920, the Galveston coastwise longshoremen’s strike against the Morgan-Southern Pacific and Mallory steamship lines was a pivotal moment in the history of organized labor in Texas. Local and statewide business interests proved their willingness to use the state apparatus by calling on Governor William P. Hobby and the Texas National Guard to open the Port of Galveston. Despite this, the striking dockworkers maintained the moral support of many local citizens from a variety of social classes, including small merchants and officials of the Galveston municipal government. By February of 1921, however, the segregated locals representing the striking longshoremen had fallen victim to the divisive racial tactics of the shipping companies, who implemented the open-shop policy of non-discrimination in hiring on their docks. Further demonstrating the capital-state alliance, the Texas legislature passed Governor Hobby’s notorious Open Port Law in October 1920, making it virtually illegal for dockworkers and others to engage in strikes deemed harmful to commerce. This legislation and the nearly yearlong strike not only destroyed the coastwise longshore unions in Galveston, but ushered in a decade of repression from which Texas’s organized labor movement did not recover for many years.

The decades following two world wars, the European Holocaust and the threat of nuclear annihilation presented American authors with an occupational dilemma: catastrophic histories call out for recognition, but any representation of them risks adding violence to violence by falsifying the account or conflating historical acts of violence with their artificial doubles. This project reimagines the political aesthetics of postmodern American fiction through two major interventions. First, I identify an aesthetic structure of apposition--a parallel relationship between abstract works of art and the everyday world that I take from William Carlos Williams--that allows me to productively resolve a tension in the aesthetics of Hannah Arendt: because representation takes mimesis as a particular end, Arendt disqualifies representational art from politics, which she defines as open-ended action between human beings and not as end-centered state-craft. At the same time, Arendt claims that art is a product of thought, the cognitive activity she associates with political action over and against fabrication. My heterodox reading of Arendt shows that appositional narratives, like political actors, perform their own self-disclosure, beginning the open-ended chain of actions and reactions that Arendt identifies as the substantial form of politics and ethics. Second, I use my revision of Arendt to demonstrate that appositional narratives act politically through the very same metafictional tropes that critics often label as escapist or solipsistic. Rather than copy historical experience, appositional narratives reject illusionary representation and present themselves as actors, inciting their readers to respond with pluralistic, provisional judgment. Taking Vladimir Nabokov, Philip Roth and Toni Morrison--three central but rarely-juxtaposed postmodern novelists--as case studies, I show that we cannot properly assess the political implications of postmodern fiction without understanding the specific mechanisms of narrative apposition. Appositional works stand temporarily and self-consciously in the place of the world, displacing it in the experience of their readers. This narrative strategy provides a political alternative for novelists facing the ethical crises of postmodernity. Appositional narratives displace their readers' settled beliefs and press them to exercise their human capacity for judgment. They embrace their responsibility for the world by refusing to represent it. / text

Spanning the period from the early years of the Cold War to the early twenty-first century, Crossing Out argues that medical theories of gender variance which emerge in the middle of the twentieth century are bound by the Cold-War–era discursive limits within which they were articulated, and that the ideological content of those theories persists into late-century research and treatment protocols. I parallel these analyses with interrogations of literary representations of transgendered subjects. What emerges most powerfully from this analysis of literary works is their tendency to signify in excess of the medical foreclosures, even when they seem consistent with medical discourse. By reading these two discursive systems against each other, the dissertation demonstrates the ability of literary discourse to accommodate multifaceted subject positions which medical discourse is unable to articulate. Literature thus complicates the stories that medical culture tells, revealing complex and multivariate possibilities for transgendered identification absent from traditional medical accounts. In tracing these discursive intersections the dissertation draws on and extends Michel Foucault’s theory of subjugated knowledges and Judith Butler’s writings on the formation of gendered subjects. Chapter One establishes the Cold War context, and argues that there are significant continuities between 1950s theories of intersexuality and Cold War ideology. Chapter Two extends this analysis to take in theories of transsexualism that emerged in the same years, and analyzes the discursive excesses of a 1950s pulp novel representation of a transsexual. Chapter Three establishes that the ideological content of the medical theories remained virtually unchanged by the 1990s, and argues that multivalent literary representations of transgenderism from the same decade promise the emergence of unanticipated forms of gender identity that exceed medical norms. Chapter Four is concerned with transgendered children, as they are represented in medical writing and in young adult and children’s literature. Interrogating fiction which negotiates between established medical discourse and an emergent transgender discourse, the chapter argues that these works at once invite and subvert a pathologizing understanding of gender-variant children while simultaneously providing data that demands to be read through the lens of an emergent affirmative notion of trans-childhood.

This thesis discusses the theme of homosexuality presented in The Immoralist (1902) by André Gide and in Death in Venice (1912) by Thomas Mann. Evidence of homosexuality in the texts is substantiated in detail and the way in which the theme is approached, including how it fits into the structure of the narratives, is also examined. Given that these texts are quite complex, the resounding message of this theme can only be assessed through consideration of the novellas as whole works of art. Thus, the other major themes from each text are reviewed prior to reaching conclusions about the ‘intended’ message behind each work. This thesis proposes that The Immoralist centres on the search for the authentic self, while Death in Venice concerns the downfall of the artist from the height of dignity and fame. The role of homosexuality as a theme is gauged as it relates to these interpretations.

This thesis explores the psychological development of liminal characters in four late-twentieth-century British novels. Studies of Julian Barnes’s Flaubert's Parrot, A. S. Byatt’s Possession, Angela Carter’s Nights at the Circus, and John Fowles’s The French Lieutenant’s Woman, by using D. W. Winnicott’s transitional-objects theory and Jessica Benjamin’s intersubjective theory, show how characters who are little more than infants socially and psychologically attempt to transcend the transitional, liminal status defined by Victor Turner. With the aid of significant objects or equal other subjects, these characters, whose subjective self-constructions at the beginning of the novels have become stalled in an immature position of emotional development or been inhibited by dominating individuals, progress psychologically towards controlling their own subjectivity.