Abstract. Uppsatsen Ingen big deal - en undersökning i kvinnligt dejtande på Tinder undersöker hur kvinnors sökande eller möten efter/med en romantisk eller sexuell partner, i samtiden kallat “dejting”, förändrats av applikationen Tinder. Uppsatsen har genom ett antal intervjuer med kvinnor undersökt hur deras dejtande ser ut på Tinder och hur eller om detta har förändrat deras sätt att dejta. Studien undersöker först hur dejtande har sett ut genom tiderna och vilka roller som kvinnan har tilldelats eller anpassat sig efter för att därefter undersöka hur eller om detta har förändrats i och med sociala medier och främst dejtingapplikationer på smarta telefoner. Det som upptäcktes var att kvinnor i och med Tinder börjar få ett nytt perspektiv på sitt dejtande och börjar se dejtande som en process där erfarenheten bidrar till en klarare bild av kvinnors målbild när det kommer till relationer. Den visade även på tendenser att kvinnor börjar appropriera ett manligt förhållningssätt till relationer, där de undersöker olika tillvägagångssätt och även vidgar sin definition av vad en relation är och kan vara. Relationer börjar mer bli en bisak även i kvinnans samliv, vilket tidigare inte varit fallet. Men det märktes även hur kvinnor använde Tinder som ett sätt att komma ur tidigare relationer och återfå självförtroende för att kunna gå in i nya relationer. Huruvida detta är Tinders förtjänst eller inte kan diskuteras men det är ett faktum att Tinder fundamentalt förändrar kvinnors sätt att se på relationer och hur de själva beter sig i dejtingprocessen.

L’insécurité routière est un problème de santé publique. Il n' y a pas de recherche qui a exploré la psychanalyse de Zizek pour comprendre le comportement du conducteur. Cette recherche est basée sur l'approche interdisciplinaire dans le cadre du mouvement "Transformative Social Marketing". La contribution théorique présente une nouvelle vision du comportement basée sur des concepts psychanalytiques de Slavoj Zizek pour comprendre le comportement du conducteur, comme une première en Théorie marketing. Elle présente trois groupes basés sur la triade Réel-Symbolique-Imaginaire qui oriente le comportement vers le respect/non respect du code de la route. La contribution méthodologique est "la carte psychanalytique" qui tient compte de la complexité du comportement. La contribution pratique est l'acte authentique, provenant du conducteur pour personnaliser le message adéquat dans sa voiture ainsi que le changer en utilisant la technologie "VANet" en tenant en compte de l'aspect routinier de l'acte de conduire. / The disobedience of traffic rules is a public health problem. There is an absence of understanding driving behavior from Zizekian psychoanalysis. The general scope of this research is based on the interdisciplinary approach in a Transformative Social Marketing. The theoretical implication presents a new view of human behavior inspired from Zizekian psychoanalysis (based on "conscious/unconscious" in a continuous process, Real-Symbolic-Imaginary Triad, Reflexivity, Interpassivity, authentic act). Three groups (Pleasing, Care, Refuge) emerge from the Real-Symbolic-Imaginary Triad that orients behaviors to obey or disobey traffic rules. The methodological implication is the "psychoanalytic map" as a new methodological tool for more understanding the complexity of driving behavior. The practical implication is an authentic act, emerged from the driver, to choose a personalized message which changes after a period using VANet technology.

This thesis contributes to the fields of digital technology, consciousness studies and cultural theory by reassessing the relation of the contemporary subject to physical and digital worlds. By moving beyond the materiality of these worlds, this investigation will position the subject as a cyborg: a series of relations within consciousness that defines the reality and psychological construction of the subject across and through physical and digital perspectives. The functions of consciousness are set out as Existence, Meaning, Virtual, and Real, and their shifting relations defined in terms of physical and digital modes of consciousness. Using Slavoj Žižek's conception of parallax, applied ontologically to digital technology, and introducing a new framework for analysing consciousness as a series of relations between functions, the void of subjectivity is defined as the gap between physical and digital worlds. Within this framework the work of Gilles Deleuze and the philosophy of quantum physics are employed to negotiate a disruption of conventional reality with the Virtuality of thought and matter respectively, towards the conception of the subject as an engaged spectator. These methodological tools are developed to analyse cultural phenomena that highlight and challenge our consciousness of the relation between physical and digital worlds. Online and gallery-based digital art interventions, avatar-mediated spaces, computer games and representations of digital technology and culture in literature are examined in order to assess specific relations between functions, drawing the discussion towards the antagonism between Virtuality and Reality within the construction of the cyborg subject. Through these analyses, a critical position is established through which the contemporary subject is able to achieve the rupture of a minimal distance towards its own parallax position to confront the void of subjectivity between Virtual and Real functions of consciousness and between physical and digital modes of cyborg reality.

The purpose of this project was to articulate a definition and understanding of the emerging genre of rogue cinema through the lens of rhetorical theory. To this end, I lay out a theoretical groundwork based principally on the works of Kenneth Burke and Slavoj Zizek to build a definition and to analyze the works of four filmmakers whose work could be considered rogue: Alejandro Jodorowsky, Dusan Makavejev, Lars von Trier and Werner Herzog. The first chapter is dedicated to articulating the theorists I use and showing how they can be used to examine rogue films. The second chapter is dedicated to the films of Jodorowsky, focusing in particular on his films Fando y Lis, El Topo and The Holy Mountain, looking at how these films form a critique of our conventional views of religion and spirituatity. Chapter three looks at Makavejev's films WR: Mysteries of the Organism and Sweet Movie and discusses how they undermine the capitalist/communist dichotomy that has defined most of 20th century politics. Chapter four examines Lars von Trier's films Europa and Dancer in the Dark, framing them in particular with the Dogme movement and looking at how von Trier rebels against cinematic convention. The last chapter looks at Herzog's films Aguirre: Wrath of God and Stroszek and discusses how Herzog blends fiction and reality in ways that question our cultural and moral values. Since little has been written on rogue cinema to date my aim here has been to help develop rogue cinema as a concept and begin the work of building a theoretical basis for the idea of this as a genre. In my conclusion I suggest avenues for future scholars to expand on this idea and discuss what further work needs to be done for rogue cinema to become an accepted idea.

A critical task in the formation of any political group is the determination and articulation of group identity, purpose and goals. In holding that identity is impervious to capture, much poststructuralist thought has little to contribute to an understanding of the precise processes and ongoing tensions involved in such drives for representation. The essentialism debate in feminist theory, for instance, has been primarily concerned with determining which conceptualisation of women's subjectivity will best facilitate feminism's political goals. However, under the influential feminist deconstructive perspective, a dilemma emerges regarding how an anti-essentialist notion of femininity might be reconciled with the essentialism required for a distinctly feminist voice. Alternatively, post-Lacanian psychoanalysis views subjectivity as an effect of fundamentally irresolvable antagonisms in language, allowing the emphasis to shift from the (attempted) reconciliation of irresolvable tensions to the identification of mechanisms that work to conceal those tensions, thereby permitting a sense of subjectivity to be articulated. This thesis explores the methodological implications of these theoretical debates, examining how the psychoanalytic line of questioning might be used to analyse feminist identity in an empirical setting. Research was conducted with the Women's Resource Centre (WRC) based in Auckland, New Zealand, an organisation originally established to provide feminist theology resources to women undergoing theological education. Using a conversational methodology and the observation of material expressions of identity, the research attempts to view the Centre's identity 'askew.' In doing so, it considers the creative yet eventually regressive impact of the postmodern privileging of difference and multiplicity on the feminist identity of the Centre. Referring specifically to the changing expression of the Centre's identity (in promotional material, funding applications and the WRC Story), the thesis traces the effects of ideological tension (in incorporating more inclusive notions of justice with feminist politics) and organisational change (dispersion of the original community, high staff turnover, shift in organisational culture, funding difficulties). Wider implications of the research for voluntary and feminist organisations are indicated, along with an evaluation of post-Lacanian psychoanalysis for the empirical study of identity and for the overarching theoretical concerns of the thesis.

In this essay I examine how identity is created in William S. Burroughs two early novels Junky andQueer. The theoretic starting points are Lacans psychoanlytic concepts ”ideal ego”, ”egoideal” and the ”superego” and also queertheory as presented by Tiina Rosenberg in her book Queerfeministisk agenda. The examination contains an analysis of how Burroughs creates identity in both Junky and Queer with main focus on the second novel. I look at how the desire in the maincharacter Lee is described and what the desire is aimed at. In Junky Lee has a need for drugs and in Queer the desire is aimed at sexual contact with other men. I examine how the desire switches between the novels and how it affects his identity. There is a difference in how Lee sees himself and how the people around him sees him. He sees himself as the masculine homosexual man but the society has antoher view of how homosexual men should act and look like, that is the effiminate man. There is a conflict between Lees ideal ego and the ego-ideal wich has great impact on how his identity is formed. There is a gap between his interpretation of himself and how other sees him wich creates a disintegration in his identity. This essay tries to describe how this disintegration in Lees identity appears and how he handles it. Burroughs is wellknown for his so called ”routines”. These are crazy and imaginative monologues created by the maincharacter Lee. In this essay I present these routines as a way for Lee to take back control of his own identity, he uses them as a way to convince his surroundings that he is the masculine homosexual guy with control not the feminine man that other people sees him as. I also examine how the maincharacter Lee reflects Burroughs as his ideal ego. Ginsbergs have said that Queer is ”Burroughs heart laid bare” and that is a central point throughout my essay.

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This thesis brings the philosophies of Jean-Luc Nancy, Slavoj Zizek and Bruno Latour into conversation around the cynosure of ecological rhetoric. It argues for a renewed contemplation of political ecology, one that relinquishes the concept of Nature in favour of the overtly politicized notion of a world in common. By tracing, for the first time, the intersections between these three thinkers’ respective philosophies of nature, this thesis strives to articulate a philosophical framework that can live up to the ecological challenges of the contemporary Anthropocene. / Graduate / 0422 / 0401 / 0298

This thesis explores the limitations of determinism in regards to music, media, and the constitution of subjectivity. Its methodological resource is derived from a synthesis between media ecology, social psychoanalysis, and music semiotics. The case studies describe the incorporation of nostalgia into popular music ballads, the domestication of the phonograph, the contemporary trend of mashups, and the studio technique of backmasking. The conclusion asks that we readjust our approach to music, media, and subjectivity to account for the possibility of creative acts that are bound within a network of determinants. I use, finally, the writings of Maurice Merleau-Ponty to explore the body as a primary site of indeterminate mediation, which renders possible for the subject a potential of creative embodied expression.

This thesis explores the limitations of determinism in regards to music, media, and the constitution of subjectivity. Its methodological resource is derived from a synthesis between media ecology, social psychoanalysis, and music semiotics. The case studies describe the incorporation of nostalgia into popular music ballads, the domestication of the phonograph, the contemporary trend of mashups, and the studio technique of backmasking. The conclusion asks that we readjust our approach to music, media, and subjectivity to account for the possibility of creative acts that are bound within a network of determinants. I use, finally, the writings of Maurice Merleau-Ponty to explore the body as a primary site of indeterminate mediation, which renders possible for the subject a potential of creative embodied expression.