In the postwar era of the United States, as military-industrial chemicals leak into airways, waterways, and foodways in unprecedented plumes and cancer clusters, comic art forms generate diverse environmental imaginations. Though historically disparaged as disposable ephemera, comics provide unique access to environmental expression in this critical period. This dissertation analyzes the formal registers of two independent newspaper strips and four graphic cancer narratives for an aesthetics of equity: a set of verbal-visual moves that chart awareness of environmental devastation as determined by privilege and power. The iconicity of the drawn body--its lines, shape, and movement--grapples with complex legacies of environmental harm and exclusion. Maps of environmental risk perception generated through game board motifs, collages, and icon repetition rely on the capacity of sequential art to engage readers in recognizing and analyzing postwar risk. In form and theme, an aesthetics of equity in comics deploys environmental knowledges subordinated and sharpened by interlocking social inequities. This aesthetics revises the elisions and assumptions of mainstream environmentalisms. Ultimately, comics demand a literacy particularly well suited to environmental justice (EJ) ecocriticsm. The dissertation comprises three chapters of analysis. The first examines competing environmental discourses in Alison Bechdel's Dykes to Watch Out For (1982-2008). This newspaper strip coincides exactly with the start of the contemporary EJ movement. In examining three character arcs across a quarter of a century, I track the emergence of EJ discourse in Bechdel's distinctly lesbian environmental imagination. The second chapter examines the heteronormative limits of the EJ story arc in Jackie Ormes' midcentury romance strip Torchy in Heartbeats (1953-4). Published weekly in the Comic Section of the Black newspaper the Pittsburgh Courier, Torchy chronicles its eponymous heroine's quest to end environmental racism in the fictional small town of Southville. Torchy's affect and body language revise romance genre conventions and expose sexism and racism as intersecting environmental oppressions. The third chapter examines transcoporeal exchange in four contemporary graphic cancer narratives from the early 21st century. This chapter examines the extent to which graphic cancer narratives "move out," to use Diane Herndl's phrase, to form coalitions with disparate environmental communities. / 2015-10-17

Readings of Fun Home thus far have tended to focus on the representation of Alison Bechdel’s traumatic life experiences and on the ways in which the memoir bears witness to that trauma. While Jennifer Lemberg explores the role of drawing in overcoming the difficulty or impossibility of naming the traumatic experiences Alison undergoes (135), Ann Cvetkovich draws attention to the cultural and political work the memoir performs by making space for everyday life histories of trauma and for accounts of forbidden, pathologized desires (111). I would like to explore the ways in which Fun Home foregrounds those illicit desires, and performs that political work, not only through the telling of Alison’s story but, more specifically, by mobilizing the reader’s affective capabilities in the face of what may be read as surprising, emotionally charged objects and situations. I suggest that Bechdel’s memoir boldly sets the stage for an affective and cognitive encounter with out-of-bounds, unapproachable bodies and histories. Our assumptions about hetero and homonormativity, as well as our conception of home and the family as heterosexual, normative spaces, are interrogated in and through those encounters. I analyze the fundamental role of the graphic narrative form, and the employment of archival objects and elements of performance in particular, in setting the stage for the reader’s affective encounter with Alison’s family history. / text

In this paper I'm trying to trace, analyze and emphasize Kathy Acker’s Great Expectations and Alison Knowles’s The Big Book in regard to the books in/finite im/possibilities. I analyze them through historical changes in the books format and structure, especially ones proposed by Mallarmé, Duchamp and Fluxus. To analyze the texts more closely attention is directed to how Acker and Knowles challenge the conventional narrative, in regard to the body and language/voice and sound. I give specific emphasizes to thoughts posted by écriture féminine, while also adding Mara Lee’s temporalities in regard to body resistance and time. A final thing I do in this paper is through close reading look at contemporary material discourses. I try to examine especially two examples that open up for in/finite im/possibilities in Acker’s and Knowles’s use and references to holes and animals.

[pt] Alison e Peter Smithson foram os precursores do movimento arquitetônico chamado de Novo Brutalismo que surgiu na Inglaterra no ano de 1953. Interessados pelo Movimento Moderno em Arquitetura participaram dos últimos Congressos do CIAM, do qual se desligaram para integrar o grupo Team 10. Começaram suas carreiras no período do pós-guerra quando além de ser necessário reconstruir parte da Europa bombardeada, foi preciso adequar as cidades para o uso dos veículos motorizados que começavam a invadi-las. Diante de tantas mudanças na vida das comunidades, sua grande preocupação foi a preservação da identidade destas comunidades, respeitando seus hábitos sociais e culturais. Este respeito pela vida, tradição e valores levou-os a propostas absolutamente revolucionárias para a época: Projeto Hunstanton School; Projeto Golden Lane; Projeto Universidade de Sheffield. Participaram do movimento artístico britânico Independent Group no qual fizeram as exposições Parallel Of Life and Art e This is Tomorrow. Podemos definir seu trabalho e suas ideologias com suas próprias palavras: a arquitetura surge como resultado direto de um sentimento de vida. / [en] Alison e Peter Smithson were the predecessors of the Architectural Movement called New Brutalism that happened to appear in England in 1953. They were involved with the Modern Architectural Movement and they took part in the last CIAM Congresses, but broke up with it and organized themselves into a new group - Team 10. They began their careers in the post-war period when besides being necessary to reconstruct part of Europe which had been devastated by bombs, it was necessary to adapt the cities to the use of motor vehicles which were beginning to invade them. In face of so many changes in the communities lives they were very concerned in sustaining the identity of these communities, respecting their culture and social values. This respect for life, tradition and values led them to propose absolutely revolutionary for their time: Hunstanton School; Golden Lane Project; University of Sheffield Project. They took part in the British movement Independent Group within which they made the exhibitions Parallel of Life and Art and This is Tomorrow. We can define their work and their ideas with their own words: we see architecture as the direct result of a way of life.

I och med det allmänna mottagandet av Theodor Adornos filosofiska projekt har filosofins framställningsform, "der Darstellung", ofta kommit att betraktas som betydelsefull för projektets realisering. I introduktionen till ett av Adornos viktigaste verk om logik och ontologi, Negative Dialektik, publicerat för första gången 1966, skriver han att "…the presentation of philosophy is not an external matter of indifference to it but immanent to its idea." Föreliggande uppsats skall försöka att förstå och utveckla en läsning av den i citatet antydda relationen mellan framställningsformen och "filosofins idé". Detta genom att undersöka några logiska och ontologiska teser, centrala för Adornos filosofiska projekt, i samband med en uttolkning av framställningsformens grundläggande drag. Utgångspunkten i uppsatsen kommer att vara Alison Stones artikel, "Adorno and Logic". I den föreslår Stone att framställningsformens betydelse för Theodor Adornos filosofi skall förstås i ljuset av en antagen strävan hos Adorno mot en filosofins försoning. Uppsatsen kommer därefter att utveckla vad denna Stones föreslagna försoning kan innebära för Adorno givet att fler delar av hans filosofi, hans idéer om språk och erfarenhet, introduceras i läsningen av hans filosofiska projekt. Genom att uppsatsen frångår Stones exklusiva fokus på logik för att samtidigt följa hennes läsning med hänsyn till idén om försoning skall vi avslutningsvis se hur Adornos idéer om språket kan förstås som en förlängning av försoningen Stone föreslagit, och vidare hur språkets försoning, som åstadkoms i och genom framställningsformen, är en del av "filosofins idé".

This study aims to examin how the production of knowledge is intrinsic to the production of power in the New Materialist Process theology of Catherine Keller. The object of critical examination is the theology of Keller and her essay; ”Tingles of Matter, Tangles of Theology: Bodies of the New(ish) Materialism,” from her book Intercarnations: Exercises in Theological Posibility (2017). Keller’s essay will be analyzed through Linda Alcoffs, Alison Baileys and Sara Ahmeds epistemological critical theory of how power produces knowledge and vice versa.  Keller’s theology will be examined based on the study points of analysis on texts of Alcoff, Bailey and Ahmed: subjectivity, making of knowledge, epistemology, making of ignorance, power and authenticity/purity. The study shows that Keller’s notion of apophatic matter has the effect of producing knowledge practices about the object. When the object is obscured from the subject in Keller’s theology, a theological analysis of power and the subject’s position in producing knowledge through theology, is prohibited. By analyzing Keller's notion of entanglement through Ahmed’s thinking, it is shown that the subject is presupposed as free, white and independent. Entanglement among human beings exists as bodily physicality for Keller. Social and economic factors are, thus, made irrelevant for the existence of knowledge and relations between humans. Life situations that are, for example, violent or in position of dependence are incompatible with the reality constituted in entanglement. The subject’s knowledge as socially situated and possibly part of structural power, is also made irrelevant in entanglement-thinking. Thus, the study shows that through the reading of Alcoff, Bailey and Ahmed, theology has the ability to constitute knowledge making practices, that forms the subject’s production of knowledge and ignorance.

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<p>Following from such theorists as Sara Ahmed, Lee Edelman and Heather Love, this thesis seeks to address current scholarship on queerness and temporality that conceptualizes queer subjects as complicating traditional notions of linear time, reproduction, and progress. Mobilizing theories of temporal disruption and disorientation, including backwardness and the queer moment, this thesis explores the association between such disruptions and a persistent impulse to reckon with and reconstruct what I refer to as “the fugitive dead,” understood here both as past events and as the ghostly figures of the dead and effaced. Such disruptions can, this project posits, foster queerly generative affinities between seemingly separate categories (e.g. between the present and the past or between the living and the dead), thereby providing alternatives and challenges to normative temporal trajectories.</p> <p>My analysis considers literary representations of such temporal disruptions, drawing on Virginia Woolf’s <em>Mrs. Dalloway</em>, Michael Cunningham’s <em>The Hours</em>, and Alison Bechdel’s <em>Fun Home</em> to explore their treatments of temporal linearity, queer moments, affinity and connection, as well as haunting and spectrality. Furthermore, this thesis also addresses the capacity of literary texts to <em>enact </em>temporal disruption in the form of the revisioning project, which can be figured as the literary attempt to encounter the fugitive dead. Ultimately, this thesis explores the literary and intertextual dimensions of this complex approach to queer temporality, advocating for the generative possibilities of an attentiveness to the continued presence of the past and an engagement with the figures of the lost and disappeared.</p> / Master of English

Dans Feminist Politics and Human Nature, publié en 1983, la philosophe américaine Alison Jaggar expose les idéologies des féminismes libéral, marxiste, radical, et socialiste, en fait l’épistémologie, et conclut que le féminisme socialiste est celui qui convient le mieux à la participation' de la femme au renouvellement social. Par ailleurs, les féministes de toutes les tendances proposent des transformations qui, pour la plupart, sont nettement révolutionnaires, d’où le titre de ce mémoire, «La révolution féministe», qui résume, dans les grandes lignes, les thèmes exploités par cette auteure.

Minkisi (sing. nkisi) were sacred objects that housed ancestral spirits and were used for divination, healing and social justice by the Kongo people of Central Africa. When the Kongo were brought as slaves to the New World, they contributed significantly to the development of African American artistic and spiritual culture. In the Caribbean, aspects of minkisi have been retained in the creolized spiritual beliefs of Haitian Vodou, Cuban Palo Monte Mayombe and Brazilian Candomble. In North America, evidence of Kongo influence is apparent in examples of folk art and culture, including quilts, mojo hands, Afro-Carolinian face vessels, memory jugs and burial sites. In the twentieth and twenty-first centuries, artists appear to have recontextualized elements of minkisi within their work, among these James “Son Ford” Thomas, James Van Der Zee, Betye and Alison Saar, Willie Cole and Renee Stout, creating a link between the Kongo past and the American present.