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Trance-Scripts is an analysis of the social construction of hypnosis, looking at the way in which versions of hypnosis are constituted in various kinds of texts and talk. The analysis is reflexive, in that it highlights its own constructed nature, including how it textually constructs the textually constructed nature of hypnosis. Taking a relativist and social constructionist perspective, hypnosis is revealed (or constructed) as a discursive and social practice, in how it is realized, conducted, reported, disputed, theorized, accounted for, debunked, and so on. The analysis examines a range of written materials on hypnosis, including historical, clinical, and social psychology textbooks, popular media, as well as transcriptions of hypnotic inductions. The thesis uses alternative literary forms (ALFs) as a way of highlighting the textual construction of its own, and others', claims to knowledge, and of creating, caricaturing, and analysing through parody, the thesis's topics. These topics include the connections between poetry, hypnosis, therapy and reflexivity proposed in the thesis, and also the standard uses of ALFs in reflexive work of this kind. Reflexive analysis is produced via a self conscious use of a metaphoric spiral, where analysis can take another turn upon a topic and offer another perspective. Thus, in a discussion on therapy, reflexivity becomes a therapeutic tool with which to confront and quieten the argument that reflexive analysis will result in an infinite regress. The presence of poetry in a social science thesis is intended to challenge conventional sociological and psychological analysis, in which poetry features (if at all) as some kind of social phenomenon, that folk called 'poets' produce, rather than being an appropriate and challenging analytic language, as it is used here. This abstract, given its contents, may be taking its work as a conventional abstract rather seriously. Time for the next turn.

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This dissertation presents an account of fictional discourse which is teleological. According to it, questions about what is said in fiction and how it ought to be said are answerable in terms of the goals and methods belonging specifically to fiction-making as a practice. Viewed in such a way, it is argued that the incompleteness of fictional discourse and its apparent tolerance of inconsistency are distinctive of it. Moreover, it is argued that there is a sense in which one can produce true statements in fiction without thereby committing one self to the thesis that words made use of in fiction are endowed with reference. Throughout the dissertation, the view espoused in it is contrasted with rival positions on the issues of what fiction is about, and whether it can be true. It is argued that a teleological account of fictional discourse can present a coherent alternative to these.

Women’s periodicals at the start of the twentieth-century were not just recorders but also producers of social and cultural change. They can be considered to both represent and construct gender codes, offering readers constantly evolving communal identities. This dissertation asserts that the periodical genre is a valuable resource in the investigation of communal identity formation and seeks to reclaim for historians of British modernist feminism a neglected publication format of the early twentieth century. I explore the discursive space of three unique women’s periodicals, Bean na hÉireann, the Freewoman, and Indian Ladies Magazine, and argue that these publications exemplify the importance of the early twentieth-century British woman’s magazine-format periodical as a primary vehicle for the communication of feminist opinions. In order to interrogate how the dynamic nature of each periodical is reflected and reinforced in each issue, I rely upon a tradition of critical discourse analysis that evaluates the meaning created within and between printed columns, news articles, serial fiction, poetry, and short sketches within each publication. These items are found to be both representative of a similar value of open and frank discourse on all matters of gender subordination at that time and yet unique to each community of readers, contributors and editors. The dissertation then discusses the disparate physical, political, and social locations of each text, impact of such stressors on the periodical community, and the relationships between these three journals. Ultimately, I argue that each journal offers a unique model of contested feminist identity specific to the society and culture from which the periodical arises, and that is established within editorial columns and articles and practiced within the figurative space of poetry and fiction selections in each journal.

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Contrary to common folk and expert theory, the human self is not unitary. There is no Cartesian theatre or homunculus functioning as a metaphorical overlord. Rather, it is an abstractum gleaned from a person�s experiences-a centre of narrative gravity (Dennett 1991). Experiences are a person�s cognisance of her ventures in life from a particular unique perspective. In perspectivising her experiences, the person imputes a certain structure, order, and significance to them. Events are seen as unfolding in a certain inherently and internally coherent way characterised by causality, temporality, or intentionality, etc. In other words, a person�s self emerges out of her innumerable narrativisations of experience, as well as the different protagonist roles she plays in them. Her behaviours in different situations can be understood as different life-narratives being foregrounded, when she is faced with different stimuli different experiences/events present. In real life, self-reflective discourse frequently alludes to a divided, partitive self, and the experiences/behaviours that it can engage in. In academic study, this concept of the divided and narrative-constructivist self is well-represented in disciplines ranging from philosophy (e.g., Dennett 1991, 2005), developmental psychology (e.g., Markus & Nurius 1986; Bruner 1990, 2001; Stern 1994), cognitive psychology (e.g., Hermans & Kempen 1993; Hermans 2002), neuropsychology (e.g. Damasio 1999), psychiatry (e.g., Feinberg 2001), to linguistics (e.g., McNeil 1996; Ochs & Capps 1996; Nair 2003). Depending on the particular theory, however, emphasis is often placed either on its divided or its narrative-constructivist nature. This thesis argues, however, that the two are coexistent and interdependent, and both are essential to the self�s ontology. Its objectives are therefore: (i) to propose a partitioned-narrative model of the self which unifies the two perspectives by positing that the partitioned-representational (Dinsmore 1991) nature of narratives entails the partitioned structure of the self; and (ii) to propose that the partitioned-narrative ontology of the self is what enables and motivates much of our self-reflective discourse and the grammatical resources for constructing that discourse. Partitioning guarantees that a part of the self, i.e., one of its narratives, can be selectively attended to, foregrounded, objectified, and hence talked about. Narrativity provides the contextual guidance and constraints for meaning-construction in such discourse. This claim is substantiated with three application cases: the use of anaphoric reflexives (I found myself smiling); various usages of proper names, including eponyms (the Shakespeare of architecture), eponymic denominal adjectives (a Herculean effort), etc.; and partitive-self constructions which explicitly profile partitioned and selectively focal narratives (That�s his hormones talking). When analysed using the proposed model, these apparently disparate behaviours turn out to share a common basis: the partitioned-narrative self.