This thesis discusses contemporary Scottish crime fiction in light of its transatlantic contexts. It argues that, despite participating in a globalized popular genre, examples of Scottish crime fiction nevertheless meaningfully intervene in notions of Scottishness. The first chapter examines Scottish appropriations of the hard-boiled mode in the work of William McIlvanney, Ian Rankin, and Irvine Welsh, using their representation of traditional masculinity as an index for wider concerns about community, class, and violence. The second chapter examines examples of Scottish crime fiction that exploit the baroque aesthetics of gothic and noir fiction as a means of dealing with the same socio-political contexts. It argues that the work of Iain Banks and Louise Welsh draws upon a tradition of distinctively Scottish gothic in order to articulate concerns about the re-incursion of barbarism within contemporary civilized societies. The third chapter examines the parodic, carnivalesque aspects of contemporary Scottish crime fiction in the work of Christopher Brookmyre and Allan Guthrie. It argues that the structure of parody replicates the structure of genre, meaning that the parodic examples dramatize the textual processes at work in more central examples of Scottish crime fiction. The fourth chapter focuses on examples of Scottish crime fiction that participate in the culturally English golden-age and soft-boiled traditions. Unpacking the darker, more ambivalent aspects of these apparently cosy and genteel traditions, this final chapter argues that the novels of M. C. Beaton and Kate Atkinson obliquely refract the particularly Scottish concerns about modernity that the more central examples more openly express.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh.

In an era when adversarial politics is condemned for either being archaic or right-wing extremism, proposing that incivility can be used to counter existing hegemonies, despite its potential to incite violence, is proposing an unorthodox project. By rejecting foundationalist approaches to the current incivility crisis, this study sees an opportunity for it to act as a populist rapture that defies simple binary categorisation and deconstructs incivility, at an ontological level, to reveal the deep meanings and concealed causes that contrast the grand narrative of hate speech. After an overview in chapter one, the study continues with a theoretical review of literature on incivility, guided by the works of radical democracy theorists who universalise what seems particular to Kenya. This review is followed by the description of Bakhtin’s concept of carnivalesque as utani, a joking relationship common in East Africa. For its theoretical perspective, the study is guided by Mouffe’s theory of agonistic democracy and a research method developed by transforming Laclau and Mouffe’s (1985) work in Hegemony and Socialist Strategy: Towards a Radical Democratic, into a method for Discourse Analysis. Various concepts from Laclau and Mouffe’s work are used to innovate an explanation of how political practices in social media, both linguistic and material texts, enhance incivility and the struggle to fix a regime’s preferred meaning. Guided by Laclau and Mouffe’s Discourse Analysis, the study describes how the government is using linguistic tools and physical technologies to repair the dislocation caused by incivility in social media in its attempts to re-create hegemonic practices. Without engaging in naïve reversal of the polarities between acceptable and unacceptable speech, and considering that at the ontological level politics is a friend—enemy relation, the study argues that incivility in social media is part of the return of politics in a post-political era, rather than simple unacceptable speech. While remaining aware of the dangers of extreme speech, but without reinforcing the anti-political rational consensus narrative, incivility is seen as having disruptive counterhegemonic potential, that is, if we consider the powerplay inherent in democracy. It means that binary opposition is blind to the way power produces, and is countered through unacceptable speech. / Communication Science / D. Litt. et Phil. (Communication Science)

The Passing Show, examines the interface between contemplative practices and the destabilizing effect of the carnivalesque. A repurposed early 20th century merry-go- round is reconfigured as a conceptual vehicle for renewing our attention to removing hindrances. The site-specific installation, titled Vimoksha, is viewed through the lens of the radical imaginary, investigating notions of karmic inheritance through a heuristic approach to material processes, personal history, kinetics and sound.

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This thesis analyzes the major theme of ‘postcolonial genealogy’ in portraying the African bending under the weight of colonial history in Le vieux nègre et la médaille, Une vie de boy of Ferdinand Oyono and Le Chercheur d’Afriques of Henri Lopes. Being a product of a colonial Genesis, the African character runs behind the colonizer’s mirror through his Civilizing Mission. René Girard’s ‘double bind’ theory explains how this cultural assimilation is, in Le vieux nègre et la médaille and Une vie de boy, a dead end because the colonizer needs a subordinate and not an equal. The cohabitation of a black housewife with the French Commander in Le Chercheur d’Afriques should be seen as simply an allegory of postcolonial Africa’s dependency on the West. The consequences of the feminization of the African continent are enormous in the post-colonial imaginary. While the colonizer had conquered Africa with his Herculean body, in Oyono’s novels, his Fall is obtained through the aesthetics of Bakhtinian ‘rabaissement’ which degrades his ‘grotesque body’ to that of the colonized. The colonizer and the colonized are neutralized and leveled in their perishable bodies, thus, making futile the Civilizing Mission that operated by ranking races. Power is never total. It is always imperfect, and can never destroy a subjectivity that resists it. In Oyono’s novels, the Fall of the colonial Father is also obtained through the inquisitive gaze that the colonized return back to the colonizer, and through their ‘subversive mimicry’ that parodies his codes. In Une vie de boy and Le Chercheur d’Afriques, the ‘son-Father’ relationship between the hero and the colonial Father, is also symbolic of the ‘Africa-West’ rapports. Living under the specter of the Father, the son has to negotiate his survival between weaning and parricide. The biological miscegenation in Le Chercheur d’Afriques is a metaphor of the ‘rhizome identity’ of the postcolonial African who renounces both the Fathers of Negritude and those of the Civilizing Mission. / Thesis (Ph.D, French) -- Queen's University, 2011-06-24 12:43:30.006