Thesis (M.F.A.)--University of Wyoming, 2007. / Title from PDF title page (viewed on Dec. 3, 2008).

In this paper I investigate why people define Lindelof’s shows so much by their creator and why they are so linked to one another. I ask if Lindelof’s case is an example of auteurism in television, and if so, what the implications of this are for television as a whole.

Cette thèse se propose d’analyser les processus de représentation de l’identité culturelle britannique en prenant comme objet d’étude une sélection des productions musicales du musicien anglais Damon Albarn. Avec le groupe Blur, Albarn émerge sur la scène britannique dans les années 1990. Le groupe est l’un des fers de lance du mouvement Britpop qui se caractérise par une imagerie et un propos associés à l’identité britannique. Cette dernière est symbolisée par la grande majorité des groupes du mouvement qui sont anglais, blancs, masculins et appartiennent au paradigme pop/rock.Cette thèse s’intéresse à l’évolution des représentations de l’identité dans la musique d’Albarn à partir des années 2000 et jusqu’aux Jeux Olympiques de Londres en 2012, dans un contexte marqué par la remise en cause du modèle multiculturaliste, la poursuite de l’élargissement de l’Union Européenne et le début des discussions sur un référendum portant sur l’éventuelle indépendance de l’Écosse. Cette période se caractérise également par une diversification des genres musicaux abordés dans les projets d’Albarn qui s’éloigne lui-même du discours identitaire exclusif de la Britpop. La thèse propose une analyse critique des productions d’Albarn qui opèrent ce glissement d’une identité Britpop exclusive à une identité inclusive et multiculturelle. Ce faisant, le travail permettra de dégager la spécificité de la musique, conçue comme un espace d’observation et d’élaboration d’une identité culturelle britannique en perpétuelle mutation. / This study analyses representations of British cultural identity in Damon Albarn's music. Albarn became a household name with Blur, an English band that was associated with the Britpop movement in the 1990s. Britpop openly articulated popular music and the question of Britishness which was defined in exclusive terms as most Britpop artists were white, male, guitar-based, English bands.By focusing on Albarn’s various musical projects after the end of Britpop, the aim is to understand how its aesthetics and politics are de-constructed. At the turn of the century, Albarn distanced himself with the exclusive rhetoric of Britpop as he started to express a more inclusive, multicultural understanding of British identity. Through three different case studies, it is contended that Albarn’s understanding of British cultural identity is predicated on specific music genres and their own sets of discourse. The study spans over a period of twelve years marked by a renewed interest in Britishness as the multicultural model in British politics is questioned, new countries join the European Union and more devolution for Scotland is discussed. The last part of the study focuses on Albarn’s involvement in the Cultural Olympiad in 2012 and serves to show how music works as a medium that allows the articulation of contrasted, and at times, contradictory representations of British cultural identity.

Damon Galgut has been a prolific contributor to South African literature since the early 1980s, but has only recently gained recognition as a significant presence in our cultural landscape. This thesis considers what the vicissitudes of Galgut’s critical reception — which have seen him, by turns, celebrated, ignored and even explicitly discounted as a noteworthy South African author — reveal about the shifting standards of cultural legitimacy which have been set for local writers since the late apartheid years. It offers, in turn, an extended close reading of each of his novels and considers the challenges which they pose to hegemonic assumptions about developments within the field of South African literature over the past three decades. I demonstrate that no coherent line of transition can be traced across the individual novels which make up Galgut’s oeuvre. They represent, instead, shifting degrees of discordance and concordance with an epochal metanarrative of South African literature and the progressive transformation of the field which it implies. In so doing, they enliven us to the thematic and aesthetic heterogeneity which has always already constituted the field.

The use of self-ligating brackets has gained popularity recently in orthodontic treatment. The Damon philosophy is a system that employs passive self-ligation with the use of light forces to achieve arch development and to relieve dental crowding. The philosophy of the system is that the use of light forces does not overpower the forces of the lips, tongue, and other peri-oral soft tissue thereby allowing for optimal equilibration of forces that is customized to every individual. If this actually occurs, changes in the posture of the tongue and hyoid would be expected as is seen after orthognathic surgery and rapid maxillary expansion. The purpose of this study was to evaluate if these postural adjustments do occur, and, if they do, to assess if there is a stratification of treatment effect based on dental classification. A customized cephalometric evaluation was designed from an amalgamation of previous cephalometric studies. This cephalometric study not only evaluated changes due to treatment but also assessed changes in cervical postural position to validate the quality of the measurements and to verify that radiographs were taken in a correct and repeatable head position. Cephalometric measurements were correlated with measurements of posterior dental expansion at the premolars and molars. Results of the study showed a correlation in tongue length and hyoid to mandible measurements. Lack of significance in the cervical posture cephalometric changes validated the cephalometric design and the quality of radiograph included in the study. Significant posterior dental expansion was documented although this expansion was limited to the premolar regions. Changes in tongue length correlated with dental expansion, particularly in the lower premolars. Lastly, increases in upper airway space correlated with dental expansion, particularly in Class III patients. This finding is very interesting and suggests the need for further research in this area. Additionally, replication of this study with more subjects may yield very interesting results. Overall, this study supports the fact that studies of soft tissue changes in relation to orthodontic treatment need further investigation as these tissues are involved in the equilibrium of forces and are directly related to the stability of orthodontic treatment. / Oral Biology

Thesis (MA)--Stellenbosch University, 2015 / ENGLISH ABSTRACT: In this thesis I examine the portrayal of masculinity in selected works of Damon Galgut. Masculinities are read through the lens of the double and the uncanny as conceived by Freud and other scholars. The selected novels include The Beautiful Screaming of Pigs (1991), The Quarry (1995), The Good Doctor (2004), The Impostor (2008) and In a Strange Room (2010). In the introduction theoretical issues relating to masculinities, the double and the uncanny are discussed and a broad framework for the thesis is outlined. Subsequently each chapter discusses the representation of men and masculinities in the selected novels. Issues such as masculinity in the military, friendship amongst men, relationships with women, masculinity and apartheid, masculinity and whiteness and heterosexuality and homosexuality are discussed and explored through the lens of the double and the uncanny. Questions that emerge from this study are: What perspectives does Galgut offer of masculinities before and after apartheid? How do the men experience their political and social environment? How do the male characters in the novels interact with the female characters? What obligations do men and women have towards each other?: / AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die uitbeelding van manlikheid in geselekteerde werke van Damon Galgut. Manlikhede word gelees deur die lens van die dubbelganger en die Unheimliche soos deur Freud en ander teoretici gekonsipieer. Die geselekteerde romans sluit in The Beautiful Screaming of Pigs (1991), The Quarry (1995), The Good Doctor (2004), The Impostor (2008) en In a Strange Room (2010). In die inleiding word teoretiese kwessies met betrekking tot manlikhede, die dubbelganger en die Unheimliche bespreek en ʼn breë raamwerk vir die tesis word uiteengesit. Daarna bespreek elke hoofstuk die voorstelling van mans en manlikhede in die geselekteerde romans. Kwessies soos manlikheid in die weermag, vriendskap tussen mans, verhoudings met vroue, manlikheid en apartheid, manlikheid en witheid, en heteroseksualiteit en homoseksualiteit word deur die lens van die dubbelganger en die Umheimliche bespreek en verken. Die volgende vrae word in die studie aangepak: Watter perspektiewe bied Galgut op manlikhede voor en ná apartheid? Hoe ondervind die mans hulle politieke en sosiale omgewing? Hoe gaan die manlike karakters in die romans met die vroulike karakters om? Watter verpligtinge het mans en vroue teenoor mekaar?

An analysis of the names and violence in Richard Wright's The Outsider reveals Wright's aesthetic program for the novel. Wright's recurring themes and the meanings of the name and aliases of his protagonist are indicative of African American vernacular tradition. Despite Wright's physical distance from African American life in the United States at the time of the novel's writing, he still conveys a strong connection to the African American experience, linking that experience with the suffering of all oppressed people. By using the idea of double-consciousness and various forms of signification, including masking, naming, and improvisation, Wright locates his work within the African American folk tradition and celebrates the freedom and subversive nature of African American expression.

This dissertation combines performance analysis, rhetorical criticism, and psychoanalytical theory to analyze three performance “texts” as sites of haunting in post-9/11 America: Tony Kushner’s 2001 U.S. debut of Homebody/Kabul, the Broadway musical Wicked, and ABC’s television drama Lost. It contributes a nuanced, theorized reading of the civil implications of post-9/11 popular American culture as “more than memory” by demonstrating how these performances suggested “what might be” in ways that subverted Bush’s responses to the attacks. The first chapter reads Homebody/Kabul against the national addresses delivered by Bush in the first weeks after the attacks and argue that the 2001 New York Theatre Workshop performance created a space for audiences to reconsider the version of “mourning” encouraged by the Bush administration. The type of mourning modeled/enabled by Homebody/Kabul, I assert, is different from that against which Derrida warns. Rather than “silencing ghosts” (Gunn 82) through the integration of loss, Homebody/Kabul makes a space for conversing with, and models living with, ghosts. The second chapter argues that the Wicked’s Ozians are stuck in a state of melancholia, refusing to speak to/with the ghost of Elphaba. Because they refuse to reckon with Elphaba, they literally finish exactly where they began—with “No One Mourn[ing] the Wicked.” By reading Wicked against the celebratory rhetoric of the Bush administration after declaring “Mission Accomplished” in Iraq, we can understand the way the United States as a nation was (and may still be, in 2010) haunted by the Bush administration's failure to lead the nation in mourning effectively and ethically and by its incessant rhetoric of evil. The third chapter advocates for Lost as a hauntological reckoning with 9/11 that models ethical witnessing as a potentially generative meeting of human beings across cultures at the site of trauma. An alternative to the fear that the Bush administration encouraged leading up to Lost’s premiere and through its final season, ethical witnessing as modeled on Lost suggests that civilization stands to thrive where difference is honored—and risks toppling into chaos where the alternative “us against them” mentality (Other anxiety) prevails. / text

Using psychoanalytic theory, one can see that the Gothic genre addresses fears to reveal the ever-tense dynamics between subject and object- the subject as the individual with agency and the object as that which the subject desires and which thus lacks agency. This tension between the subject and object exposes the subject's fears about the object specifically pertaining to female sexuality, desire, familial dynamics, and reproduction, and it is these fears that shape the subject's psyche. These fears are addressed in psychoanalysis on two levels: terror and horror. Terror is the fear of what one does not know, whereas horror coincides with the fear of that which one does know. This distinction itself addresses the two parts of the psyche: the unconscious and the conscious. Through the lens of psychoanalysis, we can see that the switch or overlap between these layers of the psyche, is experienced as the uncanny, where the repressed again becomes familiar. In Gothic texts, the return of the repressed occurs for the subject as it relates to the object of desire, and the trauma surrounding this relationship. Through the analysis of three different Gothic texts from three different time periods- Matthew Lewis's The Monk (1796), Bram Stoker's Dracula (1897), and David Lindelofs contemporary television series Lost (2004 )- I argue that these texts demonstrate the ways in which their cultures understood (and understand) subjectivity as constituted through fear of and desire for the object. From the eighteenth century to the twenty-first century, we can see a transition from a reaction to trauma to a need/or trauma in the texts.

Introduction Cette recherche constitue une étude clinique descriptive, visant à évaluer la douleur durant le traitement orthodontique avec boîtiers auto-ligaturants passifs et actifs. Matériel et méthode L'étude a été effectuée chez 39 patients (18 garçons, 21 filles), âge moyen 14 (entre 11 et 19 ans). Deux types de boîtiers auto-ligaturants ont été utilisés (SPEED n=20 et Damon n=19). Pour évaluer la douleur, un questionnaire a été élaboré par l'équipe de recherche. L’étude comportait 4 phases, c’est-à-dire l’évaluation de la douleur suite à l’insertion des 4 premiers fils orthodontiques du traitement de chaque patient (0.016 Supercable, 016 CuNiTi, 016X022 CuNiTi, 019X025 CuNiTi). Le même questionnaire était utilisé lors de chaque phase et le questionnaire comprenait 6 différents temps (T0: avant l’insertion du fil orthodontique, T1: immédiatement suite à l’insertion du fil, T2: 5h après l’insertion, T3: 24h après l’insertion, T4: 3 jours après l’insertion, T5: une semaine après l’insertion, T6: 4 semaines après l’insertion) suite à l’insertion de chaque fil. L’échelle visuelle analogue (EVA) et la version courte du questionnaire de Saint-Antoine ont été utilisés afin d’évaluer la douleur. Les données des EVA entre les groupes ont été comparées en utilisant le U test Mann-Whitney. Résultats et discussion Pour les deux premiers fils et pour tous les temps étudiés, il n’y avait pas de différence statistiquement significative entre les deux groupes (SPEED et Damon). Cependant, au moment de l’insertion (T0) du troisième fil (016X022 CuNiTi), parmi les patients ayant rapporté de la douleur (SPEED 47.1%, Damon 55.6%), le groupe Damon a rapporté une douleur significativement plus élevée que le groupe SPEED (p=0.018), (EVA moyenne SPEED=14.14±8.55, Damon=33.85±19.64). Trois jours après l’insertion du troisième fil, toujours parmi les patients ayant rapporté de la douleur (SPEED 23.5%, Damon 33.4%), la douleur était significativement plus élevée chez le groupe Damon que chez le groupe SPEED (p=0.008), (EVA moyenne SPEED=8.74±4.87, Damon=25.15±9.69). La plupart des analgésiques ont été pris suite à la pose du premier fil au temps T2 (5h) et T3 (24h). Il n’y avait pas de différence statistiquement significative entre les groupes en ce qui a trait au nombre de patients qui prenaient des analgésiques. La douleur n’a pas affecté le style de vie pour la grande majorité des patients. Les mots descriptifs sensoriels « tiraillement », « étau » et « élancement » et le mot affectif « énervant » étaient le plus souvent utilisés. Conclusion Les patients du groupe Damon ont ressenti significativement plus de douleur que les patients du groupe SPEED à l’insertion du troisième fil et trois jours suite à l’insertion. Plus de patients ont pris des médicaments pour la douleur avec le premier fil et le style de vie n’était pas affecté pour une majorité de patients. « Tiraillement », « étau », « élancement » et « énervant » étaient les mots descriptifs les plus utilisés par les patients pour décrire leur douleur. / Introduction This research is a descriptive clinical study designed to assess pain during orthodontic treatment with self-ligating brackets. Materials and methods This study was comprised of 39 patients (18 male, 21 female), mean age of 14 (range 11 to 19 yo). Two types of self-ligating brackets (SPEED n=20 and Damon n=19) were used. Pain was evaluated with a questionnaire developed by the research team. The study was divided into 4 phases. Pain was evaluated for 4 weeks following the insertion of the first 4 orthodontic wires for each patient (0.016 Supercable, 016 CuNiTi, 016X022 CuNiTi, 019X025 CuNiTi). The same questionnaire was used during each phase and included 6 different time-points following the insertion of each wire (T0: before insertion of orthodontic wire, T1: immediately after the insertion of the wire, T2: 5h after insertion, T3: 24h after insertion, T4: 3 days after insertion, T5: 1 week after insertion, T6: 4 weeks after insertion). The visual analogue scale (VAS) and the short version of Saint-Antoine’s questionnaire were used to evaluate the pain. VAS ratings between groups were compared using the Mann-Whitney U test. Results and Discussion For the first two wires and for all the different time points, there was no statistical difference between both groups (SPEED and Damon). However, at the insertion (T0) of the third wire (016X022 CuNiTi), among patients that reported pain (SPEED 47.1%, Damon 55.6%), Damon caused statistically significantly more pain than SPEED (p=0.018), (VAS mean SPEED=14.14±8.55, Damon=33.85±19.64). Three days after the insertion (T4) of the third wire, among the patients that reported pain (SPEED 23.5%, Damon 33.4%), the pain was statistically significantly higher with Damon than SPEED (p=0.008), (VAS mean SPEED=8.74±4.87, Damon=25.15±9.69). The most frequent use of pain medication occured with the first wire, at time-points T2 (5h) and T3 (24h). There was no statistical difference among the groups in terms of the number of patients taking medication. For the large majority of patients, the pain did not affect their life-style. The most frequently used sensorial words used by the patients to describe their pain were « pulling » (tiraillement), « cramping » (étau), « throbbing» (élancement). The most frequently used affective word was « annoying » (énervant). Conclusion The perception of pain for patients with Damon brackets was significantly higher than for those with the SPEED brackets at the insertion of the third wire and three days after placement of the third wire. More patients took pain médication with the first wire and the majority of patients did not report a change in their quality of life. « Pulling » (tiraillement), « cramping » (étau), « throbbing» (élancement) and « annoying » (énervant) were the words most frequently used by the patients to describe their pain.