This dissertation, All Things Commune: The Communal Imaginary in Twenty-First-Century French Fiction & Poetry, is animated by two fundamental questions: How can life be led differently, together? And, what is French literature’s radical political potential? Over the course of this project, I argue that twenty-first-century French literature is a site of radical political imagination, and, in certain cases, a veritable form of radical political practice. Through close readings of works by a diverse set of authors – including Jean Rouaud, Yannick Haenel, Virginie Despentes, and Jean-Marie Gleize – I reveal a countercurrent of twenty-first-century French literature bound up in a radical politics that is invested in imagining alternative forms of community that are autonomous from the French state, capitalism, governance, and traditional political structures. I read these literary works in light of theories of community developed by collectives such as Tiqqun and Le Comité invisible and critical theorists like Giorgio Agamben, Jean-Luc Nancy, and Jacques Rancière. All Things Commune demonstrates how reading these authors and theorists together reveals a shared imaginary of alternative communal life and radical Leftist politics, which I place under the rubric of destituent power. All Things Commune insists on the profound continuities between contemporary French literature, history, and politics. Overall, this project questions the narrow political frameworks through which twenty-first-century French literature continues to be read and demonstrates how radical politics appear in unexpected ways in a period of literature sometimes reduced to the reactionary or the apolitical.

Certain disjunctions exist between the structure, courses, and practices of current textile curricula on the one hand, and the demands of students for entry into diverse creative professions and the demands of the creative industry for qualified new talents on the other. Thus, this research will explore the history, current issues, and emerging trends of academia and the creative professions as these shape the qualifications, aspirations, and expectations of students, academia, and the textile-related fields. The ultimate goal of this study is to comprehend the contemporary issues—social, economic, and cultural shifts—that may impact textile education within art and design colleges, and propose an efficient and engaging BFA (Bachelor of Fine Arts) textile curriculum suitable for the era of interdisciplinary education and the fourth industrial revolution. Since scholarly study of the effectiveness of art school curriculum is limited and little research has examined the challenges of BFA education, and in particular BFA textile education in the context of 21st century college education, the researcher begins with a survey of existing literature from adjacent fields, including higher education, sociology, business, marketing, apparel, and art education, in particular, adolescent artistic development. The existing literature also includes statistics from government, consulting firms, colleges ranking sites, and annual reports published by each school. This qualitative case study examines how stakeholders in BFA textile education—students, faculty, and professionals—from five selected art colleges in the U.S. perceive their educational experiences and post-college careers. The data were collected through 1) a review of existing literature pertaining to perspectives of general college education, creative industry, and current student generation, and 2) qualitative data gathered through initial surveys and verbal interviews, including two pilot studies. Stakeholder perspectives obtained through interviews are interpreted through the following theoretical frameworks: 1) the business perspective aiming at the success of all stakeholders; 2) the marketing perspective aiming at improving stakeholder satisfaction as a means of enhancing the operational efficiency of organizations; and 3) the educational perspective aiming to create effective teaching and engaging learning environments for the success of today's young creative talents. The researcher contends that the findings strongly suggest curricular and pedagogy change in accordance with societal changes and demands of the stakeholders—current student generation, creative industry, and academia—while at the same time informing the significant value of college education, BFA education, and textile education in the 21st century.

This study deals with the character of Jesus in the Gospel of John and follows the social-scientific approach and aims to correct the traditional views regarding the personality of Jesus. The aim is not a personality analysis but to situate Jesus as a typical person who was a part of and functioned in the first Mediterranean world. The pivotal values of the ancient world such as honor/shame; collectivistic/dyadic personality; family and group orientation; kinship; the patronage system with the patron/broker/client relationship and the purity system are applied to reach the aim of my thesis. It is found that Jesus was a collectivistic/dyadic personality. He functioned in this family orientated as well as in a group orientated community and socially structured patronage system as a broker, totally the contrary to contemporary personality drawings of Jesus found in modern literature. / In hierdie studie, wat 'n skripsie van beperkte omvang is, word nie gepoog om 'n persoonlikheidsanalise van Jesus te doen nie. Die studie wil die probleem van die toepassings en interpretasies van Jesus in populere literatuur aanspreek. Jesus word deur moderne mense en teoloe in prentjies en idees van 'n moderne mens met moderne kategoriee, denke en perspektiewe, waardes en oordele beskryf, geteken en geinterpreteer, en dit is nie 'n werklike getroue en realistiese weergawe van Jesus as historiese mens nie. Jesus word in populere literatuur as 'n individualis geteken; sy persoon en emosies word alleenlik in moderne denke en kategoriee geinterpreteer en dit word slegs op grond van moderne individuele ervaring gedoen. Hierdie interpretasies is nie tipies van die kollektiwistiese, groep-georienteerde eerste-eeuse mediterreense persoon nie. Afsydigheid en terughoudendheid (4:9, 10; 13:36-38) is kenmerkend van persone in hierdie samelewing waar warmte in verhoudings ontbreek het (2:16; 9:16)'. Emosies soos 'liefde' wat Jesus toon, is nie 'n emosionele konnotasie wat in die moderne samelewing dui op die gevoelslewe van die mens nie. In hierdie antieke samelewing het 'liefde' gedui op lojaliteit, solidariteit en groepgebondenheid en as Jesus die blinde man sy sig teruggee (9:7), herstel hy nie hier die geneesde man se plek as individu in terme van die moderne samelewing nie, maar hy herstel die sieke in sy regmatige, groep-georienteerde sosiale plek in die antieke samelewing waarin hy - weens sy siekte - as 'buitestaander' geetiketteer is en dus geen deel in die groep gehad het nie. In hierdie antieke eerste-eeuse mediterreense samelewing het ander spilpuntwaardes as in ons moderne samelewing gegeld. In hierdie kollektiwistiese en groepgebonde kultuur het persone gedeel in 'n gemeenskap met die spilpuntwaardes, norme en ingestelde sosiale reels van hierdie spesifieke kultuur en aspekte wat vormend op hulle ingewerk het. Jesus se persoon en optrede moet nagevors word in hierdie sosiale sisteem waar mag deur simbole daargestel is, en waar mense, dinge en gebeure elkeen 'n simboliese werklikheid verteenwoordig het. / New Testament / M. A. (Biblical Studies)

The screen, as recent studies in a number of fields indicate, is a cultural object due for critical reappraisal. Work on the theoretical status of screen objects tends to focus upon the materialisation of surface; in other words, it attempts to rethink the relationship between the supposedly 'superficial' facade and the 'functional' object itself. I suggest that this work, while usefully chipping away at the dichotomy between the 'superficial' and the 'functional', can lead us to a more radical conclusion when read in the context of subjectivity. By rethinking the relationship between the surface and the obverse face of the screen as the terms of a dialectic, we can ‘read’ the screen as the vital component in a process which constitutes the Subject. In order to demonstrate this, I analyse productions of subjectivity in literary texts of the twenty-first century — in doing so, I assume the novel as nonpareil arena of the dramatisation of subjectivity — and I propose a reading of the work of Jacques Lacan as hitherto unacknowledged theorist par excellence of the form and function of the screen. Lacan describes, with the function of desire and the formation of the screen of fantasy, the primary position this ‘screen-form' inhabits in the constitution of the Subject. Lacan’s work forms a critical juncture through which we must proceed if we are to properly read and understand the chosen texts: The Book of Strange New Things by Michel Faber; The Tain by China Miéville; Oryx and Crake by Margaret Atwood; and Austerlitz by W.G. Sebald. In each text, I analyse the particular materialisations of the screen and interrogate the constitution of the subject and the locus of desire. By analysing the vicissitudes of subjectivity in these texts, I make a claim for the study of the screen as constituting a central question in the field of contemporary literature.

This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.

This study deals with the character of Jesus in the Gospel of John and follows the social-scientific approach and aims to correct the traditional views regarding the personality of Jesus. The aim is not a personality analysis but to situate Jesus as a typical person who was a part of and functioned in the first Mediterranean world. The pivotal values of the ancient world such as honor/shame; collectivistic/dyadic personality; family and group orientation; kinship; the patronage system with the patron/broker/client relationship and the purity system are applied to reach the aim of my thesis. It is found that Jesus was a collectivistic/dyadic personality. He functioned in this family orientated as well as in a group orientated community and socially structured patronage system as a broker, totally the contrary to contemporary personality drawings of Jesus found in modern literature. / In hierdie studie, wat 'n skripsie van beperkte omvang is, word nie gepoog om 'n persoonlikheidsanalise van Jesus te doen nie. Die studie wil die probleem van die toepassings en interpretasies van Jesus in populere literatuur aanspreek. Jesus word deur moderne mense en teoloe in prentjies en idees van 'n moderne mens met moderne kategoriee, denke en perspektiewe, waardes en oordele beskryf, geteken en geinterpreteer, en dit is nie 'n werklike getroue en realistiese weergawe van Jesus as historiese mens nie. Jesus word in populere literatuur as 'n individualis geteken; sy persoon en emosies word alleenlik in moderne denke en kategoriee geinterpreteer en dit word slegs op grond van moderne individuele ervaring gedoen. Hierdie interpretasies is nie tipies van die kollektiwistiese, groep-georienteerde eerste-eeuse mediterreense persoon nie. Afsydigheid en terughoudendheid (4:9, 10; 13:36-38) is kenmerkend van persone in hierdie samelewing waar warmte in verhoudings ontbreek het (2:16; 9:16)'. Emosies soos 'liefde' wat Jesus toon, is nie 'n emosionele konnotasie wat in die moderne samelewing dui op die gevoelslewe van die mens nie. In hierdie antieke samelewing het 'liefde' gedui op lojaliteit, solidariteit en groepgebondenheid en as Jesus die blinde man sy sig teruggee (9:7), herstel hy nie hier die geneesde man se plek as individu in terme van die moderne samelewing nie, maar hy herstel die sieke in sy regmatige, groep-georienteerde sosiale plek in die antieke samelewing waarin hy - weens sy siekte - as 'buitestaander' geetiketteer is en dus geen deel in die groep gehad het nie. In hierdie antieke eerste-eeuse mediterreense samelewing het ander spilpuntwaardes as in ons moderne samelewing gegeld. In hierdie kollektiwistiese en groepgebonde kultuur het persone gedeel in 'n gemeenskap met die spilpuntwaardes, norme en ingestelde sosiale reels van hierdie spesifieke kultuur en aspekte wat vormend op hulle ingewerk het. Jesus se persoon en optrede moet nagevors word in hierdie sosiale sisteem waar mag deur simbole daargestel is, en waar mense, dinge en gebeure elkeen 'n simboliese werklikheid verteenwoordig het. / New Testament / M. A. (Biblical Studies)

This PhD Dissertation was completed through 2011 to 2016 and was nominated for a CAGS-UMI Distinguished Dissertation Award. / My dissertation explores transnational adoptions of black African children by white Western parents as a site through which to think about global affective relationality and transnational histories within intimate proximities. The image of an interracial, transnational family can seem to be a fulfillment of the potential for transcendent love symbolized by humanitarian fundraisers such as Live Aid— a love that collapses borders and brings together races in multicultural bliss. Furthermore, adoptions of African children can potentially challenge discursive systems of categorization that frame the black body as existing outside the body politic. At the same time, however, we cannot understand transnational adoption without taking into account the histories of power that make possible and potentially limit the contours of these affective orientations. Indeed, representations of a transnational family consisting particularly of black African children and white Western parents not only invoke the logic of white moral motherhood within the context of contemporary globalization; they also point to European philosophical traditions that presuppose the colonizer’s right to the black body. In this project, thus, I ask: what are the sociopolitical and cultural motivations behind the desire to express humanitarian love towards African children through the act of adoption? How might these motivations create avenues for exclusion and exploitation even as they create new geographies of belonging? To answer these questions, this project brings the affective domain of contemporary transnational adoption between African children and white American parents into conversation with histories of colonial transnational intimacies and the precarious lived experiences of classed and racialized individuals in the African postcolony. In challenging popular celebratory fictions of the transnational family, it critically examines not only the utopian aspirations and social costs of transnational adoption as a humanitarian project, but also the very affect produced and channeled through adoption as a humanitarian act. / Thesis / Doctor of Philosophy (PhD) / My dissertation takes a multidisciplinary approach to analyze transnational adoptions of black African children by white Western parents. It offers answers to the following questions: 1. How do the ghosts of colonialism, along with the violent realities of globalization, expose the inequities hidden within idealized humanitarian narratives of rescue underlying global adoptions while at the same time revealing their transformative potential? 2. How can we account for the experiences and psychic struggles of the African adoptee, and what do their contradictions of idealized Western narratives tell us about the fantasies and anxieties of their Western parents? Ultimately, I argue that while the transnational family suggests transformative transnational connections, Western humanitarian frameworks have also sought to manage the messiness of these connections, to fix white and black bodies into old colonial roles, and to exclude certain bodies, namely those of the African birth mothers, out of the affective realm of transnational adoption. At the same time, these attempts at management, I argue, only speak to the productive potential of these messy relations to transform and exceed colonial limitations.

This study traces the current status of Spanish ethics as seen through the optics of historical memory. Starting from the Spanish Civil War in 1936, the thesis relates contemporary themes to their proposed origin throughout three additional distinctive eras of the 20th and 21st century in Spain: 1982-1996 (Socialist Spain), 1997-2010 (Post-modern Spain), and 2011-present (current Spain). Spanish narratives ranging from Los Abel by Matute, La magnitud de la tragedia by Monzó, "Fidelidad" of Ha dejado de llover by Barba and Las fosas de Franco by Silva are contextualized through their ethical architecture, in accordance with their socio-political context, and relationship to past historical traumas. This work proposes that the themes of anticlericalism, the pursuit of social equality, anti bureaucracy, and political distrust are trends culminating from Kohlberg's third level of morality. The thesis aims to be an exposition and legitimization of different ethical schemas that might otherwise be polarized as wrong and inferior by others.

This dissertation deploys theories of spatiotemporal experience and organization, most prominently Mikhail Bakhtin’s “chronotope,” to set contemporary literature, film, and music into dialogue with theories of post-Wende social and political experiences and possibility that speak, with Francis Fukuyama, as the contemporary as the “End of History.” Where these interlocutors of Fukuyama generally affirm or intensify his view of the contemporary as a time where historical progress slows to a halt, historical memory recedes from view, and the conditions of subjecthood are rephrased from participation in a struggle for progress to mindless consumption and technocratic tinkering, I engage contemporary artwork to flesh out and ultimately peer beyond the boundaries of the real and the possible these social theories articulate. Through a series of close readings of German films, music albums, and novels published between 1995 and 2021, I examine how German authors, filmmakers, and musicians pursue depictions of the malaises of the End of History while also resolutely pointing to the fissures in liberal capitalist hegemony where history—its past and its future—again becomes visible. Mikhail Bakhtin’s notion of the chronotope, a text’s unified expression of space and time, is central to my method of analysis. In tracing the chronotopic contours of contemporary works of music, film, and literature, I argue, we—as readers, viewers, and listeners—are engaged to think and act alongside the forms and figures that populate the worlds their authors create. In doing so, we ultimately uncover forceful accusations, resolute alternatives, and even hopeful antidotes to the deficiencies of our present that help us both to soberly contemplate the implications the pessimistic formulations of contemporary theory have on our lives, communities, and futures but also to formulate possibilities for them that lie beyond their analytical purview.In a series of close readings of my literary, filmic, and musical primary texts, I engage theorists of the post-Cold War, post-Wende contemporary who write about the political order and social conditions emerging out of the triumph of neoliberalism and market capitalism over socialist, communist, and fascist alternatives. The dissertation begins by establishing a wide view of the contemporary, tracing in its first chapter chronotopic resonances of Hartmut Rosa’s “social acceleration” thesis—which locates the aimlessness and alienation of contemporary society within the accelerationist logic of market capitalist modes of production—across the full temporal arc of the contemporary. Pairing Christian Kracht’s Faserland (1995) with Fatma Aydemir's Ellbogen (2017), I argue that the futilities and frustrations of the modern subject, as foretold in Fukuyama’s “End of History” essay and fleshed out in Rosa’s writings on social acceleration, find resonance not only in the wealthy, educated, white protagonist of Faserland’s 1990s, but also in the impoverished, undereducated, Turkish-Kurdish protagonist of Ellbogen some twenty years later. What connects these two accounts across decades and differences in identities, I demonstrate, is not merely a shared sense of alienation and despair, but a shared, underlying chronotopic characterization of the contemporary. These commonalities appear, I demonstrate, when we connect Rosa’s “social acceleration” thesis to diegetic chronotopes of perpetual motion that depict modern subjects’ inability to avail themselves of the ostensibly liberatory potential of liberal capitalism’s accelerated lifeworld. Chapter 2 then considers Byung-Chul Han’s theory of auto-exploitation and the dilemma of the music novel at a time where the rebellion of punk against social integration has been thoroughly incorporated into capitalism. Reading Marc Degens’ Fuckin Sushi (2015), I examine the novel’s concept of “Abrentnern” as a model for personal and communal fulfillment for those who turn to art as a means self-determination in the age of auto-exploitation. Unlike Kracht and Aydemir, however, Degens sees the closing off of historical possibilities for the good life enjoyed by his punk forbears—here, self-determination through transgressive artistic praxis—not as the contemporary subject’s damnation to cyclical patterns of despair but as a challenge to conceive of the good life anew. Working humorously through its hapless protagonist Niels’ repeated attempts to escape the seemingly inevitable for-profit co-option of his sincere artistic efforts, the novel serves to unveil the persistence of blind spots in this regime of totalizing exploitation. What results is an account of the double-edged logic of capitalist productivity’s ostensible totalization of labor-time. Capitalism, Niels unwittingly discovers, is a logic of production so overwhelming that it continuously drives subjects towards the discovery of new alterities that, for a brief time at least, allow subjects once again to slip between the cracks. The third chapter explores a similar phenomenon of halting resistance to the conditions of the capitalist present through the lens of futurity. Here, I push back against Mark Fisher’s theory of the dominance of “Capitalist Realism” in the contemporary aesthetic imagination, identifying and developing the notion of “subtle futurity”—the modest, yet resolute rephrasing of future possibility beyond the “way things are” of the present—in Leif Randt’s Schimmernder Dunst über CobyCounty (2011) In this light, I argue, Randt’s gestures towards a different future, however halting, mark a significant effort to imagine a benevolent form of future possibility within the context of an era often suspected to have been exhausted of its utopian sentiment. The final two chapters turn to past-minded works that more forcefully repudiate notions of the present as static or closed off from the movement of history. Chapter Four considers W.G. Sebald’s 1995 novel, Die Ringe des Saturn, and The Caretaker’s 2012 album, Patience (After Sebald), developing an account of the chronotopic means by which these works revisit materials of the past within the present. Chronotopic motifs of paraphrase—techniques of sampling in The Caretaker and narrative polyphony in Sebald—come together within macro-level chronotopic frameworks of peripatetic movement—looping repetition in The Caretaker and the retracing of bygone journeys in Sebald—to testify to the unanswered questions and unfinished work of history over and against notions of the present as a time where the past has been relegated to mere museum content or nostalgia for bygone ways of living. Where Chapter Four speaks primarily to the formal mechanisms by which the present rediscovers the past, Chapter Five examines two specific chronotopic innovations for thematically engaging constellations of past-present inter-temporality. Both Sharon Dodua Otoo’s 2021 novel, Adas Raum, and Christian Petzold’s 2018 film, Transit, develop chronotopes wherein past and present are intermingled in increasingly inseparable ways. Adas Raum, I demonstrate, is organized spatiotemporally as a nexus of coiled loops—pasts and presents intertwine, heaven and earth are tangled together, and the fates of human beings and even non-human objects follow spatial and temporal trajectories that weave in and out of conventional linear understandings of space and time. In similar fashion, past and present become inseparable in Petzold’s film, an adaptation of the Anna Seghers’ 1944 novel of the same name, through thematic and formal approaches of blurring that blend the plight of refugees of Seghers’ era with those of Petzold’s present day. History, then, appears remarkably robust in these texts, unfolding accounts of how human beings living through their present might take guidance from the generations that preceded them in the struggle for a better world.

In this work I have used Pierre Bourdieu's concept of habitus as a springboard to examine the Pauline tradition in the light of Zimbabwe-African, cultural, legal and social attitudes to women. I have highlighted the conflict between the practices defined by Zimbabwean Constitutional law regarding the status of women and what is the actual situation on the ground, also considering the role of the church in confronting or conforming to the cultural norms. I have likewise highlighted the conflict in the Pauline tradition where one hand women are given more active roles in the church than could be expected according to the customs of the time, but on the other hand are still bound by an oppressive tradition. I have concluded by suggesting how the church can act in order to break free of this oppressive tradition and bring about change in the habitus of the society. / New Testament / M. Th. (New Testament)