L’objectif de ce travail est de mettre en exergue non seulement la réception philosophique des écrits de Mallarmé ayant eu lieu dans les années 1950, 1960 et 1970, mais aussi le facteur qui agit en eux comme un moteur de production théorique. La poétique mallarméenne est un mouvement de production de nouvelles possibilités, que nous appelons des potentialités représentationnelles, qui sont des inventions fictives du langage poétique ouvrant la voie à de nouvelles dispositions linguistiques et à de nouvelles possibilités de représentation. La poétique de Mallarmé est doublement inventive : dans le langage lui-même, et dans la réception théorique comme moteur de production. Pour rendre compte du facteur hautement productif du langage poétique mallarméen, nous introduisons la notion de virtualité dans notre étude, qui se manifeste dans une dynamique insaisissable où aucun sens unique et déterminé ne peut s’établir. Ainsi, les potentialités représentationnelles sont multiples et irréductibles à quelque unité atomique déterminée. Toute tentative de réduction qui tend à rompre le mouvement des potentialités compromet la poéticité chez Mallarmé. Nous montrons, en ce sens, que si le langage poétique mallarméen donne lieu à une production théorique à travers des lectures philosophiques, il ne se laisse pas encercler et déterminer par celles-ci, mais maintient une continuité dynamique des potentialités. / This work’s aim is to draw attention not only to the philosophical reception of Mallarmé’s writings during 1950’s, 1960’s and 1970’s, but also to the factor which acts as an engine of theoretical production in them. Mallarmé’s poetics is a production movement of new possibilities, which we call representational potentials, which are fictional inventions of the poetic language, opening on new linguistic layouts and on new representational possibilities. Mallarmé’s poetics is twice inventive : in the language itself, and in the theoretical reception, as an engine of production. To give account of the highly productive factor of Mallarmé’s poetics, we introduce the concept of virtuality in our study, which expresses itself in an elusive dynamic, where no unique and specific sense can establish itself. Thus, the representational potentials are multiple and irreducible to some specific atomic unity. Any reduction attempt stretching to break the movement of the potentials compromises Mallarmé’s poetics. We show, in that direction, that if the poetic language gives way to a theoretical production through the philosophical readings, it does not get surrounded, nor determined by these readings, but maintains a dynamic continuity of the potentials.

This thesis examines the crime fiction of Mary Helena Fortune (c.18331910). My analysis concentrates on Fortune’s series, “The Detective’s Album”, more than four hundred self-contained crime stories published over forty years that are framed as the “casebook” of a colonial detective, Mark Sinclair. Although this series remains nominally the reminiscences of Sinclair, the stories within the casebook increasingly employ private and amateur detectives, and Sinclair himself transforms from a member of the colonial police force into a private inquiry agent. I characterise this move as constituting a shift from Fortune’s detecting heroes acting essentially as “public avengers” to becoming instead predominantly “private defenders”. Accompanying the evolution of the detective are other structural changes in Fortune’s crime fiction, so that by the 1880s an increasingly private model of detective was more often resolving a domestic mystery in a suburban setting than investigating a violent crime on the mean streets. The central aim of this thesis is to demonstrate the ways in which these transformations relate to the differentiated social and historical conditions within colonial Australia. Through the close analysis of Fortune’s crime texts and examination of the cultural and historical context in which they were produced, the thesis offers perspectives on broad cultural patterns. This thesis draws predominantly on a lineage of critics who have analysed crime fiction using Marxist, Foucauldian and Postcolonialist strategies. I utilise in particular the central paradigm of D. A. Miller’s The Novel and the Police (1988): – his assertion that in the nineteenth-century novel the “move to discard the role of the detective is at the same time a move to disperse the function of detection”. The appearance of private and amateur detectives in Fortune’s crime fiction indicates respectively the professionalisation and privatisation of the mechanism of detection, evolutions that reflect a broad embourgeoisment within her crime corpus. Such a social transformation of nineteenth-century crime fiction occurred across the industrialised world. In British crime fiction, for instance, the ordinary workaday policeman of the 1850s had given way by the 1890s to such independent and professional detectives as Sherlock Holmes. But while the embourgeoisment of crime fiction was an international phenomenon, I argue that in Australian crime fiction the emergence of private and surrogate detectives also performed a second, crucial function: to distance the agent of detection, and demotic crime fiction itself, from the enforcement of imperial order in the colonial landscape. The movement from simple criminal apprehensions to financial and reputation protection also increasingly distances Fortune’s crime fiction from the kind of direct social control necessary to enforce imperial order. v This thesis contains four analytical chapters, each of which is devoted to exploring mechanisms by which Fortune’s crime fiction dispersed the function of detection and concealed the conservative disciplinary order that underpins the fiction. The first three chapters examine familiar forms of fictional detectives: the official police detective; the private and the amateur detective; and the female detective, both official and unofficial. The final analytical chapter examines the way in which the criminal also worked as part of the dispersed function of detection. One of the key ways in which Fortune’s crime fiction works to reinforce disciplinary order is, paradoxically, to make the detectives often fail to solve the crime, so that order is restored only by the collective efforts of several individuals or through the mechanism of fate or an avenging land, or even as a consequence of the criminals’ own actions. Thus Fortune’s crime fiction is not a celebration of virtuoso individualism, as is found in the stories of Sherlock Holmes, but instead of an ethically logical and just world in which order is the product of collective efforts on the part of a largely cohesive community, and in which the apprehension of criminals and restoration of order are presented as inevitable outcomes. Stephen Knight has described Fortune as “internationally the most significant woman writing about crime in the mid-nineteenth century” (Continent of Mystery 4), and yet her impressive corpus of crime fiction has never received extended scholarly attention. This thesis addresses this omission, but more importantly, the conclusions I offer about Mary Fortune’s crime fiction contribute to an understanding of a much larger question about how Australians began to imagine and adopt a national identity in the nineteenth century. It is certainly clear from Fortune’s crime corpus that well before the nationalist-democratic cultural insurrection of the 1890s, Australian fiction already offered versions of the key paradigms that still inflect the national imagination into the twenty-first century.

This thesis examines the crime fiction of Mary Helena Fortune (c.18331910). My analysis concentrates on Fortune’s series, “The Detective’s Album”, more than four hundred self-contained crime stories published over forty years that are framed as the “casebook” of a colonial detective, Mark Sinclair. Although this series remains nominally the reminiscences of Sinclair, the stories within the casebook increasingly employ private and amateur detectives, and Sinclair himself transforms from a member of the colonial police force into a private inquiry agent. I characterise this move as constituting a shift from Fortune’s detecting heroes acting essentially as “public avengers” to becoming instead predominantly “private defenders”. Accompanying the evolution of the detective are other structural changes in Fortune’s crime fiction, so that by the 1880s an increasingly private model of detective was more often resolving a domestic mystery in a suburban setting than investigating a violent crime on the mean streets. The central aim of this thesis is to demonstrate the ways in which these transformations relate to the differentiated social and historical conditions within colonial Australia. Through the close analysis of Fortune’s crime texts and examination of the cultural and historical context in which they were produced, the thesis offers perspectives on broad cultural patterns. This thesis draws predominantly on a lineage of critics who have analysed crime fiction using Marxist, Foucauldian and Postcolonialist strategies. I utilise in particular the central paradigm of D. A. Miller’s The Novel and the Police (1988): – his assertion that in the nineteenth-century novel the “move to discard the role of the detective is at the same time a move to disperse the function of detection”. The appearance of private and amateur detectives in Fortune’s crime fiction indicates respectively the professionalisation and privatisation of the mechanism of detection, evolutions that reflect a broad embourgeoisment within her crime corpus. Such a social transformation of nineteenth-century crime fiction occurred across the industrialised world. In British crime fiction, for instance, the ordinary workaday policeman of the 1850s had given way by the 1890s to such independent and professional detectives as Sherlock Holmes. But while the embourgeoisment of crime fiction was an international phenomenon, I argue that in Australian crime fiction the emergence of private and surrogate detectives also performed a second, crucial function: to distance the agent of detection, and demotic crime fiction itself, from the enforcement of imperial order in the colonial landscape. The movement from simple criminal apprehensions to financial and reputation protection also increasingly distances Fortune’s crime fiction from the kind of direct social control necessary to enforce imperial order. v This thesis contains four analytical chapters, each of which is devoted to exploring mechanisms by which Fortune’s crime fiction dispersed the function of detection and concealed the conservative disciplinary order that underpins the fiction. The first three chapters examine familiar forms of fictional detectives: the official police detective; the private and the amateur detective; and the female detective, both official and unofficial. The final analytical chapter examines the way in which the criminal also worked as part of the dispersed function of detection. One of the key ways in which Fortune’s crime fiction works to reinforce disciplinary order is, paradoxically, to make the detectives often fail to solve the crime, so that order is restored only by the collective efforts of several individuals or through the mechanism of fate or an avenging land, or even as a consequence of the criminals’ own actions. Thus Fortune’s crime fiction is not a celebration of virtuoso individualism, as is found in the stories of Sherlock Holmes, but instead of an ethically logical and just world in which order is the product of collective efforts on the part of a largely cohesive community, and in which the apprehension of criminals and restoration of order are presented as inevitable outcomes. Stephen Knight has described Fortune as “internationally the most significant woman writing about crime in the mid-nineteenth century” (Continent of Mystery 4), and yet her impressive corpus of crime fiction has never received extended scholarly attention. This thesis addresses this omission, but more importantly, the conclusions I offer about Mary Fortune’s crime fiction contribute to an understanding of a much larger question about how Australians began to imagine and adopt a national identity in the nineteenth century. It is certainly clear from Fortune’s crime corpus that well before the nationalist-democratic cultural insurrection of the 1890s, Australian fiction already offered versions of the key paradigms that still inflect the national imagination into the twenty-first century.

This study examined how images of people of different genders and ethnicities were represented on Fortune Global 500 website front-screens. The front-screens produced 975 images of men and women. The images were analyzed using frequency counts and a six-point Body Index Scale. A major finding was that images of Caucasians dominated Fortune Global 500 front-screens. Caucasians represented 66.3 percent of the total images. Another major finding was that images of men were depicted more frequently than images of women on Fortune Global 500 website front-screens. Images of men comprised 51.9 percent of the total iamges, whereas images of women accounted for 48.1 percent of the images. The face-ism theory, which asserts that images of men and Caucasians are cropped to emphasize their intellect and dominance and images of women and people of minority ethnicities are cropped placing emphasis on their bodies, was not supported in this study.

This thesis aims to explore the history of blind diviners in Korea, using a review approach toexamine the existing literature in Korean on the topic. Beginning with a discussion of theorieson the origins and practices of blind diviners during the pre-modern period, and then movinginto the drastic changes that occurred during the Japanese colonial period, the thesis ends withan exploration of how the situation has developed for blind diviners in the modern period. Thethesis utilizes four main sources: Chu (2008, 2020), Pak and Chŏng (2019), and Son (2019).With this exploration of the topic, this thesis aims to amend the lack of available literature inEnglish by exploring the phenomenon of blind diviners, especially the disability aspects oftheir existence, utilizing some of the literature available in Korean. / Syftet med denna uppsats är att utforska blinda siares historia i Korea genom en litteraturreview av den befintliga litteraturen på koreanska inom ämnet. Uppsatsen inleder med deblinda siarnas ursprung och arbete under den förmoderna perioden, och övergår sedan till dedrastiska förändringar som inträffade under den Japanska kolonialtiden. Uppsatsen avslutasmed en utforskning av hur situationen har utvecklats för blinda siare under den modernaperioden. Uppsatsen använder fyra huvudkällor: Chu (2008, 2020), Pak och Chŏng (2019)och Son (2019). Med denna utforskning av ämnet syftar denna uppsats till att fylla ut en delav avsaknaden av litteratur på engelska, särskilt de mindre utforskadefunktionsnedsättningsaspekterna av blinda siares existens, genom att använda en del av denlitteratur som finns tillgänglig på koreanska.

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Muchos productos hortofrutícolas desarrollan 'daños de frío' durante la conservación a temperaturas inferiores a 12-15 ºC. El tratamiento de 'curado' (3 días 37 ºC) previene la aparición de esta alteración en los frutos cítricos cuando se conservan a 2 ºC. En la mandarina 'Fortune', muy susceptible al frío, los daños se manifiestan como un picado y áreas de color pardo en la parte más externa de la corteza (flavedo). Otra de las alteraciones frecuentes en la postcosecha de los frutos cítricos es el 'colapso de la corteza', que se produce a temperaturas superiores a las que causan 'daños de frío' y cuyos síntomas se caracterizan por la aparición de depresiones en la piel. El acondicionamiento de frutos de 'Navelate' durante 4 días con 10 ?L L-1 de etileno a 22 ºC y 90-95% de humedad relativa (HR) redujo notablemente la incidencia de esta alteración, mientras que la aplicación de 1 ?L L-1 de 1-metilciclopropeno (1-MCP), un inhibidor de la percepción de etileno, la potenció. Para entender los mecanismos asociados al efecto beneficioso del curado reduciendo el 'daño de frío' y del etileno frente al 'colapso de la corteza', se han evaluado cambios globales en la expresión génica en el flavedo de frutos de mandarina 'Fortune' almacenados a 2 ºC, directamente o después del curado, y en el flavedo y albedo de frutos de naranja 'Navelate' almacenados a 22 ºC y 90-95% de HR después de ser tratados con etileno o 1-MCP. Para ello se han empleado dos micromatrices de cDNA generadas en el Consorcio de Genómica Funcional de Cítricos (CFGP). La eficacia del curado reduciendo la incidencia de 'daños de frío' parece estar más relacionada con su efecto evitando la inducción de genes implicados en la degradación de lípidos durante el almacenamiento en frío, que con cambios en la expresión de genes del metabolismo de ácidos grasos que afectan al grado de insaturación de los mismos o a la síntesis de ceras. Además, la expresión de genes del metabolismo de fenilpropanoides, y de otros que / Establés Ortiz, BA. (2008). Estudio transcriptómico de los mecanismos implicados en la tolerancia inducida por el curado al daño de frío y por el etileno al colapso de la corteza en los frutos cítricos [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/3782

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