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This interdisciplinary study critically revisits the Australian print media???s engagement with Helen Garner???s controversial work of ???non-fiction???, The First Stone (1995). Print news media engagement with the book, marked by intense discursive contestation over feminism, has been constituted both by feminists and other critics as a significant cultural signpost. However, the highly visible print media event following the book???s publication raised a plethora of critical questions and dilemmas that remain unsatisfactorily addressed. Building upon John Fiske???s work on media events as sites of maximum visibility and discursive turbulence (Fiske: 1996), this study re-theorises the public dialogue following The First Stone???s publication in terms of four constitutive elements: narrative, celebrity, audience, and history and conflict. Through an analysis of these four diverse yet interconnected aspects of the media event, I create a critical space not only for its limitations to emerge but also the frequently overlooked possibilities it offers in terms of the wider feminism and print media culture relationship. As part of its central aim to refigure The First Stone media event, this thesis argues against prior characterisations of the debate as constitutive of either a monologic articulation of conservative, antifeminist voices or an unmitigated attack on its author by a homogenous feminism. In particular, I use this media event as indicative of the sophistication and complexity of media engagement with contemporary feminism, despite both continued derision and overly simplistic celebration of this relationship. Texts subject to analysis here include: The First Stone, various ???mainstream??? media representations and self-representations of three ???celebrity feminists??? (Helen Garner, Anne Summers and Jenna Mead), letters to the editor of newspapers and magazines, ???popular??? feminist books by Kathy Bail and Virginia Trioli, and a number of media texts in which those claiming a feminist subject position and those sympathetic to feminism act as either news sources or columnists/commentators. Although Garner???s narrative is throughout identified to be deeply problematic, I argue that the media event it precipitated provides valuable insights into both the opportunities and the constraints of the print media-feminism nexus in 1990s Australia.

This interdisciplinary study critically revisits the Australian print media???s engagement with Helen Garner???s controversial work of ???non-fiction???, The First Stone (1995). Print news media engagement with the book, marked by intense discursive contestation over feminism, has been constituted both by feminists and other critics as a significant cultural signpost. However, the highly visible print media event following the book???s publication raised a plethora of critical questions and dilemmas that remain unsatisfactorily addressed. Building upon John Fiske???s work on media events as sites of maximum visibility and discursive turbulence (Fiske: 1996), this study re-theorises the public dialogue following The First Stone???s publication in terms of four constitutive elements: narrative, celebrity, audience, and history and conflict. Through an analysis of these four diverse yet interconnected aspects of the media event, I create a critical space not only for its limitations to emerge but also the frequently overlooked possibilities it offers in terms of the wider feminism and print media culture relationship. As part of its central aim to refigure The First Stone media event, this thesis argues against prior characterisations of the debate as constitutive of either a monologic articulation of conservative, antifeminist voices or an unmitigated attack on its author by a homogenous feminism. In particular, I use this media event as indicative of the sophistication and complexity of media engagement with contemporary feminism, despite both continued derision and overly simplistic celebration of this relationship. Texts subject to analysis here include: The First Stone, various ???mainstream??? media representations and self-representations of three ???celebrity feminists??? (Helen Garner, Anne Summers and Jenna Mead), letters to the editor of newspapers and magazines, ???popular??? feminist books by Kathy Bail and Virginia Trioli, and a number of media texts in which those claiming a feminist subject position and those sympathetic to feminism act as either news sources or columnists/commentators. Although Garner???s narrative is throughout identified to be deeply problematic, I argue that the media event it precipitated provides valuable insights into both the opportunities and the constraints of the print media-feminism nexus in 1990s Australia.

In the wake of Eric Garner’s 2014 public execution at the hands of NYPD officers, online spaces such as Twitter saw an influx of remediated imagery referencing Ramsey Orta’s bystander cell phone video of Garner’s death. These images often explicitly reference the chokehold that killed Garner and/or they reappropriate Garner’s last words: “I can’t breathe.” To what formal dimensions in Orta’s video are these remediated images responding? What broader cultural work is the creation of these images doing? In this project, I regard Orta’s video as the point of entry for considering the cultural work of remediating images from it, as understanding its formal dimensions are necessary to recognizing the ways in which the remediated images attend to Garner’s body. I read this video using Scott Richmond’s revision of Christian Metz’s theory of cinematic identification to identify the concerning and compelling tension between over and under-identifying with onscreen subjects in Orta’s video, ultimately asserting that aligning with any body onscreen is ultimately a choice. Further, the remediated images attending to Garner’s body signal viewer’s chosen alignment with him or Orta, and claim Garner’s death as a socially constructed cultural trauma. These claims not only signal collective identification around the trauma on behalf of those who did not initially witness it, but also express belief in Garner’s experience despite a public discourse that continually emphasized his (and other black men’s) perceived violent potential.

The purpose of the study was to explore whether musicians experience Garner interference among the auditory dimensions of pitch and loudness. Specifically, the study explored whether the dimensions of intonation and loudness, when presented to musicians in a five-note musical pattern, were perceived as integral or separable in nature.

Magister Artium - MA (Linguistics, Language and Communication) / Fairy tales have been changing continuously. From the likes of the Greek and Chinese versions of the Cinderella tale, Cinderella has been transformed into other versions. Charles Perrault and The Brothers Grimm had their way with the story of Cinderella with both parties putting their own mark on the tale. Disney made the story notorious as the consumers mostly tend to remember Disney's version and not earlier writers of the story (Zipes, 1999). Since then, various other versions in the current sphere of story-telling, especially through movie-making, have had a series of re-telling of the story. James Finn Garner's "Politically Correct Bedtime Stories" has made its mark in the world of politically correct, versions of fairy tales. He has graced readers with his satire and thereby challenged the more traditional versions of the story of Cinderella (and others) by posing a dry, humorous twist and facing the 'issues' which underlie the social problems in Cinderella such as equality, sexism and patriarchal, inappropriate gender biased terminology. Garner takes it upon himself to remediate the story of Cinderella through transformations of events and socially structured power relations, reworking the plot and characters and reformulation of gender-biased terminology. This results in a witty politically correct remodelling of the story which upholds a general moral in line with the contemporary socio-political ethos, championing usage of politically correct language.

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Ledningsbanor syftar till att föra ström eller digitala signaler mellan elektroniska komponenter. Traditionellt brukar ledare av solid metall användas, då metall har låg resistans och lämpar sig bra som strömledare. I denna studie utforskas möjlig-heten för olika material att fungera som textila ledningsbanor. Textila ledningsba-nor behövs bland annat i medicinska plagg med sensorer. En ledningsbana som ska vara i ett plagg måste både vara tvättbar och flexibel. I denna studie har tre konduktiva garner testats; Bekinox VN 12/2*275 /175S, Shi-eldex 235/34 och Highflex 3981 7*1 Silver. Ett textilt band med fyra ledningsba-nor i, OHM-e-12-L-1, från företaget Ohmatex har också utvärderats samt har det undersökts om det är möjligt att använda konduktiv silikon, Elastosil LR 3162 A/B, som en ledningsbana. För att ta reda på hur de konduktiva materialen tål tvätt har tvättester utförts där resistansen efter tvätt har mätts. En metod har utvecklats som går ut på att undersöka om konduktiviteten försämras när materialet utsätts för mekaniskt deformation vid en böjrörelse. Det har även testats om en silikonbe-läggning med Dow Corning 3140 RTV Coating kan förhindra en eventuell höjning av resistansen efter testerna och resultaten har jämförts med de prover som inte varit belagda. Beläggningen isolerar även garnerna och därför har även det testats att använda Elastosil som kontaktpunkter för de belagda garnerna. Bekinox klarar både tvätt och böjningstest bra. Shieldex resistans höjs efter tvätt men silikonbeläggningen har en skyddande effekt. Shieldex klarar böjningstestet bra och resistansen ändras knappt. Highflex klarar tvättesterna och har väldigt låg resistans men är känslig mot mekanisk deformation och skadas i böjningstesterna. Där har inte beläggningen en skyddande effekt. Elastosil är inte lämplig som led-ningsbana och fungerar inte som kontaktpunkter. Elastosil visar sig däremot ha god härdighet mot både tvätt och böjning. Bandet från Ohmatex fungerar bra både efter tvätt och böjningstester och är lämplig som ledningsbana. / Interconnections are electrical conductive tracks that aim to transport electricity or digital signals between components in a circuit. The conventional way of doing this is to use connections of solid metal, since they have low electrical resistance and are thereby suitable conductors. In this study, different materials have been investigated for their suitability to be used as textile interconnections. Textile in-terconnections are needed in for instance medical measuring equipment garments. A textile interconnection in a garment needs to withstand washing and bending. In this study three conductive yarns are tested; Bekinox VN 12/2*275/175S, Shieldex 235/34 and Highflex 3981 7*1 Silver. A textile interconnection narrow fabric with four copper wires within, OHM-e-12-L-1, by the company Ohmatex has also been investigated. The conductive silicon Elastosil LR 3162 A/B has also been investigated for its suitability to fit as textile interconnection and as electrical contact with conductive yarns. Washing tests have been made to investigate how the materials electrical resistance is affected by washing. To measure and under-stand the materials flexibility and how the resistance is affected by bending of the material, the materials have been bended in a bending apparatus that has been developed in this study. It has also been investigated whether or not a silicon coat-ing, Dow Corning 3140 RTV Coating, of the yarns may protect them from the chemical and mechanical wearing of washing and bending. The change in re-sistance has then been compared to values of the uncoated yarns. Since the coat-ing is electrically isolating the yarns, screen printed contact points of Elastosil has been added and investigated. Bekinox withstands both washing and bending well. The electrical resistance of Shieldex increases by washing, but the silicon coated yarns increase less than the uncoated yarns. Shieldex withstands the bending test well and the change in re-sistance is low. Highflex passes the washing test well and has very low resistance. But the Highflex yarn is sensitive to mechanical deformation and gets damaged by the bending test. The silicon coating has no protecting effect here. Elastosil is not suitable as an interconnection and the contact points by Elastosil are neither working well together with the conductive yarns. But Elastosil do withstands both the washing and bending test well. The conductive narrow fabric by Ohmatex withstands both the washing and bending test well and it is suitable as an inter-connection.

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