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This project considers the ways in which Wiccan marriage and American marriage law interact with each other. The thesis examines certain aspects of the history of 20th-century American marriage law, the concurrent development of contemporary marriage ritual in Wicca, developing problems in this area, and possible solutions. In particular, the project focuses on the recognition of religious groups and their officials as they are authorized by state and federal law to perform marriages and how this process has affected Wiccan ritual.

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.

In the tradition of the Birmingham School of cultural studies, this thesis focuses on Miami’s graffiti subculture and the conflicts between market economies and economies of social meaning. As a reference point, I consider Miami’s “Penits”: the name given to the seemingly abandoned buildings where graffiti is performed. Short for penitentiary, the term derives from the 1980s after a large building rumored to be a prison was defunded midway through its construction. After this first reclamation, every other graffiti heterotopia in Miami has been similarly recoded as spaces that mock structures of discipline and industry. Through Michel Foucault’s biopolitical framework I argue that the sovereign state and marketplace conspire to dually criminalize and commoditize the subculture’s performative defiance. I conclude by illustrating how the market itself reinforces the carceral archipelago by framing the subculture’s vandal aesthetic through the normalized, self-interested boundaries of conduct that the market itself deems il/legal.

L’aéroport est un objet géographique protéiforme, caractérisé par son « obsolescence accélérée » (BANHAM, 1962). Depuis les années 1990, son ultime mutation s’articule autour d’un processus de diversification fonctionnelle engendré par l’injection d’activités nouvelles, parfois éloignées du transport aérien, dans l’objectif d’accroître les profits et la rentabilité de l’infrastructure dans un contexte de privatisation généralisée. Cette évolution concerne les plus grands hubs mondiaux, notamment Paris-CDG, quatrième aéroport du monde selon le trafic passagers international. Cette tendance, qui a donné naissance au concept opérationnel d’airport city, tel qu’il est désigné par les observateurs et opérateurs anglo-saxons, attise doublement la curiosité géographique. En premier lieu, parce qu’elle interroge la fonction première de l’infrastructure de transport qu’est l’aéroport, qui devient alors un objet spatial non identifié qu’il convient de redéfinir. En second lieu, parce que cette désignation d’airport city, traduite par les opérateurs francophones par ville aéroportuaire, interroge la ville et surtout ce qui fait la ville dans ses dimensions matérielle et idéelle, c’est-à-dire l’urbanité et la citadinité. Suffit-il d’injecter des fonctions urbaines dans un espace pour en faire de la ville ? La ville aéroportuaire n’est-elle qu’une ville fonctionnelle ? En s’efforçant d’évaluer la pertinence géographique de la notion d’airport city, cette thèse impose de faire de l’urbanité et de la citadinité des concepts opératoires afin de les confronter au terrain aéroportuaire. Elle s’efforce également de replacer l’aéroport au centre de l’étude géographique en proposant un ajustement de l’échelle d’observation à l’ensemble de la zone aéroportuaire, évitant ainsi la synecdoque particularisante réduisant l’aéroport au terminal. Dans l’évaluation de la citadinité, elle a également pour objectif de saisir les spatialités de l’ensemble de la société aéroportuaire (passagers, employés, accompagnants, SDF, etc.). / Airports are protean geographical objects characterized by their « accelerated obsolescence » (BANHAM, 1962). Since the 1990s, their final transformation has been structured around a process of functional diversification engendered by new activities, which are sometimes very different from air transport, in order to increase the infrastructures’ profits and profitability in a context of widespread privatization. The world’s largest hub airports are concerned by this evolution, especially the Paris-Charles-de-Gaulle airport, the world’s fourth busiest airport by international passenger traffic. This trend, which has given birth to the operational concept of airport city, as the Anglo-Saxon operators and observers call it, stirs up the geographical curiosity in two ways. Firstly, it questions the primary function of airports, which become unidentified spatial objects that need to be redefined. Secondly, the concept of airport city questions the city itself. Indeed, what makes a city a city on a material (urbanity) and conceptual (“citadinity”) level? Can a space with urban functions be considered as a city? Is the airport city only a functional city? By assessing the geographical relevance of the concept of airport city, this thesis aims at making the concepts of urbanity and “citadinity” operational concepts, so as to compare them with the airport ground. By adjusting the observation scale to the whole airport area, it also replaces the airport at the centre of the geographical study. Thus, the airport is not simply viewed as a terminal. Finally, this thesis aims at understanding the whole airport society’s spatiality (passengers, employees, accompanying people, homeless people…) by assessing the concept of “citadinity".

Indiana University-Purdue University Indianapolis (IUPUI) / Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.