In an attempt to facilitate the task of charting a path toward a radically different future, a future without the bourgeois intellectual property regime (IPR), this dissertation searches back in history by examining China's loss of socialism. The guiding question can be formulated thus: Why did the People's Republic of China give up its socialist mode of intellectual production only to embrace the bourgeois intellectual property regime (IPR), which had been subjected to devastating criticism by progressive scholars in the West since mid-1990s? Situating this rupture of China's approach to intellectual production within the ongoing process of postsocialist structuration in the wake of the waning Chinese socialism, this dissertation focuses on Chinese intellectuals as social mediators and locates the traces of the loss of socialism in various cultural productions during the postsocialist era.

This thesis examines how novels and films by British writers and filmmakers of Muslim heritage address the reshaping of masculinity through migration and interaction with other cultures within the UK. Drawing on a comparative critical framework that combines approaches from feminist, gender and masculinity studies, postcolonial, migration and transcultural studies, Islamic studies and literary and film theory, this thesis engages with five novels and four films that were written or released between 1985 and 2012, by British writers and filmmakers who were either born in a Muslim-majority nation or born to parents originating from a Muslim-majority country and who use their fictions to explore the presence and practices of Muslim cultures and communities in contemporary Britain. Through close analysis of work by Monica Ali, Nadeem Aslam, Sally El Hosaini, Ayub Khan-Din, Hanif Kureishi and Robin Yassin-Kassab, this thesis scrutinises how migrant and subsequent generations of postmigrant male protagonists construct their masculinity and how their conceptions of gender identity and performance are ‘translated’ into a British context amidst this century’s climate of Islamophobia and anti-migrant rhetoric, following events such as the Rushdie Affair, 9/11 and 7/7. In doing so, this thesis contends that through transnational movement and settlement conceptions of ‘Muslimness’, ‘Britishness’, and those of masculinity, are thrown into sharp relief and exposed as unstable and contingent constructs. By foregrounding the transcultural aesthetics and themes of this literary and cinematic corpus, however, I argue that this body of cultural production interrogates similarities and differences between the cultures they are positioned across. I use this transcultural approach to focus on how these texts depict father and son relations, religion, urban marginality and sexuality, and how through these foci, these novels creatively imagine new forms of masculinity that are forged through cultural contact, conflict and entanglement.

<p> This dissertation explores the work of author Jonas Hassen Khemiri and filmmaker Ruben &Ouml;stlund, examining the ways both artists consistently negotiate racial identification and &ldquo;Swedishness&rdquo; in neoliberal economic contexts that are often at odds with other Swedish, exceptionalist discourses of social justice. Khemiri and &Ouml;stlund represent contrasting perspectives and tonalities, yet both artists identify the successful competition for capital as a potentially critical component in achieving access to &ldquo;Swedishness.&rdquo; Khemiri and &Ouml;stlund recognize that race and economics are intertwined in neoliberal arguments, even in Sweden, something their works help to elucidate. The implications of such similar observations from very different artists might go overlooked if discussed in isolation. </p><p> I argue that it is crucial to analyze the negotiation of identity in these works not merely in abstract economic terms, but through their use of a very specific neoliberal economic discourse. In Khemiri&rsquo;s and &Ouml;stlund&rsquo;s work, characters-of-color and white characters alike employ and internalize this neoliberal discourse as they compete in a highly racialized Swedish society filled with increasing economic precarity. I will also discuss the ways Khemiri and &Ouml;stlund continually undermine these characters&rsquo; attempts to succeed in this economic competition, and what this may say about the need for the ultimate deconstruction of normative categories of identity. </p><p> Another aim of this dissertation is to explore the ways Khemiri and &Ouml;stlund use queerness as a conceptual strategy to mediate the understanding of race and economics. Nearly every one of &Ouml;stlund&rsquo;s films and most of Khemiri&rsquo;s novels and plays feature queerness in the form of homosexual characters, homoeroticism, and/or homosociality. The ubiquity of queerness in their work helps us understand the connection between masculinity and the maintenance of economic privilege. Queering this connection can generate narratives that undermine normative categories and present new ways of thinking about neoliberal ideology. </p><p> However, both Khemiri and &Ouml;stlund frequently undermine the potential positives of what Jack Halberstam calls &ldquo;queer failure&rdquo; and portray what appears as actual failure (Halberstam 2011). Khemiri and &Ouml;stlund leave queer characters or characters who experience queerness in ambiguous positions, in which their queerness either fails to rescue them from toxic hetero-masculinity and/or becomes a symbolic manifestation of the dissolution of stable sense of selfhood amid competing discourses of &ldquo;Swedishness.&rdquo; This dissertation will examine the implications of actual queer failure in relation to neoliberalism in these works. The tension between competitive success or failure becomes even more pointed for a spectator or reader when the competitors are children, potential symbols of Sweden&rsquo;s future. In both artists&rsquo; work, the figure of the child continually represents this tension between competing, social-justice and neoliberal discourses. </p><p> Chapter One examines Khemiri&rsquo;s first two novels, <i>Ett &ouml;ga r&ouml;tt</i> (2003) and <i>Montecore &ndash; en unik tiger</i> (2006), as well as his play <i>Invasion!</i> (2006), exploring the way characters interpret and perform neoliberal economic values and how success and/or failure either jeopardizes or enhances a stable sense of identity. Chapter Two shifts attention to &Ouml;stlund&rsquo;s earlier films, focusing on his first widely-released and controversial films <i>De ofrivilliga </i> (2008), <i>Play</i> (2011) and <i>Turist</i> (2014), considering how characters embody or challenge notions of the neoliberal subject of capacity. In &Ouml;stlund&rsquo;s films, this struggle with &ldquo;Swedishness&rdquo; is often portrayed as a Nietzschean tension between individual will and social pressure. Chapter Three will compare and contrast &Ouml;stlund&rsquo;s and Khemiri&rsquo;s most recent works &ap;<i>[ungef&auml;r lika med]</i> (2014), <i>Allt jag inte minns</i> (2015), and <i>The Square </i> (2017). In this final chapter, I argue that Khemiri&rsquo;s and &Ouml;stlund&rsquo;s most recent work demonstrates a departure from their previous plays, novels, and films in two critical ways. First, all three works situate capitalism as the overarching cause of internalized tensions between the individual and society. Second, characters in these later works who embody neoliberal values symbolize the ultimate fractured identity. &Ouml;stlund and Khemiri appear to have followed a similar arc toward representing actual physical and mental embodiment of the effects of economic systems. The dissertation&rsquo;s conclusion suggests additional perspectives on the above works and offers ideas for potential future scholarship.</p><p>

No description available.

Hamlet (1601), de William Shakespeare, é, desde o Fólio de 1623, circundada por um enorme e variado volume de leituras, que abrangem desde textos críticos e teóricos até as mais diversas adaptações teatrais e cinematográficas. Desde o final do século 19, o cinema vem adaptando peças de Shakespeare, fornecendo novos pontos de vista e sugestões para a encenação dessa obra ao levá-la inúmeras vezes para as telas. Dentre uma longa lista de adaptações fílmicas de Hamlet, o Hamlet mainstream de Franco Zeffirelli (1990) e o Hamlet 2000 (2000), filme independente de Michael Almereyda, compõem o corpus eleito para análise nesta dissertação. Dialogando com noções de críticos e teóricos que desenvolveram estudos sobre o conceito de adaptação, tais como André Bazin, Robert Stam e Linda Hutcheon, sugiro uma desierarquização entre a peça shakespeariana e os filmes logo, entre literatura/teatro e cinema. O objetivo final deste trabalho encontra-se na proposta de uma reflexão sobre esses filmes enquanto potenciais materiais críticos elucidativos para o estudo da peça, úteis na discussão de alguns de seus mais importantes temas e/ou questões / Hamlet (1601), by William Shakespeare, has been, since its publication in the First Folio (1623), surrounded by a huge and varied number of readings, ranging from critical and theoretical texts up to several different theatrical and cinematographic adaptations. Since the end of the 19th century, cinema has adapted Shakespearean plays, proposing alternative points of view and interpretations when transposing them to the screen. Among a list of several filmic adaptations of Hamlet, Franco Zeffirellis mainstream Hamlet (1990) and Michael Almereydas independent Hamlet 2000 (2000) make up the corpus under analysis in this dissertation. Establishing a dialogue with ideas developed by important critics and theorians such as André Bazin, Robert Stam and Linda Hutcheon about the notion of adaptation, I suggest a dismissal of the hierarchy between the Shakespearean play and the films; therefore, a dismissal of the notion of literature/theater's superiority to cinema. The main aim of this dissertation consists in proposing that the chosen films be taken as potential critical material providing access to the Shakespearean play in the discussion of its major issues

Hamlet (1601), de William Shakespeare, é, desde o Fólio de 1623, circundada por um enorme e variado volume de leituras, que abrangem desde textos críticos e teóricos até as mais diversas adaptações teatrais e cinematográficas. Desde o final do século 19, o cinema vem adaptando peças de Shakespeare, fornecendo novos pontos de vista e sugestões para a encenação dessa obra ao levá-la inúmeras vezes para as telas. Dentre uma longa lista de adaptações fílmicas de Hamlet, o Hamlet mainstream de Franco Zeffirelli (1990) e o Hamlet 2000 (2000), filme independente de Michael Almereyda, compõem o corpus eleito para análise nesta dissertação. Dialogando com noções de críticos e teóricos que desenvolveram estudos sobre o conceito de adaptação, tais como André Bazin, Robert Stam e Linda Hutcheon, sugiro uma desierarquização entre a peça shakespeariana e os filmes logo, entre literatura/teatro e cinema. O objetivo final deste trabalho encontra-se na proposta de uma reflexão sobre esses filmes enquanto potenciais materiais críticos elucidativos para o estudo da peça, úteis na discussão de alguns de seus mais importantes temas e/ou questões / Hamlet (1601), by William Shakespeare, has been, since its publication in the First Folio (1623), surrounded by a huge and varied number of readings, ranging from critical and theoretical texts up to several different theatrical and cinematographic adaptations. Since the end of the 19th century, cinema has adapted Shakespearean plays, proposing alternative points of view and interpretations when transposing them to the screen. Among a list of several filmic adaptations of Hamlet, Franco Zeffirellis mainstream Hamlet (1990) and Michael Almereydas independent Hamlet 2000 (2000) make up the corpus under analysis in this dissertation. Establishing a dialogue with ideas developed by important critics and theorians such as André Bazin, Robert Stam and Linda Hutcheon about the notion of adaptation, I suggest a dismissal of the hierarchy between the Shakespearean play and the films; therefore, a dismissal of the notion of literature/theater's superiority to cinema. The main aim of this dissertation consists in proposing that the chosen films be taken as potential critical material providing access to the Shakespearean play in the discussion of its major issues

No description available.

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.