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I am a draftsman, painter and printmaker. This first person statement is a written extension of the art that constitutes my thesis. It discusses the links between my work and the Enlightenment, Humanism, Catholicism, ethics and the Western canon as well as my use of perspective and other classical techniques in relation to history, language, high art, popular culture, propaganda, contemporary upheavals, Christian and Islamic Fundamentalism, globalization and the digital revolution. Furthermore, the main arguments draw upon my Cuban origin and European ancestry, the Cuban Revolution, my Belgian early education and eventual American hybrid identity. The overriding theme, however, concerns the continuing relevance of drawing, high art and history. As such, it forms a personal art theory and critique of contemporary culture. Supporting sources include history, art history, art theory, philosophy, science, religion and politics.

This thesis identifies the existence and significance of a rhetorical gesture that has circulated widely since at least the nineteenth century: the comparison between war and sport. The introduction outlines the background for this rhetoric through a genealogy of the phrase, 'the battle of Waterloo was won on the playing fields of Eton', in nineteenth-century writing. Part one of the thesis examines the metaphors and cultural practices of energetics in European sporting life until the Second World War. The first chapter presents a cultural history of 'sporting aviation' between the Wright brothers' first European flight in 1908 and the declaration of war in 1914, arguing that the new technology of the aeroplane was initially understood through a tension between sporting and bellicose associations. The second chapter performs a close analysis of F.T. Marinetti's writings and Umberto Boccioni's paintings to reveal the role of sport in Italian Futurism and its significance for our understanding of its infamous glorification of warfare. Chapter three examines the militarist displays at the 1936 Olympic Games in Berlin and their enduring cultural legacy. Focusing on the role of crowds, rhythm is shown to be at the centre of how martial symbolism was embedded in the Games' sporting displays. Framing the transition into part two, the fourth chapter reads Georges Perec's use of the Olympics as an allegory for both the Second World War and the Holocaust in W, or the Memory of Childhood (1975) beside a number of post-war conceptualisations of 'play' and 'game'. The chapter identifies a re-organisation of the play concept according to an emerging concern with information, one which, in Perec, also articulates an alternative register for war's cultural memory. From here, the thesis' second part identifies the emergence of a metaphorical nexus of computation, war, and sport in post-war American culture. Chapter five argues that Don DeLillo's End Zone (1972) and David Foster Wallace's Infinite Jest (1996) satirise the logic of nuclear strategy by employing the formal properties of information theory in their language, collapsing the distinctions between war and sport when each is subjected to computational representation. The final chapter analyses the 'military shooter' videogame, and the new form of sport it has produced - 'e-sports' - considering these games as a material instantiation of the convergence between the discourses of military and sporting culture. Across the case studies presented in these six chapters, a transition is identified from metaphors concerned with war and sport's energetic qualities to those concerned with the processing and abstraction of war and sport as information. Rather than conceive of this transition as an epistemic break, however, the thesis identifies continuities across the principles to be found in cultural energetics and informatics.

This thesis analyzes the origins and development of conceptions of the relationship between violence and politics characteristic of twentieth century fascist thought. It critiques existing approaches to fascism and fascist ideology in the interdisciplinary field of fascist studies and proposes and employs an alternate approach which centres and emphasizes the flexibility and mutability of fascist thought and denies that any particular complex of beliefs or concepts can be said to constitute an ‘essence’ or ‘heart’ of fascist ideology. Morphological studies are offered of four discursive traditions in fascist and fascist-adjacent thought with respect to violence and politics: German military theory of the late nineteenth and early twentieth centuries; the ‘new’ French nationalism of the fin-de-siècle; the genre of ‘future warfare’ around and after the First World War; and the work of Ernst Jünger and Carl Schmitt. The thesis concludes with some consideration of the continuities and discontinuities made apparent in the morphological studies, an argument that those results vindicate the initial framing, and some avenues for extending them into areas of concrete contemporary relevance. / Graduate

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No description available.