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The purpose of the essay is to see (1) how being a bricoleur works within the framework of academic discourse, specifically an archaeological one, (2) if, by usinga bricoleur approach, incorporating object-oriented philosophy, phenomenology, aesthetic theory and photography, one can get at different interpretations of an archaeological place and material; specifically the cairn at Skårby and how it ”should” be approached, and (3), if the incorporation of a photography that’s not aimed at textual illustration or representation, along with a looser language, can make an academic text like this one more approachable.

This thesis considers the phenomenological experience of e-reading (reading on an electronic screen) as a way-in to discussing wider issues of technology and our encounter with objects in our environments. By considering the resistance shown toward reading on iPads and Kindles in popular and academic discourse as a source of valuable “folk phenomenological” report, this thesis hopes to shed light on both the particular engagement of portable e-reading and the general experience of embodied encounters with artefacts. The first chapter will consider the shortcomings of contemporary definitions of technology and aims to provide its own definition commensurate to the task of describing the intimate and very human encounter with equipment, an encounter which will be described as “technological.” In the second chapter an ontology (begun in the background of the first) will be developed which primarily considers our encounter with things that are as embodied as ourselves. This ontology sees evolution as an epistemological concern, with every evolutionary act occurring as a response to environmental pressures and producing a knowledge of that environment. This knowledge, it will be argued, in light of conclusions drawn from an engagement with Object Oriented Ontology, can be tested only via repeatable successful action with that which might be known. Such evolutionary concerns, it will be further argued, are equally applicable to our artefacts. The third chapter will focus on metaphor and critical theory to consider how e-reading in particular might function as a material metaphor, enabling productive thought. It will conclude with readings of three texts which put the language of all three chapters to work. This thesis draws on several fields, including Critical Theory, Cognitive Neuroscience, Evolutionary Epistemology, and Philosophy, the bringing together of which is intended to be of use to the still emerging Digital Humanities and the work's home discipline of English Studies as it gets used to the substantial alterations in the substrate of its object of study.

This dissertation follows a collection of agentive objects around and through the networks of humans and nonhumans in four disparate works of English literature: the Anglo-Saxon poem The Dream of the Rood, William Shakespeare's narrative poem The Rape of Lucrece, Thomas Hardy's novel The Woodlanders, and Philip Pullman's trilogy His Dark Materials. Applying the emergent discourses of object-oriented analyses, I posit the need for a critique that considers literary objects not as textual versions of real-world objects but as constructs of human imagination. What happens when we treat nonhuman or inanimate objects in literature as full characters in their own right? What work do nonhumans do to generate the story and the characters? How does our understanding of the human characters depend on the nonhuman ones? Most importantly, what motivates the agency of the fictive nonhuman? I argue that in this particular collection of texts, nonhuman agency stems from authorial nostalgia for the Garden of Eden: a time long past in which humans, nonhumans, and God existed in perfect harmony. Each text preserves this collective memory in a unique way, processing the myth as the author's cultural moment allows. The Dream of the Rood chapter uncovers the complex network of mirrors between the poet, the fictive Dreamer, the True Cross who speaks to the Dreamer, and the reader(s) of the poem. I use Jacques Lacan's stages of psychosexual development to trace the contours of this network, and I demonstrate how the poet's Edenic vision takes the form of an early medieval feast hall in heaven in which God presides over a banquet table like Hrothgar over Heorot. The Rape of Lucrece chapter posits that a series of domestic actors (weasels, wind, door locks) join with various "pricks" in the poem in an attempt to protect Lucrece from her rapist, Tarquin. Through these objects, I investigate the limits of women's speech and its efficacy before concluding with a consideration of the poem's Edenic vision, a Humanist paradise-on-earth, in the guise of the Roman Republic. The next chapter follows a shorn section of hair through The Woodlanders as it performs various functions and is assigned responsibility and power by several different human characters in the novel. The hair acts within a network of "man-traps" that illustrate the dangers of human artifice in an industrial era, and it reveals to readers Hardy's certainty that we will never reclaim Eden in our postlapsarian world. Finally, I navigate the fantastic worlds of His Dark Materials with the aid of three powerfully agentive objects: a golden compass, a subtle knife, and an amber spyglass. The first and second, I insist, resist not only their user's intentions but also their author's, because they are imbued with so much life and power that the narrative cannot contain them. The spyglass, by contrast, performs exactly as it was designed to do, and reveals the secret of the perfectly symbiotic world of the creatures called mulefa, who model for us a very contemporary new Eden that is populated by hybrids, sustained by materialism and sensuality, and presided over by earthly individuals rather than an omniscient Creator. Pullman's trilogy brings us back to the Garden but insists that our fallen state is our triumph rather than our tragedy.

This essay marks the degrading biosphere in David Mitchell’s Cloud Atlas and argues that its narrative disclosure is meaningfully explored using the idea of a growing ecological awareness. The book depicts agentive nonhumans that are unseen or under-attended by the novel’s humans. I suggest this literary presentation of the biosphere is best understood as after the discovery of global warming when matters of ecological concern “intruded,” to use Timothy Morton’s word, on a human-only society with underequipped modes of historical thought. To construct my reading, I motivate recent work in object-oriented philosophies that would eschew anthropocentric metaphysics. I unpack Cloud Atlas’ ecological vision using Morton’s philosophy in which he explores the conceptual and aesthetic consequences of the hyperobject – a thing that is massively distributed in time and space relative to humans. My analysis will examine passages and techniques that construct Cloud Atlas’ “scenery,” and I argue that they evoke a degrading biosphere that interacts substantially with the human-only personal dramas. Features of the book’s formal construction allow for the animation of this scenery in the reader’s cross-novel interpretation. I look at how characters narrate this scenery to build my argument that the novel’s ecological vision makes claims on its storytelling characters. But as those characters still miss the long-view historical perspectives afforded the reader, they are shown to want community. I end by ruminating on how Cloud Atlas, which would “stretch” the literary novel, questions what the novel is at this ecological moment.

abstract: The rise of print book culture in sixteenth-century England had profound effects on understandings of identity that are reflected in the prose, poetry, and drama of the age. Drawing on assemblage and actor-network theory, this dissertation argues that models of identity constructed in relation to books in Renaissance England are neither static nor self-contained, arising instead out of a collaborative engagement with books as physical objects that tap into historically specific cultural discourses. Renaissance representations of book usage blur the boundary between human beings and their books, both as textual carriers and as physical artifacts. The first chapter outlines the relationship between book history and assemblage theory to examine how books contribute to the assembly of the human subject in different ways for readers, owners, and authors and to lay a theoretical and historical foundation for reading cultural assemblages in later chapters. The second chapter studies how authors and sometimes printers attempt as makers of books to construct public identities through them. The chapter focuses on how Edmund Spenser’s Shepheardes Calender and Isabella Whitney’s poetry anthologies play with texts and paratexts in order to create the illusion of control over the resulting authorial persona, even while acknowledging that the book itself is a deterritorialized element of their own identities with particular agencies of its own. The third chapter investigates how Renaissance drama represents human beings using books to curate their identity assemblages both publicly and inwardly, particularly as depicted in the work of Thomas Kyd, William Shakespeare, and the author of Arden of Faversham. The successes and failures of these assemblages on the stage reflect anxieties about the book as an agentive object in an assembled identity. The fourth chapter examines the prose work of Philip Sidney, Roger Ascham, and Fulke Greville, considering the obsession with travel books and writing as a reflection of wider notions about the permeability and possible contamination by foreign influences of the self constructed through books and writings related to travel. / Dissertation/Thesis / Doctoral Dissertation English 2015

A full working day I spent measuring the minerals and oxides for glaze tests; 31g of feldspar, 11g of chalk, 32g of kaolin, 7g of dolomite, 13g of quartz, 10g of zirconium silicate. In total 32 tests. That means adding 32 different grams of oxides or stains to the mix of minerals written above. Labelling each batch with a specific code to separate them. The following day I spent filtering each test through 100 mesh and dipping 64 clay tests.  Out of these 64 tests I liked 4.  As a crafter I am used to having to do things more than once to find what I am searching for and my master project has been no different. I have let my attraction to colors, shadows, forms and in-between shapes guide me through these two years and this is where i ended up - with framed utilitarian objects in the shape of a cake.  Written here is a text about process, everyday and memory. My relation to the materials I work in and a reflection about using objects in a ritualistic way. I am writing this text from third- perspective, it has given me enough distance to myself and my practice (and process) to easier be critical and more direct regarding my subjects within my master project. The novel perspective gives the reader a chance to easily get closer to situations from a crafters point of view - how the plaster feels when mixing it with water and frustration towards norms around utilitarian objects. My project is named It’s a piece of cake and the series of utilitarian objects I made for my master project I call Tårtan (cake).

This essay analyzes Death Stranding, the 2019 release from contemporary game auteur Hideo Kojima. Here, I discuss the unique potentialities of this game world, detailing the ways in which Death Stranding expresses ecological perspectives. Asynchronous multiplayer serves as a unique metagame, helping to prove that play is a process of action which facilitates ecological thinking. The world of Death Stranding is filled with strange objects. The nonhuman entities that the player encounters throughout the game, for example, seem entirely alien. And yet, when these entities are properly understood, we realize that their inclusion is necessary--and natural. Your "job" in the game is to deliver packages. The player is made aware that here, in this digital world, objects have an unusual weight. What can we learn when we play this game? As the player becomes increasingly immersed in this digital world, Death Stranding motivates deeper thinking about the world outside of the game. Although this is a work of fiction, play helps us to consider our impact on the world at large. Death Stranding affords things their proper power and considers human existence in context with a larger, ecological whole.

Architectural discourse has begun to explore a new domain of discussion regarding Posthuman theory, Speculative Realism, New Materialism, and Object-Oriented Ontology. The response within academia to these relatively new areas can be seen in architectural school pedagogy, studio topics, syllabi, scholarly works, and projects published by academics and architects. Therefore, speculating about a probable architectural domain or an experimental domain of architectural theory carries significant value in terms of its potential contributions to architectural theory and criticism. Since objects have always been the focus of the architecture profession by the nature of the discipline, architecture has never considered humans as objects until the emergence of Object-Oriented Ontology. Engaging Object-Oriented Ontology in the architectural domain is often understood as a literal translation of philosophy to architectural design. Although Object-Oriented Ontology can be discussed during the design process in terms of positioning humans as objects, aesthetics of objects, and the representation of objects, it is not possible to design an Object-Oriented Architecture due to its level of abstraction. Hence, Object-Oriented Ontology can engage with architecture in three different ways: (1) questioning objects with architectural theory and criticism, namely Object-Oriented architectural criticism, (2) creatively thinking about the methods of representation of architectural objects, and (3) intentionally misreading it and experimenting on the intersection of philosophy and architectural design. This thesis explores the probable architectural domain by discussing the philosophy of Object-Oriented Ontology with architectural objects, and intentionally misreads and misconceptualizes Object-Oriented Ontology by highlighting the potential of the creative dislocation of the philosophy in architectural design. / Master of Architecture / Architectural discourse has begun to explore a new domain of discussion regarding Posthuman theory, Speculative Realism, New Materialism, and Object-Oriented Ontology. Therefore, speculating about a possible architectural domain, or an experimental domain of architectural theory, carries significant value in terms of its potential contributions to architectural theory and criticism. Since objects have always been the focus of the architecture profession by the nature of the discipline, architecture has never considered humans as objects until the emergence of Object-Oriented Ontology. Engaging Object-Oriented Ontology in the architectural domain is often understood as a literal translation of philosophy to architectural design. Even though Object-Oriented Ontology can be discussed during the design process in terms of positioning humans as objects, aesthetics of objects, and the representation of objects, it is not possible to design an Object-Oriented Architecture due to its level of abstraction. However, we can intentionally misread it and creatively experiment on the intersection of its philosophy and architectural design. This thesis explores the probable architectural domain by discussing the philosophy of Object-Oriented Ontology with architectural objects and intentionally misreading and misconceptualizing Object-Oriented Ontology by highlighting the potential of the creative dislocation of the philosophy in architectural design.

This thesis attempts to develop a concept of 'ecological misapprehension' by means of an object-oriented ecocritical analysis of several works by J. M. Coetzee. Noting Coetzee's profound, often overlooked interest in nonhuman, nonanimal ecological existents (on the one hand), and his neomodernist propensity to interrogate the viability of signification (on the other), I argue that his works repeatedly gesture towards an ontological reality of ecological objects that is necessarily extratextual. I further argue that if human ‘readers’—both of and within Coetzee’s fiction—are inextricably entangled within modes of discourse by which meaning is made of those objects, the encounter between human subject and ecological object always takes place across a discursive threshold best understood in terms of the ‘irreducible gap’ that object-oriented ontology identifies between an object’s being and its perception. This gap problematises our apprehension of the ecological object as such, thus rendering ecological misapprehension inevitable—and, by extension, demanding that we remain attuned to the character, density, or degree of our propensity to misapprehend. Variants of this dynamic—and its troubling ramifications—are illuminated by means of close readings of a range of Coetzee’s texts, with particular attention paid to Disgrace, Life & Times of Michael K, and the short story ‘Nietverloren’, and are subsequently compared with examples of misapprehension in the world beyond the page. By developing this concept and identifying examples of it both within and without Coetzee’s works, the thesis aims to illuminate a fundamental obstacle to productive modes of environmental thinking in the Anthropocene, to suggest the activist potential of metafiction and the postmodernist reading practices it encourages, and to reaffirm the potential social utility of literary scholarship when it is conducted with an awareness of its own tendency to misapprehend.