In my paper, I explore how totalitarian regimes use technology to break the borders between the private and public spheres, through the study of two fictional works. Reflecting how real regimes operate, these fictional totalitarian regimes apply technology to extend the sphere of public authority. Exploring the idea, I am going to compare two totalitarian regimes in different periods of time. The first one is the Republic of Gieald, which is depicted in The Handmaid’s Tale 1985 by Margaret Atwood, and the second one is the society presented in the movie The Island, directed by Michael Bay. By technology in my paper, I mean it in the most comprehensive sense of the term, modern invented technologies and institutions after 18th century in post Industrial Revolution era. In what follows, I am applying the concepts, which are the product of control invention. I will argue that the states penetrate into private sphere by imposing repressive rules for having sex or reproductivity. Moreover, I portray that the states use different forms of media and surveillance in private and public spheres, to enlarge the state.

南西. 弗萊德的《我的秘密花園》在探討女性思想，身體透過對和性意識的議題上被認為是其中一本最重要及有用的書。透過對性廣泛及露骨的討論，女性不僅在幻想中，甚至在現實面也能對其生理的欲望和需求有非常深入的了解。 在第一章中，我首先討論南西. 弗萊德搜集女性性幻想的意圖，緊接著強調女性對性並非是沉默的一群，因為在《我的秘密花園》中女性而非男性對性愛握有主控權。為了要明顯區隔《我的秘密花園》與男性為主的色情之差異，我討論女性如在何在南性色情中被錯誤的表現成為性商品及《我的秘密花園》所要顛覆的主題。 而第二章主要強調一些女性主義者對啟蒙時期二元論的攻擊，因為她們深信深藏在此二元論中的階級意識是造成女性地位低下的主因。因此，班森及傅柯的全景敝視的概念在此當成審視女性被父權物化所限制的主要架構，此觀念介紹後，我便詳加敘述全景敝視主義之主要效果並探索此一效果是如何壓制一般女性。 在第三章中，我不僅將重點集中在女性書寫的建立，更將《我的秘密花園》視為其中一例。從主題中可清楚發現女性之主體性。 在第四章中，《我的秘密花園》被比喻為性的嘉年華會，其參與者無不盡情享受性之歡愉，因此審視巴克定狂歡化的概念，可幫助讀者更深一層了解嘉年華式顛覆的力量及其相關的特性。 最後，我在第五章中重述各章之要點並指出認知女性欲望對其自主發展之重要性。我在此也相信，性對男女而言，都是最基本的生理需要，假如男性對性渴望，女性也一樣。南西. 弗萊德是第一位搜集女性性幻想的作家，但是她絕非是探討女性性論述的尾聲。 / Nancy Friday's My Secret Garden is regarded as one of the most important and useful books on the issueof women's thoughts, bodies and sexuality. Though a wide-ranging frank discussion on sexual matters, women are fully cognizant of their physical desires and needs of heir bodies, not only in their fantasies but also in their real lives. In chapter one, I discuss, first of all, Nancy Friday's intention of collecting female sexual fantasies and then emphasize that women are not sexually silent in My Secret Garden because it is they, instead of men, that hold the key to sex. To show how remarkably My Secret Garden differs from male pornography, I discuss how women are fallaciously represented as sexual objects in pornography and what My Secret Garden is aimed to subvert. In chapter two, some feminist's attack on the Enlightenment dualism are brought into focus, because they believe that it is the hierarchy lurking in the Enlightenment that results in women's inferiority. Therefore, Jeremy Bentham's and Michel Foucault's ideas of panopticon and panopticism are used as a framework to examine how women are confined by patriarchal culture. After introducing their ideas, I specify the main effect of panopticism and explore how the effect subjugates women. In chapter three, I concentrate my attention not only on why feminine writing has to be established but also on how My Secret Garden can be viewed as one. After the discussion on feminine writing, I focus on the textual analysis of My Secret Garden by investigating its main themes. From those themes, women's subjectivity is clearly observed. In chapter four, I compare My Secret Garden to a sex carnival where every participant enjoys sex. Hence, Mikhail Bakhtin's notion of carnivalization is examined in order to help the readers understand better the subversive power of carnivalization, and some of its important features are thus carefully analyzed. In chapter five, I recapitulate the central points of each chapter and point out the significance of understanding women's own desires in the development of their subjectivity. I also believe that sex is one of the most basic needs for both men and women. If men have the propensity for sexual needs, so do women. Nancy Friday is the first one to collect female erotic fantasies, but she will not be the last one to investigate discourse on sex.

The profile the individual creates on social media can be likened to a digital panopticon. How this profilicity has developed is examined by reviewing seven texts concerning the creation of identity. After this, five paradigms emerge that map how profilicity has developed through history and how the profile has become a digital panopticon in a post-political society. The profile thus becomes a tool for strengthening the hegemony that prevails in society. / Profilen individen skapat på sociala medier kan liknas vid ett digitalt panoptikon. Hur denna profilicitet växt fram undersöks genom att sju källor rörande identitetens skapande gås igenom. Efter detta träder fem paradigm fram som kartlägger hur profiliciteten växt fram genom historien och hur profilen kommit att bli ett digitalt panoptikon i det postpolitiska samhället. Profilen blir således ett verktyg för att förstärka den hegemoni som råder i samhället.

Die vorliegende Dissertation stellt eine Interpretation von Thomas Paines THE AGE OF REASON (1794) und Ralph Waldo Emersons NATURE (1836) als politiktheoretische Traktate vor, die normative Demokratiekonstrukte entwickeln. Diese Demokratiekonstrukte werden anhand ihrer Parameter vergleichend und historisierend gelesen. Die Annahme ist hierbei, dass sich die normativen Demokratieentwürfe beider Autoren mithilfe der Denkfigur des rhizomatischen Panoptizismus explizieren lassen. Die Dissertation leitet diese Denkfigur anhand von Texten des französischen Poststrukturalismus und auf Grundlage des soziologischen Ansatzes der Surveillance Studies her und erläutert seine Relevanz für das Verständnis und die Verhandlung von Demokratie in den Epochen der frühen Republik und des Antebellum in den USA. Ebenso findet eine Analyse der diskursiven Vermittlung dieser Denkfigur durch das religiöse Vokabular von Deismus, Unitarismus und Transzendentalismus in beiden Traktaten statt. Ein ausführliches close reading legt schließlich dar, wie einzelne Parameter eines rhizomatischen Panoptizismus in den Texten entwickelt, repräsentiert und diskutiert werden. / The present dissertation introduces an interpretation of Thomas Paine’s THE AGE OF REASON (1794) and Ralph Waldo Emerson’s NATURE (1836) as politico-theoretical tracts that develop normative constructions of democracy. At the core of the analysis lies a comparative and historicist reading of the parameters of these constructions. The thesis informing the analysis posits that both normative constructions of democracy can be made explicit with the aid of the concept of a rhizomatic panopticism. The dissertation develops this concept on the basis of French poststructuralist texts and with theoretical approaches from the sociological field of Surveillance Studies in mind, explaining its relevance for the understanding of democracy during the Early-Republic and Antebellum periods in the USA. Furthermore, the discursive mediation of the introduced concept through the religious vocabularies of Deism, Unitarianism, and Transcendentalism in both tracts receives attention. Finally, a close reading elucidates how the distinct parameters of a rhizomatic panopticism are developed, represented, and discussed in both texts.

This study uses the Tibetan mandala, a Buddhist meditation aid and sacred artform, as a secular critical model by which to analyse the complete fictions of author David Mitchell. Discussing his novels, short stories and libretti, this study maps the author's fictions as an interconnected world-system whose re-evaluation of secular belief in galvanising compassionate ethical action is revealed by a critical comparison with the mandala's methods of world-building. Using the mandala as an interpretive tool to critique the author's Buddhist influences, this thesis reads the mandala as a metaphysical map, a fitting medium for mapping the author's ethical worldview. The introduction evaluates critical structures already suggested to describe the author's worlds, and introduces the mandala as an alternative which more fully addresses Mitchell's fictional terrain. Chapter I investigates the mandala's cartographic properties, mapping Mitchell's short stories as integral islandic narratives within his fictional world which, combined, re-evaluate the role of secular belief in galvanising positive ethical action. Chapter II discusses the Tibetan sand mandala in diaspora as a form of performance when created for unfamiliar audiences, reading its cross-cultural deployment in parallel with the regenerative approaches to tragedy in the author's libretti Wake and Sunken Garden. Chapter III identifies Mitchell's use of reincarnation as a form of non-linear temporality that advocates future-facing ethical action in the face of humanitarian crises, reading the reincarnated Marinus as a form of secular bodhisattva. Chapter IV deconstructs the mandala to address its theoretical limitations, identifying the panopticon as its sinister counterpart, and analysing its effects in number9dream. Chapter V shifts this study's use of the mandala from interpretive tool to emerging category, identifying the transferrable traits that form the emerging category of mandalic literature within other post-secular contemporary fictions, discussing works by Michael Ondaatje, Ali Smith, Yann Martel, Will Self, and Margaret Atwood.