This dissertation compares and contrasts aboriginal language planning within Canada at both the national and local scale. In 2005, the Aboriginal Languages Task Force released their foundational report which entailed “a national strategy to preserve, revitalize, and promote [Aboriginal] languages and cultures” (2005:1); however, discrepancies exist between their proposed strategies and the strategies employed locally by the Taku River Tlingit First Nation, located in Atlin, British Columbia, and the Loon River Cree First Nation, located in Loon Lake, Alberta. Using data collected during ethnographic fieldwork with each First Nation between 2005 and 2008, I provide a rationale for these discrepancies and propose reasons why the national strategy has, as of 2008, been unsuccessful. Both national and local strategies have focused on the relationship between land and language and its role in language planning. National language planning rhetoric has also utilized the concept of nationhood. However, both the Taku River Tlingit and the Loon River Cree use the concept of nationhood in conjunction with assertions of sovereignty over land and, therefore, situate their language planning within land planning. Throughout my research, I have been involved in volunteer language projects for each of the communities. These have included creating a Tlingit language board game entitled “Haa shagóon ítxh yaa ntoo.aat” (Traveling Our Ancestors’ Paths) and Cree language storybooks entitled Na mokatch nika poni âchimon (I will never quit telling stories). Both of these projects connect land use and language use and can be seen as part of local language planning strategies. Finally, the Aboriginal Languages Task Force uses the concept of “language as a right” within their national language planning strategies; however, the Taku River Tlingit and the Loon River Cree have instead utilized a “language as resource” ideology (Ruiz, 1984). I argue that the Taku River Tlingit First Nation and the Loon River Cree First Nation use “language as a resource” rhetoric due to their ideologies of land stewardship over Euro-Canadian models of land ownership and I argue that language planning can not stand on its own – separated from the historical, political, economic, social, and cultural considerations that a community faces.

After sixteen intensive months, I quit my employed position as a security guard at a local hospital. By drawing on my autoethnographic experiences in the form of “ethnographic fiction writing”, as well as eight interviews with my former male colleagues, I explore how the guards’ constructions of masculinity intersect with their security assessment and subsequent application of force, chemical incarceration, and other coercive security tactics on involuntarily-committed mental health patients. The narratives are framed by the available literature on gender and masculinity within the security, police, prison and military institutions, as well as the theoretical notions of gendered institutions (Acker), hegemonic masculinity (Connell & Messerschmidt), doing gender (West & Zimmerman), and Dave Holmes’s application of Foucauldian biopolitical power to forensic healthcare settings. These concepts are used in tandem with a creative methodological tool to reveal the “messy”, “bloody” and “gendered” ways in which hospital life unfolds between the guard, the nurse, and the patient prisoner. By escaping more traditional forms of academic writing, I am able to weave raw, sensitive and reflexive thoughts and emotions into the research design and analysis. The analysis is divided into two narratives: “Us” and “Them”. “Us” emphasizes the gendered ways in which the hospital guard learns, reproduces, resists, lives up, or fails to live up to the masculine codes of the profession. Here, the guard must confront cultural demands to demonstrate physical prowess, authority and heroism during a patient battle. “Them” explores how hegemonic masculinity shapes the hierarchical and coercive relations between the guard, the nurse, and the patient, and reinforces psychiatrized discourses that promote punishment, pain, bureaucracy and control. Overall, these findings call for the abolition of physical restraint, chemical incarceration and other coercive security measures within our healthcare institutions, and encourage future research to give voice to the lived experiences of women guards and security management teams.

Performativa handlingars genuskraft är en småskalig kvalitativ studie som bygger på socialkonstruktivism med Judith Butlers teori om genusskapande och performativitet som teoretisk utgångspunkt. Studiens syfte är att undersöka förskollärares och barnskötares performativa handlingar i språkbruket gentemot förskolebarn i naturmiljöer beroende på barnets biologiska kön. Avsikten är att belysa hur verksamma förskollärare och barnskötare i södra Sverige använder och uppfattar performativa handlingar i förhållande till förskolebarnets biologiska kön i naturmiljöer. Studien bygger på observationer i naturmiljöer och intervjuer av sex förskollärare och barnskötare. Resultatet visar att förskollärarna och barnskötarna genomför performativer i naturmiljöer och beskriver själva att de uppfattar att inga performativer genomförs medvetet. Mycket av förskollärarnas och barnskötarnas uppfattning grundar sig i inställningen till naturen som neutral med fokus på barnet som individ. Främst urskiljs performativa handlingar i förskollärares och barnskötares tonläge och röstvolym i resultatet. Barn vars biologiska kön tillhör flickor möter ett högre tonläge och svagare röstvolym medan pojkar bemöts med neutralt tonläge och något starkare röstvolym. Förskollärarna och barnskötarna tenderar till att prata med något mjukare och lugnare röst gentemot flickor. Även kroppsspråket gentemot barnet tyder på performativer där övervägande del av informanterna observerats använda något mjukare och mindre rörelser mot flickor. Slutligen indikerar resultatet att samtalsämne skiljer beroende på barnets biologiska kön.

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Dieses Buch versucht ein in der Musik des 20. und 21. Jahrhunderts zunehmend an Bedeutung gewinnendes Verständnis von „Musik als Wahrnehmungskunst“ (Helmut Lachenmann) für die Musikwissenschaft fruchtbar zu machen: Die ineinander verschränkten Konzepte der performativen Analyse und des performativen Hörens rücken Wahrnehmungsprozesse ins Zentrum musikologischer Methodik. Zum einen wird dabei die zentrale Stellung von Klang, Zeit und Raum in der neuen Musik seit 1900 in breite musikhistorische und -ästhetische Diskurse eingebettet, zum anderen wird mit dem Prinzip der musikalischen Morphosyntax klangliche Materialität als Ausgangspunkt hörend-analytischer Forschung begriffen. Wahrnehmung posttonaler Musik ist als performative Aktivität durch die Erfahrungen des Alltags- und Musikhörens vielfältig ausgestaltbar und dabei durch eine Verflechtung von morphologischen und metaphorischen Schichten geprägt. Die Analysen werfen so neue Perspektiven auf ein breites Spektrum posttonaler Instrumentalmusik von Arnold Schönberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino und Isabel Mundry. / This book tries to produce an understanding of “music as an art of perception” (Helmut Lachenmann) – which is becoming increasingly important in the music of the 20th and 21st centuries – in a way that is fruitful for musicology: the intertwined concepts of performative analysis and performative listening move perception processes into the centre of musicological methodology. On the one hand, Christian Utz embeds the central position of sound, time, and space in new music since 1900 in broad music-historical and music-aesthetic discourses, on the other hand, he understands sounding materiality as the starting point for listening-based analytical research, grounded in the principle of musical morphosyntax. As a performative activity, the perception of post-tonal music can be shaped in a variety of ways through the experiences of everyday auditory perception and musical listening and is characterized by an interweaving of morphological and metaphorical layers. The analyses reveal new perspectives on a broad spectrum of post-tonal instrumental music by Arnold Schoenberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino, and Isabel Mundry.

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