Friction Bit Joining (FBJ) is a recently developed spot joining technology capable of joining dissimilar metals. A consumable bit cuts through the upper layer of metal to be joined, then friction welds to the lower layer. The bit then snaps off, leaving a flange. This research focuses on FBJ using DP980 or DP590 steel as the lower layer, AZ31 magnesium alloy as the top layer, and 4140 or 4130 steel as the bit material. In order to determine optimal settings for the magnesium/steel joints, experimentation was performed using a purpose-built computer controlled welding machine, varying factors such as rotational speeds, plunge speed, cutting and welding depths, and dwell times. It was determined that, when using 1.6 mm thick coupons, maximum joint strengths would be obtained at a 2.03 mm cutting depth, 3.30 mm welding depth, and 2500 RPM welding speed. At these levels, the weld is stronger than the magnesium alloy, resulting in failure in the AZ31 rather than in the FBJ joint in lap shear testing.

This thesis examines the implications of Preciado’s 'Testo Junkie' for our understanding of subjectivity and human rights. Preciado’s political project of embodied and performative selfexperimentation with testosterone constructs a self against normalization techniques and static identities. As such, it may be read in line with postmodern critiques that complicate the justification of the human rights project. Adami’s theory of the narratable self and human rights is deployed in a narrative analysis structured as a thematic close reading of Preciado’s text. This is accomplished by identifying four themes within Adami’s approach that structure the analysis of Testo Junkie: narration as political subjectification; equality of difference and uniqueness; the singular other and relationality; and fluidity, becoming and learning. Within these categories, significant common ground between Preciado’s ideas and a human rights narrative framework is found. This points to the possibilities a discursive human rights theory that focuses on narratives may hold for reading transgressive projects of justice aligned with postmodern understandings of the self such as Preciado’s.

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The First World War wrought untold destruction on the physical and psychological landscape of Europe. For Britain, the immediate post-war period represented no less than a national “nostos,” or homecoming, and few social institutions were so fragmented by the conflict as the home. This thesis will explore the various conceptions of “home,” from the nation and the domestic sphere to post-war consciousness, through the lens of Virginia Woolf’s Mrs. Dalloway and Rebecca West’s The Return of the Soldier. Though unique in style and scope, Woolf and West interrogate and revise pre-war notions of “home” and suggest a Modernist aesthetic of what it is to be both at “home” and at home in the world.

The First World War wrought untold destruction on the physical and psychological landscape of Europe. For Britain, the immediate post-war period represented no less than a national “nostos,” or homecoming, and few social institutions were so fragmented by the conflict as the home. This thesis will explore the various conceptions of “home,” from the nation and the domestic sphere to post-war consciousness, through the lens of Virginia Woolf’s "Mrs. Dalloway" and Rebecca West’s "The Return of the Soldier." Though unique in style and scope, Woolf and West interrogate and revise pre-war notions of “home” and suggest a Modernist aesthetic of what it is to be both at “home” and at home in the world.

By setting the writings of Etel Adnan, Annie Dillard, Marilynne Robinson and Rebecca Solnit into dialogue with those of the New England Transcendentalists, this thesis proposes a New Transcendentalism that both reinvigorates and reimagines Transcendentalist thought for our increasingly intersectional and deterritorialized contemporary context. Drawing on key re-readings by Stanley Cavell, George Kateb and Branka Arsić, the project contributes towards the twenty-first-century shift in Transcendentalist scholarship which seeks to challenge the popular image of New England Transcendentalism as uncompromisingly individualist, abstract and ultimately the preserve of white male privilege. Moreover, in its identification and examination of an interrelated poetics and politics of liminality across these old and new Transcendentalist writings, the project also extends the scope of a more recent strain of Transcendentalist scholarship which emphasises the dialogical underpinnings of the nineteenth-century movement. The project comprises three central chapters, each of which situates New Transcendentalism within a series of vertical and lateral dialogues. The trajectory of my chapters follows the logic of Emerson s ever-widening circles , in that each takes a wider critical lens through which to explore the dialogical relationship between my four writers and the New England Transcendentalists. In Chapter 1 the focus is upon anthropological theories of liminality; in Chapter 2 upon feminist interventions within psychoanalysis; and in Chapter 3 upon the revisionary work of Post-West criticism. In keeping with the dialogical analogies that inform this project throughout, the relationship examined within this thesis between Adnan, Dillard, Robinson and Solnit and the nineteenth-century Transcendentalists is understood as itself reciprocal, in that it not only demonstrates how my four contemporary writers may be read productively in the light of their New England forebears, but also how those readings in turn invite us to reconsider our understanding of those earlier thinkers.

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The aim of this essay is to investigate the meaning and importance of the female friendship within Ellen Moers tradition and theory regarding the female gothic. In this essay, I argue that the female friendship has played an important role in the portrayal of the Gothic fiction as socially critical of women’s position in the society, mainly by examining the two works Rebecca by Daphne du Maurier and Gone Girl by Gillian Flynn. The essay is also interested in how the female gothic has developed over time and whether the notion can be applied while analysing more contemporary gothic, and thus, considers the works’ different time periods.

I have come to a point where I feel a need to understand more about my own work methods and my motivations. Departing from a process diary written during my master studies, I take a closer look at my own artistic process — the questions which inform my work, the questions that arise in it, and how my work is an attempt to understand those questions. Wherein lies the urgency for me to work with art in the way that I do?  This is an essay about a search, about trying to make sense of something, about not knowing. It is also an exploration of how my work in the non-verbal domain transforms my not knowing, how working with art is a tool for thinking and understanding.

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