Constructing the Female Subject in Anglo-Norman, Middle English and Medieval Irish Romance Giselle Gos Doctor of Philosophy Centre for Medieval Studies University of Toronto 2012 Abstract Female subjectivity remains a theoretical question in medieval romance, a genre in which the feminine and the female have often been found to exist primarily as foils for the production of masculinity and male identity, the Other against which the masculine hero is defined. Woman’s agency and subjectivity are observed by critics most often in moments of transgression, subversion and resistance: as objects exchanged between men and signs of masculine prestige, female characters carve out their subjectivity, agency and identity in spite of, rather than with the support of, the ideological formations of romance. The following study makes a case for the existence of a female subject in medieval romance, analogous to the oft-examined male subject, a subject in both senses of the term: subjected to the dominant ideology, the subject is also enabled in its agency and authority by that ideology. I combine a feminist poststructuralist approach to discourse analysis with a comparative methodology, juxtaposing related romance texts in Anglo-Norman, Middle English and Medieval Irish under the premise that stress-points in ideological structures must be renegotiated when stories are revised and recast for new audiences. The principal texts considered are Roman de Horn, King Horn, Horn Childe and the Maiden Rimnild; Gamair’s Haveloc episode, Lai d’Haveloc, Havelok the Dane; Gui de Warewic, Guy of Warwick, The Irish Lives of Guy of Warwick and Bevis of Hampton; The Adventures of Art, Son of Conn, Mongán’s Love for Dubh Lacha. Through close attention to textual change over time, a profound shift can be seen in the emergence of female characters which cease to be symbols, signs and objects but through a variety of discourses and narrative strategies are established as subjects in their own right.

This study explores women’s experiences of sex with men. It is based on qualitative data collected from eighteen life history interviews. Such an approach provides means for examining women’s sexual experiences over time. The study finds that women give meaning to their sexual experiences through two main discursive representations: the passive, “proper” and sexually obliging girlfriend or wife, and the active and “sexually equal” woman. However, these representations do not capture the entirety of women’s sexual experiences. The life history analysis demonstrates that women are not simply inscribed by discourse. Rather, they are embodied beings actively engaged in pursuing sexual identities. Central to the process is a relationship between the practice of sex and self-reflexivity over time. Finally, the study demonstrates how the process of gaining sexual subjectivity is shaped by the material conditions of women’s lives. For instance, the praxeological circumstances of women’s class or race are powerful in recasting discourses of feminine sexuality, the meanings women ascribe to them, their access to broader sexual experiences, and the kinds of relationships they have with their male partners.

This thesis is an investigation of politics in the context of digital technologies. Its central claim is that technologies of what I call the digital ensemble express a politics that is very different from that of other technological ensembles. In order to come to an understanding of politics in the digital, this thesis explores three broader themes by way of discussions of three different technologies or assemblages of the digital. While I do not aim to establish an overarching conclusion as to a politics of the digital, I do identify both elements that are common among the three themes and where they diverge from one another. The first theme concerns the operation of power in the context of the database and examines how subjects are acted upon. I argue that databases represent both an amplification of the disciplinary mode of power and, as a product of that amplification, also express a new mode of power referred to by Deleuze as modulation. It is this concurrent operation of these two modes of power that produces the subject as 'dividual', both object and objectile at the same time, which has a number of consequences in terms of how subjects are controlled and governed. The second theme considers how the subject is constituted as actor and how this relates to the construction of the political in the context of the digital ensemble. This is achieved by way of looking at the concept of the interface. I argue that digital technologies constitute very different practices or forms of doing, both spatially and temporally. Using a broader phenomenological approach, I argue that these technologies constitute very different forms of being than that of the individual that is so central to much of modern political thought and its construction of the political. A key expression of the political in the digital ensemble, I argue, is the interface, enabling the production of a new human-machine assemblage constituting itself as flow/s. The third theme is an exploration of the conceptualisation of political action in the context of digital technologies. Here I make use of the technological assemblage of the network in exploring the actions of fluid beings. I argue that modern political thought has always conceptualised political action as the action of solid entities acting upon and in relation to other solid entities. In the context of digital technologies, however, I argue that such a conceptualisation of action is not very useful; if one conceptualises the actor as fluid, then so must its actions be conceptualised as fluid. It is in such a context that concepts of flow and turbulence gain great importance in coming to terms with politics in the digital. Indeed, to the extent that a digitisation of politics can be discerned, I argue it makes much sense to think of it as a politics of fluidity.

Thesis (Ph.D.)--Tufts University, 2002. / Adviser: Lee Edelman. Submitted to the Dept. of English. Includes bibliographical references (leaves 197-212). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph.D.)--Tufts University, 2003. / Adviser: Lee Edelman. Submitted to the Dept. of English Literature. Includes bibliographical references (leaves 205-213). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (M.A.)--University of Toronto, 2005. / Includes bibliographical references (leaves 131-142).

Thesis (Ph.D.)--Bowling Green State University, 2008. / Document formatted into pages; contains ix, 168 p. Includes bibliographical references.

Thesis (Ph. D.)--University of Sydney, 2004. / Title from title screen (viewed 6 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Behavioural and Community Health Sciences, Faculty of Health Sciences. Includes bibliographical references. Also available in print form.

Thesis (M.A.)--George Mason University, 2008. / Vita: p. 142. Thesis director: Debra Bergoffen. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies. Title from PDF t.p. (viewed July 3, 2008). Includes bibliographical references (p. 137-141). Also issued in print.

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [196]-220).