This qualitative cross-case study explores the intricate practice of cutting within contemporary art, examining the works of six artists to unravel cutting’s diverse expressions. This research identifies cutting as a dynamic form of drawing that has evolved from ancient utilitarian uses and pre-modern crafts to a contemporary art form bridging various disciplines. The study meticulously charts the transformation of cutting from its historical roots in crafts like collages, quilts, writing, and pottery decoration to its present status as a ubiquitous tool in artistic creation.Through semi-structured interviews, visual analysis, and a comprehensive review of both digital and physical portfolios, the study explores how artists harness cutting to achieve a range of formal, conceptual, and metaphorical outcomes. The research, grounded in a constructivist worldview, contextualizes these practices within the broader contemporary art scene, drawing insights from theorists such as Thierry du Duve, David Joselit, Robert Storr, and Hito Steyerl. This research categorizes cutting techniques into literal, physical, and non-literal, encompassing digital and metaphorical approaches, highlighting the practice’s capacity for innovation and transformation. This study reveals a unifying theme across the artists’ works: the use of cutting as an extension of drawing, facilitating endless possibilities for transformation and expression. This dissertation posits that cutting extends beyond the confines of traditional art forms, acting as a versatile tool that empowers a spectrum of artistic expressions. By examining the historical development and diverse applications of cutting practices, the research enriches our comprehension of contemporary art. It reveals the profound and transformative potential inherent within this fundamental artistic act.

This dissertation studies a critical facet of Chinese politics, inspections by higher Chinese government to villages. Principally, it looks at how village economic development determines government inspection decisions and how inspections, once conducted, impact village politics. Specifically, I argue that villages perceived as destabilizing to the Chinese regime, villages with higher levels of economic inequality and villages located at the two extremes of economic development, should see more inspections. In addition, I argue that inspections, in return, drive village politics: they increase village leaders' governing efficacy and raise villagers' political awareness. This theory has received strong support from both field work and quantitative empirical tests using the Chinese Household Income Project (2002) dataset.

This dissertation considers the ways that artistic collectives have become legible and value-producing social forms as they circulate within the institutions and economic geographies of contemporary art. My project focuses on Slavs and Tatars, a multilingual artist collective that began as a geographically dispersed reading group in 2006, and has been based in Berlin since 2014. I highlight the aesthetic, semiotic, and infrastructural dimensions of their practice and its modes and forms of production. I position the group as a lens through which to analyze the language and labor of knowledge production across economic geographies of contemporary art, the value projects of the German cultural state, migration and mobility politics, and the tensions of 'multicultural' Berlin. The design of the dissertation reflects two strategic methods. First, I instrumentalize the mobility of the collective in order to better understand the structural interdependencies across scalar geographies of cultural value. Second, I bring attention to Slavs and Tatars' linguistic and discursive practices, and the aesthetic forms these produce. Across the arc of the dissertation, I analyze how Slavs and Tatars is discursively produced, and thus mobilized through the spaces and public contexts of contemporary art. Each chapter discusses a distinct instance of the collective's circulation, semiotic practice, and the entailments of value that emerge across the situated publics and economic geographies of contemporary art: from translation and exhibition projects that engage the collective's conceptual region of Eurasia, to the linguistic infrastructures of studio practice in Berlin's Moabit neighborhood; from a lecture performance at renowned public institution Haus der Kulturen der Welt, to the circulation of books in market, gallery, and exhibition contexts. I analyze these forms in contexts of their public circulation in order to understand the effects of semiotic labor in the production of cultural value. I chart how semiotic practices of the collective productively engage economies of global art and state cultural funding—indexing place and social identity to derive value from a liberal politics of representation, on the one hand—while fostering emergent counterpublics through knowledge production on the other. Strategic language practices work to shift the accumulation and redistribution of material resources to artistic collectives and social projects throughout their region. I argue that this moves away from a politics of art that contests the state on ideological grounds, to one that engages regional, state, and municipal cultural economies in an effort to redistribute social capital and material resources. The dissertation puts forward a model for theorizing the political and economic geographies of contemporary art and culture, and the semiotic practices through which value, resources, attention, and meaning are made redistributable.

Definitions of celebrity authorship and material textuality at the turn of the twenty-first century have predominantly emphasised the implicitly negative aspects of contemporary developments in the literary marketplace. Particularly prominent are arguments that the practice of authorship has become subject to homogenisation by the matrix of celebrity in which successful writers are now expected to function; and, further, that the changing nature of texts themselves and the ways in which they are marketed is eroding the implicitly superior position traditionally held by literature in the cultural marketplace. This thesis views such readings as pessimistic, and offers an alternative, seeking to formulate a new critical approach to literary value in the contemporary sphere which would appreciate notions of celebrity, populism, and digital mediation as integral and productive aspects of how literary value is formed today. Through in-depth focus on the cases of a number of unconventional contemporary American authors whose work demonstrates differing, innovative approaches to the process of authorship, this thesis exposes the ways in which contemporary, atypically ‘literary’ instances of writing can and do work within and develop beyond traditional conceptualisations of authorship and literary value. Bret Easton Ellis and Jay McInerney, largely critically considered prototypical ‘celebrity’ authors, are in the first chapter reconsidered as writers whose understanding of their position within the literary marketplace affords them a self-conscious, critical perspective on the notion of celebrity in their work and public personae. The productively self-conscious author-figure is reconsidered in the second chapter, which reads the individual and joint works of author Paul Auster and visual artist Sophie Calle as foregrounding the process of creative collaboration as uniquely illuminating and transformative within the contemporary literary sphere. The notion of dual authorship is revisited and reconceptualised in the third chapter, which considers JT LeRoy and the practice of hoax authorship, outlining how this process forces the reformulation of literary value, particularly in a contemporary setting in which authors are accountable for their work in newer, more visible ways. The final chapter expands these previously-introduced themes to consider bloggers-turned-authors, particularly Tucker Max and Julie Powell, and the impact of the merging of old and new textualities on both the orientation of the figure of the writer and the way in which value is attached to his texts by readers. Ultimately, the unconventional nature of these examples is shown to belie the universality of the representations of value they enact, contributing to a full and salient account of how literary value is determined at the beginning of the twenty-first century.

This thesis examines Bonnefoy’s cultivation of the performative aspects of the poetic act in his later collections of poetry. It investigates the poet’s use of the theatrical structures of poetic performance, their temporal and spatial dynamics, to deconstruct conceptual or representative modes of thought. It examines how Bonnefoy uses apostrophes to insentient phenomena and addresses to an unidentified other in his attempts to open language up to the finitude and sharing of existence. Working within language, against language, the poet cultivates what he describes as ‘un savoir, tout négatif et instable qu’il soit, que je puis peut-être nommer la vérité de la parole’. The first chapter of this thesis investigates how the image of the ephemeral flame becomes a model for a finite poetic performance in ‘La Terre’. The second chapter scrutinises how Bonnefoy makes the signifying function of language ‘passive’ to the inappropriable excess of material presence in Début et fin de la neige. The third chapter, analysing ‘La Voix lointaine’, explores how Bonnefoy dramatises the experience of self-presence as the act of listening to a distant voice. The fourth chapter, investigating the relationship between finitude and form in ‘L’Heure présente’, analyses how the dissolution of form gives rise to a form that is always à venir, a dynamic, ‘un possible’.

I identify and analyse an emergent sub-genre of contemporary literature by women that I am calling ‘New Femininities’ fiction. This fiction is about the distinctly feminine experience of contemporary domestic life written by women about the lives of heterosexual female characters that are married or in committed partnerships, often with children. These texts are concerned with the nature of the self, with a self that is plural and ‘in process’, and make use of particular narrative devices – ironic voice, unreliable narration, free indirect discourse, and interrogative endings that exceed their roles as simply telling stories. ‘New Femininities’ fictions allow their language the necessary freedom to multiply meanings and enact the narrative conflicts they raise and by so doing, undermine the binary oppositions which structure a gendered world. In this dissertation, I argue the models of existing criticism would do a disservice to these texts because much of the criticism either overvalues the theoretical and ignores the literariness of the text or seeks to identify a ‘feminine’ language the definition of which serves to reinforce and revalue patriarchal notions of femininity. The readings that this fiction requires necessitate a negotiation with established models of feminist literary criticism. I attempt to identify the characteristics of their style that allows them to straddle binary oppositions and to look at the language these authors use without having to label it ‘feminine’ and by so doing establish, build, or reinforce a boundary with some undefined ‘masculine’ language which stands in for all occurrences that are not ‘feminine’. Additionally, I attempt to forge a transformed, adapted concept vocabulary for dealing with this group of writers. To this end, I make use of various discourses to show how the different authors either negotiate with that discourse or prove its inadequacy to describe or explain these new femininities.

The arrest of Meng Wanzhou and the Huawei prosecution have revealed a mounting battle for high-tech supremacy between the United States and China. The ongoing technology war and the trade war are merely one dimension of a far-reaching and accelerating imperialist rivalry. The changing reality on the world stage has urged a reconsideration of the thesis of transnational capitalist class (TCC) and theory of globalization in general. By reviewing the historical debate between the globalist and critical realist schools, I argue that William Carroll’s theoretical frame of global capitalism grounded in corporate network research through emphasizing a dialectical process of the ‘making’ of the TCC is better equipped to explain the unfolding Sino-U.S. conflict. Following Carroll’s multilayered approach to corporate network research, I conduct a corporate network analysis to examine the directorate interlocks of 40 Chinese transnational corporations (TNCs) selected from the Fortune Global 500 list. My study has found that the transnational networks of Chinese TNCs have remained considerably sparse, contained within condensed national networks. The globalization of Chinese TNCs and Chinese corporate elite has been modest and has not undermined or replaced the national base. This is due to two crucial reasons: the statist character of Chinese capitalist class and the regionalized development of global capitalism and class formation. In concordance with Carroll’s network research of Western companies, my study of corporate China reaffirms the fragility of the TCC, its internal friction, and potential decomposition. It also provides a material ground for analyzing the Sino-U.S. inter-imperialist rivalry as a structural development out of global capitalism and its class relations. My thesis study, therefore, offers the first attempt to draw a direct linkage between corporate network formation and geopolitical conflict. / Graduate

University libraries struggle to keep up with rapidly changing technology and the associated change in teaching strategy. Most administrators and librarians are often not trained to assess space needs and struggle to reassign library spaces for non-traditional library use. As such, they often embark on expensive and time-consuming feasibility studies, using (typically) hard-earned monies to complete the research or to pilot a new space. What academic research library administrators and staff lack is an analysis tool for discovering and planning needed renovations and improvements in aging library facilities. The purpose of this research project was to determine how students use library spaces for learning in this new high-tech, hands-on education experience (i.e. synthesis of previous research); develop a tool that can be used by library staff to self-analyze existing academic library spaces, identifying areas that could be improved for student benefit (e.g. provide a checklist of potential learning spaces that institutions should carefully consider adding to their facilities); and provide some examples/case studies of potential facility improvements. The end result is a hierarchical self-analysis tool that merges space options, Abraham Maslow's Hierarchy of Needs, and an example of library-user personas. It also provides some general cost guidelines, helpful construction tips, and a synthesis of exploratory questions related to strategy and space. The tool uses evidence-based design to facilitate important conversations, provide an organized checklist of various considerations, and be a quick reference for library administrators and facility managers as they navigate the world of twenty-first century pedagogy and student learning.

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