Global ETD Search

31	'Tous les pauvres ne sont pas terroristes, heureusement!' : le procès du néolibéralisme dans la trilogie Vernon Subutex de Virginie Despentes Giguère, Sara 01 1900 (has links) Fondé sur les bases de la sociocritique des textes, ce mémoire a pour objectif d'étudier le traitement du néolibéralisme dans la trilogie Vernon Subutex de Virginie Despentes. L'analyse dégage d'une part l'uniformisation de l'espace romanesque, lequel est réduit à l'opposition des villes et des périphéries, et d'autre part l'uniformisation du temps romanesque causé par l'imposition des lois du marché, qui donne lieu à l'abolition de la distinction entre le temps de travail - production - et le temps de loisir - consommation. Cette suppression est plus amplement explorée par l'étude de l'insistance permanente du texte sur l'enracinement et la stabilisation de l'économie de l'attention. Le mémoire fait ressortir les conséquences de ces modulations sur la société romanesque, lesquelles sont la disparition des filets de protection sociale, l'atomisation d'une société livrée aux intérêts privés des individus, la normalisation d'une violence sociale et institutionnelle systémique, ainsi que la labilisation de la frontière entre le privé et le public sous l'effet d'une instrumentalisation des processus cognitifs, de l'intimité, des affects, des identités individuelles et des identités collectives. Ainsi, la lecture des romans de Despentes met en évidence la dimension téléologique de la conjoncture historique actuelle. Elle se propose également de démontrer le caractère liminaire du personnage de Vernon Subutex, le personnage éponyme de la trilogie et le noyau de la genèse textuelle autour duquel gravitent une multitude de personnages marginaux. La "mise en texte" (Duchet) du personnel romanesque est telle qu'elle saisit un moment dans le devenir historique, social, économique et culturel et qu'elle confère au motif symbolique du seuil un rôle capital dans la poétique du roman. / Founded on the basis of "sociocritique", this thesis aims to study how neoliberalism is present in the Vernon Subutex trilogy written by Virginie Despentes. The analysis reveals on the one hand the standardization of the textual space, which is reduced to an opposition between cities and peripheries, and on the other hand the standardization of the textual time caused by the enforcement of the laws of the market, which causes the abolition of the distinction between working time - production - and leisure time - consumption. This deletion is more fully explored by studying the text's permanent insistence on the rooting and stabilization of attention economy. The thesis highlights the consequences of these transformations on the society of the novel: the disappearance of social safety nets, the atomization of a society abandoned to individuals' private interest, the normalization of systemic social and institutional violence, as well as the blurring of the border between the private and the public due to an instrumentalization of cognitive processes, intimacy, affects, and individual and collective identities. The analysis thus brings to the fore the teleological dimension of the current historical conjuncture. It also intends to demonstrate the liminality of Vernon Subutex, the eponymous character of the trilogy and the core of the textual genesis around which revolve a multitude of marginal characters. The "mise en texte" (Duchet) of the novels' characters is such that it captures a moment of the historical becoming of the social, the economical and the cultural, as well as it identifies the crucial role of the symbolic motif of the threshold in the poetics of the novel. Virginie Despentes Vernon Subutex Littérature française Sociocritique Néolibéralisme Économie de l'attention Personnage liminaire Motif du seuil French literature Neoliberalism Attention economy Liminar character (liminality) Threshold motif
32	Antinatalist Sexual Dissidence in Decadent Literature Moore, Conner Furie 22 July 2021 (has links) No description available. Literature Decadent literature Decadent movement decadence antinatalism sexual dissidence queer theory Charles Baudelaire Rachilde Algernon Charles Swinburne Oscar Wilde Vernon Lee Arthur Schopenhauer Lee Edelman Max Nordau feminism literary criticism
33	Till minne av små fötter som drog bort : Teologier i Sven-David Sandströms Requiem / In Memory of Small Feet Fading Away : Theologies in Sven-David Sandström´s Requiem Trygg, Embla January 2022 (has links) This essay investigates themes and theologies in Requiem: Mute the Bereaved Memories Speakusing a modified version of Material, Moral, Mysterious as presented in God's Song and Music's Meanings: Theology, Liturgy, and Musicology in Dialogue by James Hawkey, Ben Quash and Vernon White (2020). The analysis highlights the central themes victim/perpetrator and the Holocaust as well as sub-themes such as the game, Mary Had a Little Lamb and the sorrow of the children. The theologies found through the analysis are centred around belonging, longing, nothingness, and redemption. These theologies relate and reacts to the Holocaust as well as the existential state of being a human. Requiem Mute the Bereaved Memories Speak music and theology Sven-David Sandström Tobias Berggren rekviem De ur alla minnen fallna musik och teologi Richard Viladesau James Hawkey Ben Quash Vernon White Religious Studies Religionsvetenskap
34	Gothic Disembodiment, Supernatural Voices: Gender, Voice, and Performed Disembodiment in Music and Media Ferrari, Gabrielle January 2024 (has links) This dissertation presents an interdisciplinary investigation into the construction of gender-transgressive supernatural voices in Gothic media, drawing on works in queer and feminist theory, voice studies, and performance studies. Spanning two centuries and case studies including Gian Carlo Menotti’s The Medium, art and popular song including Franz Schubert’s “Erlkönig” and Kate Bush’s “Leave It Open,” literary works by Charles Brockden Brown and Vernon Lee, and the Spiritualist séances of Louisa Ann Meurig Morris and Jesse Shepard, I argue that these gender-transgressive voices offer a striking alternative theorization of the “disembodied voice” that, in direct contrast to techno-determinist narratives, is created in performance through unsettling the voice-body-gender relationship. I locate the origins of the connection between gender-transgressive and supernatural or disembodied voices in the early nineteenth century, where rapidly changing ideas about of gender and the body collided with a parallel retheorization of voice as both an important locus for understanding social difference and a site of identity formation. The Gothic became an important mode to explore and destabilize the relationship between voice, body, and gender, particularly for voices that did not conform to increasingly rigid gender expectations; high male and low female voices are consistently used to mark alterity in Gothic media across genres, as are other queer-coded vocal acts. This context sets the stage for what I term performed disembodiment; moments in which a voice is understood as being disembodied, despite the visible presence of the vocalizer. My work argues that some forms disembodiment can be produced not by making a performer’s body absent, but precisely through marking the body’s presence and setting the performing body at odds with the voice through gender-transgressive techniques. One of the primary methods of effecting this performed disembodiment is through “cross-gender vocalization,” wherein pitch, timbre, and articulation are manipulated resulting in, for example, female bodies that appear to produce “male” voices. My dissertation thus argues that “disembodiment” can be produced not only via technologies but through contextual strategies of performance, involving both performers and audiences in the creation of the disembodied voice Queer theory Queer musicology Seances Gender identity Gothic rock music Menotti, Gian Carlo, 1911-2007 Brown, Charles Brockden, 1771-1810 Schubert, Franz, 1797-1828 Bush, Kate Lee, Vernon, 1856-1935 Erlkönig (Schubert, Franz)
35	Fantasy as a mode in British and Irish literary decadence, 1885–1925 Mercurio, Jeremiah Romano January 2011 (has links) This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts. 820.9008
36	F. A. Hayek's Critique of Legislation Holm, Cyril January 2014 (has links) The dissertation concerns F. A. Hayek’s (1899–1992) critique of legislation. The purpose of the investigation is to clarify and assess that critique. I argue that there is in Hayek’s work a critique of legislation that is distinct from his well-known critique of social planning. Further that the main claim of this critique is what I refer to as Hayek’s legislation tenet, namely that legislation that aims to achieve specific aggregate results in complex orders of society will decrease the welfare level. The legislation tenet gains support; (i) from the welfare claim – according to which there is a positive correlation between the utilization of knowledge and the welfare level in society; (ii) from the dispersal of knowledge thesis – according to which the total knowledge of society is dispersed and not available to any one agency; and (iii) from the cultural evolution thesis – according to which evolutionary rules are more favorable to the utilization of knowledge in social cooperation than are legislative rules. More specifically, I argue that these form two lines of argument in support of the legislation tenet. One line of argument is based on the conjunction of the welfare claim and the dispersal of knowledge thesis. I argue that this line of argument is true. The other line of argument is based on the conjunction of the welfare claim and the cultural evolution thesis. I argue that this line of argument is false, mainly because the empirical work of political scientist Elinor Ostrom refutes it. Because the two lines of argument support the legislation tenet independently of each other, I argue that Hayek’s critique of legislation is true. In this dissertation, I further develop a legislative policy tool as based on the welfare claim and Hayek’s conception of coercion. I also consider Hayek’s idea that rules and law are instrumental in forging rational individual action and rational social orders, and turn to review this idea in light of the work of experimental economist Vernon Smith and economic historian Avner Greif. I find that Smith and Greif support this idea of Hayek’s, and I conjecture that it contributes to our understanding of Adam Smith’s notion of the invisible hand: It is rules – not an invisible hand – that prompt subjects to align individual and aggregate rationality in social interaction. Finally, I argue that Hayek’s critique is essentially utilitarian, as it is concerned with the negative welfare consequences of certain forms of legislation. And although it may appear that the dispersal of knowledge thesis will undermine the possibility of carrying out the utilitarian calculus, due to the lack of knowledge of the consequences of one’s actions – and therefore undermine the legislation tenet itself – I argue that the distinction between utilitarianism conceived as a method of deliberation and utilitarianism conceived as a criterion of correctness may be used to save Hayek’s critique from this objection. Hayek legislation rules law rationality rational action rational social order equilibrium utilitarianism method of deliberation criterion of correctness Elinor Ostrom Avner Greif Vernon Smith Joshua Epstein complexity knowledge social cooperation information know-how the Hayek problem the invisible hand Adam Smith Mises Keynes Marx welfare state Gilbert Ryle Michael Polanyi theory of legislation legisprudence jurisprudence Neo-Kantianism historicism cognitive closure theory of prices competition syntax grammar game theory generative social science agent-based computational modeling institutional policy analysis normative primacy of economics primacy of politics Sheri Berman constructivist rationalism socialism social democracy Nozick Rawls distribution justice freedom Kant polycentric government process of experimentation speculative philosophy analytical philosophy freedom under the law liberty philosophy of mind consequentialist

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