Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 163-172). Also available on the Internet.

Denna komparativa analys jämför J.M. Barries Peter Pan och Wendy (2013) med Disneys Peter Pan (2015) för att se hur karaktärerna förändrats genom adaptionen av berättelsen. En narrativ analys presenterar berättelsens intrig och följs av en komparativ analys av de två verken där fokus ligger på vad som tagits bort vid adaptionen och hur karaktärerna framställs. Analysen visar hur mycket som vid adaptionen tagits bort och att detta påverkar bilden läsaren får av karaktärerna.

This thesis will undertake a study of contemporary political subjectivity by investigating the manifestations of various pathea found in contemporary politics. In examining how political impotence and indifference are cultivated through (neo)liberal subject formation, it argues that contemporary neoliberal subjectivity is constituted through the pathos of distance found in the gap between the impotent liberal subject and the imaginary, universal ideal subject articulated by liberalism. Through close readings of Wendy Brown’s writings, I explore her work and engage with her formulations of contemporary political subjectivity. Specifically, I will analyze the impotent subject constituted by the pathos of ressentiment, the vulnerable subject constituted by the pathos of walling, and the tolerated subject constituted by the pathos of difference in order to trace the relationships between the various pathea and the subjectivities that they construct. / Graduate / 0615

This dissertation investigates the political stakes of women’s work with sound technologies engaging the body since the 1970s by drawing on frameworks and methodologies from music history, sound studies, feminist theory, performance studies, critical theory, and the history of technology. Although the body has been one of the principal subjects of new musicology since the early 1990s, its role in electronic music is still frequently shortchanged. I argue that the way we hear electro-bodily music has been shaped by extra-musical, often male-controlled contexts. I offer a critique of the gendered and racialized foundations of terminology such as “extended,” “non-human,” and “dis/embodied,” which follows these repertories. In the work of American composers Joan La Barbara, Laurie Anderson, Wendy Carlos, Laetitia Sonami, and Pamela Z, I trace performative interventions in technoscientific paradigms of the late twentieth century. The voice is perceived as the locus of the musical body and has long been feminized in musical discourse. The first three chapters explore how this discourse is challenged by compositions featuring the processed, broadcast, and synthesized voices of women. I focus on how these works stretch the limits of traditional vocal epistemology and, in turn, engage the bodies of listeners. In the final chapter on musical performance with gesture control, I question the characterization of hand/arm gesture as a “natural” musical interface and return to the voice, now sampled and mapped onto movement. Drawing on Cyborg feminist frameworks which privilege hybridity and multiplicity, I show that the above composers audit the dominant technoscientific imaginary by constructing musical bodies that are never essentially manifested nor completely erased.

This thesis examines the way that subversivity is produced in relation to the name of the author, as understood by Foucault, and what potential for ressistance that can be glimpsed there. This from the reading of three text that in different ways relate to that theme. Firstly, throught the reading of "Isis mamma är genusvetare, skribent och konstnär, min mamma är f.d. städerska, kokerska och dagisfröken, numera förtidspensionär med diagnosen fibromyalgi" by Lidija Praizović, a text that actively work with the internal production of different exteriorities. The text uses these exteriorities, both to commit the violation needed in order to establish it's perspective toward a capitalist publicity, and to anticipate the response and argument towards the text in the same publicity. The becoming of the proletarian class awereness is in the text partly formed in terms of origin and political ressentiment. But when used in litterature the analysis show that they produce subversive collective assemblies and question the border of political discourse. The way we become subjects in submission in terms of being bodies, irrational, specific in relation to a liberal sphere that produces the superior as invisible and bodyless, can establish it's pespective as human and universal when turned into literature. Throughout this processes the proletarian position is produced as an instance of power both internal to the text and pointing outwards, from the text. The analysis futher shows how conventions that regulate the spreading of discourse through the name of the author in capitalism, can be used to circulate experiences of submission that has the formation of collective assemblies as their potential. A process that is directly related to the post-­‐fordist capitalisms needs for new forms of life in order to reproduce. The two other texts, "Nej, man har inte rätt att skriva vad man vill" by Lyra Ekström Lindbäck, and "I huvudet på Lidija Praizović" by Tove Folkesson, was produceed as a reaction to the first texts apperance in the public sphere. The first one is critical to the text and the name, but is still making claims on a subversive position. The reading of it shows that the making of that claim, in relation to the need to produce ones own name as an author name in community with the liberal public sphere, results in a blocking of the subversive potential and a reduction of the subversive to only a marker on the name. A reaction that is in turn foreseen by the first text in it's working with the anticipation of readers responce. The reading of the second text shows how, throught the production of a complete affinity with the exteriority that is the athor name of Lidija Praizović, the potentially dangerous class position is reduced and disarmed. That occurs partly throught a reduction of the class position to aspects that only allows political ressentiment and loneliness. This turns the subversivity and the violation associated with the name of Lidija Praizović to functions for the name of Tove Folkesson. Something that in turn shows not only the potential of using these aspects of political becomings as grounds for building something that goes beyond them, but also the dangers of it. Both texts can therefore be seen as two different attempts to block the spreading of the subversive by using it solely to produce the name of the author.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T19:03:19Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Otavio_Botelho_Rosa.pdf: 1087700 bytes, checksum: 0f87119197a829b9e0c430dadde67fe9 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:25:21Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Otavio_Botelho_Rosa.pdf: 1087700 bytes, checksum: 0f87119197a829b9e0c430dadde67fe9 (MD5) / Made available in DSpace on 2018-07-17T21:25:27Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Otavio_Botelho_Rosa.pdf: 1087700 bytes, checksum: 0f87119197a829b9e0c430dadde67fe9 (MD5) Previous issue date: 2018-02-27 / Sem bolsa / A ficção latino-americana serviu como sustentação dos testimonios dos contextos históricos (SARLO, 2017). No espaço contemporâneo, com a ascensão desconstrucionista, a literatura, através de seus diálogos intertextuais desenvolve uma representação da experiência em situações limites. As narrativas se apropriam de um contra-discurso histórico e o protagonista é um representante dos sujeitos silenciados frente à historiografia (SELIGMANN-SILVA, 2003). Essa dissertação, através dos estudos comparatistas, com ênfase no entrecruzamento entre Literatura e História, procura analisar o processo de revisitação histórica desenvolvido por Wendy Guerra. A fim de reflexionar acerca dos diálogos entre experiência, história e memória, nos deteremos em analisar os romances Todos se vão e Nunca Fui primeira dama. Nessas narrativas podemos visualizar o lado sombrio de Cuba durante o contexto revolucionário e pós-revolucionário, a ficção reafirma uma posição autodiegética da experimentação individual. Wendy Guerra, enquanto representante de uma geração invisibilizada pela história, produz uma narrativa expoente das tênues relações entre literatura e o contexto histórico, o discurso ficcional tece um posicionamento crítico a historiografia e apresenta um novo olhar a cerca do contexto cubano contemporâneo. / The testimonies of historical contexts were used as a support by Latin American fiction (SARLO, 2017). In contemporary period, with deconstructionist ascension, literature has risen of experience in certain languages through its intertextual dialogues. Narratives hold a historical argument and the protagonist is a representative of the subjects who are silenced in the face of historiography (SELIGMANN-SILVA, 2003). This dissertation, with an emphasis in Literature and History, looks for the process of revisiting developed by Wendy Guerra through comparative studies. In order to think over the dialogues among experience, history and memory, the novels Todos se vão and Nunca Fui primeira dama will be analyzed. In these narratives the dark side of Cuba during the revolutionary and post-revolutionary context can be visualized, a fictional discourse reaffirms a self-diegetic position of individual experimentation. Wendy Guerra, as a representative of an invisible generation in history, produces an exponential narrative of the discussions between literature and the historical context, fictional discourse is a critical method of historiography and presents a new perspective on a contemporary Cuban context.

This thesis attempts to determine if the acquisition of rhetorical and grammatical skills such as a sense of audience and organization are best attained through an alternate pedagogy based on a methodology from Wendy Bishop or if they are better attained through a traditional approach.

Studien undersöker relationen mellan skapandet av arpilleras och erfarenheten av exil utifrån konstnären Cecilia Valdés och den politiska och konstnärliga organisationen Salvador Allende-kommitténs ateljé. I relation till exil behandlar frågeställningarna följande ämnen: motivval, skapandets syfte för individen i exil och exilens påverkan på den skapande erfarenheten. I uppsatsens inledning presenteras undersökningens syfte och frågeställningar, centrala teoretiska perspektiv och metod. Sedan introduceras material och tidigare forskning, följt av en beskrivning av uppsatsens disposition. Uppsatsens undersökande del består av två kapitel vilka behandlar centrala motiv och känslotillstånd i ateljéns verksamhet. Undersökningen avrundas med en avslutande diskussion samt förslag på framtida forskning. Utifrån Sara Ahmeds affektteori, Edward W. Saids begrepp kontrapunktiskt perspektiv, Wendy Browns teori om samtida politiserade identiteter och sårade anknytningar och semiotisk bildanalys, har följande slutsatser nåtts: Den traditionella symboliken inom arpilleras skiftade i innebörd genom erfarenheten av exil. Ateljéns kollektiva verksamhet omvandlade exilen till en emanciperande erfarenhet snarare än att grunda den i förbittring. Slutligen skiljer sig anledningarna till ateljéns grundande från motiven bakom liknande verksamheter i Chile under militärdiktaturen.

Studien undersöker relationen mellan skapandet av arpilleras och erfarenheten av exil utifrån konstnären Cecilia Valdés och den politiska och konstnärliga organisationen Salvador Allende-kommitténs ateljé. I relation till exil behandlar frågeställningarna följande ämnen: mottival, skapandets syfte för individen i exil och exilens påverkan på den skapande erfarenheten. I uppsatsens inledning presenteras undersökningens syfte och frågeställningar, centrala teoretiska perspektiv och metod. Sedan introduceras material och tidigare forskning, följt av en beskrivning av uppsatsens disposition. Uppsatsens undersökande del består av två kapitel vilka behandlar centrala motiv och känslotillstånd i ateljéns verksamhet. Undersökningen avrundas med en avslutande diskussion samt förslag på framtida forskning. Utifrån Sara Ahmeds affektteori, Edward W. Saids begrepp kontrapunktiskt perspektiv, Wendy Browns teori om samtida politiserade identiteter och sårade anknytningar och semiotisk bildanalys, har följande slutsatser nåtts: Den traditionella symboliken inom arpilleras skiftade i innebörd genom erfarenheten av exil. Ateljéns kollektiva verksamhet omvandlade exilen till en emanciperande erfarenhet snarare än att grunda den i förbittring. Slutligen skiljer sig anledningarna till ateljéns grundande från motiven bakom liknande verksamheter i Chile under militärdiktaturen.

This essay explores ISKCON’s religious text A.C. Bhaktivedanta Swami Prabhupada’s commentary on the Bhagavad Gita, the Bhagavad Gita As It Is, as an American scripture. This commentary expressed a philosophy which attracted ISKCON’s American converts and gave voice to the protest they had against the larger American culture. Using Thomas Tweed’s theory of dissent, I show how the Bhagavad Gita As It Is gave the American converts of the 1960s and 1970s a language of dissent in the larger American conversation and allowed them to create an alternative American identity. In this way, the Bhagavad Gita is an American text.