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This dissertation re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined extreme cinema. It argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand our generic classifications and, through the re-organization of the visual presentation of genre-specific clichés and devices, their films transform sense experience and thought. My approach loosely follows Stanley Cavell's various assertions of film as a medium of thought or, simply, that films think. Reygadas and Breillat allow spectators to reflect on the genre-film experience; I contend that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them. In fostering this experience of collection, these two directors propose a kind of ethics of curatorship: spectators are tasked with collecting and recollecting their film experience to generate particular social, cultural, and political critiques. To further accomplish and foster film as thought, the directors appeal to spectators' sense experiences. I therefore deploy contemporary film theories on the senses, both phenomenological and affect theory, and partake in close readings of the films' forms and narratives. The Introduction outlines my intervention in genre theory, discusses the key theoretical texts, develops the phenomenological framework I employ for the chapters to follow, develops my methodology through a description of Cavell's style, and presents the stakes of my argument. Chapter one considers the place of experimental narrative cinema in Reygadas's Post Tenebras Lux (2012). I argue that through his realist style, this film aims at an experience for spectators "as if" in a dream and through this film experience I posit the critique I find internal to the film. The second chapter turns to Catherine Breillat's oeuvre and the confrontation her work poses to conceptions of pornography. I bring her 2001 feature Fat Girl (À ma soeur!) to bear on what I claim to be a new style of pornographic work and its challenge to patriarchy. The final chapter brings together Reygadas's Battle in Heaven (Batalla en el cielo, 2005) and Breillat's Sex is Comedy (2002) to accomplish an analysis of sexual performances in otherwise dramatic films.

Author Keywords: art cinema, Carlos Reygadas, Catherine Breillat, contemporary cinema, film theory, genre theory

The 1980s in the United States have come into focus as years of extensive ideological and socioeconomic fracture. A conservative movement arose to counter the progressive gains of previous decades, neoliberalism became the nation's economic mantra, and détente was jettisoned in favour of military build-up. Such developments materialized out of a multitude of conflicts, a cultural crisis of ideas, perspectives, and words competing to maintain or rework the nation's core structures.

In this dissertation I argue that alongside these conflicts, a crisis over technology and its ramifications played a crucial role as well, with the American public grasping for ways to comprehend a nascent technoculture. Borrowing from Andrew Feenberg, I define three broad categories of popular conceptualization used to comprehend a decade of mass technical and social transformations: the instrumental view, construing technology as a range of efficient tools; the substantive view, insisting technology is an environment that determines its subjects; and a critical approach, which recognizes the capacity for technology to shape subjects, but also its potential to aid new social agendas. Using Feenberg's categories as interpretive lenses, I foreground these epistemologies in three of the decade's most popular formations of literary science fiction (sf), and describe the broader discourses they participated in: military sf is connected to military strategy and weapons development (instrumental), cyberpunk to postmodernism and posthumanism (substantive), and feminist sf to feminist theory and politics (critical). These were not just discursive trajectories, I claim, but vital contributors to the material construction of what Antonio Gramsci would call hegemonic and counterhegemonic formations. While the instrumental paradigm was part of the decade's prevailing hegemonic make-up, substantive and critical discourses offered an alternative to the reality of cowboy militarism and unchecked technological expansion.

By engaging with the decade's texts—from There Will Be War to RoboCop to "A Cyborg Manifesto"—I hope to illuminate what I call the technology of consent, the significance of technological worldviews for modern technocultures, where such views are consented to by subaltern groups, and at the same time the existence of consent itself as a kind of complex social technology in the first place.

Author Keywords: American History, Discourse, Hegemony, Science Fiction, Technoculture, Technology

Recent range reductions of endangered species have been linked to urban development, increased agricultural activities, and introduction of non-native species. I used Redside Dace (Clinostomus elongatus) as a focal species to examine the utility of novel monitoring approaches, and to understand historical and contemporary processes that have influenced their present distribution. I tested the efficacy of environmental DNA (eDNA) to detect Redside Dace, and showed that eDNA was more sensitive for detecting species presence than traditional electrofishing. Parameters such as season, number of replicates, and spatial versus temporal sampling need to be accounted for when designing an eDNA monitoring program, as they influence detection effectiveness and power. I also assessed the species' phylogeographic structure using both mitochondrial and microsatellite DNA analysis. The data from the microsatellite markers indicate that Redside Dace populations are genetically structured, with the exception of several populations from the Allegheny River basin. Combined sequence data from three mitochondrial genes (cytochrome b, ATPase 6 and ATPase 8) indicated that Redside Dace persisted within three Mississippian refugia during the last glaciation. Secondary contact between two lineages was indicated by both mitochondrial and microsatellite data. The combined results from the eDNA and conservation genetics studies can be used to inform Redside Dace recovery efforts, and provide a template for similar efforts for other aquatic endangered species.

Author Keywords: eDNA, endangered, genetics, phylogeography

The overarching argument of this manuscript concerns Lacanian Realism, that is, the Lacanian theory of the Real. Initially, my argument may seem quite modest: I claim that Lacanians have been preoccupied with a particular modality of the Real, one that insists on interrupting, limiting, or exceeding the various orders or agencies of the human mind. The implications of such a position are worth considering. For example, one must, as a consequence of holding this position, bracket questions pertaining to Things outside of the Symbolic and Imaginary psychical systems. Careful study shall expose the extent to which this position has infuenced each of the major felds inspired by Jacques Lacan: clinical psychoanalysis, radical political philosophy, and mathematics or topology. My task has been to explore the consequent occlusion which psychoanalysis has suffered in each of these three felds and to tease out the possibility of a return to the Real.

Author Keywords: Alain Badiou, Anarchism, Hysteria, Jacques Lacan, psychoanalysis, Slavoj Zizek

In my Master's thesis, I consider how the space of the animal laboratory shapes human-animal relationships, and how, in turn, these relations impact the laboratory, and more specifically, the spatially-bound practices that unfold in this space. I use the frameworks of biopolitics and animal geography, both of which help in illuminating the space of the lab as a site of power, within which human-animal agency becomes exercised. Alongside these analytics, I conducted participant interviews with individuals who work with animals in laboratories or settings similar to laboratories, which animate several themes that I locate at the intersection of biopolitics and animal geography. These themes include a discussion of human-animal relations of power, scientific biopower and scientific market economies, the animal-industrial complex, and the relationship between human binaries and their effects on spatiality. This project is as much about animal lives as it is about human lives.

Author Keywords: agency, animal geography, biopower, human-animal relationships, spatiality, the animal laboratory

The aim of this work was to identify the DNA sequences recognized by the Giardia TBP (gTBP) in vivo by using a chromatin immunoprecipitation assay (ChIP). Since a specific antibody for the protein of interest is required for this assay, a company was contracted to produce and purify a custom polyclonal antibody from the immunization of rabbits. Recombinant GST-gTBP was produced at a suitable yield and purity and used as the immunogen. The antibody was then tested for reactivity to the native protein in our laboratory. By Western blot analysis, it was possible to observe the enrichment of the gTBP within the nuclear fraction compared to a cytoplasmic fraction extracted from Giardia cells. However, the antibody could not be successfully used in an immunoprecipitation assay - suggesting that the antibody is unable to bind to the native structure of gTBP. Therefore, the focus of this work was changed to analyse gTBP via multiple sequence alignments, homology modelling and BLAST to identify any unique regions that may contribute to its unusual binding characteristics. These techniques were also used to identify specific regions of gTBP that may be used to generate synthetic peptides as immunogens for future antibody production.

Author Keywords: ChIP, Giardia intestinalis, Homology modelling, Immunoprecipitation, TATA-binding protein, Western Blotting

New conditions of materiality are emerging from fundamental changes in our ontological order. Digital subjectivity represents an emergent mode of subjectivity that is the effect of a more profound ontological drift that has taken place, and this bears significant repercussions for the practice and understanding of the political. This thesis pivots around mathematician Grigori 'Grisha' Perelman, most famous for his refusal to accept numerous prestigious prizes resulting from his proof of the Poincaré conjecture. The thesis shows the Perelman affair to be a fascinating instance of the rise of digital subjectivity as it strives to actualize a new hegemonic order. By tracing first the production of aesthetic works that represent Grigori Perelman in legacy media, the thesis demonstrates that there is a cultural imperative to represent Perelman as an abject figure. Additionally, his peculiar abjection is seen to arise from a challenge to the order of materiality defended by those with a vested interest in maintaining the stability of a hegemony identified with the normative regulatory power of the heteronormative matrix sustaining social relations in late capitalism. The first chapter analyses the formal aesthetics of legacy media representations of Perelman. The second chapter focuses on new media aesthetic productions pertaining to Perelman and the political ontology of digital media. The third chapter interrogates the political ontology of the materials utilized in Perelman's work and seeks to clarify the status of the conditions of the challenge of a digital hegemony.

Author Keywords: abjection, archive, autistic reason, digital subjectivity, Grigori Perelman, ontological drift

This thesis studies a subset of players of video games called "power-gamers" who play games in a way that mirrors labour as opposed to leisure. Through ethnographic fieldwork and exploration this thesis examines what constitutes "power-gaming" and seeks to unpack the differences between skill, fun, and labour. Chapter One analyzes how ethnographic fieldwork is performed in virtual worlds, and the necessary frameworks inherent to this. Chapter Two explores facets of technical hobbies, masculinity, skill, and how they relate to power-gaming. Chapter Three explores how different cultures globally choose to play-games, and the forms of sociability involved in this play. Chapter Four examines reality in relation to virtual worlds, and how players in virtual worlds explore and unpack their surroundings, which mirrors many scientific practices in the real world. Chapter Five explores narrative structure in games, and their relation to power-gaming practices. Chapter Six concludes with a discussion of power-gamers as a neo-liberal workforce.

Author Keywords: game design, neo-liberalism, playbour, power-gamer, sociability, virtual-ethnography

Phosphorus (P) is an essential macronutrient. In south-central Ontario, foliar P concentrations are low and studies have suggested that P may be limiting forest productivity. Current catchment mass balance estimates however, indicate that P is being retained suggesting that P should not be limiting to tree growth. Phosphorus deposition is measured using bulk deposition collectors, which are continuously open and therefore are subject to contamination by pollen and other biotic material with high P and potassium (K) concentrations and may therefore overestimate net P inputs to forested catchments. Average annual TP and K deposition at three long-term (1984 – 2013) monitoring sites near Dorset, Ontario ranged from 15 to 20 mg·m-2y-1 and 63 to 85 mg·m-2y-1, respectively, and was higher at Paint Lake compared with Plastic Lake and Heney Lake. Phosphorus and K in bulk precipitation were strongly positively correlated, but deposition patterns varied spatially and temporally among the three sites. Total phosphorus and K deposition increased significantly at Plastic Lake and decreased significantly at Paint Lake, but there was no significant trend in TP or K deposition at Heney Lake over the 30 year period. All sites, but especially Paint Lake, exhibited considerable inter-annual variation in TP and K deposition. To quantify the contribution of pollen, which represents an internal source of atmospheric P deposition, Durham pollen collectors during the spring and summer of 2014 were used. The three sites, Paint Lake, Heney Lake, and Plastic Lake had pollen deposition amounts of 5202 grains·cm-2, 7415 grains·cm-2, and 12 250 grains·cm-2, respectively in 2014. Approximately 83% of pollen deposition can be attributed to white pine and red pine that has a concentration of 3 mg·g-1 of P. It was estimated that pollen alone could account for up to one-third of annual bulk P deposition. Extrapolating winter P deposition values to exclude all potential biotic influences (insects, bird feces, leaves), indicates that bulk deposition estimates may double actual net P to forests, which has implications for long-term P availability, especially in harvested sites.

Author Keywords: Atmospheric Deposition, Phosphorus, Pine, Pollen, Potassium, South-Central Ontario

The future-poetry of Dennis Lee published in Testament (2012) is the culmination of four cycles of creativity in his lifetime, each seeking a Real beyond the nihilism of technological modernity. Ultimately, Lee wagers the role of the poet and the future of poetic language on Earth on a non-modern that risks entangling the poet who enters void and embodies its meaninglessness.

CHAPTER ONE: To approach this wager, the thesis first identifies the sources in philosophy of a Canadian Romantic modernism embraced by George Grant in collegial exchanges with Dennis Lee during the period of Civil Elegies (1972). Grant elicits a politics out of Nietzsche; Lee extends a poetics out of classical experimental modernism, made intelligible in this thesis by Mallarmé's "cadence" or "rhythm" of things in nothingness and by Beckett's word-play at the impasse of naming. CHAPTER TWO:

To think beyond the mastery of the world by technique is to encounter a choice between silence as assumed by Grant and nonsense as explored by Lee during the period of Alligator Pie (1974) and The Gods (1979). CHAPTER THREE: The example of Paul Celan and his revisiting of Hölderlin provokes Lee to attend upon cadence at the level of the discrete word, an experiment with the dissolution of language and selfhood anticipated in the period of Riffs (1993) and Nightwatch (1996). Here, the undermusic felt

to belong to the life-world (Lebenswelt) impacts as affect, in contrast to Celan's alienated death-walk. CHAPTER FOUR: In the spirit of "post-internet poetry," and by means of the spontaneous polyphonic scoring of cadence, Lee transforms the modernist impasse at the void into a further contradiction, the living of which may allow the poet access to a

non-modern, but at a cost: the loss of poetry to incomprehension and insignificance, the reduction of the poet to a medium of the void, the dissolving of structure into materialities colliding in chance.

Author Keywords: Dennis Lee, George Grant, Nonsense, Paul Celan, Technological Modernity, Void