Cultural Studies

This dissertation offers a historical look at the book cover as a material object of particular significance. As a part of the bibliographical tradition, the cover binds the book not only to its reader, but also to the culture that gives it meaning. Consequently, by chronologically reviewing the book cover through a mix of historical and fictional accounts, this study had as its goal to affirm the difficulty of judging the book cover without knowing its social history. The first project of this study takes the elaborately decorated bindings of Medieval manuscripts as the origin point for the modern book cover and retraces the attitudes and approaches to the book cover through the accounts of printers, binders, readers and collectors. The definition of the book cover then emerges as the result of the discursive dialogue between the material and aesthetic concerns of the book paratext. The second project expands the scope of the study from book covers made for Bibles and religious texts to the mechanical production of commercially defined gift books and aesthetic volumes. Looking at the book cover both as an object and a cultural agent, the discussion focuses on challenges readers go through in attempting to bring the meaning of the cover under their subjective control. Finally, the third project focuses on the twentieth century and the development of mass and artistic forms of designing and reading the book cover. Here, special attention is given to the similarities and differences between two main forms of books, hardbacks and paperbacks, as they continue to collaborate and compete in producing the most effective cover paradigm. The final section presents a brief summary of the dissertation and concludes with a brief projection about the future role and functions of the book cover.

Author Keywords: book cover, cultural history, design history, dust jacket, Oscar Wilde, Virginia Woolf

For the Road is a study of the modes of transmission of ideas within the Counterculture in its different forms. It is a genealogy of movements that define themselves "against" what is established as "Culture". The philosophy of the Beat Generation does not come out of nowhere and in turn, many recent movements are indebted to the Beat Generation. The goal of this dissertation is to formulate a theory of Counterculture as a whole using various "lenses" such as Comparative Literature and Cultural Studies. The foundation of the argument starts with the Beat Generation. The Beats, often perceived as the founding fathers of the Counterculture had predecessors. The first parts of this dissertation deal with the idea of transmission and the way the Beats reformulated the ideas of their predecessors to make these ideas relevant again in the context of the mid-twentieth century. The dissertation then deals with the successors of the Beats who themselves reformulated the ideas that the Beats had once "re-invented" in the context of the late twentieth century and the beginning of the twenty-first. The dissertation then shifts to a much wider understanding of the notion of Counterculture. The Counterculture has always existed and its incarnations have either faded away or have been co-opted by the impersonal forces of mainstream Culture. The last part of the dissertation, the creative writing project, is an attempt to re-create a Counterculture, one that would always have the potential to be born again while remaining free from the shackles of mainstream Culture. This last part puts theory into practice, using such concepts as Barthes' death of the author and Proudhon's reinvention of the concept of property, including intellectual property.

Author Keywords: Counterculture, Ginsberg, Influence, Kerouac, Outsiders, Revolution

This dissertation traces the emergence of the "transgender predator" discourse on social media. Taking its cue from the 2019 British Columbia Human Rights Tribunal case Yaniv v. Various Waxing Salons, in which a white Canadian trans woman named Jessica Yaniv unsuccessfully filed a series of complaints against a number of racialized cisgender aestheticians claiming that they denied her body and Brazilian waxing services, I examine Canadian socio-legal discussions regarding trans women's access to spaces and services designed for cisgender women. Second, I focus on the realm of YouTube in which Yaniv v. Various Waxing Salons was marketed as the case of a transgender predator by another trans female YouTuber named Blaire White. I locate Yaniv-related content within a larger genre of "predator-hunting" in which self-proclaimed vigilantes lure and "hunt" putative child predators through sting operations and publish their expeditions as online shaming content on YouTube. By analyzing the visual and verbal discursive elements of the genre of predator catching/exposé, I suggest that "transgender predator" functions within the axis of surveillance regimes and monetized humiliation-entertainment, rather than merely being motivated by the goal of protecting cisgender women and children. Lastly, I turn my attention from "transgender predator" to another type of pejorative construction about trans people represented in the stand-up comedy of Dave Chappelle and Ricky Gervais. I argue that, as opposed to comedy's previous engagement with trans subjectivity in which the comedic element was revealed through the tropes of deception and bodily incongruity, in the works of Chappelle and Gervais, transgender subjectivity is used to make social commentary about the supposed decline of, what are deemed to be, Western values of reason, rationality, and freedom of speech.

Author Keywords: predator, stand-up comedy, surveillance, transgender, vigilantism, YouTube

This thesis demonstrates how the proper application of theoretical archaeological and osteological methods to archival documents can be both illuminating and vital to create a fuller understanding of those who have been historically silenced. By performing an archival analysis informed by an archaeological background, the first four volumes of the Registers of Liberated Africans from Freetown, Sierra Leone are "excavated." In addition to demographic data, four categories of analysis are presented, including Types of Illness and Symptoms, Types of Trauma, Types of Injury and/or Illness, and Multiple Symptoms and Illness. This data was collected during participation in a much larger transcription project using a unique methodology. The following analysis was conducted using a collection of interdisciplinary theories, including theoretical osteoarchaeology, practical osteology, medical anthropology, archival and linguistic analysis and numerical presentation. Discussions include the frequency of diseases, slave ships and barracoons as disease environments, potential causes for common injuries, the difficulties and evolution of medical language, and the limitations of both archival and archaeological work for medical and trauma investigation. While both archival and archaeological methods miss key information, using them in tandem offers a more complete view of a historical person and their life experiences.

Author Keywords: Archive, Disease, Liberated Africans, Osteoarchaeology, Sierra Leone, Trauma

This thesis examines Beyoncé's art within the context of Black feminist thought, specifically focusing on how her work reflects and contributes to the themes of sisterhood, female empowerment, and intersectionality. A comprehensive analysis of her songs and performances will demonstrate how Beyoncé's art advocates for unity, female empowerment, particularly for Black women, and encourages sisterhood and support. The results reveal that Beyoncé's art serves as a powerful tool to challenge societal norms, address racial and gender inequalities, and advocate for justice, especially in the lives of Black women. Through her music and performances, Beyoncé has become a powerful example of using popular music as a medium for social change and cultural empowerment. This research highlights the significance of her contributions to the ongoing conversations surrounding race, gender, and socioeconomic factors, underlining the powerful influence of her art in encouraging a more inclusive society.

Author Keywords: Beyoncé, Black Feminist Thought, Female Empowerment, Gender inequalities, Intersectionality, Sisterhood

This dissertation focuses on the intersectionality between images posted on social media and social rules in the lives of young people. The findings are based on thirty-four qualitative interviews with young social media users where photo-based methodologies were employed. From these interviews, three key themes emerged: 1) Posting and sharing images are connected to identity exploration and formation, 2) Social rules around embodied emotions affect how youth present their emotions in online photographic material, and 3) The conflation of private and public spaces in the digital sphere complicates how social media users interact with images. While the findings presented are clear, this dissertation aims to take a holistic approach to understanding youth digital culture and avoids coming to conclusions that view social media as "good" or "bad" for youth. This tactic allows the findings to acknowledge the complexities of communicative digital spaces and understand the intricacies of social media in the daily lives of young people (boyd, 2014; Tilleczek & Campbell, 2019). This dissertation discusses both challenges youth face on social media when posting and viewing images, as well as how images can be used to defy social norms.

Author Keywords: Affect, Culture, Image, Social Media, Youth

Games immerse players. Through immersion, players can see themselves embodied in their avatars. There is space for meaningful experimentation of gender through these avatars as embodied players can blur the lines between their real-life and virtual selves. The player's avatar becomes that person — in terms of personality, feelings, and gender identity/expression. In virtual reality, the player becomes a virtual actor in the world of the game, allowing the player to explore their avatar directly. Through various games, books, and anime, I demonstrate how players can find embodiment and how games can achieve a rigid sense of embodiment. Using an intersectional lens of cultural and gender studies, this paper aims to provide a framework for embodied gender exploration that future games can build upon. This framework is enacted through a look at embodiment and how the player is able to find an authentic self in the virtual world.

Author Keywords: Avatars, Embodiment, Embodiment studies, Gender euphoria, Video games, Virtual Reality

Crutzen and Stoermer's (2000) announcement of the Anthropocene draws attention to the agentic nature of the nonhuman world as it appears to be striking back against human intervention through an environmental crisis that is threatening humans and nonhumans alike. Their narrative reveals complex relationalities where humans are now revealed to beinseparable from the nonhuman world and both the material and discursive nature of their practices (historical, social, economic, and political) prove to be central to (re)shaping the earth, causing climate change, species extinctions as well as racism, sexism, and slavery. Rising sea levels is an important aspect of climate change that threatens major coastal places with disappearance. My dissertation offers a new approach that uses Karen Barad's (2003; 2007; 2017) agential realism and diffractive methodology to study a place called Lyme Regis – a town in west Dorset, England, threatened with disappearance as a result of rising sea levels caused by climate change – as an agential phenomenon shaped by complex multilayered material-discursive practices (political, economic, scientific, and social). Whereas current research on Barad's philosophy mainly focuses on discussions about the theory: explaining, critiquing, or defending (Gandorfer 2021; Lettow 2017; Graham 2016; Segal 2014; Geerts 2013; 2016; 2021; van der Tuin 2011; Alaimo and Hekman 2008; Rouse 2004 and more ), my project is the first ethico-political study of a place, Lyme, that applies Barad's agential realist perspective by engaging the activism of Barad's concept of "re-membering." The processual nature of the concept is particularly relevant today since its nonlinear understanding of time allows me to see how past violent material and discursive practices (racism, sexism, and slavery) at Lyme unfolds in the present troubled time of the Anthropocene. This process of re-membering that I undertake in this study involves concurrently examining the overlapping historical, economic, scientific, literary, and geological intra-acting practices through a method that Barad describes as diffractive reading. I rethink these practices in their relation to material practices and illuminate multiple layers of meaning and relationalities that constitute Lyme as an agential phenomenon, unsettling boundaries between humans and nonhumans, epistemology and ontology, material and discursive practices as well as boundaries between scientific, historical, cultural, and literary aspects of life. Therefore, within the context of the Anthropocene, chapter one rethinks how the scientific discourse (re)shapes nature and demonstrates how prioritizing the needs of human over nonhuman inhabitants in the name of saving Lyme could entail the destruction of both. Chapter two rethinks the dehumanizing and marginalizing effect of the scientific discourse by illuminating the agentic role of Mary Anning and Saartjie Baartman in the apparatus of scientific knowledge production that earned Lyme its heritage status. Finally, chapter three rethinks the entangled nature of scientific and literary practices, arguing for an agential realist account of the sublime that celebrates Lyme as a place of transformative human-nonhuman kinship based on Austen's elaborate depiction in Persuasion (1817). This reading shows science and literature as material-discursive practices operating along the unsettled boundaries between the novel and everyday life, allowing us to rethink Austen's writing as a process in constant flux.

Author Keywords: Agential Realism, Anthropocene, Diffractive Methodology, Lyme Regis, Persuasion, Posthumanist Sublime

In 1995, Donald Judd's Chinati Foundation held its inaugural symposium titled "Art in the Landscape". During the roundtable discussion, walking artist Hamish Fulton asserted that there are fundamental differences between his art and American Land Art. Drawing on Fulton's assertion, this dissertation argues for the redefinition of British environmental art, conventionally called Land Art after the American tradition. Through the exploration of the work of several contemporary and living British artists, the British School of Aesthetic Chorography is articulated. The practice of aesthetic chorography involves an embodied experience of place, such as walking or gardening, which results in a creative response. This creative response is the place-work of aesthetic chorography and can take a plethora of forms including the attachment of language to place, the creation of an ephemeral marker, an image or a representation or the creation of a printed object which recalls the place in some way. Derived from the unfolding of this place-work, the role of language in art is a theme which is carried through the dissertation. The role of language in childhood, memory and constituting knowledge claims is also explored particularly as this relates to place and to loss and the conservational potential of language with respect to place is theorized in a place theory of language and a recollective theory of place. The conservational element of this work is further developed through the articulation of aesthetic chorography as a parochial tending practice which devotes attention to place as an experienced phenomenon. The persistence of parochial places and vernacular tending practices, however, require conservation. The heritage work of the Common Ground Trust in the UK which seeks to promote the "local distinctiveness" of places is explored and the keeping place is raised as a way of thinking about the engaged and living preservation of vernacular places, particularly in the face of environmental crisis.

Keywords: Aesthetics, Aesthetic Chorography, Art, Common Ground Trust, Concrete Poetry, Conservation, Critical Topography, Environmental Aesthetics, Environmental Ethics, Epistemology, Heritage, Keeping Place, Land Art, Landscape, Language, Lieu de Mémoire, Local, Memory, Monument, Parochial, Place, Place-work, Tending, Vernacular, Walking, Jonathan Bordo, Lionel L. Ferguson, Alec Finlay, Ian Hamilton Finlay, Hamish Fulton, Andy Goldsworthy, Donald Judd, Richard Long, Robert Macfarlane, Brian Nichols, Ferdinand de Saussure, Richard Skelton, Robert Smithson, James Turrell, W.J.T. Mitchell

Author Keywords: Aesthetic Chorography, Critical Topography, Heritage, Keeping Place, Landscape, Place

An interesting question arises upon viewing the 1939 film, The Wizard of Oz (MGM). The main character Dorothy Gale faces a long arduous journey on foot. Why did she not have a car? Women had formed strong associations with the automobile in its early years, yet they appeared to have weaker associations with the automobile a few decades later. A look back to three other "Dorothies" from the World War I era demonstrates the evolution of women's associations with the early automobile, and how war impacted them. In the pre-World War I years, women drivers appeared in film, while Dorothy Levitt wrote columns for other women on how to drive and repair a car and many other women invented safety technologies for automobiles. During World War I, the pinnacle of recognition for women's driving emerged with the woman ambulance drivers on the front lines. Dorothie Feilding was one of the first women to arrive in Belgium to drive ambulances, often while under fire. Feilding and many women like her were given war medals for their service, and their bravery was touted in newspapers. However, once the war ended, their accomplishments would be erased and ignored. In the post-World War I years, Dorothée Pullinger's experience as CEO of the Galloway factory illustrate how ideas of masculinity and femininity. promoted by governments after the war, impacted women. The Galloway factory in Tongland Scotland, was staffed by women engineers and workers. After World War I ended, these women were pushed out of their jobs. War-induced disability and its economic costs to governments were at the heart of gender inequities and served to displace women from automobile technology. Policies such as Britain's "Restoration of Pre-War Practices Act" set the stage for a script that constructed women's jobs as expendable and marketed ideas of the disabled soldier needing to "re-gain his manliness" by re-entering the labour force at women's expense. As a result, the state imbued a new relational, gendered analytic onto automobile use and production that remains with western society today. Keywords: woman's labour, woman driver, automobile, factory labour, gendered technology, World War I, ambulance, silent film, Restoration of Pre-War Practices Act, Galloway, Tongland, First Aid Nursing Yeomanry, Munro Flying Ambulance Corps, Dorothy Levitt, Dorothie Feiling, Dorothée Pullinger.

Author Keywords: ambulance, automobile, Galloway, gendering, women, world war I