McGuire, Kelly

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

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

This thesis considers the fanfiction genres of slash-fiction, and Alpha/Beta/Omega fiction through an analysis of fandom's embedded gift economy structures. Previous research on fanfiction and fandom structures have often characterized the gift economy nature of these spaces as countercultural and as separate from the frequent exploitation inherent in economic-based systems. There has been less attention paid to considering the potential disruptions that can come with unregulated and large-scale sharing. This thesis undertakes a critical discourse analysis of Alpha/Beta/Omega slash-fiction with a focus on commodity fetishism to reveal how the subgenre's relationship with the fanfiction gift economy complicates and at times counters the conception of these spaces as a 'queer utopia.' The purpose of this research is to dismantle traditional archetypes within Alpha/Beta/Omega fanfiction by exploring how male Omegan characters become fetishized cultural commodity objects internally through interactions with Alpha characters and externally through the desires of fanfiction readers and writers.

Author Keywords: Alpha/Beta/Omega, Commodity Fetishism, Fanfiction, Gift Economy, Queer Theory, Slash-fiction

The objective of this dissertation is to measure the influence of the contemporary influx of women's involvement in the horror genre in three dimensional capacities: female representation in horror films, female representation as active, participatory spectators and female representation in the industrial production of horror. Through the combined approach of theoretical and empirical analysis, this dissertation examines the social conditions that facilitated women's infiltration of the horror genre. Beginning with psychoanalytic theories of spectatorship, it is demonstrated that female filmmakers have challenged horror's traditional images of victimized women through the development new forms of feminine representation in contemporary horror films. Using data collected from a sample of 52 self-identified female horror fans, it is revealed that the purported invisibility of female horror spectators is a consequence of their alternative modes of consumption. Through interviews conducted with four female producers and an examination of their cultural productions, I illustrate that women have reconstituted the horror genre as a space for inclusivity, political activism and feminist empowerment. Cohesively, these findings reveal the contemporary feminist reclamation of horror to be a form of resistance intended to challenge the patriarchal structures that facilitated women's historical exclusion from the horror genre.

Author Keywords: Abjection, Feminism, Film, Gender, Horror, Psychoanalysis

This thesis explores access to feminist zine culture and community, specifically if, and how, access has been altered in the age of digital technologies and increased access to digital spaces. Results from a questionnaire completed by 8 young feminist zine-makers and readers of marginalized genders indicated that though the modern boundaries of what a zine is has been expanded to include e-zines, there remains a preference toward print zines in zine-making and reading practices. Results also revealed that while there is a preference toward accessing feminist zine culture and community in-person in theory, participants were more likely to access feminist zine culture and community online in reality. This project found that digital technologies and the Internet have affected feminist zine culture in multiple ways, ranging from the Internet creating a new access points to community, to the Internet making it easier to find, purchase, and distribute zines.

Author Keywords: Digital Media, Feminism, Feminist Zine Culture, Feminist Zines, Materiality, Print Media

This thesis examines what the term "transgender narrative" represents at this particular time and location. I do this by examining various methods of transgender storytelling through different forms of media production, including autobiography, film, novels, and online platforms such as Tumblr and YouTube. In chapter one, I look at the production of novels and the value system by which they are judged ("gender capital") in transgender publics and counterpublics. In chapter two, I examine the history of the autobiography, along with the medical history closely associated with transgender identity and bodily transformation. The third chapter examines notions of violence and memorial behind the deaths of transgender people and the ways in which certain political revolutions are formed within a counterpublic. I deconstruct varying notions of identity, authorship, and cultural production and critically examine what it means to be transgender and what it means to tell stories about transgender people. I will conclude with how these stories are being shaped through social media to become more innovative and move away from the rigid value system of gender capital previously mentioned.

Author Keywords: autobiography, gender, sex, social media, transgender, transsexual

This thesis explores middling reform-minded representations of plebeian children's material worlds in England from 1720 to 1780. Specifically, it examines depictions of chattel and place in imagery of children, to convey messages aligned with the reform initiatives of the eighteenth century. Using the Old Bailey Proceedings, prints by William Hogarth, and novels, it argues that contemporary concerns about idleness, vagrancy, consumerism, and delinquency, were reflected in the way the middling sort conceived of plebeian childhood. Ultimately these representations of plebeian children followed two major narratives: industry or idleness. If poor children were not industrious, they were idle. The culture of reform targeted these children with initiatives to instruct and control them. The producers spread their middling ideologies through a range of visual, fictional, and legal productions, all of which framed plebeian children as dependent and in need of education or training.

Author Keywords: Children, Eighteenth-century, England, Material History, Plebeian, representations

Queer youth are an at-risk group, with an incredibly high rate of harm and death as they grow into themselves. They are often advised to wait until they finish school to express their sexuality more openly, when they can leave to somewhere that is "better", which in this context can mean safer, more accepting, or far away from friends and family who may reject them. Unfortunately, much of the media representation of queer people is regressive or stereotypical, usually involving the suffering or death of its queer-identified characters. It is telling that a recurring theme in queer stories is that empathy and understanding for queer people can only be attained through their suffering. Non-queer people do not have to suffer to be understood. In this thesis I discuss the potential of creativity in academic works, I examine queer stories that buck the trend of tragedy through queer and pop culture theory, and I write a queer young adult novel in response, featuring a self-actualized protagonist whose sexuality does not cause him pain or trauma.

Author Keywords: creative writing, queer literature, queer protagonist, queer theory, queer youth, young adult literature

This thesis is concerned with how specific aesthetic elements function in various contemporary texts to distort, obscure, or illuminate the immoral actions and behaviours being represented. This thesis applies the moral status philosophy of Mary Anne Warren, along with the moral philosophy of Emmanuel Lévinas and Zygmunt Bauman. Close reading and critical analysis are supported by Michele Aaron's theory of spectatorship. The sublime is explored in Dexter (2006) and Batman: The Dark Knight Returns (1986), the uncanny in Battlestar Galactica (2003) and Westworld (2016), and the abject in The Walking Dead (2003) and World War Z (2006). The intentions of this project are to conduct a formal examination of the relationship between audience and text as it is filtered through aesthetic representation and moral frameworks. This thesis argues that aesthetic effects must be understood in connection to morality for active consumers to engage with these texts as sites for ethical consideration.

Author Keywords: aesthetic theory, moral status philosophy, Popular fiction, spectatorship, The Walking Dead, Westworld