Looking Beyond ‘White Slavery’: Trafficking, the Jewish Association’s representation of ‘the potential victim’, and the dangerous politics of migration control in England, 1890-1910

This article seeks to revise Jo Doezema’s suggestion that ‘the white slave’ was the only dominant representation of ‘the trafficked woman’ used by early anti-trafficking advocates in Europe and the United States, and that discourses based on this figure of injured innocence are the only historical discourses that are able to shine light on contemporary anti-trafficking rhetoric. ‘The trafficked woman’ was a figure painted using many shades of grey in the past, with a number of injurious consequences, not only for trafficked persons but also for female labour migrants and migrant populations at large. In England, dominant organizational portrayals of ‘the trafficked woman’ had first acquired these shades by the 1890s, when trafficking started to proliferate amid mass migration from Continental Europe, and when controversy began to mount over the migration to the country of various groups of working-class foreigner. The article demonstrates these points by exploring the way in which the Jewish Association for the Protection of Girls and Women (JAPGW), one of the pillars of England’s early anti-trafficking movement, represented the female Jewish migrants it deemed at risk from being trafficked into sex work between 1890 and 1910. It argues that the JAPGW stigmatised these women, placing most of the onus for trafficking upon them and positioning them to a greater or a lesser extent as ‘undesirable and undeserving working-class foreigners’ who could never become respectable English women. It also contends that the JAPGW, in outlining what was wrong with certain female migrants, drew a line between ‘the migrant’ and respectable English society at large, and paradoxically endorsed the extension of the very ‘anti-alienist’ and Antisemitic prejudices that it strove to dispel.

“My people seem to be falling to bits”: impotence, memory, and the co-possibility of body and mind in Samuel Beckett’s works

The present thesis examines the representation of the impotent body and mind in a selection of Samuel Beckett’s dramatic and prose works. Aiming to show that the body-mind relation is represented as one of co-implication and co-constitution, this thesis also takes the representation of memory in Beckett’s work as a key site for examining this relation. The thesis seeks to address the centrality of the body and embodied subjectivity in the experience of memory and indeed in signification and experience more generally. In these terms, Chapter 1 analyzes the representation of the figure of the couple in Beckett’s drama of the 1950s – as a metaphor of the body-mind relation – and, in light of Jacques Derrida’s theory of the supplement and Bernard Stiegler’s theory of technics, it discusses how the relationship between physical body and mind is defined by an essential supplementarity that is revealed even (or especially) in their apparent separation. Furthermore, the impotence that marks both elements in Beckett’s writings, when it is seen to lay bare this intrication, can be viewed, in important respects, as enabling rather than merely privative. Chapter 2 discusses the somatic structure of memory as represented in four of Beckett’s later dramatic works composed in the 1970s and 1980s. Similarly to Chapter 1, the second chapter focuses on the more “extreme” representation of bodily impotence in Beckett and demonstrates that rather than a merely “mental” recollection, memory in the work of Beckett is presented as necessarily experienced through, and shaped by, the body itself. In this light, then, it is shown that despite the impotence that marks the body in Beckett’s work of the 1970s and 1980s, the body is a necessary site of memory and retains or discovers a kind of activity in this impotence. Finally, Chapter 3 shifts its attention to Beckett’s prose works in order to explore how such works, reliant on language rather than the physical performance of actors onstage, sustain questions of embodied subjectivity at their heart. Specifically, the chapter argues that, on closer inspection, Beckett’s “literature of the unword” is not an abstention from meaning and its materialization, but one that paradoxically foregrounds that “something” which remains an essential part of it, that is, an embodied subjectivity.

"Raíñas de pedra": a Humanizing Review of Inés de Castro’s Life and Death

The tragic love between Pedro I from Portugal and Inés de Castro became, in its earlier stages, a recurrent theme of the Portuguese, Spanish and European cultural scene. The dead queen came to represent the universal myth of the innocent woman sacrificed due to the Reason of State and she became the personification of the victory of love beyond death. However, despite its strong connection with Galicia, this figure was excluded from Galician literature for many years. This article’s purpose is to review and analyse the main work that introduced the figure of Inés de Castro to the Galician literary scene, Raíñas de Pedra, by Cándido Pazó, emphasising its originality and innovation in relation to the rest of the corpus.

Commentary on the Humble Remonstrance of the Company of Stationers 1643

A petition from the Company of Stationers to Parliament to introduce some form of legislative regulation of the press. The petition is significant in revealing the extent to which the Stationers depended upon the state to support the regulation of the book trade, as well as the nature of the various public and private interest arguments upon which they sought to base their claim. The commentary articulates the various arguments presented by the Stationers within their petition. The benefits of the legal regulation they suggested concerned not only the censorship and suppression of seditious and heretical texts, but also facilitated the advancement of learning and knowledge and the flourishing of the printing industry itself. In addition, the petition presents the figure of the ‘author' as reliant upon the benefit of his work, and that the ‘production of the Brain' was to be regarded as equivalent to any other commodity or chattel.

Gobernar la educación a través de los padrespolítica educativa y construcción de subjetividades neoliberales en Inglaterra. (Governing education through parents: education policy and the construction of neoliberal subjectivities in England)

In this paper we explore the relationship between market norms and practices and the development of the figure of the parent within British education policy. Since the 1970s parents in England have been called upon to perform certain duties and obligations in their relation to the state. These duties include internalizing responsibility for risks, liabilities, inequities and the spectre of crises formerly managed by the state. Rather than characterize this situation in terms of the ‘hollowing of the state’, we argue that the role of the state includes enabling the functioning of the parent as a neoliberal subject, so that they may successfully harness the power of the market to their own advantage and (hopefully) minimize the kinds of risk generated through a deregulated education system. In this paper we examine how parents are compelled to embody certain market norms and practices as they navigate the field of education. In particular we focus on how parents are 1) summoned as consumers or choosers of education services, and thus encouraged to embody through their behaviour a competitive orientation; 2) summoned as governors and custodians of schools, with a focus on assessing financial and educational performance; and 3) summoned as producers and founders of schools, with a focus on entrepreneurial and innovative activity.

Governing through parents: a genealogical enquiry of education policy and the construction of neoliberal subjectivities in England

In this paper we explore the various spaces and sites through which the figure of the parent is summoned and activated to inhabit and perform market norms and practices in the field of education in England. Since the late 1970s successive governments have called on parents to enact certain duties and obligations in relation to the state. These duties include adopting and internalizing responsibility for all kinds of risks, liabilities and inequities formerly managed by the Keynesian welfare state. Rather than characterize this situation in terms of the ‘hollowing of the state’, we argue that the role of the state includes enabling the functioning of the parent as a neoliberal subject so that they may successfully harness the power of the market to their own advantage and (hopefully) minimize the kinds of risk and inequity generated through a market-based, deregulated education system. In this paper we examine how parents in England are differently, yet similarly, compelled to embody certain market norms and practices as they navigate the field of education. Adopting genealogical enquiry and policy discourse analysis as our methodology, we explore how parents across three policy sites or spaces are constructed as objects and purveyors of utility and ancillaries to marketisation. This includes a focus on how parents are summoned as 1) consumers or choosers of education services; 2) governors and overseers of schools; and 3) producers and founders of schools.

Lesion detection performance: comparative analysis of low-dose CT data of the chest on two hybrid imaging systems

Incidental findings on low-dose CT images obtained during hybrid imaging are an increasing phenomenon as CT technology advances. Understanding the diagnostic value of incidental findings along with the technical limitations is important when reporting image results and recommending follow-up, which may result in an additional radiation dose from further diagnostic imaging and an increase in patient anxiety. This study assessed lesions incidentally detected on CT images acquired for attenuation correction on two SPECT/CT systems. Methods: An anthropomorphic chest phantom containing simulated lesions of varying size and density was imaged on an Infinia Hawkeye 4 and a Symbia T6 using the low-dose CT settings applied for attenuation correction acquisitions in myocardial perfusion imaging. Twenty-two interpreters assessed 46 images from each SPECT/CT system (15 normal images and 31 abnormal images; 41 lesions). Data were evaluated using a jackknife alternative free-response receiver-operating-characteristic analysis (JAFROC). Results: JAFROC analysis showed a significant difference (P < 0.0001) in lesion detection, with the figures of merit being 0.599 (95% confidence interval, 0.568, 0.631) and 0.810 (95% confidence interval, 0.781, 0.839) for the Infinia Hawkeye 4 and Symbia T6, respectively. Lesion detection on the Infinia Hawkeye 4 was generally limited to larger, higher-density lesions. The Symbia T6 allowed improved detection rates for midsized lesions and some lower-density lesions. However, interpreters struggled to detect small (5 mm) lesions on both image sets, irrespective of density. Conclusion: Lesion detection is more reliable on low-dose CT images from the Symbia T6 than from the Infinia Hawkeye 4. This phantom-based study gives an indication of potential lesion detection in the clinical context as shown by two commonly used SPECT/CT systems, which may assist the clinician in determining whether further diagnostic imaging is justified.

INTELLECTUAL PROPERTY AND UNIVERSALITY OF READING: CONFLICT OF INTEREST?

It seeks to clarify the issue about the relationship between intellectual property and universality of reading, to understand if it exists or not a conflict of interest. From a synchronic axis crossing, historical, with a diachronic axis, of philosophical: is tracked to explain the deep forces that have shaped the problem arises here. It also explains the legal issue of copyright and property which is closely related to the issue treated here. From all this it follows that underlie the problem of intellectual property is the construction of the Western historical figure of subjectivity, which has led to the role of "author." The author who is credited with authorship of a speech only (work) is a product of social discourse situation that historically has been obscured what has contributed the legal apparatus that protects copyright. What has led to the establishment of an antagonism to the universality of reading. In this paper therefore has not sought to respond to the problem but to make it clear to potential solutions.

Characterization of Copper Covetic Bulk and Films: Copper with High Carbon Content

Incorporation of carbon nanostructures in metals is desirable to combine the strongly bonded electrons in the metal and the free electrons in carbon nanostructures that give rise to high ampacity and high conductivity, respectively. Carbon in copper has the potential to impact industries such as: building construction, power generation and transmission, and microelectronics. This thesis focuses on the structure and properties of bulk and thin films of a new material, Cu covetic, that contains carbon in concentrations up to 16 at.%. X-ray photoelectron spectroscopy (XPS) shows C 1s peak with both sp2 and sp3 bonded C measuring up to 3.5 wt.% (16 at.%). High resolution transmission electron microscopy and electron diffraction of bulk covetic samples show a modulated structure of ≈ 1.6 nm along several crystallographic directions in regions that have high C content suggesting that the carbon incorporates into the copper lattice forming a network. Electron energy loss spectra (EELS) from covetics reveal that the level of graphitization from the source material, activated carbon, is maintained in the covetic structure. Bulk Cu covetics have a slight increase in the lattice constant, as well as <111> texturing, or possibly a different structure, compared to pure Cu. Density functional theory calculations predict bonding between C and Cu at the edges and defects of graphene sheets. The electrical resistivity of bulk covetics first increases and then decreases with increasing C content. Cu covetic films were deposited using e-beam and pulsed laser deposition (PLD) at different temperatures. No copper oxide or any allotropes of carbon are present in the films. The e-beam films show enhanced electrical and optical properties when compared to pure Cu films of the same thickness even though no carbon was detected by XPS or EELS. They also have slightly higher ampacity than Cu metal films. EELS analysis of the C-K-edge in the PLD films indicate that graphitic carbon is transferred from the bulk into the films with uniform carbon distribution. PLD films exhibit flatter and higher transmittance curves and sheet resistance two orders of magnitude lower than e-beam films leading to a high figure of merit as transparent conductors.

A "Greater Britain": colonial kin in fictions of settlement, 1850-1890

This dissertation traces the ways in which nineteenth-century fictional narratives of white settlement represent “family” as, on the one hand, an abstract theoretical model for a unified and relatively homogenous British settler empire and on the other, a fundamental challenge to ideas about imperial integrity and transnational Anglo-Saxon racial identification. I argue that representations of transoceanic white families in nineteenth-century fictions about Australian settler colonialism negotiate the tension between the bounded domesticity of an insular English nation and the kind of kinship that spans oceans and continents as a result of mass emigration from the British isles to the United States, Canada, New Zealand, and the Australian colonies. As such, these fictions construct productive analogies between the familial metaphors and affective language in the political discourse of “Greater Britain”—-a transoceanic imagined community of British settler colonies and their “mother country” united by race and language—-and ideas of family, gender, and domesticity as they operate within specific bourgeois families. Concerns over the disruption of transoceanic families bear testament to contradictions between the idea of a unified imperial identity (both British and Anglo-Saxon), the proliferation of fractured local identities (such as settlers’ English, Irish Catholic, and Australian nationalisms), and the conspicuous absence of indigenous families from narratives of settlement. I intervene at the intersection of postcolonial literary criticism and gender theory by examining the strategic deployments of heteronormative kinship metaphors and metonymies in the rhetorical consolidation of settler colonial space. Settler colonialism was distinct from the “civilizing” domination of subject peoples in South Asia in that it depended on the rhetorical construction of colonial territory as empty space or as land occupied by nearly extinct “primitive” races. This dissertation argues that political rhetoric, travel narratives, and fiction used the image of white female bourgeois reproductive power and sentimental attachment as a technology for settler colonial success, embodying this technology both in the benevolent figure of the metropolitan “mother country” (the paternalistic female counter to the material realities of patriarchal and violent settler colonial practices) and in fictional juxtapositions of happy white settler fecund families with the solitary self-extinguishing figure of the black aboriginal “savage.” Yet even in the narratives where the continuity and coherence of families across imperial space is questioned—-and “Greater Britain” itself—-domesticity and heteronormative familial relations effectively rewrite settler space as white, Anglo-Saxon and bourgeois, and the sentimentalism of troubled European families masks the presence and genocide of indigenous aboriginal peoples. I analyze a range of novels and political texts, canonical and non-canonical, metropolitan and colonial. My introductory first chapter examines the discourse on a “Greater Britain” in the travel narratives of J.A. Froude, Charles Wentworth Dilke, and Anthony Trollope and in the Oxbridge lectures of Herman Merivale and J.R. Seeley. These writers make arguments for an imperial economy of affect circulating between Britain and the settler colonies that reinforces political connections, and at times surpasses the limits of political possibility by relying on the language of sentiment and feeling to build a transoceanic “Greater British” community. Subsequent chapters show how metropolitan and colonial fiction writers, including Charles Dickens, Anthony Trollope, Marcus Clarke, Henry Kingsley, and Catherine Helen Spence, test the viability of this “Greater British” economy of affect by presenting transoceanic family connections and structures straining under the weight of forces including the vast distances between colonies and the “mother country,” settler violence, and the transportation system.

MEN WRITING WOMEN: “THE WOMAN QUESTION” AND MALE DISCOURSE OF IRANIAN MODERNITY"

In this dissertation I explore “The Woman Question” in the discourse of Iranian male authors. A pro-modernity group, they placed women’s issues at the heart of their discourse. This dissertation follows the trajectory of the representation of “The Woman Question” as it is reflected in the male discourse over the course of a century. It discusses the production of a literature that was anchored in the idea of reform and concerned itself with issues pertaining to women. These men challenged lifelong patriarchal notions such as veiling, polygamy, gender segregation, and arranged marriages, as well as traditional roles of women and gender relations. This study is defined under the rubrics of “The Woman Question” and “The New Woman,” which I have borrowed from the Victorian and Edwardian debates of similar issues as they provide clearer delineations. Drawing upon debates on sexuality, and gender, this dissertation illustrates the way these men championed women was both progressive and regressive. This study argues that the desire for women’s liberation was couched in male ideology of gender relations. It further illustrates that the advancement of “The Woman Question,” due to its continuous and yet gradual shifting concurrent with each author’s nuanced perception of women’s issues, went through discernible stages that I refer to as observation, causation, remedy, and confusion. The analytical framework for this project is anchored in the “why” and the “how” of the Iranian male authors’ writings on women in addition to “what” was written. This dissertation examines four narrative texts—two in prose and two in poetry—entitled: “Lankaran’s Vizier,” “The Black Shroud,” “‘Arefnameh,” and “Fetneh” written respectively by Akhundzadeh, ‘Eshqi, Iraj Mirza, and Dashti. Chapter one outlines the historical background, methodology, theoretical framework, and literature review. The following chapters examine, the advocacy for companionate marriage and romantic love, women and nationalistic cause, veiling and unveiling, and the emerging figure of the New Iranian Woman as morally depraved.

Evocation to the Dr. Carlos J. Finlay Barres on the centennial of his death

About the editorial of the Professor Guillermo Llanos: "Carlos J. Finlay: the forgotten Pasteur of America", a hundred years after his death and through a documental review, a summary of the life and work of this great man of science was conducted. Finlay was a notable figure of the American medicine, he conceived a new infection way able to explain the propagation of the yellow fever, and added the possibility of their scientific confirmation by an experimental method. For all the above-mentioned Finlay was recognized as the humanity's benefactor.

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.

Tracing outsideness: young women's institutional journeys and the geographies of closed space

Understanding confinement and its complex workings between individuals and society has been the stated aim of carceral geography and wider studies on detention. This project contributes ethnographic insights from multiple sites of incarceration, working with an under-researched group within confined populations. Focussing on young female detainees in Scotland, this project seeks to understand their experiences of different types of ‘closed’ space. Secure care, prison and closed psychiatric facilities all impact on the complex geographies of these young women’s lives. The fluid but always situated relations of control and care provide the backdrop for their journeys in/out and beyond institutional spaces. Understanding institutional journeys with reference to age and gender allows an insight into the highly mobile, often precarious, and unfamiliar lives of these young women who live on the margins. This thesis employs a mixed-method qualitative approach and explores what Goffman calls the ‘tissue and fabric’ of detention as a complex multi-institutional practice. In order to be able to understand the young women’s gendered, emotional and often repetitive experiences of confinement, analysis of the constitution of ‘closed space’ represents a first step for inquiry. The underlying nature of inner regimes, rules and discipline in closed spaces, provide the background on which confinement is lived, perceived and processed. The second part of the analysis is the exploration of individual experiences ‘on the inside’, ranging from young women’s views on entering a closed institution, the ways in which they adapt or resist the regime, and how they cope with embodied aspects of detention. The third and final step considers the wider context of incarceration by recovering the young women’s journeys through different types of institutional spaces and beyond. The exploration of these journeys challenges and re-develops understandings of mobility and inertia by engaging the relative power of carceral archipelagos and the figure of femina sacra. This project sits comfortably within the field of carceral geography while also pushing at its boundaries. On a conceptual level, a re-engagement with Goffman’s micro-analysis challenges current carceral-geographic theory development. Perhaps more importantly, this project pushes for an engagement with different institutions under the umbrella of carceral geography, thus creating new dialogues on issues like ‘care’ and ‘control’. Finally, an engagement with young women addresses an under-represented population within carceral geography in ways that raise distinctly problematic concerns for academic research and penal policy. Overall, this project aims to show the value of fine grained micro-level research in institutional geographies for extending thinking and understanding about society’s responses to a group of people who live on the margins of social and legal norms.