Akrasia and the Aesthetic: Human Agency and the Site of Literature, 1760-1820

This study focuses on a series of foundational stylistic and formal innovations in eighteenth-century and Romantic literature, and argues that they can be cumulatively attributed to the distinct challenges authors faced in representing human action and the will. The study focuses in particular on cases of “acting against better judgment” or “failing to do what one knows one ought to do” – concepts originally theorized as “akrasia” and “weakness of the will” in ancient Greek and Scholastic thought. During the Enlightenment, philosophy increasingly conceives of human minds and bodies like systems and machines, and consequently fails to address such cases except as intractable or incoherent. Yet eighteenth-century and Romantic narratives and poetry consistently engage the paradoxes and ambiguities of action and volition in representations of akrasia. As a result, literature develops representational strategies that distinguish the epistemic capacities of literature as privileged over those of philosophy.

The study begins by centering on narratives of distempered selves from the 1760s. Jean-Jacques Rousseau’s Confessions and Laurence Sterne’s A Sentimental Journey narrate cases of knowingly and weakly acting against better judgment, and in so doing, reveal the limitations of the “philosophy of the passions” that famously informed sentimental literature at the time. These texts find that the interpretive difficulties of action demand a non-systematic and hermeneutic approach to interpreting a self through the genre of narrative. Rousseau’s narrative in particular informs William Godwin’s realist novels of distempered subjects. Departing from his mechanistic philosophy of mind and action, Godwin develops the technique of free indirect discourse in his third novel Fleetwood (1805) as a means of evoking the ironies and self-deceptions in how we talk about willing.

Romantic poetry employs the literary trope of weakness of will primarily through the problem of regretted inaction – a problem which I argue motivates the major poetic innovations of William Wordsworth and John Keats. While Samuel Taylor Coleridge sought to characterize his weakness of will in philosophical writing, Wordsworth turns to poetry with The Prelude (1805), revealing poetry itself to be a self-deceiving and disappointing form of procrastination. More explicitly than Wordsworth, John Keats identifies indolence as the prime symbol and basis of what he calls “negative capability.” In his letters and poems such as “On Seeing the Elgin Marbles” (1817) and “Ode on Indolence” (1819), Keats reveals how the irreducibly contradictory qualities of human agency speak to the particular privilege of “disinterested aesthetics” – a genre fitted for the modern era for its ability to disclose contradictions without seeking to resolve or explain them in terms of component parts.

Frederick Douglass and Ireland, 1845: The "Vertiginous Twist[s]" of an Irish Encounter

Frederick Douglas was a reader of and writer on the nineteenth-century political and social texts and contexts of oppression, which he experienced at home and witnesed while in Ireland and Britain, 1845-47. This thesis is unique in its identification of several surprising lacunae in the research and critical evaluation of Frederick Douglass’ activities of reading and writing and the texts and contexts that supported these activities. This thesis takes Douglass’ relationship with Ireland and the Irish as its starting point, and offers several moments in the transnational space engendered by Douglass’ readerly and writerly experience of the transatlantic axes of Ireland, Britain and America. This thesis draws upon archival research to recover information regarding Douglass’ trip and subjects his reading and writing on Ireland and the Irish to the critical rigours of narratolgical, cultural and discourse analysis. One lacuna is Douglass’ favourite and neglected school primer, the Columbian Orator, which Douglass signified upon across his autobiographical project. The speech by the Irish patriot and exile, Arthur O’Connor, included in the Orator, is crucial to Douglass’ understanding and expression of justice and equality. Genette’s narratological analysis gives theoretical traction to the ways in which, in his autobiographical representations of his British trip, Douglass recalibrates his autobiographies to reflect his changing perspectives on his life and work. Contrary to popular assumptions, Douglass did, in two letters to Garrison address and comment on Irish poverty. This thesis interrogates the strategic anglophilia of these letters. While the World’s Temperance Convention (WTC) refused to discuss African- American slavery, analysis of Douglass’ speech in Covent Garden and of the paratextual apparatus of the published proceedings of the WTC demonstrates the impossibility of separating these closely interrelated reform causes. When a newly discovered poem from Waterford that admonished the city for its disregard for Douglass’ message is juxtaposed with an uncomfortable moment in Cork, we understand that Douglass became a pawn to bolster sectarian rivalries between nationalist and establishment factions. Though Douglass believed imperial politics was the best vehicle for modernity, he recognised that it had failed Ireland: consequently, in Thoughts and Recollections of a Trip to Ireland (1886), he advocates for Home Rule for Ireland.

Saint, martyr, killer of Christ? The legend of Longinus in medieval Irish tradition

This dissertation is the first comprehensive and synthetic study of the Irish presentation and legends of Longinus. Longinus was the soldier at the crucifixion who pierced Christ with a spear, who believed and, according to some texts, was healed of his blindness by the blood and water issuing from the wound, and who later was martyred for his belief. In my thesis I survey the knowledge and use of the legend of Longinus in Ireland over genres and over time. Sources used for the analyses include iconographic representations of the spear-bearer in manuscripts, metalwork and stone and textual representations of the figure of Longinus ranging over the history of Irish literature from the early medieval to the early modern period, as well as over Irish and HibernoLatin texts. The thesis consists of four core chapters, the analyses of the presentations of Longinus in early-medieval Irish texts and in the iconographic tradition (I,II), the editions of the extant Irish and the earliest surviving Latin texts of the Passion of Longinus and of a little-known short tract describing the healing of Longinus from Leabhar Breac (III), and the discussion of the later medieval Irish popular traditions (IV). Particular attention is given to the study of two intriguing peculiarities of the Irish tradition. Most early Irish Gospel books feature an interpolation of the episode of the spear-thrust in Matthew 27:49, directly preceding the death of Christ, implying its reading as the immediate cause of death. The image of Longinus as 'iugulator Christi' ('killer of Christ') appears to have been crucial for the development of the legend. Also, the blindness motif, which rarely features in other European popular traditions until the twelfth century, is attested as early as the eighth century in Ireland, which has led some scholars to suggest a potential Irish origin.

Death Threat Letters: Allegories of American Authorship in the Age of Terrorism

This dissertation examines novels that use terrorism to allegorize the threatened position of the literary author in contemporary culture. Allegory is a term that has been differently understood over time, but which has consistently been used by writers to articulate and construct their roles as authors. In the novels I look at, the terrorist challenge to authorship results in multiple deployments of allegory, each differently illustrating the way that allegory is used and authorship constructed in the contemporary American novel. Don DeLillo’s Mao II (1991), first puts terrorists and authors in an oppositional pairing. The terrorist’s ability to traffic in spectacle is presented as indicative of the author’s fading importance in contemporary culture and it is one way that terrorism allegorizes threats to authorship. In Philip Roth’s Operation Shylock (1993), the allegorical pairing is between the text of the novel and outside texts – newspaper reports, legal cases, etc. – that the novel references and adapts in order to bolster its own narrative authority. Richard Powers’s Plowing the Dark (1999) pairs the story of an imprisoned hostage, craving a single book, with employees of a tech firm who are creating interactive, virtual reality artworks. Focusing on the reader’s experience, Powers’s novel posits a form of authorship that the reader can take into consideration, but which does not seek to control the experience of the text. Finally, I look at two of Paul Auster’s twenty-first century novels, Travels in the Scriptorium (2007) and Man in the Dark (2008), to suggest that the relationship between representations of authors and terrorists changed after 9/11. Auster’s author-figures forward an ethics of authorship whereby novels can use narrative to buffer readers against the portrayal of violent acts in a culture that is suffused with traumatizing imagery.

Picturing Gentrification: Representation of Urban Change, Pendleton Salford

The paper examines how visual representations of urban regeneration contribute to the gentrification process. It asks can alternative photographic and textual strategies provide a meaningful counter narrative to resist persuasive corporate discourses on urban revitalization? Focusing on the gentrification of social housing in Pendleton, Salford (Greater Manchester) the paper debates the role of visual imagery in fostering perceptions about urban change by evaluating fieldwork undertaken by the authors in the site since 2004. The paper will question whether such an in-depth longitudinal project and its consequent archive can be utilized as a political tool to highlight the wider processes involved in such regimes of disinvestment and accumulation. Through the combination of photography and site writing in the environment can certain economic and political processes be made legible if not fully visible to highlight causation and effect?

Understandings of transnational families in debates on Migration and development

International migration sets in motion a range of significant transnational processes that connect countries and people. How migration interacts with development and how policies might promote and enhance such interactions have, since the turn of the millennium, gained attention on the international agenda. The recognition that transnational practices connect migrants and their families across sending and receiving societies forms part of this debate. The ways in which policy debate employs and understands transnational family ties nevertheless remain underexplored. This article sets out to discern the understandings of the family in two (often intermingled) debates concerned with transnational interactions: The largely state and policydriven discourse on the potential benefits of migration on economic development, and the largely academic transnational family literature focusing on issues of care and the micro-politics of gender and generation. Emphasizing the relation between diverse migration-development dynamics and specific family positions, we ask whether an analytical point of departure in respective transnational motherhood, fatherhood or childhood is linked to emphasizing certain outcomes. We conclude by sketching important strands of inclusions and exclusions of family matters in policy discourse and suggest ways to better integrate a transnational family perspective in global migration-development policy.

Daughter of Eve, "Femme Fatale", and Persecuted Artist: The Mythic Transgressive Woman in Oscar Wilde's and Richard Strauss's "Salome"

Historically, Salome was an unexceptional figure who never catalyzed John the Baptist's death. However, in Christian Scripture, she becomes the dancing seductress as fallen daughter of Eve.  Her stepfather Herod promises Salome his kingdom if she dances for him, but she follows her mother’s wish to have John beheaded. In Strauss’s opera, after Wilde's Symbolist-Decadent play, Salome becomes independent of Herodias’ will, and the mythic avatar of the femme fatale and persecuted artist who Herod has killed after she kisses John's severed head.  Her signature key of C# major, resolving to the C major sung by Herod and Jokanaan at her death, represent her tragic fate musically.

Quintus Curtius before his sources: the episode of Alexander and the Scythians on the Tanais

Quintus Curtius found in his sources a speech where a Scythian censured Alexander, followed by the King’s reply. Curtius drastically abridged this second discourse in order to highlight the criticism of the Macedonian. The Scythian’s words have a striking rhetorical language and some allusions taken from Greek literature, in addition to possible indirect references to Caligula. Curtius declares that he follows his source word-for-word aiming to justify these inconsistencies, but also trying to hide the manipulations he has done to achieve his own narrative purposes.

Around the Origin of the Images in the Veintena Section of the "Primeros Memoriales" by fray Bernardino de Sahagún

By examining the pictorial content of the veintena section of the Primeros Memoriales, the manusctipt compiled by fray Bernardino de Sahagún, I identify new pieces of evidence on the origin of these illustrations and their authors. A carefull analisis of this material suggests that it is strongly embedded in the pre-Hispanic tradition and that it is doubtful that their iconographic sources originated in Tepeopolco, as it is widely believed.

Latina Super-heroines: Hot Tamales in Tights vs. Women Warriors, Wrestlers and Guerrilla Fighters of La Raza

The year 1977 saw the making of the first Latino superhero by a Latino artist. From the 1980s onwards it is also possible to find Latina super-heroines, whose number and complexity has kept increasing ever since. Yet, the representations of spandexed Latinas are still few. For that reason, the goal of this paper is, firstly, to gather a great number of Latina super-heroines and, secondly, to analyze the role that they have played in the history of American literature and art. More specifically, it aims at comparing the spandexed Latinas created by non-Latino/a artists and mainstream comic enterprises with the Latina super-heroines devised by Latino/a artists. The conclusion is that whereas the former tend to conceive heroines within the constraints of the logic of Girl Power, the latter choose to imbue their works with a more daring political content and to align their heroines with the ideologies of Feminism and Postcolonialism.

Three dimensional Sklyanin algebras and Gröbner bases

We consider Sklyanin algebras $S$ with 3 generators, which are quadratic algebras over a field $\K$ with $3$ generators $x,y,z$ given by $3$ relations $pxy+qyx+rzz=0$, $pyz+qzy+rxx=0$ and $pzx+qxz+ryy=0$, where $p,q,r\in\K$. this class of algebras has enjoyed much attention. In particular, using tools from algebraic geometry, Feigin, Odesskii \cite{odf}, and Artin, Tate and Van Den Bergh, showed that if at least two of the parameters $p$, $q$ and $r$ are non-zero and at least two of three numbers $p^3$, $q^3$ and $r^3$ are distinct, then $S$ is Artin--Schelter regular. More specifically, $S$ is Koszul and has the same Hilbert series as the algebra of commutative polynomials in 3 indeterminates (PHS). It has became commonly accepted that it is impossible to achieve the same objective by purely algebraic and combinatorial means like the Groebner basis technique. The main purpose of this paper is to trace the combinatorial meaning of the properties of Sklyanin algebras, such as Koszulity, PBW, PHS, Calabi-Yau, and to give a new constructive proof of the above facts due to Artin, Tate and Van Den Bergh. Further, we study a wider class of Sklyanin algebras, namely
the situation when all parameters of relations could be different. We call them generalized Sklyanin algebras. We classify up to isomorphism all generalized Sklyanin algebras with the same Hilbert series as commutative polynomials on
3 variables. We show that generalized Sklyanin algebras in general position have a Golod–Shafarevich Hilbert series (with exception of the case of field with two elements).

Kalaureia 1894 : A Cultural History of the First Swedish Excavation in Greece

The excavation of the Sanctuary of Poseidon at Kalaureia in 1894 marks the beginning of Swedish archaeological fieldwork in Greece. During a couple of hot summer months, two philologists from Uppsala University, Sam Wide (1861-1918) and Lennart Kjellberg (1857-1936), worked in the sanctuary together with the architect Sven Kristenson (1858-1937), the Greek foreman Pankalos and around twenty local workmen. In 1997, the Swedish Institute at Athens began new excavations at the sanctuary. This thesis examines the beginnings of Swedish fieldwork in Greece. Within the framework of a cultural history of archaeology, inspired by archaeological ethnography and the New Cultural History, it explores how archaeology functioned as a cultural practice in the late nineteenth century. A micro-historical methodology makes use of a wide array of different source material connected to the excavation of 1894, its prelude and aftermath. The thesis takes the theoretical position that the premises for archaeological knowledge production are outcomes of contemporary power structures and cultural politics. Through an analysis of how the archaeologists constructed their self-images through a set of idealized stereotypes of bourgeois masculinity, academic politics of belonging is highlighted. The politics of belonging existed also on a national level, where the Swedish archaeologists entered into a competition with other foreign actors to claim heritage sites in Greece. The idealization of classical Greece as a birthplace of Western values, in combination with contemporary colonial and racist cultural frameworks in Europe, created particular gazes through which the modern country was appropriated and judged. These factors all shaped the practices through which archaeological knowledge was created at Kalaureia. Some excavations tend to have extensive afterlives through the production of histories of archaeology. Therefore, this thesis also explores the representations of the 1894 excavation in the historiography of Swedish classical archaeology. It highlights the strategies by which the excavation at Kalaureia has served to legitimize further Swedish engagements in Greek archaeology, and explores the way in which historiography shapes our professional identities.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.

Competing "Host" Discourses: Appropriation of Australian Aboriginal Culture in the Tourism Borderzones

Thesis (Ph.D.)--University of Washington, 2016-08

Un-Editing Alfred: Rethinking Modern Editions of Pre-modern Texts from a Post-modern Sensibility

Thesis (Ph.D.)--University of Washington, 2016-06