Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the “pulps,” that gave birth to the realism of the Hardboiled School. Taking seriously Chandler’s obsession with the art of murder, I engage with how authors pre-empt their readers’ knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.

Meta-cinematic cultism: between high and low culture

ABSTRACT - Meta-cinema can depict film viewers’ attitudes towards cinema and their type of devotion for films. One subcategory of viewers - which I call meta-spectators - is highly specialized in its type of consumption, bordering on obsession. I contend that there are two main varieties of meta-cinematic reception, not altogether incompatible with one another, despite their apparent differences. As both of them are depicted on meta-cinematic products, the films themselves are the best evidence of my typology. My categories of film viewers are the ‘cinephile’, an elite prone to artistic militancy and the adoration of filmic masters; and the ‘fan’, a low culture consumer keen on certain filmic universes and their respective figures and motifs. I will base my rationale on four films that portray such reception practices: Travelling Avant (Jean-Charles Tacchella, 1987, FRA), The Dreamers (Bernardo Bertolucci, 2003, UK/FRA/ITA); Free Enterprise (Robert Mayer Burnett, 1998, USA); Fanboys (2009, Kyle Newman, USA).

Erosão dentária associada a distúrbios alimentares

Os distúrbios alimentares traduzem-se em comportamentos, quer pela falta, quer pelo excesso da ingestão de alimentos, sendo a anorexia nervosa e a bulimia as que mais frequentemente se verificam na população. O crescente aumento destes distúrbios, nomeadamente a obsessão pelos corpos magros, está relacionada com o impacto que os media têm na sociedade, uma vez que a magreza é vista como mecanismo de atracção sexual e de integração social. O diagnóstico das desordens alimentares não é fácil de ser efectuado, dado que os sinais são muitas vezes omitidos/ocultados pelos indivíduos. Os médicos dentistas podem ter um papel importante na sua detecção, dadas as manifestações precoces das alterações alimentares na cavidade oral. Há diversos sintomas comuns aos dois distúrbios alimentares como a erosão dentária, a hipersensibilidade dentinária, a hipertrofia das glândulas salivares e consequente hipossalivação, a cárie dentária, a doença periodontal, as mucosites, a candidíase oral e a queilite angular. Resultante do vómito induzido, há o aporte de ácido proveniente do conteúdo gástrico que induz alterações estruturais do esmalte e dentina, facilitando o processo de desgaste erosivo. Os fenómenos erosivos são uma das manifestações orais mais evidentes dos distúrbios alimentares. O conhecimento dos sinais, sintomas e da forma de evolução da erosão dentária, é imprescindível, e acaba por diferenciar a atuação profissional que possibilita um diagnóstico eficaz e o tratamento correto. A elaboração desta dissertação tem como objectivo reforçar a informação sobre estes fenómenos para que possam ser mais eficazmente prevenidos, diagnosticados e controlados/tratados. Para tal efectuou-se uma pesquisa na B-On, Medline/PubMed, sciELO, RCAAP e em livros, de informação válida sobre o tema. Interpôs-se limitação temporal e usaram-se as seguintes palavras-chave na seleção de artigos: “Dental erosion”, “Erosive wear”, “Anorexia”, “Bulimia”, “Eating disorders”.

Portrait du lecteur en ogre: Sur un passage de Le Roi des Aulnes

Filósofo de vocación, Michel Tournier otorga al problema de la interpretación un papel primordial. Como es sabido, los personajes principales de sus novelas –Robinson, Abel Tiffauges, Alexandre– se caracterizan por una avidez hermenéutica excepcional, que los lleva a examinar sistemáticamente los elementos de la realidad exterior como signos de su propio destino. Sin embargo, el gran mérito del novelista reside en saber transmitir esa misma obsesión al lector, quien, por su parte, y frente al texto de Tournier, se ve obligado a elegir entre la interpretación insuficiente y la interpretación excesiva y, más globalmente, a plantearse la cuestión de los límites de la interpretación.

Geometry and topography in James Joyce's Ulysses and Finnegans Wake

Following the development of non-Euclidean geometries from the mid-nineteenth century onwards, Euclid’s system had come to be re-conceived as a language for describing reality rather than a set of transcendental laws. As Henri Poincaré famously put it, ‘[i]f several geometries are possible, is it certain that our geometry [...] is true?’. By examining Joyce’s linguistic play and conceptual engagement with ground-breaking geometric constructs in Ulysses and Finnegans Wake, this thesis explores how his topographical writing of place encapsulates a common crisis between geometric and linguistic modes of representation within the context of modernity. More specifically, it investigates how Joyce presents Euclidean geometry and its topographical applications as languages, rather than ideally objective systems, for describing visual reality; and how, conversely, he employs language figuratively to emulate the systems by which the world is commonly visualised. With reference to his early readings of Giordano Bruno, Henri Poincaré and other critics of the Euclidean tradition, it investigates how Joyce’s obsession with measuring and mapping space throughout his works enters into his more developed reflections on the codification of visual signs in Finnegans Wake. In particular, this thesis sheds new light on Joyce’s developing fascination with the ‘geometry of language’ practised by Bruno, whose massive influence on Joyce is often assumed to exist in Joyce studies yet is rarely explored in any great detail.

Hauntings

The thesis paper is about the process of creating and directing Hauntings, a dance theater work, performed in the 2016 MFA Spring Thesis Concert. The concert was shared with Curtis Stedge, fellow cohort and MFA candidate in the Department of Theater, Dance and Performance Studies at the University of Maryland, College Park. This document is meant to accompany the archival footage of the dance. Hauntings is a moving lyric poem depicting themes and motifs of the emotional landscape of its characters. It is a time-less world rendering the complexities of the psyche and soul. Love, obsession, loss, and nostalgia emerge as Smith and her fellow artists represent characters struggling with impermanence and mortality. The work is seeped in symbolism and metaphor. The dances/scenes draw inspiration from the music of Chopin, Liszt, Stravinsky, Charles Trenet, Rina Ketty, and poetry by John Keats, Sylvia Plath, Ted Hughes, W.B Yeats, and Claire Clemons Cowan.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.

A tissue of denials: film retrospective (1979-2016)

My abstract moving image making has provided a foundation for my practice since I first started processing and solarizing my own 16mm film in one of those LOMO Russian processing tanks in 1973. Feyers, Zoomfilm (1976) and Running (1976) rework some of those early strips of black and white film. Whenever funding dried up I always fell back on my abstract direct on film work. It was cheap. Like knitting, it gave me a space to process the dilemmas and incongruities of daily life and to escape its clutches. I also began to understand that these forces were still there, embedded implicitly in the work. Now, more than ever, I understand this as a survival response to corporate doublespeak. I would never throw anything away. New scratching, painting, taping or bleaching strategies could be added later. Intensive cluster editing of single frames became an obsession. The translated difference between what you saw over a light-box and what was projected drew me in. Like the migrant position I was allocated from childhood I survived in the space between these two territories. As well as an archive of images and movement I collect optical effects. The flash frame. The trail of afterimages resulting from flickering between positive and negative images. At their liveliest these images float above the screen. Now the digital allows me to amplify the material presence of 16m and 35mm film and a whole new world opens up before me. I cobble together found footage films from my own archive of discarded data and unfinished sentences.

Star struck

With poems ranging from the confessional to the mock-autobiographical, from imagism to a strange storytelling, from the comic and satirical to the plangent and disturbing, Star Struck startles us with the many faces of lyric poetry.This book of poems by the award-winning poet David McCooey is made up of four sections. The first documents an alienating encounter with a life-threatening illness. The second plays out an unforgettable obsession with darkness and light. The third brings together popular music and the ancient literary mode of the pastoral. In this highly original sequence we find, among other things, Bob Dylan singing Virgil, Joni Mitchell reflecting on life in Laurel Canyon, a lab monkey pondering the sound of music, and a bitter, surreal rewriting of ‘Down Under’ for our times. In the final section, narrative poetry is cast in an intensely new and uncanny light.

Manifesto of a defeated poet

This feature-length experimental film is the result of an intimate collaboration between Bosnian filmmaker/poet/painter/musician/performace artist Saidin Salkic (On Karasevdah: Srebrenica Blues, 2007 & Konvent 2010) and veteran Australian experimental filmmaker and film educator John Cumming (Obsession, Recognition & Sabotage 1985-87, First time Tragedy Second Tome Farce, 1989, The Hollow Centre 1999). Created over a period of four years it draws on the traditions and possibilities of improvisation – in cinematography, experimental cinema, dance, music and performance – with moments of intensity and repose, fluidity and halting re-composure. Cumming’s camera and Salkic’s movement work in front of it are at once expressionistic and in dialectical tension as are Salkic’s poetry, his haunting improvisations on piano and melodica and Cumming’s industrial soundscapes. SYNOPSIS: In the midst of fascist-capitalist madness, the Foreigner (a poet/dancer with sun on his palms and blood from his dreams on his face) hovers in neon twilight with last whispers of sanity on his lips, guarding and protecting the world – forever. REVIEW: ‘Full of mystery and beauty, punctuated by strange eruptions of silent cinema, of Chaplin, of film history made personal … not the film of a dance but a dance itself around pure presence … something unique and precious.’ Maximilian Le Cain, http://lecain.blogspot.com.au/2015/11/a-few-reflections-on-manifesto-of.html

América Latina y el Caribe: Variables de competitividad para la dinámica empresarial 2007 - 2014

Este estudio realiza una categorización regional de los países en América Latina con respecto de las categorizaciones globales teniendo en cuenta los índices de competitividad, crecimiento económico y desarrollo humano. El objetivo es actualizar los análisis sobre la situación regional de forma cuantitativa involucrando el grado de asimetría en la competitividad. Esta relación entre el posicionamiento global y regional ha influenciado directamente la evolución del tejido empresarial

From Landscape to Garden-with Wildflowers Meadows

Since the middle age wildflower meadows are used to bring the flowers from the natural and rural areas into urban landscapes. Wildflowers meadows can improve the quality of Green Infrastructures as they increase biodiversity. However, after a few centuries of given flowers a principal part, lawns started to be used in every kind of places leading to a green obsession. Nowadays, urban lawns are cover more than 70% of urban green spaces all over the world. Frequently design options aren’t environmental or economical friendly, and lawns are this example. Lawns are green deserts with low biodiversity, and unsustainable. Wildflower meadows are an alternative to lawns, more sustainable, less resources consumer and much more biodiverse. In the regions with a Mediterranean climate water is a limit factor, especial in summer.