Cultural Studies

This dissertation presents the work of the American science fiction writer Neal Stephenson as a case study of mediations between literature and science by mobilizing its resonances with contemporary science studies and media theory. Tracing the historical and thematic trajectory of his consecutively published novels Snow Crash (1992), The Diamond Age; or, A Young Lady's Illustrated Primer (1995), Cryptonomicon (1999), Quicksilver: The Baroque Cycle I (2003), The Confusion: The Baroque Cycle II (2004), and The System of the World: The Baroque Cycle III (2004), it approaches Stephenson's fiction as an archaeology of the deep history of science that leads from late twentieth-century cyberculture, to world-war-two cryptography, and the seventeenth-century rise of the Royal Society. Refracted through a parallel reading of Stephenson's novels and the theoretical work of Michel Serres, Bruno Latour, Friedrich A. Kittler, Isabelle Stengers, Donna Haraway, and others, this dissertation offers a literary discussion of the relations among cybernetics, complexity theory, information theory, systems theory, Leibnizian metaphysics, and Newtonian alchemy. Recognizing these hybrid fields as central to contemporary dialogues between the natural sciences and the humanities, Stephenson's work is shown to exhibit a consistent engagement with the feedback loops among physical, artistic, narratological, and epistemological processes of innovation and emergence. Through his portrayal of hackers, mathematicians, natural philosophers, alchemists, vagabonds, and couriers as permutations of trickster figures, this dissertation advances a generalized notion of boundary transgressions and media infrastructures to illustrate how newness emerges by way of the turbulent con-fusion of disciplines, genres, knowledge systems, historical linearities, and physical environments. Uninterested in rigid genre boundaries, Stephenson's novels are explored through the links among artistic modes that range from cyberpunk, to hard science fiction, historiographic metafiction, the carnivalesque, and the baroque. In a metabolization of the work performed by science studies, Stephenson's fiction foregrounds that scientific practice is always intimately entangled in narrative, politics, metaphor, myth, and the circulation of a multiplicity of human and nonhuman agents. As the first sustained analysis of this segment of Stephenson's work, this dissertation offers a contribution to both science fiction studies and the wider field of literature and science.

Author Keywords: Complexity Theory, Cyberpunk, Michel Serres, Neal Stephenson, Science Fiction, Science Studies

Independent music venues are important hubs of social activity and cultural

production around which local punk scenes are both physically and conceptually

organized. Through interactions with participants over extended periods of time, these

spaces become meaningful places that are imbued with the energy, history and memories

of local music scenes. When a venue is shut down, local punk scenes experience a

temporary disruption as participants struggle to begin the process of re-establishing a new

autonomous social space free from outsider interference. Therefore, moving from the

local, to the national, to the international, from the small and personal to the vast and

global, as well as from the physical to the virtual, this dissertation illustrates the actual,

everyday practices of local scenes across Canada, addressing the larger issue of the loss

of alternative music venues occurring on a global scale and the resulting impact on punk

scene participants. Through the use of ethnographic research methods such as participant

observation, photographic documentation, interviews and surveys, this dissertation

engages with contemporary punk scene participants in order to give voice to those often

ignored in grand narratives of punk history. As such, traditional concepts of punk as a

utopic countercultural space are challenged to reveal the complexity and diversity that

exists within contemporary local punk scenes, where participants often experience equal

amounts of cooperation, competition, tension and struggle. By choosing to engage with

contemporary experiences and interpretations of punk culture, this research addresses the

changing landscape of local scenes, as punk participants attempt to carve out spaces of

representation for themselves in an exceedingly mediated world.

Author Keywords: Canada, music venues, punk, scene, social space, subculture

The thesis examines the changes in the representations of women in Turkish cinema from the 1980s through the 2000s in terms of semiotic codes. To demonstrate the shifts of the representations of women over three decades, four films directed by two representative filmmakers of the 1980s and the 2000s are analyzed within the context of gender codes: A Sip of Love (Atıf Yılmaz/1984), The Night, Angel and Our Gang (Atıf Yılmaz/1994), The Third Page (Zeki Demirkubuz/1999) and Envy (Zeki Demirkubuz/2009). Using gender as code in deconstructing women's characteristics and their representations in the films, the research highlights the structural image of women in the semiotic sense. The stereotypical representations in Turkish cinema question social norms, patriarchy, and Islamic norms in Turkey.

Author Keywords: Gender codes, Islam, Patriarchy, Semiotics, The representations of women , Turkish cinema

Parody has been a strategy within cultural production since the ancient Greeks: "paraodia" referred to a song sung alongside the main narrative thread of a dramatic work; the prefix "para-" also signifies "against." In A Theory of Parody: The Teachings of Twentieth-century Art Forms, Linda Hutcheon offers this core definition: parody is "a form of repetition with ironic critical distance, marking difference rather than similarity … [with] tension between the potentially conservative effect of repetition and the potentially revolutionary impact of difference" (xii). This and other aspects of Hutcheon's theory guide my interpretations of works by three contemporary artists working in Canada: Sybil Lamb's novel I've Got a Time Bomb; Ursula Johnson's (Mi'kmaq) three-part exhibition Mi'kwite'tmn (Do You Remember); and Kent Monkman's (Cree and Irish) exhibition Shame and Prejudice: A Story of Resilience.

I argue that the presence of parodic elements in these artists' works enables them to do two things: to claim spaces that enable recognition of their subject positions, and to critique an aspect of hegemonic norms in contemporary society. I read Lamb's novel as a critique of the heteronormative gender binary via parody of the picaresque genre and of heteronormative discourse/language. Certain pieces in Monkman's exhibition parody the epistemological and display strategies of traditional Eurocentric anthropological museums and archives, as can Johnson's work; her sculptural-installations may also be read as parodying the traditions of Mi'kmaw basket-making. The work of both artists critiques colonial narratives that sought (and may still seek) to denigrate and/or erase Indigenous peoples; such narratives of cultural genocide were both tacitly and directly propagated by museums. I analyze these three artists' works, considering key features of parody (ambiguity; irony and "double-voicedness"; trans-contextualization; and humour), and their effects (defamiliarization; ontological instability; complicity; and laughter). Parody challenges the post-structuralist emphasis on the "decoder," (viewer/reader) reinstating the "encoder" (artist/author) as agent. Decoders recognize their complicity within the context of the hegemonic narrative, whether the heteronormative gender binary or colonialism, and may come to shift perception – as per Hutcheon's "potentially revolutionary impact."

Author Keywords: contemporary art, Indigenous art, museum history, parody, picaresque, transgender literature

This dissertation examines how sex crime and serial killing became a legitimate subject of aesthetic representation and mass consumption in the nineteenth century. It also probes into the ethical implications of deriving pleasure from consuming such graphic representations of violence. Taking off from Jack the Ripper and the iconic Whitechapel murders of 1888, it argues that a new cultural paradigm – the aesthetics of murder – was invented in England and France. To study the 'aesthetics of murder' as countless influential critics have done is not to question whether an act of murder itself possesses beautiful or sublime qualities. Rather, it is to determine precisely how a topic as evil and abject as murder is made beautiful in a work of art. It also questions what is at stake ethically for the reader or spectator who bears witness to such incommensurable violence. In three chapters, this dissertation delves into three important tropes – the murderer, corpse, and witness – through which this aesthetics of murder is analyzed. By examining a wide intersection of visual, literary, and cultural texts from the English and French tradition, it ultimately seeks to effect a rapprochement between nineteenth-century ethics and aesthetics. The primary artists and writers under investigation are Charles Baudelaire, Thomas De Quincey, Oscar Wilde, and Walter Sickert. In bringing together their distinctive styles and aesthetic philosophies, the dissertation opts for an interdisciplinary and comparative approach. It also aims to absolve these writers and artists from a longstanding charge of immorality and degeneracy, by firmly maintaining that the aesthetics of murder does not necessarily glorify or justify the act of murder. The third chapter on the 'witness' in fact, elucidates how writers like De Quincey and Wilde transferred the ethical imperative from the writer to the reader. The reader is appointed in the role of a murder witness who accidentally discovered the corpse on the crime scene. As a traumatized subject, the reader thus develops an ethical obligation for justice and censorship.

Author Keywords: Censorship, Jack the Ripper, Murder, Trauma, Victorian, Wilde

Forensic scientific practice is conventionally understood as a solution to absence. With every technological advance the power and span of the archive grows and with it revives hopes of uncovering facts and locate bodies that might put genocide denial and/or negationism to rest. Destruction, however, continues to define the reality and conditions

for testimony in the aftermath of mass atrocity. This means that even as forensic scientific practice grows in its capacity to presence that which was previously unpresentable, destruction and the concomitant destruction of archive require that we consider what it means to remember with and without the archive alike. This dissertation explores the impact of forensic science on cultural memory through a choice of two case studies (set in Kosovo and Srebrenica respectively) where forensic scientific methods

were involved in the investigation of atrocities that were openly denied.

This dissertation makes an agnostic argument that the biblical example of the empty tomb can serve as a paradigm to understand the terms of witnessing and testifying to absence in the era of forensic scientific investigations. Specifically, it posits the following theses with regards to the empty tomb: it is a structure and an event that emerges at the intersection of forensic science's dual property as an indexical technique and as a witness

function, it cannot be validated through historiographic or forensic scientific methods (it is un-decidable) and as such serves as a corrective the fantasy of the total archive, is represented in the contemporary genre of forensic landscape; and because it breaks with the forensic imperative, it compels alternative uses for testimony and memorial practices that need not be defined by melancholia as it can accommodate forms of testimony that

are joyous and life affirming.

Author Keywords: Absence, Archive, Forensic, Memory, Testimony, Witness

This three-part dissertation will consider both theoretical and practical implications that Baruch Spinoza's (1632-1677) immanent philosophical system holds for developing a contemporary "pedagogy of renaturalization." One of the intents of this thesis is to draw out how "intellectual slut shaming" is a naturalized part of neoliberal subjectivity.

In chapter one, we will make the case that the Cartesian and neoliberal subjects share several parallel structures, including mind-body dualism. We will look at how Spinoza's work supplies us with a powerful critique and expansion of the Cartesian subject. The intent here is to explore how we might apply a similar critique to the neoliberal subject and construct a more joyful subject that resists guilt, shame, and self-hatred.

In chapter two, we will explore how Spinoza's method of affirmation can give us a process to engage ourselves in a pedagogy of renaturalizing ourselves; in other words, to engage in the radical self-reflexivity of understanding ourselves as a part of Spinoza's Nature in order to better affect becomings of ethical joy. We will also examine the challenges and criticism of the affirmative method, and how paradoxically these criticisms serve to reinforce intellectual slut shaming.

Chapter three will explore the potential of the methodology of autoethnography and the development of what we are calling "auto-ethology" as a way to put such an affirmative method into practice. By reviewing the dissertation as a whole, we will show how it has been an engagement with Spinozist radical self-reflexivity all along and a performance of auto-ethology.

Author Keywords: autoethnography, Baruch Spinoza, Cartesian dualism, critical pedagogy, intellectual slut shaming, neoliberal subject

This dissertation re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined extreme cinema. It argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand our generic classifications and, through the re-organization of the visual presentation of genre-specific clichés and devices, their films transform sense experience and thought. My approach loosely follows Stanley Cavell's various assertions of film as a medium of thought or, simply, that films think. Reygadas and Breillat allow spectators to reflect on the genre-film experience; I contend that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them. In fostering this experience of collection, these two directors propose a kind of ethics of curatorship: spectators are tasked with collecting and recollecting their film experience to generate particular social, cultural, and political critiques. To further accomplish and foster film as thought, the directors appeal to spectators' sense experiences. I therefore deploy contemporary film theories on the senses, both phenomenological and affect theory, and partake in close readings of the films' forms and narratives. The Introduction outlines my intervention in genre theory, discusses the key theoretical texts, develops the phenomenological framework I employ for the chapters to follow, develops my methodology through a description of Cavell's style, and presents the stakes of my argument. Chapter one considers the place of experimental narrative cinema in Reygadas's Post Tenebras Lux (2012). I argue that through his realist style, this film aims at an experience for spectators "as if" in a dream and through this film experience I posit the critique I find internal to the film. The second chapter turns to Catherine Breillat's oeuvre and the confrontation her work poses to conceptions of pornography. I bring her 2001 feature Fat Girl (À ma soeur!) to bear on what I claim to be a new style of pornographic work and its challenge to patriarchy. The final chapter brings together Reygadas's Battle in Heaven (Batalla en el cielo, 2005) and Breillat's Sex is Comedy (2002) to accomplish an analysis of sexual performances in otherwise dramatic films.

Author Keywords: art cinema, Carlos Reygadas, Catherine Breillat, contemporary cinema, film theory, genre theory

The 1980s in the United States have come into focus as years of extensive ideological and socioeconomic fracture. A conservative movement arose to counter the progressive gains of previous decades, neoliberalism became the nation's economic mantra, and détente was jettisoned in favour of military build-up. Such developments materialized out of a multitude of conflicts, a cultural crisis of ideas, perspectives, and words competing to maintain or rework the nation's core structures.

In this dissertation I argue that alongside these conflicts, a crisis over technology and its ramifications played a crucial role as well, with the American public grasping for ways to comprehend a nascent technoculture. Borrowing from Andrew Feenberg, I define three broad categories of popular conceptualization used to comprehend a decade of mass technical and social transformations: the instrumental view, construing technology as a range of efficient tools; the substantive view, insisting technology is an environment that determines its subjects; and a critical approach, which recognizes the capacity for technology to shape subjects, but also its potential to aid new social agendas. Using Feenberg's categories as interpretive lenses, I foreground these epistemologies in three of the decade's most popular formations of literary science fiction (sf), and describe the broader discourses they participated in: military sf is connected to military strategy and weapons development (instrumental), cyberpunk to postmodernism and posthumanism (substantive), and feminist sf to feminist theory and politics (critical). These were not just discursive trajectories, I claim, but vital contributors to the material construction of what Antonio Gramsci would call hegemonic and counterhegemonic formations. While the instrumental paradigm was part of the decade's prevailing hegemonic make-up, substantive and critical discourses offered an alternative to the reality of cowboy militarism and unchecked technological expansion.

By engaging with the decade's texts—from There Will Be War to RoboCop to "A Cyborg Manifesto"—I hope to illuminate what I call the technology of consent, the significance of technological worldviews for modern technocultures, where such views are consented to by subaltern groups, and at the same time the existence of consent itself as a kind of complex social technology in the first place.

Author Keywords: American History, Discourse, Hegemony, Science Fiction, Technoculture, Technology

The overarching argument of this manuscript concerns Lacanian Realism, that is, the Lacanian theory of the Real. Initially, my argument may seem quite modest: I claim that Lacanians have been preoccupied with a particular modality of the Real, one that insists on interrupting, limiting, or exceeding the various orders or agencies of the human mind. The implications of such a position are worth considering. For example, one must, as a consequence of holding this position, bracket questions pertaining to Things outside of the Symbolic and Imaginary psychical systems. Careful study shall expose the extent to which this position has infuenced each of the major felds inspired by Jacques Lacan: clinical psychoanalysis, radical political philosophy, and mathematics or topology. My task has been to explore the consequent occlusion which psychoanalysis has suffered in each of these three felds and to tease out the possibility of a return to the Real.

Author Keywords: Alain Badiou, Anarchism, Hysteria, Jacques Lacan, psychoanalysis, Slavoj Zizek