4,135 research outputs found

    Conceive and Control: Cultural-Legal Narratives of American Privacy and Reproductive Politics

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    Law and literature share a foundation in narrative. The literary turn in legal scholarship recognizes that the law itself is a form of narrative, one that simultaneously reflects socio-cultural norms and creates social and political regulations with a complex matrix of power. Cultural narratives from the 1950s to the mid-1970s pertaining to reproductive politics, domesticity, and national identity both produce and are productive of legal rulings that govern and restrict private acts of sexuality and speech. The Supreme Court used cases concerning sex and reproduction to enumerate, explicate, and complicate the right to privacy, which appears nowhere in the U.S. Constitution or the Bill of Rights yet formed perhaps the most crucial legal issue of the second half of the twentieth century. But with the Court’s continuous “refinement” and clarification of the right to privacy, the Court has demonstrated how privacy is a Lyotardian differend which, in dividing the inside from the outside, dismantles the logic of both through deconstruction of the margin. Law-determining rulings protecting this right demonstrate a logical impossibility: the Court has made privacy a “right” in such a way that the conditions for exercising it are subject to state surveillance. To be a subject of the law is to relinquish privacy, and privacy requires that the individual subject him/herself to the law by placing the right to privacy within the public domain. Rules-governed practices are entangled in ways both inextricable and unresolvable with notions of privacy. Legal narratives of the right to privacy, therefore, provide a genealogy of failed supplementation, consistent with an array of cultural narratives reflected in contemporaneous literature, film, drama, and political discourse. The Supreme Court’s continual “refinements” of privacy expose the tenuousness of the authority upon which it is based, with the female body positioned as the site of contradiction upon which narratives of domesticity, sexuality, and subjectivity are made legible

    The Witcraft of Seeing Things Differently : Hyperdetermined Humor, Unusual Viewpoints, and Narrative Rhetoric in Terry Pratchett's Discworld Novels

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    Sir Terry Pratchettin maineikasta ja menestynyttĂ€ Discworld-romaanisarjaa luonnehditaan yleensĂ€ koomiseksi fantasiaksi, ja vaikka sitĂ€ on aiemmin tutkittu etupÀÀssĂ€ fantasiakirjallisuutena, niin fantasiamiljöön lisĂ€ksi toinen nĂ€iden kirjojen silmiinpistĂ€vĂ€ piirre on huumorin ylenpalttinen runsaus. TĂ€ssĂ€ vĂ€itöskirjassa olen valinnut harvinaisemman lĂ€hestymistavan tutkiessani Discworld-romaaneja ensisijaisesti humoristisena kirjallisuutena, ja sen mukaisesti vĂ€itöskirjani keskeisimpĂ€nĂ€ tavoitteena on tutkia Terry Pratchettin huumorin poetiikkaa. Tarkemmin sanottuna olen asettanut tĂ€ssĂ€ vĂ€itöskirjassa tehtĂ€vĂ€kseni kartoittaa Terry Pratchettin huumorille ominaisimmat komiikan keinot ja tutkia, mikĂ€ tekee Discworld-romaaneista hauskoja. Discworld-romaaneille ominainen huumorin runsaus koostuu humorististen kuvausten ja koomisten kohtausten tiheĂ€n esiintymisen lisĂ€ksi komiikan keinojen laajasta valikoimasta. TĂ€ssĂ€ vĂ€itöskirjassa vĂ€itĂ€n, ettĂ€ Terry Pratchettin huumori on hyperdeterminoitua, mikĂ€ tarkoittaa, ettĂ€ hĂ€n yhdistelee erilaisia komiikan keinoja samassa kuvauksessa tai kohtauksessa. Siksi Pratchettin huumorin poetiikkaa kĂ€sittelevĂ€ vĂ€itöskirjani on samalla myös tutkimus hyperdeterminoidun huumorin rakentumisesta. SelkeyttÀÀkseni huumorin hyperdeterminaation rakentumista jaottelen komiikan keinot neljÀÀn kategoriaan: tilanteellisiin, kontekstuaalisiin, rakenteellisiin ja tyylillisiin. Sovellan tĂ€tĂ€ jaottelua vĂ€ittĂ€mĂ€llĂ€, ettĂ€ humoristista kuvausta tai koomista kohtausta voidaan perustellusti sanoa hyperdeterminoiduksi silloin, kun siinĂ€ yhdistellÀÀn komiikan keinoja useammasta kuin yhdestĂ€ kategoriasta. PidĂ€n Pratchettin huumorille ominaisten komiikan keinojen kartoittamista yhtenĂ€ tĂ€mĂ€n vĂ€itöskirjan keskeisimmistĂ€ kontribuutioista kirjallisen huumorin tutkimukselle. Tilanteellisista komiikan keinoista tarkastelen Discworld-romaaneista löytĂ€miĂ€ni esimerkkejĂ€ draamallisesta ironiasta ja absurdista logiikasta. Kontekstuaalisista komiikan keinoista kĂ€sittelen Pratchettin parodiaa ja satiiria, kun taas rakenteellisista komiikan keinoista tutkin, kuinka Pratchett kĂ€yttÀÀ paraprosdokiania, bathosta, toistuvia piloja (”figgin”) ja koomisia alaviitteitĂ€. TyylillisistĂ€ komiikan keinoista tutkailen Pratchettin koomisia kielikuvia (hyperbolia, metaforia, vertauksia ja personifikaatioita), hĂ€nen sanaleikkejÀÀn (paronomasia, antanaklasis, sanataskut ja kaksikieliset sanaleikit) sekĂ€ Pratchettin koomisia eufemismeja. LisĂ€ksi osoitan vĂ€itöskirjassani, ettĂ€ Terry Pratchettin huumorille on ominaista kulttuuristen kliseiden (eli tuttujen kulttuuri-ilmiöiden, totunnaisten ajattelutapojen ja vakiintuneiden esittĂ€misen konventioiden) esittĂ€minen humoristisen epĂ€tavallisista nĂ€kökulmista kĂ€sin. Discworld-romaaneissa Pratchett siirtÀÀ erilaisia oman maailmamme kulttuuri-ilmiöitĂ€ Discworld-nimiseen (suom. Kiekkomaailma) fantasiamaailmaansa, ja tĂ€mĂ€n maailmojen törmĂ€yttĂ€misen seurauksena kulttuuriset kliseet nĂ€yttĂ€ytyvĂ€t lukijalle samanaikaisesti tuttuina ja koomisen outoina. TĂ€llaiset humoristiset nĂ€kökulmat vahvistavat osaltaan huumorin hyperdeterminaatiota. Samalla kun fantasiamiljöö mahdollistaa kahden maailman koomisen törmĂ€yttĂ€misen ja oman maailmamme kulttuuristen kliseiden peilaamisen toisen maailman avulla, huumori toisaalta mahdollistaa Kiekkomaailmassa normaalia fantasiaa vapaamman mielikuvituksen lennon, eikĂ€ monia Discworld-romaaneissa kuvattuja asioita, tapahtumia ja ilmiöitĂ€ voisi esiintyĂ€ maailmoissa, jotka eivĂ€t rakennu absurdin logiikan, kulttuurisilla kliseillĂ€ leikittelyn ja koomisen liioittelun kaltaisten todellisuuta vÀÀristĂ€vien periaatteiden luoman ”taikuuden” varaan. Komiikan keinojen moninaisuuden, hyperdeterminoidun huumorin ja epĂ€tavallisten nĂ€kökulmien lisĂ€ksi tutkin vĂ€itöskirjassani sitĂ€, millaisia arvottavia asenteita kertojan humoristiset nĂ€kökulmat ja humoristisiin kuvauksiin sisĂ€ltyvĂ€t henkilöhahmojen tunnereaktiot paljastavat. Tulkitsen tĂ€llaisen arvottavan huumorin kirjalliseksi retorisen vaikuttamisen keinoksi, jonka avulla kirjailija pyrkii ohjailemaan lukijansa hyvĂ€ksyviĂ€ ja paheksuvia asenteita. Useimmiten Pratchettin huumori on kulttuurikriittistĂ€, eli parodista ja satiirista, mutta toisinaan humoristiset nĂ€kökulmat esittĂ€vĂ€t todellisen maailman kulttuuri-ilmiöitĂ€ myönteisinĂ€ ja ihailtavina. VĂ€itĂ€n tutkimuksessani, ettĂ€ kirjallisuuden retoriikka perustuu tĂ€llaisten kielteisten ja myönteisten asenteiden esittĂ€miselle ja ettĂ€ huumori on yksi kertomuksen retoriikan vaikutuskeinoista.Sir Terry Pratchett’s bestselling Discworld series of novels has been commonly described as comic fantasy, and although it has been previously studied mainly as fantasy literature, another conspicuous feature in these novels, in addition to the fantasy milieu, is their rich and abundant humor. In this study, I have chosen the road less travelled by approaching the Discworld novels as humorous literature, and, consequently, my main goal here is to study the poetics of Terry Pratchett’s humor— his “witcraft”. To be more precise, in this dissertation I have set myself the task of mapping out the comic devices that are most characteristic for Terry Pratchett’s witcraft and investigating what makes the Discworld novels funny. The richness of humor that is characteristic for the Discworld novels consists partly of the frequent occurrences of humorous descriptions and comic scenes, but also of the numerous comic devices that Pratchett deploys. In this dissertation, I argue that Terry Pratchett’s humor is hyperdetermined, which means that he tends to combine numerous comic devices in the same description or scene. Consequently, this study on the poetics of Terry Pratchett’s humor is at the same time a study on the construction of hyperdetermined humor. To better understand how hyperdetermined humor is constructed, I have devised a taxonomy that divides comic devices into four categories: situational, contextual, structural, and stylistic. Based on this taxonomy, I argue that the humor of a humorous description or a comic scene can be said to be truly hyperdetermined whenever it combines comic devices from more than one of these categories. I consider mapping out the comic devices that are most characteristic for Terry Pratchett’s witcraft to be one of the major contributions of this dissertation to the academic study of humor in literature. Of situational comic devices, I discuss and analyze examples of dramatic irony and absurd logic that I have detected in the Discworld novels. Of contextual comic devices, I discuss Pratchett’s parody and satire; of structural comic devices, I study Pratchett’s use of paraprosdokian, bathos, figgins (or running gags), and comic footnotes. Of stylistic comic devices, I investigate Pratchett’s comic imagery (hyperboles, metaphors, similes, and personifications), his puns (paronomasia, antanaclasis, portmanteaux, and bilingual puns), as well as Pratchett’s comic euphemisms. In this dissertation, I also demonstrate that representing cultural clichĂ©s (i.e., familiar cultural phenomena, customary ways of thinking, and conventional ways of representing) from humorously unusual viewpoints is characteristic for Terry Pratchett’s witcraft. In the Discworld novels, Pratchett transfers various cultural phenomena from the real world, our “Roundworld”, to a fantasy world called the Discworld, and as a result of this interworldly resonance, the cultural clichĂ©s of our Roundworld appear to the reader simultaneously as familiar and comically strange. These humorous viewpoints can be viewed as an additional constituent of hyperdetermined humor. While the fantasy setting of the Discworld novels allows Pratchett to set up comic resonance between the worlds, Pratchett’s humor also makes the Discworld a more imaginative and fantastic place than typical fantasy worlds. Many events and phenomena that are represented in the Discworld novels can only exist in a world where reality is distorted and enhanced by the special “magic” of comically absurd logic, playing with cultural clichĂ©s, and humorous exaggerations. In addition to the abundance of comic devices, hyperdetermined humor, and humorously unusual viewpoints, I also study in this dissertation what kinds of evaluative attitudes the narrator’s humorous viewpoints and the characters’ emotional reactions reveal. According to my interpretation, such evaluative attitudes are means of narrative rhetoric, where the author attempts to guide the reader’s attitudes of approval or disapproval. Pratchett’s humor is often critical—parodical or satirical—although occasionally the narrator’s humorous viewpoints represent the cultural phenomena of our Roundworld in a positive light, as something admirable. In this dissertation, I argue that narrative rhetoric is based on representing negative and positive attitudes, and that humor is one possible means of narrative rhetoric

    Insider Threat Prevention in the US Banking System

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    Insider threats have been a major problem for the US banking sector in recent years, costing billions of dollars in damages. To combat this, the implementation of effective cybersecurity measures is essential. This paper investigates the current state of insider threats to banks in the U.S., the associated costs, and the potential measures that can be taken to mitigate this risk. The development of a framework for the adoption of cybersecurity measures within the banking industry is the primary emphasis in order to stop fraud and lessen financial losses. Through a detailed examination of the literature, in-depth interviews with experts in the banking sector, and case studies of existing cybersecurity measures, this paper provides a comprehensive overview of the problem and potential remedies. Analysis of the research reveals that identity and access management, data encryption, and secure authentication are key components of any cybersecurity strategy. Furthermore, it is recommended that banks increase their technical capabilities and improve their employee awareness and training. The study concludes with a series of suggestions for enhancing banking industry cybersecurity and eventually reducing the danger of insider attacks. This paper explores the topic of insider threats in the US banking industry and presents cybersecurity measures to prevent fraud. Insider threats from people with access to sensitive data and systems present serious hazards to the banking industry, resulting in monetary losses, reputational harm, and compromised data integrity

    Homosexuals are revolting : a history of gay and lesbian activism in the Republic of Ireland, 1973 -1993

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    Defence date: 14 January 2019Examining Board: Professor Pieter M. Judson, EUI (Supervisor); Professor Laura L. Downs, EUI (Second Reader); Professor Diarmaid Ferriter, University College Dublin; Doctor Sean Brady, Birkbeck, University of London.This project explores the history of gay and lesbian activism in the Republic of Ireland from 1973 to 1993. Using primary archival material and oral interviews it challenges the current historical narrative which presupposes that gay and lesbian activism in Ireland was confined to a legal battle to decriminalise sexual activity between males and confined to the activities of one man, David Norris. The project broadens the campaign for gay rights in Ireland to include other individuals, organisations, concerns, aims, strategies, and activities outside Dublin. In particular, the thesis demonstrates the extent to which there were numerous gay and lesbian organisations throughout Ireland which utilised the media, the trade union movement, student movement and support from international gay/lesbian organisations to mount an effective campaign to improve both the legal and social climate for Ireland’s gay and lesbian citizens. While politicians in recent years have claimed credit for the dramatic changes in attitudes to homosexuality in Ireland, this project demonstrates the extent to which these dramatic changes were pioneered, not my politicians, but rather by gay and lesbian activists throughout Ireland, in both urban and provincial regions, since the 1970s. The project considered the emergence of a visible gay community in Ireland and its impact on changing perceptions of homosexuals; the important role played by lesbian women; the role of provincial gay/lesbian activists; the extent to which HIV/AIDS impacted the gay rights campaign in Ireland; and how efforts to interact with the Roman Catholic Church, political parties, and other important stakeholders shaped the strategies of gay/lesbian organisations. Homosexuals are revolting: A history of gay and lesbian activism in the Republic of Ireland, 1973-1993, reveals the extent to which gay and lesbian activists were important agents of social and political change in Ireland, particularly in terms of Irish sexual mores and gender norms. This project helps to contextualise the dramatic changes in relation to homosexuality that have taken place in recent years in Ireland and encourages scholars to further explore the contribution of Ireland’s queer citizens to the transformation of Ireland in the twentieth- and twentieth-first century.Chapters 1 'Smashing the wall of silence: Irish Gay Rights Movement' and chapter 3 'Decentring the metropolis: gay and lesbian activism in Cork, forging their own path?' of the PhD thesis draws upon an earlier version published as an article '“Homosexuals are revolting” : gay & lesbian activism in the Republic of Ireland 1970s -1990s' (2017) in the journal 'Studi Irlandesi: a journal of Irish studies

    Practising Diversity in Education: In Dialogue with Dƍgen and bell hooks

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    This essay argues that diversity needs to be practised. Drawing insights from two thinkers who saw themselves as educators, Dƍgen and bell hooks, I single out three steps towards practising diversity in a learning community. I make two concrete recommendations for each step. Step One involves trying to understand the other in their own terms, by becoming informed about the frameworks that play a role in their experience. Step Two guides us to listen to every unique other and receive their story, in such a way as to put them, instead of ourselves, in the centre of our attention. In Step Three, we engage in dialogues that do not consist in a series of monologues but of calls and responses, in which we practise to respond to each other in an attuned way, and to take responsibility for co-transforming each other and our shared world
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