Science in Society

Total Page:16

File Type:pdf, Size:1020Kb

Science in Society VOLUME 4 ISSUE 3 The International Journal of Science in Society SCIENCE-SOCIETY.COM The International Journal of Science in Society ………………………………… VOLUME 4 ISSUE 3 2012 THE INTERNATIONAL JOURNAL OF SCIENCE IN SOCIETY www.science-society.com First published in 2013 in Champaign, Illinois, USA by Common Ground Publishing LLC www.commongroundpublishing.com ISSN: 1836-6236 © 2012-2013 (individual papers), the author(s) © 2012-2013 (selection and editorial matter) Common Ground All rights reserved. Apart from fair dealing for the purposes of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please contact [email protected]. The International Journal of Science in Society is peer-reviewed, supported by rigorous processes of criterion- referenced article ranking and qualitative commentary, ensuring that only intellectual work of the greatest substance and highest significance is published. EDITOR ………………………………… Karim Gherab Martín, Spanish National Research Council, Consejo Superior de Investigaciones Científicas, Spain EDITORIAL ADVISORY BOARD ………………………………… Carlos Elias, University Carlos III of Madrid, Madrid, Spain Christopher Impey, University Distinguished Professor, Department of Astronomy, University of Arizona, Tucson, AZ Michael Peters, University of Illinois, Urbana-Champaign, USA Kayte Spector-Bagdady, Presidential Commission for Bioethics, Washington, D.C., USA ASSOCIATE EDITORS ………………………………… Sulaiman Al-Balushi Elizabeth Garcia Almanza Peter Chamberlain Nicole Clare Collie Tanietta Delauney Andrew Domondon Julia Dordel Seval Güven Chris Impey Tuula Keinonen Narayan Khanal Erika Landau Fiona Lee Alex Lobos Joyce Lucas-Clark Fhatuwani J. Mundalamo Loreta Vivian Ramel-Galima Natasha Sarkar Michael Skoumios Maneerat Suthanthangjai Ryan Sweeder Louis Trudel Julie Wilson Meili Yang Scope and Concerns MODERN SCIENCE, CONVENTIONALLY UNDERSTOOD ………………………………… Conventional, modern science has had a number of characteristic features, which remain resilient today, but which are now also increasingly coming under challenge. Conventional science is about the physical-natural world, relatively autonomous of the social world. It is disinterested, striving to be independent of human agendas, values and interests. Its methods are consistent, stable and replicable, allowing the objective phenomena of the natural-physical world, external to human understanding, more or less to speak for themselves. It circulates its knowledge making practices amongst initiates to a self-enclosed discipline—an exclusive institutional, methodological and discursive space accessible only to participants who have been duly apprenticed as learners and passed tests of disciplinary entry. The connections between science and the everyday lifeworld are primarily through a unilinear, transmission model, from basic to applied science and from science to technology. Evaluations of social impacts are incidental rather than an integral to systemic feedback at the core of the scientific endeavor itself. CHANGING SCIENCE: TOWARDS GREATER SOCIAL ENGAGEMENT ………………………………… The Science in Society Conference, Journal, Book Imprint and News Weblog recognize the strengths, power and historic achievements of modern science in its conventional public and professional forms and self-understandings. However, they also explore the emergence in recent times of a more socially engaged science. This is a socially reflexive science, a science which reciprocates its understandings of the natural-physical world with the social world. It is a more open and dynamic science. Here are some key propositions about the relations of science and society in a new, reciprocal science: Society is deeply intertwined with science. Clear-cut and definitive separations cannot be made between the social-human and the natural-physical. This is both an epistemological proposition (our knowing the natural-physical world) and an ontological one (our being of and in the natural-physical world). Our methods may deceive when they purport to represent external phenomena in an unproblematized way. Science is intrinsically interested. At its most cogent and most productive, science is engaged, responsible and accountable to the social world. It is integrally linked to agendas, interests, values and ethical stances. These need to be declared and exposed to examination, just as much as science’s propositions about the character of the natural-physical world itself. A constant and searching investigation of human interests goes to the heart of the question of the social credibility and ongoing viability of science. Science’s methods are as humanist as they are objectivist. The methods of science must test the human-social context of knowing as much as they do knowable realities in the natural- physical world. Reciprocal science provides a full account of the conditions of knowing, not only in the microdynamics of observation, induction and calculation in relation to the natural-physical but also the broader social contexts of agenda-setting, risk assessment and application. Interested, reciprocal science is increasingly interdisciplinary. The most pressing questions of our times—sustainability, climate, health, well-being, to name just a few of the great contemporary human interests—require holistic answers. Scientists need to cross disciplinary boundaries to answer them, not only the various disciplines amongst the sciences, but also the social sciences, humanities and professions. Scientists routinely cross disciplinary boundaries, and they need to do so if they are to have a science which changes the world, albeit in small and incremental ways much of the time, and maybe also in potentially big ways. A dynamic, socially engaged science must be an open science. It should not favor particular geographic, national or cultural centers. It should not be skewed by demographic closures which restrict access for some kinds of potential participant. It will cross many sites of knowledge making, some conventional and some new: companies, communities, schools, non-government organizations, the public sector, informally self-constituted groups. It must be decentralized in its locations and distributed in its modes of operation. It should be pluralistic, tolerant of paradigm clashes and open to new disciplinary and interdisciplinary practices. It should be collaborative in its spirit, bringing together cross-disciplinary teams marked by the complementarity of their differences. It should be as equitable and fair as it is rigorous in its modes of evaluation of intellectual quality and practical applicability. Reciprocal science is subject-driven as well as object-oriented. Rather than establishing a primary investigator-instigated relation as has been conventionally the case in modern science, the new science should equally start with social questions. Such questions beg scientific investigation of natural-physical phenomena and their human context. This requires a change in the balance of agency between the lay public and the scientific expert, blurring the boundaries of where scientific questions are raised, how they are addressed and where they are answered. Reciprocal science is more powerfully recursive. The knowledge system of reciprocal science is enabled in part by new technologies and social processes of scientific communication. Peer review is opened out, its criteria more explicitly stated rather than embedded in implicit professional and network-bound processes. The review process becomes more reflexive and responsive in its rating and moderation systems. Scientific writers and readers come from a wider variety of places, and evaluation of scientific worth is without prejudice to the geographical or institutional source of scientific knowledge-making. Science and scientists are exposed to a wider public, and for that become more accountable. None of this is to say that that the newer, socially engaged science is unequivocally good. The more conventional modern science still has a role to play in many places, and is not without its peculiar merits. Although the Conference and its associated publication venues are future- oriented and agenda-setting, they do not assume a partisan position, supporting new kinds of science unequivocally against the heritage practices of science. Rather, these discussion spaces offer an open forum for debate. In moments of resolution of this debate, participants might be able to decide what of conventional disciplinary science that we want to preserve and what we might want to renovate. Whichever model of science we chose to practice, one thing likely can be agreed. Science faces great challenges in these times. These are not only to be understood in terms of the depths and breadths of the questions it is expected to address. But science also faces a dialectic in which there seems simultaneously to be greater public trust in science today, yet also greater skepticism about its costs and benefits. Table of Contents Geoengineering: Reflections on Current Debates ........................................................ 1 Paula Curvelo and Ângela Guimarães Pereira Modern Western Science in Initial Chinese Archaeological Development .............. 23 Meili Yang Using a Cross-disciplinary Investigation to Inform Questions about an Insecurely Provenanced Middle Eastern Manuscript: A Case Study
Recommended publications
  • The City Anthology: Definition of a Type
    Marven, L 2020 The City Anthology: Definition of a Type. Modern Languages Open, 2020(1): 52 pp. 1–30. DOI: https://doi.org/10.3828/mlo.v0i0.279 ARTICLE The City Anthology: Definition of a Type Lyn Marven University of Liverpool, GB [email protected] This article uses a corpus of over one hundred and fifty Berlin literary anthologies from 1885 to the present to set out the concept of a ‘city anthology’. The city anthology encompasses writing from as well as about the city, and defines itself through a broad sense of connection to the city rather than thematic subject matter as such. This article uses the example of Berlin to set out the unique traits of the city anthology form: the affective connection between authors, editors, readers, texts and the city; diversity of contributors and literary content; and a tendency towards reportage. It further uses the corpus to identify four key types of city anthology – survey, snapshot, retrospective and memory anthology – and to argue for a functional rather than formal definition of the anthology. Finally, Berlin anthologies challenge precepts of that city’s literary history in two key ways: in mapping different historical trajectories across the nineteenth to twenty-first centuries, and in particular countering the focus on the much better known city novel. The often-overlooked city anthology thus constitutes a specific form of city literature as well as anthology. As a literary manifestation – not just a representation – of the city, city anthologies inhabit a border space between literary geographies and urban imaginaries with the potential to open up an affective dimension in urban studies.
    [Show full text]
  • Australian Anarcha-Punk Zines: Poststructuralism in Contemporary Anarchist and Gender Politics
    Australian Anarcha-Punk Zines: Poststructuralism in Contemporary Anarchist and Gender Politics Author Nicholas, Lucy Katherine Published 2006 Thesis Type Thesis (Masters) School School of Arts, Media and Culture DOI https://doi.org/10.25904/1912/2826 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367436 Griffith Research Online https://research-repository.griffith.edu.au Australian Anarcha-punk Zines: Poststructuralism in contemporary anarchist and gender politics. Lucy Katherine Nicholas BA (Hons) Politics and Society with Combined Studies, University of Gloucestershire Submitted in fulfilment of the requirements of the degree of Master of Philosophy in the Faculty of Arts, Griffith University. Date of Submission: September 2005 Abstract This thesis describes and analyses the politics of the Australian DIY anarcha-punk scene and the ethos of the culture’s participants. Eschewing the orthodox sub-cultural approach which situates “punk” within a structuralist hegemony / resistance paradigm, the thesis uses participant observation and textual analysis techniques to understand the role played by zines (hand made publications) in fostering the intellectual and ethical capacities needed to participate in the Australian DIY anarcha-punk scene. The zines, in their deviation from classical anarchism, often invoke concepts of power and “the political” analogous with those of poststructuralist theory, yet DIY anarchist politics also diverge from poststructuralism. I therefore address DIY anarchist politics by questioning the significance of these inconsistencies with Theory. In doing so I am led to suggest that the zines may be more usefully approached as elements in the ethico- political practice of DIY anarchism, which nonetheless draws on the “conceptual vocabulary” of much poststructuralism, as well as other theoretical approaches.
    [Show full text]
  • Film Adaptation As the Interface Between Creative Translation and Cultural Transformation
    The Journal of Specialised Translation Issue 29 – January 2018 Film adaptation as the interface between creative translation and cultural transformation: The case of Baz Luhrmann’s The Great Gatsby Katerina Perdikaki, University of Surrey ABSTRACT Adaptation is prominent in many facets of the creative industries, such as the performing arts (e.g. theatre, opera) and various forms of media (e.g. film, television, radio, video games). As such, adaptation can be regarded as the creative translation of a narrative from one medium or mode to another. This paper focuses on film adaptation and examines its role in cultural production and dissemination within the broader polysystem (Even-Zohar 1978a). Adaptation has been viewed as a process which can shed light on meaningful questions on a social, cultural and ideological level (cf. Casetti 2004; Corrigan 2014; Venuti 2007). Nevertheless, an integrated framework for the systematic analysis of adaptations seems to have remained under-researched. The paper puts forward a model for adaptation analysis which highlights the factors that condition adaptation as a process and as a product. In this way, adaptation is studied as a system monitored by economic, creative and social agendas which nevertheless transforms the communicating vessels of the literary system and the film industry. To illustrate this, the paper discusses how the two systems and various creative and socioeconomic considerations interlace in the latest film adaptation of The Great Gatsby (Luhrmann 2013). It concludes on the benefits of a holistic approach to adaptation. KEYWORDS Film adaptation, translation, polysystem, paratexts, creative industries, The Great Gatsby. 1. Introduction Adaptations play a crucial part in the contemporary creative industries.
    [Show full text]
  • Re-Contextualization and Representation of Folk Art in Advertising
    Re-contextualization and Representation of Folk Art in Advertising Dr. Manash Pratim Goswami Associate Professor, Dept. of Media and Communication, Central University of Tamil Nadu ([email protected]) Dr. Soubhagya Ranjan Padhi Professor, Dept. of Sociology & Social Anthropology, Indira Gandhi National Tribal University ([email protected]) Abstract: Although art and advertising are ideologically distant apart, yet they share a close and entwined relationship. Art imitates life and advertising imitates art to persuade. Advertising connects diverse and disconnected pieces of art to create semantic meaning in a message. The magic of an image with dots and lines can create powerful impact in an advertising message with a potential to influence people. The idea of appropriation of art or elements of art have been in practice for a long time. Advertising campaigns often re-contextualise popular imageries to influence people. The re- contextualization and representation of art, culture, motifs, patterns and designs of painting often help communicating advertising message effectively and lucidly. The current study focuses on investigating the appropriation of cultural characteristics and elements of folk-art and paintings to re-contextualise the creative expression of artists to communicate advertising messages. The study makes a qualitative analysis of ‘GE Works’- the advertising campaign of General Electric (GE) launched a decade ago, which recontextualised and represented four distinct and colourful Indian folk-art forms. Keywords: Appropriation, Recontextualization, Representation, Folk-art and Painting, Advertising. Introduction Art and advertising, although separated by ideological notions, share a close and intertwined relationship. Art is a commentary presented to be appreciated for its beauty or emotional power (Oxford University Press, n.d.) and advertising persuades, influences and convinces the individual for something.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • Copyright, Fair Dealing and Art in a Digital Age Part
    Art At Risk: copyright, fair dealings and art in a digital age Art At Risk: copyright, fair dealings and art in a digital age Part Two: Background Research Susan Ballard and Pamela McKinlay revised June 2011 1 Art At Risk: copyright, fair dealings and art in a digital age Art at Risk was a collaborative research project undertaken by Dr. Susan Ballard and Pam McKinlay at the Dunedin School of Art, Otago Polytechnic 2009-2010. It was funded by Ako Aotearoa Southern Regional Hub, the Dunedin School of Art and Otago Polytechnic Research Committee. This project would not have been possible without the support and assistance we have received from colleagues and mentors during this past year. We are indebted to David McLaughlin, the principal of McLaughlin Law (http://www.mclaughlinlaw.co.nz) who specialises in legal issues as they relate to the creative industries. We would like to acknowledge his support in reviewing the legal issues arising from the Case Studies. Our thanks also to Sacha McMeeking and Khyla Russell (kaitohutohu), for their insights and assistance with aspects to do with Matauranga Maori and cultural identity of Iwi Maori; thanks also to Laura Ferguson for her work on the “What’s Fair Poster,” Max Bellamy for photographing the “Can I Use That” poster, Tanya Low at the Bill Robertson Library, and Jenny Clark for proofreading. Our colleagues in the School of Art: Rachel Gillies, David Green, Bridie Lonie, and Prof. Leoni Schmidt provided excellent sounding boards and critical perspectives. We would also like to acknowledge the support of Jenny Aimers, Research Coordinator, and Robin Day, Deputy CEO and Head of Research at Otago Polytechnic for their ongoing support of the concerns and issues arising from research in the arts.
    [Show full text]
  • Manga Vision: Cultural and Communicative Perspectives / Editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, Manga Artist
    VISION CULTURAL AND COMMUNICATIVE PERSPECTIVES WITH MANGA ARTIST QUEENIE CHAN EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL MANGA VISION MANGA VISION Cultural and Communicative Perspectives EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL WITH MANGA ARTIST QUEENIE CHAN © Copyright 2016 Copyright of this collection in its entirety is held by Sarah Pasfield-Neofitou and Cathy Sell. Copyright of manga artwork is held by Queenie Chan, unless another artist is explicitly stated as its creator in which case it is held by that artist. Copyright of the individual chapters is held by the respective author(s). All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/mv-9781925377064.html Series: Cultural Studies Design: Les Thomas Cover image: Queenie Chan National Library of Australia Cataloguing-in-Publication entry: Title: Manga vision: cultural and communicative perspectives / editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, manga artist. ISBN: 9781925377064 (paperback) 9781925377071 (epdf) 9781925377361 (epub) Subjects: Comic books, strips, etc.--Social aspects--Japan. Comic books, strips, etc.--Social aspects. Comic books, strips, etc., in art. Comic books, strips, etc., in education.
    [Show full text]
  • Rewriting Shakespeare's Plays for and by the Contemporary Stage 3 Becomes the Constant Object of Actors’ Investigation
    Rewriting Shakespeare’s Plays For and By the Contemporary Stage Rewriting Shakespeare’s Plays For and By the Contemporary Stage Edited by Michael Dobson and Estelle Rivier-Arnaud Rewriting Shakespeare’s Plays For and By the Contemporary Stage Edited by Michael Dobson and Estelle Rivier-Arnaud This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Michael Dobson, Estelle Rivier-Arnaud and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8280-1 ISBN (13): 978-1-4438-8280-4 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Meaning and Motivations for a Contemporary Appropriation of Shakespeare’s Drama PART ONE: The Rewriting Process under Scrutiny and its Stakes Chapter One ............................................................................................... 11 Unlearning Tradition: William Shakespeare’s King Lear, Jane Smiley’s and Jocelyn Moorhouse’s A Thousand Acres Anne-Kathrin Marquardt Chapter Two .............................................................................................
    [Show full text]
  • ('Any Man Is All Men'): Jorge Luis Borges, WB Yeats and Eternal Return
    ‘Cualquier hombre es todos los hombres’ (‘any man is all men’): Jorge Luis Borges, W. B. Yeats and Eternal Return Grace Gaynor University of Liverpool Abstract. This paper considers the presence of W. B. Yeats in the work of Jorge Luis Borges. It focuses particularly on Borges’s use of Yeats’s poetry as epigraphs to two of his short stories, ‘Tema del traidor y del héroe’ (‘Theme of the Traitor and the Hero’) and ‘Biografía de Tadeo Isidoro Cruz (1829–1874)’ (‘A Biography of Tadeo Isidoro Cruz (1829–1874)’). An epigraph presents a unique way of one writer making reference to another, particularly within the broader context of Borges’s propensity to saturate his work with allusions and references to other writers. A consideration of these epigraphs as rewritings of Yeats by Borges is supported by paratextual theory, and further explores ideas of recontextualisation, appropriation, and attributing authorship. Finally, this paper also discusses Borges’s references to Yeats in the context of eternal return, examining the ways in which Borges employs a selective principle in his choice of Yeats. * * * * * From Homer to Shakespeare, Jorge Luis Borges densely punctuates his work with vast and various references to other writers.1 From this mass of writers, the focus of this article is W. B. Yeats, and how the ways in which Borges makes reference to Yeats can be considered rewritings. There is much to be explored in the substance of Yeats’s writing itself and how its themes and preoccupations might be identified as influences on Borges’s writing. However, for the purposes of this article, I will be focusing on Borges’s use of Yeats’s poetry as epigraphs for two of his short stories: ‘Tema del traidor y del héroe’ (‘Theme of the Traitor and the Hero’)2 and ‘Biografía de Tadeo Isidoro Cruz (1829–1874)’ (‘A Biography of Tadeo Isidoro Cruz (1829–1874)’),3 which appeared in Borges’s collections, 1 For the quotation cited in the title of this article, see Jorge Luis Borges, ‘La forma de la espada’, in Obras Completas (Buenos Aires: Emecé Editores, 1974), pp.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313,'761-4700 800/521-0600 Order Number 9427796 Disinheriting the father: The nature and function of feminist rhetorical appropriation Shugart, Helene Anna, Ph.D. The Ohio State University, 1994 Copyright ©1994 by Shugart, Helene Anna.
    [Show full text]
  • A MULTIMODAL CRITICAL DISCOURSE ANALYSIS by Kristin
    Multilingualism, Identity, and Ideology in Popular Culture Texts: A Multimodal Critical Discourse Analysis Item Type text; Electronic Dissertation Authors Helland, Kristin Ingrid Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 04:35:21 Link to Item http://hdl.handle.net/10150/578722 MULTILINGUALISM, IDENTITY, AND IDEOLOGY IN POPULAR CULTURE TEXTS: A MULTIMODAL CRITICAL DISCOURSE ANALYSIS by Kristin Ingrid Helland __________________________ Copyright © Kristin I. Helland 2015 A Dissertation Submitted to the Faculty of the GRADUATE INTERDISCIPLINARY PROGRAM IN SECOND LANGUAGE ACQUISITION AND TEACHING In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2015 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Kristin Ingrid Helland, titled "Multilingualism, Identity, and Ideology in Popular Culture Texts: A Multimodal Critical Discourse Analysis,” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: Linda Waugh _______________________________________________________________________ Date: Richard Ruiz _______________________________________________________________________ Date: Chantelle Warner Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.
    [Show full text]
  • Re-Writing Publishing: Fanfiction and Self-Publication in Urban Fantasy
    RE-WRITING PUBLISHING: FANFICTION AND SELF-PUBLICATION IN URBAN FANTASY JESSICA L BAY BA Film & Video Studies, University of Regina, 2006 MA Popular Culture, Brock University, 2011 A Thesis Submitted to the School of Graduate Studies Of the University of Lethbridge In Partial Fulfilment of the Requirements for the Degree MASTER OF ARTS English University of Lethbridge LETHBRIDGE, ALBERTA, CANADA ©Jessica L Bay, 2014 RE-WRITING PUBLISHING: FANFICTION AND SELF-PUBLICATION IN URBAN FANTASY JESSICA BAY Date of Defence: 27 July 2014 Kiki Benzon Associate Professor PhD Supervisor Elizabeth Galway Associate Professor PhD Thesis Examination Committee Member Daniel P. O’Donnell Professor PhD Thesis Examination Committee Member Aaron Taylor Associate Professor PhD Thesis Examination Committee Member Goldie Morgentaler Professor PhD Chair, Thesis Examination Committee ii Abstract Fanfiction is the practice of fans writing stories using the world and/or characters of an established work of fiction in order to rework this material. This thesis examines the relationship between fanfiction and digital self-publication within the popular fiction genre of urban fantasy. Emerging technologies in digital publishing have created a new world for authors and readers alike. Online publishing companies make it possible for any author to self-publish an ebook and distribute it through a global platform without an agent. The practice of writing fanfiction connected with urban fantasy has combined with the relative ease of digital self-publication to create an environment within which many new authors can explore non-traditional forms of publication. While all genres have access to this possibility, I suggest that urban fantasy is one of the few that is poised to revolutionise the publication industry due to its historical connection with digital fanfiction.
    [Show full text]