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RISS 인기검색어
- 검색키워드
- 저자 : Wright-Evans, Kristen Mary (검색결과 4 건)
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Ricci-Flat Anti-Self-Dual Asymptotically Locally Euclidean 4-Manifolds
Wright, Evan Patrick State University of New York at Stony Brook 2013 해외박사(DDOD)
소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.
A classification result for Ricci-flat anti-self-dual asymptotically locally Euclidean 4-manifolds is obtained: they are either hyperkahler (one of the gravitational instantons classified by Kronheimer), or a cyclic quotient of a Gibbons-Hawking space. In the latter case, the action of the deck group is described in terms of the corresponding monopole set in R3, and it is shown that every such quotient is Kähler.
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Wright, Evan Patrick University of Washington 2016 해외박사(DDOD)
소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.
This is a comparative study of Finnish and American fiction written after 1942. The dissertation explores through close reading of literary fiction the composite symbols of human, technology, and non-human natural world. The primary objects of study are the Finnish novels Ennen paivanlaskua ei voi (2000) by Johanna Sinisalo, Janiksen vuosi (1975) by Arto Paasilinna, and Taalla pohjantahden alla (1959) by Vaino Linna, and the American novels Do Androids Dream of Electric Sheep? (1968) by Philip K. Dick, and The Monkey Wrench Gang (1975) by Edward Abbey. Analysis of these novels and others demonstrates that since the 1950s, authors from both the United States and Finland make use of closely related composite symbols to represent changing cultural attitudes toward the non-human natural world. Particular among these symbols are recurring images of distinct technologies---electrically powered information machines, fossil fuel powered transportation machines, pre- and post-industrial resource extraction and production tools and machines and war machines---that either precipitate change or hinder change. The dissertation also defines "symbolic ecology" as a semiotic rhizome: in composite symbols, individual images are important only for how they (re)contextualize other images in the same or related grouping, or ecology, of symbols.
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Kin Aesthetics: Boxing and the Public Arenas of Modernism
Rhodes, Evan Wright University of Virginia 2012 해외박사(DDOD)
소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.
In July of 1892, the city of New Orleans legalized a form of prizefighting using gloves, known commonly as boxing. The act would begin the movement of the sport's epicenter from England to America, and set into motion the commercialization which aided boxing's dramatic rise in popularity and social acceptance in America and abroad. In turn, I argue, boxing would inform the aesthetics of modernist writers in Europe searching for ways to mediate violence. Grounded in the shared spaces, cultures, and practices of literary modernism and boxing, <italic>Kin Aesthetics</italic> pivots recent investigations into modernism and mass culture toward questions of social crisis, and argues for a new, ultimately globalized, understanding of modernism's adversarial culture. Literary modernism's relationship to commercialized cultures such as boxing has long been understood as its most intimate and fraught reckoning with the status of art in modernity. Challenging a longstanding perception of modernism's formal difficulty as hostile toward commercialized culture, "Kin Aesthetics" argues that modernist writers aestheticized boxing's violence and conflict in order to respond to the often brutal exigencies of their shared modernity: the ravages of the First World War and empire, as well as gender and racial inequities. Across four chapters covering authors such as George Bernard Shaw, Ernest Hemingway, Djuna Barnes, Ezra Pound, Mina Loy, James Joyce, and others, I aim to show how modernism's trials in pugilistic writing were less the collapse of a high/low divide or cultural transgression and more a set of novel claims about the ways that modernist writing could signify in the public sphere. The impact of American boxing culture on Eurocentric modernism not only challenges still-prevalent assumptions about modernism's elitism, but raises important questions about how we conventionally talk about American culture's global reach in the twentieth century. The modernism of Joyce, Pound, Loy, and others, represents a moment when embracing resistance, not resisting its embrace, was at the core of American mass culture as a global phenomenon.
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