Through textual analysis and case studies, I explore the formal and interpretative implications that this financial shift has on cultural texts, arguing that popular digital media texts function as unbundled, risk-hedging derivatives through which capital accumulates in diversified cultural hedge funds operated by a handful of transnational media corporations.
Utilizing a methodology combining political economy, data mining and visualization, ethnographic fieldwork, and textual analysis, this dissertation argues that financialization is a little-understood, yet profoundly transformative – and often destructive – force within the cultural industries.
As we witnessed during the financial crash in 2007-2008, the derivative dismantles or unbundles any asset into individual attributes and trades them without trading the asset itself, in contracts such as futures, forwards, options, and swaps.
This project demonstrates how cultural texts employ a similar ‘derivative’ logic, using intertextuality as a financial strategy, not just to sell products through brand integrations, but to maintain domination over the cultural sector through an interconnected referential economy.
It explores the literary presence of the middle class managing daughter in the Victorian home.
Collectively, the novels in this study articulate social anxieties about the unclear and unstable role of daughters in the family, the physically and emotionally challenging work they, and all women, do, and the struggle for daughters to find a place in a family hierarchy, which is often structured not by effort or affection, but by proscribed traditional roles, which do not easily adapt to managing daughters, even if they are the ones holding the family together. Visual rhetoricians have often attempted to understand text-image arguments by privileging one medium over the other, either using text-based rhetorical principles or developing new image-based theories. My dissertation addresses the question of how meaning is made when texts and images are united in multimodal arguments.It describes a hands-on BA/MA workshop held at Newport Film School (May 2011) and subsequent initial implementation of an examinable DME.The paper contextualises the issue in the light of practice-led and practice-based research and of parity with written dissertations. https://doi.org/10.1108/JARHE-02-2012-0011 Download as . I conclude with a discussion of dissociative multimodal pedagogy, applying dissociation to the multimodal composition classroom.” is invested in both a historical consideration of economic conditions through the antebellum era and an examination of how spectral representations depict the effects of such conditions on local publics and individual persons.From this perspective, the project demonstrates how extensively the period’s literature is entangled in the economic: in financial devastation, in the boundaries of seemingly limitless progress, and in the standards of value that order the worth of commodities and the persons who can trade for them. Caldwell (Adviser), Denise Mann, Stephen Mamber, Johanna Drucker.Financialization – the growing influence of financial markets and instruments – is premised on highly-leveraged debt, labor efficiencies, and short-term profits; this project argues that it is transforming cultural production into a highly consolidated industry with rising inequality, further decreasing the diversity and heterogeneity it could provide the public sphere.While the preference is to have students film their dissertation video on campus in the Quentin Burdick Building, we recognize that some doctoral students may leave NDSU prior to finishing the degree requirements and will need an alternative way to film their video.If you plan to return to campus prior to completing your degree (e.g., for your final examination), please follow the instructions on how to schedule a filming appointment.