This dissertation reconstructs how blood groups were made into pre-eminent objects of human genetic research and powerful markers for producing human biological difference. By tracing the ways in which three British laboratories became international centres for blood-group genetic research, it also offers an expanded history of postwar human genetics. In early 1930s Britain a community of geneticists, including R.A. Fisher and B.S. Haldane, promoted blood groups as having the potential to give the study of human heredity 'a solidly objective foundation, under strict statistical control'. Fisher and colleagues at the Cambridge Galton Serum Unit- especially Robert Race and Arthur Mourant- implemented this vision, the dissertation shows, using the arrangements for large-scale blood transfusion set up early in the Second World War. In 1946, Mourant became director of the Blood Group Reference Laboratory and Race of the Blood Group Research Unit, both at London's Lister Institute. As well as standardising blood-grouping reagents and investigating serological problems for the World Health Organization, these laboratories collected, analysed and published vast quantities of genetic data, making the Lister the global centre for blood-group genetics. During this period, human genetics changed from a marginal research field to an established discipline, partly, the dissertation argues, as a result of this blood-group research. By the 1950s a third of all human genetics publications were on blood groups: as one of the few human traits with simple Mendelian inheritance, they formed the basis for linkage studies and association surveys, and underpinned innovation in theoretical population genetics. Against a backdrop of intense international discussion about the meaning and scope of race science, blood groups were also made into tools for a supposedly 'obj ective' and 'unprejudiced' anthropology. This first history of how blood groups became scientific objects follows their collection in Britain and overseas, the grouping of samples, their transformation into data, and their presentation as credible genetic knowledge. It also offers the first sustained analysis of the functions of genetic nomenclatures. I argue that mid-century human genetics was profoundly influenced by the questions and practices of physical anthropology, by clinical practice, and by international infrastructures for medical research.

The essay explores the events and background of the 1960 lockout at the Miike colleries of the Mitsui Mining Co. in Kyushu, Japan. The dispute, one of the longest and most violent in postwar labour history, occurred at the same time as the anti-U.S.-Japan security treaty struggle and the two events capped 15 years of social turbulence after the war. At issue in the Miike case was the designated dismissal of 1200 miners. In analyzing the events at Miike the author challenges current assumptions about the so-called three pillars of Japanese labour-management relations (lifetime employment, enterprise unions, and seniority-based wages). Couterposed are four factors—capitalist rationalism, worker egalitarianism, enterprise corporatism, and liberal democracy—the combination of which lend Japanese labour-management relations their specific character in any given instance. The essay also explores the particular role of the Japan Federation of Employers Organizations (Nikkeiren) in other labour disputes in the 1950s as well as at Miike. The economic background to the Miike strike is also analyzed, in particular, the political aspects of the rationalization of the coal industry. The final chapter deals with relief measures for unemployed coal miners and coal companies during the 1960s. / Arts, Faculty of / History, Department of / Graduate

This dissertation argues that, since at least the 1960s, there has been a distinguished tradition of Canadian poets who have turned to the novel as a result of their dissatisfaction with the limitations of the lyric and instead have built the lyric into a mode of narrative that contrasts sharply with the descriptive conventions of plot-driven novels. Citing the affinity between the lyric sequence and the visual series, the introduction maintains that the treatment of narrative as a series of frames, as well as the self-conscious dismantling of these framing devices, is a topos in Canadian literature. The term "(un)framing" expresses this double movement. The thesis asserts that Michael Ondaatje, George Bowering, Joy Kogawa, Daphne Marlatt, and Anne Carson (un)frame their novels according to formal precedents established in their long poems. Chapter 2 illustrates the relation of the visual series to the song cycle in Ondaatje's long poems the man with seven toes (1969) and The Collected Works of Billy the Kid (1970), as well as his first novel Coming Through Slaughter (1976). Chapter 3 traces the development of the "serial novel" from Bowering's early serial poems to his trilogy, Autobiology (1972), Curious (1973) , and A Short Sad Book (1977). Chapter 4 argues that Joy Kogawa structures her novel Ohasan (1981) on the concentric narrative model established in her long poem "Dear Euclid" (1974) . Chapter 5 shows how Daphne Marlatt performs a series of variations on the quest narrative that she finds in Hans Christian Andersen's The Snow Queen (1844), and thereby develops a lesbian quest narrative in her long poem Frames of a Story (1968), her novella Zocalo (1977), and her novel Ana Historic (1988). Chapter 6 explores the combination of lyric, essay, and interview in Carson's long poem "Mimnermos: The Brainsex Paintings" (1995) and argues that the long poem forms the basis of her novel in verse, Autobiography of Red (1998). The final chapter assesses some of the strengths and limitations of lyrical fiction and concludes that a thorough grasp of the contemporary long poem is essential to an understanding of the development of the novel in Canada. / Arts, Faculty of / English, Department of / Graduate

This thesis explores some issues related to directed change in Chinese literature and art from 1930 to 1955. The focus is on the performing arts. The main issues of concern are changes in the social organisation of literary and artistic activity, and changes in the conscious model of literature and art held by those leading these social changes. Fieldwork was done in China during the period 1974 to 1977. Since the main concern of the thesis is with an earlier period, extensive library research was done in China, the United States, and Canada. The formative period of the modern transformation of Chinese literature and art was examined by research into the changes of the Kiangsi Soviet, Yenan, and National Consolidation periods. Theoretical concepts derived from the works of Clifford Geertz on ideology, Eric Wolf on peasant political movements, Antonio Gramsci on intellectuals and hegemony, and Raymond Williams on the arts in society were synthesised to form an approach which could illuminate these problems. In this work literature and art were consistently analysed as modes of social activity rather than as purely aesthetic phenomena. The development within leading circles in China of an approach to literature and art based upon recognition of its social and political aspects and a concern with effecting change in these areas is examined, beginning with the rudimentary formulation of ideas:-on this subject in the early 1930's. The effort to transform literature and art by way of carrying out planned and organised alterations in the social practice of literary and artistic activities on the part of both professionals and amateurs is examined in detail. These efforts were found to be theoretically provocative and to have shown some signs of success, particularly in the middle and late 1940's. A partial revision of these policies is noted in the early 1950's, and some possible reasons for that are suggested. / Arts, Faculty of / Sociology, Department of / Graduate

The previous scholarship on British Columbia politics has mentioned but not adequately explained that province's populist culture. My paper responds to this deficiency by exploring the history of British Columbia populism. It examines the northwest (where populist culture was especially strong) as a case study of provincial politics and employs a political discourse analysis that compares language in the inter-war years with that of the post-war years. It also correlates voting and occupational statistics in polling districts in an effort to position language within a socio-economic context. The findings of this study emphasize the neighbouring northwest constituencies of Skeena and Omineca as representative of the dynamic nature of British Columbia political culture in the 1950s: in Skeena, a culture of class polarization dominated politics and led to an initial CCF provincial victory while Omineca had a culture of protest politics that supported Social Credit provincially and the CCF federally. These two differing kinds of politics (i.e. class versus populist politics) came from the same prodevelopment ethos that, while always dominating British Columbia culture, was especially significant in the post-war period. In Skeena, post-war corporate development attracted numerous unionized workers to the region and contributed to the CCF's class politics. The populism of Omineca was also a function of post-war development. It was not (like other populist traditions) connected to localistic or co-operative inclinations but in fact, was almost 1 exclusively anti-elitist. This populism integrated the anti-elite labeling of "the People" with a language that promoted the elite-controlled development of the 1950s, for the integration alleviated anxieties over that elite-control without actually threatening the existing pattern of development. The northwest's populist language was a function of a "non-populist" culture. / Arts, Faculty of / History, Department of / Graduate

The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.

The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988. / Includes bibliographical references. / If one were to seek a unifying factor in this relatively short period of a modern Chinese tradition, it might be surprising to find that amidst the jolts of passing out of a feudal era into the twentieth century, the ancient principles of yin and yang still provide the jagged thread with which to attach the modern Chinese culture to the ancient one. This integration of opposing forces causes the pendulum to swing in any cross section of both material and nonmaterial form. Although this idiosyncratic leitmotiv is often to be found locked in a state of contradiction (the antithesis), the principles nevertheless provide a flexible structure and the leeway for change; as Chinese history has proven that rigidity most often results in decline and defeat. Moreover, it has provided a base for the growth of knowledge, readily adapting to the Marxist and Maoist methodology of dialectical materialism in this modern era. / by Karen K. Marcus. / M.S.

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