The aim of this research is to determine the identity of a wooden ship located at the bottom of a shallow bay near Kingston, Ontario. The wreck, designated 'Wreck Baker', underwent an archaeological survey, directed by the author, in 2000. Using the archaeological information gathered in conjunction with historical research at the National Archives of Canada and in secondary sources, Wreck Baker will be identified as Princess Charlotte. On Christmas Day 1814 the frigate HMS Psyche splashed into the ice cold waters of Lake Ontario to take part in a war that had ended one day earlier with the signing of the Treaty of Ghent. The Psyche's launch was the fourth of the year, following the frigates HMS Princess Charlotte, and HMS Prince Regent, and the First Rate HMS St. Lawrence. Three of these four ships now rest at the bottom of Lake Ontario. Two of the wrecks have been identified as St. Lawrence and Prince Regent, the largest ships built by the Royal Navy at Kingston. The size and construction of the third wreck provide important clues to its identity. This wreck, called both Wreck Baker and Deadman Bay II by previous investigators, is located, along with Prince Regent (Wreck Able, Deadman Bay I) on the bottom of Deadman Bay at the north-east corner of Lake Ontario, near Kingston, Ontario.In the summer of 2000 an archaeological survey was undertaken with the aim of recording and understanding the unique construction of Wreck Baker to conclusively determine whether it was Princess Charlotte or Psyche. Understanding the construction of Wreck Baker required dives into Lake Ontario and the National Archives of Canada. The work in Lake Ontario provided insight into how the ship was built and the archival work provided the historical context that explains the ship's novel construction. Wreck Baker's archaeologically recorded shape, length, and construction were compared with the ships in the historical record leading to the identification of Wreck Baker as Princess Charlotte.

The aim of this research is to determine the identity of a wooden ship located at the bottom of a shallow bay near Kingston, Ontario. The wreck, designated 'Wreck Baker', underwent an archaeological survey, directed by the author, in 2000. Using the archaeological information gathered in conjunction with historical research at the National Archives of Canada and in secondary sources, Wreck Baker will be identified as Princess Charlotte. On Christmas Day 1814 the frigate HMS Psyche splashed into the ice cold waters of Lake Ontario to take part in a war that had ended one day earlier with the signing of the Treaty of Ghent. The Psyche's launch was the fourth of the year, following the frigates HMS Princess Charlotte, and HMS Prince Regent, and the First Rate HMS St. Lawrence. Three of these four ships now rest at the bottom of Lake Ontario. Two of the wrecks have been identified as St. Lawrence and Prince Regent, the largest ships built by the Royal Navy at Kingston. The size and construction of the third wreck provide important clues to its identity. This wreck, called both Wreck Baker and Deadman Bay II by previous investigators, is located, along with Prince Regent (Wreck Able, Deadman Bay I) on the bottom of Deadman Bay at the north-east corner of Lake Ontario, near Kingston, Ontario.In the summer of 2000 an archaeological survey was undertaken with the aim of recording and understanding the unique construction of Wreck Baker to conclusively determine whether it was Princess Charlotte or Psyche. Understanding the construction of Wreck Baker required dives into Lake Ontario and the National Archives of Canada. The work in Lake Ontario provided insight into how the ship was built and the archival work provided the historical context that explains the ship's novel construction. Wreck Baker's archaeologically recorded shape, length, and construction were compared with the ships in the historical record leading to the identification of Wreck Baker as Princess Charlotte.

There is no abstract available for this thesis.

Zugl.: München, Universiẗat, Diss., 2008.

The focus of this study is not so much the city in Dickens' novels, but man in the city, and particularly man in Victorian London - a city given over to the world of commerce. The conditions resulting from the victory of businessmen and the middle classes are central concerns in the later novels, and are mirrored in the city landscape: Dickens knows that it is in the industrial cities, and not in the countryside, that the social problems of his age must be resolved. Through their insistence that money can do everything, the new powers of the city turn London into an ultimately demonic world, characterized by isolation, confusion, and sterility; shaped into prisons, labyrinths, and wastelands. As the city expands through economic growth, it becomes a monster, threatening its inhabitants with a fearful 'otherness'. The first chapter of the study deals with the fact of change in Victorian London, a change defined by the victory of middle-class and free-enterprise 'Progress'. The succeeding five chapters describe the various ways in which Dickens' urban men attempt to evade the new facts of their environment: through ignorance and isolation, through the misuse of language, through the repression of sexuality and emotion, through the substitution of cash for all human relationships, and, finally, for the middle-classes, through physical escape into Suburbia. Dickens shows, however, that escape is futile: men can only defeat the demonic city by confronting it, and by rejecting (not protecting) its dehumanizing values. The final chapters offer an examination of the demonic and apocalyptic archetypes that structure Dickens' city and attempt to show that, in the later novels, it is necessary to pass through the demonic gulf in order to be redeemed into a happier vision of city life. The possibility of such a victory for urban men - if only on a limited scale, by a small number of characters - is testified to by the humour throughout the novels, and by the happy resolutions at the end. London as the great commercial city is most extensively treated in Dombey and Son, Bleak House, Little,Dorrit, Great Expectations, and Our Mutual Friend, and these are the novels round which most of the study is centred. Although in Hard Times Dickens focuses specifically on the new industrial city, Coketown is only partially like London: everything is on a much smaller - almost on an intimate - scale, and it lacks the compensating 'big city' pleasures that make life in London a more complex issue than merely Man versus Progress. For these reasons, Hard Times is not dealt with as a central text. By their extensive focus on life outside London, Martin Chuzzlewit and David Copperfield are also limited in their applications' to this particular study. In both these novels, the hero's struggle for happiness and self-knowledge is determined only to a small degree by the city itself. The early city worlds of Pickwick Papers and Oliver Twist are used for two purposes. They point to some of the continuing concerns of Dickens' art, and they serve as a contrast to the later experiences of urban life: Pickwick Papers, through its ability to assimilate even the Fleet into a joyous vision of the world; and Oliver Twist, through its opposing insistence on a totally evil city. In the later novels, Dickens mediates between the two extremes: London lies somewhere between Eden and Hell. The study is structured along thematic lines, rather than through a series of self-contained essays on individual novels. In its organization, therefore, it must sometimes sacrifice the sense of each novel as an autonomous :word-world with its own unique logic, in order to suggest the coherence within Dickens' works as a whole. The order of development mimics, in a sense, the Dickensian response to the city: it moves cumulatively and inevitably from the discussion of disintegration and isolation of the first chapters towards a vision of London as the demonic city in Chapter VII, and it is only at the end, in the concluding section, that it can move out of the hellish gulf into the world of comedy. For Dickens too, the comic redemption is essential and cannot be left out, but in relationship to the totality of the city, it takes up only a fraction of the whole. / Arts, Faculty of / English, Department of / Graduate

While deception and its artifices have been recognized as central to Browning's poetry, they have not been examined in his late works. The dominating concept in The Ring and the Book that falsehood is ubiquitous in human existence provides Browning with impetus for the next decade, as he attempts further to understand and dramatize both the means by which man obscures truth, and the circumstances, if any, under which man may act according to some sort of moral perception. Prince Hohenstiel-Schwangau presents a persona who manipulates point of view in order to mask his insecurity. His final realization that his political benevolence is an illusion leads not to salvation but to an impasse, since the truth he perceives is that all language is inevitably false, and therefore all arguments inevitably futile. Once he relinquishes deception, he is at the mercy of chance. Don Juan in Fifine at the Fair flaunts the artifices of language and mind overtly and deliberately. He apprehends both the elements of deception in all perceptual processes, and his dependence for knowledge on the misleading appearances of reality; consequently, he realizes a "histrionic truth" which is based on this realistic understanding of man's limitations and which enables him momentarily to reconcile the conflicting impulses of soul and flesh. In Red Cotton Night-Cap Country, Miranda's disastrous leap of faith is the result of his insufficient strength of intellect to perceive properly the function of religious symbol. All the characters in this story adhere to external signs, either symbols of belief or indications of social convention. Clara, the cousins and the clergy exploit the possibilities of deception, taking advantage of Miranda's impulsiveness and flawed perception. His death is rational in a perverse sense according to his circumstances and training, but his reasoning functions in terms of a naive literalism. He dies, a victim of the inept attempt of his fancy to merge the reality of illusion with the reality of physical fact. The Inn Album dramatizes the reaction of three people to the knowledge and discovery of falsehood. The Lord views deception as characterizing human morality and he exploits its possibilities to impose his cynical design on others. The Youth acts impulsively and naturally to destroy it, but he retains the same obtuse idealism at the end with which he admires the Lord at the beginning—he has swapped a master for a mistress. The Lady reacts with horror, trying to escape from falsehood and to purify its leprous touch—her suicide is a kind of martyrdom to the cause of tainted purity. The Lord's social artifices, epitomizing human pretentiousness and sophisticated behaviour, are contrasted with the spontaneous beauty and natural art of the landscape. Man's deceit outrages the civilization of the natural world. None of these poems offers the purely generous response of right against wrong; even good actions retain an element of selfishness. Browning does, however, allow the reader to judge his characters and his point of view which underlies each poem testifies to at least the possibility of abstracting and authenticating values from human experience. Much of the interest in these dramas of consciousness lies in the paradoxical ability of reason to perceive good or unselfishness while it simultaneously deceives itself. The refinement of intellect leads to the obscurity of earthly reality as well as to the apprehension of its essentially ambiguous nature. These poems are dramatic, unified and more intelligible than many critics have admitted. They undoubtedly emphasize the experience of the mind, but they are not devoid-of emotion. Juan's sense of the "histrionic truth" combines Browning's aesthetic with his metaphysic, and Browning as always locates intellectual questions within the labyrinths of personality. / Arts, Faculty of / English, Department of / Graduate

El tema de este trabajo surgió del estudio de los decretos de las Cortes de Cádiz, y más concretamente de la investigación acerca de la libertad de imprenta iniciados en el seminario de Independencia del Instituto Riva Agüero. / Tesis

There is no abstract available for this thesis.

No description available.

No description available.