Note: / This work is an attempt to evaluate the contribution of Jean Baptiste Meilleur to the development of education in Quebec. It was suggested to me several years ago that I should make a translation of Meilleur’s Memorial de lfEducation which, in addition to containing a history of educational institutions up to his time, reveals many of the difficulties and problems with which he was faced as first Superintendent of Education for Lower Canada 1842-55* However, on becoming familiar with this period of history whence our present educational system is derived, I was prompted to make the present study. [...]

This dissertation is an investigation into the architectural meaning of Kasimir Malevich's suprematist works and, more specifically, into the meaning of his Architectons of horizontal and vertical constructions. A critical "rewinding" of the diverse and seemingly contradictory suprematist periods--starting with the artist's chef d'oeuvre, his Funeral-Performance and moving backwards to the figurative works, the Architectons and then, to the 1913 Black Square, in its beginnings in futurist Zaum poetry--makes patent the fragmentary nature of the meaning of those periods and introduces Suprematism-as-Architecture as the meaning of Suprematism in its entirety. Malevich's extensive written work is the guiding thread we follow in trying to demonstrate how the full meaning of Suprematism echoes, in the context of our Nietzschean world, Martin Heidegger's presentation of questions concerning building. Suprematism-as-Architecture equally opens up avenues of questioning concerning modern man's relation to the attainment of an architectural meaning, i.e., of a thinking-dwelling.

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This dissertation investigates the early twentieth century work of Irish-born interior designer and architect, Eileen Gray. While the existing literature has tended to read Gray and her work primarily in relation to major male modernist movements and figures, this dissertation contends that considering her engagement with the alternative modernisms developed by other women artists and writers at the time will enrich our understanding of the wider social, cultural and historical implications of her work. In order to make sense of what scholars have long recognised as Gray's critically different architecture and design I analyse her work in relation to three of her female contemporaries: the artist Romaine Brooks, and writers Radclyffe Hall and Djuna Barnes. Such an analysis reveals that Gray's critically different work was importantly related to the critically different aesthetics, genders and sexualities that Gray and many of her female contemporaries cultivated at the time. / The first chapter argues that debates about domestic architecture and design were also importantly debates about modern bodies and subjects and provides the framework for the analyses that follow. Chapter 2 compares Gray's early lacquer works, La Voie Lactee (ca. 1912), Le Magicien de la Nuit (1913) and Le Destin (1914) to Romaine Brooks' two paintings from 1910, White Azaleas and The Screen, focusing on their use of decadent aesthetics. Chapter 3 considers Gray's first intricately designed house, E.1027 (1928), in relation to the content and cultural impact of Radclyffe Hall's 1928 novel, The Well of Loneliness. Chapter 4 examines Gray's extremely private and less known house, Tempe a Pailla (1934), in relation to the obscure and non-communicative narrative strategies of Djuna Barnes' 1936 novel, Nightwood. Overall, the argument that binds my dissertation is that Gray's work both contributed and responded to changing conceptions of gendered and sexual subjects in the first half of the last century.

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The thesis examines the use Horacio Quiroga makes of colour and pattern related to colour in the six main collections of his short stories. As no previous systematic study of any aspect of Quiroga's style appears to have been made, it was decided to list and examine in their context all references to colour (including objects and substance of a characteristic colour, as also references to light and dark). A spot check was made on five contemporary Latin American authors in order to ascertain whether the findings were in any way unusual, and it was found: 1. That colour and pattern are closely interconnected, and 2. that black and white play an overwhelmingly large part in Quiroga's use of colour. In Part III the findings are discussed, and reasons for the unusual features sought. Biophysicological factors may be involved in his black and white view of the world, and the very large number of references to glaring light can perhaps be explained along these lines. Quiroga's tendency to polarize, seen also in other aspects of his writing, is considered to be one of the reasons for the predominance of black and white in his colour references, while at the same time it seems clear from what Quiroga has written on the art of writing that he deliberately restricted his colour range for artistic reasons. This capacity to work within the limitations of monochrome links his work (as do other aspects) to the cinema of his day, in which he was intensely interested. Finally, in addition to yielding the above statistical information which throws new light on Quiroga the man and the artist, the study makes it abundantly clear that Quiroga was not, as is so frequently claimed, indifferent to matters of style, but rather that both in theory and in practice he gave much thought to this aspect of his craft.