This study focuses on the decade of 1921-31 in the career of social activist-historian Takamure Itsue (1894-1964). It is important to examine the concepts which developed early in her career as they formed the foundation of her later research on Japanese marriage and women's history. Takamure emerged as a poet and a theorist for the Japanese women's movement in the 1920s amidst the growing labour, agrarian, and feminist movements fueled by the turbulent economic change experienced nationally and internationally. It is essential to understand the pivotal themes which emerged in Itsue's work and to place these concepts within the context of the contributions made by other female activists in the late-Taisho to early Showa period and moreover, within the context of the leftist movement in general. During the first half of the 1920s Takamure had gained recognition as a poet and developed her four-stage theory of women's movements. In her poetry and articles she expressed her views on such matters as love, nature, and freedom. By the mid-1920s, Takamure had rejected the Western stage of women's movements and advocated a Japanese model of "New Feminism" which emphasized freedom, especially for women. She advocated the elimination of political and social authoritarianism which was controlled by the male-centred bureaucracy. She urged a shift towards an Asian society of agrarian self-government which emphasized harmony with nature, freedom from bureaucratic oppression, and women and men sharing in the production of the essentials of life. Through several debates in the late 1920s, including one with Marxist Yamakawa Kikue, Itsue further developed her views of anarchism. The publication of her women's anarchistic magazine, Fujin sensen (Women's front; March 1930-June 1931) allowed Itsue to focus her talents and express her position on issues such as urban versus rural economics and the feminist movement. Involvement with Fujin sensen also gave Takamure the opportunity to broaden her contacts with other anarchists, both male and female, and to expand her knowledge of farmers' issues. When the periodical ceased publication, Itsue, at the age of thirty-seven, embarked on a research plan which would take the rest of her life. Intrigued by the work of the eighteenth-century scholar Motoori Norinaga, she decided first to investigate the history of marriage, which she felt played a major role in the long chronicle of women's oppression. Itsue1s decision resulted from a gradual process strengthened by her activities in the 1920s. Some writers disagree with this statement and argue that Takamure's real contributions to Japanese history were made in the latter half of her life. Others contend that to ignore or negate the activities of the first half of her life presents an imbalanced view of her career. This thesis therefore uses a variety of "re-discovered" primary sources, including scholarly articles, periodicals and books to raise several historiographical issues related to the above two streams of thought. They include the role of Itsue's husband, Kenzo, in the virtual elimination of her anarchistic thought and views on the wartime period from her collected works. Further, Takamure1s intellectual development is discussed with respect to the following issues: (1) her alleged "ideological conversion" in 1940, (2) her agrarian concepts of the 1920s compared with those of the agrarian movement in the 1930s, and (3) her concepts of the Emperor and especially Shinto thought. / Arts, Faculty of / Asian Studies, Department of / Graduate

The ambiguous nature and the importance of ancient traditions adapting to modernization are very evident in the celebration of the winter carnivals held in Montreal between 1883 and 1889 and especially in Quebec City in 1894. In looking at the motivations of their organizers, it is possible to see a primarily economic goal: the attraction of large numbers of American tourists to help the local economy in the slow winter season by offering to them "cultural" spectacles of French and English Canada. According to the newspapers of the period, these new carnivals had no connection at all with the older cyclical and religious celebration of Carnival-Lent-Easter which were well-known and celebrated with enthusiasm in New France from the seventeenth century onwards. In fact the opposite was true. These events were seen as occasions for the amateur athletic clubs of the French and especially the English-speaking middle class of Quebec to put on spectacles of their winter sports like curling, snowshoeing and hockey. Along with this went the expectation of decorous behaviour within the limits of Victorian morality and an end to the traditional public drunkenness and boisterous behaviour traditionally associated with such occasions. The centrepiece of this event was the evening torch-light parade in and around the large ice palace, a tradition which the English speaking organizers of the five Montreal carnivals of the 1880's had borrowed from winter festivals of the Imperial Russian court. Paradoxically, this has survived to become one of most famous symbols of the present Carnaval de Quebec. The participation of middle class French Canadians and even the tacit support of the Catholic Church, one of the most persistent foes of the older carnival celebrations, both contributed immeasurably to the success of the new festival. This can be explained by three related phenomena: 1) A change in social mores in general between the beginning and the end of the nineteenth century gave the Church a large voice over the lives of French Canadians. 2) A greater process of regulation of the society, and especially the city, was reflected in and even responsible for the disappearance of several old community festivals of the past like the carnival. It is not yet possible to say conclusively whether the authorities suppressed these old festivals or whether the public simply abandoned them, though it appears to be a combination of both. 3) The economic transformation of the city of Quebec from a commercial centre to an industrial city, with the consequent social changes. Thus the study of the carnival raises cultural and social questions. By studying the history of the changes in the observance of the carnival and in who observed its celebration, it is possible to understand a little more about the mentality of the urban population of the time and to begin to understand their responses to the other changes taking place in the society around them. / Arts, Faculty of / History, Department of / Graduate

The purpose of this paper is to recount how, under the entrepreneural guidance of John Willard Young, three narrow gauge, shortline railroads were established in and near Salt Lake City, Utah between 1884 and 1894. Once justification for these projects was ascertained, the problems created by local and national politics, construction, and financing were met in a satisfactory manner. The results were two operating railroads and roadbed established for a third line. Operations continued under the control of John W. Young until the depression of 1893 when these railroads went into receivership.

"Art," besides being art, "is also philosophy," Aldous Huxley says in Vulgarity in Literature. Throughout the years in which he has been writing, Huxley has never lost sight of this dictum. His philosophy has ever formed an integral part of all that he has produced, and especially has it been basic in his novels. Because of the importance of philosophy to Huxley, the artist, I have aimed in this study at following the course of his changing philosophy. I have tried to present Huxley in his early years advocating a philosophy of meaninglessness and then, after becoming dissatisfied with such an interpretation of life, evolving a kind of pseudo-humanistic theory which he later discarded in favor of a mystical interpretation of the universe. In addition to showing the "what" of Huxley's philosophy, I have attempted to search out its "whys" as well. I have held his theories up to the light of the sociological background of his times and to the light of his own personality. That is, I have decided that the philosophy to which he holds and has held is subject ot the dictates of social change and to the dictates of his own nature.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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No description available.

Este trabalho tem como intuito o estudo comparado entre Mário de Andrade (1893 - 1945) e José Carlos Mariátegui (1894 - 1930), através de seus textos críticos sobre arte e literatura. A proposta para o desenvolvimento deste estudo centrou-se na análise do projeto estético e ideológico destes autores para que, a partir desta prerrogativa, pudéssemos indagar sobre o papel do artista e do intelectual frente a sua época. No primeiro capítulo desta dissertação abordamos a relação entre Mário de Andrade e José Carlos Mariátegui perante o modernismo brasileiro e peruano. No segundo, tratamos da dicotomia entre a tradição e a modernidade, através de um \"método moderno\" de observação crítica da arte e da literatura, comum a ambos os autores. No terceiro capítulo desenvolvemos uma comparação entre os preceitos advindos das vanguardas européias junto a dois artistas latino-americanos: Candido Portinari e José Sabogal. Por fim, procuramos examinar as condições nas quais o artista e o intelectual desenvolvem suas obras e o conceito de mediação decorrente de suas atuações. / Este trabajo tiene por objetivo el estudio comparado de Mário de Andrade (1893 - 1945) y José Carlos Mariátegui (1894 - 1930), a través de sus textos críticos sobre arte y literatura. La propuesta para el desarrollo de este estudio se centró en el análisis del proyecto estético e ideológico de estos autores para poder indagar, a partir de esta prerrogativa, el papel del artista y del intelectual frente a su época. En el primer capítulo de esta disertación abordamos la relación entre Mário de Andrade y José Carlos Mariátegui frente al modernismo brasileño y peruano. En el segundo, tratamos de la dicotomía entre la tradición y la modernidad, a través de un \"método moderno\" de observación crítica del arte y de la literatura común a ambos autores. En el tercer capítulo desarrollamos una comparación entre los preceptos provenientes de las vanguardias europeas y dos artistas latinoamericanos: Candido Portinari y José Sabogal. Finalmente, procuramos examinar las condiciones en las que el artista y el intelectual desarrollan sus obras y el concepto de mediación que resulta de sus actuaciones.