"2002." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (p. 207-239). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

The Korean Independence Movement was a four decades long endeavor from 1905 to 1945 by Koreans to liberate Korea from Japanese colonization. Korean immigrants in America played a vital role in the movement. They contributed money, organized patriotic activities in their communities to raise awareness and issued appeals for support to the U.S. government. Throughout the years, and from generation to generation, Korean immigrants remained loyal to Korea's cause for liberation. This study discusses how this intense patriotic involvement to their homeland affected Koreans immigrants' experiences in America, namely, how such intense overseas nationalism shaped their Americanization process. Korean immigrants have told about their experiences in the form of memoirs, short narratives, interviews and speeches. These provide many first-person perspectives from which to understand Korean immigrants' changing senses of community, patriotism and acculturation. Many of these sources have come available in the last twenty years, but academic scholars have left these source largely untouched. Historians of Korean immigrant history often discuss the political components of the K.I.M. Although recognizing the importance of the Korean Independence Movement to Korean immigrants, scholars have, nonetheless, said very little as to how this movement affected them socially. This study examines how America influenced historical developments culturally by shaping the attitudes of Korea's most politically active nationalists--the Korean immigrants in America. Furthermore, this study argues that Koreans in America utilized the K.I.M. for much more than Korean independence and that their motives evolved throughout the decades. The early immigrants used the K.I.M. as a means to establish a Korean community and establish social networks while the later activists, particularly after 1919, used their demonstrations to broadcast their distinct Asian identity as well as their assimilation and loyalty to America. More simply put, Korean patriotism and Korean immigrant "Americanization," are intimately connected.

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Doris Lessing and Tsitsi Dangarembga write fiction set in Zimbabwe, the former Southern Rhodesia. Although Lessing grew up as a white settler and Dangarembga, a generation later, as part of the colonized African population, the women sometimes address similar issues. Both write of young girls trying to find a speaking position; under colonialism, what they want to say cannot be said. Lessing's first-person stories differ from her more distant third-person works, which show how white settlers either refuse to recognize their own complicity within the colonial system or accept living a compromised life. Her younger narrators are as yet innocent; the stories often focus on the character's discovery of her own responsibility as a member of the white ruling class. However, these girls have varying levels of self awareness; some seem unaware of the implications of their stories, while others catch glimpses of their own complicity, yet are unable to act. Although Lessing herself is highly critical of colonialism, her stories sometimes risk textually replicating and thus reinforcing the values she criticizes. Dangarembga's first-person novel Nervous Conditions (1988) portrays Tambu, a girl from a poor African family, and her more modern cousin Nyasha. Tambu narrates the story as an adult, Although Nyasha resents colonialism and her patriarchal family, Tambu proceeds with her education, attempting to ignore the injustice around her. Because of the use of an adult narrator, the reader sees what Tambu the child cannot see. Nyasha is unable to voice her concerns; her protest surfaces as anorexia. Both Lessing's and Dangarembga's characters have difficulty speaking because colonialism does not include a space for what they want to say; even if they spoke, their words could make little difference. Lessing' s characters can "speak" only by leaving the country, as Lessing herself did. Dangarembga's Tambu may or may not have "escaped" her situation; by the book's publication, Rhodesia had overcome white rule, and it may be this political change that allows Tambu to tell her story. / Graduation date: 2002

El objeto de este trabajo es el arte público de Lima y su relación con los procesos de "hacer ciudad" durante el periodo 1919-1930. En este trabajo la autora identifica el gobierno de Augusto B. Leguía (1919 - 1930) como un momento clave dentro de la historia republicana en que se dio un proyecto racional, armónico y funcional para el desarrollo de la ciudad de Lima Metropolitana. Una primera parte de antecedentes se remontan a la demolición de las murallas de Lima, abarcando las propuestas de modernización de la ciudad hasta el inicio de 1919. La propuesta de la "Patria Nueva", el discurso político y económico del gobierno del Oncenio, es el sustento clave de la concepción de un proyecto urbano y de producción artística-escultórica y paisajística, concentrada, mayormente, en el estilo Neo-Peruano. La autora incluye un registro pormenorizado de todos los monumentos en espacios públicos de la época, analizando tendencias, estilos, y contextos en la ciudad y su entorno, así como una tipología de parques, plazas, alamedas, avenidas y demás espacios públicos. La pertinencia de la investigación va mas allá de cubrir vacíos en la investigación del tema y exponer logros y contradicciones del proyecto urbanístico y de ornato, planteando interrogantes acerca del futuro urbano de Lima. / The subject of this dissertation is Lima's public art and its relationship with the processes of "city making", during the period 1919-1930. In this dissertation, the author identifies the government of Augusto B. Leguía (1919 - 1930), called also the Oncenio, as a key moment in the republican history of Peru, when there was a rational, harmonious and functional proposal of development of the city of Lima. Starting in 1866, when the city walls were demolished, the author analyzes successive modernizing urban proposals up to 1919. The political and economic ideas that support the scheme of the "Patria Nueva" are the basis of an urban design and production of artistic and sculptural landscape, concentrated mostly in the style called "Neo-Peruvian". The author includes a detailed record of spaces and monuments, parks, plazas, malls, streets, built in the Oncenio in public spaces, analyzing trends, styles, and contexts in the city and its surroundings. The relevance of the research goes beyond the covering historic research gaps, in its search of the achievements and contradictions of this project, in order to raise questions about the urban future of Lima.

Nous étudions le phénomène de l'émergence d'une artère commerciale, la rue Sainte-Catherine à Montréal de 1870 à 1913. À travers deux segments de cette rue, nous analysons la mise en place de la structure commerciale. Le grand magasin a été le principal objet d'attention des historiens qui se sont penchés sur la transformation de cette rue en artère commerciale. Pourtant, une muItitude de commerces côtoient le grand magasin. Bien que le rôle de ce dernier soit important dans la mise en place de la structure commerciale, nous proposons qu'il n'explique pas tout le phénomène. Il est vrai que, comme le démontre notre étude, son arrivée coïncide avec une phase de consolidation des activités d'affaires et du commerce sur la rue dans les années 1890. Toutefois, avant cette décennie, les activités d'affaires émergent déjà sur la rue: on voit se profiler les attributs qui caractériseront le commerce après 1890, sans égard à la présence du grand magasin. Les sources sur lesquelles nous nous appuyons sont les rôles d'évaluation de la Ville de Montréal, les annuaires Lovell, ainsi que des cartes de la ville de l'époque. Notre étude se divise en deux axes de recherche. D'abord, nous cherchons à dégager la chronologie du phénomène de l'émergence des activités d'affaires par le biais des fonctions économiques et sociales. Le déclin de la fonction résidentielle se produit en deux temps. De 1870 à 1890, cette fonction s'arrime aux fonctions économiques: les logements deviennent le domicile de boutiquiers et de leur famille. Après 1890, le nombre de résidences décline; la cohabitation entre lieu de travail et vie domestique diminue donc. L'émergence des activités d'affaires se fait elle aussi en deux périodes continues: 1870-1890 et 1890-1913. Avant 1890, les loyers d'affaires augmentent en nombre et deviennent majoritaires. L'année 1890 marque un renversement de situation au chapitre de la vocation commerciale: la section de rue ouest surpasse alors celle de l'est. La seconde phase en est une de consolidation et de diversification des activités d'affaires. Après 1890, les activités économiques occupent tous les espaces sur la rue. Ensuite, notre analyse est consacrée au commerce de détail. L'examen de l'évolution de ses caractéristiques fait ressortir le passage d'un commerce «de tous les jours» à un commerce plus spécialisé et centré sur les biens durables et de luxe, ainsi que sur l'habillement. Bien avant l'arrivée ou l'émergence du grand magasin dans les années 1890, d'importantes transformations sont en cours sur la rue. L'analyse de la structure économique démontre ensuite que, malgré le poids économique du grand magasin, l'univers commercial reste diversifié. Il se dégage aussi des différences dans l'évolution des segments rue est et ouest. Outre la chronologie des mutations, les différences s'expriment par l'envergure des établissements en place. L'arrivée des grands magasins semble amplifier les écarts économiques entre les segments, à la faveur de l'ouest. Enfin, l'analyse de l'organisation spatiale du commerce indique que l'impact du grand magasin n'est pas le même à l'est, où le commerce se concentre autour du grand magasin, et à l'ouest, où l'arrivée des grands semble plutôt participer à un processus d'étalement et d'uniformisation des activités commerciales. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Montréal, XIXe siècle, XXe siècle, Rue Sainte-Catherine, Grand magasin, Commerce de détail.

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This thesis traces the self-creation and autonomy of the woman artist figure in Virginia Woolf's To the Lighthouse, Doris Lessing's The Golden Notebook, and Margaret Atwood's Cat's Eye. The first chapter conveys the progression of autonomy and self-creation in Western-European philosophy through contemporary thinkers such as Charles Taylor, Robert Pippin, Alexander Nehamas, and Richard Rorty. This narrative culminates in a rift between public and private, resulting from the push--especially by Nietzsche--toward a radical, unmediated independence. Taylor and Rorty envision different ways to resolve the public/private rift, yet neither philosopher distinguishes how this rift has affected women by enclosing them in the private, barring them from the public, and delimiting their autonomy. The second chapter focusses on each woman artist's resistance to socially scripted roles, accompanied by theories about resistance: Woolf with Rachel Blau DuPlessis on narrative resistance, Lessing with Julia Kristeva on dissidence, and Atwood with Stephen Hawking and Kristeva on space-time. The third chapter contrasts the narratives of chapters 1 and 2 and reveals how the woman artist avoids the problematic public/private rift by incorporating the ethics developed within the private into her art; she balances her creative goals with responsibility to others. Drawing on the work of women moral theorists, this thesis suggests that women's self-creation and autonomy result in an undervalued but nevertheless workable solution to the public/private rift.

The aim of this dissertation is to contextualise the use of porcelain by the South African ceramist Thelma Marcuson (1919-2009). This paper focuses on her ceramics in the Tatham Art Gallery’s Permanent Collection in Pietermaritzburg. I hope to give recognition to Marcuson as she is considered one of the pioneer South African studio potters by Garth Clark and Lynne Wagner’s in Potters of Southern Africa as she is ranked amongst the top fifteen in that distinct group (appendix 4: Potters’ art demo). This dissertation is divided into three chapters. Chapter one primarily focuses on the influence of contemporary European studio potters on Marcuson’s work, in particular that of Lucie Rie, Mary Rogers and Ruth Duckworth. This chapter also examines the development of ceramics from industrial ceramics, involving mass productions in factories, to the modernist revival of studio ceramics by Bernard Leach, where each piece was handmade and often regarded as an art form, as in the work of the twentieth century British ceramist William Staite-Murray. Chapter two focuses on Marcuson and South African studio ceramics and considers South African potters who had an influence on Marcuson’s early training, and also looks at her involvement with the Association of Potters of Southern Africa (APSA) founded in 1972. In the last section of this chapter I will discuss ceramic practices and technical issues about porcelain and high-firing glazes, specifying how they are made and used, with particular reference to South African developments and local studio potters. As Marcuson was particularly interested in porcelain, this chapter also outlines glaze applications with specific reference to porcelain and firing methods. Chapter three focuses on Marcuson’s ceramics and offers in particular an analysis of the nine pieces of her work in the Permanent Collection of the Tatham Art Gallery in Pietermaritzburg. Through my research I was able to acquire photographic documentation from other South African museums for comparative purposes, such as the Durban Art Gallery and the William Humphreys Art Gallery in Kimberley, as well as some private collections (see appendix 1). / Thesis (M.A)-University of KwaZulu-Natal, Pietermaritzburg, 2012.