The purpose of this study was to determine how methods of support functioned in the senate debate on the seating of Reed Smoot. In order to clarify the directions of the study, answers to the following questions were sought:1. How extensively were methods of support used by each side?2. What was the frequency of supports per assertion by each side?3. How was the use of support materials distributed among the speakers?4. How many different methods of support were used by each side?5. What were the most frequently used methods of support by each side?6. What were the least frequently used methods of support by each side?7. Did the methods of support which were used differ from the methods discussed in public speaking textbooks?8. Did the winning side differ in the use of methods of support from the losing side?

Andrew Jenson, Assistant Church Historian, was one of the most prolific writers of LDS Church History. Born in Damgren, Denmark, he immigrated to Utah when he was fifteen years old. Because of his lack of training, his early life was spent in various manual labor occupations. None of these was satisfying to him; he longed for something better. He began compiling and writing Church history. In this he found much joy and happiness. His labors were soon recognized by the General Authorities of the LDS church, and he was permanently engaged as a historian in the Church historian's office. He was immediately sent on missions to all of the stakes, missions, and settlements of the Latter-day Saints throughout the world. From these world wide travels he was able to obtain and preserve valuable historical records for the Church. From this material he began to compile a history of all the wards, stakes, branches and missions of the church as well as a "Journal History" of the entire Church. At the time of his death, these manuscript histories totaled 850 large volumes.

Every now and then, in the realms of science and art, we learn that some especially striking figure, who captures our attention, is from Utah. The achievements of the sons and daughters of the Utah pioneers reflect the substantial character of the work of the men and women who laid the foundation of Utah. This foundation was composed of material gathered from every worthy purpose engulfing character and cultural expression of the people. Among other accomplishments, Utah has had a notable development in musical art. Her achievements have not been a result of extraordinary circumstances, but from the long and continued devotion to the fundamentals of musical art and to a most unusual combination of qualities which may be described as her 'personality.' If we were to list the names of those who have contributed to the music history and musical growth of Utah, we would find Charles John Thomas, Ebeneezer Beesley, George Careless, David O. Calder, Evan Stephens, Anthony C. Lund, B. Cecil Gates, and many others. Since the writer has had an interest in the music of Utah, as a part of the history of the Church of Jesus Christ of Latter-day Saints, he was naturally attracted to the works of the men whose names have been listed. With the passing of time, the memory of these men begins to fade. An attempt will be made in this writing to preserve what information may be, at present, available in the way of books, brief newspaper notes, and magazine articles, as well as from prominent citizens who tho were intimately associated with the musician, Brigham Cecil Gates. It is not the purpose of this writing to give B. Cecil Gates' general biography, but to organize only those experiences which brought him into contact with music or musicians. The music we have today has been the contribution of many individuals, each building on the musical heritage of the other. By the same token the musicians of the future may be influenced by the work of the musicians of today. What did B. Cecil Gates contribute to the advancement of music in Utah? Did he help to maintain and improve the musical standards of the state? What did he accomplish as a musician? By a careful study of his life as a composer, director, and teacher of music, these questions can be answered.

La presente tesis tiene como finalidad profundizar el estudio de las distintas dimensiones del fenómeno intertextual en la obra Una impecable soledad del poeta Luis Hernández Camarero y reflexionar sobre las posibilidades de diálogo que se establecen entre las referencias insertadas al texto y la condición material de los manuscritos. El objetivo es comprobar que el empleo de la intertextualidad en esta obra se desempeña como parte de una estrategia para generar espacios discursivos que puedan ser recepcionados en múltiples niveles por diferentes tipos de lectores. Así, dentro del fenómeno intertextual, la cualidad material de los manuscritos puede cumplir un rol significativo, debido a que Hernández alude a su propio método de escritura ológrafo, dándole a la obra un carácter metaficcional. En este sentido, propongo que Una impecable soledad concentra y sintetiza la obra general “inédita” de Hernández en cuanto a sus procedimientos y es la mayor muestra de la compleja trama intertextual de su propuesta poética en todos sus niveles. Además, incluyo un estudio de los materiales que conforman esta obra (Apéndice A), la transcripción de estos en una edición paleográfica en la que he anotado las fuentes de proveniencia de las referencias intertextuales (Apéndice B) y un archivo digital con las imágenes de los manuscritos (Apéndice C).

In this dissertation, I analyze the 20th century text, A Room of One's Own, by Virginia Woolf (2005), and I engage with Woolf's concept of a woman's need for a room of her own in which she can be free to think for herself, study, write, or pursue other interests away from the oppression of patriarchal societal expectations and demands. Through library-based research, I identify four screens in Woolf's work through which she viewed and critiqued culture, and I use these screens to reconceptualize "a room of one's own" in 21st Century terms. I determine that the new "room" is intimately and intricately technological and textual and it is reformulated in the digital spaces of blogs, social media, and Web sites. Further, I introduce the new concept of the technologized politically embodied cyborg, or TPEC, and examine the ways 21st Century TPECs are shaping U.S. culture in progressive ways.

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

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Rabindranath Tagore (1861-1941) is often considered the most important literary figure in modern Bengali history. He lived through the transformation of Bengali culture and society from colonial to anticolonial to post-colonial times. Tagore was a playwright, novelist, philosopher, and songwriter. He wrote and composed nearly 2,500 songs, called Rabindrasangeet. My interlocutors ascribe Tagore’s songs with a particular affective strength that has become a medium for the construction of diasporic identity. In this dissertation, I explore the lives of three generations of women – from precolonial Bengal, post-independence Bengal, and the modern diaspora – and the types of movement they have experienced. I identify a rupture between the familiar and the immediate that accompanies their movement, and characterize this rupture as creating space for multiple identities, reflections, and intimacies, and the continuous building, dismantling, and rebuilding of culture. I argue that the genre of Rabindrasangeet forms and reforms in the diaspora through embodied processes of micro-level performance. Through friendships, kinships, inter-generational relationships, and technologically mediated connections, Rabindrasangeet remains present. It is a tool for self-making, and used to convey unspoken feelings in a gendered world.

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