This paper examines events surrounding Canada's negotiations on the question of recognizing the People's Republic of China in 1949 and 1950, and the reasons why the negotiations failed. The focus is on the work of officials in the Canadian Embassy in Nanking and External Affairs in Ottawa, particularly External Affairs Minster Lester B. Pearson. Both Nanking and External Affairs, Ottawa, strove to promote recognition, which was approved in principal by the Canadian government but never actualized. Pearson and his department, spurred by Canadian officials on the ground in China, chiefly Ambassador T. C. Davis and his second-in-command, China specialist Chester Ronning, favoured early recognition, as a means of influencing the Communist government away from total dependence on the Soviet Union. The Canadian government weighed the desirability of recognition against what it saw as the necessity of solidarity of the North Atlantic alliance with the United Kingdom and the United States, in particular, against what they perceived as the machinations of the Soviet Union in its perceived drive for world domination. In the final analysis the Canadian government, fearful of alienating the United States, opted for solidarity of the Western Alliance on the recognition question. The focus of the essay, based in large measure on External Affairs documents and the Pearson Papers, is to look at the recognition question and how it played out, in Canadian domestic terms, rather than in terms of Great Power relationships, which is largely the preoccupation in the historiography. A brief window of opportunity occurred in late 1949 and early 1950, when Canada might have recognized without potentially serious repercussions on Canada-US relations. That moment passed quickly and the outbreak of the Korean War and China's entry in the conflict against UN forces, essentially destroyed any opportunity for Canada and Communist China to develop normal relations.

In 1957, Canada's National Industrial Design Council (NIDC) organized a display for the Triennale di Milano, an international design exhibition in Milan. This exhibit focused on the development of the "new town" of Kitimat by the Aluminum Company of Canada (Alcan). Along with furnishings and photographs taken of the workers' and guests' quarters were objects that had received NIDC Design Awards. This display was one of many that represented a revitalized Canadian identity to an international audience. The Second World War had thrust Canada onto the international stage as an autonomous nation. Through its development of social, economic and cultural policies, the nation sought to extricate itself from its old world heritage and differentiate itself from its continental partner. By featuring Canada's "Aluminum City," the NIDC presented Canada as a modern nation that encouraged new industry and technology. Simultaneously, the physical location of Kitimat in the northern half of British Columbia enabled the designers to utilize a traditional element of Canadian identity—the North—in new ways. The landscape was now being civilized through the use of modern design and technology, rather than conquered by force. Finally, the juxtaposition of a photograph of a male Alcan worker, at the front of the display, with domestic objects in the display allowed for a blurring of traditional gender binaries. No longer a hard-hatted, hard-headed industrial worker; he was portrayed as a sophisticated individual working in a modern technological sphere in a civilized community. His presence signalled a rethinking of the contrasts between male and female, producer and consumer, public and private. Canada's display problematized these polarities and familiar elements of national identity through its use of domestic objects and furniture. My thesis investigates the suitability of blurring these traditional classifications in order to form a visual representation of Canadian identity in the immediate postwar period.

This study examines the impact of new museological theory on museum education practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a case study that concerns both the negotiation of meanings around Emily Carr's work as they are situated within current and traditional art historical/ historical beliefs, and the desire to offer museum visitors a more sufficient or comprehensive educational experience. The dissertation examines the installation of Carr in a variety of galleries across Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver Art Gallery) as a means of contextualizing a range of problems associated with museum practice. The National Gallery chapter explores issues of ideology raised by the new museology. The chapter concerning the display at the Art Gallery of Greater Victoria concerns the particularities of site and place (Victoria was Carr's birthplace) as well as notions of resonance and contextualization in art displays. The discussion of the Art Gallery of Ontario concerns contextualization of a different sort, the display created with a solid foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in the earlier chapters, by the challenges of post-modem theorists to historical understanding, historiography, and museum practice.

No description available.

Since 1993, diet and fitness promoter Susan Powter has gained significant prominence with her passionate message of health and wellness. This study used fantasy theme analysis to examine Powter's view of reality and her ability to persuade her audience. The analysis revealed a coherent vision, "Stop the Insanity!," within which Powter and other dieters are viewed as heroes. Additionally, the diet and fitness industries are viewed as conspiring villains who starve dieters and exclude the unfit from exercise programs. Powter differentiates herself from these villains by promoting herself as an uneducated but sincere speaker who does not starve or exclude people. Rather, she can identify with dieters because she has experienced their pain and frustration. Because anything is better than the "starvation" and "exclusion" promoted by the diet and fitness experts, Powter's program cannot help but succeed in the eyes of those who share her vision of reality. / Department of Speech Communication

Madame Butterfly is analyzed as a cultural icon. Puccini s Madaina Butterfly and the Butterfly icon, i.e. the submissive Oriental beauty who cannot live after her Western lover betrays her, permeate Western stereotypes of Eastern culture. Through this mindset, miscommunication develops. This concept was popularized in David Henry Hwang's play M. Butterfly, which builds upon Puccini's opera. Through the character's misperceptions of each other, the opera's tragic ending is repeated in Hwang's play after the French diplomat Gallimard realizes that his ideal woman is actually a male spy. Traditions regarding homosexuality and cross-dressing help Song to create Gallimard's feminine ideal. The theater contributes through tan and onnagata roles where men are trained to create perfect feminine illusions. These stereotypes are problematic because they do not allow for the complexities that exist in the theater, on film, and in actual events. Through increased sensitivity and awareness, individuals can see past the stereotypes to see other's complexities. / Department of English

Wong, Yong Yi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 143-151). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Contents --- p.iv / Introduction --- p.1 / Chapter Chapter 1 --- Colours and Letter; Painting and Writing: Literary Impressionism in Pilgrimage --- p.32 / Chapter Chapter 2 --- Notes and Words; Listening and Reading: Music and Reading in Pilgrimage --- p.79 / Chapter Chapter 3 --- Consonance --- p.113 / Conclusion Arts in a Chord --- p.132 / Work Cited --- p.143

Tesis para optar al grado de Magíster en Literatura mención Literatura Chilena e Hispanoamericana / El propósito principal de este trabajo es estudiar en la poesía y la prosa de Gabriela Mistral la imagen de la mujer poeta/ artista, como una forma de adentrarnos en la constitución de su subjetividad. Creo posible acceder a ella si observamos cómo entiende y define su propia labor. Dicho de otro modo, mi intención es realizar un análisis metapoético desde una perspectiva feminista que incorpore también los aportes de la lingüística y el análisis del discurso en el caso de la prosa.

Tesis para optar al grado de Magíster en Literatura mención Literatura Chilena e Hispanoamericana. / De toda la obra Mistraliana, Poema de Chile debe ser uno de los textos menos conocidos por el lector común y de los menos trabajados por la crítica. Cierta crítica lo ha entendido en función de la añoranza que Mistral sentía por su tierra durante su extranjería, época en la que escribe los textos que lo componen, sin llegar a finalizar nunca la obra. Otra parte lo ha visto en términos de su vocación americanista, alineándolo con el Canto General de Neruda Lo cierto es que podemos adscribir la mayor parte de las aproximaciones críticas a Poema de Chile (en adelante PCh) a un par de supuestos de trabajo bien definidos: una mirada androcentrista, que enmarca la comprensión del texto en la esfera de la intimidad, de lo privado, y además de las frustraciones personales de la autora. Junto con ella, encontramos una intención biografista que sitúa al texto como un síntoma de los avatares biográficos de la autora, esforzándose por reducir la brecha entre uno y otro. La fábula de la obra que acometeremos es muy simple: tras morir, la enunciante convertida en sutil fantasma, se devuelve a Chile; desciende en la zona norte donde encuentra a un indiecito atacameño con el que recorre todo el territorio nacional o, en sus propios términos: la Gea chilena. Al término del recorrido, en el extremo austral del territorio, ella regresa donde su Dueño. Simpleza aparente, pues el texto está lleno de cosas que no podemos explicarnos de buenas a primeras.

Después de casi cincuenta años de haber concluido la guerra civil española, Manuel Rivas (A Coruña, 1957) escribe El lápiz del carpintero (1998), novela que se sitúa en medio de la guerra y primeros años de la dictadura franquista. La historia transcurre en Galicia, recuperando algunos hitos de la Historia que se enlazan con los recuerdos de la vida de personajes que vivieron la guerra y con costumbres, tradiciones y personajes típicos de esta región. La novela El lápiz del carpintero es el relato de la vida de Daniel Da Barca y un grupo de intelectuales durante la guerra, tras ser arrestados y transitar por distintas cárceles de España. La narración proviene de dos fuentes: una, desde el guardia carcelero Herbal, que trabaja para los franquistas; otra, desde un narrador omnisciente representado por la figura del lápiz de carpintero, que entregará, principalmente, detalles de la vida de Herbal.