On 4 April, 1957 Egerton Herbert Norman, Canada's Ambassador to Egypt, committed suicide in Cairo. Norman's death was a direct result of sustained American allegations that he was threat to western security. The controversy surrounding his suicide was rekindled in 1986 with the publication of two biographies of Norman. James Barros contends in No Sense of Evil that Norman should have been removed from his high position in Canada's Department of External Affairs because he constituted a security risk. Barros hypothesises about the possibility of a DEA cover-up of Norman's Marxist past (Norman had briefly been a member of the British Communist Party when he was a student at Cambridge) and indeed suggests that Minister of External Affairs, Lester B. Pearson might have been Moscow's ultimate 'mole' who, by defending Norman, was protecting his espionage ring. In Innocence is Not Enough, author Roger Bowen takes issue with such interpretations of Norman's life, scholarship and career. Although Norman had been a Communist, Bowen concludes that no evidence exists to suggest that he was disloyal to Canada. Norman was caught up in a maelstrom of anti-communist hysteria which caused him to be unjustifiably vilified and harassed by the agents of McCarthyism in an era of Cold War paranoia. Instead of choosing a side in the current debate, I have sought to widen it by approaching the story of Norman as a case study in Canadian foreign policy. An examination of Canadian internal security policies in the postwar era, Canada's relationship with the United States and Great Britain, and of Norman himself reveals that the issue at hand is far too complex to be amenable to easy analysis. This thesis was written with the achievement of a more objective analysis as its primary goal. / Arts, Faculty of / Political Science, Department of / Graduate

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. / Arts, Faculty of / History, Department of / Graduate

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. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Orientador: Rosa Fátima de Souza Chaloba / Banca: Rosane Michelli de Castro / Banca: Ana Maria Gonçalves / Banca: Virgínia Pereira da Silva de Ávila / Banca: Alessandra Cristina Furtado / Resumo: Esta tese investiga como Rosalvo Florentino de Souza, na condição de intelectual, colocou-se a serviço do magistério, por meio da imprensa paulista, principalmente no jornal A Gazeta, no período de 1949 a 1957. O objetivo geral é analisar o pensamento educacional de Rosalvo Florentino de Souza, por meio de seus escritos jornalísticos, em relação ao ensino secundário e ao ensino profissional, com vistas a compreender como professores vinculados ao movimento docente se posicionaram sobre os problemas e as políticas educacionais em âmbito nacional e regional. Para fundamentar esta tese, foram consultados, principalmente, os seguintes autores: Pierre Bourdieu, Jean François Sirinelli, Simon Schwartzman, Helena Maria Bousquet Bomeny, Vanda Maria Ribeiro Costa, Otaíza de Oliveira Romanelli, Rosa Fátima de Souza, Maria Luisa Santos Ribeiro, Bruno Bomtempi Junior, dentre outros. A investigação teve como metodologia uma pesquisa histórica, a partir de um corpus composto de uma coleção de recortes de jornais supostamente deixados por Rosalvo Florentino de Souza, no Instituto de Estudos Educacionais "Sud Mennucci". No decorrer da pesquisa, percebeu-se que Rosalvo Florentino de Souza, além de ter sido professor do ensino de grau médio, lecionando tanto em escolas secundárias quanto profissionais, dedicou, como jornalista, grande parte de seus escritos a essas modalidades de ensino. Procurou-se, ainda, nesta tese, analisar a participação de Rosalvo Florentino de Souza nos campos intelectu... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis investigates how Rosalvo Florentino de Souza as intellectual, placed himself at the teaching service by São Paulo press, mainly on A Gazeta newspaper from 1949 to 1957. The general objective is to analyze the educational thought of Rosalvo Florentino de Souza by his newspaper writings concerning Professional and High Schools in order to understand how teachers bound to teaching movement positioned themselves on educational problems and policies nationally and regionally. To substantiate this research we read the following authors: Pierre Bourdieu, Jean François Sirinelli, Simon Schwartzman, Helena Maria Bousquet Bomeny, Vanda Maria Ribeiro Costa, Otaíza de Oliveira Romanelli, Rosa Fátima de Souza, Maria Luisa Santos Ribeiro, Bruno Bomtempi Junior, among others. The investigation had as methodology a historical research from a corpus composed of a set of newspaper clippings allegedly left by Rosalvo Florentino de Souza, at SudMennucci Educational Study Institute. During the research, it was perceived that Rosalvo Florentino de Souza, besides being a teacher for high schools as well as for professional ones, he dedicated, as a journalist, most of his writings to those kinds of institutions. We tried yet in this research to analyze Rosalvo Florentino de Souza's participation in both educational and journalism fields and that made us go deeper in his writings and also made us realize that this teacher-journalist was an intellectual who really placed himself at the São... (Complete abstract click electronic access below) / Doutor

Orientador: Etienne Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-18T22:45:30Z (GMT). No. of bitstreams: 1 OliveiraJunior_AntonioRibeirode_M.pdf: 10029489 bytes, checksum: b7a3eb5f312a32722ed817264fb9e5e5 (MD5) Previous issue date: 1994 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Multimeios

The initial composition of the Fifth Symphony in E-flat Major, Op. 82 was undertaken as a commission to celebrate the composer's fiftieth birthday. Unhappy with the initial efforts, two revisions were then performed; the first was in 1916 and the final revision in 1919. Despite the larger form of the work seeming to have been changed between the 1915 and 1919 versions, the smaller gestures of thematic expression in both versions remained similar. On the surface, it had appeared that the composer had eliminated a movement, changing the 1919 version into a three movement form. This view was not challenged by the composer at the time, and since the earlier versions had either been withdrawn or destroyed, there was no way to compare the original efforts to the final product until recently. In comparing the 1919 version to the original, a definite strong parallel can be seen between the two - despite the changes to form, rearrangement of melodic material, and the seemingly different number of movements. However, the parallel is enough that the 1915 version can be a guide to classifying the 1919 version, an act that has eluded many scholars since the 1920s. Most importantly, comparing the two versions shows that the 1919 version is not a three movement form at all; it is a four movement form that is obscured by the connection of the first and second movements by a thematic bridge that contains elements from both movements, but is not placed within either structure.

The purpose of this thesis was to study and to document the life and work of Mahonri Young as a printmaker. The more specific questions to be answered in this study were: 1. How does Mr. Young rate as a fine printmaker? 2. What are his contributions to American Art as a fine printmaker?

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

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