The author of this study has for sorne time been interested in the status and history of education in Canada as a whole. As a teacher, he has been acutely aware of his ignorance of what goes on in the schools of other provinces, and has been curious to learn what external and historical forces have helped to shape whatever pattern of education Canada can be said to possess. Part of his ignorance was dispelled and some of his curiosity satisfied in doing graduate research on the history of education in Canada. Part of this research involved a consideration of American influences on Canadian education. From this arose the idea of a more extended study of such influences. The present thesis is the result. It was soon determined that no comprehensive or thorough study of this topic was extant. Despite quite heavy labours, the writer is ruefully forced to concede that the situation has not changed. This work is far from constituting a thorough or comprehensive study of American influences on Canadian education. Above all, it does not attempt, nor is it intended to be, an evaluative work. Its basic aim is to document the fact of widespread American influence. To this end, numerous studies, annual reports, surveys, scholarly inquiries and sound secondary works were consulted, many of them extending back to early days. Consideration of these sources is preceded by a brief general study [...]

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For the past two decades, scholars have been reassessing the ways in which Western writers and intellectuals have traditionally misrepresented the non-white world for their own ideological purposes. Orientalism, Edward Said's ground-breaking study of the ways in which Europeans projected their own social problems onto the nations of the Near East in an attempt to take their minds off the same phenomena as they occurred closer to home, was largely responsible for this shift in emphasis. Fantasy America: The United States as Seen Through French and Italian Eyes is an exploration of a parallel occurrence that could easily be dubbed "Occidentalism." More specifically, it is a study of the ways in which French and Italian writers and filmmakers have sought to situate the New World within an Old World context. "Among the (More Advanced) Barbarians" (a.k.a. Chapter One) examines the continuities and discontinuities of French travel writing in America from the days of the Jesuits to the heyday of the existentialists. Certain motifs and idees fixes—the uniqueness of American racism; the "magic" of New York—are first identified and then examined. "A Meeting of the Mafias" (Chapter Two) is more cosmopolitan in scope, tracing the ways in which French, American, and Italian crime fiction have historically influenced each other, as well as the relationship of the policier to differing notions of the nation-state. "The Ruins of Rome" (Chapter Three) demonstrates how Italian intellectuals have looked to the United States for new World Solutions to Old World problems. This chapter encompasses two major sub-themes: the positive possibilities for Italy of "Fordismo" (the American industrial model) and American literature (which was believed to promote political, as well as cultural, liberty). "Lurching Towards the Millennium" picks up the threads of the first three chapters and places them in the contemporary context of globalization, a process which threatens to replace the hegemony of the nation state with the omnipresence of corporate power. The cultural model of Quebec is introduced at this point as a New World/Old World paradigm that embodies the chimerical contradictions of a globe on the brink of a new millennium.

For the past two decades, scholars have been reassessing the ways in which Western writers and intellectuals have traditionally misrepresented the non-white world for their own ideological purposes. Orientalism, Edward Said's ground-breaking study of the ways in which Europeans projected their own social problems onto the nations of the Near East in an attempt to take their minds off the same phenomena as they occurred closer to home, was largely responsible for this shift in emphasis. Fantasy America: The United States as Seen Through French and Italian Eyes is an exploration of a parallel occurrence that could easily be dubbed "Occidentalism." More specifically, it is a study of the ways in which French and Italian writers and filmmakers have sought to situate the New World within an Old World context. "Among the (More Advanced) Barbarians" (a.k.a. Chapter One) examines the continuities and discontinuities of French travel writing in America from the days of the Jesuits to the heyday of the existentialists. Certain motifs and idees fixes—the uniqueness of American racism; the "magic" of New York—are first identified and then examined. "A Meeting of the Mafias" (Chapter Two) is more cosmopolitan in scope, tracing the ways in which French, American, and Italian crime fiction have historically influenced each other, as well as the relationship of the policier to differing notions of the nation-state. "The Ruins of Rome" (Chapter Three) demonstrates how Italian intellectuals have looked to the United States for new World Solutions to Old World problems. This chapter encompasses two major sub-themes: the positive possibilities for Italy of "Fordismo" (the American industrial model) and American literature (which was believed to promote political, as well as cultural, liberty). "Lurching Towards the Millennium" picks up the threads of the first three chapters and places them in the contemporary context of globalization, a process which threatens to replace the hegemony of the nation state with the omnipresence of corporate power. The cultural model of Quebec is introduced at this point as a New World/Old World paradigm that embodies the chimerical contradictions of a globe on the brink of a new millennium. / Arts, Faculty of / English, Department of / Graduate

“Expanding Educational Empires” explores the interventions of American philanthropic foundations in educational programs for British Africa after the First World War. It reveals the extent to which a discourse of education – pedagogy and research – allowed American philanthropic groups, and the numerous governmental and nongovernmental organizations with which they cooperated, to shape the interwar British Empire, and institutionalize a colonial ideology that aligned with American corporate and cultural interests. American philanthropists portrayed these interwar colonial activities as benevolent, apolitical enterprises, glossing over the fact that their influence over the overlapping agencies with which they cooperated filtered easily into official organs of power. By the 1940s, when the Anglo-American partnership no longer served the interests of American-based global capital, American philanthropists performed an effortless volte-face against a mercantilist British Empire. They now found it expedient to invoke both their nation’s ingrained hostility to colonialism and their expertise in native affairs, which had been attained primarily through support of interwar British imperialism, as justification for meddling in the postwar international arena, using education to construct a global community committed to corporate American preferences. This project investigates the close collaboration between American and British agents in the formulation of interwar colonial education, exposing it as a comprehensive program that entailed accumulating knowledge about British territories, particularly in Africa, and disseminating the findings worldwide, thereby establishing new ideological and economic international assumptions. It reveals that American interference in this ambitious project constituted an extension of the longstanding domestic state-building endeavors of early-twentieth-century American philanthropic foundation managers, and their partners. The “unofficial”, humanitarian framework of education allowed a web of American agents to smoothly and remarkably embed themselves in a foreign government’s operations with the ulterior motive of powering American international influence, a story that has significant implications today.

There have been many commercial, cultural, and literary endeavors which have examined connections between African Americans and the Irish. Irish musicians as diverse as De Dannan, U2, and Van Morrison have all voiced their debt to the African-American traditions of gospel, rhythm and blues, and jazz. Popular mediums, such as newspaper cartoons and columns, as well as a recent spate of Irish films (The Commitments, The Crying Game , and In the Name of the Father) have characterized the experience of the Irish as colonized subjects, wholly parallel with the experience of disenfranchised African Americans. In a literary context, most examples link the Harlem Renaissance with the Celtic Revival, relying upon instances when James Weldon Johnson, Alain Locke and others connected the two. Often, however, such comparisons have been made at the expense of racial and cultural differences. / Relying upon Frederick Douglass's affiliation with the Irish, my dissertation works to uphold racial and cultural differences between African Americans and the Irish in order to assert that it is precisely because of their distinctions that both communities have been useful to each other in the articuation of powerful discourses of liberation. I employ a methodology that simultaneously engages the terms of culture, race, gender, and history, and, in so doing, I engage a more precise mode of analysis that acknowledges the importance of interracial and intercultural exchanges, yet does not insist that differing entities be collapsed into one another in order to achieve understanding of their inter-relationship. I contend that the association between African Americans and the Irish is valuable because they have fashioned a formidable language of liberation out of difference. Furthermore, I contribute a new dimension to African-American literary studies which have suggested that the dialectic between the literary and the political springs from a self-contained Black tradition. In my contention that the Irish cannot be discounted when chronicling an African-American ideology of freedom, I lay to rest claims of African-American exceptionalism as well as notions that literature works out of self-contained entities that are separated by stringent national borders.

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This document focuses on background and performance practice of various musical styles encountered in Paquito D'Rivera's The Cape Cod Files. More specifically, the musical styles examined include: boogie-woogie, Argentine milonga, classical and popular Cuban music, American twelve-bar blues, contemporary atonal music, and Cuban danzón. A brief biography of Paquito D'Rivera is included to establish context of the composer's musical background. Each chapter examines one of the four movements and the musical styles found within that movement. A brief history of each musical style is provided to inform appropriate performance practice decisions.