This thesis presentation will expand on my personal experience studying abroad in Blagoevgrad, Bulgaria. I travelled there the semester of the unexpected pandemic causing a worldwide shutdown. I take the reader through past theatrical experience and my training as an actor at ETSU. These things led me to my personal revelation of connecting art with travel and the importance of adapting in every situation. I share with the reader times of trial during my training as an artist along with lessons I learned before the ultimate expedition to Bulgaria, which tied all of the lessons into one. I reflect on what it means to be a theatre artist. I will also look into how travelling to new places has been a tool for future creative projects. With the aide of my Bulgarian and Tennessee professors I touch on Meisner’s laws of acting as well as the general idea of travelling as a tool for anyone thirsty for new perspectives.

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<p>The Algonkian speaking peoples of Georgian Bay occupied the shoreline and island environment of eastern Lake Huron, in Georgian Bay, between the French and Severn Rivers. They were likely the product of a constant cultural flux of peoples who came to occupy the shores and islands of Georgian Bay perhaps as early as 1200 A.D., although the archaeological evidence is problematic. Often regarded by vague reference by historical observers who included them with the Nipissing and the Ottawa during the seventeenth century, the Georgian Bay Algonkian speaking peoples were likely peoples of various origin. During the nineteenth century they appear in the historical records as Mississauga, ojibwa, and Potowatomi, although these are often political identifications.</p> <p>This study attempts to piece together the ethnohistory of the Georgian Bay Algonkian by presenting an ethnographic account dating from precontact times to 1850. The presence of Algonkian speaking peoples in the Georgian Bay region has largely been neglected by ethnohistorians. Identified as convenient trading partners (Heidenreich 1971: 293), and economic dependents of the Huron (Trigger 1976, 1: 168; 1985: 205), the Georgian Bay Algonkian speaking peoples have been considered to have had little influence in the region (Jenness 1932: 276). It is not surprising that little is known about them. Culturally, they have been relegated to a rather ethnographically ambiguous position in Great Lakes culture history.</p> <p>By examining the archaeological, environmental, and historical record this study argues that the Algonkian speaking peoples of Georgian Bay were strongly influenced by both their geographic and political position in an environment where year round Subsistence was available from fishing, small game mammals, and corn (either traded or cultivated). This economy in turn, influenced their ritual, political and social organization. The extensive temporal depth of this adaptation is followed through an examination of regionally important historical influences, including a devastating war with the Iroquois, various fur trades, an influx of native immigration, government sponsored settlement programs, and land surrenders. Within this context, the history of the Algonkian speaking people of Georgian Bay achieved cultural definition.</p> / Doctor of Philosophy (PhD)

<p>The twentieth century has been a time of world wars, violent revolutions and radical social movements. Conversely, perhaps in response to the former, there has also been an upsurge in the phenomenon of pacifism, especially in the English speaking world. This thesis examines the development of pacifism in Canada in the first half of this century and describes its radicalization in conjunction with the trend towards radical social change. However, although pacifism in Canada, as elsewhere in the Western world, was in a state of transition during this period, the manner and degree of its transformation reflected its peculiar composition.</p> <p>Canadian pacifism can trace its origins to a varied European, British and American past inspired by religious belief. However, unlike the British pacifist movement which was also heavily secular, and the American, with its enlightenment and isolationist tendencies, the Canadian pacifist heritage \Va s rooted in two distinct but complementary traditions~ both of which were heavily religious in character. One was the historic non-resistance of pacifist religious sects which tried to remain separate from the social mainstream. The other was the liberal Protestant and humanitarian tradition associated with the progressive reform movement. Both traditions underwent an important transition in the course of maintaining a pacifist witness against war during the twentieth century.</p> <p>Although sectarian pacifists, by far the largest and most consistent element in Canadian pacifism, made a far-reaching adjustment within Canadian society, it was liberal pacifists who experienced a general radicalization. From the time of the First War increasing numbers of those who wished to exercise a pacifist witness were forced to abandon liberal reformism for some variant of the socialist creed. In effect, liberal pacifist ideals were combined with radical criticism of Canadian social, political and economic structures. Although liberal pacifist hopes resurfaced in post-war enthusiasm for the league of Nations and the disarmament campaign, the inter-war peace movement, including such groups as the Society of Friends, the Women1s International league for Peace and Freedom, the Fellowship of Reconciliation and the Fellowship for a Christian Social Order, reflected the socially radical pacifism the Great War had bred. This became especially evident during the depression and for a time it appeared a pacifist-socialist alignment was in the forefront of Canadian social thought. Increased international violence by the mid-thirties, however, placed pacifists in a serious crisis -- their pursuit of social justice came into direct conflict with their commitment to non-violence. Consequently, as social radicals began to abandon pacifism for the fight against fascism, the Canadian peace movement was severely weakened.</p> <p>With the exception of the Quakers, who bridged the primary division in the Canadian peace movement, the historic peace sects were not as open to view, but once confronted with the renewed challenge of conscription in the 1940's, sectarian pacifists joined with socially active pacifists in a concerted effort to preserve the right of individual conscience and to resist compulsory military service. Some pacifists, especially those with liberal roots, went further and sought and found a realistic pacifist response to wartime conditions, over and above moral indignation or isolation. Regardless of their precise actions, however, Canadian pacifists successfully exercised their witness against war.</p> <p>The chronological development of pacifism and pacifist organizations discussed in the thesis reflects the historical evidence gathered from primary sources across Canada, from private papers and government records to files of organizations. Moreover, much of the record has been confirmed, enhanced and extended through personal correspondence and numerous oral interviews with Canadian pacifists of the period.</p> <p>The thesis concludes that Canadian pacifists were a small but forceful minority who exercised a dual function in Canada: prophecy of an ideal of peace and justice and reconciliation of wartime tensions in society. Above all, however, in its uncompromising emphasis upon questions of conscience, the pacifist witness against war both directly and indirectly helped preserve enduring moral principles underlying Canadian culture.</p> / Doctor of Philosophy (PhD)

<p>The poetry and music of the trouveres flourished in the twelfth- and thirteenthcenturies. Trouvere works, found in collections called chansonniers, offer interesting challenges for researchers for many of these works as a whole still lie untranscribed. Existing in manuscript form in the Arras Municipal Library in France, the Chansonnier d'Arras consists of 42 chansons and 31 jeux partis (some with lacunae). A facsimile edition was published in 1925 by the Societe des Anciens Textes Francais under the editorship of Alfred Jeanroy.</p> <p>The following thesis is a transcription of the Arras chansonnier with an introduction that explores several facets of the critical approach taken. The first section places the manuscript historically in relation to other trouvere manuscripts. This is followed by a section which deals with the city of Arras and the impact this city had on the trouveres, Two analytical sections follow, one on mensural notation and the other on melodies. The section on mensural notation outlines the two opposing ideas concerning the application of rhythmic modes to these songs; the section on melodies focuses on the difficulty of analyzing these works using modal and tonal systems. A section on performance practice follows this, in which evidence from thirteenth- and fourteenth-century literature are used as resources for performance practice. The final section is the editorial policy, which explains I) the orthography of the manuscript and, 2) the approach taken in the transcription.</p> / Master of Arts (MA)

<p>Phenomenology is oharacteristically assooiated with the motto 'to the things themselves', or even more tellingly, 'back tc the things themselves'. This injunction makes senSe only against the background of the belief that somehow we are at Some remove from 'the things themselves' tc which we are inv i ted to return. In phenomenology, this 'origin' is variously determined as 'experience', 'existence', 'the life-world', and sa on. Much depends upon how we understand thiS return that phenomenology advocates and practises. On one interpretation, phenomenology claims to extricate itself from prejudices, which distort or otherwise falSify 'experience', in favour of achieving a direct and presuppositionless contact with experience, as if there were something like a pristine experience, a raw datum, that could be disclosed in a presuppositionless seeinga Such is how Derrida, for example, interprets phenomenology, and it is on these grounds that he relegates it to the 'metaphysios of presence'. Several commentatorS have argued (and Derrida himself has suggested) that Merleau-Ponty's The Visible and the Invisible breaks with phenomenology in the above Sense a argue that even in hiS Phenomenology of Perception (and to a lesser extent in Husserl's later writings) phenomenology is in fact less naive than Derrida and others would have uS believe. Admittedly, conservative prejudioeS are at work in the Phenomenology, but on the whole the momentum of the text is on the Side of a break with and implicit critique of the metaphysicS of presence. Certain indications to the contrary notwithstanding, Merleau-Ponty attempts to articulate a conception of phenomenology significantly different than the one described above~ a conception that would take into account the fact that phenomenology is itself a point of view and as such mediates the disclosure of lthe things themselves'. Merleau-Ponty focuses this mediation with reference to language, and more preoisely with referenoe to phenomenology as itself an instance of language, Such development as occurS in his philosophy fleshes out, and does not repudiate, the teaching of the Phenomenology concerning language and expression. The phenomenologist neither mirrors nor coincides with experience in the sense of a full presence on the other side of speech. He expresses experience, and hiS expression is necessarily a creative deed. ThiS emphaSiS upon phenomenology's creativity has not received due recognition in the literature on Marleau-Panty. Merleau-Ponty's philosophy, argue, is best characterized as an attempt to reconcile the ideas of adequation and creativity. It embraces both the demand to return to 'the things themselves', the demand to be faithful to experience, and the recognition that, in virtue of its own linguisticality, phenomenology's rendering of experience is neoessarily creative. ThiS tenSion, which traoe throughout Herleau-Ponty's writings, is what is comprehended in the paradOXical expression 'creative adequation'.</p> / Doctor of Philosophy (PhD)

<p>This interdisciplinary thesis explores and endeavours to demonstrate the compositegenres and forms demanded by contemporary autobiographical narratives in order toaccomplish the textual distillation of a remote history. It focuses on the processes bywhich authors of personal, critically self-conscious and often culturally specific narratives, cognisant of the immutable experience of recovering disparate histories,engage the reader in generating meaning by moving beyond the traditional truth-claim ofthe autobiographical toward an interactive, process-oriented documentation of a physical/psychical journey.</p> <p>The critical component of this study examines the impulses behind and strategies of Kristjana Gunnars' The Prowler and Michael Ondaatje's Running in the Family, two autobiographical metafictions wherein the author casts back to a remote time and place inthe quest for familial and cultural identity. I reference theories of autobiography, thepostmodern and readerresponse to indicate how such multi-form and cross-genre textsare constructed and how they function both as literature and as exponents of a newly-flexible, interrelated creative and critical practice.</p> <p>I introduce several figurative terms in modelling the interaction of writer and reader around the narrative and critical content of the text; the most prominent of these is thenotion of a resting place in the text where the writer's meta-narrative, or metafiction,resonates with the reader's conception of the process of recovering a fragmented subjectivity</p> <p>The insertion of my own biofictional writing and the accompanying photographic and artimages is meant to activate the critical models put forth, engaging my reader in the creation of bridges between different functional levels in the postmodern or compositetext: that of the story and the meta-story, the literary and the critical, or the linguistic and the visual. There emerges a persistent circularity in my treatment of Gunnars and Ondaatje, indicative of the methodology of the texts themselves.</p> / Master of Arts (MA)

<p>To study and (1) to describe the history of the elderly offender who have committed an indictable offense in Canada (or felony in the U.S.A.) and who have used the insanity defense; (2) to begin to gather statistics on the prevelance of this group in the criminal justice system, and (3) to address the social policy issue of which system benefits from labelling the elderly offender mentally ill. In terms of the latter point, this work will attempt to show the consequences of the elderly offender being labelled insane. The aims of this study is to investigate "The Elderly offender and the Insanity Defense in Canada and the United States, implications for criminal law reform and mental health states (status) evaluation practice." This work follows the elderly offender and their processing, labelling, consequences of being reforms and future social policies affecting elderly offenders aged 55 and over. The results show that the elderly offender is subject to a "ping-pong" scenario via the criminal justice system to mental health institutions to nursing homes, general hospital, or community group homes to the street where a small percentage recidivate activating another "ping-pong" scenario.</p> / Bachelor of Arts (BA)

<p>This thesis deals with the Old English poem Beowulf. Through a detailed study of it and of other literature of a heroic and tragic nature, it explores the character, attributes, and achievements of a hero of this kind of fiction and draws some conclusions about the significance which may be found in the hero's nature and accomplishments. In the process, other literary works, not necessarily epic or Anglo-Saxon, are referred to, enabling the hero to be studied from a number of illuminating angles. Each of the first three chapters puts Beowulf in a particular context; the last two chapters combine the different threads of development and present a conclusion.</p> / Master of Arts (MA)

<p>There is a substantial amount of academic criticismon James Joyce, of which only a small percentage is on the influence of Irish myth and folklore. The clear allusions to Greek myth in Ulysses and in A Portrait of the Artist as a Young Man through the character Stephen Dedalus (and perhaps the popular knowledge of Greek myth) tend to overshadow Joyce's allusions to Irish myth. In a comparison of Joyce to Irish author Morgan Llywelyn, I examine the ancient Irish hero Finn Mac Cumhail, the "Devouring Female," and the value, process, and effects of making myths and folklore. Although there has not been any academic criticism on Morgan Llywelyn ,I believe that the value of her novels will soon be discovered, particularly their worth as rewritings of ancient Irish myth and folklore. My primary texts are Joyce's Ulysses, A Portrait of the Artist as a Young Man, and Dubliners, as well as Llywelyn's Finn Mac Cool.</p> / Master of Arts (MA)