Abstract not available.

Abstract not available.

Abstract not available.

<p>A fire in Salem, Mass., in 1914 and an explosion in Halifax, N.S., in 1917 provide an opportunity to explore working-class institutions and organizations in the United States-Canada borderlands. In a historical moment in which the state greatly expanded its responsibility to give protection and rescue to its citizens, after these two disasters ordinary survivors preferred to depend on their friends, neighbors, and family members. This dissertation examines which institutions--including formal organizations like unions and fraternal societies as well as informal groups like families and neighborhoods--were most relevant and useful to working-class survivors. Families, neighbors, friends, and coworkers had patterns and traditions of self-help, informal order, and solidarity that they developed before crisis hit their cities. Those traditions were put to unusual purposes and extreme stress when the disasters happened. They were also challenged by new agents of the state, who were given extraordinary powers in the wake of the disasters. This dissertation describes how the working-class people who most directly experienced the disasters understood them and their cities starkly differently than the professionalized relief authorities.</p><p>Using a wide array of sources--including government documents, published accounts, archived ephemeral, oral histories, photographs, newspapers in two languages, and the case files of the Halifax Relief Commission--the dissertation describes how elites imposed a progressive state on what they imagined to be a fractured and chaotic social landscape. It argues that "the people" for whom reformers claimed to speak had their own durable, alternative modes of support and rescue that they quickly and effectively mobilized in times of crisis, but which remained illegible to elites. By demonstrating the personal, ideological, political, and practical ties between New England and Nova Scotia and Quebec, it also emphasizes the importance of studying American and Canadian history together, not only comparatively but as a transnational, North American whole.</p> / Dissertation

This practicum sets out to address several challenges faced by a multinational corporation operating within a globalized marketplace through the reconsideration of its workplace design. The aim is to achieve a balance between cultural adaptation and standardized corporate identity in the design for the hypothetical multinational management consulting company, Torrent. The balance is perused in order to support Japanese and Canadian national-work-cultures, the two cultures on which the practicum is based, while creating a strong, consistent, and recognizable visual identity across its different subsidiaries. The practicum’s overall objective is to demonstrate how both of these themes can be achieved simultaneously in order to create a balance that benefits both the multinational company as well as its host country. The practicum’s outcome involves two design solutions developed for Torrent based on a single workplace, one responding to Japan’s national work culture, and the other to Canada’s. A standardized corporate identity is achieved through the communication of a consistent company identity in both workplace designs.

This practicum sets out to address several challenges faced by a multinational corporation operating within a globalized marketplace through the reconsideration of its workplace design. The aim is to achieve a balance between cultural adaptation and standardized corporate identity in the design for the hypothetical multinational management consulting company, Torrent. The balance is perused in order to support Japanese and Canadian national-work-cultures, the two cultures on which the practicum is based, while creating a strong, consistent, and recognizable visual identity across its different subsidiaries. The practicum’s overall objective is to demonstrate how both of these themes can be achieved simultaneously in order to create a balance that benefits both the multinational company as well as its host country. The practicum’s outcome involves two design solutions developed for Torrent based on a single workplace, one responding to Japan’s national work culture, and the other to Canada’s. A standardized corporate identity is achieved through the communication of a consistent company identity in both workplace designs.

Abstract not included. / Thesis / Master of Arts (MA)

Despite the ubiquity of images depicting disability in the narratives that have contributed to the shaping of Canadian national identity, images of unconventional bodies have not drawn critical attention. My study begins to address this neglect by revisiting selections from Canadas historical literary canon using Disability Studies theory. I examine eight Anglophone novels selected from the reading requirements list for field examinations in Canadian literature at the University of Saskatchewan. Because fictional representations inform the ways we interpret reality, I argue that the application of Disability Studies theories to a Canadian context provides new insights into the meaning of Canadian nationhood. The study begins with Thomas McCulloch. His Stepsure Letters provides a counter-discourse to the commercialized ethos of his time. The disabled Stepsure exemplifies the ideal citizen. While Gwen, in Ralph Connors Sky Pilot, presents a sentimentalized stereotype of disability, her role also foregrounds the imperative of human relationship. Connors Foreigner, on the other hand, intertwines disability with ethnicized difference to form images of subhumanity that the novel suggests must be assimilated and/or controlled. Lucy Maude Montgomerys Emily trilogy echoes Connors later use of disability to embody a sinister Other that threatens the British-Canadian mainstream. In Such Is My Beloved, Morley Callaghan realistically depicts the power investments involved in configuring difference as social menace, defying the eugenic discourse of his day. While Malcolm Rosss As for Me and My House seems to revert to the exploitation of disability as a trope for trouble, at the same time the story subverts convention by failing to affirm normalcy. In Ethel Wilsons Love and Salt Water disability signifies the complexity and depth of humanity. In Mordechai Richlers The Apprenticeship of Duddy Kravitz, betrayal and rejection of responsibility to Other is the source of human suffering. The marginalized figures of Adele Wisemans Crackpot, the last novel examined in this study, defy their abject roles, pronouncing the right of being within ones difference.<p>Defamiliarizing the function of portrayals of disability brings into consciousness biases that have been systemically naturalized. Exploring constructions of difference reveals constructions of normalcy. Just as interrogating Whiteness uncovers hidden processes of racism, questioning normalcy illuminates a discriminatory ableism. My reading reveals a struggle within the national imaginary between ableism and a desire for inclusive pluralism. Disability Studies readings may help to liberate the collective psyche from tyrannical impositions of normalcy to a greater realization of the richness of human diversity.

Despite the ubiquity of images depicting disability in the narratives that have contributed to the shaping of Canadian national identity, images of unconventional bodies have not drawn critical attention. My study begins to address this neglect by revisiting selections from Canadas historical literary canon using Disability Studies theory. I examine eight Anglophone novels selected from the reading requirements list for field examinations in Canadian literature at the University of Saskatchewan. Because fictional representations inform the ways we interpret reality, I argue that the application of Disability Studies theories to a Canadian context provides new insights into the meaning of Canadian nationhood. The study begins with Thomas McCulloch. His Stepsure Letters provides a counter-discourse to the commercialized ethos of his time. The disabled Stepsure exemplifies the ideal citizen. While Gwen, in Ralph Connors Sky Pilot, presents a sentimentalized stereotype of disability, her role also foregrounds the imperative of human relationship. Connors Foreigner, on the other hand, intertwines disability with ethnicized difference to form images of subhumanity that the novel suggests must be assimilated and/or controlled. Lucy Maude Montgomerys Emily trilogy echoes Connors later use of disability to embody a sinister Other that threatens the British-Canadian mainstream. In Such Is My Beloved, Morley Callaghan realistically depicts the power investments involved in configuring difference as social menace, defying the eugenic discourse of his day. While Malcolm Rosss As for Me and My House seems to revert to the exploitation of disability as a trope for trouble, at the same time the story subverts convention by failing to affirm normalcy. In Ethel Wilsons Love and Salt Water disability signifies the complexity and depth of humanity. In Mordechai Richlers The Apprenticeship of Duddy Kravitz, betrayal and rejection of responsibility to Other is the source of human suffering. The marginalized figures of Adele Wisemans Crackpot, the last novel examined in this study, defy their abject roles, pronouncing the right of being within ones difference.<p>Defamiliarizing the function of portrayals of disability brings into consciousness biases that have been systemically naturalized. Exploring constructions of difference reveals constructions of normalcy. Just as interrogating Whiteness uncovers hidden processes of racism, questioning normalcy illuminates a discriminatory ableism. My reading reveals a struggle within the national imaginary between ableism and a desire for inclusive pluralism. Disability Studies readings may help to liberate the collective psyche from tyrannical impositions of normalcy to a greater realization of the richness of human diversity.

During the early decades of the 20th century, a public and governmental concentration on authentic Canadian culture included the languages and cultural practices of Indigenous peoples. The position of Indigenous peoples as ‘original’ to the land was conflated as evidence that their cultures were authentic, and as such, uniquely ‘Canadian’. During the late 1930s and early 1940s, a small group of children from the Osoyoos Indian Band along with their Irish immigrant teacher produced a series of short dramatic plays based on traditional Okanagan stories. This thesis examines how the production, circulation, and consumption of these Okanagan-based plays by children came to be seen as a manifestation of early Canadian drama that was arguably a part of the foundation of an emerging national identity.