Ce mémoire est constitué de deux grands ensembles: premièrement, un regard synthétique sur le développement de l'art inuit contemporain depuis l'art nordique préhistorique, et deuxièmement une approche sémiotique de l'art de Charlie Inukpuk. Ainsi, dans notre premier volet nous avons voulu situer les multiples productions de l'art esquimau préhistorique jusqu'à l'avènement de l’art inuit contemporain dans une perspective historique basée sur des recherches archéologiques et historiques; notre objectif était alors de démontrer l'importance du phénomène transculturel entre l'art inuit contemporain et l'envahissante culture des Blancs. Par la suite, ceci nous a amené à aborder la question du primitivisme car, l'art inuit a trop souvent été qualifié "d'art primitif " comme si, pour différentes raisons, plusieurs auteurs avaient voulu conserver une intriguante saveur exotique à cette forme d’expression artistique non-occidentale. Cette première partie est suivie d'un portrait contextuel de l'art de Charlie Inukpuk, jeune sculpteur inuit qui vit à Inukjuak dans le Nunavik (Nouveau- Québec). L'art de Charlie Inukpuk nous sert ici de prétexte pour appliquer un modèle sémiotique d'analyse à une oeuvre d'art inuit. Cherchant délibérément à éviter les écueils d'une approche trop ethnologique de l'art inuit, le but ultime de nos travaux était de vérifier le degré d'efficacité d’une telle analyse sémiotique sur une forme d'expression artistique non-occidentale. Les résultats sont tels qu'il devient possible de croire que l'analyse sémiotique, même syntaxique, des sculptures inuit pourra grandement contribuer à une meilleure compréhension de l'art inuit et nous donnera un accès plus valable à ce phénomène artistique hybride résultant d'un croisement culturel entre les Euro-canadiens et les Inuit. / 106412\u Résumé en anglais / 106413\u Résumé en espagnol / Montréal Trigonix inc. 2018

Text in English / This study focuses on the strategies and devices used to create humour in children’s literature. No language is a replica of another language and it is generally accepted that a translator has to be creative in order to make the Source Text (ST) meaning available to the Target Text (TT) reader. The research conducted in this study aims to fill a gap regarding the application of humour in the rather under-researched field of children’s literature. A descriptive framework was used to conduct this qualitative study in order to be able to describe the linguistic strategies and devices used to translate the English source text by Roald Dahl, Charlie and the Great Glass Elevator into the Afrikaans Target Text, Charlie en die Groot Glashyser by Kobus Geldenhuys. Literary devices to create humour, employed by both the writer and the translator, were identified and analysed. Interviews and reading sessions with ST learners (English) as well as TT learners (Afrikaans) were conducted in order to observe their non-verbal reactions as well as document their verbal comments to complement the data obtained from the textual analysis. The textual analysis showed that the literary device most frequently applied in the ST was the simile and the main trend regarding the transference of humorous devices to the TT was to retain the device with formal equivalence. The most popular translation strategy was direct translation with the most important shifts identified on morphological and lexical level and shifts in expressive and evoked meaning were relatively low. With regard to the reading sessions, the most positive results from both groups of learners regarding humorous devices in the ST and TT were obtained for the device of inappropriate behaviour. / Linguistics and Modern Languages / M.A. (Linguistics)

ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class. / Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature

Over the last sixty years, voting patterns in the United States have changed dramatically, and this is especially true in the state of Florida. Though there is some literature in the field of political science that outlines the voting and election history of Florida and identifies some trends, this literature is extremely limited and is not comprehensive of the data that is available up to the present day. This study seeks to find Florida’s voting patterns and to explain how they can be understood by both the casual observer and the political scientist. To do so, unique methodology was applied that used the "relative margin" of both a county and a region in a particular election to give the Democratic nominee’s performance context both in the election in question and in history, by comparing the actual margin of victory or defeat of the Democratic nominee to the statewide margin of victory or defeat. This was an illuminating process that ultimately revealed some truths about the election history of Florida: the counties and regions most likely to vote for Democratic nominees in the 1950s and early 1960 are now among the least likely to do so, and the counties and regions most likely to vote for Republican nominees in the 1950s and early 1960s are now considered to be "swing" or "tossup" areas that are regularly and alternatively won by Democratic and Republican nominees. Additionally, the pattern of each region in how it voted in presidential elections was compared to forty seven other states in the country to provide further context as to how the election patterns can be understood in context.

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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.