Poet/ Editor/ Publisher is an annotated edition of the selected correspondence of Sylvia Beach, publisher and owner of the Shakespeare and Company bookstore, the writer and editor Bryher (Annie Winifred Ellerman), and her partner, the poet H.D. (Hilda Doolittle). The years covered by this selection, 1918 to 1931, are some of the most prolific for these women and for modernism. Beach published James Joyce’s Ulysses, H.D. wrote several books of poetry and prose, Bryher established POOL Productions and Close Up, the first magazine devoted to film criticism, and much more. The relationships fostered among H.D., Bryher, and Beach express an unconventional model for creative production—one more concerned with helping each other than making a profit. This model is expressed not only in Bryher’s publishing endeavors and financial support of Shakespeare and Company and other artists in her sphere, but also in the well-documented sacrifices Beach made to bring out Ulysses. Chatty and endearing, the letters demonstrate the way these relationships passed seamlessly from social to professional and back again. They are full of gossip, but also valuable professional advice and encouragement. For Bryher and H.D., who lived in Territet, Switzerland, Beach provided an essential connection not only to a major center of avant-garde art, but also, and more practically, to the mechanisms of distributing modernist writing: publishers, editors, literary journals, and printers. This dissertation joins a recovery of the work of women in the early twentieth century as well as a reconsideration of the roles each woman played in developing the modernist canon. These letters offer evidence of the influence of each woman’s efforts on an international network of artists and insight into the labor behind the great works of modernism.

En partant d'une recherche filmique sur les jeunes et l'amour dans un quartier populaire, cette thèse, entre sciences sociales et cinéma, recherche et création, soulève une question de société - comment les jeunes composent avec les normes sociales imposées par leurs groupes d'appartenance ? - et une question de cinéma - en quoi le détour par la fiction et l'improvisation permet d'enquêter sur des réalités sociales et d'imaginer d'autres façons de travailler avec les enquêtés ?Elle est basée sur une enquête ethnographique de plusieurs années dans un quartier ouvrier et d'immigration de la région parisienne (Les Mureaux, Yvelines), ainsi que sur des ateliers cinéma et le tournage d'un film (La cour des murmures) entre fiction et documentaire avec des jeunes habitants âgés de 15 à 20 ans.Dans cet espace où l'interconnaissance est très développée et chacun veille à sa réputation, les jeunes montrent difficilement leurs sentiments et sont souvent contraints de jouer un rôle social. Nous avons voulu étudier la spécificité de cette présentation de soi théâtrale, qui est à la fois une contrainte – l'injonction à adopter une attitude propre à la morale du quartier – et un mode de survie et de résistance, puisqu'elle permet aussi d'échapper aux regards des autres et de manière plus large aux normes sociales qui pèsent sur ces jeunes.Le film est l'occasion de créer un espace de parole privilégié qui permet la réflexivité. Il devient alors un moyen de co-construire la recherche avec les filmés et de sortir des représentations dominantes sur les jeunes des quartiers populaires.L'écrit revient sur les questions de société et les questions de cinéma qui ont habité cette recherche. Il rend compte de la pensée à l'œuvre dans le film, aussi bien sociologique que cinématographique. Il revient sur ses conditions de fabrication, ses choix de réalisation, ses inspirations théoriques, les « moments de vie cinématographiques » qui ont émergé dans cette recherche. / Starting from a filmic research on young people and love in a working-class neighborhood, this thesis, between social sciences and cinema, research and creation, raises a question of society - how young people deal with the social norms imposed by their groups of belonging? - and a question of cinema - how does the detour through fiction and improvisation allow us to investigate social realities and to imagine other ways of working with the surveyed ? It is based on a multi-year ethnographic survey in a working-class and immigration district of Paris suburbs (Les Mureaux - Yvelines), as well as on film workshops and the shooting of a film (The court of whispers) between fiction and documentary with young inhabitants aged 15 to 20 years old. In this space, where acquaintanceship is highly developed and each ensures his reputation, young people have difficulty showing their feelings and are often forced to play a social role. We wanted to study the specificity of this theatrical self-presentation, which is both a constraint - the injunction to adopt an attitude specific to the morality of the neighborhood - and a mode of survival and resistance, since it also allows to escape the eyes of others and more broadly the social norms that weigh on these young people. The film is an opportunity to create a privileged space of speech that allows reflexivity. It becomes a way of co-constructing research with the filmed and to release dominant representations of young people from working-class neighborhoods. The writing goes back to the social issues and cinema issues that have led this research. It reflects the thought in the film, both sociological and cinematographic. He goes back on his conditions of fabrication, his choices of realization, his theoretical inspirations, the "moments of cinematographic life" that emerged in this research.

This dissertation interprets the images and archival records of Project Documerica, the Environmental Protection Agency's photography project that ran from 1971 to 1977. Directed by Gifford Hampshire, a former National Geographic editor, Documerica was modeled on 1930s Farm Security Administration photography, which had helped establish the documentary genre through iconic images of Depression-era America. Whereas the FSA had shown the human costs of the Dust Bowl, Documerica aimed to reveal the natural and social costs of the environmental crisis. Vocal public environmental concern made Documerica appealing to EPA officials, and this new agency's still-forming bureaucracy enabled Hampshire's ambitious plan to remount an FSA-style initiative. Documerica's mission included: creating a “visual baseline” of the U.S. environment from which future progress could be measured; documenting the EPA's successes in ameliorating the crisis; chronicling the environmental movement, including non-activist Americans in relationship to their environment, broadly defined; and compiling a visual encyclopedia of American life in the 1970s, as the FSA had done in the 1930s. The urge to revive a national, FSA-style undertaking expressed widespread nostalgia for a mythic American past in the 1970s, an era fraught with social upheaval over Civil Rights and Vietnam. In its time, Documerica failed to achieve recognition comparable to the FSA's, and folded prematurely. Yet its 22,000 images, housed at the National Archives, nonetheless provide a complex portrait of the U.S. during a moment of significant cultural transition. This dissertation interprets Documerica's photographs, its bureaucratic struggles, and its nostalgia in the context of the massive social, political, and economic shifts of the 1970s. In particular, it examines Documerica's focus on the post-industrial landscape, exploring why the project emphasized the changing aesthetics of the built environment as much as threats to the natural environment. The dissertation centers on visual conceptions of American small towns, cities and suburbs in six specific series by photographers Ken Heyman, Danny Lyon, Yoichi Okamoto, Kenneth Paik, Suzanne Szasz, and Arthur Tress. Encapsulating Documerica's central preoccupation with preservation, these images of architectural and social environments evince the era's deep-seated anxieties about fragmentation, degradation, suburban sprawl, urban decline, and proliferating car culture.

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Press Release for Dissident Vectors here: http://www.concordia.ca/cunews/artsci/cissc/2018/05/14/dissident-vectors.html