The Emma Lake Artists’ Workshops from the 1950s to the 1970s were a series of professional workshops held in northern Saskatchewan, under the auspices of the University of Saskatchewan and Regina College, for the creation and advancement of a dynamic arts culture in the province and as a way for the individual artists there to overcome feelings of isolation from the Canadian cultural hubs. Throughout the course of the Workshops provincial and federal attitudes, and cultural policies and perspectives on cultural nation building exerted an overarching influence in the shaping of the Workshops. The Workshops drew the attention and support of many established celebrity U.S. artists and it is due to their presence and influence at the Workshops that it is possible to examine the provincial and national response to perceived U.S. cultural imperialism. The founding and maturity of the Workshops is a case study of the ways in which the politics of Canadian nationalism and the effects of U.S. cultural imperialism in the late nineteenth and early twentieth centuries interacted to impact the growth and development of art communities across Canada. The Workshops serve as an example of the effects, on a regional art movement, of Canada’s relationship with the United States, and Canadian response to the perceived threat of cultural imperialism from the U.S. Because the Workshops were a microcosm of cultural production, involving artists who, aside from their participation at Emma Lake, were often fairly isolated from the ebb and flow of art currents inherent to larger cultural centers, the Workshops are also an important case study of the effects of national and provincial policy on the regional arts. The Workshops’ history reveals that ideas of nationalism, regionalism and continentalism can come together to have a profound and unique effect on the development of an art community. / Thesis (Master, Art History) -- Queen's University, 2011-12-20 17:29:24.88

L'archipel du Cap Vert constitue de 10 iles volcaniques appartient a la zone sahelienne qui s'etend de l'atlantique jusqu'a la mer rouge. Depuis, plusieurs decennies le Cap Vert est affecte par la desertification causee en grande partie par la recession climatique et l'erosion des sols. Ces facteurs, associes a la forte pression anthropique sur les ressources, a l'orographie accidentee et a des pluies tropicales parfois diluviennes, provoquent de serieuses pertes du patrimoine foncier. Cependant, depuis son Independance en 1975, le Gouvernement a mene un vaste programme d'arborisation, de restauration des terres et d'amenagement des cours d'eau. Pourtant, tres peu de recherches ont ete menees pour evaluer les actions de protection et de conservation des sols et des eaux. Par consequent, il n'existe quasiment pas de donnees sur la problematique de la degradation des terres ni de bilans. Dans le cadre de ce travail, nous avons etudie les differents facteurs qui controlent l'erosion hydrique des sols. Nous avons plus particulierement cherche a differencier les effets des activites humaines, notamment agricoles, de ceux des facteurs climatiques comme les precipitations et la generation des ecoulements. Nous avons egalement etabli les premiers bilans d'exportations de matieres en suspension et en solution dans le contexte de l'archipel du Cap Vert. L'etude a ete menee a l'echelle de trois bassins versants de l'ile de Santiago Cap-Vert. Ces trois bassins versant (Longueira, Grande et Godim) sont localises dans la partie centrale de l'ile de Santiago et representatifs des divers modes d'occupation du sol et des differents climats de l'ile. Il existe un gradient climatique entre les trois bassins versants. En effet, Longueira qui presente une superficie de 4,18 km2, une pente moyenne de 47 %, se localise dans une zone humide couverte a 69 % par une foret et une surface agricole de 17 %. Grande avec une superficie de 1,87 km2, se localise en zone sub humide pour une pente moyenne de 50 %, il est essentiellement agricole. Godim, avec une superficie de 2,0 km2, se localise en zone semi aride, il est particulierement agricole et sa pente moyenne est de 32 %. Pour ces trois bassins versants, les ecoulements de crue a l'exutoire ont ete mesures et echantillonnes de 2004 a 2009. Le bassin versant de Longueira a fait l'objet d'un suivi plus pousse, notamment en termes de frequence d'echantillonnage et de suivi des ecoulements hors crue. Sur chaque echantillon nous avons procede a la determination de la concentration des matieres en suspension ainsi qu'a l'analyse des elements majeurs. Les resultats obtenus montrent que l'erosion mecanique dans les 3 bassins versants est caracterisee par une forte variabilite spatiale et temporelle. Sur la periode 2005-2009, le bilan moyen annuel pour les bassins versants de Longueira, Grande et Godim est de : 4266, 157 et 10,1 t.km2.an-1 respectivement. La saison humide 2006 a ete la plus erosive pour l'ensemble des trois bassins versants et particulierement dans Longueira avec 2 crues exceptionnelles qui ont genere une concentration moyenne de matieres en suspension superieure a 100 g/l. En revanche, les saisons 2005 et 2008 ont ete dans l'ensemble peu erosives car les concentrations moyennes ne depasserent pas 20 g/l. Par ailleurs, il n'y a pas eu de lames d'eau ecoulees pour les saisons 2005 et 2007 pour le bassin de Godim. Sur le bassin de Longueira, l'etude des phenomenes d'hysteresis permet de caracteriser chaque crue et de montrer que l'evolution temporelle des exportations de matieres en suspension au cours de la saison est fortement influencee par les activites agricoles. En effet, la premiere crue provoque l'exportation massive des sediments disponibles et localises dans le lit du cours d'eau. En consequence, la seconde est moins exportatrice de sediments. Un mois apres les premieres pluies, les activites de sarclage diminuent la densite du couvert vegetal et destructurent la partie superficielle des sols, ce qui provoque a nouveau une tres forte exportation de sediments lors de la troisieme crue. Les resultats de l'erosion chimique sur le bassin de Longueira indiquent que le taux d'erosion chimique moyen s'eleve a 45 t.km2.an-1 avec une forte variabilite temporelle. En effet, les saisons les plus humides de 2006 et 2007 sont les plus exportatrices de matieres en solution, alors que 2005 a eu une faible exportation. L'utilisation du modele de melanges EMMA (End-Members Mixing Analysis) montre que les ecoulements hypodermique et profond, qui alimentent le cours d'eau en elements dissous, sont les principaux facteurs de l'erosion chimique. On montre ainsi que les ecoulements hors crue sont a l'origine de plus de 90% des flux d'erosion chimique. L'ecoulement superficiel, qui contribue a environ 70 % du debit du cours d'eau en crue, constitue un facteur de premier plan de l'erosion mecanique des sols.

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

Emma Hardinge Britten’s life encompassed and reflected many of the challenges and opportunities afforded to women in the Victorian world. This dissertation explores the multi-layered Victorian landscape through the life of an individual in order not only to tell her individual story, but also to gain a more nuanced understanding of how nineteenth-century norms of gender, class, religion, science and politics combined to create opportunities and obstacles for women in Britten’s generation. Britten was an actor, a musician, a writer, a theologian, a political activist, a magazine publisher, a spirit medium, a lecturer, and a Spiritualist missionary. Taking into account her multiple subjectivities, this dissertation relies on historical biography to contextualize Britten’s life in a number of areas, including Modern Spiritualism and political and civic engagement in the second half of the nineteenth century in Britain, the U.S., and Australia. The dissertation is organized thematically in a quasi-chronological manner. Time frames overlap between chapters, as Britten travels from the realm of politics to that of science and to religion. Each chapter reflects this transformation of Britten’s multiple intellectual and spiritual engagements, including performance, religion, politics and science. Emma Hardinge Britten challenged, whether consciously or not, gendered expectations by attaining a presence in a male-dominated public. Even though her life and accomplishments pre-date the New Woman of the fin de siècle, Britten established a successful career and her life creates a foreshadowing of the larger movements to come. She was an extraordinarily politically active woman whose influence reached three continents in her lifetime and beyond.

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The present thesis focuses on the importance of the written word as a ruling device of the Anglo- Saxon kings. Due to the availability of historical evidence, the studied period begins in 597 with the arrival of Christian missionaries from Rome and ends prior to the Norman Conquest in 1066. The kings' approach to the written word is analyzed on the basis of surviving literary and iconographic evidence, i.e. on documents composed for or by the rulers, and on the visual images of the rulers as portrayed in surviving manuscripts. The first chapter provides a historical background necessary for the correct interpretation of the examined texts and portraits. This section is aimed at the main concepts discussed in the thesis: medieval authorship, medieval kingship, and the spread of Christianity within the Anglo- Saxon kingdoms. The second chapter offers the analysis of written documents and focuses on the texts composed within the scope of King Alfred's educational and religious reform. The close reading of the OE translations demonstrates the king's use of the texts as didactic tools mainly serving to promote religion and learning within the kingdom. The key texts are Gregory's Pastoral Care, Augustine's Soliloquies, and Boethius's Consolation of Philosophy; an additional context of the king's life and...

This thesis provides a theory of exceptional sex through close readings of contemporary novels by male British and American writers. I take as my overriding methodological approach Giorgio Agamben’s theory of the state of exception, which is a juridico-political state in which the law has been suspended and the difference between rule and transgression is indistinguishable. Within this state, the spatiotemporal markers inside and outside also become indeterminable, making it impossible to tell whether one is inside or outside time and space. Using this framework, I work through narratives of sexual interaction – On Chesil Beach, Gertrude and Claudius, Sabbath’s Theater, and The Act of Love – to conceptualise categories of sexual exceptionality. My study is not a survey, and the texts have been chosen as they focus on different sexual behaviours, thereby opening up a variety of sexual exceptionalities. I concentrate on male writers and narratives of heterosexual sex as most work on sex, time and space is comprised of feminist readings of literature by women and queer work on gay, lesbian or trans writers and narratives. However, in the Coda I expand my argument by turning to Emma Donoghue’s Room, which, as the protagonist has been trapped for the first five years of his life, provides a tabula rasa’s perspective of exceptionality. Through my analysis of exceptionality, I provide spatiotemporal readings of the hymen, incest, adultery, sexual listening and the arranged affair. I also conceptualise textual exceptionalities – the incestuous prequel, auricular reading and the positionality of the narrator, the reader and literary characters. Exceptional sex challenges the assumption in recent queer theory that to be out of time is ‘queer’ and to be in time is ‘straight’. Furthermore, exceptionality complicates the concepts of perversion and transgression as the norm and its transgression become indistinct in the state of exception. In contrast, exceptionality offers a new, more determinate way to analyse narratives of sex.

This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).