The degree to which Nazi Germany and the other Axis powers can be understood within the framework of the European nineteenth century colonial/imperial projects has, in recent years, been a controversial topic in historiography. In this thesis, I coin the term “connections literature” to describe this emergent body of academic work. While scholars such as Jurgen Zimmerer have argued for a direct causal link, others, such as Roberta Pergher and Mark Roseman, have focused on a broader conceptualization of the Nazis as Empire builders. Although this thesis agrees more with the latter than the former, it takes a rather different approach to this question of “connections.” In this thesis I trace the writings of two colonized intellectuals who addressed this question during the 1930s: Jawaharlal Nehru and George Padmore. For them, it was not that Nazism/fascism and Western colonialism/imperialism were exactly the same; rather, what they felt needed to be highlighted was the fact that the general Western public did not perceive the general similarities between the two. That is, Western pundits condemned Nazi/fascist attacks on civil liberties and democracy while ignoring similar activities within their own empires. For Padmore and Nehru, the main reason for the inability of the British public to perceive the general similarities between the two was their “ignorance of the realities of empire.” In this thesis, I trace the origins of the “connections” debate. I reveal the fact that this debate had its origins in a discourse focused on demonstrating the fact that very basic moral similarities between Nazism/colonialism were/are not recognized amongst the general British/Western public because of a lack of knowledge of the “realities of empire.” Modern historiographical debates on this topic are heirs to this earlier discourse and should be aware of its origins. / Graduate

Margaret Sweatmans novel, <i>When Alice Lay Down With Peter</i>, plays with the British Empires adventure story and its creation of manhood. Mimicking this creative process in the Canadian Northwest, Sweatman conceives and births a womans previously erased passion back into the adventure story in a playful, erotic, and politically-charged presentation of the performing female body. Although appreciating the magic realism element to the novel (157), Nicole Markotic suggests that Sweatmans characters, like the readers, become History Tourists and are mere backdrop for the last century or so of Current Events that take precedence over their stories (156). The McCormack women, Markotic argues, have few stories other than going to war, having one momentous sex scene, giving birth (156). Indeed, Sweatmans whirlwind tour through 109 years of well-documented, and already too many times rehashed, rebellions, labour strikes, and world wars, seems to reflect this sentiment, but to limit Sweatman and her characters to only the Empires gender performative is to miss the female body performing as its own Big Bang.<p>Since a womans contingency and agency within the Empires gender performative has been vigorously debated by post modern and cultural theorists, Sweatman chooses to birth her characters into a world of/as performance. Richard Schechner, a pioneer in the field of performance theory, argues in his earlier work, Essays on Performance Theory (1977), that performance is a very inclusive notion of action, in which the performance workshop and the performance strategy of play are much more important than previously imagined (1,61). Sweatman draws on this discovery in order to free her characters to explore passion beyond Imperial and textual constraints. Four generations of McCormack women mimic, mock, and sidewind their way into, around, and beyond the Empires warring narrative and its heterosexual imperative. They are savvy, sexy, and provocative, playing simultaneously as shameless voyeurs, plagiarists, and war artists.

Margaret Sweatmans novel, <i>When Alice Lay Down With Peter</i>, plays with the British Empires adventure story and its creation of manhood. Mimicking this creative process in the Canadian Northwest, Sweatman conceives and births a womans previously erased passion back into the adventure story in a playful, erotic, and politically-charged presentation of the performing female body. Although appreciating the magic realism element to the novel (157), Nicole Markotic suggests that Sweatmans characters, like the readers, become History Tourists and are mere backdrop for the last century or so of Current Events that take precedence over their stories (156). The McCormack women, Markotic argues, have few stories other than going to war, having one momentous sex scene, giving birth (156). Indeed, Sweatmans whirlwind tour through 109 years of well-documented, and already too many times rehashed, rebellions, labour strikes, and world wars, seems to reflect this sentiment, but to limit Sweatman and her characters to only the Empires gender performative is to miss the female body performing as its own Big Bang.<p>Since a womans contingency and agency within the Empires gender performative has been vigorously debated by post modern and cultural theorists, Sweatman chooses to birth her characters into a world of/as performance. Richard Schechner, a pioneer in the field of performance theory, argues in his earlier work, Essays on Performance Theory (1977), that performance is a very inclusive notion of action, in which the performance workshop and the performance strategy of play are much more important than previously imagined (1,61). Sweatman draws on this discovery in order to free her characters to explore passion beyond Imperial and textual constraints. Four generations of McCormack women mimic, mock, and sidewind their way into, around, and beyond the Empires warring narrative and its heterosexual imperative. They are savvy, sexy, and provocative, playing simultaneously as shameless voyeurs, plagiarists, and war artists.