This study develops a theory of melodrama based on Foucaldian concepts of power/resistance relations in discourse. This theoretical framework is tested by means of an analysis of five nineteenth-century English-Canadian texts: Elizabeth Lanesford Cushing's Esther (1840), Charles Heavysege's Saul (1859), Archibald Lampman's "David and Abigail" (1882), Oliver J. Booth's Jael, The Wife of Heber the Kenite (1901), and George Arthur Hammond's The Crowning Test (1901). The central premise posed in the study's Introduction is that melodrama's protestant aesthetic of the feminine deliberately counters the secular aesthetic of tragedy. Chapter One demonstrates that this premise reveals challenges and insights concerning melodrama not previously found in the critical literature. By means of the analysis of the texts given Chapters Two, Three, and Four, the study demonstrates the interpretive strategies made possible by this re-evaluation of the genre and its gender politics. The theoretical framework developed here contributes to an understanding of melodrama both as a trans-national genre and as central feature of nineteenth-century English-Canadian culture. / Thesis / Doctor of Philosophy (PhD)

Although The Tragically Hips <i>Fully Completely</i> is an unorthodox historical text, in-depth exploration of the landmark album prompts us to reconsider the role of musical experience in the production of gender in late twentieth-century Canada. This thesis frames gender as a reiterative performative-discursive production consisting of four interrelated elements: cultural symbol-systems; normative concepts; the politics of social institutions and organizations; and subjective identity. These elements operate symbiotically in a field of multiple, mobile, and routinely unequal relations. In order to further trace the construction of masculinity in Canada during the early 1990s, this thesis outlines the interacting historical contexts The Tragically Hip navigated through while writing, recording, and producing Fully Completely. Careful interdisciplinary consideration of the songs <i>Looking For A Place To Happen</i> and <i>Fifty-Mission Cap</i>provide specific examples of the performative-discursive formation of masculinity in the best-selling recording. This thesis concludes that <i>Fully Completely</i> functioned as an important platform for the constitution of gender in Canada. The album deployed and formed multiple comparative and contrasting masculinities as part of the compulsory maintenance of sexual difference as gender. This study of English-Canadian rock music urges scholars to continue exploring the role of musical experience in the production of gender identities.

Although The Tragically Hips <i>Fully Completely</i> is an unorthodox historical text, in-depth exploration of the landmark album prompts us to reconsider the role of musical experience in the production of gender in late twentieth-century Canada. This thesis frames gender as a reiterative performative-discursive production consisting of four interrelated elements: cultural symbol-systems; normative concepts; the politics of social institutions and organizations; and subjective identity. These elements operate symbiotically in a field of multiple, mobile, and routinely unequal relations. In order to further trace the construction of masculinity in Canada during the early 1990s, this thesis outlines the interacting historical contexts The Tragically Hip navigated through while writing, recording, and producing Fully Completely. Careful interdisciplinary consideration of the songs <i>Looking For A Place To Happen</i> and <i>Fifty-Mission Cap</i>provide specific examples of the performative-discursive formation of masculinity in the best-selling recording. This thesis concludes that <i>Fully Completely</i> functioned as an important platform for the constitution of gender in Canada. The album deployed and formed multiple comparative and contrasting masculinities as part of the compulsory maintenance of sexual difference as gender. This study of English-Canadian rock music urges scholars to continue exploring the role of musical experience in the production of gender identities.

Focusing on the texts of James Cook, Samuel Hearne, Alexander Mackenzie, Archibald Menzies, David Thompson, and George Vancouver, Mapping the Nation: Exploration and the English-Canadian Literary Imagination argues that exploration writing is a subgenre of travel writing defined by its empirical perspective and function. Incorporated into the English-Canadian literary canon while being disparaged for its lack of literary qualities, exploration writing is used by English-Canadian literary histories, encyclopaedias, and companions to prove an environmentally deterministic developmental thesis of the national literature. The developmental thesis permeates anthologies that offer excerpts of exploration writing and discussions that pertain to the influence of exploration writing on later English-Canadian literature that returns to it. Returning to exploration writing addressing land exploration are Farley Mowat’s People of the Deer (1952), John Newlove’s “The Pride” (1965) and “Samuel Hearne in Wintertime” (1966), Don Gutteridge’s The Quest for North: Coppermine (1973), Marion R. Smith’s Koo-Koo-Sint: David Thompson in Western Canada (1976), and Brian Fawcett’s “The Secret Journal of Alexander Mackenzie” (1985). Returning to exploration writing addressing oceanic exploration are Earle Birney’s “Pacific Door” (1947), Damnation of Vancouver (1952), and “Captain Cook” (1961); P. K. Page’s “Cook’s Mountains” (1967); George Bowering’s George, Vancouver: A Discovery Poem (1970); Gutteridge’s Borderlands (1975), and George Bowering’s Burning Water (1980), Audrey Thomas’s “The Man with the Clam Eyes” (1982) and Intertidal Life (1984). Each text represents an individual interpretation of exploration writing that operates through genre and forms of return such as allusion, imitation, paraphrase, and quotation. / Thesis (Ph.D, English) -- Queen's University, 2009-03-10 13:39:01.062

Thesis (M.A.)--University of Manitoba, 2001. / Includes bibliographical references.

Thesis (Ph. D.)--University of Toronto, 2007. / Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1735.

Thesis (Ph.D.)--University of Manitoba, 1997. / Includes bibliographical references.

This thesis project involves the translation of a selection of short stories by Camille Deslauriers, a Québécois writer, from French into English, as well as the translation of a selection of short stories by Angie Abdou, a Western English-Canadian writer, from English into French. The thesis is divided into four chapters into which the translations have been inserted. The chapters provide an introduction and commentary to the translations. I begin by giving a brief overview of the importance of literary translation in Canada as well as a short description of Québécois and English-Canadian short fiction.This section introduces the two authors that have been chosen for this thesis, Camille Deslauriers and Angie Abdou, as well as their collections of short stories, Femme-Boa and Anything Boys Can Do respectively. I discuss various approaches to translation, literary translation, linguistic issues, the translation process, and the issue of mother tongue and directionality. Following the two introductory chapters are the translations. I have translated nine of Camille Deslauriers' short stories from Femme-Boa from French into English, and three of Angie Abdou's short stories from Anything Boys Can Do from English into French. In both cases, these are the first translations to be done of these authors' works. I then go on to describe certain challenges posed by the translations, giving examples of strategies adopted to resolve the problems. In the final chapter, I reflect upon the translation process as a whole, in light of the revisions done by both of my thesis advisors, in terms of vocabulary, syntax, bilingualism, and biculturalism.This reflection enables me to synthesize the knowledge that I acquired through the whole translation experience.

This thesis begins by examining the factors that have resulted in the dependent nature of Canada's political and economic structure, and proceeds to examine how this has contributed to the cultural amorphousness of English Canadian identity. The hegemonic authority of American and trans-national interests, established and maintained in the cultural sphere through the extensive monopoly of the distribution of cultural and media products, perpetuates the amorphousness of English Canadian culture through the appropriation of Canadian space by the international image industry. Such categorization of Canadian space reflects and perpetuates the imaginary representation of Canada within the dominant ideology as an indistinct and amorphous entity, and comes to usurp the materiality that constructs the lived identities of English Canadians.

Thesis (Ph. D.)--University of Saskatchewan, 1999. / Includes bibliographical references (leaves [184]-198). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD%5F0027/NQ37868.pdf.