Thesis (Ph. D.)--York University, 2000. Graduate Programme in Sociology. / Typescript. Includes bibliographical references (leaves 207-221). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67934.

The purpose of this project is to establish Joan Lavis MacDonald (1871–1962) as the intellectual and philosophical companion of her spouse, Canadian painter J.E.H. MacDonald. Her journals and articles are central resources in this reconstruction of the life and circumstances of a woman living in southern Ontario, Canada at the end of the Victorian-era. By the dawn of the twentieth century, urbanization, industrialization, opportunities for women to pursue post-secondary education, and social reformations found Joan Lavis at a point of conflict between the newly-available educational opportunities and traditions of homemaking, and the thesis is divided accordingly. Although the points of conflict are examined separately, the thesis nonetheless affirms Joan Lavis MacDonald's ability to combine the two by drawing on cultural and art movements like transcendentalism and the arts and crafts movement. The thesis moves beyond the male-dominated sphere in which the Group of Seven operated to examine Joan Lavis MacDonald as a contributor, and in turn influenced by, the distinctly Canadian domestic environment that permeates J.E.H. MacDonald and the Group of Seven’s insistence that nature is synonymous with Canaian-ness. This creates additional space for women in a national history intertwined with ideals of masculinity that are in turn fabricated by men, and studies an important art movement from outside the mythologized individuals and locations that have become indivisible from it. Thus, the thesis also creates a new avenue by which J.E.H. MacDonald may be studied and understood. / Thesis / Master of Arts (MA)

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 86-91). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 86-91). Also available on the Internet.

In 1930, A.Y. Jackson and Lawren S. Harris travelled to the Arctic Archipelago as members of Canada’s Eastern Arctic Patrol. The collaborative venture between the Department of the Interior and the noted Group of Seven artists, which followed Jackson’s 1927 voyage aboard the government patrol, was part of a mutual aim to generate popular interest in the Canadian North through art. This thesis examines the underlying political context of both the 1927 and 1930 collaborative efforts. It examines the government patrols in connection with the promotion of Jackson’s and Harris’s Arctic works as part of a larger process of advancing the Arctic as a Canadian possession during a period of increased foreign interest in the region. Drawing on primary source material as well as various print media reports and exhibition reviews, this study provides insight into how the contemporary framing of Jackson’s and Harris’s Arctic sketches and paintings from the government-supported expeditions—the ways in which the works were discussed and understood—contributed not only to the “imagining” of the Arctic as a Canadian possession, but also to the dissemination of Canadian sovereignty efforts in the North. / Thesis (Master, Art History) -- Queen's University, 2012-12-05 15:24:52.546

During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.

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