Thesis (Ph. D.)--University of Chicago, Dept. of Sociology, 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 228-233). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.

Thesis (S.T.D.)--Catholic University of America, 194l. / Universitas catholic [sic] Americae, Washingtonii, D.C., S. Facultas theologica, 1940-41, no. 61. Bibliography: p. 48-56.

This thesis analyses the development of the database for historical research within the context of the historical discipline. The first chapter gives a brief outline of the history of database technology and describes the theoretical perspectives from the history and sociology of technology which inform this work. The second chapter charts the development of the database for historical research from its beginnings in the 1960s to the present. This chapter situates the development of the database for historical research within the methodological and institutional frameworks that influenced its production. The third chapter analyses the historical database within the specific national context of Canadian historiography. This chapter provides an opportunity to investigate more closely the social constitution of a technology among a specialized group of users.

Anthony Cohen, in The Symbolic Construction of Community, writes: "the symbolic expression of community and its boundaries increases in importance as the actual geo-social boundaries of the community are undermined, blurred or otherwise weakened." As Japanese-Canadians were uprooted from familiar communities throughout British Columbia and overwhelmed with the loss of those closest to them, photography was employed to recentre themselves within a stable, yet somewhat imaginative, network of relations. Looking became an act of imaginative exchange with the subject - conflating the act of seeing with the act of knowing. Photographs became "the most cherished possession" at a time when all else familiar had been lost. It is my contention that domestic photographs and albums produced at this time worked to construct, preserve and contain the visual and imaginative narrative of cohesive family stability and communal belonging, despite divisive political differences, disparate geographical living situations, and elapsed family traditions. While acknowledging that photographs construct and embody a multiplicity of meanings, I am interested in the ways Japanese- Canadian albums were employed during the internment to foster a sense of place while internees existed in a liminal or transitional, marginal space. These representations attempt (and of course sometimes fail) to authenticate a seemingly cohesive biography. Declarations of positive experiences abound throughout the seven family albums I address in this project. Yet there is a double nature to these affirmations. Inscribing "happy times" or "joy" alludes to the silent binary of sadness that is effaced from the images. Representations of state surveillance and poor living conditions are virtually never included but did nonetheless exist. It is not my intention, however, to suggest that photographs are entirely deceptive anymore than they are undeniable truths. Rather, I want to argue that the production, organization and narration of photographs enabled internees to resist being subsumed by fears of persecution and obliteration. The intersection of the photographic image with the viewer constructs a narrative of stability, potentially resulting in a positive experience. Inscribing a positive identity onto images of one's body plays a role in the production of contentment: it is an act which simultaneously elides present troubles and safeguards fond memories for the future, it is a conscious and unconscious maneuver constituting one's personal history. Thus the images not only reinforce a positive experience, but also participate in creating one. It is only when anxieties cannot be contained that representation breaks down. "Intimate Archives" seeks to situate domestic photographs of Japanese-Canadians during the 1942- 1949 exile as intersecting with historical crisis and subjective narrative, tracing the possibilities of meaning for both the depicted subjects and the possessor of the images.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

No description available.

It is the object of this thesis to present the chief stylistic and structural characteristics of five thirteenth century Norse sagas selected as representative of Sturla Þórðarson's literary background; to show in what ways and to suggest why he did or did not follow their examples; and on the basis of this, to offer a new interpretation of the style and structure of Sturla's Íslendinga Saga. The five sagas are considered chronologically in the order they are believed to have been written. Sverris Saga is a partisan record of an unconventional Norwegian king's reign (1177-1202) based on the king's personal experience and contemporary witness. Knytlinga Saga (c. 1260), a celebration of Danish Christian princes (940-1187), has an unadorned style, at times not unlike Sturla's, but its concentration on the single theme makes it too constricted for Sturla's complex material. In Heimskringla (c. 1230), a history of Norwegian kings up to 1177, Snorri Sturluson freely adapts and selects from his source material to produce a wellreasoned pattern of events. Sturla's material for Íslendinga Saga was too close to him to be manipulated in this fashion. He probably learned most from his own experience of writing Hákonar Saga in 1263. Although this was written under the constraints of diplomacy, Sturla was confronted with the task of ordering a mass of virtually contemporary material. Njáls Saga, an almost wholly fictional work, depends for its unity on complex interactions between figures motivated by their inner temperaments. Sturla also records diverse human emotions, but his narrative must depend on actual happenings and therefore lacks the contrived flawlessness of Njáls Saga. Yet Sturla's selection and arrangement of his authentic material - a dense mass of facts - show that his control is perfect. He writes with awesome sobriety and psychological insight, and he rejects any artificial structure.

Since its 1605 quarto publication, Ben Jonson's Sejanus has inspired much critical commentary. Although criticism credits Jonson with a compositorial role in the Quarto's production, critics continue to assess its marginalia as a defense against application or a scholarly pretense. Editors have pared down the marginalia, setting them as footnotes or endnotes; others have relegated them to appendices; still others have abandoned them entirely. Neither critics nor editors have weighed Jonson's marginalia beside the dramatic text they inform. Reading the Quarto Sejanus as a composite of margins and centre, within its bibliographical, theoretical, and literary contexts, shows it to be a learned study in emergent theories of historiography. In its innovations, the composite redresses the inefficacies of contemporary historians and editors. To understand Sejanus's textual interactions. the opening chapter examines tbe quarto itself. In each feature of its composition - from its title page, through its prefatory epistle, laudatory poems, and argument, to its very mise-en-page - the Quarto Sejanus declares itself the learnedly innovative product of long labour, and demands to be read as such. Chapter 2 considers the impact upon Renaissance historiographers of historiographic models, ranging from Gildas Sapiens to North's Plutarch, and theoretic models, from the Florentine to the Polybian. The composite Sejanus is innovatively Polybian in its comprehensive attention to human cause and circumstance. Sejanus' historiographic claims are tested against Shakespeare's Julius Caesar. Chapter 3 begins the process of investigating Sejanus's bibliographical innovations. The investigation begins with the reception of the scholarly text in 1605 through three interdependent early-modern practices - margination. education, and reading - to show that, having no conception of supplemenlarity, the Renaissance reader read the whole page. Chapter 4 produces something afthe Quarto Sejanus's bibliographical context through two contemporary marginated texts - Matthew Gwinne's Latin drama Nero and Sir John Harington's translation of Orlalldo Furioso. Chapter 5 tests my claims to the Quarto Sejanus's bibliographical innovation within the context created in Chapter 4. The Quarto's composite fonn transcends the limits of the text to a degree unmatched by its dramatic or historiographic contemporaries, allowing Jonson to model right and ill-reasoned action through psychologically realized characters within vividly historicized events. / Graduate