My research explores the interplay between the archival and aesthetic sensibilities of novelists not typically associated with archival practices--Claude McKay, Richard Wright, Ralph Ellison, and Jack Kerouac. In juxtaposing their dual roles as public novelists and private archivists, I expose how their literary practices echo with core concepts in archival theory and position the novel as an alternative and superior site of historical preservation. Drawing on my experience as an archivist, I argue that the twentieth-century American novel's concern with inclusivity, preservation and posterity parallels archival science's changing approach to ephemera, arrangement, and diversity. The role of the archive in my work is both methodological and thematic: first, my own research incorporates these authors' cache of research materials, correspondence, drafts, diaries, and aborted or unpublished pieces, obtained during my visits to their various repositories. Second, I extricate the role of the archival in their fictions, and trace how their research, documentation, and classification practices inform their experiments with the novel form. I propose that all these vagabond masters of novelistic craft throw into relief the archive's positivist fallibility while also stressing its creative mutability.

In her attempt to find a strictly human origin for certain doctrines contained in the Book of Abraham, and the later teachings of Joseph Smith, Mrs. Fawn M. Brodie relies upon the writings of one Thomas Dick. Dick was a nineteenth century Scottish scientist-theologian who wrote several volumes on religious and scientific subjects. It is known that at least two volumes were known to at least some of the early Latter-day Saints, for passages from them were quoted in the Messenger and Advocate. The purpose of this thesis has been to research the entire ten volumes of Dick's writings in order to determine the entirety of his theology. The paper first relates the life and general philosophy of Thomas Dick, and then investigates specifics of his theology under the general chapter headings of "God," "Man," and "Salvation." The final two chapters of the thesis deal with those specific aspects of Joseph Smith's theology which Mrs. Brodie claims were influenced by Dick's writings. The conclusion reached as a result of this study is: while it cannot be demonstrated that any of the Prophet's theology has any direct foundation in Thomas Dick's, there may have been impetus gained from Dick's writings in the direction Joseph Smith's theology took, but only if it could be demonstrated that Joseph Smith had read them, and this has not been done, by Mrs. Brodie, nor anyone else.

No description available.

viii, 233 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation argues that certain iconic poems have shaped the canon of American poetry. Not merely "canonical" in the usual sense, iconic poems enjoy a special cultural sanction and influence; they have become discourses themselves, generating our notions about American poetry. By "iconic" I mean extraordinarily famous works like Henry Wadsworth Longfellow's "Paul Revere's Ride," Walt Whitman's "Song of Myself," and Claude McKay's "If We Must Die," that do not merely reside in the national memory but that have determined each poet's reception and thus have shaped the history of American poetry. Through case studies, I examine longstanding assumptions about these poets and the literary histories and myths surrounding their legendary texts. In carefully historicized readings of these and other iconic poems, I elucidate the pressure a single poem can exert on a poet's reputation and on American poetry broadly. I study the iconic poem in the context of the poet's corpus to demonstrate its role within the poet's oeuvre and the role assigned to it by canon makers. By tracing a poem's reception, I aim to identify the national, periodic, political, and formal boundaries these poems enforce and the distortions they create. Because iconic poems often direct and justify our inclusions and exclusions, they are of particular use in clarifying persistent obstacles to the canon reformation work of the last thirty years. While anthologies have become more inclusive in their selections and self-conscious about their ideological motives, many of the practices regarding individual poets and poems have remained unchanged over the last fifty years. Even as we include more poets in the canon, we often ironically do so by isolating a particular portion of the career, impulse in the work, or even a single poem, narrowing rather than expanding the horizon of our national literature. Through close readings situated in historical and cultural contexts, I illustrate the varying effects of iconic poems on the poet, other poems, and literary history. / Committee in charge: Dr. Karen J. Ford, Chair; Dr. John T. Gage, Member; Dr. Ernesto J. Martinez, Member; Dr. Leah W. Middlebrook, Outside Member

Recent work in the geohumanities has renewed a call for the inclusion of creative work within the discipline of geography. This dissertation works both creatively and critically to answer that call, and to contribute to the geohumanities generally and the subfield of geopoetics particularly. In the theoretical portion of this work, I draw from and dialogue with creative geographies, emotional geographies, nonrepresentational theory, and post-human geographies, arguing that geopoetics is both theory and practice-based and focuses on how to apprehend the world, how to acknowledge and practice the act of perceiving, and the relationship that grows through the act of perceiving and being perceived. This attendance is an ethical act; it helps to enrich understandings of place and of human relationships to the world. I use this understanding of geopoetics to rethink relationships to place through the embrace of poetic technique, an ethics of care, and an acceptance of situated, autobiographical emotion in practice. I use the work of three philosopher-poets (McKay, Zwicky, Lilburn) to argue that geopoetics is a relational ontology that helps contribute culturally to embodied understandings of ethics, landscape, and environment through its practice of attendance and perception. Separately, all three writers contribute variously to conceptualizations of wilderness, home and place; together, I propose that their work serves to further define geopoetics through the manner by which one attends to the world. I also specifically use Zwicky’s work on lyric to intervene in non-representational theory, clarifying ideas on a body-in-the-world. Attendance, for me, involves emotional, sensory, and philosophical engagement but is focused on the world, not on the perceiver. The creative portion of this dissertation puts the theoretical work into practice, adding to understandings of what geopoetics might do. This creative work is an act of attendance, which has as its root a geography of love and an emphasis on how to perceive. Its inclusion further validates creative practice and the inclusion of creative professionals within the discipline of geography. / Graduate / 2022-08-25

School choice is a fast growing alternative to traditional public school education across the nation. According to the Florida Department of Education, school choice policies and laws are rapidly moving Florida away from more traditional forms of schooling toward an increasingly evolving school choice state landscape. The purpose of this study was to examine school choice in Florida by investigating the school choice policies enacted by the Florida legislature leading to the school choice environment in Florida today. Specifically, this investigation was limited to legislation in Florida between 1997 and 2014 and further limited to charter schools, home schooling, virtual education, and two choice options specific to Florida in which public dollars follow students to private schools, the Tax Credit and McKay Scholarship programs. These particular school choice options were chosen as the focus of this study because they change the where of education outside of tradit ional public schools. Other choice options such as magnet schools, inter-district choice, and intra-district choice simply move students among traditional public schools but keep them enrolled in traditional public schools. Ultimately the study hoped to provide a possible road map for the future of school choice policies in Florida. This study utilized a qualitative methodology utilizing document reviews and interviews. This study found that school choice policies in Florida have continued to expand and evolve over the years to increase the liberty available to families to choose the education of their children. This study also found that the Florida legislature has laid the groundwork for Florida school districts, through a focus on equality, to take advantage of a portfolio management model to increase student achievement. Although a focus on equality led to the enactment of various school choice options, some of these options have moved away from their original intent to financially benefit specific organizations and groups. Finally, as reported by Holme, Frankenberg, Diem, and Welton (2013), Florida's charter school, virtual education, and home education policies have been enacted as race-neutral policies that have no regard for diversity, which could lead to resegregation. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

The purpose of this dissertation was to add to the literature on the school choice debate and educational voucher programs through an analysis of Florida’s John M. McKay Scholarship Program for Students with Disabilities. This dissertation looked at the major aspects of school choice theory, parental satisfaction, and reasoning for choice. A theoretical framework for analyzing school choice programs was put forth in this dissertation through an analysis of the over-arching dynamical elements that have shaped the administrative and political arguments for and against these programs. A comprehensive review of the literature on school choice comprised a substantial part of this study due to the need for citizens to better comprehend the origins and evolution of school choice planning and programming. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

What is comedy? Can someone learn to be funny? Are there rules or guidelines for the production of laughter, the universal language? This paper, which outlines an investigation of successful comedians and the production of a short film, determines to aggregate as many of the relevant prerequisites of inducing giggles as possible, especially as they relate to the audiovisual medium of cinema.

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

No description available.