By way of five microhistories focusing on the lives of Cecelia Davies Sylvester, Hannah Director, Leon Koerner, Harry Adaskin, and Nathan Nemetz, this study examines various modes of integration for Jews within particular periods of British Columbian (BC) history. Each microhistory explores the boundaries that were crossed and fostered by Jews whose careers and social contributions led them outside the confines of the established Jewish community. These Jews represent the vanguard of Jewish integration for each era to which they contributed.

By way of five microhistories focusing on the lives of Cecelia Davies Sylvester, Hannah Director, Leon Koerner, Harry Adaskin, and Nathan Nemetz, this study examines various modes of integration for Jews within particular periods of British Columbian (BC) history. Each microhistory explores the boundaries that were crossed and fostered by Jews whose careers and social contributions led them outside the confines of the established Jewish community. These Jews represent the vanguard of Jewish integration for each era to which they contributed.

This thesis focuses on the problem of defining and designing public space in contemporary mass society. "Assembly" revaluates a cultural understanding of public space as the space of regulation, consumption and leisure, and works to find spaces of freedom, agency and action. Three iconic sites located in Toronto from three successive generations are examined: Nathan Phillips Square, the Eaton Centre and the new Dundas Square. These three sites form the primary division of the work and are respectively paired with extended critiques from three thinkers: Hannah Arendt, Jean Baudrillard, and Guy Debord. The pairings centre on Arendt's account of the "rise of the social", on Baudrillard's analysis of consumption and on Debord's dissection of the spectacle. The argument is presented in the form of an assemblage. Although the nature of this method invites each reader to construct their own meaning, this thesis grounds itself on a defined polemic. It considers public space to be marked by 1) the erosion of a clear distinction between our public and private realms, and their subsequent dissolution into the realm of the social, 2) the ideology of consumption overtaking the realm of the social, and 3) the world of the commodity replacing reality with the world of the spectacle. "Assembly" first consists of three main sections corresponding to the three sites. Each of these parts is assembled from three distinct strands: factual, theoretical and visual. The factual strand forms the main "field" of each section and is made up of selected quotations from mass media ? newspapers, public documents and websites. The theoretical strand, consisting of pointed quotations from the relevant social theorist, is threaded through the field of mass media. The visual strand comprises two elements: a postcard that marks the beginning of the section and a series of authored photographs that follows and complements the text-based assemblage. <br /><br /> Inevitably, the relationship between general social values and those of individuals is fraught. Consequently, and perhaps also inevitably, architectural design tends to reduce the manifoldness of the public realm into a homogenous and singular public space: the "whole". This thesis pursues the question of how to conciliate individual agency with collective public experience. The process and form of "Assembly" deliberately celebrates this uncertainty of design, and takes "heterogeneity" as a necessary condition of public space. That it cannot offer a comprehensive solution is, perhaps, inherent to the question.

This thesis focuses on the problem of defining and designing public space in contemporary mass society. "Assembly" revaluates a cultural understanding of public space as the space of regulation, consumption and leisure, and works to find spaces of freedom, agency and action. Three iconic sites located in Toronto from three successive generations are examined: Nathan Phillips Square, the Eaton Centre and the new Dundas Square. These three sites form the primary division of the work and are respectively paired with extended critiques from three thinkers: Hannah Arendt, Jean Baudrillard, and Guy Debord. The pairings centre on Arendt's account of the "rise of the social", on Baudrillard's analysis of consumption and on Debord's dissection of the spectacle. The argument is presented in the form of an assemblage. Although the nature of this method invites each reader to construct their own meaning, this thesis grounds itself on a defined polemic. It considers public space to be marked by 1) the erosion of a clear distinction between our public and private realms, and their subsequent dissolution into the realm of the social, 2) the ideology of consumption overtaking the realm of the social, and 3) the world of the commodity replacing reality with the world of the spectacle. "Assembly" first consists of three main sections corresponding to the three sites. Each of these parts is assembled from three distinct strands: factual, theoretical and visual. The factual strand forms the main "field" of each section and is made up of selected quotations from mass media ? newspapers, public documents and websites. The theoretical strand, consisting of pointed quotations from the relevant social theorist, is threaded through the field of mass media. The visual strand comprises two elements: a postcard that marks the beginning of the section and a series of authored photographs that follows and complements the text-based assemblage. <br /><br /> Inevitably, the relationship between general social values and those of individuals is fraught. Consequently, and perhaps also inevitably, architectural design tends to reduce the manifoldness of the public realm into a homogenous and singular public space: the "whole". This thesis pursues the question of how to conciliate individual agency with collective public experience. The process and form of "Assembly" deliberately celebrates this uncertainty of design, and takes "heterogeneity" as a necessary condition of public space. That it cannot offer a comprehensive solution is, perhaps, inherent to the question.

Nathan Söderblom var ett levande band mellan Europas folkkyrkor, en andes budbärare, som blev hörd och förstådd överallt och genom vilken människor från skilda världar lättade upp sitt hjärta för varandra. Hans stora tanke: fred och samförstånd svarade mot den längtan, som växt sig så stark i efterkrigsårens splittrade värld, och dock förefaller det omöjligt att avgöra, om det var hans idéer, som fäste världens uppmärksamhet på hans person, eller om det inte snarare var den gåtfulla makten hos denna märkliga personlighet, som förde den ekumeniska tanken till seger. Han vann snart nog en erkänd ställning som en av protestantismens ledande personligheter, och hans namn blev till sist ett av de få stora som världen känner. Eftersom hans starka personlighet ligger i grund för hans ekumeniska verksamhet, säger jag några ord om Söderblom som person. Det som lockade mest var hans enkelhet. Han hörde inte till dem som blir uppblåsta av sina värdigheter. Alla som träffade honom trodde att han var lycklig och harmonisk människa. Ensam utkämpade han sin själsnöd. Han var ett stöd för många, och han var ett stöd för sig själv. Och hela sitt liv blev han en sökande och forskande ande, samtidigt som han ägde en djup inre fromhet och gudsförtröstan.

By way of five microhistories focusing on the lives of Cecelia Davies Sylvester, Hannah Director, Leon Koerner, Harry Adaskin, and Nathan Nemetz, this study examines various modes of integration for Jews within particular periods of British Columbian (BC) history. Each microhistory explores the boundaries that were crossed and fostered by Jews whose careers and social contributions led them outside the confines of the established Jewish community. These Jews represent the vanguard of Jewish integration for each era to which they contributed.

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By way of five microhistories focusing on the lives of Cecelia Davies Sylvester, Hannah Director, Leon Koerner, Harry Adaskin, and Nathan Nemetz, this study examines various modes of integration for Jews within particular periods of British Columbian (BC) history. Each microhistory explores the boundaries that were crossed and fostered by Jews whose careers and social contributions led them outside the confines of the established Jewish community. These Jews represent the vanguard of Jewish integration for each era to which they contributed.

Die vorliegende Dissertation deduziert eine bisher unbeachtete ‚alternate‘ Praxis modernen Schreibens aus der Analyse dreier experimenteller Stadtromane, die weder bei zeitgenössischen Kommentatoren, noch im bisherigen Forschungsdiskurs zum 'amerikanischen Modernismus' Beachtung gefunden hat. Diese Praxis wird exemplarisch in Waldo Franks City Block (1922), Nathan Aschs The Office (1925) und Mary Bordens Flamingo or the American Tower (1927) herausgearbeitet. Die Arbeit argumentiert, dass diese diachrone Missachtung/Nichtbeachtung darin begründet liegt, dass die Romane von ihren AutorInnen unabhängig voneinander, doch nahezu zeitgleich als Prosatexte konzipiert wurden, die eine Gegenläufigkeit zu dem normativen Akzelerationsdiskurs erkennen lassen, welcher sich in verschiedensten Domänen amerikanischen Lebens und Handelns während der ersten Beschleunigungswelle (ca. 1880-1929) herausgebildet hatte. In diesen Romanen finden sich einzigartige, doch vergleichbare stilistische Mechanismen sowie thematische/ideologische Ausrichtungen, die eine generative Agenda (‚generative agenda‘) erkennen lassen: ‚Schnelle‘ textuelle Stile werden appropriiert und/oder mit ‚langsamen‘ Stilen kombiniert (‚aesthetic of in-betweenness‘), um Lesern für die negativen Folgen von Beschleunigung zu sensibilisieren; das Phänomen an sich wird in nuancierter, handlungsorientierter Form neu verhandelt und mögliche Bewältigungsstrategien entwickelt; stilistische, formale und inhaltliche Mechanismen werden angewendet, um eine entsprechende Aktivierung des Lesers herbeizuführen.

The purpose of my thesis is to explore and assess recent efforts by Direct Reference Theorists to explain the phenomenon of empty names. Direct Reference theory is, roughly, the theory that the meaning of a singular term (proper name, demonstrative, etc.) is simply its referent. Certain sentences, such as negative existentials ("Santa does not exist"), and sentences in contexts of fiction ("Holmes lived on Baker Street"), present the following challenge to DR Theory: Given that the semantic value of a name is simply its referent, how are we to explain the significance and truth-evaluability of such sentences? There have been various approaches DR Theorists have taken to address this problem, including the Pragmatic Strategy, Pretense Theory, Abstract Object Theory, and the Metalinguistic Strategy. All of these views are analyzed and assessed according to their various strengths and weaknesses. It is concluded that, overall, a Metalinguistic Strategy, supplemented by the notion of pretense, best deals with negative existentials and normal-subject predicate occurrences of empty names, Abstract Object Theory best deals with empty names in meta-fictional contexts, and Pretense Theory best deals with empty names in object-fictional contexts.