Despite seemingly remarkable progress on civic-political concepts in different cultural and national contexts, the co-existence of students and civilizations in the classroom remains underrepresented in critical peace education as a pedagogical approach. As a result, this qualitative case study seeks to understand the curriculum-as-planned, -implemented, and -lived of four Grade 5 classrooms at a school in Morocco. In this study, I suggest that their curriculum represents some of the key concepts taken up in critical peace education. Critical peace education works toward creating spaces of empowerment for students where they can critically analyze their relations to power. I use Foucault’s conceptions of discursive regimes, power/knowledge, care of the self, genealogy, and archaeology as the foundation for a postmodernist worldview. As part of my research methodology I collected data from curriculum documents, photos of activities/events/interactions at the school and/or within the classroom, responses from Grade 5 students to questions about their lived experiences about “making peace,” and journaling about my role as a participant-observer in the Arabic-speaking classrooms. This research seeks to mobilize knowledge that focuses on current practices for designing curriculum and pedagogical strategies that are needed to develop what we might call a “critical peace curriculum.”

The process of identification for émigrés in host countries requires an investigation into the “politics of identity”, and epistemological tensions of how identity is conceptualized and practiced in the context of multicultural environments. Indeed, multiculturalism frameworks in Canada have emerged from attempts to manage coexisting cultures living in the nation-state. This research is a comparative theoretical discussion that mobilizes postmodern perspectives to open limited notions of Canadian identity, and describes the potential challenges that English Canadian and Francophone Quebec multicultural frameworks raise in cultural identification for Canada as a whole, and specifically for émigrés. Secondary literature for the analysis of multicultural frameworks is examined with citizenship markers from Census of Canada questionnaires, to conceptualize Canadian identity through discourse. The findings: (1) postulate how the multiculturalist framework in English Canada and the politics of intercultural identity in Quebec intervene in the meaning-making process of national identity and thus impede on the preservation and development of different cultural identities; and (2) discover that both frameworks of multiculturalism and interculturalism, as an institutionalization of social justice and equality, should be reframed or refined due to the limiting conceptualization of cultural identity as fluid. The findings conclude that multiculturalism, interculturalism, and citizenship frameworks may not provide effective strategies to balance the relationship between different groups with regards to ethnic and cultural rights and equality, and that these frameworks should be revisited to account for, and represent, the complexities of identity in Canada.

This thesis includes seven short stories and a critical afterword. The afterword places the stories in their literary historical context in regards to creative nonfiction. It goes on to discuss the craft of fictionalizing autobiographical stories. Each of the stories should stand alone, though they follow the narrator's life for a number of years. Harlin Anderson is the narrator of all the stories.

Bibliography: pages 617-630. / This dissertation proposes to examine the work of John McGrath and the 7:84 Theatre Company as part of a continuum of theatrical experimentation culminating in postmodernism. To clarify the relationship between aesthetic form and social praxis the inquiry proceeds in two salient lines of direction: the first tracing the withdrawal from "realism" of major theorists of modernist ideology, the second defining the political and social milieu which provided the matrix for the development and staging of McGrath's plays. Recognising the partisan disposition of the 7:84 Theatre Company, the focus is on not only the division between political commitment and aesthetic experimentation, but also their potential for conciliation. At stake here is the socio-political nature of dramatic form itself and the contradictions implicit in political theatre's inherent structure. Tested against actual modes of procedure in the staging of McGrath's plays, and against the plays themselves, are the modernist propositions on aesthetics and politics argued within the context of German Marxism by Bloch, Lukacs, Benjamin, Adorno, and Brecht. The inquiry into problematising representational modes is then extended to include the postmodernist resistance to both realism and modernism, seeking precisely where and how McGrath's theatre supports this opposition. Following a critical dissection of representative texts, the conclusion attempts to establish their validity as postmodernist art, wordlessly disclosing within the parameters of their own language structure what cannot be asserted effectively by the practice of politics itself.

Last Night in Americaland is a collection of poems of life, death, terror, refusal, confusion, America, music, geography, place, love, friendship, hope, and the past.

Thesis advisor: Frances Restuccia / What qualifies a work as distinctly modernist or postmodernist? Moving beyond the idea that modernism and postmodernism are primarily distinguishable on a temporal basis, D’Errico instead argues that the key difference between these two movements lies on a theoretical level. Grounded in a framework of contemporary theory put forth by Žižek, Lacan, Deleuze, and Badiou, D’Errico proposes that the Real-Symbolic relation manifests differently in modernist and postmodernist works; the structural paradigms of the torus and rhizome are helpful to illuminate this fundamental theoretical difference. Expanding on Žižek’s definitions of modernism and postmodernism (from Looking Awry ), D’Errico posits that a torus-shaped Real-Symbolic relation accords with modernism and that a rhizomatic Real-Symbolic relation accords with postmodernism. This interdisciplinary analysis of twentieth-century art mainly focuses on literature, but also invokes poetry, visual art, theatre, and film. Overall, D’Errico dissects the theoretical structures of The Sun Also Rises, Waiting for Godot, The Trial, White Noise, and Caché to qualify the alignment of each with either the modernist or postmodernist canon. / Thesis (BA) — Boston College, 2020. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: English.

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In the wake of the post-structuralist skepticism of language and language's ability to represent reality, the philosophy of history has likewise been questioned, since we gain our knowledge and understanding of the past primarily through language—through written and spoken testimony, and through subsequent historiography. Various post-structuralist critics have pointed out that history is never entirely recoverable, but accessible only indirectly through what is written and documented about it. What is written and documented is in turn determined by the contents and the nature of the archive. What we know about history is largely mediated and limited by the problems inherent in the archive. In my thesis, I point out and examine three separate problems that collectively comprise the overall problem of the archive: the problem of linguistic representation, the problem of memory, and the problem of narrative. I examine these problems as they relate to literature. Much postmodern literature dealing with history is self-consciously aware of itself and history as human constructs, and it uses this ironical self-awareness as a means of exploring the nature of historiography. In my thesis, I examine two works in particular: Slaughterhouse-Five by Kurt Vonnegut and Libra by Don DeLillo. I use my examination of these two novels as a means of analyzing the relationship between fiction and the epistemology of history. In my analysis, I point out the tendency of much postmodern fiction to paradoxically question supposedly veridical accounts of history while simultaneously asserting the truthfulness of certain aspects of their own historical accounts. Ultimately, I examine the role of fiction in creating our collective memory of the past.

Denna uppsats jämför och analyserar källtexter från två inriktningar av den esoteriska idéströmningen kaosmagi. Peter J. Carroll och Genesis Breyer P-Orridge som anses vara förgrundsgestalter inom denna sentida form av esoterisk praktik menade att en individ kan skapa och sätta samman sin egen religion och med den förverkliga sig själv spirituellt och även förändra samhället. Idéströmningen har paralleller med teorier om postmodern spiritualitet och religion där individ, konsumtion och nätverk är några förekommande faktorer. Studien visar att de idéer som lyfts fram av Carroll och Breyer P-Orridge påvisar såväl likheter som skillnader men som har ett gemensamt drag av fokus på individens egen potential och att de ser föregångare i Austin Osman Spare och Aleister Crowley. De två idéströmningarna är även produkter av sin historiska kontext där populärkultur och teknisk innovation har avtryck i det idémässiga innehållet och utförandet.