This dissertation analyzes how Anglos in the state of Arizona developed a shared cultural vocabulary of white supremacy during the 1920s and 1930s, which played a fundamental role in modernizing the state, making it attractive for tourists and corporations interested in relocating to the southwestern Sunbelt. Through state historical pageants, western novels, and sportsmen’s magazines, Arizonans used popular culture to both create and demonstrate Anglo supremacy by exhibiting, categorizing, and hierarchizing other racial groups, with “whiteness” as the ordering and controlling agent. In particular, popular culture in Arizona highlighted “Indians”—both the “tragically vanished” Indians of the past and contemporary indigenous groups, who were portrayed as dependent on white uplift—while ignoring or erasing Arizona’s ethnic Mexican populations, past and present. It was through the media of popular culture, I argue, that Anglo Arizonans naturalized state-imposed racial subjugations and displacements. This culture was fundamentally shaped by the fact that Arizona was a “federal land” state, with approximately 70% of the land under the control of the federal government. Throughout this period, as Arizonans attempted to demonstrate their capacity for self-government, they were frustrated by the reality that most of the state’s land base was not under their own authority. But popular expressions of white supremacy must be seen as a creative response to these circumstances: where state authority was otherwise weak, cultural demonstrations of the state’s ability to discursively order “Indians” and other racialized borderlands populations served as an assertion of local Anglo sovereignty and control.

<p> Recent scholarship has added to our knowledge about the court masque, reinforcing its significance for the literature of the sixteenth and seventeenth centuries. Milton's Comus has profited from such re-assessment so that its high valuation as dramatic literature need no longer be regarded as incompatible with its success as a court masque. The new seriousness of approach to the court masque in general and Milton's Comus in particular provides the impetus for an examination of the rest of Milton's poetic output for the purpose of tracing there the influence of his experience with the complimentary court entertainment.</p> <p> The court entertainment was encomiastic in intent, this encomium being patterned according to certain conventions. Paradise Lost, which praises God, uses a number of these conventions. Contrary to usual epic practice, Milton does not immortalize worldly conquests and compliment the statesmanship of his nation's leaders. Early notions of a British epic, to use the Arthurian or other indigenous material, were abandoned in favour of a work to celebrate the heavenly king and the spiritual kingdom. In the finished poem epic structures are interpreted in ways suggestive of the influence of court pageantry. Encomium of the heavenly king is expressed in the God-centred structure of Paradise Lost. The whole action of the poem focusses on the throne of the omniscient viewer. The angels sing and dance about this throne as the court danced before royalty in the court entertainment, and even creation is the setting for "a Race of Worshippers" (VII.630). A foil to the glory of Heaven, provided in the parodic activities of the fallen angels in Hell, suggests the conventions of the antimasque and the comedy of misrule. The victorious reign of Christ is celebrated, as many a pageant celebrated the reign of a seventeenth-century king, in a tournament. A mock battle in which no one is maimed, this culminates in the triumphal entry of Christ himself in a pageant chariot, symbolically banishing, rather than waging battle with, the forces of evil. In Satan's pilgrimage to earth even the traditional epic wanderings are transformed into an allegoric progress. The devices of the court entertainment inform the action of the poem, which is made up of processions, ceremonies and masques. The scenic spectacle, too, is influenced by the theatrical effects and iconography of royal pageantry.</p> <p> One might expect Heaven and Hell to be presented in terms of allegoric theatre, but in Paradise Lost even the garden itself is a golden world which works according to the pastoral conventions that so often informed court entertainments. Adam and Eve are the poem's legendary rulers. As he describes the pomp of the prelapsarian kingdom, Milton relies on a knowledge of contemporary pageantry. Here such pageantry expresses the perfection of the most perfect earthly kingdom of all. Referring to a legend often used to glorify the British court, Milton says of Paradise: "Hesperian Fables true, / If true, here only" (IV.250-51). To see Paradise Lost in the context of the contemporary pageantry and masque theatre is to see it not as history reconstructed, but as historic incident transmuted through the use of a series of literary devices into encomiastic fiction. The fictional world of the poem is designed to justify the workings of God's creation; it glorifies the providence of the omnipotent creator.</p> / Thesis / Doctor of Philosophy (PhD)

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

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This thesis investigates and analyzes certain significant aspects of the Centennial celebrations of 1967 as they took place in Toronto-area schools. By considering the Centennial activities involving art, travel, music and historical pageantry—those deemed most significant by educational planners—I propose to evaluate how students, and Canadians in general, were thinking and learning about Canada and its people at the time. Throughout this essay, I argue that the Centennial celebrations are crucial evidence of a developing shift in the way that Canadians conceived of national identities and a change in how students were educated about Canadian history. In particular, I will argue that the Centennial celebrations in Toronto-area schools often demonstrated the continued development of a post-imperial vision of Canada’s national character, and an approach to history education which moved beyond the traditional timeline-oriented and British nation-building narratives that dominated early-twentieth-century Canadian education.

This thesis investigates and analyzes certain significant aspects of the Centennial celebrations of 1967 as they took place in Toronto-area schools. By considering the Centennial activities involving art, travel, music and historical pageantry—those deemed most significant by educational planners—I propose to evaluate how students, and Canadians in general, were thinking and learning about Canada and its people at the time. Throughout this essay, I argue that the Centennial celebrations are crucial evidence of a developing shift in the way that Canadians conceived of national identities and a change in how students were educated about Canadian history. In particular, I will argue that the Centennial celebrations in Toronto-area schools often demonstrated the continued development of a post-imperial vision of Canada’s national character, and an approach to history education which moved beyond the traditional timeline-oriented and British nation-building narratives that dominated early-twentieth-century Canadian education.

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Centred on the architecture of the Winnipeg Civic Auditorium, this thesis tangentially investigates the presence of Anglo-Saxon race mindedness in a place civic planners call the metropolitan centre of North America (Watt, 1932). The introduction situates the building tangentially in Manitoba's history. By thinking about the Civic Auditorium in a tangential manner I aim to attack the linear and sequential framework found in Eurocentric historical accounts. Doing this, my thesis criticises western architectural history and welcomes Indigenous reinterpretations of civic planning and urban aesthetics. I aim to philosophically attack the informational rhetoric of the cultural turn (Fabian, 1983). My thesis participates in the production of a material turn discourse, wherein the important philosophical relationship between objects and occidental culture is demonstrated (Otter, 2010; Bennett & Joyce, 2010; Hamilton, 2013). It utilises the Civic Auditorium as a touch stone to demonstrate the important ways that architecture has agency in the production of racism. / February 2016