Seamfulness is a narrative-based and arts-informed inquiry into young women's "depression" as pedagogy. Unfolding in rural Nova Scotia, this research is rooted in my experience of depression as the most transformative event in my life story. While memoirists tell me I am not alone, there is currently a lack of research on personal understandings of depression, particularly for young adult women. Through storytelling sessions and self-publishing workshops, I explored four young Nova Scotian women's depression as a productive site for growth. Participants include four young women, including myself, who experienced depression in their early 20s, and have not had a major depressive episode for at least three years. Aged 29 to 40, we claim Métis, Scottish, Acadian, and British ancestries, and were raised and lived in rural Nova Scotian communities during this time. At the seams of adult education, disability studies, and art, I ask: How do young women narrate experiences of "depression" as education? How do handmade, self-published booklets (or “zines”) allow for exploring this topic as embodied, emotional and critical transformative learning? To address these questions, I employ arts-informed strategies and feminist, adult education, mental health, and disability studies literatures to investigate the critical and transformative learning accomplished by young women who experience depression. Through a feminist poststructuralist lens and using qualitative and arts-informed methods, I situate depression as valuable learning, labour, and gift on behalf of the societies and communities in which women live. I argue that just as zines are powerful forms for third space pedagogy, depression itself is a third space subjectivity that gives rise to the "disorienting dilemma" at the heart of transformative learning. I close with "Loose Ends," an exploration of depression as an unanswered question. This thesis engages visual and verbal strategies to disrupt epistemic and aesethetic conventions for academic texts. By foregrounding participant zines and stories, I privilege participant voices as the basis for framing their experience, rather than as material to reinforce or contest academic theories.

This dissertation investigates nineteenth-century Canadian literary and general interest periodicals through the prefaces and other editorial missives written by the editors who created them. It seeks to demonstrate how these cultural workers saw their magazines as vehicles for promoting civic and literary development. While the handful of previous Canadian magazine dissertations take a “snapshot” approach to the genre by profiling a handful of titles within a region, this study attempts to capture the editorial impulse behind magazine development more widely. To do so, it examines multiple titles over a wider geographical and chronological span. To provide context for these primary documents, the dissertation begins with a chapter that summarizes the development of magazines as a genre and the history of publishing in nineteenth-century Canada. Subsequent chapters examine prefaces by theme as well as by rhetorical strategy. Themes such as nationalism, cultural development, and anti-Americanism emerge most prominently, alongside rhetorical techniques such as metaphor, imagery, analogy and personification. The dissertation also examines other sites of editorial interaction, most commonly the “correspondent’s columns,” where editors provided public feedback on topics ranging from versification to currency to prose style as a means of educating writers and readers alike. Finally, the dissertation relies on existing indexes to identify some of the most prolific contributors to the magazines, considering how these writers used the magazines to boost their literary careers. In the early century, these sources verify the productivity of canonical writers such as Susanna Moodie and Rosanna Leprohon, and call attention to obscure writers such as Eliza Lanesford Cushing, W. Arthur Calnek, James Haskins, and Mary Jane Katzmann Lawson. In the later century, the same approach is used again to examine the hive of writers who emerged to contribute to late century magazines like The Canadian Monthly and National Review and The Week, confirming the immense productivity of writers such as Agnes Maule Machar and drawing attention to now-obscure contributors like Mary Morgan. By recovering these overlooked editorial elements and figures, this dissertation draws scholarly attention to a more nuanced view of literary production and affirms the importance of magazines to literary development in nineteenth-century Canada.

This doctoral thesis discusses the competence structures and the development of human capital in the graphic arts and media sector. The study has focused on exploring the new media landscape and in particular the structural changes that influence the sector, the print-versuselectronic- media debate and the future of print media. The influence of new technologies and management concepts on the graphic arts and media sector has also been investigated, as has the role and the importance of people in new societal and industrial settings as well as new ways of managing and developing people in changing media environments. The primary research objective was to identify the competence requirements and characteristics for existing and potential employees in the graphic arts and media sector and, in particular, the areas of digital printing and cross-media publishing. The second objective was to elucidate the various actions and strategies established and applied for the professional development of people in the graphic arts and media sector, such as further training, recruitment policies and the evaluation and certification of competence. The third objective of the study was to suggest the formation of a strategy for the professional development of people in the graphic arts and media sector – namely the creation of a human capital development strategy. An important issue was to identify the various components (or substrategies) of the strategy and determine if it was possible to integrate them under a common platform. The work has been based on literature studies, industry reports and observations, market analyses and forecasts, and empirical studies. Participatory research methods have also been used. In addition, case-study research has been performed at the company and sector levels. Human resource management and development concepts have been surveyed to determine whether they are efficient for the professional development of people in the entire spectrum of an industry sector. The graphic arts and media sector – including print media – will remain active for the foreseeable future; however, the results presented here show that the sector has been significantly influenced by structural changes that have taken place over the last decade, affecting organizations, companies and people involved in the sector, and this process of change will continue. The study shows that there is indeed a need for new competence in people employed in or to be recruited to the graphic arts and media sector. The initial identification and description of the competences for the new structure of the graphic arts and media industry is proposed. Various actions for the development of people in the sector, mainly regarding education, further and continuous learning, and recruitment, are also identified. However, these activities have been established mainly at the national level by various organizations (educational institutes, industrial partners and the governmental/European Union authorities). Finally, the principal characteristics of a human capital development strategy are described, and components (or substrategies) that form a strategy that could be introduced for the graphic arts and media sector in Europe are proposed. Keywords: Graphic arts and media sector, digital printing, cross-media publishing, human capital, intellectual capital, human resource management and development, human capital development strategy.

The dual usage of &171;reading&171; in the title evokes the nature of this study. This thesis will analyse the ways in which people &171;reading&171; (make sense of/produce) images of culture as they approach translated novels. Part of this analysis is the examination of what informs the &171;reading culture&171; of a given community; that is, the conditions in which readers and texts exist, or the ways in which readers are able to access texts. Understanding of the depictions of culture found in a novel is influenced by publicity and promotion, educational institutions, book stores, funding bodies and other links between the reading public and the production and sale of books. All of these parties act as &171;translators&171; of the text, making it available and comprehensible to readers. This thesis will make use of a set of contemporary Australian novels, each of which makes extensive use of Australianness and Australianisms throughout its narrative. The movement of these texts from their cultures of origin towards wider Australia, the United Kingdom and France will provide the major case studies. The thesis will assert that no text is accessed without some form of translation and that the reading positions established by translators are a powerful influence on the interpretations arrived at by readers. More than ever, in the contemporary reading environment, the influence of the press and other &171;translators&171; is significant to the ways in which texts are read, and to perceptions held by readers of the culture from which a novel originates.

The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption.

Through its depiction of heroines, romance fiction has the capacity to reflect the attitudes and concerns women face in society. However, the depiction of heroines in romance novels is bound by the constraints publishers place upon them. A vibrant, passionate mid-life heroine gets pushed into a subgenre where romance no longer exists as an option, while a mid-life reader in search of a romance heroine to identify with is relegated to novels where romance is a marginal issue, rather than the main impetus that leads the story. This study, and the novel A Basic Renovation, addresses a neglected demographic of reader and heroine who are marginalised within the romance genre. As well, it gives reasons why heroines need not be characterised in particular roles or situations as they age, and a rationale for why their underrepresentation as romance heroines should end.

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