What do we mean by “seeing”? Although we may see the same object in front of us, we each consciously or unconsciously select what we wish to see, eliminating information we find unnecessary. An artist or poet can see in even a tiny flower, which others barely notice, a wealth of colors or countless words. How then do our own eyes and those of others differ? This thesis aims to explore how the act of seeing shapes one’s life and influences it through a consideration of the works of Kobayashi Hideo 小林秀雄 (1902-1983), a literary critic in modern Japan. In 1949 Kobayashi published a long essay entitled “Watakushi no jinseikan” 私の人生観(My View of Life), originally given as a speech in 1948 when he was forty-six years old. In this work Kobayashi analyzes the word kan 観 (vision) with reference to more than forty historical figures from both the West and the East. The thesis selects for discussion two of these in particular, namely Miyamoto Musashi 宮本武蔵(1584-1645), a Japanese warrior of the early Edo era, and Henri Bergson (1859-1941), a major French philosopher of the twentieth century upon whom Kobayashi places special significance. While the primary focus is on interpreting this speech of Kobayashi’s, the thesis also discusses his earlier and later works in order to show the various transitions his philosophy went through over the course of his long career. The strong belief to which Kobayashi held on throughout his life as a literary critic is that the only way to see the essence of any object is to reject all rational and analytical interpretation and instead to unite one’s self with the objects: this was the ultimate approach that Kobayashi adopted in order to understand the word kan. This thesis finally addresses the question of whether this vision enabled Kobayashi to achieve his potential as a critic and as an individual.

Background: Food nourishes us, sustains us, and has the potential to both heal us and make us sick. Among many Indigenous cultures, traditional activities, ceremonies, events and practices often involve or use food, grounding Indigenous peoples within the context of their local, natural surroundings. This suggests that food is important not only for physical health, but also emotional, mental and spiritual health. The relationships that Indigenous peoples have with food can help us to understand the health of individuals, and the communities in which they live. Purpose: The following qualitative study explores how three generations of adults who live in one Labrador Inuit-Metis community experience and understand their relationships to food in a context of global change. Theoretical Orientation: The research is guided by Two-Eyed Seeing. Two-Eyed Seeing acknowledges that there are many different ways of seeing and understanding the world, some of which can be encompassed through a Western eye and some through an Indigenous eye. If we learn to see through both eyes, we can gain a perspective that looks very different than if we only view the world through a single lens. Methods: For the study, twenty-four people from the south-eastern Labrador community of St. Lewis participated in individual and joint story-telling sessions. A group story-telling session also took place where community members could share their stories with one another. During many of the story-telling sessions, participants shared photographs, which helped to illustrate their relationships to food. Findings/Discussion: Historically, the people of St. Lewis relied almost entirely upon their own wherewithal for food, with few, if any, government services available and very little assistance from the market economy. This fostered and upheld an Inuit-Metis culture that promoted sharing, reciprocity and respect for the natural world. Currently, greater access to government services and the market economy has led to the creation of certain policies and programs that undermine or ignore established social and cultural norms in the community. Conclusions: Existing Inuit-Metis knowledge should work alongside non-Indigenous approaches to policy and program development. This would serve to protect and promote the health of both individuals and communities.

Background: Food nourishes us, sustains us, and has the potential to both heal us and make us sick. Among many Indigenous cultures, traditional activities, ceremonies, events and practices often involve or use food, grounding Indigenous peoples within the context of their local, natural surroundings. This suggests that food is important not only for physical health, but also emotional, mental and spiritual health. The relationships that Indigenous peoples have with food can help us to understand the health of individuals, and the communities in which they live. Purpose: The following qualitative study explores how three generations of adults who live in one Labrador Inuit-Metis community experience and understand their relationships to food in a context of global change. Theoretical Orientation: The research is guided by Two-Eyed Seeing. Two-Eyed Seeing acknowledges that there are many different ways of seeing and understanding the world, some of which can be encompassed through a ‘Western eye’ and some through an ‘Indigenous eye.’ If we learn to see through both eyes, we can gain a perspective that looks very different than if we only view the world through a single lens. Methods: For the study, twenty-four people from the south-eastern Labrador community of St. Lewis participated in individual and joint story-telling sessions. A group story-telling session also took place where community members could share their stories with one another. During many of the story-telling sessions, participants shared photographs, which helped to illustrate their relationships to food. Findings/Discussion: Historically, the people of St. Lewis relied almost entirely upon their own wherewithal for food, with few, if any, government services available and very little assistance from the market economy. This fostered and upheld an Inuit-Metis culture that promoted sharing, reciprocity and respect for the natural world. Currently, greater access to government services and the market economy has led to the creation of certain policies and programs that undermine or ignore established social and cultural norms in the community. Conclusions: Existing Inuit-Metis knowledge should work alongside non-Indigenous approaches to policy and program development. This would serve to protect and promote the health of both individuals and communities.

DISERTACIJOS SANTRAUKA ĮVADAS Problema Vis labiau plečiant ir perkeliant nusistovėjusias ribas, apibrėžiančias, kas gali būti menotyros mokslinio tyrimo objektas, atrandami įvairesniems kontekstams ir praktikoms nei tradicinis atvaizdas-kaip-meno kūrinys priklausantys atvaizdai. Šalia Lietuvos mažosios grafikos (Pleikienė, 2005 ), Lietuvos taikomosios fotografijos (Jaškūnienė, 2011 ) arba Lietuvos grafinio dizaino (Jakaitė ) istorinių tyrimų tokio pat pobūdžio tyrimą, nagrinėjantį knygų Brailio raštu iliustravimo praktiką Lietuvoje, būtų galima laikyti dar vienu naujų tyrimo objektų įtraukimo į menotyrinių studijų lauką pavyzdžiu. Tačiau grafiniai atvaizdai, skirti aklam suvokėjui (tarp jų – ir iliustracijos Brailio rašto knygose) nėra vien tik dar vienas naujas, netyrinėtas reiškinys, kuriam atskleisti užtektų istorinės analizės. Iki pat šiol menotyros studijų rėmuose nagrinėtas problemas, susijusias su įvairių skirtingos paskirties (skirtingos kūrybinės praktikos, etc.) atvaizdų tyrimais, vienija tai, kad niekada nebuvo ginčijamas tokių atvaizdų suvokimo būdas: įprasta, kad atvaizdų sritis priklauso vizualumo diskursui. Tuo tarpu grafinių atvaizdų, skirtų aklam suvokėjui, kūrimo praktika verčia kelti klausimus, kurie, visų pirmiausia paliečia raiškos formos specifiškumo (the specificity of media, Mitchell, 2005) problemą, o kartu neišvengiamai atskleidžia tarpdisciplininių prieigų pasitelkimo būtinybę. Grafinis atvaizdas, skirtas suvokimui lytėjimu – nauja, dar netyrinėta... [toliau žr. visą tekstą] / SUMMARY OF THE DOCTORAL DISSERTATION INTRODUCTION Research problem Increasingly expanding and moving the established boundaries that define what can be the research object of art criticism, images belonging to more diverse contexts and practices than the traditional image-as-an-art-piece are discovered. Alongside Lithuanian small graphics (Pleikienė, 2005 ), Lithuanian applied photography (Jaškūnienė, 2011 ) or Lithuanian graphic design (Jakaitė ) historical studies, the same kind of the research, dealing with books in Braille illustration practice in Lithuania, can be regarded as yet another example of the inclusion of new research objects into the field of art criticism studies. However, graphic images, intended for the blind perceiver (also including illustrations in Braille books), is not simply another new, unexplored phenomenon, revealing which historical analysis would be enough. Problems, related to the explorations of various images of different purpose (miscellaneous creative practices and etc.), which were up to now analysed within the framework of art criticism studies, are unified by the fact that the way of perceiving such images was never under dispute: normally, the field of images belongs to visual discourse. Meanwhile, the practice of creating graphic images for the blind perceiver raises questions, which primarily affects the problem of the specificity of media, and thus inevitably reveals a need to invoke interdisciplinary approaches. Graphic image... [to full text]

”A finger pointing at the moon is not the moon...” -Buddhist Quote ”...but it can point you in the right direction.” -Charles Tart, American psychologist In this Master’s Thesis I will be presenting the idea of an Inner Gaze as an inherent witnessing system used in artistic practice. I will be mirroring my own practice as a Musician/Artist/Sound-Designer in the teachings of Hypnosis and The Science of Consciousness. Further I will share and analyze the collected data gathered from interviews with artists from different artistic fields, in order to gain a better understanding of how they experience their creative and performing minds. Is there any coherence in how we experience creativity? How common are the sensations of altered states of consciousness among artists? Can other artists relate to the idea of an inner gaze? Is this something we long to further explore and develop and would such a concept be beneficial for the artist and its works?

This paper presents a qualitative study in which an attempt was made to extend the debate surrounding the use of real life contexts to make mathematics more meaningful and real. The study investigated Grade 8 learners’ knowledge of number, understanding of number concepts and the kinds of connections they make between number and the context in which number is used. An important aspect of the study’s methodological approach involved an examination of the comments that learners made about what they said they know about number. A response to the question: “Why is the number in the picture?” provided a framework for establishing how learners saw relationships between number and the context in which numbers are used. A face scenario with four questions was given to learners to elicit these relationships. Results pointed to the usefulness of real life contexts as tools that have a central role in uncovering what learners know about number and how they use that knowledge to understand situations that call for proficiency in mathematics.

The Indian residential school (IRS) system is part of Canada’s colonial history; an estimated 150,000 First Nations, Inuit, and Métis children attended IRS (Stout & Peters, 2011). Informed by Indigenous principles of respect, relevance, responsibility, reciprocity, and relationality (Deloria, 2004; Ermine 1995; Kirkness & Barnhardt, 2001; Wilson, 2008), this study uses classic grounded theory to explore how female IRS survivors or their female descendants are coping with the intergenerational transmission of trauma. Specifically, the general method of comparative analysis was used to generate theory and identify categories and conceptualizations. The emergent problem found that individual survivors and their descendants were dealing with kakwatakih-nipowatisiw, a Cree term used to identify learned colonial (sick) behaviours. These behaviours manifested first among the administrative staff of the schools, then eventually emerged as female generational violence between, for example, mothers and daughters. Indigenous women in this study aimed to resolve this, their ‘main concern’, in order to strengthen familial relations, especially between female family members. Analysis resulted in the identification of a theory derived from the social process of potentializing wellness, which was grounded in the real-world experiences of Indigenous women. Potentializing wellness involves three dimensions: building personal competencies, moral compassing, and fostering virtues. It was revealed that Indigenous women perceive the ongoing generational effects of IRS differently, and as a result, three behavioural typologies emerged: living the norm, between the norm, and escaping the norm. The “norm” refers to the belief that violence is accepted as a normal part of family life. The paradox, of course, is that this type of behaviour is not normal and Indigenous women in this study are looking for ways to eliminate aggressive behaviours between women. The discoveries made in this research, coupled with the final integrative literature review, suggest that Indigenous People’s cultural ways of knowing have a holistic component that addresses all wellness levels. Effective strategies to deal with intergenerational trauma can emerge when holistic health is followed by, or happens concordantly with, reclaiming cultural norms grounded in community and spiritual life. Indigenizing a Western intervention is not enough. Focusing on the spiritual as well as emotional, physical, intellectual, and social aspects of self is seemingly the best approach for Indigenous People who are dealing with the intergenerational effects of trauma.

<p>This thesis employs Mikhail Bakhtin’s notion of architectonics to examine the poetry of Nima Yushij, the father of “New Persian Poetry.” The architectonic structure of Nima’s poems presupposes an authorial position situated outside the whole of the work. Outsideness provides the author with the distance that is necessary for consummating the hero and all other elements inside the work’s environment in determinate spatial and temporal boundaries. As Bakhtin puts it, only in this way can the author acquire a surplus of seeing that is required for adopting a valuational stance in relation the hero and the work as a whole. To Bakhtin, the author’s valuational stance toward the hero is the essence of the aesthetic product. This valuational position vis-à-vis the other, which generates what Michael Holquist calls the “structure of authoring,” is enacted on multiple levels in Nima’s poems as the hero, and sometimes the narrator, also perform the authorial function vis-à-vis other characters inside the poem, i.e., fixing them in determinate spatial and temporal boundaries. Of course, from the author’s perspective, the hero and the narrator are also situated inside the poem and occupy specific horizons in its environment. In this sense, their authoring activity is not a precisely aesthetic activity. Nevertheless, Nima utilizes the hero and the narrator’ activity to foreground the structure of authoring inside the poem, to make its dynamics “viewable.” This is a point that I will try to elucidate fully in the course of this study.</p> / Doctor of Philosophy (PhD)

本篇論文意在分析探討葛拉斯的小說《錫鼓》中主角侏儒奧斯卡照片影像式的敘事觀點，以其顛覆且批判德國二次大戰納粹時期的歷史。透過侏儒奧斯卡以回憶述說故事的方式，從被主流歷史掩埋的廢墟殘跡中，提出斷簡殘篇但相互關聯如星宿圖般的照片影像，以存留於照片影像中破碎的個人歷史抵抗正統歷史泯滅真相的力量。由奧斯卡小人物般卑下的目光如攝影鏡頭或伸縮、或放大、或停格的控訴納粹法西斯的惡行，及支持此一罪行的共犯結構— 德國中產階級的狂熱盲從，指摘納粹歷史如場荒誕鬧劇，德國小市民的亂倫敗德與搖旗吶喊的愚昧瘋狂。本論文欲透過班雅明(Walter Benjamin)、蘇珊•宋塔(Susan Sontag)、巴特(Roland Barthes)及德勒茲(Gilles Deleuze)與瓜達里(F&eacute;lix Guattari)等人之理論架構逐章論述，分析奧斯卡之敘事觀點。首先以其畸形矮小身形猶如攝影式觀看，維持自身與外在世界的批判距離，且將事件做極度怪奇的放大或縮小，試圖還原歷史洪流中被淹沒或為人輕忽的細節。接著透過奧斯卡親人的死亡和他們留存在家庭相簿中的身影，以之視為凝結停頓時空的休止(caesura)和刺點(punctum)，交互出生者與死者，過去與現在，個人與歷史之間的辯證對話。最後探討照片式影像如部份物體(partial object)具有流動、多元、破碎的顛覆特質，檢視奧斯卡的觀點如何逃脫歷史、民族、國家所匯聚的統一整體，解除支配社會場域的「父–母–我」的伊底帕斯關係之力量，揭露納粹如父如神之形象背後的壓抑與荒謬，使其造成的歷史浩劫定格顯影。 / This thesis investigates G&#369;nter Grass’s The Tin Drum from the perspective of photographic images, using theories drawn from Walter Benjamin, Susan Sontag, Roland Barthes, Gilles Deleuze and Felix Guattari. Acclaimed as the greatest German novel written since the end of World War II, The Tin Drum is supposedly an autobiographical fiction of Oskar Matzerath, a character who, willingly stunting his growth at the age of three, has lived through the long Nazi nightmare and the loss of Danzig City. Wielding his tin drum and piercing scream as weapons, Oskar furnishes the reader with a profound yet hilarious recollection in the form of fragmented yet correlative photographic images on both German history and the human predicament in the modern world. Chapter One explores the effect of alienation resulting from Oskar’s grotesque perspective from Sontag’s idea of photographic seeing and Benjamin’s “distraction” element of the technical media. Oskar observes the adult world, from which he chooses to withdraw, from an unusual angle gained by his dwarfish size. His perspective, likened to the enlargement or close-up of a camera, displays the grotesquery in ordinary events to reveal what is hidden from us. Chapter Two prospects the force of interruption or arrest grounded on Oskar’s bereavement, with Benjamin’s caesura and Barthes’ punctum of photographic images. Death in the photographic images is endowed with the capacity to arrest and petrify the historical movement. The break from the present moment enables the rereading and refiguring of history. The Deleuzo-Guattarian conception of partial objects is employed in Chapter Three to explore how Oskar viewing the external world as objectivized images helps engender revolutionary forces to subvert the orthodox history. The photographic images in the appearance of partial objects break through the totalizing power of orthodox history and bring forth a dialectical optic to examine the past, present and future.

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.