MASTERS School of English Student No: 9910994F / Literary criticism on the short fiction of Raymond Carver investigates frequently the narrative omissions whereby Carver renders the plight of middle and lower class America. Neither exclusively formal nor exclusively thematic critiques of Carver’s short stories explicate adequately the purposes and effects of these narrative omissions. This study, which is framed by Wolfgang Iser’s reader-response theories of ‘negation and ‘negativity’, and Michael Fried’s notion of aesthetic ‘absorption’, provides a formal and thematic reading of eight of Carver’s stories. This study argues that the reader’s investments in these omissions generate various indices of sympathetic identification. In tandem with such an inquiry, this study also examines the apparent antagonism between the realist and postmodernist strains discernible across Carver’s narratives. This antagonism is caused by Carver’s omissions, which simultaneously create the illusion of mimetic transparency and negate this transparency. The omissions that operate across Carver’s stories make the reader conscious not only of how he or she interprets the author’s words, but also how he or she interprets the world. Carver’s neo-realism, this study proposes, therefore has a far greater potential for social realism than traditional modes of realist representation.

In this submission I explore the role played by discourse in the development of pupils' understanding of school-subject knowledge in secondary school classrooms in England, following changes to GCSE (General Certificate of Secondary Education) specifications in 2015. Changes to the structure, the subject content, and the assessment of GCSEs were made in an effort to focus on 'powerful knowledge' during the Key Stage (KS) 4 curriculum (for pupils aged 14 - 16 years old) and in order to promote an emphasis on knowledge that is based on academic disciplines. My research looks at the concept of powerful knowledge, based in a critical realist epistemology and a social realist theory of knowledge, and the extent to which all young people are likely to access knowledge that is powerful in the classroom. I argue that access for all pupils to the means by which to judge knowledge claims and thereby challenge and change society - the transformational power of knowledge - underpins a social justice agenda. My research explores a less-developed aspect of the social realist debate on powerful knowledge, a pedagogic discourse to enable a move away from merely teaching factual or content knowledge. I propose that for knowledge to be powerful teachers and pupils need to be 'epistemologically aware'. My case-study research contributes new empirical findings to the literature on pedagogic discourse for a powerful knowledge curriculum. I discuss the learning trajectories of 15 pupils (including five from socio-economically disadvantaged backgrounds) from two Year 10 'case' classes observed over a 12-week period, during which they studied a novel as part of their GCSE English literature course. 'Thinking notes' and concept mapping were introduced as innovative data-gathering and analytical tools with which to gain a unique and detailed analysis of pupils' learning over the series of lessons given during the 12-week period. I discuss the teachers' conceptual framing of their discipline and the role that this, together with pupils' experiences and backgrounds, has in the re-contextualisation of discipline-based knowledge in the classroom. I conclude that pedagogic discourse that makes the epistemic logic and related concepts of a subject explicit - an epistemological awareness - may enable pupils from both disadvantaged and non-disadvantaged socio-economic backgrounds to build systems of meaning that transcend their everyday understanding of the world and the context in which they view it to access powerful knowledge. I present a conceptualisation of a powerful knowledge pedagogic discourse for the study of a novel in the KS4 English literature classroom.

In addition to box office success, Iranian filmmaker Asghar Farhadi’s films have achieved national and international critical acclaims. However, it is not only this rare achievement of critical and commercial success that sets Farhadi apart from other Iranian filmmakers, but also, his new approach to the issues of truth and morality which have been age-long themes in the history of Iranian art, literature, and cinema. Compared to his predecessors such as Abbas Kiarostami, Mohsen Makhmalbaf, and Jafar Panahi, Farhadi’s viewpoint on these themes is distinctly secular. This thesis focuses on the significance of the change Farhadi’s approach has brought on Iranian cinema by analyzing three of his critically acclaimed films, About Elly (2009), A Separation (2011), and The Salesman (2016). By creative use of narrative techniques such as narrative gaps and open endings and filmic techniques such as indirect-subjective point of view and handheld camera, Farhadi’s films highlight the relativity of the concepts of truth and morality through a secular and modernist lens. Such an approach marks a shift in Iranian cinema which, in turn, indicates an ideological shift within the contemporary Iranian society as well.

[Typewritten] Includes bibliography.

While recent research trends in science education have focussed the collective attention at utilizing the science curriculum as a means towards positive social change, such efforts have largely been predicated on understandings of the nature of knowledge and truth as socially constructed entities. Through this lens of social constructivism, knowledge is said to bear the signature of individuals and institutions in power, and therefore extant knowledge is considered to be the vehicle for further oppression of disadvantaged groups. There are at least two ways in which this argument is deeply flawed—social constructivism accords to itself epistemic positions it denies others, and an intellectually honest application of its principles leads to a position where there is no way to distinguish between better or worse positions on issues. In contrast, the principle of social realism takes a ‘middle path’, acknowledging the social reality of knowledge construction but disavowing the relativism of social constructivism. Through this epistemological foundation, implications arise for curriculum theory—how is it that we may discriminate forms of knowledge for in/ex-clusion into the school curriculum? In this study, I consider the curriculum changes in the Ontario elementary science anxd technology curriculum. I ask two key questions: (i) What are the effects of the curriculum revisions on the knowledge content of the science curriculum? and: (ii) What are the characteristics of science pedagogy in fulfilment of these curriculum changes? I develop instruments to analyze curriculum documentation, and classroom pedagogy. The major findings of this project include: (i) the curriculum revisions have added environmental knowledge expectations with varying degrees of disconnection from the scientific content knowledge; (ii) knowledge expectations removed to accommodate environmental expectations constituted important scientific principles; (iii) environmental pedagogy in science classrooms reflected the disconnection between science and environmental knowledge, most obviously in the upper grades where the degree of boundary maintenance between knowledge forms was strongest; (iv) this disconnection between environmental and scientific knowledge forms inhibited the cumulative modality of knowledge (re)production. A discussion of results and the general principles of the importance of knowledge concludes the project.

While recent research trends in science education have focussed the collective attention at utilizing the science curriculum as a means towards positive social change, such efforts have largely been predicated on understandings of the nature of knowledge and truth as socially constructed entities. Through this lens of social constructivism, knowledge is said to bear the signature of individuals and institutions in power, and therefore extant knowledge is considered to be the vehicle for further oppression of disadvantaged groups. There are at least two ways in which this argument is deeply flawed—social constructivism accords to itself epistemic positions it denies others, and an intellectually honest application of its principles leads to a position where there is no way to distinguish between better or worse positions on issues. In contrast, the principle of social realism takes a ‘middle path’, acknowledging the social reality of knowledge construction but disavowing the relativism of social constructivism. Through this epistemological foundation, implications arise for curriculum theory—how is it that we may discriminate forms of knowledge for in/ex-clusion into the school curriculum? In this study, I consider the curriculum changes in the Ontario elementary science anxd technology curriculum. I ask two key questions: (i) What are the effects of the curriculum revisions on the knowledge content of the science curriculum? and: (ii) What are the characteristics of science pedagogy in fulfilment of these curriculum changes? I develop instruments to analyze curriculum documentation, and classroom pedagogy. The major findings of this project include: (i) the curriculum revisions have added environmental knowledge expectations with varying degrees of disconnection from the scientific content knowledge; (ii) knowledge expectations removed to accommodate environmental expectations constituted important scientific principles; (iii) environmental pedagogy in science classrooms reflected the disconnection between science and environmental knowledge, most obviously in the upper grades where the degree of boundary maintenance between knowledge forms was strongest; (iv) this disconnection between environmental and scientific knowledge forms inhibited the cumulative modality of knowledge (re)production. A discussion of results and the general principles of the importance of knowledge concludes the project.

This thesis explores the conditions of painting artists in the former GDR. The conclusion after studying rather many artists excepted paintings is, that they had a very personal style within the figuration, considering the official prescription of Social realism. The main objective for the study is common motives and changes over time. It showed a development against greater freedom in expression. A closer analyse of one painter´s work (Susanne Kandt-Horn) and of the exhibitions in Rostock Art Museum during the 80´s illustrates the circumstances under which the artists lived.

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 285-298).

Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist. / English

In this thesis I am working at the intersection of law and film. I approach this work from the perspective of a practicing lawyer, former social worker, and through my own lived experiences to tease out and examine interactions with structural oppression. I am particularly interested in questions of pathologizing poverty, race, sexuality, and gender. I use four of Sean Baker’s films Prince of Broadway (2008), Starlet (2012), Tangerine (2015), and The Florida Project (2017) to look at difficult social issues such as poverty, violence, neoliberal economic structuring, and patriarchy. Complicated pathologies emerge as viewers work through these experiences of structural oppression with each film’s protagonist. To me, exploring how law is experienced by these characters assists in moving away from pathologizing both ourselves and others. To that end, this thesis is very personal at times, as I work out my own history, feelings and beliefs. In doing so, an important theme emerges: the development of interpersonal relationships to open up spaces of hope within oppressive structures. Insofar as law is oppressive, individual relationships press back. / Graduate