Studies of outdoor recreation and the social construction of wilderness have shown how urban consumption of wilderness areas dispossessed rural residents from traditional land uses. Though essential for understanding power struggles over land use, these studies pay little attention to rural involvement in creating recreational areas. In contrast, this dissertation focuses on how rural non-indigenous people used, enjoyed and constructed their own recreational hinterland. Set in twentieth-century British Columbia, where wilderness adventure is popular and where mountains, oceans and lakes lend themselves to romantic and sublime aesthetics, the case studies here examine rural recreation by considering the forms that “rural” has taken in British Columbia, the relationship of civil society to government, conceptions of Crown and private land as a commons, the production and consumption of recreational spaces, and ethics such as woodcraft, “leave-no-trace,” the “good life” and postmaterialism. The sources include interviews with participants in these activities and archival sources such as diaries, newspapers, government records on parks, forestry and transportation, and letters that citizens wrote to government. This material is set within the context of historical studies of outdoor recreation, the social construction of wilderness, automobiles and parks, the informal economy, and the contested commons. The first two case studies involve the imaginative transformation of mountain landscapes into parks and playgrounds to attract tourists at Mt. Revelstoke and on Vancouver Island’s Forbidden Plateau. During the Second World War, the province was reluctant to create parks for local recreation, but at Darke Lake in the Okanagan, the Fish and Game Club lobbied successfully for a small park, challenging the supremacy of logging as an essential war industry. After the war, the state’s view of parks shifted. The provincial government promoted recreational democracy, and offered parks as part of the “good life” to working families from booming single-industry towns, sometimes responding to local demands as in the case of the Champion Lakes. Inspired by the American Wilderness Act of 1964, some British Columbians sought to preserve large tracts of roadless, forested land. The Purcell Wilderness Conservancy (1974) in the Kootenay region resulted from a local trail-building effort and a letter-writing campaign. Beginning in the late 1980s, retirees in Powell River started building trails on the edges of town. This group is still active in ensuring that their forested hinterland remains an accessible commons for recreational use. The rural British Columbians discussed in these case studies consistently engaged with the backcountry as their recreational commons where they could combine work and leisure, harvest non-timber forest products, and promote tourism. Rural residents who were willing to volunteer and enjoyed some leisure time forged networks among tourism promoters and applied for government funding to create access to recreational space, and protect it from uses inconsistent with recreation, such as logging. British Columbians have claimed the right to access Crown land as a commons for recreation in a variety of ways over the twentieth century and these case studies show how rural agency has played a significant role in creating recreational space.

Australia in the early 50s followed a decade or so of frenzy activities in the visual arts. This resurgence of Australian art which led to its recognition in the UK and the United States also brought about a renewed recognition in the quality of domestic architecture. New boundaries in the design of the Australian home were being redefined, both in theory as well as in practice. Although the decades between the two Great Wars saw the importation of such influences as the Californian Bungalow and Art Deco styles (shades of Dudok, Mendelsohn etc.), it was during the post-war years that the term organic architecture that was much discussed by a wide range of practitioners of the time. This research aims to trace the journey of organic architecture from its origin to Australia and provide some insight into the workings of those who claimed to have practiced it.

This thesis examines Spanish representations of Muslim and Jewish cultures in Morocco during the colonial campaigns in the Rif (1909-1927) in relation to constructions of Spanish identity during this period. It focuses on visual and textual narratives in the press (colonial photojournalism) and on three literary texts: Carmen de Burgos' En la guerra (1909), Ernesto Giménez Caballero's Notas marruecas de un soldado (1923) and Arturo Barea's La ruta (1943). The analysis undertaken centres on the use of the motifs of the body and the city and references to the medieval Castilian ballad tradition, the Romancero, by writers and photographers to explore the cultural relationship between Spain and North Africa. The chapters explore the delineation of boundaries between Spanish and Moroccan cultures by contemporary commentators and the power structures that underpin those boundaries, considering the different hierarchies that are established in Spain's relationship with Moroccan Muslims and Jews. Chapter 1 concerns the socio-historical context of the colonial campaigns and highlights the significance of the question of Spain's identity in relation to Morocco during this period. Chapter 2 compares representations of cultural and ethnic affinity between Spain and Morocco, arguing that beyond merely serving as a tool of colonial domination, they are harnessed in some cases to support the colonial venture, in others to challenge it, and yet in others to explore the pre-modern origins of the Spanish nation. In many of the examples examined, a process of self-Orientalisation is observed, where the 'Orientalist' and colonialist gaze is turned back on Spain as well as on Morocco. Chapter 3 examines representations of Muslim and Jewish alterity, arguing that these assertions of difference reveal Spanish anxieties about non-difference from North Africa, cultural regression, national fragmentation, and Spain's ability to dominate the protectorate. I conclude that these anxieties provide the fundamental underpinning to Spanish constructions of Morocco during the Rif War, and that this self-awareness about non-difference and failures of domination unsettles the predominant paradigm of discourse analysis within colonial studies.

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This study examines the interaction of the Second World War with the selfhood of Kenneth Preston, a Keighley schoolmaster, using primarily the exceptionally rich content of Preston’s Diary, maintained 1941-1945. In tracing Preston’s home front experience, attention is given to the ways in which the war interacted with the individual’s own self and social conceptions, as well as ways in which subjective experiences and perceptions translated into objective realities, such as in Preston’s participation in the war effort. Illuminating the personal dimensions of the war experience enabled a broad range of meanings and “webs of significance” to emerge, allowing for examination of the interplay between the conflict and understandings of class, community, gender, citizenship, social mores, and aspects of social change during the conflict. Preston’s understandings of himself and of society are intriguing contributions to the discussion surrounding active wartime citizenship, and further historical awareness of the meanings and understandings held within the British population during the era of the Second World War. In particular, the prestige the war offered to modernistic notions of science and technical intelligence is shown to have held a central place in the war experience of this particular individual and in his perception of the rise of the welfare state. With its focus on selfhood, the study is distinguished from arguments grounded in analysis of cultural products from the era; it also contributes to understandings of the causes and implications of social change, as well as the war’s personal impact on the male civilian.

Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.

This thesis deal with the life of Jewish Community in Vienna after Second World War to the present days. This work describes most important aspects of daily and cultural Jewish life in Vienna these days. As an introduction to the topic is described the relevant political history of Austria for example Borodajkewycz affair or Causa Waldheim. Included is also the theme of overcoming the past in Austria and the theme of anti - Semitism in this country. In the first part of this work is given a historical overview of the development of the Jewish community in Vienna after the Second World War to present days. The second part of the work deal with the main Jewish institutions, organizations and associations in present Vienna. The theme of Jewish cultural life and leisure time activities are also included. A part of this thesis is also a brief summary about the possibilities of using this theme in education at Czechs schools.

Made available in DSpace on 2014-06-11T19:26:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-03-30Bitstream added on 2014-06-13T20:34:18Z : No. of bitstreams: 1 fernandes_tm_me_fran.pdf: 944846 bytes, checksum: 897883f8ad4b7f3445845c4193782a1d (MD5) / A partir de notícias de jornal, relatos de memorialistas e os Códigos de Posturas Municipais da época, traçaremos um panorama das manifestações musicais, seus usos, seus ambientes e sua circulação. A música era apropriada como signo de modernidade, desenvolvimento e opulência, reforçando a imagem que se queria construir sobre a cidade nas duas primeiras décadas do século XX / From periodical notice, stories of memorialists and the Codes of Municipal Positions of the time, we will trace a panorama of the musical manifestations, its uses, its environments and its circulation. Music was appropriate as sign of modernity, development and opulence, strengthening the image that if wanted to construct on the city in the two first decades of XX century

Orientador: Tânia da Costa Garcia / Banca: Pedro Geraldo Tosi / Banca: Jacy Alves Seixas / Resumo: A partir de notícias de jornal, relatos de memorialistas e os Códigos de Posturas Municipais da época, traçaremos um panorama das manifestações musicais, seus usos, seus ambientes e sua circulação. A música era apropriada como signo de modernidade, desenvolvimento e opulência, reforçando a imagem que se queria construir sobre a cidade nas duas primeiras décadas do século XX / Abstract: From periodical notice, stories of memorialists and the Codes of Municipal Positions of the time, we will trace a panorama of the musical manifestations, its uses, its environments and its circulation. Music was appropriate as sign of modernity, development and opulence, strengthening the image that if wanted to construct on the city in the two first decades of XX century / Mestre

Em 1980 é publicada no Porto a revista Nova Renascença, um periódico de publicação trimestral que terá duração até o ano de 1999. Um dos principais objetivos da revista, continuamente exposto em seus editoriais e manifestos, bem como em alguns de seus textos de crítica literária, estava em reelaborar uma identidade nacional, que aliando tradição e modernidade, fez da língua portuguesa sua expressão mítica. Sabemos que os mitos em suas narrativas simbólicas configuram diversos tipos de saberes e de usos, dos mais criativos aos mais retóricos, tornando-se, sempre, uma expressão perigosa. Partindo, portanto, desse pressuposto, buscamos, neste trabalho, apresentar alguns dos diferentes sentidos que a proposta mitopoética da língua e da Pátria assumem na revista, sempre tendo como horizonte o contexto sócio-histórico do atual debate sobre o retorno do mito e a pós-modernidade. / In 1980, the Nova Renascença magazine was first published, in Portos city, lasting untill 1999. One of its main goals, continuously displayed in its editorials and manifestos, as well as in some of its texts of literary critics, was to re-elaborate Portugals identity, which by uniting tradition and modernity, made, out of the Portuguese language, its mythical expression. We know that myths while expressed in symbolical terms serve different functions and uses, from most creatives to most rhetorical, becoming always a dangerous expression. Taking, therefore, from this assumption, we seek, in this work, to present some of the different meanings that the mythic-poetic proposal of the language and the Nation assume in the magazine, having always its global context, in which occurs the actual debate between the return of the myth and post-modernity, as horizon.