Vaccine Hesitancy is a critical public health issue that threatens global health security, increases rates of transmission of deadly diseases, and poses additional infectious risk to everyone. This dissertation uses records from the National Archives and Records Administration of the United States, National Archives of Mexico, World Health Organization, multiple Presidential Libraries, and an assortment of digital records to examine the historical roots of vaccine hesitancy. I argue that the choice to delay vaccination or outright refusal of vaccination often constitutes a form of political protest. This anti-vaccine sentiment has historically functioned as political protest that opposes American and Western presence in developing countries. Illustrative case studies of Pakistan and Mexico between 1947 and 1990 illustrate how the manner in which vaccines are distributed within the context of Cold War disease eradication campaigns can influence vaccine hesitancy. Horizontal vaccine programming in Mexico wherein vaccines were distributed using a robust, native public health infrastructure found more epidemiological success than Pakistani vaccination programs that relied on vertically-oriented, Western-led mass vaccination programming to mitigate the burden of infectious diseases including smallpox and polio. Rhetorical analysis of archival vaccine-related media in these countries also reflects the politicized nature of Cold War vaccine hesitancy. Additionally, this dissertation broadly considers the array of weaponry in the American diplomatic arsenal and compares the diplomatic utility of vertical mass vaccination campaigns with military assistance that was also provided to developing nations in the pursuit of American anti-communist goals in the midst of the Cold War. I argue that certain programmatic ambiguities in Cold War American Foreign Policy led to the production of a uniquely militarized form of American diplomacy. An examination of biosurveillance networks constructed to support the global eradication of smallpox and subsequently replicated to eradicate polio illustrate the long-standing historical intersection between public health programming and military force that underlie historical and modern vaccine hesitancy.

The aim of this paper is to examine how Ethiopia, Egypt, and Liberia are portrayed in Swedish encyclopedias. Specifically, it investigates the thematic elements that emerge in older Swedish encyclopedias, written between 1876 and 1959, regarding descriptions of the countries' populations and histories. As method the essay uses “conventional qualitative content analysis”, and the theoretical framework constitutes of Edward Said’s theory of orientalism.  The findings indicate that the populations of these countries are categorized and ranked according to value. The encyclopedias depict the populations of these countries as inferior and distinctly different. The older histories of these countries are portrayed as grandiose, but with a loss of prestige over time. The historical narratives often suggest that these countries are inferior to European powers and require domination in order to develop, either through European instructors or through European control over the state.

This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau’s resistance to interpretation and proposes that this derives from Rousseau’s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called “a problem.” Rousseau did not practice painting as artists of his day did, and because of this difference—first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquiétude—he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau’s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau’s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art. / text

Meanings of Literary Childhood Spaces: The Garden in Twentieth-Century Literature focuses on the analysis of selected twentieth-century childhood novels for adults with regard to the relationship between child character and fictional space, and reflects generally accepted cultural concept of paradisal childhood and its images in literature. In theory, the dissertation is inspired by the treatises on spatiality of human existence by phenomenologists, such as Martin Heidegger, Jan Patočka, Maurice Merleau-Ponty and O. F. Bollnow. It also elaborates insights of the Garden archetype in literary history. The critical reading of selected works examines phenomenological issues, such as child specific perception of space, nature as an extension of the human consciousness, sacred space, home, intimacy of space and death of space. Furthermore, it describes features the literary garden acquires by the union with the child in twentieth-century literature (childhood paradisal gardens, character of divine chid, character of child hermaphrodite, dynamism between fictional house and garden, garden as a miniature of the universe and children games as the imitation of Creation).

No description available.

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.

Abstract : The field of literature taken as a sociological phenomenon has enlightened and deepened our knowledge and appreciation of several national literatures, and the works of Pierre Bourdieu and Georg Simmel in this field are now considered ground-breaking. In Québec, the Groupe de recherche sur l’édition littéraire au Québec (now operating under the name « Groupe de recherche sur l’étude du livre au Québec ») has been particularly active in studying the sociological conditions that make literature possible in this Canadian province. Parallel to this, the Équipe de recherche interuniversitaire en littérature anglo-québécoise (ÉRILAQ) has gathered researchers interested in the “contact zone,” to borrow an expression from Catherine Leclerc and Sherry Simon, that is Anglo-Quebec literature. This dissertation will combine these two interests in order to study in greater depth the discourse and works of the poets of the Jubilate Circle, a network of poets writing in English in Québec at the turn of the twenty-first century. It will not only seek to prove the existence of a literary circle, it will attempt to showcase how the circle itself has contributed to advancing its members’ literary careers. In keeping with Pierre Bourdieu’s theories of cultural, symbolic and social capital, this dissertation will present, from the outset, a prosopographical sketch of the four poets that make up the Jubilate Circle, and examine the conditions in which they met, bonded as a group (of friends and of colleagues) and came to found the Jubilate Circle. Following this, the instances in which capital of all kinds (symbolic, cultural and social) were exchanged by the four poets will be examined through a close reading of correspondence, dedications, book jacket blurbs and even of the poetry itself. In an attempt to identify the homogeneous in the cacophony of discourse, to paraphrase Marc Angenot, the Jubilate Poets’ discourse on Canadian poetry, enunciated in interviews, essays, book reviews and in the press will then be examined. This will provide a better understanding of the position they hold, or wish to hold, within the field of Canadian poetry and indeed within its canon, existing or future. Finally, an analysis of the poetry they have produced will serve to underscore those aspects of their discourse that are deemed particularly relevant and will highlight areas in which some contradictions may be observed. As a whole, this dissertation will shed some light on the production of poetry, of its criticism and of its publication not only as a literary phenomenon, but also as a profoundly social one. // Résumé : L’étude du champ littéraire en tant que phénomène social a su éclairer et approfondir notre appréciation de plusieurs littératures nationales, et les travaux de Pierre Bourdieu et de Georg Simmel à cet égard sont aujourd’hui considérés fondateurs. Au Québec, le Groupe de recherche sur l’édition littéraire au Québec (aujourd’hui connu sous le nom « Groupe de recherche sur l’étude du livre au Québec ») a jeté les assises dans l’étude des conditions sociologiques qui rendent le phénomène littéraire possible dans cette province canadienne. Parallèlement, l’Équipe de recherche interuniversitaire en littérature anglo-québécoise (ÉRILAQ) réunit des chercheurs qui s’intéressent à cette “zone de contacte”, pour reprendre l’expression de Catherine Leclerc et de Sherry Simon, qu’est la littérature anglo-québécoise. Cette thèse combinera effectivement ces deux champs de recherche afin d’étudier de manière plus approfondie le discours et les œuvres des poètes du “Jubilate Circle”, un réseau de poètes publiant en anglais au Québec au tournant du vingt-et-unième siècle. Elle cherchera non seulement à prouver l’existence d’un cercle littéraire, mais tentera également de démontrer par quels moyens ce même cercle a pu contribuer à l’avancement des carrières littéraires de ses membres. Suivant les théories sur le capital culturel, symbolique et social énoncées par Pierre Bourdieu, cette thèse brossera, dans un premier temps, le profil prosopographique de chacun des acteurs du Jubilate Circle et se penchera sur les conditions qui ont favorisé leur rencontre, le bourgeonnement d’une amitié et d’une collaboration littéraire à long terme et la création du cercle littéraire. En second lieu, les instances dans lesquelles des échanges de capital ont lieu seront scrutées grâce à une lecture détaillée de la correspondance, des dédicaces, des textes de quatrième de couverture et même de la poésie elle-même. Dans le but de faire ressortir l’homogène que recèle la cacophonie du discours, pour paraphraser Marc Angenot, le discours tenu par les poètes du Jubilate Circle au sujet de la poésie canadienne contemporaine, énoncé lors d’entretiens, dans des essais littéraires, des comptes rendus et dans les quotidiens de ce pays sera examiné. Une telle étude permettra de faire la lumière sur leur posture et sur la position qu’ils occupent, ou souhaitent occuper, dans le champ de la poésie canadienne, voire dans son canon littéraire, présent ou futur. Enfin, une analyse de la poésie produite par ces quatre poètes sera l’occasion de souligner et d’illustrer certains aspects particulièrement significatifs de leur discours et révélera quelques instances dans lesquelles certaines contradictions peuvent être observées. Dans son ensemble, cette thèse vise à jeter un nouvel éclairage sur la production d’une poésie, de sa critique et de ses instances de publication non seulement en tant que phénomène littéraire, mais bien en tant que phénomène profondément social.

Definitions of celebrity authorship and material textuality at the turn of the twenty-first century have predominantly emphasised the implicitly negative aspects of contemporary developments in the literary marketplace. Particularly prominent are arguments that the practice of authorship has become subject to homogenisation by the matrix of celebrity in which successful writers are now expected to function; and, further, that the changing nature of texts themselves and the ways in which they are marketed is eroding the implicitly superior position traditionally held by literature in the cultural marketplace. This thesis views such readings as pessimistic, and offers an alternative, seeking to formulate a new critical approach to literary value in the contemporary sphere which would appreciate notions of celebrity, populism, and digital mediation as integral and productive aspects of how literary value is formed today. Through in-depth focus on the cases of a number of unconventional contemporary American authors whose work demonstrates differing, innovative approaches to the process of authorship, this thesis exposes the ways in which contemporary, atypically ‘literary’ instances of writing can and do work within and develop beyond traditional conceptualisations of authorship and literary value. Bret Easton Ellis and Jay McInerney, largely critically considered prototypical ‘celebrity’ authors, are in the first chapter reconsidered as writers whose understanding of their position within the literary marketplace affords them a self-conscious, critical perspective on the notion of celebrity in their work and public personae. The productively self-conscious author-figure is reconsidered in the second chapter, which reads the individual and joint works of author Paul Auster and visual artist Sophie Calle as foregrounding the process of creative collaboration as uniquely illuminating and transformative within the contemporary literary sphere. The notion of dual authorship is revisited and reconceptualised in the third chapter, which considers JT LeRoy and the practice of hoax authorship, outlining how this process forces the reformulation of literary value, particularly in a contemporary setting in which authors are accountable for their work in newer, more visible ways. The final chapter expands these previously-introduced themes to consider bloggers-turned-authors, particularly Tucker Max and Julie Powell, and the impact of the merging of old and new textualities on both the orientation of the figure of the writer and the way in which value is attached to his texts by readers. Ultimately, the unconventional nature of these examples is shown to belie the universality of the representations of value they enact, contributing to a full and salient account of how literary value is determined at the beginning of the twenty-first century.

This thesis focuses on the emergence of the teenaged consumer as a market segment in Canada during the 1930s, 1940s, and 1950s. It challenges the notion that teenagers were of little interest to retailers until economics and demographics shaped the more numerous and prosperous post-war teenagers of the Baby Boom generation. Using evidence from corporate records and analysis of mail order catalogues, the study examines how department store retailer, the T. Eaton Company, Limited, began to cultivate a distinct and lucrative teenaged consumer in the 1930s, and thereby began shaping the teenaged consumer. The thesis contextualizes the case study of Eaton’s by exploring the varied expectations that adults had of young people at the time, using census records and magazines (Chatelaine, Canadian Home Journal and Mayfair) to explore concerns about young people’s transition to adulthood. It then focuses on how Eaton’s made a concerted and sustained effort to attract teenager customers to its catalogue and stores. Analysis of its semi-annual catalogue highlights the emergence of specialized clothing size ranges and styles, revealing that Eaton’s increasingly viewed the teenaged years as an important in-between life stage. Eaton’s also instituted teenage advisory councils to both glean market trends and provide a venue for what it considered education for novice consumers. Eaton’s presented consumption as a way to prepare young people for adult roles, legitimizing teenaged participation in the consumer marketplace and contributing to wider debates about when and how teenaged Canadians should reach maturity.

This thesis addresses needlework between 1920 and 1970 as a window into women's broader experiences, and also asserts it as a valid topic of historical analysis in its own right. Needlecraft was a ubiquitous part of women's lives which has until recently been largely neglected by historians. The growing historiography of needlework has relied heavily on fashion and design history perspectives, focusing on the products of needlework and examples of creative needlewomen. Moving beyond this model, this thesis establishes the importance of process as well as product in studying needlework, revealing the meanings women found in, attached to, and created through the ephemeral moment of making. Searching for the ordinary and typical, it eschews previous preoccupations with creation, affirming re-creation and recreation as more central to amateur needlework. Drawing upon diverse sources including oral history research, objects, Mass Observation archives, and specialist needlework magazines, this thesis examines five key aspects of women's engagement with needlework: definitions of ‘leisure' and ‘work'; motivations of thrift in peacetime and war; emotions; the modern and the traditional and finally, the gendering of needlework. It explores needlework through three central themes of identity, obligation and pleasure. Whilst asserting the validity and importance of needlework as a subject of research in its own right, it also contributes to larger debates within women's history. It sheds light on the chronology and significance of domestic thrift, the meanings of feminised activities, the emotional context of home front life, women's engagement with modern design and concepts of ‘leisure' and ‘work' within women's history.