Accompanying materials housed with archival copy. / This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality. / The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.

In this thesis, I examine the use of Twitter by NHL athletes to determine how and in what ways professional hockey players’ personal and professional identities are shaped by their use of this medium. I explore the current cultural moment surrounding the lives of NHL athletes, focusing on the increasingly blurred line between their private and professional identities. By grounding my analysis of their Twitter use in a new labour context that is academically situated betwixt the literatures on media studies, celebrity culture and identity presentation, I show that participation in this medium allows both athletes and fans to actively reshape their own and each others’ identities, constructing a new set of standards for professional hockey players that takes into consideration the heightened demand for access to the behind-the-scenes of their lives. The ability of professional hockey players to interact with fans and media on Twitter is also creating new types relationships and producing new discourses for the typical hockey player identity, and the labour this career involves. Finally, through interviews with NHL players, I draw out their motives for using Twitter, their understanding of the impact of their interaction with fans on the perceptions those fans have of their professional identity, and their desire for work-life balance as their professional and personal identities seemingly merge on Twitter in a postmodern labour context fuelled by heightened celebrity culture. / Thesis (Master, Kinesiology & Health Studies) -- Queen's University, 2014-04-27 14:50:32.902

Thesis (Ph. D.)--State University of New York at Binghamton, Department of English, 2007. / Includes bibliographical references.

O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema. / The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.

O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema. / The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.

Accompanying materials housed with archival copy.

This essay is an attempt to conduct a reading of Jerusalem by Jez Butterworth through the lens of cultural materialism with John Stuart Mill’s On Liberty as intertext. The essay conducts a brief survey of previous scholarly treatment of the play, explains the theoretical background of cultural materialism that the essay operates on, and briefly introduces the intertext. The treatment itself is based around the invocation of historical and mythical roots in the play, exploring the relevant parts of the intertext, interspersed with close reading of the play itself. The essay culminates in the understanding that the climax and ending of the play is not an end to the concept of liberty evoked in the play, but that it is a call to action for it. While the play offers no unproblematic image which could guide the direction of action, it does offer liberty as a guiding principle.

Operation Gold (1953-56) was a collaborative covert operation between the American CIA and British SIS. The two major objectives: firstly, rebalance the state of affairs in covert activity, which the KGB had been dominating heading into the 1950s. Secondly, gain more detailed, valuable information on the state of Soviet forces throughout Europe and gain prior warning of possible information. The technological nature of the operation marks it as the beginning of a move away from traditional espionage. Understanding the narrative of Operation Gold establishes a firm foundation on which to address the development of covert activity into the modern day. Key elements of the story of the Berlin Tunnel serve to tie this lesser known operation to modern concerns of privacy, personal data, and covert involvement in international affairs. While unravelling the truest narrative of the planning and implementation of the operation, this thesis integrates substantial events, groups and people which shape the role of the Berlin Tunnel in understanding covert conflict. Further consideration is also given to how this operations legacy unfolded and the role of the media in understanding events in this separate sphere. Lessons about the covert sphere not only address a sub-narrative of 1950s Cold War but reach conclusions pertinent to the 21st century.

This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.

Habitat 67 est un complexe résidentiel modulaire de 158 logements, conçu par Moshe Safdie, et construit à Montréal pour l’Exposition universelle de 1967. Sa médiatisation continue fut exceptionnelle par son intensité, son rayonnement et sa durée, en particulier dans la presse spécialisée. Nous avons étudié les publications d’Habitat 67 dans les périodiques d’architecture, une par une et comme un tout, car elles contenaient une énigme en forme de retournement médiatico-historiographique. En effet, Habitat 67 s’imposa d’abord, durant une décennie et sur le mode de l’hypermédiatisation, comme incarnation universelle d’un renouveau salvateur de l’architecture moderne progressiste, une « idée dont le temps est venu » selon la formule canonique de Peter Blake, rédacteur en chef de la revue new-yorkaise Architectural Forum. Puis, sans transition, Habitat 67 servit d’argument essentiel à l’enterrement express du même Mouvement moderne, à titre de fantasmagorie universitaire tardive et déliquescente, « projet de fin d’études construit » selon la sentence du critique et historien d’audience transatlantique Reyner Banham, qui reste prégnante jusqu’à nos jours. L’incohérence apparente laisse entrevoir l’existence d’un objet historique spécifique, Habitat 67 dans la presse architecturale, dans lequel le retournement trouverait origine et explication autonomes. D’où l’idée d’étudier cet objet pour lui-même, par lui-même, et dans son contexte propre. À la croisée des approches d’étude de la réception et d’esthétique de la réception telles que théorisées en histoire de l’art dans les années 1990, notamment par Dario Gamboni et Pierre Vaisse, nous partons à […]. / Habitat 67 is a residential complex of 158 modular apartments, designed by Moshe Safdie, and built in Montreal for the 1967 World Exhibition. Preliminary explorations of its unprecedentedly abundant, widespread and long-lasting coverage in the architectural press had revealed enigmatic synchronicity with the rise and fall of megastructure, ending in death and mourning of the whole Modern Movement. Taking advantage of theories of reception, this study is a methodical and exhaustive survey of the specialised mediatisation of Habitat 67, in itself and in its own context, aiming to establish the autonomy and critical historiographic impact of the phenomenon. After a methodological introduction, the report opens with a prologue unveiling early, academic related, self-training of Safdie as an analyst of editorial policies and their relationship to modern architecture. This portrait of a student pioneering in reception studies by militant commitment is giving brand new and much deeper understanding of the still historiographically vivid «student project that got built» diagnosis emitted in 1967 by critic Reyner Banham. The essay is then structured along the chronological succession of architectural projects and objects to which the media coverage is supposed to refer to, starting with thesis project of 1961. Safdie’s formerly published analysis of editorial policies appears to be fully integrated in the original design as well as in its mediatisation strategy, resulting in lasting and international diffusion as a highly relevant avant-garde feature, providing a progressive dimension to the capitalistic media-favourite «New Montreal Skyline», until 1963. [...]