The poets of the Romantic period and before learned their craft by reading poetry. John Keats fell in love with poetry when he was about seventeen and became a powerhouse in the canon of poetic literature by reading and thinking about poetry—what it is, how it’s made, and its value. Although critics regularly consider multiple sources, and even trace influence from one poet to another, influence is rarely the focus of critical analysis, but is instead a method of that analysis. Influence is not merely a tool, but a lens through which to understand more fully how poetry’s form and themes evolve over time, and perhaps how they devolve as well. This thesis traces the influences of Spenser in Keats’s The Eve of St. Agnes, and draws connections beyond the Romantic period to demonstrate how Spenser’s world-making, Keats’s lush language, and a tradition of re-evaluating sexual power roles and definitions of chastity carries through to the future, specifically Tennyson’s The Idylls of the King. My argument focuses on three major aspects of these poets’ work: definitions of chastity; using legend and poetry to shape English identity; and the varied uses of poetic language in lyric poetry to create ambiguity which reinforces and forces interpretations of these themes beyond the poems they reside in.

This dissertation examines the effects of conventionally categorizing working artists and looks specifically at the Cherub Company, London, as a case study. Cherub was an alternative British theatre company whose work in the 1980s defied most of the categories which inscribed theatre practice in Britain. Because they did not fit canonical definitions, Cherub was said to be producing “bad” theatre. When governments, critics or historians use a canonical approach to separate the supposedly good from the bad, artists who do not conform are often ignored and become lost to history. In order to genealogically trace the influence of the Cherub Company and to accurately depict its legacy, this dissertation examines both the company’s archive and repertoire as well as the field of cultural production in which it operated. British theatre in the late 1970s was often hostile to foreign performance techniques, led by the opinions of the theatre staff of the Arts Council of Great Britain, the primary issuer of government arts subsidy. Cherub’s production of Two Noble Kinsmen melded a classic English text with Eastern European production methods and was derided by the ACGB. This response along with similar views on the company’s other early productions formed the backbone of the ACGB’s contention that Cherub should not receive subsidy. Despite the company’s maturation, demonstrated by the international success of their production of Kafka’s THE TRIAL,which won a Fringe First at the Edinburgh Festival, the ACGB continued to refuse subsidy. Eventually the company was selected by the British Council, a government organization whose mission was to send quality British cultural products abroad, for numerous international tours. These tours allowed the company to stay alive during the difficult years of the mid-1980s, though this also meant they were rarely producing in the UK. Ultimately, the company would lose its prominence, and though they continued producing into the new millennium, they never regained their former stature. Cherub’s story demonstrates that historiographic impact and importance should not be limited only to those who achieve conventional success, and this dissertation represents a more inclusive and less power-centered model for documenting and writing history. / 10000-01-01

This thesis deals with film censorship as a strategy of regulation; with the discourses, practices and powers involved in the censorship of films; with relations between these; and with what is produced in these relations. It is also a social history of film censorship. The inquiry's starting point is the birth of film censorship in Britain, and it focusses on the years between 1909 and 1925.. This was a period of uncertainty, Indeed of struggle, over what the new medium of cinema was to become: how it would be understood, defined, constituted, regulated, as a public sphere. In looking at the instrumentality of film censorship in the emergence of a public sphere of cinema during the earlier part of this century, this inquiry also draws in institutions, practices and discourses which at first sight might appear to have little or nothing to do with the censorship of films. Important among these are 'new' forms of knowledge about sexuality and society,and organisations devoted to the promotion of 'social purity'. At the centre of this study are three case histories involving specific films or groups of films-- commercial fiction features, both British and American--which were caught LIP fl various ways in processes of censorship during the 1909-1925 period. When each case is investigated with a view to revealing the power relations involved, prevailing understandings of censorship are opened up to critical scrutiny and reformulation. More than merely a series of fixed institutional practices of prohibition, film censorship emerges here as a set of processes, as in a play of shifting and contradictory forces. It also emerges as 2roductiv, in that, at a particular historical moment, processes of censorship were actively involved in the constitution of a public sphere of cinema, of cinema as an object of regulation.

Recent evidence suggests that strong, positive organizational cultures characterize high performance schools. Themes related to the concept of organizational culture (e.g. climate, ethos, values, underlying assumptions, style) have been the subject of investigation for more than half a century. However, because the concept has been examined with numerous variables, methodologies, and theoretical frameworks, there is a lack of common understanding in the literature about the term organizational culture, particularly as it applies to schools. The general purposes of this research, therefore, are: (1) to contribute to the clarification of the concept of organizational culture as it applies to educational administration and organizational theory, (2) to describe the organizational cultures of three high performance British Columbia (BC) secondary schools and to describe the similarities and differences among their cultures, and (3) to evaluate the research technique for discovering and describing the organizational cultures of schools. Anticipating cultural variation associated with population size, geographic location, and public/private school settings, one urban, one rural, and one independent school were selected for study from among the highest performing British Columbia secondary schools. Academic achievement on specific provincially developed assessment instruments was used to gauge the relative performance levels of the province's secondary schools. Data were primarily gathered using semi-structured audio-taped interviews with all school administrators and randomly selected samples of students, teachers, parents, and secretaries or custodians. The taped interviews were later transcribed and analyzed using content analysis. Examination of school documents and informal observation also provided sources of data. The principal conclusions of this study are listed below: 1. The values held by the members of the study's schools were highly congruent, and common values were enumerated. With reference to Hodgkinson's (1978) value paradigm, the vast majority of values were interpreted as Type 2A and/or Type 2B. 2. Although many attitudes were unique features of individual schools, the majority were common among the schools. These are analyzed and described. 3. Despite the fact that normative expectations were highly congruent among the organizations, a great deal more variability existed for cultural norms than was the case for attitudes and values. 4. Within each school the cultural perceptions of organizational members were highly congruent. 5. Although all three schools were characterized by relatively strong organizational cultures, that of the independent school was interpreted as stronger than either the rural or the urban school. 6. No appreciable difference in cultural strength was identified between the rural and the urban school. 7. A positive relationship appeared to exist between respondents' perception of the organizational culture and the length of time they had been associated with the school. Furthermore, after one year in the independent and after two years in the public schools, organizational members appeared to have become acculturated. 8. The study's semi-naturalistic approach allowed the researcher to discover and describe school-wide organizational cultures in the study schools. 9. This research suggests that perhaps most important to the success of an organization are the underlying values and attendant attitudes. The research, therefore, promotes the notion that future investigations concentrate on the organizational values and attitudes associated with schools. / Graduate

<p> This dissertation advances Gothic studies by 1) arguing that Gothic is an imperial discourse and tracing back its origins to imperial activity, 2) by establishing a Hinterland Gothics discourse framework within the Gothic Imagination, 3) and by defining three particular discourses of Hinterland Gothics: the Gotach (Irish), G&oacute;tico (Mexican-American Mestizx), and the Ethnogothix (African Diaspora), and subsequently, revealing how these Hinterland Gothics undermine, expose, and thwart imperial poltergeists. The primary texts that I analyze and reference were published in the past thirty years and are either of the Young Adult or New Adult persuasion, highlighting imperative moments of identity construction in bildungsroman plots and focusing on the more neglected yet more dynamic hyper-contemporary era of Gothic scholarship, namely: Siobhan Dowd&rsquo;s <i>Bog Child </i> (2008), Celine Kiernan&rsquo;s <i>Into the Grey</i> (2011), Marina Carr&rsquo;s <i>Woman and Scarecrow</i> (2006), Emma P&eacute;rez&rsquo;s <i> Forgetting the Alamo</i> (2009), Virginia Grise&rsquo;s <i>blu</i> (2011), Emil Ferris&rsquo;s graphic novel <i>My Favorite Thing is Monsters </i> (2017), Gloria Naylor&rsquo;s <i>Mama Day</i> (1988), Helen Oyeyemi&rsquo;s <i>White is for Witching</i> (2009), Nnedi Okorafor&rsquo;s <i>Binti</i> (2015) and <i>Binti: Home</i> (2017), and Nicki Minaj&rsquo;s 54^th Annual Grammy Awards performance of &ldquo;Roman Holiday&rdquo; (2012). The cold spots in the white Eurocentric canon where Other presences have been ghosted will be filled, specters will be given flesh, and the repressed will return, indict, and haunt, demanding recognition and justice.</p><p>

<p> In recent years, having evolved beyond solely play-based interactions, it is now possible to analyze video games alongside other narrative forms, such as novels and films. Video games now involve rich stories that require input and interaction on behalf of the player. This level of agency likens video games to a kind of modern hypertext, networking and weaving various narrative threads together, something which traditional modes of media lack. When examined from the lens of reader-response criticism, this interaction deepens even further, acknowledging the player&rsquo;s experience as a valid interpretation of a video game&rsquo;s plot. The wide freedom of choice available to players, in terms of both play and story, in 2007&rsquo;s <i>Mass Effect,</i> along with its critical reception, represents a turning point in the study of video games as literature, exemplifying the necessity for player input in undergoing a narrative-filled journey. Active participation and non-linear storytelling, typified through gaming, are major steps in the next the evolution of narrative techniques, which requires the broadening of literary criticism to incorporate this new development.</p><p>

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No description available.

The British Columbia Apple industry, primarily located in the Southern Interior of the province, has undergone varying levels of tree removal and replanting as growers attempt to maximize profits. This study models their behaviour by using econometrics in a supply response model. The economic environment of the fruit industry is described. The variables affecting acreage responses to removals and replanting of new and traditional apple varieties are estimated using Ordinary Leased Squares in three separate equations. Data are pooled and aggregated at the regional level. Several versions of the original model are run to test for robustness of the variables and of the original model. The econometric models illustrated that the plantings of new varieties increases when expected profits from vintage trees decline. However, planting and removals of traditional varieties are positively related to excepted profits from vintage trees and this does not follow apriori expectations. More striking in the model is the regional differences and their responsiveness to removals and replanting. Regions with younger, better educated farmers replant to new varieties at a faster rate than other regions. Replant programs are shown to have a negative effect on the rate of replanting. These programs maintain basic criteria for their eligibility to funding and seemingly decreased the acres replanted. Increasing the monetary value of the replant grants results in the effect of increasing the acreage of traditional varieties being planted. Policy implications are examined in a post modelling analysis. The effects of top loading subsidy effects are shown to have decreased the acreage of trees replanted over time. These effects are shown to cause a dead weight loss to society of approximately $13 million over 20 years. / Land and Food Systems, Faculty of / Graduate

This thesis examines the changing role of British Columbia's municipal governments in affordable housing policy. In recent years, the federal government of Canada has withdrawn from active involvement in affordable housing provision, and has passed responsibility back to the provinces. The government of British Columbia has, in turn, amended its Municipal Act through Bills 20 (1992), 57 (1993) and 31 (1994), to grant municipal governments increased planning powers in the field of affordable housing. This thesis examines the responses of municipal governments to these changes and specifically investigates whether the decentralization of responsibility has to led to policy innovation. This research question is addressed in three ways. First, through a review of the theoretical literature and legislation, a discussion is presented concerning the issue of decentralization and the ways it has been enacted in the case of housing policy in British Columbia. Secondly, the results of a postal survey of 52 municipalities in British Columbia are presented, reflecting the range of local responses to the provincial housing legislation. Thirdly, case studies, derived from key informant interviews and document analysis in three municipalities (Burnaby, Sidney and Prince George) are presented. These provide more detailed illustrations of housing strategies in different geographical contexts. The research suggests that housing is a dynamic area of public policy in British Columbia, with a distinct pattern of innovation. In particular, some 'entrepreneurial' municipalities exhibited a shorter response time in reacting to the provincial legislation, and have adopted more innovative approaches to housing policy; these in turn, serve as examples to other jurisdictions. The wide range of innovative housing strategies adopted by local governments across the province, which are highlighted in this thesis, suggest that decentralization has ensured the potential for a greater fit between the preferences and needs of a particular locale. To the extent that it provides municipalities with the powers and resources they need, the decentralization policy allows communities to capitalize on their existing strengths and to more readily meet their housing needs. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate