This thesis compares the impact of immigration on the political cultures of the town of High River, Alberta, and the city of Brooks, Alberta, from 1996 until 2012. High River and Brooks are located in southern Alberta, and are home to large meat processing facilities. Both municipalities experienced population growth from 1996 until 2012, but while the immigrant and non-permanent resident population of High River increased by 108.82% from 1996 until 2011, the immigrant and non- permanent resident population of Brooks increased by 368.38% in the same period. Two indicators of political engagement are used, including voting results from provincial elections held in 1997, 2001, 2004, and 2008. In addition, local newspaper publications are reviewed; the High River Times and The Brooks Bulletin are examined for two months preceding a provincial election, during the month of an election, and for one month following an election. Cette thèse fait une comparaison de l'impact de l'immigration sur les cultures politiques de High River, Alberta, et de Brooks, Alberta, entre 1996 et 2012 . High River et Brooks sont situés dans le sud de l'Alberta, et il y a des usines de transformation de la viande dans les deux villes. La population des deux municipalités a augmenté entre 1996 et 2012, mais bien que la population immigrante et de résidents non-permanents de High River ont augmenté de 108,82% entre 1996 et 2011, cette population de Brooks a augmenté de 368,38% dans le même période. Deux indicateurs d'engagement politique sont utilisés, y compris les résultats des élections provinciales tenues en 1997, 2001, 2004, et 2008. En outre, les publications des journaux locaux, le High River Times et The Brooks Bulletin, sont examines deux mois avant une élection provinciale, au cours du mois d'une élection, et pendant un mois après.

Nos travaux s’articulent autour de la construction identitaire par l’écriture des auteures de la diaspora cubaine à New York et s’appuient sur les autofictions de Sonia Rivera-Valdés et Jacqueline Herranz-Brooks. Ces auteures contemporaines, qui définissent les contours du sujet lesbien à travers érotisme et désir, déstabilisent les identités nationales, culturelles et sexuelles en mettant en scène des personnages qui évoluent en dehors de la norme, en marge du système politique, social et sexuel. Elles redéfinissent l’identité cubaine à partir d’une perspective intimiste, qui s’éloigne de l’image politisée. Notre approche littéraire et socio-historique éclaire les mécanismes de constructions identitaires des auteures au regard du contexte de production des œuvres. Les nombreux témoignages, auprès des auteures et des garantes de l’institution cubaine, nous ont permis d’identifier ce contexte littéraire et socio-historique dans lequel les auteures ont évolué et produit leurs œuvres. Sonia Rivera-Valdés et Jacqueline Herranz-Brooks, à travers leur trajectoire littéraire, se définissent en tant qu’auteure lesbienne dans un espace géographique fragmenté. Elles « fictionnalisent » leurs souvenirs pour retracer leurs parcours de vie, qui est la fois témoignage (discours qui révèle une situation socio-historique : être lesbienne à Cuba, la difficulté d’intégration des migrantes à New York) et en même temps fiction, leur permettant ainsi de projeter leurs idéaux. C’est donc entre témoignage et reconstruction du passé, ancré dans le présent de production, que les auteures se construisent dans un espace fragmenté entre Cuba et New York. L’écriture, ainsi que la photo pour Herranz-Brooks, en tant qu’actes créatifs leur permettent de refaire vivre leurs expériences afin de construire une identité en devenir d’auteure et de femmes lesbienne, migrante, cubaine de la diaspora. / My work deals with the building of identity through the writing of women writers from the Cuban Diaspora in New York. It focuses on autofictions by Sonia Rivera-Valdés and Jacqueline Herranz-Brooks. These contemporary writers, - who have a knack for defining the lesbian subject through the use of eroticism and desire- also manage to unsettle national, cultural and sexual identities by putting forward characters who develop out of the norm, away from the political, social and sexual system. These writers give a new definition to Cuban identity from an intimate perspective, which is far from the politicized image we know. My literary and socio-historical approach sheds light on the mechanisms of the construction of the identities of these women writers, considering in particular the context of production of their works. The numerous field surveys on the writers and guarantors of the Cuban institution made it possible for me to identify the literary and socio-historical context in which the women writers developed and produced their works. Through their literary careers, Sonia Rivera-Valdés and Jacqueline Herranz-Brooks describe themselves as lesbian writers living in a fragmented geographical space. They succeed in fictionalizing their memories in order to tell their lives. The text is both testimony – a narrative describing a socio-historical situation, being a lesbian in Cuba, the difficult integration of the migrants in New York- and fiction, enabling them to project their ideals. It is therefore in between testimony and reconstruction of the past anchored in the present that the women writers build a fragmented space between Cuba and New-York. Writing, as well as photography for Herranz-Brooks, seen as creation, made it possible for them to give life again to their past experiences so as to build themselves an identity as writers and as lesbian, migrant, Cuban women from the Diaspora.

Le bassin canadien figure parmi les rares bassins au monde dont la nature et la géométrie du substratum, et donc le mode d'ouverture, ne sont aujourd'hui pas connus. Les modèles paléogéographiques contraints par les rares données disponibles sont sujets à des interprétations controversées avançant des mécanismes et des âges d'ouverture différents, voire contradictoires. Selon les modèles paléogéographiques proposés, les marges du bassin canadien sont tantôt extensives, tantôt transformantes. L'étude de leurs structures et de leurs histoires détaillées est un exercice préalable à la discrimination des modèles plausibles. Le modèle d'ouverture le plus couru fait appel à un changement de polarité de la subduction au sud du bassin canadien au cours de l'orogenèse brookienne polyphasée.La chaîne de Brooks se situe au nord de la péninsule alaskane et au sud du bassin canadien. Elle est un des nombreux stades d'assemblage des "terranes" de la Cordillère Nord-Américaine : celui de l'implication d' " Arctic-Alaska-Chukotka (AAC) " Son stade collisionnel est réputé synchrone de l'ouverture du bassin canadien. C'est donc là qu'il faut chercher les indices des couplages entre la tectonique du bassin au Nord, la déformation intra-cordillère en Alaska et le système de subductions au Sud. Cette orogène est un témoin actif de l'ouverture du bassin canadien, il a enregistré et modifié les conditions aux limites qui ont présidé à son ouverture. La chronologie relative du développement des deux structures est donc essentielle et toute reconstruction de la géodynamique régionale se doit de les concilier en termes de cinématique et de conditions aux limites. / The Canadian basin is among the few basins worldwide for which the nature and the geometry of the substratum, and therefore the opening mode, are still unknown. Paleogeographic models based on the few data available are subject to controversy, with different mechanisms and inception ages. According to current paleogeographic models, the margins of Canadian basin either considered as extensional or transform margins. Detailed study of their structures and chronologies is a preliminary exercise to discriminate between permissible models. The most sollicited opening model assumes a change of polarity of the overall subduction south to the canadian basin during the multiphase Brookian orogeny. The Brooks orogen is located north of the alaskan peninsula and south of the canadian basin. It constitutes one of the main assembly stage of terranes in the Northern Cordillera : docking of the Arctic-Alaska-Chukotka terrane with the peri-Pacific arcs system. Its collisional stage is deemed synchronous of the opening of the Canada Basin, which is likely to provide clues about the coupling between tectonics of the north basin and intra-Alaska Cordillera deformation. This orogen has both recorded and influenced the geodynamic history of the Canadian basin. The relative chronology of the development of the two structures is essential and any reconstruction of regional geodynamics must reconcile them in terms of kinematics and boundary conditions.

This study aims to take a closer look at how women in the Jewish tradition are portrayed in two Judith Plaskows books, Standing again at Sinai and The coming of Lilith: Essays on feminism, Judaism, and sexual ethics, 1972-2003. The way that Plaskow presents women in her books will be compared to Geraldine Brooks's book Nine parts of desire and Mohammad Fazlhashemis book Vems islam? and their portrayal of women in the Islamic culture. The study uses one of the interdisciplinary theories called intersectional theory to critically examine the chosen literature. The issues the study will try to answer are based upon the theory. The issues are: 1) how are women perceived in the Jewish and Muslim communities according to the different authors? 2) What aspects do the authors believe has affected the outcome of women's position within religious communities? 3) Do the authors mention men and if they have affected women's discourse? And if mentioned do they believe men's influence was/is positive or negative?

Thesis (Ph.D.)--Boston University / The purpose of this dissertation is to expound the theology of Phillips Brooks as it is set forth in his writings, published and unpublished, for the contri bution which his thought may make, not to the field of technical theology, but to the use of doctrine in the nurture of souls. The problem in such a study is that of drawing from his non-technical language, more illustrative than definitive, the specific meanings which differentiate one school of theology from another. Part I is a survey of Brooks's theology as a whole. He chose, as the expression of his peculiar genius, to devote himself to the translation of doctrine in terms of life. Identified with the broad, evangelical elements in the Episcopal Church, he held generally to the words of creedal orthodoxy while giving them such a breadth of interpretation as to bring him to a position in harmony with the "New Theology" of the last half of the nineteenth century. Running through all his writings are certain conceptual principles which stand as presuppositions and ruling factors in his thought: the immediateness of the divine influence, the sanctity of the common life, the naturalness of the ideal, the dignity and worth of t he human soul, and the supremacy of the spiritual over the formal. On the basis of these principles, Brooks reduced the essentials of Christian doctrine to these four ideas: (1) the Fatherhood of God and the brotherhood of man: (2) the redemption of man by Christ; (3) the perfectibility of the soul; and (4) the immortality of hunan life [TRUNCATED]

Traditional feminist readings have valued women's writing that voices silenced experiences. In contrast, other twentieth-century theoretical formulations regard absences, refusals, and silences as constitutive of aesthetic practice rather than as imposed upon it. This dissertation attends carefully to how U.S. women writers approach the nonlinguistic, accounting for how they have been silenced as well as for the kinds of silencing that women poets themselves perform. It argues that U.S. women's experimental poetry is driven by contradictory relationships to language and silence: in one strain, gendered cultural repression spurs American women poets to push language into new territory, often figured as speaking out. But in another mode, female identification with the nonrational or nonlinguistic, whether externally enforced or strategically inhabited, impels women to develop poetic silences in order to resist the impositions of language on a feminized other. Meeting these simultaneous and opposed goals--creating poetic forms capable of greater expressive range while signaling the inadequacy of linguistic expression--necessitates formal experimentation. My primary claim that an unresolved ambivalence toward the nonlinguistic drives innovation dictates an emphasis on formal technique, including syntax, rhyme and meter, sentence and stanza structure, and figuration. This attention to poetic particulars grounds my contextualization of the work of each poet I consider--Emily Dickinson, Lorine Niedecker, and Gwendolyn Brooks--in relation to her own life, to broader literary and cultural histories, and to poststructuralist theories of language. The first chapter of my dissertation explores the role that early American, particularly Puritan and Transcendental, attitudes toward wilderness shape poetic motivations both to extend and limit the reach of language throughout the nineteenth and twentieth centuries. In subsequent chapters, I evaluate how those motivations change in the context of Dickinson's nineteenth-century spirituality, Niedecker's modernist and postmodernist anxieties about the role of the poet, and Brooks's engagement with the politics and aesthetics of black nationalism. Reading U.S. women's poetic innovation as simultaneously breaking and cultivating silences opens a dialogue among historically feminist understandings of silence as oppressive, theories that put silence at the heart of poetic impulse, and avant-garde theoretical conceptions of linguistic experimentation as a feminist project.

While the majority of literature written in regard to artist Romaine Brooks has focused on her portraiture of cross-dressing women, I intend to focus on other aspects of her oeuvre which are often neglected. Therefore, I will examine works depicting women produced or exhibited by Brooks during the years 1910 and 1911 when her output was at its most varied. I have divided these works into four different categories: nudes, interior scenes, balcony scenes, and portraits. These paintings prove that while Brooks painted in a traditional fashion, she also subtly challenged the role of women in art and society.

Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains v, 85 p. Includes bibliographical references (p. 78-85).

Thesis (Ph. D.)--West Virginia University, 1998. / Title from document title page. Document formatted into pages; contains vi, 402 p. Includes abstract. Includes bibliographical references (p. 350-380).

Thesis (Ph. D.)--Uppsala universitet, 1996. / Includes bibliographical references (p. 203-211) and index.