In December 1927, Emily Carr's paintings were shown for the first time in central Canada in an exhibition called Canadian West Coast Art - Native and Modern. This event was held at the National Gallery of Canada in Ottawa, and marked a major turning point in Carr's career, for it brought her acceptance by the intellectual and artistic elite with their powerful networks of influence, as well as national acclaim in the public press. To this point, art historical writings have tended to focus on the artist and her own experiences, and in the process, the importance of this experimental exhibition in which her work was included has been overlooked and marginalized. This thesis attempts to redress this imbalance by examining the exhibition in detail: first, to analyze the complexities of its ideological premises and the cultural implications of juxtaposing, for the first time in Canada, aboriginal and non-native artistic production within an art gallery setting; second, to consider the roles played by the two curators, Eric Brown, Director of the National Gallery, and C. Marius Barbeau, chief ethnologist at the National Museum; and third, to indicate the ways in which Emily Carr's works and those of the other non-native artists functioned within the exhibition. During the 1920s, both the National Gallery and the National Museum were caught up in the competitive dynamic of asserting their leadership positions in the cause of Canadian nationalism and the development of a national cultural identity. In this 1927 exhibition, these issues of nationalism, self-definition and the development of a distinctly "Canadian" art permeated its organization and presentation. The appropriated aboriginal cultural material in the museum collections that had languished within storage cases was to be given a contemporary function. It was to be redeemed as "art," specifically as a "primitive" stage in the teleological development of the constructed field of "Canadian" art history. In this elision process, the curators relegated the native culture to a prehistoric and early historic past, suppressing its own parallel historical and cultural development. The exhibition also presented the native objects as an available source of decorative design motifs to be exploited by non-native artists, designers and industrial firms in their production of Canadian products, underlining the assumption of the right to control and manipulate the culture of the colonized "Other." Emily Carr"s twenty-six paintings, four hooked rugs and decorated pottery represented the largest contribution from any single artist. In their interpretations of the native culture, Carr and the other non-native artists were also engaged in a "self-other" definition, and had filtered their perceptions through the practices and conventions of western art traditions, especially in the use of modernist techniques. In the context of the exhibition, the artistic production by the fourteen non-native artists, including Carr, was caught up in a reaffirmation of the ideological and cultural positions of the two curators and the institutions they represented. The alternate discourses that could have been provided by the native people remained unheard. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This study examines the impact of new museological theory on museum education practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a case study that concerns both the negotiation of meanings around Emily Carr's work as they are situated within current and traditional art historical/ historical beliefs, and the desire to offer museum visitors a more sufficient or comprehensive educational experience. The dissertation examines the installation of Carr in a variety of galleries across Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver Art Gallery) as a means of contextualizing a range of problems associated with museum practice. The National Gallery chapter explores issues of ideology raised by the new museology. The chapter concerning the display at the Art Gallery of Greater Victoria concerns the particularities of site and place (Victoria was Carr's birthplace) as well as notions of resonance and contextualization in art displays. The discussion of the Art Gallery of Ontario concerns contextualization of a different sort, the display created with a solid foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in the earlier chapters, by the challenges of post-modem theorists to historical understanding, historiography, and museum practice. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The questions posed and examined in Violent Femmes take their genesis from psychoanalytic arguments which contend that identity is not a stable monadic thing but rather a continuing process of engagement and negotiation between the self and others. Sigmund Freud, Melanie Klein, D. W. Winnicott, and Christopher Bollas, amongst others, have noted the temporary, coalitional, and provisional nature of the ways in which identity is apprehended and experienced. This thesis expands upon such a theoretical framework of identity formation to specifically question the ways in which the formation and maturation of an artistic identity may, in part, be predicated upon the psychological capacity to enact violence within the realm of the imaginary. Violent Femmes examines the complex relationship between psychological violence and artistic identity as that relationship is recorded in the autobiographical writings of Virginia Woolf, Radclyffe Hall, and Emily Carr. / This project traces the written vestiges of Woolfs, Hall's, and Carr's individual internalised struggles to formulate an artistic identity in specific relationship with an already established 'model' of artistic creativity and identity. Woolfs, Hall's, and Carr's struggles to claim a personal artistic identity, in some ways from their individual model of the artist, are waged within the minds of the authors themselves. However, the violence enacted within their imaginations---the violence perpetrated against the models of the artist---is thrust into the external world, not only within the writings of these three women, but also by the ways in which each author resolves or fails to resolve her own violent conflict with her imaginary model of the artist.

The purpose of this thesis was to determine the extent of sea level rise (SLR) impact on sea turtle nesting beach habitat on Archie Carr National Wildlife Refuge (NWR) as well as impacts on management strategies. The Archie Carr NWR is of exceptional importance due to the high density of Loggerhead, Leatherback, and Green sea turtles that nest there in the summer months. GIS data provided by the Archie Carr NWR and various SLR scenarios, provided by both the Intergovernmental Panel on Climate Change (IPCC) as well as leading scholars, were used to determine inundation area loss across the Refuge as well as nearby parcels targeted for possible acquisition. Inundation losses for the six scenarios were calculated to be in the 20-25% range. Approximately 26% of current lower priority parcels are reclassified as high priority when integrating this information. Therefore, a significant revision to future acquisition strategies is recommended.

I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significance—Murphy, Marina Carr, Martin McDonagh, Enda Walsh, and O’Rowe—increasingly associate the Hiberno-English lyric register with social fracture, emotional and psychic disturbance, and loss, until the lyric mode itself is exposed as inherently traumatized. I call this later mode, at the close of the twentieth century, “black lyric.” Black lyric operates as a travesty of lyric expression. Black lyrical writing is lyrical text containing, but also produced by, pain, and at its fullest power, it operates as a grotesque parody of poetic expressiveness. It confronts the audience with trauma and psychic suffering attached to national expression rather than offering sonorous comfort. This project uses a combination of close reading, historical research, and theoretical analysis to argue that the playwrights who deploy heightened Hibernicized English at the end of the twentieth century are commenting upon and challenging the canon of Irish drama, which depended on a lyric register not only to console but to conceal. Commentators of twentieth-century Irish drama routinely remark on the dramatic tradition’s visceral poetry, yet it is rarely the subject of any sustained analysis outside of considerations of “language” or “style” generally. This dissertation seeks to partly address that omission.

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Marine turtles have historically contributed to economic activity through consumptive harvest for food, tools, and decorative objects. Only recently have they begun to benefit humans economically through non-consumptive roles, primarily as a focal point of educational eco-tourism. In recent years, the annual number of turtle walks conducted around the Archie Carr National Wildlife Refuge (ACNWR) has risen. This expansion contributed to a statistically significant increase in attendance from 2,162 in 2001 to 3,047 participants in 2014. I examined the regional economic impacts of marine turtle eco-tourism around the ACNWR using social surveys and an economic impact analysis tool. IMPLAN, an input-output modeling package, has been used in tourism industries around the U.S. since 1992, but this study is the first to use this tool to evaluate the holistic economic effects of marine turtle-based eco-tourism within a selected region. During the 2014 turtle walk season (June through July), surveys were distributed at six different turtle walk locations within Brevard and Indian River Counties, Florida, along the central Florida Atlantic coast. Adults attending the turtle walks (n=2,274) were given time before the educational presentation began to complete a one-page survey. Approximately 93% of turtle walk participants completed surveys. Due to market interactions within this two-county region, turtle walks contributed a minimum of three new jobs and a conservative estimate of almost $250,000 (USD) to the local economy during the two-month turtle walk season. Using financial comparisons and economic impact tools, like IMPLAN, can improve our understanding of the many roles, especially non-consumptive uses, sea turtles have in our communities. This information can be useful in resource management and conservation-based decision making.

Marine turtles exhibit strong fidelity to their nesting beaches, making the conservation of nesting beaches important for ensuring successful sea turtle populations. Conservation of these nesting beaches involves understanding how species interact with the environment and each other, and understanding how environmental change and population growth can affect the suitability of the nesting habitat. The Archie Carr National Wildlife Refuge (ACNWR) is unusual in its high density of sea turtle nesting by two species: green (Chelonia mydas) and loggerhead (Caretta caretta) turtles. The ACNWR in Melbourne Beach, Florida was established in 1991 due to the high density of loggerhead nesting, but in the time since it was established there has been a significant increase in green turtle nesting, from fewer than 50 nests in 1982 to over 15,000 in 2017. With such a high density of these two species in one relatively small area (21 kilometers of beach), the two species may compete for space. This is especially true for green turtles, which disturb large amounts of sand during their nesting process; in 2017, we observed 338 loggerhead clutches disturbed by nesting females during nesting surveys, nearly all of which were disturbed by green turtles. Using observed spatial and temporal nesting patterns for both green turtles and loggerheads on the ACNWR, I examined the effects these species may have on each other's nests now and in the future. Additionally, green turtles and loggerheads nest in different densities along the length of the ACNWR, with green turtles more concentrated in the southern portions of the Refuge. Finally, green turtle nesting begins and peaks approximately one month later on the ACNWR than loggerhead nesting. For each of these metrics, there is both considerable overlap and distinct separation between the two species. By using these metrics in a modeling approach, I estimated the probability of nest disturbance by a subsequently nesting female, ranging from 0 to 0.105, and how these probabilities are predicted to change over time with a growing green turtle population. Evaluating the carrying capacity of this beach is important in the context of habitat disturbance, including climate change and an increase in storm frequency, and informing adaptive management strategies for effective conservation.

Yes / Shamanic belief systems represent the first form of religious practice visible within the global archaeological record. Here we report on the earliest known evidence of shamanic costume: modified red deer crania headdresses from the Early Holocene site of Star Carr (c. 11 kya). More than 90% of the examples from prehistoric Europe come from this one site, establishing it as a place of outstanding shamanistic/cosmological significance. Our work, involving a programme of experimental replication, analysis of macroscopic traces, organic residue analysis and 3D image acquisition, metrology and visualisation, represents the first attempt to understand the manufacturing processes used to create these artefacts. The results produced were unexpected—rather than being carefully crafted objects, elements of their production can only be described as expedient. / AHRC

The purpose of this thesis is to examine how the turbulent changes within the Irish society affected the face of modern Irish drama. Ireland, originally a rural country bound by religious dogmas and its own colonial past, underwent a considerable amount of development in the latter half of the 20th century; it was predominantly manifested through an increased Celtic Tiger economic prosperity and decreasing influence of the Catholic Church. The central interest of Irish culture has always been the effort to define a unifying national metanarrative and identity. In the beginning of the 20th century this desire was motivated by a struggle to establish a vital opposition between Ireland and Great Britain and definitely renounce its depreciating status of a former colony. However, in the second half of the 20th century the discrepancy between the nationalist ideology driven idea of Irish identity (whose value has always been questionable to say the least) and its modern reality became unbridgeable. The introduction of this thesis is dedicated to summarizing the changes within the Irish society in the course of the 20th century. A brief characterization of this turbulent development should justify the urge of more recent artists to re-formulate the Irish national metanarrative to suit the 20th century...