The shift in paradigm which gave rise to relativism has brought about a number of reconsiderations of the critical act--reconsiderations which question in a fundamental way the objectivity of the subject, the autonomy of the object of study, and the neutrality of language. Recent advances in the field of translatology participate in this shift in paradigm, insofar as they dismantle the discourse of transparency and restore to translators their primary role in the reception/re-enunciation of the source text. / A study of the production and reception of Anne Cameron's Daughters of Copper Woman (1981) demonstrates the extent to which the translator, in choosing to take on the stakes arising from the source text, becomes responsible for her/his performed act of mediating. / Furthermore, the translator must be prepared to accept the subjectivity of her/his own reading and ideological convictions, and to contest the value of invisibility traditionally attached to the translator' s role. Analysis of the translations of the first ten short stories of Daughters of Copper Woman illustrates how the translator's ideological stance orients her translation choices. In this thesis, the translator's process of textual intervention is examined from two distinct but complementary perspectives--the feminist and the Bermanian.

My thesis is a collection of non-fiction and fictional narratives focused on domestic space and its impact on father-daughter relationships and vice versa. In all of the narratives the notion of a house under renovation serves as a vehicle for the figurative tension between members of the family and family space. The narratives offer no internal markers to indicate whether they are fiction or non-fiction, which demonstrates my conviction that only factors external to the text---relation to fact or to imagination---can determine a narrative's status as fiction or non-fiction. / The required afterword to my narratives discusses the theoretical problem of the distinction between fiction and non-fiction as well as the living nature of material culture and space as reflections and mediators of father-daughter relationships.

Thesis (Ed.D.)--Teachers College, Columbia University. 1964. / Typescript; issued also on microfilm. Includes tables (part. fold.). Sponsor: Floride Moore. Dissertation Committee: Millie Almy. Includes bibliographical references (leaves 164-167).

Thesis (M.S.)--Brigham Young University. Dept. of Sociology. / Includes bibliographical references (leaves 58-60).

Thesis (M.A.)--Western Kentucky University, 2009. / Includes bibliographical references (leaves 61-64).

Thesis (M.A.)--Carleton University, 1992. / Also available in electronic format on the Internet.

Thesis (Ph. D.)--California School of Professional Psychology, Berkeley/Alameda, 1989. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 157-170).

Thesis (M.FA.)--York University, 2004. Graduate Programme in Film and Video. / Typescript. Includes bibliographical references (leaves 53-54). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11821

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