An exploration of Harriet Beecher Stowe's The Minister's Wooing as viewed through the lens of performance studies and domesticity. Previous tales of fallen women, both in novels and operatic form, deprived the coquette of the agency to change her societally determined route of personal destruction as previously shown in the studies of Catherine Clément. Stowe's unique tale of a French coquette overturns the typical plot of the fallen woman, as demonstrated in Hannah Webster Foster's The Coquette, by giving the coquette agency to redeem herself through key performative, domestic and, according to Judith Butler, transformative acts. Such treatment of this character made Stowe a forerunner in sexual equality.

This thesis aims to explore selected works of Beatriz Colomina, a revisionist architectural historian who has made influential studies on visuality, domesticity, media and gender, and their reflections in the architectural world. Colomina is a distinguished architectural historian since she places a new lens on a period when architecture ceased to be only for the elite and media has gradually penetrated into everyone&rsquo / s life in order to understand how architecture became accessible to the public through media and how this has affected the perception of modern architecture. This new lens entailed not only the inseparability of media and architecture but also how war and domesticity featured in this relationship. Against this background, this study attempts to investigate the innovative approach of Beatriz Colomina by comparing and contrasting her two prominent books: Privacy and Publicity: Modern Architecture as Mass Media (1994) and Domesticity at War (2007). The former introduces us to the relationship between architecture and media, whereas the latter exemplifies this relationship by focusing on the cold war period as a time where media became an integral part of the domestic environment. This study aims to extract Colomina&rsquo / s contribution to architectural history by first disentangling and analysing and then merging these two books under common themes. In doing so, it seeks to answer the following questions: What is the role of archives in Colomina&rsquo / s methodology in writing these two books? What is the relationship between the document and the historian that emerges from this methodology? What common themes can be extracted from these two books as an analytical framework in order to better understand and study Colomina&rsquo / s approach? What differentiates her as a historian from other historians of modern architecture, specifically from Siegfried Giedion and Kenneth Frampton? What messages does Colomina give her reader through the form as well as the content of her books? What is her contribution to architectural historiography?

This practicum project is an investigation of the importance of providing a supportive and restorative temporary accommodation facility for breast cancer patients who are traveling from rural areas of Manitoba to receive treatment in Winnipeg. Exploring key areas of restorative and healing design in the literature review allowed for a comprehensive analysis and examination into three main areas. The key themes of restorative design are; Biophilic Design, Theory of Supportive Design, and supportive domestic environments. It is through this exploration of restorative design that a design for the Centre will be proposed.

This thesis is the first study using contemporary spatial theory, including cultural geography and its precursors, to examine and compare representations of space in the poetry of three mid-twentieth century American poets: Robert Lowell, Sylvia Plath, and Anne Sexton. Because of the autobiographical content often foregrounded in their work, these poets have been labelled Confessional. Previous criticism has focused primarily on the ways in which they narrate (or draw on) their personal lives, treating accompanying descriptions of their surroundings primarily as backdrops. However, these poets frequently manifest their affective states by using the pathetic fallacy within structures of metaphor that form a textual mapping of the physical space they describe. This mapping can be temporal as well as spatial; the specific spaces mapped in the poem s present are often linked to memories of earlier life or family. These spaces include psychiatric, general, and penal institutions, parks and gardens, nature (especially coastal settings), and the home (almost always a place of tension or conflict). Each poet addresses these broad types of space differently according to their evolving subjective relationship to them. These relationships are in turn strongly influenced by their social class and gender: for the two women, their experience of their own bodies as prescribed space, in relation to the restrictive and objectifying female role that was imposed on them, is critical. Also, critical in shaping the poets experience of space are post-World-War II socio-cultural and demographic changes in the United States, notably suburbanisation, consumerisation and the consolidation of a therapeutic culture . Interwoven with these influences are major political concerns of the period such as the Cold War with its accompanying surveillance and conformism and the threat of nuclear annihilation. In the work of all three poets, awareness of these modern fears fused with traditional Gothic motifs to permeate their descriptions of spaces with anxiety, bitterness, and even dread in a rejection of the synthetic optimism of the American Century and commercial culture. Other criticism has touched on many of these themes in relation to one or another of the poets, but this study, by way of the theme of space, offers comparison and synthesis that aims to shed new light on their work and its relation to the period during which they wrote.

This thesis addresses the literary representation of food in the period from 1900 through 1945 in the work of Ford Madox Ford, Gertrude Stein and Virginia Woolf. Taking up nineteenth-century fascinations with sensual and aesthetic taste, these authors explore the implications of food preparation and consumption in Britain, America and France. They use representations of everyday culinary practices as a way to examine articulations of anxiety about the state of civilization, a fear that is amplified and altered by both World Wars. The thesis approaches the question of the significance of food to literary modernism in two ways. The first is a theoretical analysis of modernist ways of thinking about the dialectic between the concepts of civilization and barbarism. The second is grounded in material history, establishing the contexts and conditions of food culture in the first half of the twentieth century. Drawing on sociological thinking from Norbert Elias's conception of the civilizing process and Pierre Bourdieu's theory of distinction, and using a combined methodology of close reading, biographical and historical analysis, I show that food acts as a lens for these authors' ideas about civil society and modernity. My original contribution to knowledge is threefold. The first is my interpretation of 'culinary Impressionism' as an extension and repositioning of current scholarly thinking about Ford's literary Impressionism. The second is my reading of Stein's and Toklas's jointly-authored cookbook draft as evidence of their collaboration. This forms the crux of my argument about Stein adapting domestic culinary techniques into her other writing. The third is in my chapter on Virginia Woolf. My original archival research shows that in A Room of One's Own Woolf's representation of the financial and culinary difference between men's and women's dining in colleges at the University of Cambridge is justified and the material inequality was in fact worse than previously understood. I argue that the disparity in institutional food intensifies Woolf's later reimagining of the term 'civilization' in Three Guineas. While drawing on the work of modernist studies scholars on modernism and the everyday, civilization, and food, my project is unique in demonstrating that food reflects modernist conceptions of civilization and barbarism. My thesis contributes to the understanding of transatlantic aesthetics and gendered productions of modernism by illuminating the centrality of agriculture, cookery, domestic work and institutional dining to modernist authors.

Cette thèse examine différents facteurs ayant permis la reconfiguration de la sphère privée/domestique, considérée comme le domaine non-politique de la famille et de l’intime, en objet crucial de débat politique et en lieu d’action politique légitime dans l’après-seconde guerre mondiale (1945-1973).Au cœur du processus, trois phénomènes majeurs : la militarisation de l’espace civil privé, la résurgence de l’idéal du « foyer chrétien » dans un climat moraliste et familialiste et la valorisation du foyer consumériste, « centre de la liberté », où se jouait la défense du système capitaliste dans le conflit idéologique opposant les États-Unis à l’U.R.S.S. Durant cette période, l’articulation privé-public s’est vue renégociée, à la faveur du phénomène de politisation du privé et du surcroît de légitimité accordé aux enjeux associés à ce domaine et, par extension, aux femmes censées en garantir l’intégrité. Trois études de cas, s’appuyant sur de riches sources archivistiques jusqu’ici largement inexploitées, permettent de prendre la pleine mesure de cette renégociation et de rendre compte de l’adoption de nouvelles formes de pratiques politiques à domicile (‘kitchen-table activism’) par un grand nombre de femmes blanches des classes moyennes-supérieures. Ce mode d’activisme, réconciliant vie domestique, sociabilité féminine et engagement militant, fut mis au service tant des organisations féminines progressistes et conservatrices que des ‘Women’s Divisions’ des partis politiques. Dans quelle mesure son expansion reflétait-t-elle la politisation de ses adeptes et la hausse de leur participation politique durant une période de latence du mouvement féministe ? Leur engagement en marge de la sphère institutionnelle s’est-il accompagné d’un accroissement de leur représentation en politique ? Ou la période a-t-elle vu, au contraire, leur avancée dans ce champ retardée en raison de cette mobilisation fondée sur une vision traditionnelle des femmes et des relations de genre ? / This thesis examines various factors that have led to the reconfiguration of the private / domestic sphere, considered as the non-political domain of the family and the intimate, as a crucial subject for political debate and as a legitimate place of political action in the aftermath At the heart of the process were three major phenomena: the militarization of private civil space, the resurgence of the ideal of the "Christian home" in a moralist and familialist climate, and the valorization of the home Consumerism, the "center of freedom", where the defense of the capitalist system was played out in the ideological conflict between the United States and the USSR During this period, the private-public articulation was renegotiated, thanks to the phenomenon of politicization of the private sector and the additional legitimacy granted to the stakes associated with this domain and, by extension, to the women who are supposed to guarantee the integrity . Three case studies, based on rich archival sources that have so far been largely untapped, make it possible to take full account of this renegotiation and to account for the adoption of new forms of policy-making at home ('kitchen-table activism ') By ​​a large number of white women of the middle-upper classes. This mode of activism, reconciling domestic life, feminine sociability and militant commitment, was put to the service of progressive and conservative women's organizations as well as women's divisions of political parties. To what extent did its expansion reflect the politicization of its followers and the rise of their political participation during a latent period of the feminist movement ? Have their involvement in the margins of the institutional sphere been accompanied by an increase in their representation in politics ? Or did the period, on the contrary, see their advance in this delayed field because of this mobilization based on a traditional view of women and gender relations ?

No description available.

Incorporating traditional craft mediums of crochet and embroidery, I use digital technology to experiment with wording to graphically represent my abuse trauma. Due to the severity of the subject matter and the work ethic I employ in my art practice, using my hands and being completely involved is a form of masochistic pleasure. My process takes on a Sisyphean approach of penance for the sins of others in my work. During my studio practice, my process reaches a meditative state where my mind is clear and free of the burden. Once I've completed a panel of trauma, the burden is transported into the art and a state of enlightenment is achieved. I began this program taking an analysis from an external perspective, gradually shifting my focus of artistic practice to my internal struggles with memory and repressed abuse trauma. Since I have selfishly focused on my personal tragedies for inspiration for the past three years, my work can now address a more universal subject matter in the future

No description available.

Focusing on the everyday lives of middle-class English families in a medium size town situated in the Midlands, this doctoral thesis contributes to anthropological debates on the topics of human agency, time, domesticity, mothering, and kinship. Organized upon the idea that cultural models of time are inextricably linked to understandings of agency (Greenhouse 1996), the thesis links Moore s (2011) post-vitalist theoretical framework and the work of Foucault (1990, 2000) on ethical practices, with Gershon s (2011) critique of neoliberal agency . The concept of ordinary agency is proposed for situating everyday actions as significant actions that contribute to social transformation. Three cultural models of time are identified spontaneity, anticipation and family time and the types of ordinary agencies that they engage are described in three dedicated chapters. The first chapter discusses the theoretical framework of the thesis. The second chapter addresses methodological issues, and discusses the methods that the author developed during her ethnographic fieldwork for looking at people s relationships with time. The third chapter addresses the time mode of spontaneity, presenting ethnographic examples of digital media use at home, and introducing theoretical tools for situating the forms of agency engendered by spontaneity. The fourth chapter looks at the time mode of anticipation in relation to mothering, motherhood and care. This chapter is accompanied by a video component, titled Mum s Cup and situated in the appendix of the thesis. Based on material that the participants filmed in solitude, for a self-interviewing with video task, Mum s Cup is a visual point of departure for theorising the Mother-Multiple ontological position that is described in chapter IV. Alongside providing a visual ethnographic lever for endorsing a theoretical concept, the video project also reflects on the relationship between the researcher and the participants, a relationship that, for various reasons (some related to length limitations), is not fully described in the textual corpus of the thesis. Discussing two types of domestic sociality, the fifth chapter looks at family time and at the forms of agency engendered by the idea and by the experience of having a family-style lifestyle (Strathern 1992), and it draws on, and contributes to, bodies of literature on English kinship. The last chapter addresses the context of the research which is an interdisciplinary project looking at domestic energy consumption ; it situates the position of the author in relation to the domestic sustainability agenda and to debates on interdisciplinarity, and it formulates ideas about possible applications that the anthropological knowledge gained by the author through her research could have in relation to the context that originally framed and facilitated the research.