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The purpose of this essay is to examine how Christians can and should speak about God if they take feminist criticism seriously. This purpose concerns two problems: the first starts with the proposition that God is essentially different from humans and things and at the fact that the language that we use to describe and speak about God is a human language. God is infinite, incorporeal, and timeless, while the human language normally is used to apply to finite, corporeal, and temporal things. How – if ever – can this language apply to God? To examine this problem further, I present four different theories of religious language. The second problem is actualized by feminists who criticize the standard within the Christian tradition to characterize God in predominantly masculine terms. Feminists have criticised religious language for being oppressive in several ways, and particularly to establish and maintain hierarchical structures in which women are subordinated men. In this essay I present and discuss feminist criticism of religious language and then distinguish four different strategies for feminists. I further examine three of these strategies, represented by Sallie McFague, Gail Ramshaw and Janet Soskice, dealing with the problem of religious language within the Christian tradition. In all three of these feminist strategies metaphors are found to be of great importance. Finally, I promote Soskice metaphor theory combined with an apophatic theory of language. Soskice stresses the importance of anthropomorphous metaphors and offer the possibility of using both male and female images when speaking about God. This strategy positively handles the proposition of God as essentially different but makes it possible for believers to refer to God (through metaphors). This is also the preferable strategy in line with feminist criticism.

This thesis examines the methods through which Gail Anderson-Dargatz and Ann-Marie MacDonald construct region in their novels The Cure for Death by Lightning and Fall on Your Knees. These texts, like all successful regional novels, describe more than geography. Their regions are also functions of time. I introduce the term "temporal region" to describe the spaces created by this interdependence of time and place. I then focus upon the specifics of descriptive and narrative approach that lead to the convincing portrayal of the Shuswap and Cape Breton Island in the texts. Anderson-Dargatz and MacDonald direct attention to the foddways of their regions, expressing the connection between consumption choices and a society's historical and physical location. The authors also articulate their regions by highlighting cultural diversity in the areas they describe. In this way they deny the social homogeneity more sentimental regional texts often rely upon. Finally, the novelists use an appropriately Canadian method of regional opposition to define their temporal regions according to that which they are not ~ they are not American, glamorous, or urban. They therefore must be Canadian, quotidian, and rural.

This thesis examines the methods through which Gail Anderson-Dargatz and Ann-Marie MacDonald construct region in their novels The Cure for Death by Lightning and Fall on Your Knees. These texts, like all successful regional novels, describe more than geography. Their regions are also functions of time. I introduce the term "temporal region" to describe the spaces created by this interdependence of time and place. I then focus upon the specifics of descriptive and narrative approach that lead to the convincing portrayal of the Shuswap and Cape Breton Island in the texts. Anderson-Dargatz and MacDonald direct attention to the foddways of their regions, expressing the connection between consumption choices and a society's historical and physical location. The authors also articulate their regions by highlighting cultural diversity in the areas they describe. In this way they deny the social homogeneity more sentimental regional texts often rely upon. Finally, the novelists use an appropriately Canadian method of regional opposition to define their temporal regions according to that which they are not ~ they are not American, glamorous, or urban. They therefore must be Canadian, quotidian, and rural. / Arts, Faculty of / English, Department of / Graduate

Ayant recours aux théories de la «surconscience linguistique», du «choc des langues» et des «zones de contact» telles que développées par Lise Gauvin, Sherry Simon et Catherine Leclerc, ce mémoire a pour objectif de développer une littérature montréalaise activée par la langue et les langues dans un contexte contemporain. S'inspirant des débats entourant la littérature anglo-québécoise, et la place accordée à l'imaginaire anglo-montréalais et à ses représentants dans l'histoire, deux romans sont analysés du point de vue des langues : La logeuse d'Eric Dupont et Heroine de Gail Scott. À la lumière d'une interdiction formulée par Gilles Marcotte dans « Neil Bissoondath disait… », célèbre brûlot qui prohibe l’analyse conjointe des littératures de langue française et anglaise, l'approche adoptée dans ce mémoire vise par l'intermédiaire des romans à dépasser les propos de Marcotte afin de créer une spécificité montréalaise orientée par des préoccupations linguistiques. Ce mémoire démontre que les propos de Gilles Marcotte sont intenables dans le contexte actuel où les langues ne sont plus une source de division, mais bien un prétexte à joindre dans un propos qui les englobe et les dépasse les corpus de langue anglaise et française dans le contexte montréalais. La logeuse et Heroine témoignent d'un imaginaire et de préoccupations linguistiques comparables et de ce fait, permettent de définir les contours d'une littérature montréalaise activée par les langues. Enfin, ce mémoire se questionne sur l'équation entre langue et culture, mais également entre littérature et culture afin qu'une langue montréalaise, à l'instar d'une littérature montréalaise, prenne forme. / Refering to the theories of Lise Gauvin, Sherry Simon and Catherine Leclerc on «linguistic superconsciousness» (surconscience linguistique), «impact of languages» (choc des langues), and « contact zones» (zones de contact), this thesis produces a Montreal literature which is based on languages, French and English, in a contemporary context. Motivated by the debates around anglo-quebec literature and anglo-quebec writers, this thesis analyses two novels from the points of view of languages : Eric Dupont's La logeuse and Gail Scott's Heroine. The main objective of this study is to show that the concept developed by Gilles Marcotte in « Neil Bissoondath disait » which forbids comparisons between French an English texts, is obsolescent following the reading of the two novels. This thesis shows that in the context of Montreal, languages can create a specificity when they are not anymore a pretext to division, but the sign of a reconciliation.

Ayant recours aux théories de la «surconscience linguistique», du «choc des langues» et des «zones de contact» telles que développées par Lise Gauvin, Sherry Simon et Catherine Leclerc, ce mémoire a pour objectif de développer une littérature montréalaise activée par la langue et les langues dans un contexte contemporain. S'inspirant des débats entourant la littérature anglo-québécoise, et la place accordée à l'imaginaire anglo-montréalais et à ses représentants dans l'histoire, deux romans sont analysés du point de vue des langues : La logeuse d'Eric Dupont et Heroine de Gail Scott. À la lumière d'une interdiction formulée par Gilles Marcotte dans « Neil Bissoondath disait… », célèbre brûlot qui prohibe l’analyse conjointe des littératures de langue française et anglaise, l'approche adoptée dans ce mémoire vise par l'intermédiaire des romans à dépasser les propos de Marcotte afin de créer une spécificité montréalaise orientée par des préoccupations linguistiques. Ce mémoire démontre que les propos de Gilles Marcotte sont intenables dans le contexte actuel où les langues ne sont plus une source de division, mais bien un prétexte à joindre dans un propos qui les englobe et les dépasse les corpus de langue anglaise et française dans le contexte montréalais. La logeuse et Heroine témoignent d'un imaginaire et de préoccupations linguistiques comparables et de ce fait, permettent de définir les contours d'une littérature montréalaise activée par les langues. Enfin, ce mémoire se questionne sur l'équation entre langue et culture, mais également entre littérature et culture afin qu'une langue montréalaise, à l'instar d'une littérature montréalaise, prenne forme. / Refering to the theories of Lise Gauvin, Sherry Simon and Catherine Leclerc on «linguistic superconsciousness» (surconscience linguistique), «impact of languages» (choc des langues), and « contact zones» (zones de contact), this thesis produces a Montreal literature which is based on languages, French and English, in a contemporary context. Motivated by the debates around anglo-quebec literature and anglo-quebec writers, this thesis analyses two novels from the points of view of languages : Eric Dupont's La logeuse and Gail Scott's Heroine. The main objective of this study is to show that the concept developed by Gilles Marcotte in « Neil Bissoondath disait » which forbids comparisons between French an English texts, is obsolescent following the reading of the two novels. This thesis shows that in the context of Montreal, languages can create a specificity when they are not anymore a pretext to division, but the sign of a reconciliation.

Nobel laureate Dr. Carl Wieman, renowned for his leadership in science education, is the latest addition to UBC's Faculty of Science. UBC's Dr. David Dolphin is the winner of the 2006 Gerhard Herzberg Canada Gold Medal for Science and Engineering.

With the invention of the printing press, fairy tales became limited by the idea of an "original" (Pettitt, 2009; Blamires, 2003). However, in the past century, the retelling and changing of fairy tales has become incredibly popular in all forms of media, such as print, film, ballet, musicals, etc. Despite Western populations' familiarity with these tales, the demand for such retellings continues to rise, with the storytellers finding great financial success with each "new" version they provide. Researchers have many varying opinions on the reasons for such intense responses to retold fairy tales, but there is a gap of research on the actual changes made to the retold tales and what they mean. Through the use of Narrative Criticism, three of the most popularly retold fairy tales (Cinderella, Beauty and the Beast, and Snow White) were analyzed for the biggest alterations, and what those alterations are meant to convey to consumers. Findings revealed that the biggest changes across all three retellings were those of character, narrator, audience, and setting. These changes indicate a switch from the authoritative nature of the first printed versions to an inferential nature with the subsequent retellings, with authors leaning into the Narrative Paradigm and forcing audiences to instead ruminate on the changes made in the familiar tales, and to decide for themselves what those changes mean for their personal lives.

Stories of home do more than contribute to a culture that creates multiple ways of seeing a place: they also claim that the represented people and their shared values belong in place; that is, they claim land. Narrators of post-war B.C. resource communities create narratives that support residents’ presence although their employment, which impoverishes First Nations people and destroys ecosystems, runs counter to contemporary national constructions of Canada as a tolerant and environmentalist community. As the first two chapters show, neither narratives of nomadic early workers nor those of contemporary town residents represent values that support contemporary settler communities’ claims to be at home, as such stories associate resource work with opportunism, environmental damage, race- and gender-based oppression, and social chaos. Settler residents and the (essentially liberal) values that make them the best people for the land are represented instead through three groups of alternate stories, explored in Chapters 3-5: narratives of homesteading families extending the structure of a “good” colonial project through land development and trade; narratives of contemporary farmers who reject the legacy of the colonial project by participating in a sustainable local economy in harmony with local First Nations and the land; and narratives of direct supernatural connection to place, where the land uses the settler (often an artist or writer) as a medium to guide people to meet its (the land’s) needs. All three narratives reproduce the core idea that the best “work” makes the most secure claim to home, leading resource communities to define themselves in defiance of heir industries. Authors studied include Jack Hodgins, Anne Cameron, Susan Dobbie, Patrick Lane, Gail Anderson-Dargatz,D.W. Wilson, Harold Rhenisch, M.Wylie Blanchet, Susan Juby, and Howard White. / Graduate / 2017-09-08

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