Thesis (S.S.P.)--Smith College, Northampton, Mass., 2008. / V. 1 is a collection of poems ; v. 2 is a collection of essays. Typescript. Includes bibliographical references (v. 2., p. 77-78)

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 206-217). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 206-217). Also available on the Internet.

Inaug.-diss.--Jena. / Vita. "Literaturnachweis": p. [103]-104.

Simon Somerville Laurie was born in Edinburgh on 13th November 1829. He was the eldest son of James Laurie, who was at the time chaplain to Edinburgh Royal Infirmary, and Jean Somerville, herself the daughter of a presbyterian minister. Laurie was educated at the Edinburgh High School and subsequently at Edinburgh University. He graduated from Edinburgh University in 1849 and spent five years as a private tutor before returning to Edinburgh to take up, in 1855, the post of secretary to the education committee of the General Assembly of the Church of Scotland. He held this post for fifty years and added to it two other official posts: visitor and examiner for the trustees of the Dick bequest, from 1856 until 1907, and professor at the University of Edinburgh, as the first holder of the Bell Chair in the Theory, History and Art of Education, from 1876 until 1903. Laurie was also invited to write reports for the Merchant Company of Edinburgh pointing the way to reform of their endowed schools, to give evidence to a number of royal commissions and parliamentary inquiries, and to act as secretary to one royal commission, the Colebrooke Commission, and to the Association for the Promotion of Secondary Education in Scotland. He also wrote books and articles and gave numerous lectures, many of which were subsequently published. Laurie was thus both a leading theorist and closely concerned with almost all of the practical developments in the provision of education in Scotland for half a century. In an anonymous obituary published in 1910 the author described Laurie as ‘a singularly attractive personality’ and suggested that a full account of his influence should be written. With the exception of a brief chapter on Laurie in Alexander Morgan’s book, The Makers of Scottish Education published in 1929, this never happened. There is, however, a doctoral thesis lodged in the special collections of Edinburgh University library on Laurie which was submitted in 1949 by H. M. Knox entitled The Educational Writings of Simon Somerville Laurie MA, LLD, FEIS, FRSE (1829-1909) First Bell Professor of The Theory, History, and Art, of Education in the University of Edinburgh (1876-1903). It is evident from even this very brief sketch of Laurie's work that he was a man of considerable energy with an appetite for hard work. This work can be conveniently divided into three interdependent categories. As a philosopher he published three major philosophical works: Ethica, under the pseudonym ‘Scotus Novanticus’ in 1885, Metaphysica Nova et Vetusta, under the same pseudonym, in 1889 and Synthetica: being meditations epistemological and ontological in 1906. He wrote many books and articles on educational topics, some theoretical and some commentaries on the issues of the day. And as an administrator he was practically involved with the inspection of schools, the running of training colleges and the writing of reports and memorials to government.

'Feminine Rhyme' is a sequence of objects and paintings that resonate with women's experience in contemporary culture. The components I have used are: the structure of the grid, aggressive surface handling, and language derived from text. I have reconfigured these elements to direct the viewer in exploring layers of information that can be viewed in fragments as well as understood within the containment of a sound whole. I have explored the relationship of gender identity in our culture, and the role women play in association to masculine power. Through repetitive use of the grid, combined with isolated words and images, I have created paintings that can be read either in a formal manner through the use of structure and materials that are visually pleasing, or in context to a visual dialogue of contemporary gender myths. By fragmenting text in the form of torn book pages, I have altered and personalized the order, lending weight to chaos. Words become a form of mark making, a lyrical device to be read at random. I have obscured the imagery by hiding the text, leaving only scattered bits of information. These bits are derived from a 'therapeutic model' found in self help books, diet books and romance novels which exploit "feminism" as a commodity, serve as cultural documents, and influence women as to how they should perceive their bodies, their minds, their freedom. The end result is a visual interplay of form and color within the context of personal testimony and societal conditioning of the female experience in contemporary culture.

Patrick Gammie Laurie was a western enthusiast who came west to work as a writer and printer on various newspapers in Manitoba between 1869 and 1878. Eventually he established his own newspaper, the Saskatchewan Herald, which he published from 1878 until 1903. His aspirations for the West were remarkably similar to the national and imperial sentiments expressed by the Canada First Movement. He envisaged an organic, "holistic" society for Western Canada which would be modelled on British customs and institutions.<p>A Conservative politically, Laurie was an ardent supporter of the nation building policies of Sir John A. Macdonald. He was a stern critic of those who disagreed with his visions of an Anglo-Canadian West. Laurie believed that such a society was the only factor to prevent the West from being absorbed into the United States.<p> Laurie was frustrated with the slow progress of settlement. He had difficulty, at times, reconciling his position as a westerner and as a Conservative, and his writings reveal ambiguous and sometimes contradictory arguments on policies that affected Western Canada. Laurie's uncertainties: were due, in part at least, to the difficulties the federal government had ironing out the details of their Land, Railway, Tariff and Inmigration policies to the satisfaction of most westerners.<p>But in spite of the many criticisms Laurie had of government policies, he renamed a loyal Conservative. As an immigrant from Eastern Canada he remained essentially dedicated to the imperial and national ideals as expressed by the Canada First Movement. Laurie saw the West as an integral part of Canada and the Empire and not primarily as a separate region.

Patrick Gammie Laurie was a western enthusiast who came west to work as a writer and printer on various newspapers in Manitoba between 1869 and 1878. Eventually he established his own newspaper, the Saskatchewan Herald, which he published from 1878 until 1903. His aspirations for the West were remarkably similar to the national and imperial sentiments expressed by the Canada First Movement. He envisaged an organic, "holistic" society for Western Canada which would be modelled on British customs and institutions.<p>A Conservative politically, Laurie was an ardent supporter of the nation building policies of Sir John A. Macdonald. He was a stern critic of those who disagreed with his visions of an Anglo-Canadian West. Laurie believed that such a society was the only factor to prevent the West from being absorbed into the United States.<p> Laurie was frustrated with the slow progress of settlement. He had difficulty, at times, reconciling his position as a westerner and as a Conservative, and his writings reveal ambiguous and sometimes contradictory arguments on policies that affected Western Canada. Laurie's uncertainties: were due, in part at least, to the difficulties the federal government had ironing out the details of their Land, Railway, Tariff and Inmigration policies to the satisfaction of most westerners.<p>But in spite of the many criticisms Laurie had of government policies, he renamed a loyal Conservative. As an immigrant from Eastern Canada he remained essentially dedicated to the imperial and national ideals as expressed by the Canada First Movement. Laurie saw the West as an integral part of Canada and the Empire and not primarily as a separate region.

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This thesis seeks to demonstrate that although Laurie Anderson’s performance works are technologically driven and often involve gender play, seemingly transgressing the gender binary, ultimately she reinscribes traditional gender norms. On the one hand, Anderson has been a pioneer in the use of electronic technology, which is significant considering she is a woman and electronics is a male-dominated arena; on the other hand, her ambiguously- gendered cyborg persona, which does often raise awareness about gender stereotypes, ultimately reinscribes traditional gender norms. Although I consider these issues as they pertain specifically to Anderson, the significance of this project lies in the broader picture. Are there limits to gender performativity? Is it possible to break traditional gender norms? Must gender norms constantly reinscribe themselves regardless of new technology? As gender norms are deeply rooted in society, they are difficult to escape, as Anderson’s work demonstrates.