This dissertation considers the representation of animals in Canadian and American modernist poetry. In investigating the relationship between the proliferation of animal tropes and imagery and experimental poetics, it argues that modernism is fundamentally concerned with reconsidering human nature and humanity's place in the modern world. By employing a blend of socio-historical and formalist approaches, while also incorporating theoretical approaches from animal studies, this project shows that the modernist moment is importantly post-Darwinian, and that the species boundary was an important site of ideological struggle. This project also makes an intervention into the New Modernist Studies by proposing "North American Modernism" as a coherent area of inquiry; too few studies consider American and Canadian writers together, but doing so enables a richer understanding of modernism as a complex, global movement. Chapter one argues that animal tropes and imagery form part of a strategy through which Marianne Moore and H.D. challenge prevailing conceptions of femininity. Building upon theoretical work that considers sexism and speciesism as interlocking oppressions, it offers a sharper picture of their conceptions of gender and their feminist intentions. Chapter two considers impersonality and animality in the work of T.S. Eliot and P.K. Page. Like the concept of impersonality, Eliot's influence on Page is often taken for granted in the critical literature; it argues that impersonality (in Eliot's formulation) relies upon embodied personal experience, and on that basis offers an account of Eliot's anxieties about embodiment and Page's lapsus. Finally, chapter three investigates Marianne Moore's and Irving Layton's representation of animals to communicate indirectly their responses to global crises. Both poets felt a strong compulsion to comment on social and moral issues, but found it difficult to do so directly; images and tropes of animals enabled Moore to produce modernist allegories, and assisted Layton in depicting human ferity. / Cette thèse examine la représentation des animaux dans la poésie moderniste du Canada et des États-Unis. En étudiant la relation entre la prolifération des tropes et d'imagerie animale et la poésie expérimentale, je soutiens que le modernisme est fondamentalement préoccupé par la reconsidération de la nature de l'être humain et sa place dans le monde moderne. En utilisant un mariage d'approches socio-historiques et formaliste, tout en incorporant des avances théoriques provenant d'études animales, je démontre que le moment moderniste est post-darwinien de façon significative, et que la frontière des espèces était un champ de bataille important de la lutte idéologique. Mon projet fait également une intervention parmi les nouvelles études du modernisme en proposant le «modernisme nord-américain» comme un espace cohérent; trop peu d'études considèrent les écrivains américains et canadiens dans un ensemble, mais cela permet une compréhension plus riche du modernisme comme étant un mouvement complexe et mondial. Je soutiens que les tropes et l'imagerie animale font partie d'une stratégie à travers laquelle Marianne Moore et H.D. contestent les conceptions dominantes de la féminité. En m'appuyant sur les travaux théoriques qui considèrent le sexisme et l'espècisme comme oppressions entremêlées, j'offre une image plus nette de leurs conceptions du genre et de leurs intentions féministes. Ensuite, je considère l'impersonnalité et l'animalité dans les travaux de T.S. Eliot et P.K. Page. Comme le concept de l'impersonnalité, l'influence d'Eliot sur Page est souvent prise pour acquis dans la critique littéraire; je soutiens donc que l'impersonnalité (dans la formulation d'Eliot) s'appuie sur l'expérience personnelle incarnée, et sur cette base, je mets en évidence les inquiétudes d'Eliot et les lapsus de Page. Enfin, j'examine la représentation des animaux chez Marianne Moore et Irving Layton qui communiquent indirectement leurs répliques aux crises mondiales. Les deux poètes ont ressenti une forte compulsion pour commenter les questions sociales et morales, mais ont trouvé difficile de le faire directement; les tropes et les imageries de l'espèce animale ont permis à Moore de produire des allégories modernistes, et ont soutenues Layton pour dépeindre l'animalerie humaine.

<p> This written report addresses the narrative objects created in the completion of the Master of Fine Arts degree. These objects consist of utilitarian porcelain pottery in the form of stacked cups, coffee sets, and tea sets. Comical stories on the surface of the stacks borrow the format commonly seen on television shows and are about a protagonist named Face. The coffee and tea sets are covered with imagery representing amusing commercials for fictional products that exist in Face's world. This creative thesis is a synthesis of the utilitarian object, popular media, and my own sense of humor.</p>

<p> Women these days play many different roles. One could say that it is the sign of the time but despite the advances that our foremothers had made, the women of this decade are working harder than ever. In this collection of stories, the protagonist is one of these modern women, and she goes through many stages of her life. In her quest for a peaceful place in an often violent, unpredictable, and sadistic world, she faces many challenges; and she finds that love, sex, betrayal, fear, and desire are inevitably the basis for any friendship, whether platonic or romantic. Two of the stories, "The Neighbor-woman on the Balcony" and "The Love of Men and Women" are part of a cycle. The rest of the collection, are stand-alone pieces, but they are intrinsically connected by mature, ordinary love.</p>

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Secretary of War Jefferson Davis was a vigorous champion of reform, aiming to enlarge the army, to increase its capabilities, and to foster military professionalism. The Crimean War offered an opportunity to send a delegation of officers to Europe to study military establishments there and to observe the latest technological advances under the trial of combat. During 1855 and 1856, Major Richard Delafield, Major Alfred Mordecai, and Captain George B. McClellan spent a year traveling through Europe, inspecting military schools and facilities of the great powers, and touring the battlefields and camps of the Crimean War. The commission's experiences in the war zone, along with their other observations in Europe, enabled them to compile encyclopedic reports that had immediate effect during the Civil War. Moreover, the reports transformed American military expertise and greatly enhanced the corporate identity of the army officer corps as a professional body.

Almost every attempt to distinguish literature from history begins in empiricism and ends in ethics. Much depends upon this long-standing distinction and much may potentially be lost if it is compromised or collapses. But as a discipline, historiography today must confront the problem that, as in all polarities and oppositions, historical and fictional discourses adhere to one another in a symbiotic manner that makes the existence and meaning of one impossible without the other. In order to legitimate its claims to truthfulness, history has had to repress a fundamental truth about itself: any attempt to represent the past is actually a literary re-creation that is as much the result of the projection or transference of desire as of objective description and analysis. At stake in the history/fiction contrast is not just a pedagogical separation of truth from falsehood, but rather the more fundamental question of social relationships and the ability of human beings to transcend the so-called state of nature. Although Nietzsche noted with approval that the animal lives unhistorically, just such a prospect often underlies those arguments seeking to protect history from fiction. Modern conceptions of the differences between nature and human society, and of history and fiction as well, can be traced back to the Enlightenment and its attempt to universalize the idea of reason as the standard by which to measure historical progression. But the Enlightenment's success at this project proved to be (in the eyes of many) its great failure. From the eighteenth century through to the modernist movement and beyond to postmodernism, we can trace a series of dissensions, not against the idea reason and history per se, but against an idea that promises emancipation through a process of domination, constraint and control of both the natural world and human nature. Within such a process, the "historical" continually places itself in opposition to the "natural," with historical narrative acting as the main line of defense against the expression of individual desire which fiction makes possible.