This thesis examines the place of the Virgin Mary in the intellectual culture of Benedictine and Cistercian monasticism in medieval England, between c. 1050 and c. 1200. Drawing high profile thinkers, including Anselm of Canterbury (d. 1109), into dialogue with lesser known figures, it reveals the richness of monastic contributions to Marian doctrine and devotion, in many cases for the first time. The shape of the analysis is provided by five key 'moments' from Mary's life, unfolded consecutively across six chapters. Chapters 1 and 2, on Mary's conception, reveal a confident and pioneering monastic culture which drove the evolution of an obscure Anglo-Saxon feast into a theological doctrine, despite fierce opposition at home and abroad. Chapter 3 explains how Mary's virginity was adopted as a blueprint for the monastic life by Ælred of Rievaulx (d. 1167) and Baldwin of Forde (d. 1190), both of whom were inspired by its fruitfulness in the Incarnation of Christ. Chapter 4 brings to light the contributions made to exegesis of the Song of Songs as a poem about Mary's humility by the mysterious Honorius Augustodunensis (d. 1140) and John of Forde (d. 1214). Chapter 5, on the divine maternity, demonstrates how English monastic theologians gave new life to understanding of Mary as Theotokos ('God-bearer') by drawing out its significance for their own spiritual maternity as leaders of religious communities. Chapter 6 shows how Mary was believed to have entered into the pain of the Crucifixion through her own spiritual martyrdom, and how monks sought to share the experience with her by a communion of charity. These and other insights offer a compelling glimpse into the culture of English monasticism between the demise of the Anglo-Saxons and the advent of the friars. Inspired by a desire to understand and ultimately to know Mary, Benedictine and Cistercian monks produced theological and spiritual works which were imaginative, often intimate and occasionally pioneering. Most of all, they were profoundly pastoral, composed in the belief that Mary could inspire and support those who had embarked upon the monastic via perfectionis.

Från röstblock till erkänd grupp - en diskursanalytisk studie av Dagens Nyheters och Svenska Dagbladets förmedling av de svarta amerikanernas emancipering mellan 1956 och 1972

The English-language translations of Jorge Luis Borges’s Spanish-language works undertaken by the author and Norman Di Giovanni went above and beyond what is generally perceived as acceptable in traditional Western practices. Their work, together with Borges’s thoughts on translation itself, garnered criticism from within Western Translation Studies for its rejection of the status of the original text and the blurring of the distinction between author and translator. Yet the pair’s actions and Borges’s views on translation cease to appear scandalous under the light of Buddhist philosophy, particularly through the use of the Buddhist principles that all phenomena are impermanent and interdependent. This thesis will seek to use these ideas to legitimize the actions of Borges and Di Giovanni. To do so, it will trace the history of opposing and convergent theories from Western philosophy and describe our Buddhist concepts in detail. In order to better understand Borges, it will examine the array of philosophies that influenced the writer and how they both align themselves and differ from Buddhist ideas. This thesis will end by directly applying impermanence and interdependence to the translation practices of Borges and Di Giovanni and considering what potential effect legitimacy for such practices would have on translation overall.

In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Big Beaver at the Field Museum of Natural History in Chicago, Illinois. Over the winter of 1981-82 in Vancouver, British Columbia, Tait and five apprentices had carved the pole with images inspired by a story given to Tait by his maternal uncle, Rufus Watts, a man Tait calls grandfather. In the early spring of 1962, Watts had taught dances and songs to Tait, Tait's apprentices and other family members and the dancers created costumes and ceremonial paraphernalia for the pole raising ceremony in Chicago. In Chicago in April, members of the Northwest Coast artistic community and staff and patrons of the Field Museum participated in the contemporary Nishga cultural performance. This thesis is an ethnography of the events leading up to and including the pole raising ceremony. It is a case study of the revival of native Indian traditions, a revival that has been occurring on the Northwest Coast since the 1950's. The work addresses four questions. 1. How are native Indian visual and performance forms created from orally transmitted tradition? It describes how the contemporary native carver and his grandfather brought forward their traditions. It discusses the role of museums, anthropology, media, marketplace and other artists. 2. What is the nature of the communities generated by the artistic activity of a contemporary native carver? Included are descriptions of the Nishga and Northwest Coast artistic communities' participation in an expanded native Indian cultural project. 3. How does a museum contextualize a native Indian cultural performance and what meta-messages are communicated? The Field Museum refers back to the Native American participation in the 1893 World's Columbian Exposition in Chicago to contextualize their events in 1982. Were the messages that were overtly expressed in 1893 covertly communicated in 1982? 4. What changes occur in traditions that are brought forward in a contemporary cultural performance? There is a simplification of the traditional Nishga system of cultural messages and a shift in emphasis. There are also changes in the types of alliances for the production of the contemporary totem pole and an adaption of the traditional ritual system for the modern pole raising. The thesis concludes with some questions and discussion on how to assess contemporary native Indian cultural performance in non-traditional settings. / Arts, Faculty of / Anthropology, Department of / Graduate

On 4 April, 1957 Egerton Herbert Norman, Canada's Ambassador to Egypt, committed suicide in Cairo. Norman's death was a direct result of sustained American allegations that he was threat to western security. The controversy surrounding his suicide was rekindled in 1986 with the publication of two biographies of Norman. James Barros contends in No Sense of Evil that Norman should have been removed from his high position in Canada's Department of External Affairs because he constituted a security risk. Barros hypothesises about the possibility of a DEA cover-up of Norman's Marxist past (Norman had briefly been a member of the British Communist Party when he was a student at Cambridge) and indeed suggests that Minister of External Affairs, Lester B. Pearson might have been Moscow's ultimate 'mole' who, by defending Norman, was protecting his espionage ring. In Innocence is Not Enough, author Roger Bowen takes issue with such interpretations of Norman's life, scholarship and career. Although Norman had been a Communist, Bowen concludes that no evidence exists to suggest that he was disloyal to Canada. Norman was caught up in a maelstrom of anti-communist hysteria which caused him to be unjustifiably vilified and harassed by the agents of McCarthyism in an era of Cold War paranoia. Instead of choosing a side in the current debate, I have sought to widen it by approaching the story of Norman as a case study in Canadian foreign policy. An examination of Canadian internal security policies in the postwar era, Canada's relationship with the United States and Great Britain, and of Norman himself reveals that the issue at hand is far too complex to be amenable to easy analysis. This thesis was written with the achievement of a more objective analysis as its primary goal. / Arts, Faculty of / Political Science, Department of / Graduate

Denna studie handlar om de handledningsböcker som hade det ämnade syftet att användas som handledningsmaterial för lärare i sexualundervisning under 1943 fram till 1967. Studien har använt sig av Wintzells handledningsbok under 1943, men också skolöverstyrelsens handledningsböcker under 1945 och 1967 som sin analytiska referens. Syftet med studien är att analysera dessa handledningsböcker och sätta ord på det som avviker från den heterosexuella hegemonin. För att förstå hur handledningsböckernas formulering av den sexuella könsdriften samt samliv dels kan politisera, marginalisera och kriminalisera den avvikande och den abnorma kroppen, har studien därför använt sig av en queerteoretisk utgångspunkt. Detta för att kunna beskriva hur den heteronormativa hegemonin både producerar och reproducerar sexuella modaliteter i olika tid och rum i historien. Studien har även använt sig av en diskursanalys tolkat utifrån Norman Fairclough. Detta för att kunna sortera och begreppsligöra det som artikuleras i materialet som analyseras. Studien upptäckte bland annat att det finns olika sanningsanspråk som gör sig synliga genom hur handledningsböckerna artikulerats, nämligen: den biologiska och mediciniska diskursens modalitet, den borgliga diskursens modalitet, den juridiska diskursens modalitet och den psykologiska diskursens modalitet. Detta blev centralt för studien, bland annat för att kunna förstå hur språkets sociala process och hur den också var påtaglig för förändring. Slutligen kom studien fram till flera intressanta aspekter, dels hur kropp och psyke blir subjekt för politisering och marginalisering, dels hur preventivmedel tolereras inom den borgliga och heterosexuella diskursen om sexuellt samliv. Framför allt hur den borgliga idealen är i ständig kamp för att upprätthålla och vidmakthålla den sexuella diskursen.

This thesis is a study of the visual rhetoric of Lewis Hine, Dorothea Lange, and Norman Rockwell. The claim is Hine, Lange, and Rockwell’s artwork is propaganda because it is posed, contrived, and emotionally manipulative. The three artists used their propaganda art to bring awareness to the plight of exploited children, impoverished migrant workers, and racial segregation. The thesis concludes that Hine, Lange, and Rockwell were advocates for social reform, and their art instigated change for various enclaves of the American populace. The initial chapter reviews the theoretical components of propaganda, visual rhetoric, and advocacy, and explains how these overlap to create a framework to examine the photographs of Hine and Lange, and the paintings of Rockwell. Subsequent chapters delve into the individual lives, motives, and art of the artists, placing each artist in an historical context. Selected pieces of art that are exemplary of both propaganda and advocacy are chosen for close reading.

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American flat-picking guitarist, singer and songwriter Norman Blake holds legendary status among guitar players, bluegrass, and folk musicians. The aim of this research is to analyze the interaction of sense of place in Norman Blake’s songwriting. This research will explore the techniques Blake uses to create that acute sense of place. Elements of literary criticism, cultural geography, ethnomusicology, and sense of place studies, as well as historical background information on Northern Alabama and North Georgia will be employed to show how this particular region of Southeastern Appalachia has informed Blake’s songwriting. The research questions that I aim to answer are how a sense of place has influenced Norman Blake’s songwriting, how his writing has influenced other songwriters in the field of 20th century folk music, bluegrass, Americana, and country music, and what songwriting techniques Blake has employed to create an acute sense of place.

<p>Norman Mailer announced in Advertisements For Myself (1959) that he wished to revolutionize the consciousness of our time. With this as his goal he developed an aesthetics which views both life and art as a process of growth toward a full humanity and away from post-World War II American (and universal) tendencies to stifle human r,rowth through a technological totalitarianism.</p> <p>Mailer envisions the creation of life as a function of a divine power and the destruction of life as that of a satanic power who war with each other for possession of the universe. We do not know for whom we do battle, but our intuitions of good and evil are to be trusted.</p> <p>Growth for Mailer takes the form of a line of movement made by confronting and defeating opponents of a full humanity; he terms such engagements whose outcome is unknown and therefore dangerous to the self "existential". His life and his art make up a dramatic and progressive dialectic. There are three books which I believe contain Mailer's most effective expressions of his aesthetics and which have the greatest potential for revolutionizing the consciousness of our time. Each is the culmination of a phase in Mailer's growth which contains in itself the unified strands of that growth.</p> <p>The first phase includes the early success of The Naked and the Dead, the subsequent popular and critical failures of Barbary Shore and The Deer Park, the slou~hln[. off of old models, political and artistic, the creation of a radical creed in "The \'lhi te Negro" and a radical form in Advertisements For Myself. The latter is the culmination of this phase and is analyzed in detail. By the time of Advertisements Mailer has made himself the chief metaphor for his concept of erowth, thus synthesizing theme and method. The second phase enlarges the meaning of Mailer's existentialism, most particularly by his venturing deeply into the current political and social realm, and culminates in a new synthesis of growth in fictional theme and form in An American Dream (1965). The novel's protagonist, Stephen Rojack, defeated by a powerful satanic agent and by his own weakness, proves unequal to the task Mailer sets for the American hero: to unite the real- and the dream-life of the nation in himself and to lead a united nation to human wholeness which embraces all contradictions.</p> <p>The central occupation of the third phase of Mailer's work, therefore, is to develop himself--in the absence of other suitable candidates--into a representative American hero. His experimentation with various media for communication--drama, film, television, and others--ls a search for effective vehicles for his vision and is preparation for his assumption of the heroic role. Mailer's involvement with the central issues confronting the United States is rendered in a considerable experiment in novelistic form, Why Are We in Vietnam? The culmination of his efforts in this phase is the culmination of his work to date as well: The Armies of the Night (1968). Relating the experiences of a character called "Mailer", Mailer as narrator and novelist-historian not only creates himself as a representative comic American hero but invents a form which carries a total vision of the events of the 1967 March on the Pentagon, uniting traditional methods and aims of history, the novel, and journalism. With this boolc Mailer assumes the role of interpretor for our time, immersin~ himself in important contemnorary events in order to present us with his views of their meaning and significance.</p> <p>Mailer's three books following The Armies of the Night are discussed in a final chapter as similar to but lesser efforts than Armies.</p> <p>In this thesis Mailer's work is placed in two specific contexts which provide a basis for suggesting his significance: that of American literature, with emphasis upon his contribution to the literature of the American Dream and upon his indebtedness to Hemingway in particular and twentieth-century novelists in f,eneral; and that of contemporary thought which also seeks to influence the direction of future human life.</p> <p>Because his aesthetics of growth sees human progress as its art, Mailer's nonlitrerary roles are considered a vital part of his total work and consequently the critical standards applied in this thesis are Mailer's own: how well does each work register growth on Mailer's part and how potentially effective is the work in revolutionizing the consciousness of our time?</p> <p>Mailer scholarship is still in infancy. The contribution of this thesis to that scholarship lies in its approacth to Mailer's work as a progressive whole and its delineation of that progress; its critical approach whlch confronts Mailer on his own terms; its extensive treatment of works other than novels; the broad contexts which suggest the significance of Mailer's work; and the comprehensive bibliography, the most complete yet assembled on Mailer.</p> / Thesis / Doctor of Philosophy (PhD)