This thesis is missing page 129, no other copy of the thesis has this page. Based on the figure list and last page, it is our belief that the thesis was incorrectly number and should end on Figure 17. -Digitization Centre / Many medical researchers in the post-WWII era explored LSD for its potential therapeutic value. Among these psychiatrists Humphry Osmond (in Weyburn) and Abram Hoffer (in Saskatoon) directed some of the most comprehensive trials in the Western world. These Saskatchewan-based medical researchers were first drawn to LSD because of its ability to produce a "model psychosis." Their experiments with the drug that Osmond was to famously describe as a "psychedelic"-led them to hypothesise, and promote, the biochemical constitution of Schizophrenia. Simulating psychotic symptoms through auto-experimentation, professionals also believed that the drug would help reform mental health accommodations by cultivating a sophisticated appreciation for the relationship between environment and health. This thesis examines the era of pre-criminal LSD experimentation. Drawing on hospital records, interviews with former research subjects, and the private papers of Hoffer and Osmond this dissertation will demonstrate that these LSD trials, far from fringe medical research, represented a fruitful and indeed encouraging branch of psychiatric research. Clinical LSD experiments in the 1950s played an influential role in defining theoretical and practical aims of the post-war psychiatric profession. Ultimately the experiments failed for two reasons, one scientific and the other cultural. The scientific parameters of clinical trials in medicine shifted in the 1950s and early 1960s so as to necessitate controlled trials (which the Saskatchewan researchers had failed to construct). Second, as LSD became increasingly associated with student riots, anti-war demonstrations and the counter culture, governments intervened to criminalise the drug, in effect terminating formal medical research with LSD. An historical examination of these LSD experiments provides insight into the changing complexion of psychiatry in the post-World War Two period, and the ways in which scientific medicine was shaped by social, cultural and political currents. / Dissertation / Doctor of Philosophy (PhD)

Most primitive mythologies recognize that suffering can provide an opportunity for growth, but Western man has developed a mythology in which suffering is considered evil. He conceives of some power in the universe which will oppose evil and abolish it for him; God, and more recently science an, technology, were the hoped-for saviors that would rescue him. Both have been disappointing as saviors, and Western culture seems paralyzed by its confrontation with a future which seems death-filled. The primitive conception of death as that through which one passes in initiatory suffering has been unavailable because the mythologies in which it was framed are outdated. However, some post-World-War-II novels are reflecting a new mythology which recognizes the threat of death as the terrifying face the universe shows during initiation. A few of these novels tap deep psychological sources from which mythical images traditionally come and reflect the necessity of the passage through the hell of initiation without hope of a savior. One of the best of these is Wright Morris's The Field of Vision, in which the Scanlon story is a central statement of the mythological ground ahead. This gripping tale uses the pioneer journey west to tell of the mysterious passage the unconscious can make through the ccntempoorary desert to win the bride of life. It serves as an illuminator and normative guide for evaluating how other novels avoid or confront the initiatory hell. By the Scanlon standard, some contemporary mythology is escapist. Robert Heinlein's Stranger in a Strange Land and Kurt Vonnegut, Jr.'s Cat's Cradle express the youthful desire to arrive almost automatically at a new age, either with help from a new Christ or through practicing a simplistic morality. Other novels tell of the agony of modern Grail questers who sense that a viable myth is possible, but cannot completely envision it nor accomplish the passage through the void to gain it. The hindrances in each case are powerful forces which exert control over society. These forces are scientific objectivity and racism in Ralph Ellison's Invisible Man, and an unbeatable Combine which forces people to be rabbits and like it in Ken Kesey's One Flew Over the Cuckoo's Nest. Thomas Pynchon's The Cring of Lot 49 makes clear thet the confining forces are sustained because the secret of life has been lost, and man needs protection from the void which he cannot face without the secret. Saul Bellow deals directly with mythologies in Mr. Sammler's Planet. On the one hand is the popular view which ignores what every man knows is right and asserts instead that whatever one wants, he should have. This view replaces the archetypal sustaining images with a myth of continuous progress which, now that progress has faltered, makes living seem overwhelmingly hopeless. However, Sammler believes that meaning is established in life even as it collapses. The good man is part of an elite which is unusually intelligent and discerning, able to develop the will to carry out the contract with life and to enjoy the mystic potency in living. The novels in this study indicate a trend toward a reformulation of the basic mythological structures of Western man. Possibly the belief is weakening that something from somewhere will save him from his given situation, and a mythology is emerging which tells of significant life in the common, discovered through an awareness of the archetypal consciousness.

The French Quarter of New Orleans and its famous Bourbon Street receive millions of visitors each year and are the subjects of both scholarly study and the popular imagination. Bourbon Street’s history of striptease has largely been untouched by scholars. In the post-World War II period, nightclubs featuring striptease entertainment drew the attention of reform-minded city and police officials, who attempted to purge striptease from the city’s historic district in an effort to whitewash the city’s main tourist area and appeal to potential outside economic industrial opportunities. Through news articles, correspondence, tourism brochures, and published reports, this thesis explores how striptease endured on Bourbon Street despite various reform campaigns against it and shows that striptease was an integral part of the New Orleans tourist economy in the postwar period.

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<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)

This thesis concerns the novelist John Fowles and analyses his seven novels in the order in which they were written. The study reveals an emergent artistic trajectory, which has been variously categorized by literary critics as postmodern. However, I suggest that Fowles's work is more complex and significant than such a reductive and simplistic label would suggest. Specifically, this study argues that Fowles's work contributes to the reinvigoration of the novel form by a radical extension of the modernist project of the literary avant-garde, interrogating various conventions associated with both literary realism and the realism of the literary modernists while still managing to evade a subjective realism. Of particular interest to the study is Fowles's treatment of his female characters, which evolves over time, indicative of an emergent quasi-feminism. This study counters the claims of many contemporary literary critics that Fowles's work cannot be reconciled with any feminist ideology. Specifically, I highlight the increasing centrality of Fowles's female characters in his novels, accompanied by a growing focus on the mysterious and the uncanny. Fowles's work increasingly associates mystery with creativity, femininity, and the mythic, suggests that mystery is essential for growth and change, both in society and in the novel form itself, and implies that women, rather than men, are naturally predisposed to embrace it. Fowles's novels reflect a worldview that challenges an over-reliance on the empirical and rational to the exclusion of the mysterious and the intuitive. I suggest that Fowles's novels evince an increasingly mythopoeic realism, constantly testing the limits of what can be apprehended and articulated in language, striving towards a realism that is universal and transcendent.

\"A Modernidade em Hans Broos\" é um estudo que parte da obra alemã e brasileira do arquiteto Hans Broos (1921), compreendida entre fins da década de 1940 e os anos 1970. O cenário alemão pós-guerra torna-se contexto chave, onde o arquiteto reúne densa formação teórica e prática, e experiências que conformarão o cerne de seu fazer arquitetônico. À formação ampla e diversificada junta-se o desejo de contextualizar suas propostas no ambiente brasileiro, quando aqui chega no início da década de 1950. Este encontro inicial com a arquitetura da Escola Carioca resultará especialmente fértil, maduro e complexo quando o arquiteto assimila os pressupostos gerais do Brutalismo Paulista, que se mesclam às referências que o mantém atrelado à experiência alemã. O objetivo da tese é demonstrar o quanto sua arquitetura brutalista mantém-se afinada aos pressupostos de sua formação, seja pela via teórica e indireta, seja pelo exemplo direto do trabalho do mestre Egon Eiermann. A partir de referências múltiplas, também sua obra ajudará a compor o cenário multifário do Brutalismo Paulista nos anos 1960 e 1970. / \"Modernity in Hans Broos\" is a study developed from the analysis of the german and brazilian works by architect Hans Broos, between the late 1940s and the 1970s. The postwar german situation is the key context, in which the architect gathers a dense theorical and practical background, and experiences that will form the core of his architectural practice. To this broad and diverse background, he adds the desire of contextualizing his work to the brazilian environment, when arriving here in the early 1950s. This primary encounter with the brazilian architecture of the Carioca School will prove specially fertile, mature and complex when the architect assimilates the main concepts of the Paulista Brutalism, which are bound to the references he attains to his german experience. The focus of the thesis is to show in what dimension his brutalist architecture is aligned to his background\'s concepts, wether by the theoric and indirect way, or by the direct example of the works of master Egon Eiermann. From multiple references, Hans Broos\'s work will also cope with the multifaceted scenario of 1960s and 1970s Paulista Brutalism. Keywords: Hans Broos, Post-World-War-II german architecture, Paulista Brutalism

In Be Good, Sweet Maid: The Trials of Dorothy Joudrie (1999), Audrey Andrews recounts the life and trial of Dorothy Joudrie, a so-called wealthy socialite who was arrested in Calgary in 1995 for attempting to murder her estranged husband after decades of domestic abuse. Andrews tells Joudrie’s story in the form of a semi-auto/biographical text that quotes other scholarly and creative literary works in an intertextual dialogue about violence against women, post-World War II gender socialization, and the “battered women syndrome” defence. This thesis takes this highly referential dialogue as its starting point, and then extends Andrews’ cultural work by tracing a genealogy of colonialism in Canadian domestic violence laws with the help of selected intertexts – including Yvonne Johnson’s Stolen Life: Journey of a Cree Woman (1998), the trial of Angelique Lavallee, and Lorena Bobbitt’s infamous case. First, I source the epigraphs that Andrews strategically places at the start of each chapter and discern the layer of meaning that these external texts bring to Joudrie’s story in order to raise questions about how Andrews rearticulates the work of others and the politics of such a rearticulation. Second, I similarly frame Joudrie’s 1995 trial as a referential and intertextual discourse based in precedent established by the Supreme Court in 1990 when it ruled that expert testimony on the “battered woman syndrome” was admissible in the R. v. Lavallee case (Shaffer 1). This allows me to consider a consequence of the ruling often overlooked in feminist literature: due to the fact that the original defendant, Angelique Lavallee, was a Métis woman whose identity was erased in the courtroom and in case law, subsequent trials employing the “battered woman syndrome” defence repeat settler relations entrenched in colonial violence. Third, I expose how representations can fail by thinking through what Stephen Couser calls the auto/bio/ethics of life writing, which reveals the limits of Canadian laws and literatures. Ultimately, this discussion generates questions about who is considered human under the law and how life writing might re-imagine the “reasonable” human in more just and compassionate ways. / Thesis (Master, Gender Studies) -- Queen's University, 2012-07-28 10:28:24.988

Göranzon, Ingrid: From concept to reality - Uppsala Municipal School of Music. Master thesis, 30 credits. Uppsala: Department of Musicology. 2013. This thesis aims to explain how and why the municipal school of music (kommunala musikskolan) in Uppsala was formed. Municipal schools of music are a Swedish phenomenon that was formed all over Sweden after the Second World War. Each school is individual since they are entirely controlled at a municipal level. Although several factors have been identified as reasons for the creation of municipal schools of music, research in the area is limited. The material forming the basis of the survey is municipal documents from Uppsala city archives. The method that has been chosen to analyze the material is critical ideology analysis. This means that the content of the documents is analyzed in relation to its context, to clarify both the manifest and latent ideologies. The study shows that the formation of a municipal school of music in Uppsala was part of a larger movement, both nationally and locally. Sweden went through great changes during the period after the Second World War, politically, socially and culturally. The development of municipal schools of music was influenced mainly by the ideas about education and culture. The guiding idea was that all citizens should have equal access and opportunity. Technological advances such as radio and gramophone had made high culture more accessible, but it also contributed to the spread of what was considered inferior culture. Studies of the time showed that the solution was to give people the knowledge needed to make the right choice. The municipal school of music in Uppsala was created with the aim of forming a culturally educated public. Key words: municipal school of music (kommunal musikskola), Uppsala, public education (folkbildning), cultural politics (kulturpolitik), critical ideology analysis, post World War II / <p>ISBN UU-MSU-SER-60-E</p>

\"A Modernidade em Hans Broos\" é um estudo que parte da obra alemã e brasileira do arquiteto Hans Broos (1921), compreendida entre fins da década de 1940 e os anos 1970. O cenário alemão pós-guerra torna-se contexto chave, onde o arquiteto reúne densa formação teórica e prática, e experiências que conformarão o cerne de seu fazer arquitetônico. À formação ampla e diversificada junta-se o desejo de contextualizar suas propostas no ambiente brasileiro, quando aqui chega no início da década de 1950. Este encontro inicial com a arquitetura da Escola Carioca resultará especialmente fértil, maduro e complexo quando o arquiteto assimila os pressupostos gerais do Brutalismo Paulista, que se mesclam às referências que o mantém atrelado à experiência alemã. O objetivo da tese é demonstrar o quanto sua arquitetura brutalista mantém-se afinada aos pressupostos de sua formação, seja pela via teórica e indireta, seja pelo exemplo direto do trabalho do mestre Egon Eiermann. A partir de referências múltiplas, também sua obra ajudará a compor o cenário multifário do Brutalismo Paulista nos anos 1960 e 1970. / \"Modernity in Hans Broos\" is a study developed from the analysis of the german and brazilian works by architect Hans Broos, between the late 1940s and the 1970s. The postwar german situation is the key context, in which the architect gathers a dense theorical and practical background, and experiences that will form the core of his architectural practice. To this broad and diverse background, he adds the desire of contextualizing his work to the brazilian environment, when arriving here in the early 1950s. This primary encounter with the brazilian architecture of the Carioca School will prove specially fertile, mature and complex when the architect assimilates the main concepts of the Paulista Brutalism, which are bound to the references he attains to his german experience. The focus of the thesis is to show in what dimension his brutalist architecture is aligned to his background\'s concepts, wether by the theoric and indirect way, or by the direct example of the works of master Egon Eiermann. From multiple references, Hans Broos\'s work will also cope with the multifaceted scenario of 1960s and 1970s Paulista Brutalism. Keywords: Hans Broos, Post-World-War-II german architecture, Paulista Brutalism