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This paper examines the way in which two contemporary Canadian women writers, Anne Carson and Gail Scott, integrate subjective theory into two of their respective texts (Carson's Men In the Off Hours, and Scott's Main Brides). This study rejects the presentation of a single protagonist and instead focuses heavy emphasis upon the presentation of subjective experiments. In this paper the subjects in Men In the Off Hours and Main Brides are examined through the desires they exhibit for the absent other---that which the subject perceives he/she does not have---as central to his/her own conception of him/her self. The paper first acknowledges that subjective theory, the quest for the self, has maintained a central position in scholarly studies. It then proceeds to disseminate and critique Lacanian subjective theory thereby setting the stage for close readings of Carson's Men In the Off Hours through theorist Julia Kristeva's notion of abjection, and of Scott's Main Brides through Jacques Derrida's theory of the borderline. The paper closes by questioning the possibility of a fully realized subject.

The thesis analyses the expedition (TAE) led by Dr.Vivian Fuchs and Sir Edmund Hillary from three vantage points: 1)the years from 1948 to 1955 leading up to the expedition 2) the interaction between the IGY and the TAE projects and 3) the role of the US Navy as the expedition unfolded. The thesis also investigates key events including the purchase of the ship Endeavour from Britain, the competition for leadership of the UK and NZ parties, the 'dash to the Pole' by Hillary, and the search for base sites and routes to the Polar Plateau. The thesis contains an overview historical introduction, a comprehensive literature review as well as a broad-based set of conclusions.

The William G. Scott House in Richmond, Indiana was built c. 1885 for William G. Scott and his wife, Clara A. Robie McCoy. Mr. Scott, who was a successful executive at the prosperous steam engine manufacturing company Gaar, Scott & Co., was hailed as having one of the most prominent and beautiful homes within the city. The Scott family occupied the house until Mr. Scott's death in 1897, and the property was passed down to several Scott family descendants. In 1921, Richmond's local chapter of the Knights of Columbus purchased the Scott House and converted the building into their clubhouse. The Knights of Columbus continue to own and occupy the property today.The Knights of Columbus made several significant changes to house over the past eighty-two years, including installing a ceramic tile floor on the first floor, creating a Lodge Room on the third floor, remodeling the basement and the kitchen, and building a modern 5,000 sq. ft. meeting hall on the west side of the house. After the new meeting hall was constructed, the Knights of Columbus utilized the new addition most often, rather than the old clubhouse, and the historic Scott House was left vacant and allowed to slip into disrepair.Today, the Knights of Columbus use the Scott House to host "Tea Room Luncheons" featuring traditional Victorian menu items and local entertainment to revitalize public interest in historic architecture and generate funds for the future rehabilitation of the Scott House. The organization is also exploring future uses for the property and identifying additional fundraising opportunities, in hopes of rehabilitating the Scott House and restoring the property to its original elegance and grandeur.The Planning Study for the Scott House contains a history of the property, illustrations, elevation and floor plan drawings, building condition assessments, recommended treatment methods, and suggested maintenance practices. For further reference, the author's building assessment forms and annotated assessment drawings, and the Secretary of the Interior Standards for the Treatment of Historic Properties are included as appendices.This project was primarily an academic exercise and intended to help the author learn the process of evaluating the condition of a building, proposing treatment methods and maintenance practices, and writing a preservation planning study. In addition, the report is intended to serve as an outline and reference guide for Knights of Columbus to help direct the organization with the future rehabilitation, preservation, and maintenance of the William G. Scott House. / Department of Architecture

There is no abstract available for this thesis.

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

Based on the author's thesis (Ph. D.)--State University of New York at Binghamton, 2000. / Title from opening screen (viewed May 1, 2008). Available in: Gutenberg-e (Columbia University Press). "Gutenberg-e is a series of award-winning digital monographs in history, selected by the American Historical Association and published by Columbia University Press." Includes bibliographical references.

Thesis (PhD.) --University of Adelaide, Dept. of English, 2005. / Includes bibliographical references. Also available in a print form.