Edward Albee's late-career plays contain realistic characters who struggle to create identities for themselves in an America still clinging to misbegotten cultural ideals of the 1950s (e.g. power, money, the "perfect" family). This thesis seeks to give these relatively unexamined later plays the attention they deserve. Therein, Albee's conception of the American Dream is defined through an analysis of essays on post-World War II American domestic social attitudes. The playwright's biography is also examined. I then discuss Albee's stylistic and thematic groundwork by way of criticism of several early plays (The Zoo Story, The American Dream, Who's Afraid of Virginia Woolf?), followed by original textual analysis of three later plays (Three Tall Women, The Play About the Baby, The Goat, or Who is Sylvia?) in an attempt to uncover how Albee's comment on American cultural mythology has changed since the beginning of his career.

Between 1890 and 1927 hundreds of Nova Scotian children and adults were identified as either feeble-minded or mentally deficient through investigations conducted by physicians and philanthropists in the province. The earliest of these studies were not commissioned by the provincial government but instead reflected the middle-class internalization of the eugenic discourse. Reformers, drawn often from medical, religious, educational, and philanthropic vocations, sought with ever-increasing alacrity to respond to perceived social problems, such as poverty, prostitution, venereal disease, and alcoholism, with a scientific solution. The scientific solution that they embraced was eugenics. Eugenic ideology and programs rose to popularity in Europe and North America at the end of the nineteenth and beginning of the twentieth century. Driven by social anxiety and the medicalization of reproduction, eugenic theory expressed the concerns of the middle classes that those they deemed less fit on the basis of socio-economic class, education or heredity, were reproducing at a higher rate than the ‘desirable’ segments of the population. The application of eugenic theory was shaped by cultural assumptions about gender, class and race which resulted in the same principles finding different expression in different areas across the globe. This dissertation seeks to understand how local circumstances shaped the Nova Scotian understanding of eugenics and its application. It examines the manner in which Nova Scotian physicians and philanthropists, with strong ties to both New England and Britain, participated in the transnational eugenic discourse through both professional and popular publications and organizations. Overall it argues that the expression of eugenics in Nova Scotia culminated in legislation that enforced the inspection, segregation and institutionalization of individuals who were assessed as feeble-minded. In doing so it also calls attention to the need to recognize outcomes other than sexual sterilization as legitimate expressions of eugenic policy. Subsequently the influential role played by regional circumstances in shaping what was considered an acceptable eugenic outcome as well as how eugenic policy was sought and implemented is examined. In investigating what reformers understood to be eugenic, and conversely what they considered dysgenic, a complex discourse surrounding the health of populations and reliant on ideas of gender, race, and class is revealed.

This thesis examines the growth of organized opposition to abortion in the United States, and charts the fortunes of the right-to-life movement at a national level during the 1970s and 1980. Anti-abortionists emerged as a social movement in response to changes in the law, and after the Supreme Court’s Roe v. Wade decision they struggled to present themselves as a coherent lobby group. The 1970s were thus a time of fluidity and experimentation, as right-to-lifers contemplated different approaches and argued over how best to end legalized abortion. Activists engaged in legislative efforts, political lobbying, and education initiatives, all the while teasing out what exactly it meant to be opposed to abortion. The movement at this time rejected the ideas of absolutists and instead aimed to be as broadly representative of American society as possible. Rather than clearly aligning themselves with the Left or the Right side of politics, the movement pursued a politics of moderation. / This status quo was challenged, however, by the resurgence of conservatism in the late 1970s. As the social conservatives of the so-called “New Right” began to intervene in the abortion debate, right-to-lifers found themselves having to respond to a worldview that spoke only in terms of absolutes. After Ronald Reagan was elected to the Presidency in 1980, anti-abortionists needed to negotiate a political landscape in which they ostensibly had access to power and yet were repeatedly disappointed by the action (or inaction) that came from the White House. This thesis contends that in the 1980s, the relationship between right-to-lifers, the “New Right,” and the Reagan administration was often marked by disappointment and compromise. As the decade drew on, right-to-life leaders increasingly tempered the types of demands they made of the White House and of Republicans in general, and this climate eventually meant that the kinds of activists that rose to prominence within the movement were conservative and the ideas they espoused absolutist.

abstract: Self-awareness and liberation often start with an analysis of the relationship between individual and society, a relationship based on the delicate balance of personal desire and responsibility to others. While societal structures, such as family, tradition, religion, and community, may be repressive to individuals, they also provide direction, identity and meaning to an individual's life. In Kate Chopin's The Awakening and André Gide's L'Immoraliste the protagonists are faced with such a dilemma. Often informed by gender roles and socio-economic class, the container or filter that society offers to shape and mediate human experience is portrayed in both novels as a fictitious self donned for society's benefit --can seem repressive or inadequate. Yet far from being one-dimensional stories of individuals who eschew the bonds of a restrictive society, both novels show that liberation can lead to entrapment. Once society's limits are transgressed, the characters face the infinitude and insatiety of their liberated desires and the danger of self-absorption. Chopin and Gide explore these issues of desire, body, and social authority in order to portray Edna's and Michel's search for an authentic self. The characters' search for authenticity allows for the loosening of restriction and embrace of desire and the body, phenomena that appear to liberate them from the dominant bourgeois society. Yet, for both Edna and Michel, an embrace of the body and individual desire threatens to unsettle the balance between individual and society. As Edna and Michel break away from society's prescribed path, both struggle to find themselves. Edna and Michel become aware of themselves in a variety of different ways: speaking and interacting with others, observing the social mores of those around them and engaging in creative activity, such as, for Edna, painting and planning a dinner party, or for Michel, teaching and writing. Chopin's 1899 novel The Awakening and André Gide's 1902 novel L'Immoraliste explore the consequences of individual liberation from the constricting bonds of religion, society, and the family. In depicting these conflicts, the authors examine the relationship between individual and society, freedom and restraint, and what an individual's relationship to his or her community should be. / Dissertation/Thesis / M.A. French 2011

abstract: ABSTRACT This dissertation examines the encounter of a large cadre of 103 Roman Catholic priests from Ireland and their Mexican parishioners. Scholars have not explored this rich historical juncture. This is the first study to do so. Primary and secondary sources, as well as numerous oral history interviews provide the evidence that supports the thesis that the Irish priests and the Mexican people shared something of a common consciousness, resulting from similar histories, worldviews, and cultural values. This counters the prevailing scholarly opinion which excoriates Euroamerican churchmen of that time for misunderstanding and neglecting their Hispanic flock. Standing apart in this respect, most priests from Ireland--unlike clergy from other backgrounds-- were sympathetic to folk traditions and experienced a synergy with Mexican people which enabled them to adapt and learn from Hispanic communities. Yet for all that Irish priests and Mexicans shared in common, these pastors failed to see or at least address the social, economic, and ecclesiastical discrimination which Mexicans daily experienced or challenge the systems which kept them subservient. Paradoxically, these clergy accepted Mexican people, but they also accepted the racist structures which marginalized them. This historical moment is unique for two reasons. In the mid-twentieth century Irish-born priests were ubiquitous and constituted the largest number of Catholic missionaries in the world. Today there are scarcely enough priests to supply the parishes of Ireland. Similarly, in the mid- twentieth century Mexicanos and Mexican Americans were almost without exception Catholic. Today this can no longer be taken for granted. These shifts presage the end of an era for the Church in Arizona. Nationally, they correspond to the denouement of long-standing U.S. Irish ecclesiastical establishment and herald the ascendancy of an Hispanic Catholic Church. In reconstructing this history salient themes emerge: ethnicity, religion (official/popular), power relations, prejudice/discrimination, and the discovery of common ground amid differences. This matrix gives rise to a complex crisscrossing of trajectories of Catholics and Protestants (in society), Irish and Mexican Catholics (in the church), priest and parishioners (in the parish). It holds lessons for the future. / Dissertation/Thesis / Doctoral Dissertation Religious Studies 2015

Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T06:20:25Z (GMT). No. of bitstreams: 1 Ishisaki_BrunoYukioMeireles_M.pdf: 14656333 bytes, checksum: 5d14831720fc90003a9646dc72dace4e (MD5) Previous issue date: 2014 / Resumo: Neste trabalho apresentamos a ideia da transmutação aplicada à composição musical. Técnicas oriundas da música eletroacústica como o morphing (tanto em âmbito melódico como timbrístico), interpolação, crossfading e a manipulação progressiva de elementos são estudados a partir de um olhar tecnomórfico e são utilizados de forma integrada como ferramentas composicionais para a realização de transmutações entre estruturas musicais. O primeiro capítulo trata da transmutação nas questões terminológica e conceitual. O segundo capítulo apresenta as técnicas citadas anteriormente com exemplos retirados do repertório do século XX. O terceiro capítulo versa sobre a aplicação composicional das técnicas expostas no capítulo anterior. No quarto capítulo obras compostas pelo autor são descritas para demonstrar o uso das ferramentas composicionais estudadas nesta dissertação / Abstract: In this work, we present the idea of transmutation applied to musical composition. Techniques originated from electroacoustic music like morphing (both melodic and timbral), interpolation, crossfading and progressive manipulation of elements are studied from a tecnomorphic point of view and are used together as compositional tools for performing transmutations between musical structures. The first chapter deals with the transmutation in the terminological and conceptual issues. The second chapter presents the techniques mentioned above with examples drawn from the repertoire of the twentieth century. The third chapter deals with the application of compositional techniques explained in the previous chapter. In the fourth chapter, works composed by the author are described in order to demonstrate the usage of the compositional tools studied in this dissertation / Mestrado / Processos Criativos / Mestre em Música

This thesis examines how mental hygiene principles were adopted for a student audience through the elementary-level health textbooks series, Health and Personal Development, used in Ontario schools from 1952 until 1963. In particular, I explore the didactic messages pertaining to mental hygiene as they related to girls. The results of this analysis demonstrate that healthy mental hygiene and personal development for girls, according to the textbooks, meant becoming wives, mothers, and homemakers, as their own mothers model. While these roles required many skills and responsibilities, and provided women with a certain amount of agency in the female-dominated sphere, girls were represented in the textbooks as having a limited set of options in life: to emulate their mothers’ feminine domesticity, or to risk a life marred by poor mental hygiene.

Throughout the period following Pearl Harbor, as one crisis in Japanese-American relations followed another, the American public opinion was divided. Some newspapers and personalities feared that there would be war over the San Francisco school board crisis, while others believed that talk of war was ridiculous. Partisan politics often affected the course of affairs on the Japanese question.

How do we understand our encounter with ambivalent or visceral aesthetic feelings—textual environments, moods, and atmospheres—if they do not solely belong to the representation of individual or collective emotions? This dissertation proposes a concept of “the feeling of form” to approach these aesthetic feelings as formal dynamics, such as restless orientations and rhythmic intensities. How can literary forms have feelings, and where—or is it necessary—to locate the textual body and the subject of these feelings? The goal of my dissertation is not to show what specific neurological procedures are involved in the emotive-cognitive entanglement between the text and the reader, but to understand “form” as a verb—forming, shaping, mediating, transmitting—whose dynamics and actions manifest the narrative form’s visceral aesthetic feelings, and to examine how such feelings bear significant cultural and political currency. Reading formal dynamics as aesthetic feelings also invites us to adjust our usual gaze at “form” away from categories coined by various formalisms, such as “genre,” “structure,” “focalization,” or “style.” In doing so, we are able to reimagine these categories as part of the dynamics of formal reorientations, rhythms, and syntactic intensities, and to open ourselves up to the impersonal agency and criticality of literary forms. Based on these convictions, my dissertation argues that reading for the feeling of form allows us to experience how literary forms transmit and regenerate volatile experiences of history in ways that complicate, supplement, or subvert the explicit representation of historical events and temporality in a literary text. In this dissertation, I focus on the relationship between the feeling of form and the experience of various histories in Ford Madox Ford’s Parade’s End (1924–1928), Lewis Grassic Gibbon’s A Scots Quair (1932–1934), Lawrence Durrell’s The Alexandria Quartet (1957–60), and Kazuo Ishiguro’s single-volume novel The Unconsoled (1995). Chapter One traces how nauseous form in Parade’s End allows us to experience wartime and postwar anxiety through Christopher Tietjens’s self-revolting and incoherent consciousness. Chapter Two examines how the deterioration of rhythm in A Scot’s Quair transmits a historical experience of gradual suffocation intricately linked with Scotland’s political and ecological disasters. In a brief Coda, I conclude my project by looking at how The Alexandria Quartet and The Unconsoled manifest weakened and depleted feelings of form, and how these feelings prompt us to rethink the relationship of the feeling of form to European heteronormative ideology and the ethics of community formation. The Unconsoled (1995), in particular, serves as a twofold limit case of the feeling of form: first, as a limit case of the futile feeling of form, and second, as a limit case of the distinction between the novel form and the novel series form. This twofold limit case speaks to its own historical experience of futility at the end of history, and responds to the aesthetic and ideological legacies of early twentieth-century experimental novel series. / Graduate / 2021-05-12

This dissertation considers how twentieth century British lyric poets, in continuing the traditional relationship between religion and poetry, respond to changing expectations and assumptions about poetry’s role and power—changes directly related to ongoing social processes of secularization. By combining recent critical insights from secularization theory and lyric theory with close readings of poems, essays, and letters from British poets, this dissertation shows that due to social changes that cohere around World War I, poets like Wilfred Owen, Mary Borden, and David Jones confront an unsettling of traditional strategies of lyric enchantment. This unsettling both imperils the legitimacy of lyric poetics and opens new opportunities. Poets such as Ezra Pound, T.S. Eliot, and H.D. subsequently engage in strategies of deliberate re-enchantment to justify wide-ranging vocations, while the later Eliot, David Jones, and Elizabeth Jennings confront the limits of re-enchantment but still imagine the poetic vocation as connected to religion. In every case, this dissertation shows that lyric re-enchantment (as a distillation of the aesthetic itself) is fundamentally ambiguous; it is necessarily secular and immanent, yet it continues to imply a transcendence that can easily be put to religious or even supernatural ends. The lyric is thus a genre that uniquely registers the opportunities and challenges for the aesthetic in a secular age.