VictorJuiz/thesis huggingface dataset:
Roughing it in suburbia, reading Chatelaine magazine, 1950-1969
Keywords: Women
Press coverage
History
Femmes dans la presse
Histoire

Chatelaine came to dominate its market in the two decades after 1950: roughly 1 in 3 English-Canadian women read the magazine regularly by 1969. Chatelaine was an unique cultural product because it created a community of female readers, editors and writers within the framework of a mass-produced, cultural commodity. The Chatelaine community was united by gender, nationalism and the periodical but was often divided along class, racial, religious and regional lines. This 'community' provided many services and acted as an advisor, friend, entertainer, educator and forum for correspondence. As well Chatelaine played an important role as a disseminator of feminist ideology and women's issues in Canada. In short, Chatelaine was an atypical mass-market women's magazine. This dissertation marries current cultural analysis with social, gender and cultural history to provide a detailed examination of the magazine's content, impact, and relationship with Canadian women. Unlike other studies of women's magazines this work examines the history of the era, the corporate climate, the competitors, the creators, the readership demographics and the text to produce a comprehensive study. A summary and critique of the international historiographical and theoretical literature foregrounds the work. The textual analysis provides a detailed examination of all the magazine's components: editorials, articles, fiction, departmental features (food, fashion, etc.), cover art and advertising. These sections explore the polysemic (or multiple) meanings and readings of the material. Readers' letters form a core part of the study. Thus the voices and thoughts of "real" readers are given priority placement in the analysis of the magazine's content. This correspondence reveals how and why people read Chatelaine. "Roughing it in Suburbia" makes a key contribution to the study of Canadian popular culture, the study of women's cultural products, and the history of second wave feminism in Canada. Equally important it illustrates how consumers of such material activity make meaning, re-fashion, ignore or criticize culture products. Chatelaine's readers were not passive pawns of Maclean Hunter's plans for a profitable cultural commodity but instead, along with the primarily female staff who edited the magazine, were active participants in a Canadian women's cultural community.
St. Dymphna, a chamber opera in two acts
Keywords: Operas
Scores
Opéras
Partitions

This is a chamber opera in two acts for five singer/actors, five instrumentalists, and electro-acoustic segments pre-recorded on a compact disc. The duration of the work is 140 minutes. St. Dymphna (ca. 7th century) is the patron saint of the insane and excessively nervous. Accounts of her life and martyrdom, along with the miracles and healings from mental illness attributed to her were first documented in the 11th century in the Belgian town of Gheel, the site of her martyrdom, and the centre of her cult, which became very popular in the late middle ages. A list of the source materials is included here. The narrative of this opera works on two levels. In act I, the story of St. Dymphna is told along conventional lines, beginning with her childhood, moving through the death of her mother, her father's attempt to seduce and marry her, and her flight with the Jester and Gerebern from her father's Irish kingdom. This linear narrative is interspersed with vignettes of madness and medical doctors. The musical characterizations are less conventional, relying more on cues. In act II the linear and non-linear narrative lines converge. The insane characters from act I begin interacting with the characters of the Dymphna story. The doctors' interventions are broader in scope, and more ruthless in nature, particularly as the King's insanity grows. In the final scene St. Dymphna subdues the doctor while her secure and affirming music draws the fragmented sounds of the mentally ill characters towards it, creating a kind of wounded unity out of disparate material.
Music cognition as musical culture, a philosophical investigation of cognitivist theory of music
Keywords: Music
Psychological aspects
Cognition
Music
Philosophy and aesthetics
Musique
Aspect psychologique
Cognition
Musique
Philosophie et esthétique

In the field of cognitivist theory of music, the major philosophical thesis that has emerged is that music cognition is caused by a dedicated information processing system which manipulates musical symbolic codes. These codes are said to be neurally encoded, musically evaluable representations of an external musical reality that mediate cognitively between a knowing subject and a world of known musical objects. Cognitivist theory of music is premised on the formalist philosophical view that music consists of a set of aesthetic objects to be comprehended solely in terms of the audition and subsequent cognition of its tonal, rhythmic and structural properties. This thesis is a philosophical investigation and critique of cognitivist theory of music and its correlative theory of mental representation as cognitive mediators. Using Wilfrid Sellars' framework of the manifest and scientific images of "man" in the world, salient features of the aesthetic point of view are analyzed in order to bring out the irresolvable difficulties that have been inherited in cognitivist theory of music due to an adherence to a representationalist theory of the nature of mind. I argue that the difficulties inherent in the cognitivist "scientific-image" theory of music are compounded by an outmoded conception of science (and of causality in particular) which leads to a rejection of the person for a theory of the musical mind. I claim that cognitivist theory of music cannot ignore the priority of the manifest image of music as a continuing context for scientific theorizing. As a positive alternative to the representationalist notion of the cognitive mediator, I advance the beginnings of a theory which regards the musical mind as involving a direct, dynamic, cognitive interaction between persons as subjects and the familiar, "manifest-image" world of musical culture. This kind of interaction is an interpretive one which is conditioned by a socio-cultural set of concepts and practices, including those of scientific theorizing. It is within this context that a theory of the musical mind relevant to music education research must be set.
Rupturing the skin of memory, bearing witness to the 1989 massacre of women in Montreal
Keywords: Montréal École Polytechnique Women Students Massacre, Montréal, Quebec, 1989
Women
Crimes against
Sex discrimination against women
Femmes, Crimes contre les
Discrimination à l'égard des femmes

This thesis has been written through the aftershock of the 1989 murder of fourteen women at Ecole Polytechnique in Montreal, Quebec, an event known commonly as the "Montreal Massacre". Taking a feminist position that this was not the act of a "madman", I argue for careful consideration of how to remember this event and in what relation to other acts of violence against women. I propose the massacre may be understood as an event of "historical trauma": both because it broke the frame of what was normal and expected for women attending university in Canada, and because it surfaced a sense of the horror that is already known and unbearable in the lives of those subject to more everyday assaults and violations. By way of explicating the nuances of this argument, the thesis is developed along three intersecting dimensions. First, I work with my own memories of violation--a history of incest that I began to remember through the event of the massacre. Second, I draw from post-Shoah (Holocaust) theorizings to introduce a language of witnessing and to contemplate the impacts of trauma, not only on individual "survivors", but also for social integrity. Third, I perform the writing as itself a site of bearing of witness, marked by the disturbances of rupture, incomprehensibility and visceral impact. Substantively, the thesis develops through a series of engagements with feminist memorial responses to the Massacre of Women, including art, song, installation, memorial vigils, and monument--drawn from my annotated bibliography of English-language feminist response (1990-1995). Each of the selected works is approached through two central questions: Which calls to witness are inscribed in memorial responses to the massacre? What are the implications of bearing witness to these responses, when one comes to witnessing already traumatized? The close analysis of responses is organized in part through an interest in attending to and conceptualizing the pedagogical effectiveness of memorial practices. The work will be of interest to those working on philosophies of witnessing; relations between history, traumatic memory, and pedagogy; autobiographical theorizing: and, cultural practices in response to violences against women.
A fatherly eye, two Indian agents on Georgian Bay, 1918-1939
Keywords: Indians of North America
Government relations
Indian agents
Biography
Indians of North America
History
Indiens d'Amérique
Relations avec l'État
Agents des Affaires indiennes
Biographies
Indiens d'Amérique
Histoire

This thesis examines the implementation of federal Indian policy on the local level and the control exercised by officials of the Indian Department over Native individuals and communities. It does so by analyzing the activities and approaches of two Indian agents in the Georgian Bay area between 1918 and 1939: Robert J. Lewis of the Manitowaning agency on Manitoulin Island, and John M. Daly of the Parry Sound agency on the eastern shore of Georgian Bay. By comparing and contrasting the activities of these two men, the dissertation reveals the ways in which policies were applied and enforced. The overriding theme is the contest for power which dominated the interaction between Native people and field officials. Drawing on Michel Foucault's insights into power relations, the dissertation explores the strategic manoeuvring in which agents and their aboriginal clients engaged in order to exercise power. Many Native people challenged the authority of the agents, asserting their own vision of individual and community autonomy. They also addressed issues of treaty rights, aboriginal fishing and hunting rights, and control over band funds and resources. Field officials were often able to block aboriginal attempts to assert greater autonomy and to organize politically against the Department of Indian Affairs. On the other hand, the agents were limited in their capacity to act when they lacked the backing of headquarters. The dissertation also examines the role of Indian agents in providing assistance to their clients and mediating between reserve communities and the outside world. Agents sometimes acted as advocates of Native interests, both in interpersonal disputes and through efforts to ensure limited Native access to fish and game. In addition, Indian agents dispensed social services, largely in the form of financial assistance. The advocacy and assistance which the agents could provide were the object of power negotiations with Native people, in which the latter sought to derive benefit from the power of the field officials. At the same time, the authority of field officials was enhanced by their power to supply aid and intervene on their clients' behalf.
The development of a modern agricultural enterprise, beef cattle farming in Ontario, 1870-1924
Keywords: Cattle trade
History
Beef cattle
Bovins
Industrie
Histoire
Bovins de boucherie

Agriculture dominated Canadian life in late Victorian times, yet we know little about its dynamics. This dissertation describes one aspect of agriculture, beef cattle raising in Ontario, from a broad perspective in order to illustrate how farming enterprises functioned. The work does so by addressing three basic questions. What type of livestock did farmers think was suitable for the production of cattle commodities in relation to economic reality? What was that economic reality? And what shaped that economic reality? Chapter One gives the background to the situation in 1870, and assesses general concerns between 1850 and 1920. Chapter Two describes the purebred cattle industry. Chapter Three looks at the production of the ordinary farmer within the framework of breeder/feeder production systems, animal improvement, and specialization of livestock for beef and dairy purposes. Chapter Four outlines policy regulations by reviewing international quarantine problems, attitudes to bovine tuberculosis, and the development of other regulatory concerns. Chapter Five places Ontario's industry within the nation, the continent, and the international market. Chapter Six explains how the cattle industry related to the meat industry through consumption. chapter Seven reassesses patterns that emerge in earlier chapters and then outlines some international developments in the industry from 1924 to 1996. As early as 1865 beef cattle raising in Ontario was part of an international industry, which had developed by 1875 into a transatlantic system in which Canada and the United States functioned together. Regulation of the modern Canadian beef cattle industry was laid down in response to this pattern. While Canadian beef cattle raising remained centered in Ontario, not in the west, cattle bred on Ontario farms after 1890 reflected the needs of the province's dairying enterprise, not its beef cattle industry. As a result, the quality of beef cattle declined in Ontario. Because of production linkages, the Ontario situation affected how the western arm of the national industry functioned. The rise of Ontario's dairy industry, therefore, was intimately related to the decline of beef cattle everywhere in the nation. Farming for beef in Ontario from 1870 to 1924 was a complex operation with national implications, and international linkages.
The capacity to judge, public opinion and deliberative democracy in Upper Canada, 1791-1854
Keywords: Representative government and representation
History
Gouvernement représentatif
Histoire

This thesis analyzes the emergence of 'public opinion' as a new form of authority in Upper Canada from the colony's inception in 1791 until 1854. The original understanding of the colony's constitution assumed that the vast majority of Upper Canadians were not sufficiently capable of judging the common good to govern alone. By the 1820's and 1830's, an increasing range of commentators argued that authoritative decisions about the common good could and should be generated by critical discussion among private persons outside the control of traditional institutions or elites. These decisions were 'public opinion.' Debates about the nature and power of public opinion were not only matters of political rhetoric, but drew strength from people's experience of concrete social, economic and cultural changes. In particular, the quantity and distribution of printed texts, the nature and number of sites for reading and discussing those texts, and institutions that fostered certain skills and norms of behaviour lent credence to the concept of public opinion. Finally, the thesis argues that constitutional debate in the 1840's and 1850's revolved around how to integrate 'public opinion' into the province's social and constitutional self-understanding. After several alternatives were canvassed, deliberative democracy in Upper Canada, whereby the province's public was deemed capable of judging the collective good, took the form of parliamentary government.