The new woman, femininity and modernity in Margery Allingham's detective novels of the 1930s /

This thesis examines Death of a Ghost (1934), Flowers for the Judge (1935), Dancers in Mourning (1937), and The Fashion in Shrouds (1938), a group of detective novels by Margery Allingham that are differentiated from her other work by their generic hybridity. The thesis argues that the hybrid nature of this group of Campion novels enabled a highly skilled and insightful writer such as Allingham to negotiate the contradictory notions about the place of women that characterized the 1930s, and that in dOing so, she revealed the potential of one of the most popular and accessible genres, the detective novel of manners, to engage its readers in a serious cultural dialogue. The thesis also suggests that there is a connection between Allingham's exploration of modernity and femininity within these four novels and her personal circumstances. This argument is predicated upon the assumption that during the interwar period in England several social and cultural attitudes converged to challenge long-held beliefs about gender roles and class structure; that the real impact of this convergence was felt during the 1930s by the generation that had come of age in the previous decade-Margery Allingham's generation; and that that generation's ambivalence and confusion were reflected in the popular fiction of the decade. These attitudes were those of twentieth-century modernity--contradiction, discontinuity, fragmentation, contingency-and in the context of this study they are incorporated in a literary hybrid. Allingham uses this combination of the classical detective story and the novel of manners to examine the notion of femininity by juxtaposing the narrative of a longstanding patriarchal and hierarchical culture, embodied in the image of the Angel in the House, with that of the relatively recent rights and freedoms represented by the New Woman of the late nineteenth-century. Pierre Bourdieu's theory of social difference forms the theoretical foundation of the thesis's argument that through these conflicting narratives, as well as through the lives of her female characters, Allingham questioned the Hsocial myth" of the time, a prevailing view that, since the First World War, attitudes toward the appropriate role and sphere of women had changed.

Monstrum : the vampire in the detective story /

My approach to the vampire detective highlights its connections to the private detective's story and reveals the monstrous investigators' debt to early feminist forms of detection -specifically in their reformation of the' other' and of traditional forms of power and authority. Seen in this light the movement of horror's imaginary 'other' into the rational world of detection can be seen as not an abrupt breach of detection's realist conventions, but an almost seamless transition into symbolic spaces that point to the detective's primary function -- to make sense of the senseless. It is in this light that I explore the monster that is a detective as a symbol that is also a sense-maker, and a quintessential postmodern figure. I argue that the distinctions between monsters and 'others', and between popular narratives and postmodern religion have faded, culminating in a character that can not only model 'otherness' as an exemplary condition, but also provide strategies for modeling the form of active postmodern subjectivity that postmodern theorist Jim Collins' (1989) conceives of as heretical activity.

General statement of articles transported on the Welland Canal, British to British and British to American ports

General statement of articles transported on the Welland Canal, British to British and British to American ports (St. Catharines office) (1 page, double-sided), 1859, 1861.

Exploring the personal and professional lives of teachers in the search for authenticity /

"We teach who we are" (Palmer, 1998, p. 2). This simple, yet profound, statement was the catalyst that began my thesis journey. Using a combination of self-study and participant narratives, Palmer's idea was explored as search for authenticity. The self-study component of this narrative was enhanced by the stories of two other teachers, both women. I chose to use narrative methodology to uncover and discover the relationship between the personal and professional lives of being a teacher. Do teachers express themselves daily in their classrooms? Do any lessons from the classroom translate into teachers' personal lives? The themes of reflection, authenticity, truth, and professional development thread themselves throughout this narrative study. In order to be true to myself as a teacher/researcher, arts-based interpretations accompany my own and each participant's profile. Our conversations about our pasts, our growth as teachers and journeys as individuals were captured in poetry and photographic mosaics. Through rich and detailed stories we explored who we are as teachers and how we became this way. The symbiotic relationship between our personal and professional lives was illustrated by tales of bravery, self-discovery, and reflection. The revelations uncovered illustrate the powerful role our past plays in shaping the present and potentially the friture. It may seem indulgent to spend time exploring who we are as teachers in a time that is increasingly focused on improving student test scores. Yet, the truth remains that, "Knowing myself is as crucial to good teaching as knowing my students and my subject" (Palmer, 1998, p. 2).

One hundred glimpses of Niagara. --

Exhibiting the grandeur and mystery of the greatest natural wonder in the world. Illustrating the American and Horseshoe Falls from many points of view, the famous, Niagara Gorge, the Whirlpool, the Parks and Island and other scenes about Niagara, inlcuding a number of interesting winter scenes.

Sermon : the question of war with Great Britain, examined upon moral and Christian principles /

Joseph Dana was also considered as the supposed author.

A tale of two childhoods : the virtual child and the real child in Romania, 1970s and 1980s

This thesis deals with the everyday use of propaganda in Romania, between 1971 and 1989. It explores the way in which the propaganda discourse of the Romanian Communist Party was disseminated through popular culture artifacts targeting children: Pioneers' magazines, textbooks, Almanacs and moralizing stories. These artifacts configured the image of a model child, whose preoccupations complied with the requirements of the Romanian Communist Party and communicated a set of recommended practices, to be followed by Romanian children. At the same time, the thesis incorporates the response of the actual children to these desirable practices, and implicitly, their response to state propaganda.

Joanna E. Wood short stories, 1898-1900

Joanna Ellen Wood (1867-1927) was an acclaimed Canadian author who wrote several novels and short stories. Wood was born in Scotland, but emigrated to Canada with her family in 1869. In 1874 her father purchased a farm overlooking the Niagara River at Queenston. It is believed she was supported by her brother William, who encouraged her writing. She was based in New York City from 1887-1901, using William’s business address there to receive correspondence while she traveled or spent time in Queenston. Around 1906, Wood moved with her mother to Niagara-on-the-Lake, where she joined the Niagara Historical Society. By 1914, she was living in Buffalo, but later spent time at her sisters’ homes. It was at her sister’s home in Detroit where she suffered a stroke and died in 1927. Wood’s literary career was short-lived. She published her first novel, The Untempered Wind , in 1894, and a second novel, Judith Moore …, in 1898. Both novels received critical acclaim, and a third novel, Farden Ha', followed in 1902. Unfortunately the majority of Wood’s numerous and award-winning writings cannot be found. Her career peaked in 1901, when she was the highest paid Canadian fiction writer. For unknown reasons, her career abruptly ceased in 1902, with no further publications or mention made of her in the Canadian Magazine.