Will the "fight" ever end? : a critical reading of the metaphors and discourses that construct HIV/AIDS in an African context

In this thesis, I critically examine the discourses that inform how we conceptualise HIV/AIDS in Sub-Saharan Africa as they are produced in a sample of Canadian news articles, two nonfiction texts - Stephanie Nolen's 28 Stories of AIDS in Africa and Jonathan Morgan and the Bambanani Women's Group's Long Life ... Positive HIV Stories - as well as two literary texts - John Le Carre's popular fiction novel The Constant Gardener and an anthology of stories and poems from Southern Africa titled Nobody Ever Said AIDS, compiled and edited by Nobantu Rasebotsa, Meg Samuelson and Kylie Thomas. Paying particular attention to the role of metaphor in discursive formation, I have found that military metaphors, usually used in conjunction with biomedical discourses, continue to dominate what is said about HIV/AIDS. However, the use of military metaphors to conceptualise HIV/AIDS contributes to stigma and limits the effectiveness of responses to the pandemic. I argue that accessing alternative metaphors and discourses, such as biopsychosocial discourse, can lead to a more layered - and more beneficial - conceptualisation of HIV/AIDS, encouraging a more active response to the pandemic.

Beamsville Baptist Church papers, n.d.

The material outlines the history of the early Baptist church in Beamsville, from its inception in 1807 until approximately 1859. This may have been the basis of a manuscript on the history of the church.

Bowslaugh Family fonds, 1860-1861, 1868, 1876-1877, 1880-1882, 1886-1890, 1892-1893, 1895, 1898-1899, n.d.

Edward W. Bowslaugh (1843-1923) was the son of Jacob and Anna (Beamer) Bowslaugh. Edward Bowslaugh married Mary Southward, and the couple had six children, Edgar Morley, Edward Freeman, twins Alfred Malcolm and Alice Mary, Annie Olivia, John Jacob and Mabel Florence. Edward W. Bowslaugh was a farmer, contractor and owner of the Grimsby Planing Mills in Grimsby, Ont. and Bowslaugh’s Planing Mill in Kingsville, Ont. The mills manufactured door and sash trim and other wood related products. Some customers contracted the firm to provide wood products for cottages being built at Grimsby Park, the Methodist camp ground. Some time before 1885 Edward Bowslaugh and his family moved to Kingsville, Ont. to open up a new planing mill and door and sash manufactory. He later sold the Grimsby Planing Mills to Daniel Marsh. The diaries and account books include many names of workers as well as friends and family members residing in the Grimsby and Kingsville areas. James M. Bowslaugh (1841-1882) was the son of Jacob and Anna (Beamer) Bowslaugh. James married first Anna Catharine Merritt and after her death in 1875 he married Mary Gee in 1877. James and Anna had three children, Eliza, James Herbert, George Hiram, all died very young. James and Mary Gee had one son, Charles Leopold Kenneth Frederich Bowslaugh, b. 1881. James Bowslaugh was a farmer and lumberman, much like his younger brother Edward. James’ early diaries often note the activities of himself and his brother Edward. Both Edward and James were heavily involved in the Methodist church, teaching or leading Sunday school and attending prayer meetings. Alfred M. Bowslaugh b. 1873 was the son of Edward W. Bowslaugh and his wife Mary Southward. The school notebook is from his days as a student in Kingsville, Ont.

Gainsborough [Presbyterian] Church records, 1833-1836, 1841-1846, 1855-1857, 1860-1864, 1866 [photocopy]

The Gainsborough Presbyterian Church was organized prior to 1833, but no records were kept until this date. In 1809, the church was lead by Rev. Daniel Ward Eastman. In 1833 the church became part of the Niagara Presbytery of the American Presbyterian Church. The records include transfer of membership, records of marriages, lists of subscribers and session minutes. Photocopies from originals were made in 1977 by E. Phelps, University of Western Ontario, prior to their deposit with the United Church of Canada Archives, Toronto, Ont.

Grace Anglican Church (St. Catharines, Ont.) collection

Grace Anglican Church was founded as a mission church of St. Thomas', St. Catharines. A large house, originally built and owned by the William and Maria McCalla family, was donated by Colonel R.W. Leonard for this purpose. The mission was dedicated on 29 June 1921. It was not until 1938 that Grace Church became an independent parish. A church building was constructed and opened on 28 November 1939. In April 1956 part of the church was damaged by fire, was rebuilt and enlarged.

George H. Cornish Fonds

George Henry Cornish (1834-1912) was a Methodist minister whose circuits included Clinton, Ont. (1859), Newcastle, Ont. (1861), and Caledonia/Binbrook/Glanford, Ont. (1864- 1865). He wrote several books on the Methodist Church in Canada, including the Cyclopaedia of Methodism in Canada (1881) and the Handbook of Canadian Methodism (1867).

Second Welland Canal - Book 3, Survey Map 2 - Canal to Chippewa Creek with Port Robinson

Survey map of the Second Welland Canal created by the Welland Canal Company showing the canal as it passes through Port Robinson. Identified structures associated with the Canal include the Guard Lock, Collector Toll Office, towing path, and the New Cut of the canal. The surveyors' measurements and notes can be seen in red and black ink and pencil. Local area landmarks are also identified and include streets and roads (ex. Island Street, Bridge Street, John Street, and Cross Street), bridges (Swing Bridge, and several unnamed bridges), Welland Railroad, Canal to Chippewa Creek (and two old locks and one new lock associated with the canal), Chippewa Creek, Back Water, an unnamed Island, Dry Dock leased to McFarland and Abbey, Abbey's Office, D. McFarland and Co. Saw Mill (Burnt), G. Jordan Tavern, Robert Elliot Store House and Wharf, Isaac Pew's Shop, Colemans Hotel, R. Band and Co. Girst Mill, Donaldson and Co. Grist Mill, H. Marlatt Dwelling House and barn, Henry W. Timms Hotel, Methodist Church, Post Office, Blacksmith Shop, a church, a structure labeled B. Patch, and a number of other structures that are not named. Properties and property owners of note are: Lots 202 and 203, S. Hill, D. McFarland, Church Society, G. Jordan, D. Coleman, John Brown, Rob Coulter, Robert Elliot, Isaac Pew, James McCoppen, William Bell, Charles Stuart, Andrew Elliot, Robert Band, Ed. Feney, John Betty, F. Sharp, William B. Hendershot, A. Brownson, H. Marlatt, J. S. Powell, and the School Trustees. Two reserved properties are labeled in red.The current spelling of Chippewa Creek is Chippawa. Although it not possible to make out the entire name of the H. W. Timms hotel located at Front and Bridge Street on the map itself, it was discovered to belong to Henry W. Timms after consulting the 1851-52 Canada Directory.

Cabinet Card of African Canadian by Photographer W. J. Rea, of Windsor [n.d.]

An unidentified African Canadian man is featured in this cabinet card by W. J. Rea, photographer, of Windsor, Ontario. The man appears to be in official dress, possibly of a religious or legal nature. This cabinet card bears the stamp of the photographer, W. J. Rea, in black ink along the bottom of the card and on the reverse. While it is undated, it is likely from the 1870s or 1880s. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include African American slaves from the United States who settled in Canada."Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Small Cabinet Card of African American Man by John S. Thom, of Lucan, Ontario [n.d.]

A very small cabinet card type photograph of an unidentified man, possibly a relative of the Bell - Sloman family. A handwritten entry on the reverse of the photograph indicates it was taken by John S. Thom, of Lucan. No date is provided, however, John S. Thom is known to have been a photographer in Lucan from 1877-1882. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines. Relatives of the Sloman - Bell family include former African American slaves who settled in Canada.John S. Thom is listed as a photographer in Lucan, Ontario from 1877-1882. Aside from photography, he also operated a general store and sold notions. It appears he then moved to Sarnia, Ont. and is listed as a photographer there from 1882-1900. He is also recorded as being a Sarnia bicycle dealer. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Cabinet Card of Young African Canadian by The Dominion Photo Studio, Toronto [n.d.]

This unidentified African Canadian man is photographed at the Dominion Photo Studio, located at 388 Queen St. West in Toronto. The photographer's name is not known. No date is provided, however, the Dominion Studio is listed as operating from 1893-1894. The reverse of the card displays the Dominion Photo Studio stamp in gold lettering (image also attached). The gentleman in this cabinet card is possibly a relative of the Sloman - Bell family, who settled in the London and St. Catharines areas of Ontario. This cabinet card was among the family memorabilia in the possession of Iris Sloman Bell, of St. Catharines. Relatives of the Sloman - Bell family include former African American slaves who came to Canada.The Dominion Portait Co. is listed as operating from 1893-1894 in Toronto. There is an additional listing for the Dominion Portrait Co. (Gourlay and Clark props.) for 1894. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Tintype of Unidentified African American Woman Leaning on Chair [n.d.]

A small tintype of a young Black woman dressed in white. The date, location and name of the photographer are unknown. This tintype was among the family memorabilia belonging to Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Sloman - Bell family are descended from former American slaves."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of African American Gentleman Seated on Stool [n.d.]

An unidentified man poses for his portrait seated on a stool in this undated black and white tintype photograph. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Bell - Sloman family include former Black slaves from the United States who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of Young African American Woman Seated at Table [n.d.]

Black and white tintype of an unidentified woman seated with hand-colored red detail on her scarf and the tablecloth. The date, location and photographer are unknown. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Bell - Sloman families include former slaves from the United States who escaped to Canada. They later settled in the London and St. Catharines areas of southern Ontario."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype Portrait of African American Couple [n.d.]

An unidentified couple is pictured in this early black and white tintype photograph. The date, location and name of the photographer are unknown. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Bell - Sloman families have relatives who are descended from African American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html