Centered Fluidity and the Horizons of Continuity in Djuna Barnes' Nightwood

Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.

Waxing Ornamental : Reading a Poetics of Excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood

Ce mémoire de maîtrise porte sur une poétique de l’excès dans Orlando de Virginia Woolf et Nightwood de Djuna Barnes comme une stratégie combattant la tendance qu’a le modernisme à dévaloriser l’écriture des femmes comme étant trop ornementale. J’expose comment Ezra Pound, T.S. Eliot, et Wyndham Lewis tentent de récupérer la notion du détail afin d’affirmer une poétique masculin. Je fais appel également aux oeuvres de l’architecte autrichien Adolf Loos qui souligne sa dénonciation de l’ornement comme régressif. Dans Orlando et Nightwood, je considère l’excès associé au corps. Je soutiens que, dans ces textes, les corps dépassent les limites de la représentation moderniste. Je considère aussi comment Orlando et Nightwood font apparaître la narration comme ornement et écrivent excessivement l’histoire et le temps. Pour conclure, je propose une façon de lire l’excès afin de reconceptualiser le potentiel de production de la signification dans des textes modernistes.

Believing in belief : the modernist quest for spiritual meaning (Croyer en croyance : la quête moderniste pour le sens spirituel)

Cette thèse défend l’idée que plusieurs auteurs modernistes ont utilisé des concepts centraux à la croyance religieuse traditionnelle afin de préconiser le changement social. Au lieu de soutenir l'hypothèse de la sécularisation, qui prétend que les modernistes ont rejeté la religion en faveur d'une laïcité non contestée, j'argumente en faveur de ce que j'appelle « la spiritualité moderniste, » qui décrie une continuité intégrale des concepts spirituels dans l'agitation de la période moderniste qui a déstabilisée les institutions qui avait auparavant jeté les bases de la société Occidentale. En me basant sur les écrit de Sigmund Freud, William James et Émile Durkheim concernant les fins poursuivis par la religion, je développe cinq concepts centraux de la croyance religieuse que les modernistes ont cherché à resignifier, à savoir la rédemption, la communauté, la sacralité, le spectre, et la liturgie, et, dans chaque cas, j'ai montré comment ces catégories ont été réinterprétées pour traiter des questions considérées comme essentielles au début du vingtième siècle, à savoir ce que l’on identifie aujourd’hui comme le féminisme, l'écologie, la biopolitique, les crises, et le rôle du poète. Le chapitre I se concentre sur la rédemption par le féminin telle qu’on la trouve dans le recueil de vers de H.D. portant sur la Seconde Guerre mondiale, Trilogy (1944-1946), qui projette un certain espoir grâce à un mélange synchrétique de Christianisme, de mythes anciens, d’astrologie, et de psychologie. Mon deuxième chapitre discute de The Grapes of Wrath (1939) de John Steinbeck, qui élargit le rôle de la communauté en avançant une écologie universelle qui concevoit tous les gens comme étant intimement liés entre eux et avec le monde. Le chapitre III traite de la notion du sacré dans The Light in August (1932) de Willam Faulkner et Nightwood (1936) de Djuna Barnes, qui préconisent une foi privatisée qui accentue l'illégitimité des concepts de sacralité et de pollution en élevant des individus qui sont marginalisés biopolitiquement. Le chapitre IV cherche à comprendre le retour des morts, et je soutiens que le topos a été utilisé par les modernistes comme un symbole de crises sociales; le chapitre enquête d'abord sur “The Jolly Corner” (1908) de Henry James, que j'ai lu comme la séquence rêvée d'un homme faisant face à son propre spectre, Ulysses (1922) de James Joyce, où Stephen Dedalus est hanté de façon répétée par le spectre de sa mère, et Mrs. Dalloway (1925) de Virginia Woolf, qui se concentre sur le motif caché de la Fête des Morts. Ma cinquième section traite de la liturgie, la langue poétique utilisée pour les rites religieux, dans la première poésie de Wallace Stevens, qui conçoit le rôle du poète comme une vocation de l'imagination.

A textbook of botany for colleges and universities, by ... John Merle Coulter ... Charles Reid Barnes ... Henry Chandler Cowles ...

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Memory Revisited in Julian Barnes's The Sense of an Ending

An accumulation of years brings with it an accumulation of experiences. The revision of such experiences usually becomes more recurrent after retirement, a transition time from one period of life to another and, as such, a time in which we, human beings, have a tendency to take stock of our lives. This is actually one of the main issues present in Julian Barnes's last novel The Sense of an Ending (2011). When the main protagonist, a retired man quite comfortable and contented with his present life, receives an unexpected inheritance from the mother of a girlfriend from his university years, he is forced to track down a part of his life that he had left at the back of his mind a long time ago. As he explains his story, the protagonist and narrator of the novel raises a number of questions related to the quality and function of memory as one gets into old age. He experiments the unreliability of memory and questions to what extent memory is constructed through the remembered emotions that invaded him over that episode of his life rather than through the events as they actually took place. On the other hand, the act of revisiting and revising that specific episode, brings with it feelings of guilt and remorse as the protagonist realises that his past acts were not as noble as he remembered them to be. However, these acts are part of the past and they cannot be changed; thus, another question that the novel raises is how to account for those actions of which one does not feel proud and, more importantly, how to manage those bad memories as one gets older.

Barnes Wines: Canada’s Oldest Winery flyer. n.d.

In 1873 George Barnes, Andrew Skinner, James Skinner, John Young Reid, Charles Robert Murray, George Magan, Thomas Barnes and Robert Duncan applied for, and received a charter for a commercial winery which would be called The Ontario Grape Growing and Wine Manufacturing Company Limited. It opened in 1894 and became known as Barnes Wines Limited. In 1973 the company completed a merger with Reckitt and Coleman (Canada) Limited. The winery operated until 1988 and was located on the banks of the old Welland Canal in St. Catharines, Ontario. The company produced a complete line of table wines, dessert wines, sherries, ports, and both crackling and sparkling wines. Barnes Wines called itself “Canada’s oldest winery” at the time of the printing of this flyer.

Barnes Wines Fonds

4 Minute Books dated: 1880, 1892, 1901, 1934, 1948-1950, 1952-1953, 1955, 1958, 1962 – 1975, 1981, 1984, 1986; 3 Common stock books dated: 1934-1935, 1937-1941, 1946, 1948-1950, 1955-1956, 1958, 1961-1974, 1981 and 2 Class A stock books dated:1948 - 1951

Barnes Wines, Limited, Shares Certificate, 1957

Share certificate No. BP001, registered to Mrs. Bessie A. Barnes Barkley. The certificate has several shares transactions listed. The final number of shares redeemed on April 11th, 1957 is 316.

Barnes Wines, Limited, Shares Certificate, 1934

A shares certificate issued to The National Trust Company for two hundred shares.

Barnes Wines, Limited By-Law no. 82

A by-law "to fix the remuneration and expense allowances of directors". It reads "Be it enacted as a By-law of Barnes Wines Limited: 1. That each Director of the Company be paid the sum of Seventy-five ($75,00) Dollars annually in respect of general services rendered by the Director in his capacity as Director, such remuneration to accrue from the date of his election or appointment as a Director. 2. That each Director shall be paid and allowed travelling and other expenses properly incurred in connection with the affairs of the Company. 3. That this provision shall be and remain in force and effect in the fiscal years of the Company, 1971 to 1973 both inclusive. Enacted this 8th day of February, 1971."

Barnes Wines, Limited, Special Resolution No.1

The note at the start of the resolution reads: "A special resolution to authorize an application for supplementary letters patent varying the authorized capital of the company by re-classifying and changing certain shares and increasing the capital of the company by the creation of additional preference shares".

Barnes Wines, Limited By-Law Index

A list of company by-laws starting July 1873 through April 1973.

Barnes Wines, Limited By-Law no. 75

By-Law no. 75 begins "A by-law to govern the affairs of the company and repealing the by-laws of the company passed heretofore relating to the administration of the affairs of the company".

Barnes Wines, LImited By-Law no. 81

The by-law reads: "A by-law to amend by-law no. 79 of the company by restricting the distribution of monies set aside for profit sharing to officers and employees regularly employed at the company's plant. Be it therefore enacted as a by-law of Barnes Wines, Limited as follows: That Schedule 'A' to By-Law no. 79 of the Company enacted on the 2nd day of February, 1953, be and the same is hereby amended by adding after the word "Company" in the last line of paragraph I thereof, the following: 'regularly employed at the Company's plant,' Enacted this 9th day of February, 1966. Witness the Corporate Seal of the Company. Unanimously confirmed by all the Shareholders of the Company at a Special General Meeting of the Shareholders of the Company held on the 21st day of February, 1966."