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Role of Consumption in Canada’s Economic Sustainability
This thesis addresses the interconnectedness of environmental sustainability and economic sustainability. There is evidence from the Canadian experience that market economies are extremely dependent upon consumption - the most significant factor in determining the overall level of economic activity and economic growth. Therefore, from this perspective, several periods of declining consumption would create a ‘vicious cycle’ [Kaldor, 1967] of economic decline that would be politically unsustainable. The analysis here shows that income inequality drives changes in debt-fueled consumption, and consequently, debt influences consumption. The role of income inequality as a mediating channel of sustainability via the borrowing/lending model presents evidence that ‘conventional’ debt servicing behaviour in the macro-economy can support steady-state economic growth that is, in economic terms, sustainable. Solving the conflict between the environment and the economy lies in private and public investments in new technologies and, most importantly, new social institutions that facilitate economic, political, and environmental, sustainability. Author Keywords: Consumption, Economic Growth, Household Debt, Income Inequality, Sustainability
Forging Masks Through Perceptions of the Maskless in Benjamin Britten’s 'Peter Grimes'
This thesis proposes that Benjamin Britten’s 'Peter Grimes' leads its audience toward actively constructing an attitude toward its maskless protagonist. Grimes’s tragedy results from the social construction of his character from ambiguous and unseen actions. Utilizing the theories of Hannah Arendt and Carl Jung, this thesis proposes that Grimes may have resisted tragedy by constructing a public persona for himself. This thesis analyses the opera’s music and narrative according to the difference between Grimes’s lack of a public persona and the Borough- members’ construction of a mask for him. A central contention of the thesis is that as another element of Britten’s persona, Peter Grimes permitted the composer’s entrance into the public sphere, despite his private inclinations and illegal sexuality. Like the opera’s drama, the opera’s “Sea Interludes” reveals the tragedy resulting from the failure to construct an attitude toward the public world. These “Sea Interludes” work alongside the opera’s drama to induce the audience into a common perception of the opera’s whole. Through ironic relation to the opera’s musical and narrative parts, Benjamin Britten induces his audience’s construction of personae, thereby bringing himself and them into a shared public realm. Author Keywords: Benjamin Britten, E. M. Forster, English Opera, Montagu Slater, Peter Grimes, W. H. Auden
Exploring Least Cost Path Analysis
Least cost path analysis is considered by many scholars as being a good proxy for studying movement and interactions between sites in the landscape. Although it is widely used, there are many limitations and challenges yet to be overcome concerning the reliability of the results. The examples used from the Göksu Valley during the late Roman Imperial rule emphasize the need to clearly understand how the tool works in generating least cost paths and how these can be interpreted and related to human movement. The resolution and accuracy of the elevation data used also play an important role in least cost path analysis and these depend on the topographical area being studied. New venues are constantly being sought and the success of any analysis depends on how the results are compared and tested in concert with data obtained from various sources and through more visually advanced mapping software. Author Keywords: GIS, Göksu Valley, Turkey, Late Roman period, Least cost path, Roads, Routes, Communication, Spatial analysis
Age-Friendly for Whom?
In this thesis, I explore the question of what would make Peterborough a good or “age-friendly” place to grow old(er) from a diversity of perspectives within and outside the structures of Age-friendly Peterborough (AFP). This research further explores if and/or how AFP and the Age-friendly movement more broadly, can be used as a tool for visioning and enacting more just, equitable, and “age-friendly” aging futures. To answer these questions I used semi-structured interviews with individuals either presently or previously involved with Age-friendly Peterborough, and an intergenerational and arts-based workshop, “Imagining our Futures.” From the research findings, I argue that AFP has a significant role to play in making Peterborough a better place to grow old(er), while also outlining how dominant Age-friendly frameworks are limited in their ability to move us towards aging futures that are just, equitable, and “age-friendly.” Author Keywords: Age-Friendly Communities, Age-Friendly Movement, Aging Futures, Arts-Based Research, Interdependence, Successful Aging
Making Mockeries, Making Connections
Parody has been a strategy within cultural production since the ancient Greeks: “paraodia” referred to a song sung alongside the main narrative thread of a dramatic work; the prefix “para-” also signifies “against.” In A Theory of Parody: The Teachings of Twentieth-century Art Forms, Linda Hutcheon offers this core definition: parody is “a form of repetition with ironic critical distance, marking difference rather than similarity … [with] tension between the potentially conservative effect of repetition and the potentially revolutionary impact of difference” (xii). This and other aspects of Hutcheon’s theory guide my interpretations of works by three contemporary artists working in Canada: Sybil Lamb’s novel I’ve Got a Time Bomb; Ursula Johnson’s (Mi’kmaq) three-part exhibition Mi’kwite’tmn (Do You Remember); and Kent Monkman’s (Cree and Irish) exhibition Shame and Prejudice: A Story of Resilience. I argue that the presence of parodic elements in these artists’ works enables them to do two things: to claim spaces that enable recognition of their subject positions, and to critique an aspect of hegemonic norms in contemporary society. I read Lamb’s novel as a critique of the heteronormative gender binary via parody of the picaresque genre and of heteronormative discourse/language. Certain pieces in Monkman’s exhibition parody the epistemological and display strategies of traditional Eurocentric anthropological museums and archives, as can Johnson’s work; her sculptural-installations may also be read as parodying the traditions of Mi’kmaw basket-making. The work of both artists critiques colonial narratives that sought (and may still seek) to denigrate and/or erase Indigenous peoples; such narratives of cultural genocide were both tacitly and directly propagated by museums. I analyze these three artists’ works, considering key features of parody (ambiguity; irony and “double-voicedness”; trans-contextualization; and humour), and their effects (defamiliarization; ontological instability; complicity; and laughter). Parody challenges the post-structuralist emphasis on the “decoder,” (viewer/reader) reinstating the “encoder” (artist/author) as agent. Decoders recognize their complicity within the context of the hegemonic narrative, whether the heteronormative gender binary or colonialism, and may come to shift perception – as per Hutcheon’s “potentially revolutionary impact.” Author Keywords: contemporary art, Indigenous art, museum history, parody, picaresque, transgender literature
Instabilities in the Identity of an Artistic Tradition as "Persian," “Islamic," and “Iranian” in the Shadow of Orientalism
This dissertation is a critical review of the discursive formation of Islamic art in the twentieth century and the continuing problems that the early categorization of this discipline carries. It deals with the impact of these problems on the conceptualization of another category, Persian art. The subject is expounded by three propositions. First, the category of Islamic art was initially a product of Orientalism formulated regardless of the indigenous/Islamic knowledge of art. Second, during the early period when art historians examined different theoretical dimensions for constructing an aesthetic of Islamic art in the West, they imposed a temporal framework on Islamic art in which excluded the non-traditional and contemporary art of Islamic countries. Third, after the Islamic Revolution in 1979, Iranian scholars eventually imposed academic authority over the discipline of Persian/Islamic art, they adopted the same inadequate methodologies that were initially used in some of the early studies on the art of the Muslims. These propositions are elaborated by examples from twentieth-century Iranian movements in painting, The Coffeehouse Painting and The School of Saqqakhaneh, and the incident of swapping Willem de Kooning’s painting Woman III with the dismembered manuscript of the Shahnama of Shah Tahmasp in 1994. The conceptualization of Islamic art as a discipline is also discussed in relation to the twentieth-century cultural context of Iran. The argument is divided into three chapters in relation to three important historical moments in the history of contemporary Iran: The Constitutional Revolution (1905-1911), the modernization of Iran (1925-1975), and the Islamic Revolution (1979-onward). The formation of the discourse of Islamic art is the fruit of nineteenth-century Orientalism. Out of this discourse, Persian art as a modern discourse addressing the visual culture of Pre-Islamic and Islamic Iran came into being. I claim that after the Islamic Revolution, Iranian academics demonstrate a theoretical loyalty to the early theorizations of Islamic/Persian art. By this token, visual signs are given a meta-signified in the narrative of Islamic art. The ontological definition of this meta-signified is subjected to the dominant ideology, which determines how different centers of meaning should come into being and disappear. In the post-Revolution academia, the center is construed as the transcendental signified. Such inherence resulted in a fallacy in the reading of the Persian side of Islamic art, to which I refer as the “signification fallacy.” The dissertation draws on the consequences of this fallacy in the critique of Islamic art. Keywords: Persian art, Islamic art, Iranian art; Persian classical literature, Narrative. Image, Representation, Aniconism, Abstraction, Modernity, Tradition, Orientalism, The Constitutional Revolution, Modernization, The Islamic Revolution. Shahnama of Shah Tahmasp, The Coffeehouse Painting, The School of Saqqakhaneh; Modernism: Woman III. Author Keywords: Iranian Art, Islamic Art, Orientalism, Persian Art, The Constitutional Revolution, The Islamic Revolution
Remembering the "Home" through YouTube Cooking Videos
This thesis examines how food, culture and identity are linked to the idea of "home." Through a reading of oral narratives produced on the YouTube channel "ShowMetheCurry," I investigate how presenters Anuja and Hetal "write back" from a diasporic space in Texas, to the YouTube global public, and how food and cuisine, even in the age of globalization can be problematic in terms of representation of identities, work and space. I explore how the YouTube videos operate as a heterotopia, as what is presented to the audience in this medium is an embedding of spaces. The space that is projected through "ShowMetheCurry," that of Anuja and Hetal's own home kitchen, is then projected and viewed within the audiences' own spaces, in various locations around the world. What connects these spaces is an interest in cooking, and a longing to satiate culinary nostalgia. Author Keywords: Affect, Culinary nostalgia, Discourse analysis, Food culture, South Asian Diaspora, YouTube
Executive Function, Emotion Regulation, and Social Problem Solving, in Adolescence and Early Adulthood
Research to date on social problem solving typically focuses on elementary school aged children. However, adolescents and young adults may experience more novel and emotionally complex social conflicts that require different skills to navigate them successfully. Previous research has highlighted executive function (EF) and emotion regulation as possible skills that help with social problem solving. The current study examined the potential relation between EF, emotion regulation, and social problem solving. The sample consisted of 174 participants with a mean age of 19.60 years. Results showed that the shifting component of EF was associated with being able to take different perspectives when coming up with a solution for a social conflict involving a romantic partner. Additionally, emotion regulation was associate with perspective taking in the overall social problem solving process with a romantic partner. These results suggest that both EF and emotion regulation are involved in the ability to take different perspectives during a social conflict in this age range. Author Keywords: Emotion Regulation, Executive Function, Social Problem Solving
AN INTEGRATED APPROACH TO WASTEWATER MANAGEMENT AND REUSE IN JORDAN
This research explores the obstacles Jordan is facing regarding the sustainable treatment and reuse of wastewater in the agricultural sector. It assesses the technical, socio-cultural, and political aspects of decision-making around water and wastewater management in Jordan by focusing on a case study involving wastewater usage in the Jordan Valley. It includes a literature review and interviews with representatives of key stakeholders. While at one level wastewater treatment is a technical process with technological solutions, a nuanced understanding of the non-technical challenges facing the wastewater treatment sector in Jordan is necessary. These challenges are inherently embedded in and contextualized by a series of historical, complex and dynamic political and socio-cultural issues involving stakeholders at local and national levels. Only through an interdisciplinary approach with real stakeholder engagement will meaningful solutions to these challenges be developed and implemented, and at least a portion of Jordan's water needs be meaningfully addressed. Author Keywords: Agriculture, Jordan Valley, Political challenges, Sociocultural challenges, Technical challenges, wastewater management
Can Shared Platforms Build Sustainability in the Non-profit Sector? Comparing Practitioner Perceptions of Organizational Experience in Non-profit Organizations and Platform Projects
This thesis explores practitioner perceptions of operational and structural experiences of non-profit organizations (NPO) and platform projects (PP) to develop an understanding of how a shared platform governance model can build resiliency and sustainability in non-profit organizations. The objectives of this research are to 1) develop an understanding of NPO and PP operational and structural experiences based on qualitative interviews with practitioners; 2) analyze how a PP model can address challenges facing the NPO sector; and 3) based on a thorough analysis of current literature and research findings, recommend a model that addresses these challenges and builds sustainability in NPOs. A grounded inductive approach was used to identify a thematic narrative. The process was iterative, working between existing literature and interview data. Interviews with eight NPO practitioners and eight PP practitioners revealed four narrative theme areas: Financial, Funder, Organizational, and Emotional Tone. The results document several ways a PP model can provide opportunities to address the perceived funder and organizational challenges of small NPOs. Keywords: non-profit organizations, collaboration, innovation, governance models, shared platform, platform projects Author Keywords: governance model , innovation , non-profit organizations , organizational resilience, shared platform, Sustainability
Cluster Approach Applied to the One-Dimensional Anderson-Hubbard Model
S. Johri and R. Bhatt developed a real-space renormalization group approach aimed at extracting the localized single-particle eigenstates of the Anderson model from a large system by identifying clusters of resonant site potentials. E. Campbell generalized this real-space renormalization group approach using standard perturbation theory. Both approaches were intended to approximate the single-particle density of states of the Anderson model. In this thesis, we aimed to test the potential of applying a similar real-space renormalization group approach to calculate the density of states of the interacting Anderson-Hubbard model. Our interest in the density of states of this model is due to a V-shaped zero-bias anomaly in two-dimensional systems. A real-space renormalization group approach is best applied to a one-dimensional system. We found that the zero-bias anomaly is not V-shaped in one-dimension. To test the potential of a real-space renormalization group approach, we used the cluster approach which is the same as the non-interacting renormalization group approach but without the perturbation theory and found that for strong disorder this technique could accurately calculate the density of states over a wide range of energies but deviated from exact results at the band edge, at $\omega=\pm U$ and near $\omega=0$. The first two inaccuracies will be reduced with a proper real-space renormalization group approach. We suspect that the last inaccuracy is associated with long range physics and may be difficult to recover. We also developed a technique that adjusts the identification of clusters in the cluster approach to improve the computation time of the density of states with minimal loss of accuracy in a tunable range around the Fermi level. We found that this technique significantly reduced the computation time and was able to preserve the density of states near the Fermi level, except at the smallest energies near $\omega=0$. Author Keywords: Anderson-Hubbard model, renormalization group, Strong electron correlations, Zero-bias anomaly
Critical Topographies of two films
The following thesis is a work in Critical Topography that choses as its site of study two documentary films. The films being studied are El Sol del Membrillo by Victor Erice and Rivers and Tides by Thomas Riedelsheimer. My approach to critical topography in the thesis is twofold: first, I have traced the topical motifs that have appeared to me as I looked at the two films; second, I have translated the films into writing –with the purpose of creating a sourcebook for my analysis- thus bounding the visual content of the films into the delineated space of the written word. I have sought in my analysis to make visible the numerous conceptual, aesthetic, and philosophical notions that are repeated in each film. These notions include materiality, formal operations, temporality, memory, and failure. All of which are ideas that find expression - despite their significant differences - in both documentary films. Author Keywords: Art, Critical Topography, Film Studies, Land Art, Painting, Time

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