Bailey, Suzanne

This thesis examines contradictions in approaches to fashion cataloging and exhibition by considering how the fashion artifact is used as physical evidence for public memory of the past. As a memorial practice and timekeeper, fashion demands a complex cultural understanding of artistic production, aging, and history. How does this understanding of fashion as a cultural index and narrative challenge our knowledge of history and the problems inherent in trying to produce a historical narrative through cloth? Where do we fall short in dress reconstructions and our understanding of time and aging through approaches to fashion and dressing? How do these considerations challenge cultural attitudes toward fashion's role in helping understand death and aging in the larger cultural lexicon? By addressing fashion's relationship to time and what might be termed the death aspect of dress as connected to bodies from the past, we allow for a less biased approach to historic fashion that will account for more regional, communal, and individual tastes in dress. This method of inquiry permits a more balanced understanding of dressing ideals across socioeconomic levels regarding garment production and reproduction. Continually addressing the personal in fashion reinforces the unique nature of each garment and its relationship with the body as part of fashion's corporeal register. Keywords: Fashion Artifact, Garment Production, Garment Reproduction, Reconstruction, Corporeal, Embodiment, Eastern Time, Historicism, Public Memory, Memorial, Aging, Western Time

Author Keywords: Corporeal, Embodiment, Fashion Artifact, Garment Reproduction, Historicism, Public Memory

In this thesis I argue that Sing-Song: A Nursery Rhyme Book (1872) disrupts conventional narratives of the idealized maternal role in the Victorian era, "the angel in the house" by confronting and giving a voice to the often overlooked realities of maternal suffering. Rossetti accomplishes this by fostering the conversation regarding the challenges inherent in motherhood. Sing-Song has been dismissed by critics as inappropriate for its intended child audience. However, such assessments rely on outdated assumptions and fail to recognize the intention behind the poetry collection. The subtle coding of the rhymes for a maternal audience has largely been overlooked. Rossetti deliberately represents the psychological and emotional complexities of motherhood, offering a more realistic portrayal of the mental health challenges that may accompany the maternal experience. In turn, Sing-Song challenges the idealized mother figure of the Victorian era and represents a more nuanced understanding of motherhood.

Keywords: motherhood, idealized, maternal mental health, the angel in the house, infant death

Author Keywords: idealized, infant death, maternal mental health, motherhood, the angel in the house

Crutzen and Stoermer's (2000) announcement of the Anthropocene draws attention to the agentic nature of the nonhuman world as it appears to be striking back against human intervention through an environmental crisis that is threatening humans and nonhumans alike. Their narrative reveals complex relationalities where humans are now revealed to beinseparable from the nonhuman world and both the material and discursive nature of their practices (historical, social, economic, and political) prove to be central to (re)shaping the earth, causing climate change, species extinctions as well as racism, sexism, and slavery. Rising sea levels is an important aspect of climate change that threatens major coastal places with disappearance. My dissertation offers a new approach that uses Karen Barad's (2003; 2007; 2017) agential realism and diffractive methodology to study a place called Lyme Regis – a town in west Dorset, England, threatened with disappearance as a result of rising sea levels caused by climate change – as an agential phenomenon shaped by complex multilayered material-discursive practices (political, economic, scientific, and social). Whereas current research on Barad's philosophy mainly focuses on discussions about the theory: explaining, critiquing, or defending (Gandorfer 2021; Lettow 2017; Graham 2016; Segal 2014; Geerts 2013; 2016; 2021; van der Tuin 2011; Alaimo and Hekman 2008; Rouse 2004 and more ), my project is the first ethico-political study of a place, Lyme, that applies Barad's agential realist perspective by engaging the activism of Barad's concept of "re-membering." The processual nature of the concept is particularly relevant today since its nonlinear understanding of time allows me to see how past violent material and discursive practices (racism, sexism, and slavery) at Lyme unfolds in the present troubled time of the Anthropocene. This process of re-membering that I undertake in this study involves concurrently examining the overlapping historical, economic, scientific, literary, and geological intra-acting practices through a method that Barad describes as diffractive reading. I rethink these practices in their relation to material practices and illuminate multiple layers of meaning and relationalities that constitute Lyme as an agential phenomenon, unsettling boundaries between humans and nonhumans, epistemology and ontology, material and discursive practices as well as boundaries between scientific, historical, cultural, and literary aspects of life. Therefore, within the context of the Anthropocene, chapter one rethinks how the scientific discourse (re)shapes nature and demonstrates how prioritizing the needs of human over nonhuman inhabitants in the name of saving Lyme could entail the destruction of both. Chapter two rethinks the dehumanizing and marginalizing effect of the scientific discourse by illuminating the agentic role of Mary Anning and Saartjie Baartman in the apparatus of scientific knowledge production that earned Lyme its heritage status. Finally, chapter three rethinks the entangled nature of scientific and literary practices, arguing for an agential realist account of the sublime that celebrates Lyme as a place of transformative human-nonhuman kinship based on Austen's elaborate depiction in Persuasion (1817). This reading shows science and literature as material-discursive practices operating along the unsettled boundaries between the novel and everyday life, allowing us to rethink Austen's writing as a process in constant flux.

Author Keywords: Agential Realism, Anthropocene, Diffractive Methodology, Lyme Regis, Persuasion, Posthumanist Sublime

This thesis argues that Canada, as it is regarded by the Canadian citizenry, exists as a collection of public-facing narratives within a collectively imagined national mythos. This mythos, as it stands in 2022, is an accumulation of layers of narratives built on the foundation of former British imperial myths honed by bourgeois ideologies and ideals into a uniquely 'Canadian' nationalism through the propaganda of the Great War, the Second World War, the Cold War, and the 'War on Terror.' In attempting to deconstruct this collection of narratives, this thesis employs a historical materialist approach and uses the theories of Marx, Lenin, Gramsci, and Althusser to argue for the importance of an internationalist perspective which has been neglected in the insistence on an inward domestic approach to the identity of Canada as a nation.

Author Keywords: Canada, Capitalism, Marxism, Media, Neoimperialism, Propaganda

Crutzen and Stoermer's (2000) announcement of the Anthropocene draws attention to the agentic nature of the nonhuman world as it appears to be striking back against human intervention through an environmental crisis that is threatening humans and nonhumans alike. Their narrative reveals complex relationalities where humans are now revealed to beinseparable from the nonhuman world and both the material and discursive nature of their practices (historical, social, economic, and political) prove to be central to (re)shaping the earth, causing climate change, species extinctions as well as racism, sexism, and slavery. Rising sea levels is an important aspect of climate change that threatens major coastal places with disappearance. My dissertation offers a new approach that uses Karen Barad's (2003; 2007; 2017) agential realism and diffractive methodology to study a place called Lyme Regis – a town in west Dorset, England, threatened with disappearance as a result of rising sea levels caused by climate change – as an agential phenomenon shaped by complex multilayered material-discursive practices (political, economic, scientific, and social). Whereas current research on Barad's philosophy mainly focuses on discussions about the theory: explaining, critiquing, or defending (Gandorfer 2021; Lettow 2017; Graham 2016; Segal 2014; Geerts 2013; 2016; 2021; van der Tuin 2011; Alaimo and Hekman 2008; Rouse 2004 and more ), my project is the first ethico-political study of a place, Lyme, that applies Barad's agential realist perspective by engaging the activism of Barad's concept of "re-membering." The processual nature of the concept is particularly relevant today since its nonlinear understanding of time allows me to see how past violent material and discursive practices (racism, sexism, and slavery) at Lyme unfolds in the present troubled time of the Anthropocene. This process of re-membering that I undertake in this study involves concurrently examining the overlapping historical, economic, scientific, literary, and geological intra-acting practices through a method that Barad describes as diffractive reading. I rethink these practices in their relation to material practices and illuminate multiple layers of meaning and relationalities that constitute Lyme as an agential phenomenon, unsettling boundaries between humans and nonhumans, epistemology and ontology, material and discursive practices as well as boundaries between scientific, historical, cultural, and literary aspects of life. Therefore, within the context of the Anthropocene, chapter one rethinks how the scientific discourse (re)shapes nature and demonstrates how prioritizing the needs of human over nonhuman inhabitants in the name of saving Lyme could entail the destruction of both. Chapter two rethinks the dehumanizing and marginalizing effect of the scientific discourse by illuminating the agentic role of Mary Anning and Saartjie Baartman in the apparatus of scientific knowledge production that earned Lyme its heritage status. Finally, chapter three rethinks the entangled nature of scientific and literary practices, arguing for an agential realist account of the sublime that celebrates Lyme as a place of transformative human-nonhuman kinship based on Austen's elaborate depiction in Persuasion (1817). This reading shows science and literature as material-discursive practices operating along the unsettled boundaries between the novel and everyday life, allowing us to rethink Austen's writing as a process in constant flux.

Author Keywords: Agential Realism, Anthropocene, Diffractive Methodology, Lyme Regis, Persuasion, Posthumanist Sublime

Memorable Movie Watching: Viewer Ruminations about Memory in Four Canadian Films and their IMDb User Reviews explores how four Canadian films released in the decade around the turn of the millennium tell stories of memory and remembering, and how User Reviewers writing on the IMDb.com engage with, respond to, and re–remember those narratives filtered through their own remembered personal experiences. It embraces a new form of audience research by analyzing films alongside voluntary viewer contributions in order to bring these viewers' voices into the conversation about memory in film and specifically Canadian film.Lilies (John Greyson, 1996), The Hanging Garden (Thom Fitzgerald, 1997), Marion Bridge (Wiebke Von Carolsfeld, 2002), and My Winnipeg (Guy Maddin, 2007) are each fiction films that focus on the main character's deeply personal childhood memories. A textual analysis of the four films reveals trends in how the filmmakers create memory explorations and memory works [works based on memory] in Canadian film. A further textual and thematic analysis of the IMDb's 117 User Reviews for these four films reveals how viewers engage with what I term memory narratives and the personal memories these films spark. The four films respectively privilege, through narrative and filmic techniques, each protagonist's telling of remembered childhood events. Yet when User Reviewers of the films comment on the protagonist's remembered childhood events, they choose to contest them, citing the unreliability of the remembered and of memory itself. User Reviewers interrogate the film narratives against their own personal experience, all the while asserting that there is significance to be found in the process of remembering. For User Reviewers, this process of remembering involves engaging with the film and then writing about their memories of watching the film and its narrative through their own sparked memories. In this process, they dig for significant meaning even though Users rarely articulate that meaning or specify for whom it is meaningful. In their writing, Users do reveal their own thoughts and beliefs about Canadian film, as well as their knowledge of filmmakers, related texts, Canadian locations, and their own childhood and youth experiences. Key words Memory, Remembering, Canadian Film, User generated content, Audience, Viewer, Thom Fitzgerald, John Greyson, Guy Maddin, Wiebke von Carolsfeld Content Warning Please note: the memory stories depicted in these films, discussed in the User Reviews and in this dissertation are extremely disturbing and may be upsetting to the reader.

Author Keywords: Audience, Canadian Film, Memory, Social Media, User Generated Content, Viewer

As a result of the COVID-19 pandemic, print death notices have increased in number, length, and deviations, often as the only form of public recognition for the deceased. This thesis provides close readings through feminist and anti-ageist lenses of ninety print death notices, published in The Peterborough Examiner and Peterborough This Week between October 2019 and October 2021. These readings inform and illustrate the deindividualization of older women in death notices as the product not only of the limitations of language and format, but of a community that panders to regional public interests and traditional ageist tropes of femininity to create worthy public subjects. An exploration of ambiguities, contradictions, and overdeterminations that break with conventions of death notices reveals unintentional makeovers, deindividualization, and the sidelining of older women as subjects of their own memorials and photos in an extension of the systemic and internalized gendered ageism older women experience in life.

Author Keywords: Ageism, COVID-19, Death Notices, Deindividualization of Women, Feminism, Older Women

This thesis examines how co-creators Kelly Sue DeConnick and Valentine De Landro's 2014 graphic work, Bitch Planet, is in all conceivable ways a seminal and prescient example of — to use their term — "non-compliance" in the comics form and industry. From its inception as a feminist dystopia, written by a white woman and illustrated by a Black man, in an industry that is over-represented by white men, Bitch Planet is a prime example of activist comics that is situated perfectly within the "Blue Age" of comics, to use the term coined by comic scholar Adrienne Resha. This is evident in the main narrative of Bitch Planet in which, in an industry still over-represented by white characters, the main cast of characters are four Black women and one Japanese-American woman, each of whom we see come up against a theologically patriarchal white supremacist system that imprisons them for crimes that are gendered, racialized, classist and ableist. DeConnick and De Landro's collaboration with other artists extends from Laurenn McCubbin's satirical paratextual in-universe advertisements on the back page of each comic which complement Bitch Planet's main narrative to an invitation to world- building to the greater comic community, allowing creators with marginalized identities to craft short comic stories that satirically and deeply explore the socio-political issues developed in the main narrative of Bitch Planet. The final act of "non-compliance" comes out of the expansion of authorship of Bitch Planet to the readership via the letters pages, and beyond: highlighting readers' Twitter messages, connecting with them through Tumblr, and posting pictures of fan "non-compliant" tattoos within the pages of Bitch Planet.

Author Keywords: Bitch Planet, comics, critical race studies, dystopia , gender studies, intersectional feminism

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

This thesis is an attempt to explore the role that musical texts played in the development of a public by writing a work of fiction and then applying to it a critical exegesis. Part One, the literary text Some Of This Is True, (re-)creates and remembers punk in its iteration in Regina, Saskatchewan, in the late 1970s. Part two, the critical exegesis, examines how the theories of public formation outlined in Michael Warner's Publics and Counterpublics can partially explain the creation and behaviour of publics, but not entirely. Similarly Mikhail Bahktin's theory of carnival helps explain punk, but not entirely. Some gaps can be filled partly with theory borrowed from art history that reveals useful links between punk and Continental art movements; Michel Foucault's concept of heterotopia fills other gaps. Literature fills the rest.

Author Keywords: Creative Writing, Heterotopia, Michael Warner, Michel Foucault, Mikhail Bakhtin, Punk & Punks