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Washington University in St. Louis
1.
Nordine, Kelsey Olivia.
Building Communities: Interpreting Oneota and Mississipppian Interaction Through Paleoethnobotanical Analysis at the Morton Village Site (11F2), West-Central Illinois.
Degree: PhD, Anthropology, 2020, Washington University in St. Louis
URL: https://openscholarship.wustl.edu/art_sci_etds/2225
► Archaeological investigations of social interaction at the community level provide insight into the daily lives of past people and the social structures that guide these…
(more)
▼ Archaeological investigations of social interaction at the community level provide insight into the daily lives of past people and the social structures that guide these community-level interactions. This dissertation uses paleoethnobotanical analysis to examine the nature of social identity negotiation and community at the site-level scale, using data from excavations at the Morton Village site (11F2). Morton Village is a Bold Counselor Oneota and Mississippian settlement in the Central Illinois River Valley (CIRV), occupied contemporaneously by both groups in the 14th century and identified as a multiethnic or multicultural village through the presence of two distinct types of ceramic remains. This dissertation examines Morton Village as the site of a multicultural community in the CIRV, and uses paleoethnobotanical data to investigate how social identities of Mississippian and Oneota villagers were negotiated. Paleoethnobotanical perspectives on issues of community and identity have much to offer archaeological understandings of these concepts. Plant use for food, medicine, construction, ritual or ceremony, and trading reflects the beliefs, choices, and traditions of past people at both daily domestic and ceremonial or ritual levels. Food is a salient aspect of identity and choices pertaining to food and cuisine can reflect membership in a social group through patterns of planting, harvesting, preparation, consumption, and discard. This study presents an analysis of plant remains from pit features external to structures and a feasting context, and provides an in-depth analysis of one particularly important taxon, tobacco. Specifically, this study addresses plant use variability among and between Oneota and Mississippian villagers in both domestic and special contexts to aid in understanding the role of food in social interaction at Morton Village, and to generate narratives of multicultural interaction at the community level. Results of this research indicate that Morton villagers, both Oneota and Mississippian, used similar plant taxa as part of daily and ceremonial life, but nuanced differences in plant use between groups is reported and analyzed. The data presented by this dissertation help to define Morton Village as a community in the sense that Morton Village is not a bounded, archaeological entity containing the remains of two separate material cultures, but is a dynamic social space where villagers of both Mississippian and Oneota affiliation actively negotiated their social roles and beliefs.
Advisors/Committee Members: T.R. Kidder, Gayle J. Fritz, Xinyi Liu, Helina Woldekiros, John E. Kelly.
Subjects/Keywords: Paleoethnobotany; History of Art, Architecture, and Archaeology
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APA (6th Edition):
Nordine, K. O. (2020). Building Communities: Interpreting Oneota and Mississipppian Interaction Through Paleoethnobotanical Analysis at the Morton Village Site (11F2), West-Central Illinois. (Doctoral Dissertation). Washington University in St. Louis. Retrieved from https://openscholarship.wustl.edu/art_sci_etds/2225
Chicago Manual of Style (16th Edition):
Nordine, Kelsey Olivia. “Building Communities: Interpreting Oneota and Mississipppian Interaction Through Paleoethnobotanical Analysis at the Morton Village Site (11F2), West-Central Illinois.” 2020. Doctoral Dissertation, Washington University in St. Louis. Accessed March 08, 2021.
https://openscholarship.wustl.edu/art_sci_etds/2225.
MLA Handbook (7th Edition):
Nordine, Kelsey Olivia. “Building Communities: Interpreting Oneota and Mississipppian Interaction Through Paleoethnobotanical Analysis at the Morton Village Site (11F2), West-Central Illinois.” 2020. Web. 08 Mar 2021.
Vancouver:
Nordine KO. Building Communities: Interpreting Oneota and Mississipppian Interaction Through Paleoethnobotanical Analysis at the Morton Village Site (11F2), West-Central Illinois. [Internet] [Doctoral dissertation]. Washington University in St. Louis; 2020. [cited 2021 Mar 08].
Available from: https://openscholarship.wustl.edu/art_sci_etds/2225.
Council of Science Editors:
Nordine KO. Building Communities: Interpreting Oneota and Mississipppian Interaction Through Paleoethnobotanical Analysis at the Morton Village Site (11F2), West-Central Illinois. [Doctoral Dissertation]. Washington University in St. Louis; 2020. Available from: https://openscholarship.wustl.edu/art_sci_etds/2225

College of William and Mary
2.
Jackson, Julianna Geralynn.
The Octagon House and Mount Airy: Exploring the Intersection of Slavery, Social Values, and Architecture in 19th-Century Washington, DC and Virginia.
Degree: MA, Anthropology, 2017, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1516639577
► This project uses archaeology, architecture, and the documentary record to explore the ways in which one family, the Tayloes, used Georgian design principals as a…
(more)
▼ This project uses archaeology, architecture, and the documentary record to explore the ways in which one family, the Tayloes, used Georgian design principals as a way of exerting control over the 19th-century landscape. This project uses two Tayloe homes as the units of study and investigates architectural choices at the Octagon House in Washington, DC, juxtaposed with its Richmond County, Virginia counterpart, Mount Airy, to examine architectural features and contexts of slavery on the landscape. Archaeological site reports, building plans, city maps, and various historic documents are used to identify contexts of slavery and explore the relationship between slavery, social values, and architecture at the Octagon House and Mount Airy, as well as look critically at the function of Georgian architectural features in 19th-century society.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA (6th Edition):
Jackson, J. G. (2017). The Octagon House and Mount Airy: Exploring the Intersection of Slavery, Social Values, and Architecture in 19th-Century Washington, DC and Virginia. (Masters Thesis). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1516639577
Chicago Manual of Style (16th Edition):
Jackson, Julianna Geralynn. “The Octagon House and Mount Airy: Exploring the Intersection of Slavery, Social Values, and Architecture in 19th-Century Washington, DC and Virginia.” 2017. Masters Thesis, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1516639577.
MLA Handbook (7th Edition):
Jackson, Julianna Geralynn. “The Octagon House and Mount Airy: Exploring the Intersection of Slavery, Social Values, and Architecture in 19th-Century Washington, DC and Virginia.” 2017. Web. 08 Mar 2021.
Vancouver:
Jackson JG. The Octagon House and Mount Airy: Exploring the Intersection of Slavery, Social Values, and Architecture in 19th-Century Washington, DC and Virginia. [Internet] [Masters thesis]. College of William and Mary; 2017. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1516639577.
Council of Science Editors:
Jackson JG. The Octagon House and Mount Airy: Exploring the Intersection of Slavery, Social Values, and Architecture in 19th-Century Washington, DC and Virginia. [Masters Thesis]. College of William and Mary; 2017. Available from: https://scholarworks.wm.edu/etd/1516639577

College of William and Mary
3.
Chapman, Ellen Luisa.
Buried Beneath The River City: Investigating An Archaeological Landscape and its Community Value in Richmond, Virginia.
Degree: PhD, Anthropology, 2018, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1530192695
► Richmond, Virginia, located along the fall line of the James River, was an important political boundary during prehistory; was established as an English colonial town…
(more)
▼ Richmond, Virginia, located along the fall line of the James River, was an important political boundary during prehistory; was established as an English colonial town in 1737; and was a center of the interstate slave trade and the capitol of the Confederacy during the nineteenth century. Although Richmond holds a prominent place in the narrative of American and Virginia history, the city’s archaeological resources have received incredibly little attention or preservation advocacy. However, in the wake of a 2013 proposal to construct a baseball stadium in the heart of the city’s slave trading district, archaeological sensitivity and vulnerability became a political force that shaped conversations around the economic development proposal and contributed to its defeat. This dissertation employs archival research and archaeological ethnography to study the variable development of Richmond’s archaeological value as the outcome of significant racial politics, historic and present inequities, trends in academic and commercial archaeology, and an imperfect system of archaeological stewardship. This work also employs spatial sensitivity analysis and studies of archaeological policy to examine how the city’s newly emerging awareness of archaeology might improve investigation and interpretation of this significant urban archaeological resource. This research builds upon several bodies of scholarship: the study of urban heritage management and municipal archaeology; the concept of archaeological ethnography; and anthropological studies into how value should be defined and identified. It concludes that Richmond’s archaeological remains attract attention and perceived importance in part through their proximity and relation to other political and moral debates within the city, but that in some cases political interests ensnare archaeological meaning or inhibit interest in certain archaeological subjects. This analysis illuminates how archaeological materiality and the history of Richmond’s preservation movements has created an interest in using archaeological investigations as a tool for restorative justice to create a more equitable historic record. Additionally, it studies the complexity of improving American urban archaeological stewardship within a municipal system closely connected with city power structures.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
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APA (6th Edition):
Chapman, E. L. (2018). Buried Beneath The River City: Investigating An Archaeological Landscape and its Community Value in Richmond, Virginia. (Doctoral Dissertation). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1530192695
Chicago Manual of Style (16th Edition):
Chapman, Ellen Luisa. “Buried Beneath The River City: Investigating An Archaeological Landscape and its Community Value in Richmond, Virginia.” 2018. Doctoral Dissertation, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1530192695.
MLA Handbook (7th Edition):
Chapman, Ellen Luisa. “Buried Beneath The River City: Investigating An Archaeological Landscape and its Community Value in Richmond, Virginia.” 2018. Web. 08 Mar 2021.
Vancouver:
Chapman EL. Buried Beneath The River City: Investigating An Archaeological Landscape and its Community Value in Richmond, Virginia. [Internet] [Doctoral dissertation]. College of William and Mary; 2018. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1530192695.
Council of Science Editors:
Chapman EL. Buried Beneath The River City: Investigating An Archaeological Landscape and its Community Value in Richmond, Virginia. [Doctoral Dissertation]. College of William and Mary; 2018. Available from: https://scholarworks.wm.edu/etd/1530192695

College of William and Mary
4.
Lightfoot, Dessa Elizabeth.
“God Sends Meat and the Devil Sends Cooks”: Meat Usage and Cuisine in Eighteenth-Century English Colonial America.
Degree: PhD, Anthropology, 2018, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1530192810
► American cuisines did not develop in isolation, but instead were influenced by a constant flow of information, individuals, and material culture between the colonies and…
(more)
▼ American cuisines did not develop in isolation, but instead were influenced by a constant flow of information, individuals, and material culture between the colonies and the rest of the Atlantic world. These, in turn, interacted with the specific agricultural, social, and economic conditions and goals of residents in each colony. Food was a powerful symbol of identity in the English world in the eighteenth century, and printed English cookery books were widely available. What colonists ate, however, also reflected what was locally available, and resources could vary significantly between colonies. Meat usage is one aspect of cuisine that is directly observable in the archaeological record. This study employs a multidisciplinary approach to investigate the utility of printed eighteenth-century English cookery books to model and predict meat usage in the British American colonies, and to explore if or how meat usage and the larger cuisine varied from
colony to colony. to do so, archaeologically-recovered faunal materials from sites in colonial Connecticut and colonial Virginia were compared against a model of meat usage constructed from a rigorous textual analysis of several popular printed cookery books and other texts available to colonists in the eighteenth century. The central aims of this research are to establish a baseline understanding of colonial American meat cuisine to allow for assessments of the ways the cuisine of the American colonists varied from their English peers, and to contextualize colonial British America cuisine in the ecological, political, and social worlds of eighteenth century Anglo-America.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
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APA (6th Edition):
Lightfoot, D. E. (2018). “God Sends Meat and the Devil Sends Cooks”: Meat Usage and Cuisine in Eighteenth-Century English Colonial America. (Doctoral Dissertation). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1530192810
Chicago Manual of Style (16th Edition):
Lightfoot, Dessa Elizabeth. ““God Sends Meat and the Devil Sends Cooks”: Meat Usage and Cuisine in Eighteenth-Century English Colonial America.” 2018. Doctoral Dissertation, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1530192810.
MLA Handbook (7th Edition):
Lightfoot, Dessa Elizabeth. ““God Sends Meat and the Devil Sends Cooks”: Meat Usage and Cuisine in Eighteenth-Century English Colonial America.” 2018. Web. 08 Mar 2021.
Vancouver:
Lightfoot DE. “God Sends Meat and the Devil Sends Cooks”: Meat Usage and Cuisine in Eighteenth-Century English Colonial America. [Internet] [Doctoral dissertation]. College of William and Mary; 2018. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1530192810.
Council of Science Editors:
Lightfoot DE. “God Sends Meat and the Devil Sends Cooks”: Meat Usage and Cuisine in Eighteenth-Century English Colonial America. [Doctoral Dissertation]. College of William and Mary; 2018. Available from: https://scholarworks.wm.edu/etd/1530192810

College of William and Mary
5.
Johnson, Patrick.
Vengeance with Mercy: Changing Traditions and Traditional Practices of Colonial Yamasees.
Degree: PhD, Anthropology, 2018, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1530192790
► This dissertation argues that colonial Yamasee communities moved hundreds of miles throughout the present-day Southeastern United States, often to gain influence, and maintained traditions such…
(more)
▼ This dissertation argues that colonial Yamasee communities moved hundreds of miles throughout the present-day Southeastern United States, often to gain influence, and maintained traditions such as names they more closely associated with their ethnicity and authority than ceramics. Self-identification by Yamasees in censuses, speeches, and letters for a century and archaeological evidence from multiple towns allows me to analyze multiple expressions of their identity. their rich rhetoric demonstrates the mechanics of authority—they dictated terms to Europeans and other Native Americans by balancing between, in their words, vengeance and mercy. I focus on a letter and tattoo from a warrior called Caesar Augustus who justified his valor and the writings of a diplomat named andres Escudero who justified retribution. Combined, these and other leaders demonstrate the flexibility in their offices of authority. their political rhetoric—both ritual speech
understood throughout the region as well as their specific titles and town names—demonstrates continuities between the sixteenth and eighteenth centuries. In addition, multiple movements of Yamasee communities across hundreds of miles demonstrates their agency and connections to their neighbors. These movements allowed Yamasees to dictate terms to Europeans and maintain town names, signs, and rhetoric for centuries. However, as a result of these community movements, Yamasees adopted the ceramic traditions of their neighbors. Considering the authority and ethnicity of Yamasees in their own words allows analysis of continuity and change in Yamasee landscapes of ceramic practice in Georgia, South Carolina, and Florida. More specifically, I analyzed materials from my own excavations at Mission San Antonio de Punta Rasa in Pensacola, Florida as well as assemblages excavated by the City of St. Augustine Archaeology Program and in South Carolina by Brockington and Associates. I quantify the
extent to which Yamasees adopted the ceramic practices of their neighbors, including Guale, Mocama, Timucua, Apalachee, and Creek Indians. In a sense, this material flexibility reflects the very mobility and social connections that allowed them to maintain geopolitical influence. However, given their authority in Spanish documents and at times invisibility in the archaeological record, Yamasees show only indirect connections between authority and daily ceramic practice. Further, these ceramic practices, as well as Yamasee multilingualism, represent hybrid practices between multiple Native American groups rather than the influence of Europeans.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
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Manager
APA (6th Edition):
Johnson, P. (2018). Vengeance with Mercy: Changing Traditions and Traditional Practices of Colonial Yamasees. (Doctoral Dissertation). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1530192790
Chicago Manual of Style (16th Edition):
Johnson, Patrick. “Vengeance with Mercy: Changing Traditions and Traditional Practices of Colonial Yamasees.” 2018. Doctoral Dissertation, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1530192790.
MLA Handbook (7th Edition):
Johnson, Patrick. “Vengeance with Mercy: Changing Traditions and Traditional Practices of Colonial Yamasees.” 2018. Web. 08 Mar 2021.
Vancouver:
Johnson P. Vengeance with Mercy: Changing Traditions and Traditional Practices of Colonial Yamasees. [Internet] [Doctoral dissertation]. College of William and Mary; 2018. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1530192790.
Council of Science Editors:
Johnson P. Vengeance with Mercy: Changing Traditions and Traditional Practices of Colonial Yamasees. [Doctoral Dissertation]. College of William and Mary; 2018. Available from: https://scholarworks.wm.edu/etd/1530192790

College of William and Mary
6.
Beaupre, andrew Robert.
Creating the Border: Defining, Enforcing and Reasserting Physical and Ethnic Borderzone Spaces during the 16th, 17th and 18th Centuries in the Lake Champlain Richelieu River Valley.
Degree: PhD, Anthropology, 2017, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1516639574
► This dissertation examines the creation of space and place in a border region through a historically grounded, multi-scalar approach to spatiality. The work draws upon…
(more)
▼ This dissertation examines the creation of space and place in a border region through a historically grounded, multi-scalar approach to spatiality. The work draws upon the pre- and post-contact archaeology of the Lake Champlain Richelieu River Corridor, a historically contested waterway where the states of Vermont, and New York meet the Canadian Province of Québec. This is a region that has played host to countless complex cultural interactions between Native American/First Nation groups and Europeans of various cultural and national identities A tripartite model for multi-scalar study of space and place creation is presented and applied to the political and social history Native and European conflict and comprise. The model stipulates that the construction of space consists of three facets, cognitive, material and social spaces. The interaction between these three aspects of spatial creation allows for places to be constructed and identified as holding cultural significance. The study is multi-scalar in respect to both scope of analysis and time. In respect to scope, archaeological analyses are undertaken at the region, site and artifact levels. The model is multiscalar in respect to time, examining the topics of study diachronically, tracing the production of space through time. Each temporally specific examination begins with a discussion of pertinent social mores and constructs as they effect the cognitive space created. The archaeological record is then analyzed to ascertain how cognitive spaces are manifest on the landscape. This built environment augmentation to the landscape is referred to as material space. Finally, the social space, consisting of the relationships between active agents and their material space is examined. The model postulates that it is the social space interactions between cognitive and material spaces that allows for the construction of place. The work often engages in critiques of an Anglo-centric bias in American history to offer a more balanced approach to the historical investigation of a complex borderzone.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Beaupre, a. R. (2017). Creating the Border: Defining, Enforcing and Reasserting Physical and Ethnic Borderzone Spaces during the 16th, 17th and 18th Centuries in the Lake Champlain Richelieu River Valley. (Doctoral Dissertation). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1516639574
Chicago Manual of Style (16th Edition):
Beaupre, andrew Robert. “Creating the Border: Defining, Enforcing and Reasserting Physical and Ethnic Borderzone Spaces during the 16th, 17th and 18th Centuries in the Lake Champlain Richelieu River Valley.” 2017. Doctoral Dissertation, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1516639574.
MLA Handbook (7th Edition):
Beaupre, andrew Robert. “Creating the Border: Defining, Enforcing and Reasserting Physical and Ethnic Borderzone Spaces during the 16th, 17th and 18th Centuries in the Lake Champlain Richelieu River Valley.” 2017. Web. 08 Mar 2021.
Vancouver:
Beaupre aR. Creating the Border: Defining, Enforcing and Reasserting Physical and Ethnic Borderzone Spaces during the 16th, 17th and 18th Centuries in the Lake Champlain Richelieu River Valley. [Internet] [Doctoral dissertation]. College of William and Mary; 2017. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1516639574.
Council of Science Editors:
Beaupre aR. Creating the Border: Defining, Enforcing and Reasserting Physical and Ethnic Borderzone Spaces during the 16th, 17th and 18th Centuries in the Lake Champlain Richelieu River Valley. [Doctoral Dissertation]. College of William and Mary; 2017. Available from: https://scholarworks.wm.edu/etd/1516639574

College of William and Mary
7.
Victor, Megan Rhodes.
On The Table and Under It: Social Negotiation & Drinking Spaces in Frontier Resource Extraction Communities.
Degree: PhD, Anthropology, 2018, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1530192698
► Current research on frontiers describe these spaces as zones of meeting, interaction, dynamism, and change. Further, the geographic, ecological, economic, and political processes that are…
(more)
▼ Current research on frontiers describe these spaces as zones of meeting, interaction, dynamism, and change. Further, the geographic, ecological, economic, and political processes that are inherent within these locales shape them, rendering them far from static. These current scholars of frontier theory have sought to fight the image of frontier spaces as locations needing civilization, which is how they used to be approached. They have also stressed the presence of frontier locales outside of the United States, which was the focus of Frederick Jackson Turner's seminal work. Leonard Thompson and Howard Lamar, two prominent figures in the New West approach to frontier theory, argue that the only effective way to study frontiers is to do so through the use of comparative studies. While comparative studies are common in cultural anthropological research on frontiers in North America, the extant archaeology done has not taken a comparative approach nearly as often. My study takes steps toward reintroducing a comparative approach to frontier archaeology. examine the way that the actions of frontier inhabitants (including negotiation, conflict, and cohesion) combined with geographic and ecological factors within two specific locations: Smuttynose Island, Maine, and Highland City, Montana. to make the comparison across space and time between these two locations, I analyze them through the framework of informal economy, trade and exchange networks and the negotiation of social capital through commensal politics. I argue that the inhabitants of frontier settlements interact with the processes at work within frontier zones in such similar ways that it materializes in the archaeological record. I explore tavern assemblages left behind by these frontier inhabitants, with a specific focus on ceramics and glass. Through an examination of the drinking spaces within both settlements, I shed light on the microeconomics of these two locales and of frontier spaces more broadly.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Victor, M. R. (2018). On The Table and Under It: Social Negotiation & Drinking Spaces in Frontier Resource Extraction Communities. (Doctoral Dissertation). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1530192698
Chicago Manual of Style (16th Edition):
Victor, Megan Rhodes. “On The Table and Under It: Social Negotiation & Drinking Spaces in Frontier Resource Extraction Communities.” 2018. Doctoral Dissertation, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1530192698.
MLA Handbook (7th Edition):
Victor, Megan Rhodes. “On The Table and Under It: Social Negotiation & Drinking Spaces in Frontier Resource Extraction Communities.” 2018. Web. 08 Mar 2021.
Vancouver:
Victor MR. On The Table and Under It: Social Negotiation & Drinking Spaces in Frontier Resource Extraction Communities. [Internet] [Doctoral dissertation]. College of William and Mary; 2018. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1530192698.
Council of Science Editors:
Victor MR. On The Table and Under It: Social Negotiation & Drinking Spaces in Frontier Resource Extraction Communities. [Doctoral Dissertation]. College of William and Mary; 2018. Available from: https://scholarworks.wm.edu/etd/1530192698

College of William and Mary
8.
Makin, Douglas.
Zone-Decorated Pots at the Hatch Site (44Pg51): a Late Woodland Manifestation of an Ancient Tradition.
Degree: MA, Anthropology, 2018, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1550154002
► Excavated in the 1970s and 80s by Lefty Gregory, the Hatch site is arguably among the most significant precolonial archaeology sites in the Commonwealth of…
(more)
▼ Excavated in the 1970s and 80s by Lefty Gregory, the Hatch site is arguably among the most significant precolonial archaeology sites in the Commonwealth of Virginia. Though the collection sat in storage for decades, it recently became accessible to researchers. The thorough excavation combined with abundant radiocarbon data allow the historical narrative of this magnificent site to come into focus. an unusual place, hidden in a remote location, the Hatch site witnessed at least 600 years of regularly occurring ritualized gatherings. These gatherings involved the sacrifice and internment of dogs as well as elaborate feasts on both estuarine and terrestrial resources. This study focuses on the ornate zone-decorated pottery found at the Hatch site. This unusual ceramic type originated in the Delaware River Valley during the second half of the Middle Woodland period. It appeared at the Hatch site during the Late Woodland period when Native people used it in the largest and most elaborate of these feasting rituals. This thesis presents the precolonial history of the Hatch site and discusses the place of zone-decorated pots within this narrative.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Makin, D. (2018). Zone-Decorated Pots at the Hatch Site (44Pg51): a Late Woodland Manifestation of an Ancient Tradition. (Masters Thesis). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1550154002
Chicago Manual of Style (16th Edition):
Makin, Douglas. “Zone-Decorated Pots at the Hatch Site (44Pg51): a Late Woodland Manifestation of an Ancient Tradition.” 2018. Masters Thesis, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1550154002.
MLA Handbook (7th Edition):
Makin, Douglas. “Zone-Decorated Pots at the Hatch Site (44Pg51): a Late Woodland Manifestation of an Ancient Tradition.” 2018. Web. 08 Mar 2021.
Vancouver:
Makin D. Zone-Decorated Pots at the Hatch Site (44Pg51): a Late Woodland Manifestation of an Ancient Tradition. [Internet] [Masters thesis]. College of William and Mary; 2018. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1550154002.
Council of Science Editors:
Makin D. Zone-Decorated Pots at the Hatch Site (44Pg51): a Late Woodland Manifestation of an Ancient Tradition. [Masters Thesis]. College of William and Mary; 2018. Available from: https://scholarworks.wm.edu/etd/1550154002

College of William and Mary
9.
Brown, Brittany.
Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl.
Degree: PhD, Anthropology, 2018, College of William and Mary
URL: https://scholarworks.wm.edu/etd/1550154005
► The end of slavery in North America presented an opportunity for African Americans in Jacksonville, Florida to reinvent themselves. The reconstruction era brought about new…
(more)
▼ The end of slavery in North America presented an opportunity for African Americans in Jacksonville, Florida to reinvent themselves. The reconstruction era brought about new social, political, and economic opportunities for African Americans living in Jacksonville. Despite the failure of Reconstruction and the implementation of Jim Crow, Jacksonville gave birth to a vibrant African American aristocracy. Jacksonville's Black elite comprised of doctors, lawyers, morticians, religious leaders, business people and other professionals. Jacksonville's Black elite thrived in the early half of the twentieth century, many of them used their knowledge and skills to contribute to the social and economic development of Jacksonville's African American community. During this period, Jacksonville's African American aristocracy provided their community with legal protection, healthcare, vocational training, employment opportunities, goods, and other critical services such as life insurance and burial. This study centers on a historical African American cemetery cluster that was established during the early twentieth century by Jacksonville's Black aristocrats. This cemetery cluster consists of four cemeteries which include: Pinehurst, Mount Olive, Sunset Memorial, and Memorial. This cluster is located on the Northside of Jacksonville city, along the intersecting roads of 45th street and Moncrief road, and contains an estimated 70,000 African American burials. I argue that this cemetery is reflective of the social, political, and economic changes undergone by Jacksonville's African American community.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA (6th Edition):
Brown, B. (2018). Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl. (Doctoral Dissertation). College of William and Mary. Retrieved from https://scholarworks.wm.edu/etd/1550154005
Chicago Manual of Style (16th Edition):
Brown, Brittany. “Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl.” 2018. Doctoral Dissertation, College of William and Mary. Accessed March 08, 2021.
https://scholarworks.wm.edu/etd/1550154005.
MLA Handbook (7th Edition):
Brown, Brittany. “Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl.” 2018. Web. 08 Mar 2021.
Vancouver:
Brown B. Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl. [Internet] [Doctoral dissertation]. College of William and Mary; 2018. [cited 2021 Mar 08].
Available from: https://scholarworks.wm.edu/etd/1550154005.
Council of Science Editors:
Brown B. Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl. [Doctoral Dissertation]. College of William and Mary; 2018. Available from: https://scholarworks.wm.edu/etd/1550154005

University of Wisconsin – Milwaukee
10.
Teubner, Nina.
Made You Look: Chicano Experience, Graphic Identity and Agency in Pilsen Murals.
Degree: MA, Art History, 2013, University of Wisconsin – Milwaukee
URL: https://dc.uwm.edu/etd/767
► This paper examines three different types of Mexican-identified murals in the Pilsen neighborhood of Chicago, Illinois. Using three murals as a case-study, Francisco Mendoza…
(more)
▼ This paper examines three different types of Mexican-identified murals in the Pilsen neighborhood of Chicago, Illinois. Using three murals as a case-study, Francisco Mendoza and Gallery 37, 1710 West 18th Street, Chicago, 1998, Hector Duarte's Gulliver in Wonderland, 1900 West Cullterton, Chicago, 2005 and Jeff Zimmerman Unbelievable the Things You See, South Ashland Ave & West 19th St Chicago completed 1998, this paper examines the artistic process, formal aspects and graphic identity, and function and continuing role of each mural.
Advisors/Committee Members: Kenneth Bendiner, Jennifer Johung.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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MLA ·
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to Zotero / EndNote / Reference
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APA (6th Edition):
Teubner, N. (2013). Made You Look: Chicano Experience, Graphic Identity and Agency in Pilsen Murals. (Thesis). University of Wisconsin – Milwaukee. Retrieved from https://dc.uwm.edu/etd/767
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Teubner, Nina. “Made You Look: Chicano Experience, Graphic Identity and Agency in Pilsen Murals.” 2013. Thesis, University of Wisconsin – Milwaukee. Accessed March 08, 2021.
https://dc.uwm.edu/etd/767.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Teubner, Nina. “Made You Look: Chicano Experience, Graphic Identity and Agency in Pilsen Murals.” 2013. Web. 08 Mar 2021.
Vancouver:
Teubner N. Made You Look: Chicano Experience, Graphic Identity and Agency in Pilsen Murals. [Internet] [Thesis]. University of Wisconsin – Milwaukee; 2013. [cited 2021 Mar 08].
Available from: https://dc.uwm.edu/etd/767.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Teubner N. Made You Look: Chicano Experience, Graphic Identity and Agency in Pilsen Murals. [Thesis]. University of Wisconsin – Milwaukee; 2013. Available from: https://dc.uwm.edu/etd/767
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Wisconsin – Milwaukee
11.
Erdman, Selena.
Fluid Lines: Tracing Ryakuga-Shiki in Japan and France.
Degree: MA, Art History, 2018, University of Wisconsin – Milwaukee
URL: https://dc.uwm.edu/etd/1792
► Rykuga-shiki, or ‘abbreviated picture style,’ woodblock prints were first published and circulated widely in Edo period Japan (1615-1868). The style, created and popularized by…
(more)
▼ Rykuga-shiki, or ‘abbreviated picture style,’ woodblock prints were first published and circulated widely in Edo period Japan (1615-1868). The style, created and popularized by Kitao Keisai Masayoshi (1764-1824) was not only admired and studied in its own time, but these Japanese ukiyo-e prints continued to influence style in the West. The work of artists in Paris, Henri de Toulouse-Lautrec (1864-1901) and Henri-Gabriel Ibels (1867-1936) present undeniable similarities (both in style and
subject matter) with the ryakuga-shiki. Rarely studied and exhibited, the ryakuga-shiki are a part of the story of japonisme in France. This exhibition presents these prints in the context of work by Lautrec and Ibels for the first time, arguing that the French artists were indeed familiar on some level with and influenced by Keisai’s work. Beyond the obvious stylistic borrowings, the appropriation of Japanese prints styles and
subject matter and their translation into French works has far more problematic cultural implications. By examining the legacy of the ryakuga-shiki beyond Japan, this exhibition and catalogue provide an opportunity to explore what it means to imitate and appropriate, collect, and value artwork from cultures that are not one’s own.
Advisors/Committee Members: Sarah Schaefer, Katherine Wells.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Erdman, S. (2018). Fluid Lines: Tracing Ryakuga-Shiki in Japan and France. (Thesis). University of Wisconsin – Milwaukee. Retrieved from https://dc.uwm.edu/etd/1792
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Erdman, Selena. “Fluid Lines: Tracing Ryakuga-Shiki in Japan and France.” 2018. Thesis, University of Wisconsin – Milwaukee. Accessed March 08, 2021.
https://dc.uwm.edu/etd/1792.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Erdman, Selena. “Fluid Lines: Tracing Ryakuga-Shiki in Japan and France.” 2018. Web. 08 Mar 2021.
Vancouver:
Erdman S. Fluid Lines: Tracing Ryakuga-Shiki in Japan and France. [Internet] [Thesis]. University of Wisconsin – Milwaukee; 2018. [cited 2021 Mar 08].
Available from: https://dc.uwm.edu/etd/1792.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Erdman S. Fluid Lines: Tracing Ryakuga-Shiki in Japan and France. [Thesis]. University of Wisconsin – Milwaukee; 2018. Available from: https://dc.uwm.edu/etd/1792
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Iowa
12.
Yoder, Abigail Eileen.
Decoration and symbolism in the late works of Odilon Redon.
Degree: PhD, Art History, 2013, University of Iowa
URL: https://ir.uiowa.edu/etd/2300
► From approximately 1900 until 1914, Odilon Redon worked almost exclusively on decorative projects, both privately and publicly commissioned. Additionally, he created numerous uncomissioned decorative…
(more)
▼ From approximately 1900 until 1914, Odilon Redon worked almost exclusively on decorative projects, both privately and publicly commissioned. Additionally, he created numerous uncomissioned decorative works - highly ornamental paintings with decorative
subject matter that were conceived of by the artist himself as decorations. Yet despite the fact that decorative works made up a significant portion of Redon's late oeuvre, he is rarely considered as a major figure within the decorative arts movement at the turn of the century, unlike his contemporaries Paul Gauguin and the Nabis. His close involvement with these artists, as well as his affiliation with a number of the same important critics, makes his exclusion from discussion of the decorative revival all the more surprising. There has been very little scholarship on Redon's decorative works that consider them in in relation to the international decorative movement. Nevertheless, his late works actively engaged with the avant-garde aesthetic theories of the time. My dissertation will place Redon in the context of the decorative and Symbolist
art movements by examining the profusion of decorative projects with which he was involved during the last decades of his career. By considering important themes within these movements, like elevation of craft arts, the encouragement of floral designs, the revival of religious and mythological
subject matter, and principles regarding the unification of the arts, I argue that Redon warrants consideration as a decorative painter at the turn of the century in France.
My first chapter introduces the idea of the decorative revival in the nineteenth century, and considers the way the definition of the term "decorative" evolved during the period. I also present the historiography of Redon scholarship, as it relates to his decorative works. The second chapter examines the historical background of the decorative and Symbolist movements in the nineteenth century. I focus first on the pan-European decorative revival, especially in England and Belgium, then examining how this influenced French
art. The Symbolist artistic movement developed simultaneously, and as such, I will examine the ways in which the two movements overlapped. Finally, I consider how Redon's artistic development was affected in this aesthetic climate.
Subsequent chapters examine specific themes in Redon's decorative oeuvre, and how these related to ideas and undercurrents in the general decorative and Symbolist
art movements. Chapter three focuses on flowers and nature as decoration, exploring the increase of floral imagery in both decoration and Symbolist painting, and how Redon adapted his own artistic language from these influences. Chapter four examines the revival of traditional imagery from religious and mythological subjects, as well as occultist themes, and explores the way Redon used his decorative style to create new symbolic meanings for these themes. Chapter five focuses on Redon's murals at the Abbaye de Fontfroide,…
Advisors/Committee Members: Johnson, Dorothy, 1950- (supervisor).
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Yoder, A. E. (2013). Decoration and symbolism in the late works of Odilon Redon. (Doctoral Dissertation). University of Iowa. Retrieved from https://ir.uiowa.edu/etd/2300
Chicago Manual of Style (16th Edition):
Yoder, Abigail Eileen. “Decoration and symbolism in the late works of Odilon Redon.” 2013. Doctoral Dissertation, University of Iowa. Accessed March 08, 2021.
https://ir.uiowa.edu/etd/2300.
MLA Handbook (7th Edition):
Yoder, Abigail Eileen. “Decoration and symbolism in the late works of Odilon Redon.” 2013. Web. 08 Mar 2021.
Vancouver:
Yoder AE. Decoration and symbolism in the late works of Odilon Redon. [Internet] [Doctoral dissertation]. University of Iowa; 2013. [cited 2021 Mar 08].
Available from: https://ir.uiowa.edu/etd/2300.
Council of Science Editors:
Yoder AE. Decoration and symbolism in the late works of Odilon Redon. [Doctoral Dissertation]. University of Iowa; 2013. Available from: https://ir.uiowa.edu/etd/2300

University of Iowa
13.
Bushman, Karissa Elizabeth.
Anticlericalism in Goya's works.
Degree: PhD, Art History, 2013, University of Iowa
URL: https://ir.uiowa.edu/etd/2051
► Throughout his career, Francisco de Goya drew, etched, and painted several recurrent themes. One which began early in his career and was revisited by…
(more)
▼ Throughout his career, Francisco de Goya drew, etched, and painted several recurrent
themes. One which began early in his career and was revisited by the artist even in the
last years of his life while in exile in Bordeaux was anticlericalism. Goya lived during
turbulent times in Spanish
history, with the role of the Catholic Church changing as
governments and kings also changed. His
art reflects the many abuses of power the Church
and its clerics perpetrated on the Spanish people during this period. Throughout his
oeuvre, Goya critiques the clergy and the Catholic Church for misconduct such as sexual
abuse, greed, acts of violence, and hypocrisy. If we consider the decades in Spanish
history in which Goya lived we note that the clergy and the church were reformed under
the enlightened monarchs of the Bourbon dynasty and were almost completely disbanded
under French control during the War of Independence against Napoleon. We subsequently
see a complete reversal with a reinvigoration of the Church and the Inquisition under
the restoration of Fernando VII. It makes sense that Goya, an artist who used his
art to
provide us with a social critique of Spanish life, would have turned to the many wrong
doings of the Church since it was one of the most important and powerful institutions in
Spain during his lifetime. Goya's critiques of the Church were harsh, humorous, and many
times intentionally ambiguous. My dissertation examines a still much neglected facet of
Goya's
art, namely his depictions of anticlericalism throughout his career. I address
how the cultural, religious, social, political, and literary
history of Spain help to
explain why the artist denigrated members of the Catholic Church in his
art. A great
deal has been written on some of Goya's well-known religious paintings, yet his fierce
anticlericalism that informs so much of his
art has been largely overlooked.
The first chapter introduces anticlericalism and examines the historiography of Goya's
works. It also explains my methodological approach and how my dissertation seeks to
expand upon the scholarship that discusses Goya's complex relationship with religion. My
second chapter addresses the role of religious commissions in Goya's early career from
his training to his beginnings in the royal court of Madrid. I emphasize how even in his
early career, Goya's religious paintings had begun to satirize the Catholic clergy as
well as depart from traditional religious iconography. Subsequent chapters focus on
works he created while he was becoming the most famous and sought after artist in Spain.
Specifically in chapters three and four I examine anticlericalism in his print series
Los Caprichos…
Advisors/Committee Members: Johnson, Dorothy, 1950- (supervisor).
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Bushman, K. E. (2013). Anticlericalism in Goya's works. (Doctoral Dissertation). University of Iowa. Retrieved from https://ir.uiowa.edu/etd/2051
Chicago Manual of Style (16th Edition):
Bushman, Karissa Elizabeth. “Anticlericalism in Goya's works.” 2013. Doctoral Dissertation, University of Iowa. Accessed March 08, 2021.
https://ir.uiowa.edu/etd/2051.
MLA Handbook (7th Edition):
Bushman, Karissa Elizabeth. “Anticlericalism in Goya's works.” 2013. Web. 08 Mar 2021.
Vancouver:
Bushman KE. Anticlericalism in Goya's works. [Internet] [Doctoral dissertation]. University of Iowa; 2013. [cited 2021 Mar 08].
Available from: https://ir.uiowa.edu/etd/2051.
Council of Science Editors:
Bushman KE. Anticlericalism in Goya's works. [Doctoral Dissertation]. University of Iowa; 2013. Available from: https://ir.uiowa.edu/etd/2051
14.
McArthur, Elizabeth.
The Iconographic Owl through the Eyes of American Artists: From Native Americans to Joseph Cornell.
Degree: MA, Art, 2012, Governors State University
URL: https://opus.govst.edu/theses/6
► The owl has been a symbol for the Americas, as well as the rest of the world since people could write. It is a…
(more)
▼ The owl has been a symbol for the Americas, as well as the rest of the world since people could write. It is a symbol with many meanings to Native Americans, from guardian to an omen of approaching death; the owl’s presence could be both a blessing and a curse. As western society spread American artists used the owl as a symbol in folk and fine
art. Artists like John James Audubon and Alexander Wilson depicted owls in their work to create a visual awareness and to promote the advancement of scientific understanding. During the twentieth century, Joseph Cornell and other artists thrust the owl’s image back into the public eye. This paper will compare the early works of owls by Native American Tribes, to that by some of the more recent American artists. The focus will be mainly on creating an understanding of the symbolism associated with the owl’s image through the work of North American artists and artisans.
Advisors/Committee Members: Jane Rhoades Hudak, Ph.D., Arthur Bourgeois, Ph.D., Javier Chavira, M.F.A..
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
McArthur, E. (2012). The Iconographic Owl through the Eyes of American Artists: From Native Americans to Joseph Cornell. (Thesis). Governors State University. Retrieved from https://opus.govst.edu/theses/6
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
McArthur, Elizabeth. “The Iconographic Owl through the Eyes of American Artists: From Native Americans to Joseph Cornell.” 2012. Thesis, Governors State University. Accessed March 08, 2021.
https://opus.govst.edu/theses/6.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
McArthur, Elizabeth. “The Iconographic Owl through the Eyes of American Artists: From Native Americans to Joseph Cornell.” 2012. Web. 08 Mar 2021.
Vancouver:
McArthur E. The Iconographic Owl through the Eyes of American Artists: From Native Americans to Joseph Cornell. [Internet] [Thesis]. Governors State University; 2012. [cited 2021 Mar 08].
Available from: https://opus.govst.edu/theses/6.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
McArthur E. The Iconographic Owl through the Eyes of American Artists: From Native Americans to Joseph Cornell. [Thesis]. Governors State University; 2012. Available from: https://opus.govst.edu/theses/6
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Iowa
15.
Phillips, Alice Miller.
The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism.
Degree: PhD, Art History, 2012, University of Iowa
URL: https://ir.uiowa.edu/etd/4720
► Rebellion against traditional aesthetics to express personal symbols and dreamlike visions connects the nineteenth-century Symbolists with the twentieth-century Surrealists. Yet the techniques of automatic…
(more)
▼ Rebellion against traditional aesthetics to express personal symbols and dreamlike visions connects the nineteenth-century Symbolists with the twentieth-century Surrealists. Yet the techniques of automatic writing and drawing to pursue self-discovery and the unconscious mind's inherent creativity remain primarily associated with Surrealism, and the extent to which this later movement's irrational content was inspired by Symbolist predecessors such as Gustave Moreau and Paul Gauguin remains uncertain. This dissertation explores the nineteenth-century psychological theories and occult beliefs behind automatism and the unconscious from the late Romantic to the Surrealist movements. The first chapter addresses how Romantic revolutions in
art and psychology respond to theories such as mesmerism, spiritism, and the "discovery" of the unconscious, and the later impact of these developments on Symbolism. The second chapter analyzes Victor Hugo's séances and "spirit" drawings in the 1850s as early examples of automatism that influenced Symbolism and Surrealism. The following chapter expands this research to include the impact of psychology and spiritism on the Symbolist movement's esoteric subjects and increasingly abstract style. Sickened by their materialistic society and with Naturalism's attention to the physical world, the Symbolists may have attempted to release conscious control over their designs to pursue a higher reality and express the inner states and emotions that emerge during dreams and hypnosis. Although current
art historical scholarship acknowledges basic connections between the Symbolists' visionary compositions and Surrealist concepts of the unconscious, the psychological and supernatural aspects of how Symbolist
art transitions from dreamlike yet representative imagery towards pure abstraction and automatism merit further investigation, which I address in the final chapter. This research offers new perspectives on how the psychology of dreams and the unconscious evolved from an interest of Romantic and Symbolist artists to the ultimate revelation of individual creativity and expression in Surrealist automatism. The primary visual sources include nineteenth-century and early twentieth-century paintings; artistic, "spirit," and some scientific photographs, and artist's prints, collages, and drawings. Both consciously-created and allegedly automatic artistic productions, such as Gustave Moreau's abstract oil paintings and watercolors, reveal the development of surreal and automatic techniques and allow insight into the artists' intentions. This study divulges previously overlooked influences of painters, printmakers, photographers, critics, writers, and poets on their own era's cultural and intellectual milieu and on the aesthetic movements that followed. The conclusion offers suggestions for further research beyond the project's current scope, such as analyzing how automatism and mythology in early modern
art culminated in the calligraphic, shamanistic imagery of Abstract…
Advisors/Committee Members: Johnson, Dorothy, 1950- (supervisor).
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Phillips, A. M. (2012). The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism. (Doctoral Dissertation). University of Iowa. Retrieved from https://ir.uiowa.edu/etd/4720
Chicago Manual of Style (16th Edition):
Phillips, Alice Miller. “The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism.” 2012. Doctoral Dissertation, University of Iowa. Accessed March 08, 2021.
https://ir.uiowa.edu/etd/4720.
MLA Handbook (7th Edition):
Phillips, Alice Miller. “The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism.” 2012. Web. 08 Mar 2021.
Vancouver:
Phillips AM. The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism. [Internet] [Doctoral dissertation]. University of Iowa; 2012. [cited 2021 Mar 08].
Available from: https://ir.uiowa.edu/etd/4720.
Council of Science Editors:
Phillips AM. The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism. [Doctoral Dissertation]. University of Iowa; 2012. Available from: https://ir.uiowa.edu/etd/4720

University of Iowa
16.
Parker, Wendy Ann.
Political photomontage: transformation, revelation, and "truth".
Degree: MA, Art History, 2011, University of Iowa
URL: https://ir.uiowa.edu/etd/2755
► This thesis focuses on how photomontage has been used by certain artists during periods of political unrest and artistic revolution. For the purposes of…
(more)
▼ This thesis focuses on how photomontage has been used by certain artists during periods of political unrest and artistic revolution. For the purposes of this study, "photomontage" is defined as any artwork into which a photograph is collaged in order to construct a political narrative. The photograph(s) may come from the mass media, or it can be privately created. This thesis is concerned with more than photomontage as a means of creating overtly political
art, however. Specifically, Chapter One provides a general overview of the artwork and writing of the most politically motivated of the Dadas in Berlin, with particular attention to the work of Heartfield. Chapter Two examines the differing styles and goals of Hannah Höch versus the other Berlin Dadas, including Raoul Hausmann, with whom she worked closely from 1915 until 1922. Chapter Three is given to Kurt Schwitters, whose strong opinions about mixing
art and politics provide a useful foil to the prevailing attitudes among his fellows. The final chapter considers photomontage as practiced by Martha Rosler in her "Bringing the War Home" works.
Advisors/Committee Members: Adcock, Craig E. (supervisor).
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Parker, W. A. (2011). Political photomontage: transformation, revelation, and "truth". (Masters Thesis). University of Iowa. Retrieved from https://ir.uiowa.edu/etd/2755
Chicago Manual of Style (16th Edition):
Parker, Wendy Ann. “Political photomontage: transformation, revelation, and "truth".” 2011. Masters Thesis, University of Iowa. Accessed March 08, 2021.
https://ir.uiowa.edu/etd/2755.
MLA Handbook (7th Edition):
Parker, Wendy Ann. “Political photomontage: transformation, revelation, and "truth".” 2011. Web. 08 Mar 2021.
Vancouver:
Parker WA. Political photomontage: transformation, revelation, and "truth". [Internet] [Masters thesis]. University of Iowa; 2011. [cited 2021 Mar 08].
Available from: https://ir.uiowa.edu/etd/2755.
Council of Science Editors:
Parker WA. Political photomontage: transformation, revelation, and "truth". [Masters Thesis]. University of Iowa; 2011. Available from: https://ir.uiowa.edu/etd/2755

University of South Florida
17.
Hayes, Dawn Michelle.
Archaeological and Historic Preservation in Tampa, Florida.
Degree: 2013, University of South Florida
URL: https://scholarcommons.usf.edu/etd/4901
► For archaeological or historic preservation to occur, there must be public support for it. This research examines historic and archaeological preservation in the Tampa Bay…
(more)
▼ For archaeological or historic preservation to occur, there must be public support for it. This research examines historic and archaeological preservation in the Tampa Bay area of Florida through the use of selected case studies. It analyses opinions about archaeology and preservation from members of the general public and members of two groups focused on historic preservation and archaeology. Data were collected from interviews, surveys, archival research, and participant observation, and analyzed to determine the public's definition of archaeology, possible origins of people's interest in preservation, and the extent to which people's interest in either archaeology or historic preservation extends to the other.
This research also looks at the context in which the study population is living. I look at the attempts at preservation in the area and the competing influences on those attempts, as well as the laws that affect the sites. I use the findings to make suggestions for increasing people's support of archaeology and preservation.
Subjects/Keywords: History of Art, Architecture, and Archaeology; Law
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Hayes, D. M. (2013). Archaeological and Historic Preservation in Tampa, Florida. (Thesis). University of South Florida. Retrieved from https://scholarcommons.usf.edu/etd/4901
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Hayes, Dawn Michelle. “Archaeological and Historic Preservation in Tampa, Florida.” 2013. Thesis, University of South Florida. Accessed March 08, 2021.
https://scholarcommons.usf.edu/etd/4901.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Hayes, Dawn Michelle. “Archaeological and Historic Preservation in Tampa, Florida.” 2013. Web. 08 Mar 2021.
Vancouver:
Hayes DM. Archaeological and Historic Preservation in Tampa, Florida. [Internet] [Thesis]. University of South Florida; 2013. [cited 2021 Mar 08].
Available from: https://scholarcommons.usf.edu/etd/4901.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Hayes DM. Archaeological and Historic Preservation in Tampa, Florida. [Thesis]. University of South Florida; 2013. Available from: https://scholarcommons.usf.edu/etd/4901
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
18.
Haavik-MacKinnon, Amy E.
A Colony Within: Art and Identity in London’s East End since World War II.
Degree: PhD, History of Art, 2013, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/77
► This dissertation brings together artists living and working in the East End of London since World War II whose art uses the particular connotations…
(more)
▼ This dissertation brings together artists living and working in the East End of London since World War II whose art uses the particular connotations of its East End location to address the changing and often contested issue of British identity. Chapter 1 compares and contrasts Nigel Henderson’s photographs of the postwar East End neighborhood of Bethnal Green with scenes from Robert Hamer’s 1947 film It Always Rains on Sunday set in the same neighborhood to look for indications of how the media of film and photography might manifest visually the significant changes to the urban fabric of the East End of London in the immediate postwar period. Chapter 2 examines select works by Gilbert & George from the Red Morning and The Dirty Words series, both of 1977, and other untitled series made in 1978 and 1980 (Paki, Kitchener, Britisher, Patriots, Death, War, and Fighter) to hypothesize about the relationship between their art and issues of nationalism and identity on the eve of the Thatcher years. This chapter includes a coda in which I consider filmmaker Mike Leigh’s 1983 made-for-television film Meantime in relation to the works by Gilbert & George. Chapter 3 analyzes how the work of Rachel Whiteread preserves some trace of the once thriving Jewish community in the East End, while also manifesting the significant changes that have taken place in the postwar period. Where in the prior chapters, I turn to film as a point of reference and comparison, here I look to literature, specifically, two late nineteenth century novels by the Jewish East Ender Israel Zangwill, Children of the Ghetto: A Study of a Peculiar People and The Big Bow Mystery, whose plots produce an uncanny echo when read in light of Whiteread’s work. Taken together, these three chapters create a portrait of the colony within that is East London in the postwar/postcolonial period.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA (6th Edition):
Haavik-MacKinnon, A. E. (2013). A Colony Within: Art and Identity in London’s East End since World War II. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/77
Chicago Manual of Style (16th Edition):
Haavik-MacKinnon, Amy E. “A Colony Within: Art and Identity in London’s East End since World War II.” 2013. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/77.
MLA Handbook (7th Edition):
Haavik-MacKinnon, Amy E. “A Colony Within: Art and Identity in London’s East End since World War II.” 2013. Web. 08 Mar 2021.
Vancouver:
Haavik-MacKinnon AE. A Colony Within: Art and Identity in London’s East End since World War II. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2013. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/77.
Council of Science Editors:
Haavik-MacKinnon AE. A Colony Within: Art and Identity in London’s East End since World War II. [Doctoral Dissertation]. Bryn Mawr College; 2013. Available from: https://repository.brynmawr.edu/dissertations/77
19.
Bereskin, Emily.
Staging the Post-conflict City: Tourism, Urban Change, and Symbolic Contestation in Belfast, Northern Ireland.
Degree: PhD, History of Art, 2012, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/53
► In post-Agreement Northern Ireland, issues of cultural identity have risen to the forefront of regional political and communal discourse. Demands for equality, recognition, and…
(more)
▼ In post-Agreement Northern Ireland, issues of cultural identity have risen to the forefront of regional political and communal discourse. Demands for equality, recognition, and cultural parity of esteem on the part of Protestant and Catholic communities often unfold through disputes over contested cultural expressions such as flags, murals, parades, heritage sites, monuments, and languages. Problematically, intercommunal hostilities increase when groups feel as though their esteemed symbols are being denigrated or threatened. As both state agencies and communal organizations work to resolve these disputes through policymaking and peacebuilding initiatives, local entrepreneurial actors are simultaneously refashioning these cultural symbols to make the area more attractive to tourists and potential investors.
This study investigates the role of tourism development, place marketing, and urban staging in cultural identity politics and conflict transformation in post-Agreement Belfast, the center of Northern Ireland’s tourism industry. The primary argument is that these image-led regeneration strategies physically and discursively refashion the built environment and the contested narratives expressed therein. Furthermore, this process can either exacerbate or inhibit intergroup conflict through the development of more exclusive or inclusive narratives and representations of conflict respectively.
Based on interdisciplinary theoretical research, empirical on-site study (2005-2011), and interviews with local actors and stakeholders, this dissertation presents: 1) a conceptual analysis of the convergence of Tourism and urban staging in cultural identity politics and conflict transformation, 2) an analysis of tourism development and urban regeneration in Belfast following the Belfast/Good Friday Agreement (1998), and 3) an investigation of the impact of tourism development on Two cultural expressions that have long served to reinforce divisions between Catholic and Protestant communities, namely Belfast ́s political Murals and the Irish language; the latter is examined by looking at the Current attempt to retheme Catholic West Belfast as an urban Gaeltacht Quarter.
By examining the ways in which tourism and place marketing act upon monuments, ideology, memory, and social conflict within the urban environment, this dissertation establishes the often-overlooked significance of urban entrepreneurial development on reconstruction, identity politics, and peacebuilding in cities seeking to overcome social and spatial division.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
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CSE |
Export
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APA (6th Edition):
Bereskin, E. (2012). Staging the Post-conflict City: Tourism, Urban Change, and Symbolic Contestation in Belfast, Northern Ireland. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/53
Chicago Manual of Style (16th Edition):
Bereskin, Emily. “Staging the Post-conflict City: Tourism, Urban Change, and Symbolic Contestation in Belfast, Northern Ireland.” 2012. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/53.
MLA Handbook (7th Edition):
Bereskin, Emily. “Staging the Post-conflict City: Tourism, Urban Change, and Symbolic Contestation in Belfast, Northern Ireland.” 2012. Web. 08 Mar 2021.
Vancouver:
Bereskin E. Staging the Post-conflict City: Tourism, Urban Change, and Symbolic Contestation in Belfast, Northern Ireland. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2012. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/53.
Council of Science Editors:
Bereskin E. Staging the Post-conflict City: Tourism, Urban Change, and Symbolic Contestation in Belfast, Northern Ireland. [Doctoral Dissertation]. Bryn Mawr College; 2012. Available from: https://repository.brynmawr.edu/dissertations/53
20.
Gasper-Hulvat, Marie E.
Malevich’s Post-Suprematist Paintings and the Construction of History.
Degree: PhD, History of Art, 2012, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/55
► This dissertation discusses Kazimir Malevich’s post-abstract, post-suprematist figurative work by drawing upon semiotic and post-structuralist theories, addressing questions such as: Why did Malevich return…
(more)
▼ This dissertation discusses Kazimir Malevich’s post-abstract, post-suprematist figurative work by drawing upon semiotic and post-structuralist theories, addressing questions such as: Why did Malevich return to painting figures after adamantly abandoning them for pure abstraction? How do these figures re-figure or resist abstraction? Why did he paint inexact replicas of his own pre-Suprematist works, and why did he give them dates that were similar, or even prior, to the dates of their prototypes? How did he manage to put on an exhibition of his intellectually challenging, subversive works in 1929, at the first moments of sustained state support for proto-socialist realism, at one of the most important museums of Russian art in the Soviet Union, the Tretiakov Gallery in Moscow? How are contemporaneously contested identities of the artist, the Russian peasant, and the Soviet citizen reflected and refracted in the paintings displayed at this exhibition?
The first chapter comprises an introductory survey of pertinent scholarly literature, and discusses methodological grounding within both Russian and Western sources. The second chapter concerns a semiotic reading of the circumstances and documents surrounding the 1929 “retrospective” exhibition, which for the most part displayed paintings composed in the eighteen months prior to the exhibition, but inscribed with dates from the 1900’s and 1910’s. This chapter includes a close reading of Alexei Fedorov-Davidov’s pamphlet-catalogue accompanying the exhibition, particularly within the context of early Stalinist Marxist discourse, and it discusses how the artist’s images of peasants confounded contemporary systems of representation and disrupted attempts to secure a sense of Soviet identity.
Chapter three proposes that postmodern discourses, as opposed to the discourses of modernity within which Malevich’s works are most often examined, might be fruitfully employed to frame the artist’s circa-1929 work. The fourth chapter considers the ways in which certain paintings from the 1929 exhibition explicitly duplicate works from earlier in Malevich’s career, many of which had been destroyed, lost, or otherwise rendered inaccessible. Attention is given to how these paintings participated in contemporaneous and more recent discourses of originality, the copy, and conventionality.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Gasper-Hulvat, M. E. (2012). Malevich’s Post-Suprematist Paintings and the Construction of History. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/55
Chicago Manual of Style (16th Edition):
Gasper-Hulvat, Marie E. “Malevich’s Post-Suprematist Paintings and the Construction of History.” 2012. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/55.
MLA Handbook (7th Edition):
Gasper-Hulvat, Marie E. “Malevich’s Post-Suprematist Paintings and the Construction of History.” 2012. Web. 08 Mar 2021.
Vancouver:
Gasper-Hulvat ME. Malevich’s Post-Suprematist Paintings and the Construction of History. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2012. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/55.
Council of Science Editors:
Gasper-Hulvat ME. Malevich’s Post-Suprematist Paintings and the Construction of History. [Doctoral Dissertation]. Bryn Mawr College; 2012. Available from: https://repository.brynmawr.edu/dissertations/55
21.
Griffiths, Jennifer.
Futurist Aeropainting: Extended Women and the Kingdom of the Machine.
Degree: PhD, History of Art, 2012, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/56
► A major theme in works by later Italian Futurists of the 1930s was what was called aero-aesthetics in which the artists drew their inspiration…
(more)
▼ A major theme in works by later Italian Futurists of the 1930s was what was called aero-aesthetics in which the artists drew their inspiration from the act and fantasy of aviation. Focusing on the perception of aeropainting, or a eropittura, within both Futurism and Fascism, I am concerned in this dissertation to examine the role of the feminine within the idea of machine aesthetics and especially the ways in which women of the movement attempted to interrupt or realign the gendered understandings of technology and aviation within the culture as a whole. Here it has been helpful to draw on particular notions of the body and the gaze found within post-modernism to argue that certain of its positions are prefigured within this area of production. The first chapter examines Futurism’s fascination with flight and argues that while many Futurist aeropainters sympathized with Fascism’s celebration of aviation technology as a means to visual and military domination, some women aeropainters chose to emphasize elements of the non-visual in their work. The second chapter argues that women aeropainters interrupted the cultural discourse of masculinity surrounding aviation by participating in the physical act of aviation and by redeploying ideas about dynamic machines in the service of an art that saw the expansion of creative liberty as the greatest consequence of Futurist aero aesthetics. The third and fourth chapters will look more closely at two of these women Futurists whose paintings demonstrate opposing political and theoretical views. Chapter three will situate Benedetta Cappa Marinetti’s art in the context of her relationships to F.T. Marinetti and Giacomo Balla to demonstrate how her abstract painting reveals a pre-essentialist position that reinterprets Futurist ideas in her celebration of the feminine. Chapter four will introduce Marisa Mori to English-language scholarship and examine how her introspective art frequently resists notions of biological determinism.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Griffiths, J. (2012). Futurist Aeropainting: Extended Women and the Kingdom of the Machine. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/56
Chicago Manual of Style (16th Edition):
Griffiths, Jennifer. “Futurist Aeropainting: Extended Women and the Kingdom of the Machine.” 2012. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/56.
MLA Handbook (7th Edition):
Griffiths, Jennifer. “Futurist Aeropainting: Extended Women and the Kingdom of the Machine.” 2012. Web. 08 Mar 2021.
Vancouver:
Griffiths J. Futurist Aeropainting: Extended Women and the Kingdom of the Machine. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2012. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/56.
Council of Science Editors:
Griffiths J. Futurist Aeropainting: Extended Women and the Kingdom of the Machine. [Doctoral Dissertation]. Bryn Mawr College; 2012. Available from: https://repository.brynmawr.edu/dissertations/56
22.
Stotland, Irina.
Paul Gauguin’s Self-Portraiture and the Concept of Androgyny.
Degree: PhD, History of Art, 2012, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/61
► The dissertation contextualizes Paul Gauguin’s self-portraits within the nineteenth-century notion of androgyny. The first chapter explores Gauguin’s textual figurations of self in relation to…
(more)
▼ The dissertation contextualizes Paul Gauguin’s self-portraits within the nineteenth-century notion of androgyny. The first chapter explores Gauguin’s textual figurations of self in relation to the contemporary medical and philosophical understanding of androgyny and to the literary representations of an androgyne in the works by Honoré de Balzac, Flora Tristan, Théophile Gautier, and Joris-Karl Huysmans. Gauguin’s texts include a view of androgyny both as a figure of transcendence and as a figure of transgression in accordance with the earlier and later nineteenth-century views, respectively.
The second chapter focuses on Gauguin’s visual images of androgyny in his self-portraits and their connection to the images of androgyny in the works of Gustave Moreau, Puvis de Chavannes, Edgar Degas, and Paul Cézanne. Like his written images, Gauguin’s pictorial representationsof androgyny reveal it as both transcendence and transgression. The manner in which he resolves his anxiety aboutthe threat of transgression varies between his two categories of self-portraits. In both categories Gauguin incorporates an element of femininity that challenges the gender binary. In the embodiment self-portraits, this element is part of the image of self and in the insertion self-portraits, it is part of the secondary images. The emphasized performativeness of his androgyny in the first category and the distancing of the transgressiveelement from the image of self in the second category allow Gauguin to neutralize his anxiety about androgynous identification.
The third chapter situates Gauguin’s ambivalent attitude toward androgyny in his figurations of self in terms of colonial discourse and psychoanalysis. Gauguin’s self-portraits can be seen to draw onthe colonial split of the “primitive” and the “civilized” identities. His images of transcendent and perverse androgyny reveal his desires and anxieties about the “primitive” state of undifferentiation. In Freudian terms, the use of the fetishistic dynamic of stereotyping allows Gauguin to deflect his anxieties. In Kleinian terms, the desire for androgyny can be seen as a desire for reparation of the depressive position and the deflection of anxieties as a defensive reaction of the schizoid-paranoid position.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Stotland, I. (2012). Paul Gauguin’s Self-Portraiture and the Concept of Androgyny. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/61
Chicago Manual of Style (16th Edition):
Stotland, Irina. “Paul Gauguin’s Self-Portraiture and the Concept of Androgyny.” 2012. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/61.
MLA Handbook (7th Edition):
Stotland, Irina. “Paul Gauguin’s Self-Portraiture and the Concept of Androgyny.” 2012. Web. 08 Mar 2021.
Vancouver:
Stotland I. Paul Gauguin’s Self-Portraiture and the Concept of Androgyny. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2012. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/61.
Council of Science Editors:
Stotland I. Paul Gauguin’s Self-Portraiture and the Concept of Androgyny. [Doctoral Dissertation]. Bryn Mawr College; 2012. Available from: https://repository.brynmawr.edu/dissertations/61
23.
Blackwell, Nicholas G.
Middle and Late Bronze Age Metal Tools from the Aegean, Eastern Mediterranean, and Anatolia: Implications for Cultural/Regional Interaction and Craftmanship.
Degree: PhD, Classical and Near Eastern Archaeology, 2011, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/63
► This study considers the distribution and consumption trends of metal tools from the second millennium BC over a wide geographical area including Crete, the…
(more)
▼ This study considers the distribution and consumption trends of metal tools from the second millennium BC over a wide geographical area including Crete, the Greek mainland, the Greek islands, Cyprus, Anatolia, and Syria-Palestine. An exhaustive database of 5300+ tools was compiled from these regions and time frame. While copper and copper-alloy implements are attested in the third millennium and earlier, the significant advancement of the metallurgical industry in the Aegean and eastern Mediterranean is directly associated with the quantity and diversification of metal tools during the Middle and Late Bronze Age. The progression of craft industries is also related to the development and production of specific and sometimes specialized tool forms.
The degree of pre- and proto-historic interaction among multiple regions is evaluated through the lens of metal tools, items that were neither bulk nor elite goods. The primary research questions are 1) to assess the meaning of patterns in tool consumption and 2) whether it is possible to identify traveling craftspersons in the archaeological record through such distributions. Analysis of the large database begins with a broad overview of the tool choices made in each region and time period. Implements are classified into discernible functional categories such as agricultural, metallurgical, utilitarian, tools for small crafting, and carpentry/masonry. Given the strong correlation between the evolution of metal tools and architecture, it should be no surprise that carpentry/masonry implements are the preferred tools throughout the second millennium BC, and therefore much of the study’s focus is on this category. A meticulous investigation of the carpentry/masonry tool types identifies their distribution by area and site, highlighting regional and local tool preferences. A thorough examination of tools from metal hoards and shipwrecks reveals the existence of tool kits, and this observation has important implications for reassessing how hoards are interpreted. While it is difficult to track the movement of craftspersons from tools alone, distinctive trends of selection and cross-regional comparison of tool types demonstrate identifiable links among several regions. The exact meaning of the interregional tool similarities is less clear, though one may speculate on the possibilities of deliberate craft interaction and exchange.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Blackwell, N. G. (2011). Middle and Late Bronze Age Metal Tools from the Aegean, Eastern Mediterranean, and Anatolia: Implications for Cultural/Regional Interaction and Craftmanship. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/63
Chicago Manual of Style (16th Edition):
Blackwell, Nicholas G. “Middle and Late Bronze Age Metal Tools from the Aegean, Eastern Mediterranean, and Anatolia: Implications for Cultural/Regional Interaction and Craftmanship.” 2011. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/63.
MLA Handbook (7th Edition):
Blackwell, Nicholas G. “Middle and Late Bronze Age Metal Tools from the Aegean, Eastern Mediterranean, and Anatolia: Implications for Cultural/Regional Interaction and Craftmanship.” 2011. Web. 08 Mar 2021.
Vancouver:
Blackwell NG. Middle and Late Bronze Age Metal Tools from the Aegean, Eastern Mediterranean, and Anatolia: Implications for Cultural/Regional Interaction and Craftmanship. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2011. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/63.
Council of Science Editors:
Blackwell NG. Middle and Late Bronze Age Metal Tools from the Aegean, Eastern Mediterranean, and Anatolia: Implications for Cultural/Regional Interaction and Craftmanship. [Doctoral Dissertation]. Bryn Mawr College; 2011. Available from: https://repository.brynmawr.edu/dissertations/63
24.
Moriuchi, Mey-Yen.
Notions of Universality and Difference: Nineteenth-Century Mexican Costumbrismo.
Degree: PhD, History of Art, 2012, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/60
► Traditionally in the history of Mexican art, the nineteenth century is overlooked and generally categorized as transitional and inconsequential. As a result of political…
(more)
▼ Traditionally in the history of Mexican art, the nineteenth century is overlooked and generally categorized as transitional and inconsequential. As a result of political and economic instability, the arts of the nineteenth century have been considered secondary in comparison with the production of prior periods, such as colonial Mexican art, or movements afterwards, such as Mexican modernism. In my dissertation I hope to demonstrate how a little recognized nineteenth-century genre, costumbrismo, played a significant role in the construction of racial and social types and contributed to modern notions of Mexican identity.
Costumbrismo, which manifested itself through the visual and literary arts, was a movement in Spain and Latin America that sought to capture the customs, costumes, and traditions of everyday people and everyday life. I argue that costumbrismo played an important role in the creation of popular types and made a vital contribution to how Mexicans saw themselves and how other nations saw them. I believe works by both foreign and local artists must be seen together as interweavings of ideas and stereotypes that informed and clarified one another. Costumbrista artists desired to capture the corporeal physicality and presence of the Mexican people through their emphasis on naturalistic depiction and attention to detail. However, this does not imply that what was produced was an objective, rational representation. On the contrary, costumbrista artists created personal, constructed portrayals of Mexican life that were often romanticized and politicized.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Moriuchi, M. (2012). Notions of Universality and Difference: Nineteenth-Century Mexican Costumbrismo. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/60
Chicago Manual of Style (16th Edition):
Moriuchi, Mey-Yen. “Notions of Universality and Difference: Nineteenth-Century Mexican Costumbrismo.” 2012. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/60.
MLA Handbook (7th Edition):
Moriuchi, Mey-Yen. “Notions of Universality and Difference: Nineteenth-Century Mexican Costumbrismo.” 2012. Web. 08 Mar 2021.
Vancouver:
Moriuchi M. Notions of Universality and Difference: Nineteenth-Century Mexican Costumbrismo. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2012. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/60.
Council of Science Editors:
Moriuchi M. Notions of Universality and Difference: Nineteenth-Century Mexican Costumbrismo. [Doctoral Dissertation]. Bryn Mawr College; 2012. Available from: https://repository.brynmawr.edu/dissertations/60
25.
Shipley, Lesley E.
Specific Objects: Lee Bontecou’s Steel and Canvas Reliefs, 1959-1964.
Degree: PhD, History of Art, 2011, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/69
► This dissertation focuses on the reception and interpretation of the welded steel and canvas reliefs that the American artist Lee Bontecou created between 1959…
(more)
▼ This dissertation focuses on the reception and interpretation of the welded steel and canvas reliefs that the American artist Lee Bontecou created between 1959 and 1964.In Chapter 1,I present an overview of the initial critical reception of Bontecou’s steel and canvas reliefs, highlighting those exhibitions and texts from the first half of the 1960s that stand out as important records of this work’s reception. In Chapter 2, I examine the feminist claiming of Bontecou’s reliefs that occurred between 1965 and 1976.Here, I contextualize the feminist response to Bontecou’s art within its historical moment, in order to consider how feminism has shaped our understanding of her reliefs, and how these objects pose questions for feminist thinking about art and art history. In Chapter 3, I shift from an analysis of the critical and scholarly reception of Bontecou’s reliefs, to a consideration of the artist’s words and how, over the years, critics and scholars have mobilized, and at times overlooked, the artist’s statements about her work. Finally, in Chapter 4, I propose that Bontecou’s steel and canvas reliefs may be understood as ambivalent objects that both materialize and memorialize the artist’s responses to the social and political events that shaped the 1950s and 1960s. I present close visual analyses of three of Bontecou’s reliefs from the early 1960s, and position this work in relation to sculptures by two postwar American artists, David Smith and Ed Bereal. I suggest that Smith’s War Spectre(1944) and False Peace Spectre(1945), and Bereal’s Focke-WulfFW 109 (1960) reflect a similar concern with war and violence to that of Bontecou’s reliefs, and I argue that this work expresses an ambivalence with respect to war and the aesthetics of war machines.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Shipley, L. E. (2011). Specific Objects: Lee Bontecou’s Steel and Canvas Reliefs, 1959-1964. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/69
Chicago Manual of Style (16th Edition):
Shipley, Lesley E. “Specific Objects: Lee Bontecou’s Steel and Canvas Reliefs, 1959-1964.” 2011. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/69.
MLA Handbook (7th Edition):
Shipley, Lesley E. “Specific Objects: Lee Bontecou’s Steel and Canvas Reliefs, 1959-1964.” 2011. Web. 08 Mar 2021.
Vancouver:
Shipley LE. Specific Objects: Lee Bontecou’s Steel and Canvas Reliefs, 1959-1964. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2011. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/69.
Council of Science Editors:
Shipley LE. Specific Objects: Lee Bontecou’s Steel and Canvas Reliefs, 1959-1964. [Doctoral Dissertation]. Bryn Mawr College; 2011. Available from: https://repository.brynmawr.edu/dissertations/69
26.
Dubay, Rebecca L.
Frank Stella, Anne Truitt, Robert Ryman, and Abstraction in the Sixties.
Degree: PhD, History of Art, 2011, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/64
► This dissertation examines transformations in painting during the 1960s. Countering repeated pronouncements of its “death” and subsequent diagnoses of its persistence in melancholic form,…
(more)
▼ This dissertation examines transformations in painting during the 1960s. Countering repeated pronouncements of its “death” and subsequent diagnoses of its persistence in melancholic form, my dissertation argues that painting was by no means moribund,nor was its ongoing practice a situation of studious disavowal. Instead, I assert and explore the vitality and elasticity of abstract painting through detailed case studies of Frank Stella’s first shaped canvases, Anne Truitt’s three-dimensional paintings, and Robert Ryman’s repetitive white paintings. Each of these artists believed they were fundamentally making paintings, that is to say neither hybrids nor pictorial sculptures. They maintained painting, as a medium, still mattered, even if not in terms of an ontology or absolute. In prying the work of Stella, Truitt, and Ryman from the paradigms of opticality and objecthood, my dissertation promises to revise the discourse on abstract painting in the 1960s by focusing not on what painting had been and was no longer, but rather, on what, during the 1960s, it was still becoming.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA (6th Edition):
Dubay, R. L. (2011). Frank Stella, Anne Truitt, Robert Ryman, and Abstraction in the Sixties. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/64
Chicago Manual of Style (16th Edition):
Dubay, Rebecca L. “Frank Stella, Anne Truitt, Robert Ryman, and Abstraction in the Sixties.” 2011. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/64.
MLA Handbook (7th Edition):
Dubay, Rebecca L. “Frank Stella, Anne Truitt, Robert Ryman, and Abstraction in the Sixties.” 2011. Web. 08 Mar 2021.
Vancouver:
Dubay RL. Frank Stella, Anne Truitt, Robert Ryman, and Abstraction in the Sixties. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2011. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/64.
Council of Science Editors:
Dubay RL. Frank Stella, Anne Truitt, Robert Ryman, and Abstraction in the Sixties. [Doctoral Dissertation]. Bryn Mawr College; 2011. Available from: https://repository.brynmawr.edu/dissertations/64
27.
Anderson, Benjamin W.
World Image after World Empire: The Ptolemaic Cosmos in the Early Middle Ages, ca. 700-900.
Degree: PhD, History of Art, 2012, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/51
► Images of the Ptolemaic cosmos were produced in all three major early medieval successors to the Roman Empire (the Carolingian, the Byzantine, and the…
(more)
▼ Images of the Ptolemaic cosmos were produced in all three major early medieval successors to the Roman Empire (the Carolingian, the Byzantine, and the Umayyad states). Early medieval cosmological images remained formally and iconographically close to their late antique models. They thus provide a point of comparison allowing examination of the changing functions of images. Two primary functions of ancient cosmological images are identified: the epistemological (images as carriers of information about the Ptolemaic world system) and the symbolic (images as signs of “the cosmos”within broader signifying systems).
In early medieval Byzantine art the epistemological function predominated. The Vatican Ptolemy (Vaticanus Graecus 1291), a manuscript produced ca. 750, was a manual intended to ensure imperial access to natural-scientific knowledge. It may thus be compared to contemporary metrological monuments, in particular the Horologion of Hagia Sophia and the Anemodoulion, erected by emperors in Constantinople. Its apparent lack of progeny is related to a jealous “economy of knowledge” that developed from social antagonisms between centralizing emperors and elites determined to maintain independent sources of power.
Charlemagne‟s silver table and the Cathedra Petri have traditionally been considered props for staging the Carolingian ruler as a cosmocrator through use of cosmological imagery. However, in the Carolingian world, as in the Byzantine, the epistemological function of cosmological imagery predominated. The proliferation of manuscripts with cosmological imagery, particularly in the period between ca. 800 and 820, provides a contrast to Byzantine scarcity, and evidence for a porous “economy of knowledge.” Cosmological images aided in the formation of identities shared between state functionaries and hereditary elites.
Cosmographic imagery, both terrestrial (the mosaics of the Umayyad Mosque of Damascus) and celestial (the frescoes of Qusayr „Amra) played a major role in the staging of Umayyad rule. Thus in the early Islamic state it was the symbolic function that predominated. This is related to the gulf between the Umayyad state and its host society, and the necessity for Umayyad caliphs to develop a flexible visual
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Anderson, B. W. (2012). World Image after World Empire: The Ptolemaic Cosmos in the Early Middle Ages, ca. 700-900. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/51
Chicago Manual of Style (16th Edition):
Anderson, Benjamin W. “World Image after World Empire: The Ptolemaic Cosmos in the Early Middle Ages, ca. 700-900.” 2012. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/51.
MLA Handbook (7th Edition):
Anderson, Benjamin W. “World Image after World Empire: The Ptolemaic Cosmos in the Early Middle Ages, ca. 700-900.” 2012. Web. 08 Mar 2021.
Vancouver:
Anderson BW. World Image after World Empire: The Ptolemaic Cosmos in the Early Middle Ages, ca. 700-900. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2012. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/51.
Council of Science Editors:
Anderson BW. World Image after World Empire: The Ptolemaic Cosmos in the Early Middle Ages, ca. 700-900. [Doctoral Dissertation]. Bryn Mawr College; 2012. Available from: https://repository.brynmawr.edu/dissertations/51
28.
Bennett, Danielle Smotherman.
Decoding Meaning in Athenian Vase-Painting of the Archaic and Classical Periods: A Study of Expressions of Communication and Targeted Audiences.
Degree: PhD, Classical and Near Eastern Archaeology, 2017, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/167
► This study advances our understanding of Athenian vase-paintings of the Archaic and Classical periods by examining scenes of communication from two perspectives: how communication…
(more)
▼ This study advances our understanding of Athenian vase-paintings of the Archaic and Classical periods by examining scenes of communication from two perspectives: how communication is expressed within depictions of multi-figure scenes and how messages are encoded through the vase to the viewer. I develop a new theoreticalmethodological framework using communication theory that combines a semiotic approach to images with a model of communication that considers the viewer (Part I). The model visualizes communication as occurring on two axes. Communication occurring on the vase, the horizontal axis, focuses on the different modes of communication within the image. Communication occurring through the object, the vertical axis, considers the role of the viewer and the relationship between creator, object, and targeted audience. Communication theory allows for a systematic investigation of the vase as a constructed agent of meaning and the importance of the intended viewer and viewing context. This study is divided into two parts based upon the two axes of communication. Part II deals primarily with the horizontal axis, applying the model of communication to vase-paintings through analyzing examples of different modes of communication in the world of images, which are expressed through visual markers. Visual markers such as gestures, body language and speech inscriptions, represent both verbal and non-verbal communication in images. Chapter 3 examines the use of visual markers in establishing conversations, with an emphasis on indicators of speech. Chapter 4 examines the role of visual markers in representing known narratives. Miscommunication plays a part in these stories as a narrative instigator and I focus predominantly on nonverbal communication.
Part III deals with the vertical axis, concentrating on the concept of gendered gazes through examining self-referential images and targeted audiences. While Chapter 5 focuses on scenes of the symposium on sympotic shapes intended for a male audience, Chapter 6 explores images intended for female viewers by examining vases decorated with scenes of marriage and wool-working that were produced for those respective settings. In my dissertation, I argue that the link between the two axes relies on visual markers, an open approach to reading images, and the experience of the viewer.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
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APA (6th Edition):
Bennett, D. S. (2017). Decoding Meaning in Athenian Vase-Painting of the Archaic and Classical Periods: A Study of Expressions of Communication and Targeted Audiences. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/167
Chicago Manual of Style (16th Edition):
Bennett, Danielle Smotherman. “Decoding Meaning in Athenian Vase-Painting of the Archaic and Classical Periods: A Study of Expressions of Communication and Targeted Audiences.” 2017. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/167.
MLA Handbook (7th Edition):
Bennett, Danielle Smotherman. “Decoding Meaning in Athenian Vase-Painting of the Archaic and Classical Periods: A Study of Expressions of Communication and Targeted Audiences.” 2017. Web. 08 Mar 2021.
Vancouver:
Bennett DS. Decoding Meaning in Athenian Vase-Painting of the Archaic and Classical Periods: A Study of Expressions of Communication and Targeted Audiences. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2017. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/167.
Council of Science Editors:
Bennett DS. Decoding Meaning in Athenian Vase-Painting of the Archaic and Classical Periods: A Study of Expressions of Communication and Targeted Audiences. [Doctoral Dissertation]. Bryn Mawr College; 2017. Available from: https://repository.brynmawr.edu/dissertations/167
29.
Pritchett, Hollister Nolan.
Representations of Human and Satyr Children Through Stages of Childhood Development in Athenian Art of the Sixth to the Fourth Century B.C.E. An Iconographical and Contextual Approach.
Degree: PhD, Classical and Near Eastern Archaeology, 2017, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/159
► The current study considers Athenian childhood through images on Attic vases, plaques, and votive reliefs. A six-stage model of childhood development – newborn to…
(more)
▼ The current study considers Athenian childhood through images on Attic vases, plaques, and votive reliefs. A six-stage model of childhood development – newborn to adolescence – was designed to appraise the ages of children. This new model allows for more precise age determination, especially for the youngest children (birth to three years). In contrast to previous studies, emphasis is placed on the younger developmental stages (Stages I-III), focusing on acquired motor skills and biological changes that all healthy children attain. The first two analytical chapters concern depictions of family scenes that include a significant number of children. While Chapter 2 analyzes funerary and lamentation scenes on vases and plaques, Chapter 3 deals with commemorations of a family visit to a sanctuary as shown on votive reliefs. These images are discussed by age group, using the model for the six developmental stages and with respect to the locations of children, their positions within the scene and, more generally, their interactions with adults in order to discern patterns of placement. Although funerary and dedication scenes tend to follow their own individual compositions, it holds true for both that age, dependency level, and gender of a child influences his or her placement within these scenes, indicating male and female spheres. Similar criteria are used in Chapter 4 to analyze a third group of family scenes, namely vase-paintings with children at play in different settings. They suggest that indoor scenes were reserved for the youngest children of either gender. The development and upbringing of Satyr children, as presented on Attic vases, is discussed in Chapter 5 and includes comparisons to their human counterparts. Examinations
reveal that Satyr children follow similar developmental stages as humans and that both learn their adult behavior through imitation and observation as they participate in their own specific activities. The final analytical chapter, Chapter 6, studies depictions of children on Attic vases within a contextual framework. More specifically, it discerns whether the representations of children on Attic vases associated with male users, such as kraters and kylikes, and those associated with female users, such as epinetra and pyxides, differ significantly.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Pritchett, H. N. (2017). Representations of Human and Satyr Children Through Stages of Childhood Development in Athenian Art of the Sixth to the Fourth Century B.C.E. An Iconographical and Contextual Approach. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/159
Chicago Manual of Style (16th Edition):
Pritchett, Hollister Nolan. “Representations of Human and Satyr Children Through Stages of Childhood Development in Athenian Art of the Sixth to the Fourth Century B.C.E. An Iconographical and Contextual Approach.” 2017. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/159.
MLA Handbook (7th Edition):
Pritchett, Hollister Nolan. “Representations of Human and Satyr Children Through Stages of Childhood Development in Athenian Art of the Sixth to the Fourth Century B.C.E. An Iconographical and Contextual Approach.” 2017. Web. 08 Mar 2021.
Vancouver:
Pritchett HN. Representations of Human and Satyr Children Through Stages of Childhood Development in Athenian Art of the Sixth to the Fourth Century B.C.E. An Iconographical and Contextual Approach. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2017. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/159.
Council of Science Editors:
Pritchett HN. Representations of Human and Satyr Children Through Stages of Childhood Development in Athenian Art of the Sixth to the Fourth Century B.C.E. An Iconographical and Contextual Approach. [Doctoral Dissertation]. Bryn Mawr College; 2017. Available from: https://repository.brynmawr.edu/dissertations/159
30.
Zaring, Jacoba Johnson.
The contribution of psychosocial factors to speech comprehension in normal aging: “What did you say?”.
Degree: PhD, Psychology, 2018, Bryn Mawr College
URL: https://repository.brynmawr.edu/dissertations/191
► Experimental studies have shown that negative stereotypes of aging cause a significant reduction in memory performance, as well as on other cognitive tasks, in…
(more)
▼ Experimental studies have shown that negative stereotypes of aging cause a significant reduction in memory performance, as well as on other cognitive tasks, in older adults. Despite literature detailing the increasing difficulty with listening comprehension in older age, no study to date has examined the effects of negative stereotypes of aging on listening comprehension among older adults. This study investigates the effects of stereotype primes about aging on sentence comprehension in older adults. Education is also investigated as a moderator of effects of the prime. Negative stereotype primes were presented to a sample of 60 to 75 year old adults (M = 69 years old) and performance before and after the presentation of the stereotype primes was measured on a sentence comprehension task with more and less complex syntax. The negative primes were both implicit, that is below the threshold of awareness for some participants, and explicit that is above the threshold of awareness for other participants, a neutral control group was also included. The results show no statistically significant differences in accuracy times between neither the implicit, nor the explicit, negative stereotype primes and the control for the higher education sample. A medium effect size difference, however, was found between the negative explicit group and the control group. Education was not shown to moderate the effects of the negative prime condition. A discussion of these outcomes is presented with implications for the age stereotype priming literature.
Subjects/Keywords: History of Art; Architecture; and Archaeology
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Zaring, J. J. (2018). The contribution of psychosocial factors to speech comprehension in normal aging: “What did you say?”. (Doctoral Dissertation). Bryn Mawr College. Retrieved from https://repository.brynmawr.edu/dissertations/191
Chicago Manual of Style (16th Edition):
Zaring, Jacoba Johnson. “The contribution of psychosocial factors to speech comprehension in normal aging: “What did you say?”.” 2018. Doctoral Dissertation, Bryn Mawr College. Accessed March 08, 2021.
https://repository.brynmawr.edu/dissertations/191.
MLA Handbook (7th Edition):
Zaring, Jacoba Johnson. “The contribution of psychosocial factors to speech comprehension in normal aging: “What did you say?”.” 2018. Web. 08 Mar 2021.
Vancouver:
Zaring JJ. The contribution of psychosocial factors to speech comprehension in normal aging: “What did you say?”. [Internet] [Doctoral dissertation]. Bryn Mawr College; 2018. [cited 2021 Mar 08].
Available from: https://repository.brynmawr.edu/dissertations/191.
Council of Science Editors:
Zaring JJ. The contribution of psychosocial factors to speech comprehension in normal aging: “What did you say?”. [Doctoral Dissertation]. Bryn Mawr College; 2018. Available from: https://repository.brynmawr.edu/dissertations/191
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