Tesis: "History of colours"

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Bideaux, Kévin. "La vie en rose : petite histoire d'une couleur aux prises avec le genre". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080021.

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Des jouets roses « pour filles », aux innombrables représentations de femmes en rose, « le rose c’est pour filles » est un constat et une affirmation performative, c’est-à-dire autoréalisatrice. Il est à la fois un symbole de féminité, et il associe au féminin tout ce qu’il colore. Partant du désir de comprendre les origines et les modalités de l’association du rose à la féminité, la thèse s’attache à déployer une histoire de cette couleur depuis les premiers colorants roses, en passant par le XVIIIe siècle, une histoire de ses symboliques liées — ou non — au genre, de ses usages et de ces mésusages, de ses rejets et de ses appropriations. À l’intersection des études de genre et des études sur la couleur, elle met en évidence les idéologies sous-jacentes aux emplois du rose, et leurs répercussions sur les femmes, mais aussi les hommes, en termes de construction identitaire et de rapports sociaux. Employé dans les arts visuels, comme dans le cinéma, les jeux vidéo, la mode ou le marketing, le rose participe au processus de catégorisation de genre à travers son esthétisation et la répétition de stéréotypes. Porté par des hommes, il connote l’efféminement, voire l’homosexualité, confirmant son lien au féminin par son incompatibilité symbolique au masculin. Les tentatives militantes de réappropriation du rose comme emblème par luttes féministes, gayes ou queeres, ne parviennent pas à se défaire de son lien à la féminité, et le renforcent paradoxalement. Le rose se révèle ainsi être une technologie de genre, telle que la définit Teresa de Lauretis : sa représentation est sa construction
From pink toys to countless representations of women in pink, “pink is for girls” is both fact and performative assertion — that is to say a self-fulfilling one. It is both a feminine symbol and associates everything it colours with femininity. Stemming from the desire to understand the origins and modalities of the association of pink with femininity, this thesis endeavours to follow the history of the colour since the first pink dyes, with a focus on the eighteenth century during which pink grew in popularity; a history of its symbolism linked — or not — to gender, its uses and misuses, its rejections and appropriations. At the intersection of gender studies and colour studies, this thesis highlights the ideologies underlying the use of pink, and their repercussions on both women and men, in terms of identity construction and social relations. Present throughout the visual arts, as well as in cinema, video games, fashion and marketing, pink participates in the process of gender categorisation through its aestheticisation and repetition of stereotypes. When worn by men, it connotes effeminacy, even homosexuality, confirming its feminine link through its symbolic incompatibility with the masculine. Militant attempts to reappropriate pink as an emblem by feminist, gay or queer communities have not managed to erase pink’s link to femininity, and paradoxically have reinforced it. Pink is thus revealed as a technology of gender, as defined by Teresa de Lauretis: its representation is its construction

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Eastaugh, Nicholas John. "Lead tin yellow : its history, manufacture, colour and structure". Thesis, Courtauld Institute of Art (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295156.

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Geraghty, Kathryn. "Colors of the Western Mining Frontier| Painted Finishes in Virginia City, Montana". Thesis, University of Oregon, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10599315.

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Virginia City once exemplified the cutting edge of culture and taste in the Rocky Mountain mining frontier. Weathering economic downturns, mining booms and busts, and the loss of the territorial capital to Helena, Virginia City survives today as a heritage tourism site with a substantial building stock from its period of significance, 1863-1875. However, the poor physical condition and interpretation of the town offers tourists an inauthentic experience. Without paint analysis, the Montana Heritage Commission, state-appointed caretakers of Virginia City cannot engage in rehabilitation. As of 2017, no published architectural finishes research exists that provides comparative case studies for the Anglo-American settlement of the American West between 1840-1880, for American industrial landscapes, or for vernacular architecture in Montana. This thesis offers a case study of five buildings to add to the body of scholarly architectural finishes research, provide rehabilitation recommendations, and provide a published, baseline study for future research.

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Fowlie, Martin Kenneth. "Colour polymorphism in the common buzzard : evolution and life history consequences". Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/6195/.

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The detrimental effects of inbreeding are well known, and they have been shown to be associated with lower levels of reproductive success, higher levels of parasitism and differences in disease susceptibility. To better understand large fitness differences between morphs in the colour polymorphic common buzzard, Buteo buteo, we investigated differences in the levels of internal relatedness between morphs. As the common buzzard mating system is non-random and the light and dark morph individuals are less abundant than the intermediates, it could be the case the extreme colour morph individuals are more inbred. However, no differences were found in levels of inbreeding. In birds, the physiological and behavioural consequences of colour polymorphisms are not widely known. Here we used an experiment to investigate the effect of this melanin-based polymorphism on nest defence behaviour in the common buzzard. Among males, light morphs were found to be significantly more aggressive to a perceived threat of nest predation than either intermediate or darkly coloured birds, while there was a non-significant tendency for the reverse among females. The level of aggression observed for each member of a pair was independent of the level of aggression shown by the other member. These results illustrate that polymorphisms can be associated with alternative reproductive tactics in birds, and suggest a possible link between the biochemistry of melanin production and individual behaviour. For most species living in seasonal environments, timing is an important determinant of the success of a breeding attempt. Individuals also face a trade off between current and future reproduction. Here we investigated whether colour morphs differed in their timing of breeding. Light-light and dark-dark pairs were found to breed earlier than the population mean, with light-dark pairs fledging chicks slightly later. Differences in reproductive strategies between morphs may account for the observed differences.

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Molina, Giralt Glòria. "Colour and technology in historic decorated glazes and glasses". Doctoral thesis, Universitat Politècnica de Catalunya, 2014. http://hdl.handle.net/10803/144623.

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Historical decorated glass and glazed ceramics are studied with the object to determine the technology of production and to relate it with the optical properties (colour, shine, opacity). Four different case of study are investigated: production technology and replication of lead antimonate yellow glass from New Kingdom Egypt and the Roman Empire, technology of production of polychrome lustre, analyses of Syrian lustre pottery (12th–14th centuries AD) and study of color and dichroism of silver stained glasses. These different coloured glazes or glasses have in common to be produced by the presence of micro or nanoparticles embedded into the glaze which give their special optical effect. Chemical and microstructural analyses are performed using a selection of complementary Microscopic and Spectroscopic techniques that are the most adequate for the analyses of each decoration. Physical optical properties are also modeled and measured by means of UV-Vis spectroscopy. The composition and structure of the different phases formed during the processing of the decorations in historical times is obtained with the object to learn about their stability and processing conditions and to relate them to their optical properties

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Villa-Vicencio, Heidi. "Colour, citizenship and constitutionalism : an oral history of political identity among middle-class coloured people with special reference to the formation of the Coloured Advisory Council in 1943 and the removal of the male franchise in 1956". Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/22562.

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Bibliography: pages 173-186.
This thesis explores the political identity of middle-class coloured people in metropolitan Cape Town focusing particularly on the period extending from the formation of the Coloured Advisory Council in 1943 to the removal of the qualified coloured male franchise in 1956. The findings of the thesis are based largely on thirty-one random interviews with coloured men and women over the age of sixty-three. All of the males had the vote and either the fathers or husbands of all the women had enjoyed the vote. The 'open attitude' style of interviewing was employed, enabling the interviewees to help frame the discussions. Politics for most of my respondents was not an integral influence within their childhood. Most men, however, recalled their fathers voting and have clear memories of election days, political movements of the time and meetings that took place. All, except one, became teachers. Their post-secondary education, often at the University of Cape Town, encouraged most to grapple with the political and social processes of the day. By the 1940s the majority of the males began to challenge the prevailing political structures and beliefs of mainstream coloured society. The childhood memories of political events of most women were comparatively less pronounced. Some recalled their fathers voting, although memories of their mothers involvement in church and welfare activities are clearer. They also recalled political events that affected them directly. Most of the women interviewed either became teachers or they married teachers. This exposed them to what they saw as male-dominated coloured politics and they experienced a sense of political alienation from these political processes. This does not necessarily imply that they were apolitical. On the contrary, looking back, they see themselves as having given expression to political concerns in alternative ways. They also showed greater interest in 'white politics' as expressed through the United Party accepting that it was 'white politics' that ultimately had the power to determine their social and economic well-being. Most women showed limited concern about the removal of qualified males from the common voters' roll. They saw this as having a minimal impact on their social well-being. It was largely the Group Areas Act that socially and economically affected their lives, giving rise to a heightened level of political awareness and involvement. The ambiguities and divisions which marked middle-class coloured political groupings could be attributed partly to the historical policies of social-engineering practised by successive governments, whose intention was to construct a coloured political identity separate from whites, while being grounded in civil privileges not extended to Africans. Most of my interviewees acknowledged that by the 1940s they had accepted these privileges. They were naturally reluctant to see these undermined politically. From 1948 onwards middle-class coloured privileges began to be eroded. This signalled the emergence of a new era of coloured identity.

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Tipper, Paul Andrew. "Colour symbolism in the works of Gustave Flaubert". Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:3814.

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The thesis adopts a structural and systematic approach to the study and analysis of colour terms in Flaubert's fiction.The Introduction highlights how Flaubert has come to be regarded as a problematic writer and how much existing work on his colour terms is in some way lacking in clarity. I proceed to fill this gap in Flaubert studies by elaborating a method of analysis of colour terms which clarifies how meaning is produced by the text. The method of analysis comprises eight stages which are systematically worked through as one considers eleven variables, one or several of the latter coming into play at any stage in the method and which may influence the ultimate type and degree of value-charge carried by a colour term. The method and the variables should be thought of as one ensemble or a methodology for the analysis of colour terms in prose fiction. The methodology is highly refined and is without precedent in that I examine the dual exchange of figurative charging which is always operational between a colour term and its associated referent.The thesis is divided into five chapters where each text is studied separately. The Oeuvres de Jeunesse are experimental writings and Flaubert is testing the figurative potential of colour terms. The chromatic codification is mainly traditional, though a nascent private elaboration may be discerned. Madame Bovary represents the peak of literary perfection. All the novel's colours contribute to the overall illusion/reality dichotomy which lies at the heart of the text.

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Mitchell, Michele D. "The Color Line and Georgia History Textbooks: A Content Analysis". Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/sociology_theses/38.

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The purpose of this research is to define racialized textbook bias, conduct a content analysis of Georgia history textbooks, and answer the following question: how is race framed in contemporary Georgia history textbooks? A content analysis of nine Georgia history textbooks was completed for grades two and eight. A Du Boisian theoretical framing of race prejudice as the macro-social condition of the micro-social process of race was an integral component of the content analysis. The findings revealed the existence of racialized textbook bias in the form of marginalization, compartmentalization, and omission suggesting the continuation of White supremacy and Black oppression in the process of education in Georgia public schools.

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Beckett, Jane. "Colour theory and foundations of the Dutch avant-garde 1990-1926". Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267253.

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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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Peteya, Jennifer Anita Peteya. "The Evolutionary History and Preservation of Melanins and Melanosomes". University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1530962281275019.

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Trollsås, Victor. ""Amerikanism eller pöbeldåd"? : Amerikansk lynchningspraktik i den svenskamerikanska pressen 1900–1922". Thesis, Uppsala universitet, Historiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444628.

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This thesis investigates the notion, perception and mediation of whiteness in the Swedish-American immigrant newspapers coverage of lynchings of African-Americans between 1900–1922 and how the editors, of both the larger bourgeois and the smaller socialist and communist press, deployed it in the construction of the racial Swedish-American identity to mirror the contemporary American racial hierarchy. A main departure point is that the Swedish-American identity, in part, was constructed in relation to other racialized groups in America but also to already existing groups in the American society such as the Anglo-Saxons, as the hegemon of what constituted whiteness, but also the descendants of African slaves as the polar opposite. A crucial claim is that the Swedish-American immigrant group were socialized into the racial hierarchy of the contemporary American society by the Swedish-American newspapers. This was possible due to the Swedish-American bourgeois press normalized the victimization of the African-American community in regards to the practice of lynchings, both by how they reported on lynching cases but also by the very placement of news articles. This study has shown that, with the exception of the communist press, the Swedish-American press participated in the practice of lynchings by reproducing and mediating different aspects of African-Americans Otherness and blackness to their readers by creating a color line between white and non-white Americans.

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Villa, Novoa Camila. "Los colores de Cerro de Oro: Una aproximación al uso del color en la producción textil". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/18755.

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El color resulta ser una parte intrínseca de nuestra vida como humanos, esta presente en todas las cosas y por lo tanto estamos estrechamente relacionados a el. El estudio del color en el campo de la arqueología continúa siendo poco explorado como también su relación al material textil. No obstante, se dice que hay una variedad de pigmentos de colores que fueron utilizados en la producción textil de la costa sur. Debido a ello, el presente estudio tiene como objetivo principal el identificar la gama de colores de una muestra textil de un sitio arqueológico de la costa sur llamado Cerro de Oro, ubicado en el valle de Cañete, para de esa manera ahondar en la práctica del teñido la cual ha sido poco investigada y que presenta ser un momento importante en el proceso de elaboración de un textil. Asimismo, también son analizados la fibra, técnica e iconografía para poder observar su relación con la variable del color. Por medio de esto, se intentará demostrar que los colores en las piezas textiles de Cerro de Oro son de una gama muy variable y que fueron aplicados de forma diferenciada de acuerdo con el tipo de fibra, la técnica de confección y el diseño de la decoración del textil.

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Donovan, Mary Magdalene. "Maneuvering Life| Women of Color on the Louisiana Frontier". Thesis, University of Louisiana at Lafayette, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163325.

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During the colonial and early antebellum periods, women of color on the Louisiana frontier received significant amounts of money and property from white male benefactors for themselves and their mixed-race children. Although state laws placed restrictions on inheritances and donations to concubines and illegitimate children, the majority of such transactions in southwest Louisiana went unchallenged or remained intact after white heirs challenged their legality. This study examines how free women of color or manumitted female slaves and their mixed-race children in southwest Louisiana acquired and maintained control of such property between 1740 and 1840, in spite of the laws that barred them from doing so. Few scholarly works have focused their attention exclusively to the lives of women of color on the Louisiana frontier during the colonial and early American era and those that have typically adhere to a very strict regional or urban focus, leaving out significant swaths of the state. This study scrutinizes the lives of women of color living on the Louisiana frontier between the years of 1740 and 1840, who formed long-term relationships with white men and received property as a result of these relationships.

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King, Julie. "Colour forecasting : an investigation into how its development and use impacts on accuracy". Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5657/.

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Colour forecasting is a sector of trend forecasting which is arguably the most important link in the product development process, yet little is known about it, the methodology behind its development or its accuracy. It is part of a global trend forecasting industry valued recently at $36bn, providing information which is developed commercially eighteen months to two years ahead of the season. Used throughout the garment supply chain, by the yarn and fibre manufacturers, the fabric mills, garment designers and retailers, it plays a pivotal role in the fashion and textile industry, but appears in many different forms. Colour forecasts were first commercially produced in 1917, but became more widely used during the 1970s, and in recent years digital versions of colour forecasts have become increasingly popular. The investigation aimed to establish the historical background of the industry, mindful of the considerable changes to fashion manufacturing and retailing in recent decades. For the purposes of the investigation, a period spanning 25 years was selected, from 1985 to 2010. In reviewing the available literature, and the methodologies currently used in developing forecasting information, it became clear that there was a view that the process is very intuitive, and thus a lack of in depth academic literature. This necessitated a considerable quantity of primary research in order to fill the gaps in the knowledge regarding the development, use and accuracy of colour forecasting. A mixed method approach to primary research was required to answer the aim of the thesis, namely to investigate how colour forecasts are compiled, and examine their use, influence and accuracy within the fashion and textiles industry, suggesting methods for developing more accurate forecasts in the future. Interviews were conducted with industry practitioners comprising forecasters, designers and retailers to better understand how colour was developed and used within industry. Two longitudinal studies were carried out with the two largest UK clothing retailers to map their development and use of colour palettes, and understand better how colour contributes to the critical path and supply chain. Two colour development meetings were observed, one with a commercial colour forecaster, the other with an industry association, and two colour archives were studied to establish whether or not any identifiable and predictable colour cycles existed. Data from the interviews and longitudinal studies were analysed using a grounded approach, and revealed some new insights into the influences upon the development of colour forecasts both commercially and from the retailer's perspective. The sell through rates of merchandise, EPOS analysis and range of practices between those interviewed and the two retailers studied provided an interesting insight into working practices and how colour forecasting information is changed when used by the retailers. It was found that a group of core colours existed, which were used season after season, and consistently demonstrated a high sell through rate, such as black, white, grey and navy. In order to establish whether or not colour cycles were consistently predictable in their repetition, two colour forecasting archives were assessed. If predictable colour cycles existed, they would be a useful tool in developing more accurate forecasts. Unfortunately this was not the case, as no clear colour cycles were found. However, the archive, together with evidence from the retailers demonstrated the 'lifecycle' of fashion colours was longer than expected, as they took time to phase in and out. It was concluded that in general the less fashion led brands used their own signature colours and were able to develop colour palettes far later in the product development timeline. This approach could be adopted more widely by retailers and designers as it was discovered that although accuracy rates for colour forecasts are generally accepted to be around 80%, the commercial forecasters provide colour update cards closer to the season where at least 40% of the colours are changed. Very early information, two years ahead of the season is no longer necessary in the contemporary fashion and textiles industry.

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Clayden, Mark John. "Music, timbre, colour in fin-de-Siècle Vienna : Zemlinsky, Schreker, Schoenberg". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:73c4d92f-5754-43d0-b07d-31975ad0539c.

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Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.

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Petraska, Megan Nicole. "SECRET HISTORY IN CONTEMPORARY AMERICA: RE-READING ALL THE KING'S MEN AND PRIMARY COLORS". Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1461871756.

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Petzold, Andreas. "The use of colour in English, Romanesque manuscript illumination with particular reference given to the St. Albans psalter and related manuscripts". Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252025.

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Wright, Jeanne. "Colour and sculpture : an investigation into the use of two dimensional media in sculpture". Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004783.

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From Introduction: Creative images which are normally called 'art' can be distinguished as either 'plastic' or visual. Both these forms throughout the history of art have relied to a greater or lesser degree on the use of colour. It is my intention to investigate specifically the changing role which colour has played in sculpture - the 'plastic' media of the visual arts and to chart the technical and aesthetic reasons for the use of colour. This investigation will encompass the historical perspective, the material qualities, aesthetic considerations, transitional codes and methods of approach in sociological frameworks and the examination of colour as a metaphysical element in the presentation of three dimensional media.

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20

Muzondidya, James. "Sitting on the fence or walking a tightrope? : a political history of the coloured community in Zimbabwe, 1945-1980". Doctoral thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/7893.

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Includes bibliographies.
This thesis examines the political history of the Coloured community of Zimbabwe, a group that has not only been marginalised in most general political and academic discourses but whose history has also been subject to popular misconceptions. The specific focus of the thesis is on the evolution of political ideologies and strategies among members of the Coloured community. The thesis opens by looking at the construction of Coloured identity from the early 1890s. In this section, through a detailed analysis of the various processes involved in the construction of Coloured identity, the study first challenges the notion that Coloured identity was imposed exclusively from above, by the colonial state.

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White, Thomas. ""Their whiteness is not like ours" : a social and cultural history of albinism and albino identities, 1650-1914". Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/their-whiteness-is-not-like-ours-a-social-and-cultural-history-of-albinism-and-albino-identities-16501914(ed208c6d-a4b3-44d3-8ce4-70e9de40d9b7).html.

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This research charts the long cultural trajectory of albinism from early modern travel encounters and Enlightenment exhibitions to medical classification and biological experimentation. It argues the whiteness of albinism functioned as a visible provocation to thinkers involved in work crucial to major conceptual developments in western science and medicine. It stresses this rare complexion was a prism through which medical and scientific researchers studied human variation, disease and inheritance. It examines how albinism paralleled a broader historical production of modern racial and pathological identities. T¬his research traces medico-scientific discourses in order to understand their affect on people diagnosed with albinism. It commences with analysis of ‘unusually white’ people in travel narratives and Enlightenment ephemera between 1650-1799. It bridges plural representations of ‘unusual whiteness’ as sub-human or racially distinct with the crystallisation from the 1770s of a pathological definition for ‘leucoethiopia’. It demonstrates circulation of medical case studies and the formal classification of albinism as congenital disease by medical men in 1822 reflected a far-reaching revolution in medical thought and practice across Europe. It links this medical paradigm shift with the rise of heredity theory from the 1850s. It argues widespread experimentation with albino animals supported fierce early twentieth-century debates among biologists about Mendel’s laws of heredity. It concludes with analysis of the dialectic between medical knowledge about albinism and ‘albino’ identities. It argues people with albinism both internalised and camouflaged medical associations with defect through the adoption of class privilege and individual social tactics. Overall, this research makes a significant claim to rethink the histories of race, disability and medicine. It spotlights albinism as a critical nexus to understand the making of the normal and the pathological body, and it pinpoints the unstable relationship between medical diagnosis and individual agency.

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du, Preez Gerald T. "A history of the organizational development of the Seventh-Day Adventist Church amongst the Coloured community in South Africa 1887-1997". Thesis, University of the Western Cape, 2010. http://hdl.handle.net/11394/2648.

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The Seventh-day Adventist Church in South Africa was planted towards the end of the 19th century. Within less than forty years after its inception, a separate Coloured department developed. This was not to be the last organizational development impacting upon the Coloured community within the Church. The problem that this study will seek to address is: "What factors contributed to the different organizational phases that the predominantly 'coloured' section of the Seventh-day Adventist Church in South Africa underwent between 1887 and 1997?" It will examine particularly the role and impact of racism on the various organizational phases.
Philosophiae Doctor - PhD

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23

Burgon, James D. "Evolutionary and genomic associations of colour and pattern in fire and Alpine salamanders (Salamandra spp.)". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9029/.

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Animal colouration is associated with a multitude of ecologically adaptive traits known to drive biological diversification, from predator avoidance to physiological regulation. As such, it is an ideal system in which to study the evolutionary patterns and processes that generate and maintain biological diversity. Within the terrestrial vertebrates, amphibians display some of the greatest complexity and variation in terms of colour patterning, with the salamander genus Salamandra particularly renowned for its colour diversity. Typically, Salamandra species present bright, highly variable yellow-black patterns consisting of spots and/or stripes, which are thought to hold an aposematic (warning) function related to their toxic secretions. In addition to this, individual species and populations have evolved melanic, fully yellow and fully brown colourations, with gradations seen in-between. Importantly, there are also indications of parallel colour pattern evolution, making Salamandra an attractive system for studying the repeated evolution of adaptive phenotypes. However, the genus currently lacks phylogenetic resolution, and the molecular mechanisms underlying amphibian colouration are poorly understood. In this thesis, I aim to fill both of these knowledge gaps through the use of next-generation sequencing (NGS) techniques, which offer both unpredicted opportunities to resolve systematically challenging relationships and allow us to study the genetic basis of ecologically adaptive phenotypes in wild non-model organism. In Chapter 2 we reconstruct the controversial interspecies phylogeny of Salamandra using three largely independent phylogenomic data sets. First, using restriction site associated DNA sequencing (RAD-Seq), I genotyped representatives of all six currently recognised Salamandra species (and two outgroup species from its sister genus Lyciasalamandra). This was combined with nuclear protein-coding sequences derived from RNA-Seq and full mitochondrial genomes. Analyses of concatenated RNA-Seq and RAD-Seq data retrieved well supported, fully congruent topologies that placed: (1) S. infraimmaculata as sister to all other species in the genus; (2) S. algira sister to S. salamandra; (3) these two species sister to a clade containing S. atra, S. corsica and S. lanzai; and (4) the Alpine species S. atra and S. lanzai as sister taxa. The phylogeny inferred from mitochondrial genomes differed from this in its placement of S. corsica, as did species tree analyses of RNA-Seq and RAD-Seq data. However, the general congruence among topologies recovered from the RNA-Seq and RAD-Seq data sets gives us confidence in our methodologies and results. In Chapter 3, I perform more in-depth phylogenomic analyses, using RAD-Seq to genotype 231 salamanders from across the taxonomic and geographic breadth of Salamandra. Both Bayesian and maximum likelihood based analyses of concatenated RAD-loci (comprising 187,080–294,300 nt of sequence data) returned well-supported, largely congruent topologies that supported the monophyly of all six currently recognised species. However, the placement of S. corsica was again unclear, and data filtering parameters were found to have a great impact on downstream analyses. Further, I identified undescribed diversity within the North African species (S. algira) and find that 43% of S. salamandra subspecies do not meet a criterion of monophyly. Following this, I use the phylogenetic hypothesis generated to assess the parallel evolution of reproductive (parity) mode and two colour phenotypes (melanism and stripe formation) through ancestral state reconstruction analyses. I find that pueriparity (giving birth to fully metamorphosed juveniles) has independently arisen in at least four lineages, melanism in at least five, and a striped phenotype in least two, all from a common yellow-black spotted larviparous (larvae depositing) ancestor. Finally, in Chapter 4, I leverage and highly colour-variable lineage of the European fire salamander (S. salamandra bernardezi) to identify genetic associations with colour, test for selection on colouration, and test the relationship between colour phenotype and toxicity (the functional basis of aposematism). I show that, within a geographically restricted region, colour phenotypes form a gradient of variation, from fully yellow to fully brown, through a yellow-black striped pattern. Population genetic analyses suggest a sympatric evolutionary origin for this colour variation, and I found no association between a salamanders colour pattern and the metabolomic profile of its toxic secretions, which calls into question the adaptive significance attributed to these striking colourations. Following this, I identified significantly differentially expressed genes between skin colours using transcriptomic (RNA-Seq) analyses and genomic loci associated to representative colour phenotypes (yellow, brown and striped) using RAD-Seq approaches. I also found signals of selection on genomic loci between representative colour phenotypes, several of which overlap with genomic analyses. Overall, my results provide greater phylogenetic resolution for the genus Salamandra than ever before, revealing the need for taxonomic revisions and confirming the convergent (or parallel) evolution of both reproductive and colour phenotypes. My data also represents a significant contribution to our understanding of the genetic basis of amphibian colouration, providing a valuable resource for future comparative research on vertebrate colour evolution.

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24

Lazewski, Stephanie Jayne. "Investigating regime collapse with fsQCA| The Arab Spring and the Color Revolutions". Thesis, University of Colorado at Denver, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1588195.

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The purpose of this study is to identify necessary and sufficient conditions in regime collapse that are shared cross-regionally by the Color Revolutions of the post-Soviet region and the Arab Spring uprisings of the Arab region by utilizing fuzzy-set qualitative comparative analysis (fsQCA or QCA). Two countries that experienced regime collapse were chosen from each region, Georgia and Ukraine as well as Egypt and Tunisia, and were compared with two countries from each region where the regime did not collapse even when faced with mass anti-regime protests, Armenia and Belarus as well as Algeria and Syria, for a total of eight case studies. This research presents conditions derived from popular theories on regime collapse, reviews the pre-revolutionary conditions of the case study countries, and applies QCA methodology to tests the necessity and sufficiency of conditions within countries where the authoritarian regime in power collapsed. Results of this analysis suggest that division among coercive forces, a political crisis that weakened the regime, and the high presence of a mobilized youth movement were necessary in regime collapse in both the Color Revolutions and the Arab Spring uprisings. Additionally, division among coercive forces combined with a political crisis that weakened the regime, high levels of unrestricted NGO presence, or a highly unpopular ruling elite present as causal combinations sufficient for regime collapse. Finally, Western intervention and influence presents as a possible stand alone sufficient condition, though further research is needed to identify the specific types of Western intervention and influence that are most effective.

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25

Frisvold, Hanssen Eirik. "Early Discourses on Colour and Cinema : Origins, Functions, Meanings". Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.

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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.

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26

Tajima, Yoshihito. "Les couleurs dans la poésie de Rimbaud". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040085.

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Dans le domaine de l’optique, les savants ont réfléchi, depuis l’Antiquité, aux couleurs. Dans les beaux-arts, par sa nature accidentelle, la couleur a été traitée comme un élément inférieur au dessin. L’enseignement scolaire a suivi cette tendance. Cependant, au milieu du XIXe siècle, apparaissent divers ouvrages de vulgarisation traitant des couleurs. Leur point de vue est alors le savoir-vivre, l’éducation, l’ésotérisme, l’optique, l’art ou la technologie. Notre thèse a pour objectif de comprendre en quoi le traitement des couleurs est original dans les poèmes en vers de Rimbaud, en relation avec l’épistémè du XIXe siècle. Dans les poèmes de Rimbaud, les couleurs parlent du poète ; de son éducation, ses préoccupations, sa pensée politique ou religieuse et même l’enjeu poétique de son œuvre. Nous nous sommes concentré sur le symbole des couleurs, négligé jusqu’à présent, et sur les effets physiologiques et les impressions visuelles dont Goethe ou Chevreul ont traité. Rimbaud n’invente ni les couleurs spectrales, ni les correspondances entre sons et couleurs, ni le symbolisme des couleurs. Il s’inspire d’idées existantes, et les combine pour inventer une nouvelle langue poétique. Il superpose les couleurs symboliques provoquant des associations d’idées, aux couleurs spectrales. Dans « Voyelles », le poète implique sa méthode dans la description de l’arc-en-ciel, dans l’évocation sonore des lettres de l’alphabet grec et dans le symbolisme de cinq couleurs. L’originalité de sa démarche tient à la convergence de ses différents moyens d’expression. C’est cet emploi des couleurs qui contribue à la création d’une nouvelle langue poétique
In the field of optics, scientists have studied colors since ancient times. In Arts, because of its accidental nature, color is treated as a element lower than drawing. School education has followed this tendency to neglect the color. However, during the mid-nineteenth century appeared various books about colors, in the fields of etiquette, education, esotericism, optics, art and technology. Our objective is to find what makes the use of colors unique in the verse poems of Rimbaud, in consideration of the nineteenth century episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goethe and Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poetic language. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language.episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goetheand Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poeticlanguage. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language

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27

Walck, Pamela E. "Reporting America's "Colour Problem": How the U.S. and British Press Reported and Framed Racial Conflicts during World War II". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438173577.

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28

Shy, Yulbritton. ""This is OUR AMERICA, TOO": Marcus B. Christian & the History of Black Louisiana". ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1180.

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Louisiana's unique social and cultural history with its three-tiered racial system (rather than the biracial system that governed much of the United States) left the region and the history of its black inhabitants, outside of familiar narratives of United States black history. Marcus B. Christian, the self-trained intellectual, sought to research, and make public, the history of blacks in Louisiana. His career demonstrates the importance of training, economic status, and geographical focus in the production of African American history. Many of the stories he told, through writing and research, retrieved the largely forgotten history of Creoles of color. In fact, his own story was an extension of the black intellectual traditions of that Creole population. Even as his work revealed black Louisiana's unique culture, it also served as the foundation for Christian's own intellectual legacy, one with both material and intellectual dimensions.

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29

Escott, Anthony James. "Alan Cuthbert : colour theory and practice [1957 -79] English art school change in the early 1960s". Thesis, Kingston University, 2005. http://eprints.kingston.ac.uk/20219/.

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The core of this research are the paintings and cultural context of Alan Cuthbert, a hitherto un-researched figure who trained in the English art school of the late 1950s under the Constructionists Kenneth and Mary Martin and subsequently became the Head of the Foundation course at Wimbledon School of Art from 1963-1979. Cuthbert produced a substantial body of over a hundred geometric abstract paintings, lecture papers and writing and played a significant role in training future generations of artists and designers from the 1960s onwards. This thesis proposes that Cuthbert is part of a broader tendency in British art schools and that practice and teaching is intimately connected to the reorganisation of the art schools and the introduction of the Foundation course in the early 196Ös. I put forward the argument that through a study of Cuthbert and the shifts in art schools one can map a much under-researched aspect of British art. This research encompasses the three fields of art history, art education and art practice and centres on an artist-lecturer, a subject of study largely ignored by the majority of art historical writing, which is dominated by the modernist model of monographs, movements/groupings, and periods. In placing the case study of an artist-lecturer in a critical and historical context, this study maps British art through organicism, Constructivism and the Bauhaus art school pedagogy and colour as they pertain to basic design and the changes in art school teaching between 1955 and 1979. Through this case study of a colourist and systems painter this thesis suggests a different, Continental orientation for British post-war geometric abstraction.

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30

Woronik, Alyssa. "A functional genomic investigation of an alternative life history strategy : The Alba polymorphism in Colias croceus". Doctoral thesis, Stockholms universitet, Zoologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-147351.

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Life history traits affect the timing and pattern of maturation, reproduction, and survival during an organism’s lifecycle and are the major components influencing Darwinian fitness. Co-evolved patterns of these traits are known as life history strategies (LHS) and variation occurs between individuals, populations, and species. The polymorphisms underlying LHS are important targets of natural selection, yet the underlying genes and physiological mechanisms remain largely unknown. Mapping the genetic basis of a LHS and subsequently unraveling the associated physiological mechanisms is a challenging task, as complex phenotypes are often polygenic. However, in several systems discrete LHS are maintained within the population and are inherited as a single locus with pleiotropic effects. These systems provide a promising starting point for investigation into LHS mechanisms and this thesis focuses on one such strategy - the Alba polymorphism in Colias butterflies. Alba is inherited as a single autosomal locus, expressed only in females, and simultaneously affects development rate, reproductive potential, and wing color. Alba females are white, while the alternative morph is yellow/orange. About 28 of 90 species exhibit polymorphic females, though whether the Alba mechanism and associated tradeoffs are conserved across the genus remains to be determined. In this thesis I primarily focus on the species Colias croceus and integrate results from lipidomics, transcriptomics, microscopy, and genomics to gain insights to the proximate mechanisms underlying Alba and Alba’s evolution within the genus. Lipidomics confirm that, consistent with findings in New World species, C. croceus Alba females have larger abdominal lipid stores than orange, an advantage which is temperature dependent and arises primarily due to mobilized lipids. Gene expression data suggests differences in resource allocation, with Alba females investing in reproduction rather than wing color, consistent with previous findings in other Colias species. Additionally, I identify a morphological basis for Alba’s white wing color. Alba females from C. croceus, an Old World species, and Colias eurytheme, a New World species both exhibit a significant reduction in pigment granules, the structures within the wing scale that contain pigment. This is a trait that seems to be unique to Colias as other white Pierid butterflies have an abundance of pigment granules, similar to orange females. I also map the genetic basis of Alba to a single genomic region containing an Alba specific, Jockey-like transposable element insertion. Interestingly this transposable element is located downstream of BarH-1, a gene known to affect pigment granule formation in Drosophila. Finally, I construct a phylogeny using a global distribution of 20 Colias species to facilitate investigations of Alba’s evolution within the genus.

At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 2: Manuscript. Paper 3: Manuscript. Paper 4: Manuscript.

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31

Goodnough, Michael Daniel. "“Shifting Faster Than the Colors of a Spinning Mirrored Globe:” Health, Fitness, Dieting, and Antimodernism in American Culture and Thought, 1973-1984". Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556224821560688.

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32

Betts, Mellissa Jeanne. "Namibia's no man's land race, space, and identity in the history of Windhoek coloureds under South African rule 1915-1990 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1932135281&sid=19&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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33

Hobratsch, Ben Melvin. "Creole Angel: The Self-Identity of the Free People of Color of Antebellum New Orleans". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5369/.

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This thesis is about the self-identity of antebellum New Orleans's free people of color. The emphasis of this work is that French culture, mixed Gallic and African ancestry, and freedom from slavery served as the three keys to the identity of this class of people. Taken together, these three factors separated the free people of color from the other major groups residing in New Orleans - Anglo-Americans, white Creoles and black slaves. The introduction provides an overview of the topic and states the need for this study. Chapter 1 provides a look at New Orleans from the perspective of the free people of color. Chapter 2 investigates the slaveownership of these people. Chapter 3 examines the published literature of the free people of color. The conclusion summarizes the significance found in the preceding three chapters and puts their findings into a broader interpretive framework.

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34

Pistorius, Juliana. "The Eoan Group and the politics of coloured opera in apartheid South Africa". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:4e697096-1328-416e-964c-28438d992102.

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The Eoan Group, founded in 1933 in Cape Town, was South Africa's first and only all-coloured opera, dance and theatre company. Its 1956 production of La Traviata was the first opera produced by non-white people in South Africa, and initiated an operatic career that spanned twelve opera seasons and ten operas. The group was under the administration of white directors and received funding from the apartheid government. In return, they agreed to honour the regime's racial laws by performing for segregated audiences. Their acquiescence to segregation and their complicity in the promotion of apartheid ideology caused political problems: they were ostracised by their own community and boycotted by members of the white and coloured racial groupings. After the group's operatic activities came to a permanent halt in 1980, their history sank into obscurity, despite their importance in the establishment of an operatic culture in the country. The memorialisation of South Africa's cultural-political past continues to maintain a binary of complicity and resistance, with those who are remembered grouped neatly into either of these categories. These labels, however, do not map tidily onto the Eoan Group, with its bewildering narrative of self-empowerment-through-collusion. Consequently, their story presents a problem for the writing of South African music history. Drawing extensively on material from the Eoan Group Archive, this dissertation considers the socio-political ambiguities of the Eoan narrative from musicological and post-colonial theoretical angles, to show how the group's operatic activities disrupted the cultural and material determinism of apartheid's racialised ideology. It calls for a disavowal of the Manichean ethics by which subaltern agency is measured, and proposes instead a turn to Njabulo S. Ndebele's 'politics of the ordinary'. From the sonic and material residue of the Eoan Group's productions, this project forges a newly conceived decolonial writing of apartheid operatic history.

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35

Smart, Dean. "Invisible, stereotypes or citizens ? : an examination of visual representations of people of colour and visible minorities in key stage three history textbooks in England". Thesis, University of the West of England, Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444530.

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36

Kern, Jordan. "The Mouse Sees No Color: An Examination of the Disney Corporation’s Recent Depictions of Race in American History". Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3907.

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Walt Disney Studios possesses a checkered past in how its films dealt with racism and representation. Some of the earliest films involved songs and characters that go against modern sensibilities. In recent years, the studio's films have attempted to go against their forebears' racist connotations. Racism, however, proved a constant problem for the company. This paper shall explore the various ways Disney feature films addressed (or did not address) themes of racism and discrimination in its films from 1990 to 2018. The first chapter discusses the business reasoning behind Disney's continued reluctance to address race issues adequately, chiefly fear of losing monetary revenue from alienated whites. The second chapter explores the different types of coding filmmakers employed to keep from directly address race, coding all characters as white in the process. This method lasted until the Princess and the Frog's release because the film's blatant use of Jim Crow imagery caused a considerable amount of backlash. The final chapter concerns how the corporation's current method of dodging race in its films. Dubbed the "Fantastical Reality," this method relies on leaning into the fantastic aspects of a setting (magic or otherness) to explain why race and racism do not appear in a film. This method came under heavy scrutiny with Zootopia and Black Panther's release, both of which make race a significant theme.

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37

Admiral, Roger James. "Four piano recitals and an essay, timbre and instrumental specificity as structural elements in modernist musical composition". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0033/NQ29136.pdf.

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38

Yu, Zhenbo. "Regulation of urban character : style, colour and historic character in a modern Chinese city : the case of Harbin". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/regulation-of-urban-character-style-colour-and-historic-character-in-a-modern-chinese-city--the-case-of-harbin(a4482d56-8aa2-4ce0-9b57-1b0d12f52537).html.

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China's rapid economic development and accelerated process of urbanisation has involved erosion of local distinctiveness during the last twenty years. This loss of character is widely regretted. With intensified inter-city competition there is a growing recognition among planning stakeholders and the general public that a stronger framework of urban conservation will be required in future. The dissertation offers a diagnosis of the methods for coping with urban character in modern Chinese cities and recommends how the contribution of conservation to regeneration may be enhanced. The study is framed within a discussion of the concept of urban character, and a comparative review of international practice within the field. The Chinese legal and policy context is then introduced. A review of current policy issues identifies four aspects for investigation: first, the issue of how urban character is defined and understood; second, the regulatory techniques employed in local planning; third, the issue of the hierarchy of design guidance at different scales; and fourth, the adequacy or otherwise of the basic legal framework for planning, historical conservation and design control. Investigation of these questions was pursued through an in-depth case-study of a single city. The chosen location is Harbin, capital of Heilongjiang province in Northeast China. The Manchurian capital has a strong physical character and distinctiveness both because of its sub-Arctic location, and because of its historic legacies from Jewish, Russian and Japanese architecture. Detailed investigation of the regulatory process on a site-by-site basis shows the permissive approach to modern high-volume development. Policies for protection of urban character are not entirely absent. But the study shows their ineffectiveness, because of confusion over characterisation principles, absence of an evidence base, weakness of implementation, and inconsistency in execution. The thesis concludes with a discussion of urban character protection in the light of the Harbin case-study, drawing several recommendations for improvement, including the use of Local Identification Reports; provision of supplementary design guidance; and the introduction of site-specific design briefs.

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39

Salvadore, Matteo. "FAITH OVER COLOR: ETHIO-EUROPEAN ENCOUNTERS AND DISCOURSES IN THE EARLY-MODERN ERA". Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/106504.

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History
Ph.D.
This dissertation explores multiple episodes of interaction between Ethiopians and Europeans throughout the early modern era. After overviewing the Ethiopian exploration of Europe in the 15th century and the first Catholic attempts to reconnect to the Ethiopian Church at the turn of the 16th century, it focuses on the Ethio-Lusophone encounter by considering the emergence of Ethiopian studies in early modern Lisbon, the Portuguese military intervention in the Ethiopian-Adal War (1529-1543) and the Jesuit mission to Ethiopia (1555-1632). This dissertation argues that in the context of the early-modern Ethio-European encounter, faith trumped skin color in the discourse on sameness and otherness: throughout the 15th and 16th centuries Europeans and Ethiopians perceived each other as belonging to the same Christian world and collaborated to defy the perceived Muslim threat. Starting in the late 16th century however, Counter-Reformation Catholicism and Jesuit proselytism transformed Ethiopians into others, and--in Ethiopian eyes--Europeans became a threat. The Jesuit mission engendered an era of turmoil that crippled both the Ethio-European encounter and the Ethiopian monarchy: in its aftermath, the Ethiopian elites maintained a policy of isolation from Europe, barred Europeans from entering their country and redirected their attention to the Muslim societies of the Red Sea and Indian Ocean basins.
Temple University--Theses

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40

Pryor, Erin M. "Interracial Romantic Coupling and the Color Line: Color-Blind Ideology Among Black-White Couples". University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279226222.

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41

Hill, Grace Earle. ""Caretakers of the Color Line": Southern Sheriffs of the Twentieth Century". W&M ScholarWorks, 2003. https://scholarworks.wm.edu/etd/1539626415.

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42

Carey, Kim M. "Straddling the Color Line| Social and Political Power of African American Elites in Charleston, New Orleans, and Cleveland, 1880-1920". Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618945.

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From 1880-1920 the United States struggled to incorporate former slaves into the citizenship of the nation. Constitutional amendments legislated freedom for African Americans, but custom dictated otherwise. White people equated power and wealth with whiteness. Conversely, blackness suggested poverty and lack of opportunity. Straddling the Color Line is a multi-city examination of influential and prominent African Americans who lived with one foot in each world, black and white, but who in reality belonged to neither. These influential men lived lives that mirrored Victorian white gentlemen. In many cases they enjoyed all the same privileges as their white counterparts. At other times they were forced into uncomfortable alliances with less affluent African Americans who looked to them for support, protection and guidance, but with whom they had no commonalities except perhaps the color of their skin.

This dissertation argues two main points. One is that members of the black elite had far more social and political power than previously understood. Some members of the black elite did not depend on white patronage or paternalism to achieve success. Some influential white men developed symbiotic relationships across the color line with these elite African American men and they treated each other with mutual affection and respect.

The second point is that the nadir in race relations occurred at different times in different cities. In the three cities studied, the nadir appeared first in Charleston, then New Orleans and finally in Cleveland. Although there were setbacks in progress toward equality, many blacks initially saw the setbacks as temporary regressions. Most members of the elite were unwilling to concede that racism was endemic before the onset of the Twentieth Century. In Cleveland, the appearance of significant racial oppression was not evident until after the World War I and resulted from the Great Migration. Immigrants from the Deep South migrated to the North seeking opportunity and freedom. They discovered that in recreating the communities of their homeland, they also created conditions that allowed racism to flourish.

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43

D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.

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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics.
The Classics

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44

Cleophas, Francois Johannes. "Physical education and physical culture in the Coloured community of the Western Cape, 1837-1966". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1227.

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Thesis (PhD (Sport Science))—University of Stellenbosch, 2009.
ENGLISH ABSTRACT: Physical Education is a human movement activity driven by syllabi and educational programmes. Physical culture refers to human movement programmes with an entertainment component, but that also uses physical education activity. This study serves as an account of Physical Education and physical culture in the Coloured community of the Western Cape in the period 1837 to 1966. It offers a historical exploration of these activities in the social and political context and cuts across narrow definitions of race and class. The research also pays attention to the untold and unpleasant side of the story of Physical Education. This necessitated tracing the origin of Physical Education and physical culture back to their European roots, because of the strong political and cultural links between South Africa and Europe. The Cape Coloured petty bourgeoisie urbanite minority of the 19th and early 20th century were eager but unable to infiltrate the ranks of middle class White society. They were acutely aware of the need to show respect towards the White middle classes and also to distance themselves from the “unruly behaviour” of the working class. For this reason Physical Education and physical culture programmes became suitable means for the Coloured petty bourgeoisie to educate the “less fortunate” Coloured working class masses.

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45

Cunha, Jorge Luiz da. "Os colonos alemaes de Santa Cruz e a fumicultura". reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/27080.

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Cancela, Francisco Eduardo Torres. "De projeto a processo colonial: índios, colonos e autoridades régias na colonização reformista da antiga capitania de Porto Seguro (1763-1808)". Faculdade de Filosofia e Ciências Humanas, 2012. http://repositorio.ufba.br/ri/handle/ri/13311.

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Esta pesquisa analisa as experiências vividas por índios, colonos e autoridades régias na antiga Capitania de Porto Seguro, entre a segunda metade do século XVIII e princípios do XIX. Ao mergulhar no contexto de reformas do reinado de d. José I, a pesquisa apresenta um projeto metropolitano que pretendia fazer do atual extremo sul da Bahia um celeiro de víveres para alimentar as principais cidades da América portuguesa. Baseado no aproveitamento da população indígena, a realização deste projeto foi delineada através de um intenso embate entre políticas indigenista e políticas indígenas, evidenciando não apenas a importância da questão indígena para a colonização daquela região, como também as diversas estratégias desferidas pelos índios a fim de conquistarem melhores condições de vida naquela sociedade. Ao analisar como tal projeto se transformou em processo colonial, esta tese assume o desafio de arriscar uma dupla contribuição: de um lado, ajudar a recuperar o papel dos povos indígenas na formação da sociedade baiana; do outro, romper com o ensurdecedor silêncio sobre a história da antiga Capitania de Porto Seguro. This research analyze the Indian, colonist and royal authorities experiences in the former Porto Seguro Captaincy, between the second half of the XVIII century and the early XIX. When diving in the context of d. José I reign reform, the research show a metropolitan project which intend to make the current south extreme Bahia a storehouse of food to feed the major cities in Portuguese America. Based on use of indigenous population, realization of this project was designed through intense shock between indigenist and indigenous policies, showing not only the indigenous issues importance for the region colonization, as well as diverse Indian strategies to achieve better living condition in that society. Examining how this project became a colonial process, this thesis takes on the challenge of risk double contributions: on the one hand, help recover the role of indigenous people in the Bahian society formation; on the other hand, break the deafening silence about the ancient Porto Seguro Captaincy history.
Salvador

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47

Roberti, Valentina. "Maxwell and Helmholtz and the birth ot the Theory of colour". Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3425389.

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The present research study offers an overall picture of Maxwell and Helmholtz’s fundamental contributions to the science of colour, which constitute the basis of modern colorimetry, colour photography and colour metrics. The first main part of the dissertation, which embraces chapter 2 and chapter 3, is dedicated to a chronological account of their pivotal achievements on the subject, giving special focus on how they interpreted and elaborated over the course of the years Newton and Young’s theories of colour, which represent a fundamental starting point for both Maxwell and Helmholtz’s research in the field. Among their key contributions reported in the present work, it is worth mentioning that the two scientists clarified, for the first time and independently from one another, the distinction between additive and subtractive colour mixing, eliminating definitively Newton’s confusion between optical and pigment mixture of colours (confusion still existing in Young’s famous works and up to the solution provided by Forbes, Maxwell and Helmholtz). Moreover, they adopted Newton’s analogy of the centre of gravity to predict the outcome of optical mixture of light and eliminated the arbitrary choice of the number of primary colours. Among Maxwell and Helmholtz’s crucial experiments, deeply described and analysed in the text and from which they could obtain their colour diagrams (an equilateral triangle for Maxwell and a truncated hyperbola for Helmholtz), it is worth to cite the V-shaped slit experiment performed by Helmholtz, the famous Maxwell’s colour top, Helmholtz’s colour mixing experiment to detect directly pairs of complementary colours and Maxwell’s colour box. From an analysis of the obtained colour diagram, Helmholtz expressed pivotal considerations on the geometry of colour space: colour space could not be uniform, i.e. equal distances did not correspond to equal perceptual difference. Helmholtz’s reflections introduce the second main part of the dissertation, composed of chapters 4 and 5, dedicated to the work undertaken by Helmholtz on the geometry of colour space, which he interpreted, such as Riemann before him, as non-Euclidian. This second part begins with a deep analysis of the studies on colour and colour perception carried out by Helmholtz’s collaborators König, Dieterici and Brodhun, working in his laboratory in Berlin. Their crucial results constitute Helmholtz’s starting point for the definition of his line element in colour space, which he elaborated following ideas borrowed from the new-born field of psychophysics. He extended the one-dimensional Weber-Fechner law of psychophysics to a complex of three dimensions, such as the colour space for subjects with normal colour vision. Helmholtz’s mathematical treatment and related considerations are contained in three papers, published between 1891 and 1892, of which a partial English translation, with related analysis, is provided. To conclude, in chapter 6 a short overview of the development of colorimetry, after Maxwell and Helmholtz’s works, can be found. The aim, far from giving a complete and detailed review of all subsequent contributions to the field up to 1971 (when the “Helmholtz Memorial Symposium on Color Metrics of the International Color Association”, AIC, took place), is to highlight the pivotal role played by Helmholtz and Maxwell’s studies in the development of colour science, as well as to illustrate some problems which have remained unsolved until the present time.
Dall’antichità ad oggi il colore ha sempre costituito oggetto di studi e approfondimenti, i quali, oltre ad apportare significativi contributi al progresso della conoscenza scientifica sul tema, hanno originato interessanti applicazioni pratiche in vari ambiti disciplinari. La moderna scienza del colore viene inaugurata da James Clerk Maxwell e Hermann von Helmholtz intorno alla metà dell’Ottocento. Obiettivo del presente lavoro è inserire i meno noti contributi di Maxwell e di Helmholtz alla scienza del colore in un quadro generale completo, assente al giorno d’oggi, ponendo un accento particolare sull’influenza esercitata dai lavori di Newton e di Young sullo sviluppo delle loro teorie. Entrambi gli scienziati, infatti, seppur con accenti diversi, interpretano la loro opera come una continuazione e un completamento delle teorie del colore e della visione di Newton e di Young, le cui idee verranno in parte riprese ed elaborate e in parte abbandonate. Il lavoro è organizzato in due sezioni principali. La prima, che si articola nei capitoli 2 e 3, illustra le tre fondamentali svolte avvenute tra il Seicento e l’Ottocento dalle quali prenderanno avvio le ricerche dei due scienziati e, a seguire, i cruciali contributi di Maxwell ed Helmholtz alla teoria del colore, esposti, per quanto possibile, secondo una scansione cronologica. In questa prima parte vengono descritti in dettaglio gli esperimenti condotti dai due scienziati sul mescolamento dei colori, come la “trottola dei colori” e la “scatola dei colori” di Maxwell e l’esperimento di Helmholtz atto a individuare coppie di colori complementari. Verranno poi presentati i diagrammi del colore proposti da Maxwell e da Helmholtz, che assumono rispettivamente la forma di triangolo equilatero e di iperbole troncata. Da una analisi approfondita del diagramma del colore ottenuto mediante i suoi esperimenti sul mescolamento delle luci, Helmholtz esprime considerazioni cruciali sulla geometria dello spazio del colore. Riconoscendo una asimmetria in tale spazio, Helmholtz, come Riemann prima di lui, si spinge a interpretarne la geometria in termini non euclidei: lo spazio del colore, infatti, non è uniforme, ovvero in esso uguali distanze non corrispondono a uguali differenze percepite. Tali riflessioni introducono la seconda parte dello studio (capitoli 4 e 5) dedicata alla produzione scientifica di Helmholtz e dei suoi collaboratori e assistenti, König, Dieterici e Brodhun, presso il Physikalische Institut di Berlino relativa alla geometria dello spazio del colore, di cui solamente poche opere sono state tradotte in inglese. Tra queste sono assenti gli articoli specificamente dedicati alla definizione del primo elemento di linea nello spazio del colore, pubblicati tra il 1891 e il 1892. Il presente lavoro contiene una analisi e traduzione parziale in inglese dei tre lavori di Helmholtz, accompagnata da uno studio dei contributi dei suoi assistenti, i quali, inter alia, forniscono a Helmholtz materiale prezioso per lo sviluppo del suo modello di elemento di linea, elaborato a partire dalla legge psicofisica di Weber-Fechner. Infine, l’ultimo capitolo è dedicato a una breve panoramica sugli sviluppi della teoria del colore successivi ai fondamentali contributi di Helmholtz e Maxwell fino al 1971, anno in cui si tiene il simposio intitolato Helmholtz Memorial Symposium on Color Metrics organizzato dalla Associazione Internazionale del Colore (International Color Association) avente come oggetto di dibattito proprio la metrica del colore, di cui Hermann von Helmholtz rappresenta il fondatore indiscusso. Da questo studio emerge chiaramente l’interdisciplinarità della ricerca svolta: lo studio del colore coinvolge, infatti, vari ambiti disciplinari, quali la fisica, la matematica, la psicofisica, in linea con l’idea condivisa da Helmholtz e da Maxwell che il progresso della conoscenza avvenga spesso grazie alla fertilizzazione incrociata di settori diversi del sapere.

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48

Francis, Hannah J. "Investing in Citizenship: Free Men of Color of Color and the case against Citizens Bank ~ Antebellum Louisiana". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1353.

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Despite the popularity of free people of color in New Orleans as a research topic, the history of free people of color remains misunderstood. The prevailing view of free people of color is that of people who: engaged in plaçage, attended quadroon balls, were desperately dependent upon the dominant population, and were uninterested or afraid to garner rights for themselves. Contemporary historians have endeavored to amend this stereotypical perception; this study aims to be a part of the trend of revisionist history through an in-depth analysis of the co-plaintiffs in Boisdoré and Goulé, f.p.c., v. Citizens Bank and their case. Because Boisdoré and Goulé sue at critical time in New Orleans history, three decades after the Louisiana Purchase during the American transformation of New Orleans, their case epitomizes the era in which it occurs. In bringing suit, Boisdoré and Goulé attempted to thwart some of those forth coming changes.

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49

Wright, Kelly F. "Coloring Their World: Americans and Decorative Color in the Nineteenth Century". University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404477.

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Santos, Johanna Steiner dos. "Escolhas e vivências dos colonos no processo de modernização do campo". Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87205.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em História.
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O presente trabalho busca analisar a constituição dos colonos no processo de modernização do campo ocorrido durante as décadas de 60 e 70 em Forquilhinha, na região Sul do Estado de Santa Catarina.

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Tesis sobre el tema "History of colours"

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