Thèses sur le sujet « Architecture and science – history – 20th century »
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1
Rentetzi, Maria. « Gender, Politics, and Radioactivity Research in Vienna, 1910-1938 ». Diss., Virginia Tech, 2003. http://hdl.handle.net/10919/27084.
Texte intégralRésumé :
What could it mean to be a physicist specialized in radioactivity in the early 20th century Vienna? More specifically, what could it mean to be a woman experimenter in radioactivity during that time? This dissertation focuses on the lived experiences of the women experimenters of the Institut für Radiumforschung in Vienna between 1910 and 1938. As one of three leading European Institutes specializing in radioactivity, the Institute had a very strong staff. At a time when there were few women in physics, one third of the Institute's researchers were women. Furthermore, they were not just technicians but were independent researchers who published at about the same rate as their male colleagues. This study accounts for the exceptional constellation of factors that contributed to the unique position of women in Vienna as active experimenters.
Three main threads structure this study. One is the role of the civic culture of Vienna and the spatial arrangements specific to the Mediziner-Viertel in establishing the context of the intellectual work of the physicists. A second concerns the ways the Institute's architecture helped to define the scientific activity in its laboratories and to establish the gendered identities of the physicists it housed. The third examines how the social conditions of the Institute influenced the deployment of instrumentation and experimental procedures especially during the Cambridge-Vienna controversy of the 1920s. These threads are unified by their relation to the changing political context during the three contrasting periods in which the story unfolds: a) from the end of the 19th century to the end of the First World War, when new movements, including feminism, Social Democracy, and Christian Socialism, shaped the Viennese political scene, b) the period of Red Vienna, 1919 to 1934, when Social Democrats had control of the City of Vienna, and c) the period from 1934 to the Anschluss in 1938, during which fascists and Nazis seized power in Austria. As I show, the careers of the Institute's women were shaped in good part by the shifting meanings, and the politics, that attached to being a "woman experimenter" in Vienna from 1910 to the beginning of the Second World War.Ph. D.
2
Min, Shu. « Evolving Vernacular Architecture : Case Studies in Sichuan, China, 18th-20th Century ». Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15474.
Texte intégralRésumé :
This thesis investigates how and why Sichuan courtyard dwellings evolved to adapt to changing social and cultural conditions from the 18th to the 20th century. Located in south-western China, Sichuan courtyard dwelling share some similarities with those in other regions of China but have its unique characteristics. While much of the existing scholarship studies Sichuan vernacular architecture from a static perspective, this research examines the development of Sichuan vernacular architecture as a dynamic process of immigration, localization, and acculturation. The research is based on three in-depth case studies and fifteen auxiliary cases. Using research methods including archival research, interviewing, site observation, and spatial analysis, the thesis adopts a holistic research framework to examine architectural space, social relationships, everyday life and cultural meaning of selected examples. The thesis shows that Sichuan courtyard dwellings in the 18th century were not developed from local architectural forms, but imported from inland China along with the wave of immigration. With the process of localisation in the 19th century, the characteristics of Sichuan vernacular dwelling such as grey space, flexible layout, extended eave, and small sky-well came into being to adapt to the new natural and cultural environment. The study also found that the social relationships and everyday life of the Sichuan residents were driving forces for the creation of the interesting spaces. The study also shows that many Sichuan courtyard dwellings in the 20th century were the results of compromise and eclecticism: their domestic spaces were organized within the traditional spatial framework as a cultural inheritance, while their westernized facade revealed the process of acculturation. Through these findings, the thesis contributes an original perspective to the understanding of Sichuan vernacular architecture as an evolving process over time.
3
Marcus, Karen K. « Twentieth century Chinese architecture : examples and their significance in a modern tradition ». Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78994.
Texte intégralRésumé :
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Includes bibliographical references.
If one were to seek a unifying factor in this relatively short period of a modern Chinese tradition, it might be surprising to find that amidst the jolts of passing out of a feudal era into the twentieth century, the ancient principles of yin and yang still provide the jagged thread with which to attach the modern Chinese culture to the ancient one. This integration of opposing forces causes the pendulum to swing in any cross section of both material and nonmaterial form. Although this idiosyncratic leitmotiv is often to be found locked in a state of contradiction (the antithesis), the principles nevertheless provide a flexible structure and the leeway for change; as Chinese history has proven that rigidity most often results in decline and defeat. Moreover, it has provided a base for the growth of knowledge, readily adapting to the Marxist and Maoist methodology of dialectical materialism in this modern era.
by Karen K. Marcus.
M.S.
4
Kaji-O'Grady, Sandra 1965. « Serialism in art and architecture : context and theory ». Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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Whiting, Sarah. « The jungle in the clearing : space, form and democracy in America, 1940-1949 ». Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8748.
Texte intégralRésumé :
Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001."February 2001."
Includes bibliographical references (p. 237-248).
Combining aesthetic theory with theories of the public sphere, this dissertation examines the brief appearance of a publicly empathetic civic realm in the United States during the 1940s. The argument begins with a reevaluation of the debate over monumentality initiated in modernist architectural circles, which included such figures as Sigfried Giedion, Lewis Mumford, Henry-Russell Hitchcock, and Philip Johnson. Centering on the city, this debate recast monumentality in terms more progressive than commemorative; it posited open-ended architectural and urban strategies that offered a non-restrictive yet sympathetic public resonance. If empathy is understood as the viewer's physical and psychological engagement with an object, then the 'publicly empathetic' collects and communicates the public 's individualized engagements. The term 'publicly empathetic' underscores the distinction between totalitarian consensus, exemplified by the modernism of Mussolini's fascist Italy, and what Alexis de Tocqueville identified in 1835 as America's collective individualism, which persisted in the 1940s under the umbrella of Franklin Roosevelt's New Deal. Springboarding from Ernst Cassirer and Susanne Langer's philosophies of symbolic form as unconsummated symbol, I argue that the modernism of this period did not define the public but rather expressed architecture's publicness through the recasting of form, programming, and modernism's public mandate. The chapters of this dissertation examine in turn the texts, projects and urbanism of this empathetic modernism. The projects constituting this realm are both public and private in nature; they include Charles Franklin and ...
by Sarah Whiting.
Ph.D.
6
Baumer, Andreas. « Urban rejuvenation : a contemporary urban topology for the information age ». Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137647.
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A changing perception based on the appreciation for information in our era allows a broader idea and different understanding of life as a system driven by the flow of information. Simultaneously, our understanding of 'the' urban was broadened. It enabled us to perceive urban structures as living organisms beyond their physical manifestation and separated from human control. Like species, our cities are great products of evolutionary forces and contain invaluable information worth preserving.When writing about urban spaces, urban is understood as a system which is constituted not so much by built forms and infrastructures, but as a heterogeneous field that is constituted by intervention and lines of forces and action. These lines form the coordinates of an urban topology that is not based on the human body and its movements in space alone, but also on relational acts and events within the urban system. These relational acts can be economic, political, technological or tectonic processes, as well as acts of communication. The urban is therefore quite different from the physically defined spaces of events and movements.The focal point of this paper is to explore the relationship between the spaces of movement, the spaces of events and the relational systemic 'spaces'. It will be attempted to identify fundamental processes behind urban design. Rules are derived from connective principles in complexity theory, systems theory, pattern recognition, and artificial intelligence.Department of Architecture
7
Sharp, Leslie N. « Women shaping shelter ». Diss., Georgia Institute of Technology, 2004. http://hdl.handle.net/1853/7268.
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Cheng, Christina Miu Bing, et 鄭妙冰. « Postmodernism : art and architecture in Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
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YAKUSHENKO, Olga. « Building connections, distorting meanings : Soviet architecture and the West, 1953-1979 ». Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/71643.
Texte intégralRésumé :
Defence date: 26 April 2021Examining Board: Professor Alexander Etkind (European University Institute); Professor Catriona Kelly (University of Oxford); Professor Pavel Kolář (University of Konstanz); Professor Anatoly Pinsky (University of Helsinki)
The transnational history of the Soviet Union often goes against everything we know as citizens of the post-Soviet world. We are used to imagining the Iron Curtain as an impermeable obstacle and any meaningful connection between the Soviet Union and the rest of the world as clandestine, unofficial, and potentially subversive. But it was not always the case. I wish to open my thesis with a short dramatic exposition from the memoir of one of the protagonists of my thesis, the Soviet architect Felix Novikov: Soon [after the speech against the extravagances in architecture in 1953] the architectural bosses went abroad in search for examples worthy of emulation. The head of the Union of architects of the USSR, Pavel Abrosimov, left for Italy, Aleksandr Vlasov went to the US, Iosif Loveĭko who, in his absence became the chief architect of Moscow, left for France. After, each of them gave a talk about his impressions to the colleagues in the overcrowded lecture hall of the Central House of Architects. A year after the “historical” (without irony) speech the Party and government decree “On the elimination of extravagances in housing design and construction” appeared […] in the text of this document were such lines: “Obligate (the list of responsible organizations followed )… to be more daring in assimilation of the best achievements… of foreign construction.” The true “reconstruction” resulted in architecture that I call Soviet modernism started from this moment.”
Chapter 4 ‘Anatole Kopp: Enchanted by the Soviet' of the PhD thesis draws upon an earlier version published as an article 'Anatole Kopp’s town and revolution as history and a manifesto : a reactualization of Russian constructivism in the West in the 1960s' (2016) in the journal ‘Journal of Art Historiography’
10
White, Steven Robert. « A confluence of thinking : The influence of 20th century art history on American landscape architecture ». Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.
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Since beginning my graduate studies in landscape architecture, I have encountered many situations in class in which references to art were used. I discovered a connection in the usage of the jargon of art in landscape architecture study. People, for the most part, do not know what landscape architects do or who we are. In this thesis I will make the case for aligning the profession of landscape architecture with the fine arts and humanities. An art history component in the curriculum and education and training of landscape architects would augment their design and presentation skills in the workplace. I have included the results of a survey questionnaire that I sent to 65 landscape architecture teaching faculty representing 38 landscape architecture programs in the United States. These individuals held either a Bachelor of Fine Arts degree, a Master of Fine Arts degree, or they had a scholarly research interest in art.
11
Flanagan, Stephen R. « Architecture and light : a bridge between science and theology, the measurable and the immeasurable ». Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/23135.
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Taylor, Grant D. « The machine that made science art : the troubled history of computer art 1963-1989 ». University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.
Texte intégralRésumé :
[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy
13
Downs, Jill D. « The evolution of drug store architecture in the United States ». Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1231399.
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This research studied the changes in the design of the American drug store from the 1800s to the present. The changing demands of the customer primarily have driven the design evolution. Drug stores of the nineteenth century were typically located on busy street corners alongside storefronts with similar architecture. Inside, they were long, dark, and narrow, and pharmaceuticals and goods were sold from behind glass display cases. During the first half of the twentieth century, modernization and convenience for the customer transformed the drug store into a large, bright, and open store in mall space featuring self-service, food service, and a wider variety of retail goods. The later years of the century saw a loss of food service, the construction of freestanding buildings with ample parking space at busy intersections, and drive-thru pharmacies. These changes were seen in most drug stores regardless of their geographical location in the United States.Department of Architecture
14
Levi, Rachel M. « A Digital Crisis ? Art History and Its Reproductions in the 20th and 21st Century ». Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/689.
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This thesis analyzes the emergence, presence, and use of digital reproductions in the scholarship of art history and how these reproductions impact individual encounters with art. It will address matters related to the authenticity of reproductions, the development of modern technologies, and the rise of new media, reflecting on issues related to integrating technology into the discipline and proposing how to deal with the digital reproductions in the study of art history.
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Hardwick, Carole. « The dissemination and influence of Willem M. Dudok's work in the climate of modernism in architecture in Australia, 1930-1955 ». Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/18154.
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The thesis studies the role of the European modem architect, the Dutchman Willem Marinus Dudok, in the dissemination of certain aspects of the concepts of architectural modernism in Australia from 1930 to the mid-1950s, and examines the manner in which his works and ideas were actually transferred. The thesis establishes the significance of Dudok's role in the Australian architectural context. An introductory discussion of European architectural modernism is presented so that Dudok's position can be understood in relation to it. This is followed by an examination of Dudok's professional life and architectural works. His buildings are analysed according to general principles and specific characteristics, all of which are illustrated by examples. Dudok's standing as an important modem architect is supported by a study of his relationship to European modern architecture, including prior and contemporary Dutch architecture. The connections between Dudok and Frank Lloyd Wright and their respective architectures are briefly investigated. Australian modernism is discussed in broad terms to establish the cultural context within which modem architecture evolved in that country. The development of modem architecture is described by examining the architectural debate conducted at the time of its emergence, and by an analysis of modern buildings. Architects, from both the public and private sectors, whose buildings demonstrate an understanding of the principles and Ill practice of modern architecture are identified and their work is examined for any evidence of Dudok's intluence. The thesis also examines the vehicles through which such Australian architects became aware of Dudok's architecture and demonstrates that these were many and diverse. Three significant means are identified: first, photographs of Dudok's architecture and articles about it in Australian and overseas professional and popular journals; second, the experiences of those Australian architects who travelled to the Netherlands specifically to look at Dudok's architecture; third, the awareness of his work that existed among Australian architects working in the United Kingdom. Of particular note was the role of the Architectural Association in London in informing Australian architects about Dudok. This thesis suggests that many modem buildings designed and built in Australia during the period 1930 to the mid-1950s displayed characteristics in their built form that can be directly sourced to Dudok's architecture. It concludes that Dudok had a widespread influence on modern buildings in Australia during the 1930s and 1940s, and his intluence remains evident in occasional buildings designed during the early 1950s.
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Lesniak, Piotr Jerzy. « Towards Warsaw of the future : exhibiting, archiving and moving through architectural imaginaries ». Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22998.
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Thesis argument: There is a Culture of Violent Reductivism in Representing Warsaw, which means that: Warsaw is reduced to a symbol of heroism in the hands of God/History or the Expert; imagining is reduced to historic imaginary and by the same token futuristic imaginary; both based on a positivist-romanticist system of thought; the reductivism deploys philosemiotic violence (acts of offering with expectations attached); the reductivism/violence is a symptom of a ‘neurosis’ of the social national/imaginary; the reductivism stops Warsaw/Poland from imagining present and future more openly. An alternative is to represent Warsaw as a series of post-historical objects that: are discrete texts, singular images, drawings, physical objects; are paradigmatic and analogical; they move from specificity to specificity; offer different forms, where ‘form’ is non-objective and means relationship; are a series of critiques, reflections, descriptions that work as architectural hypotheses; represent three exemplar imaginaries of Warsaw (the Birth, the Rebirth, the Second Rebirth); together form a ‘distracted’ architectural archive of Warsaw’s imaginaries. In this way, the thesis posits an example of a methodology of representing Warsaw that opens the possibility for Warsaw/Poland to imagine itself differently. Key themes: Culture of violent reductivism in representing Warsaw, reduction of Warsaw to a symbol of heroism, domination of the historic futuristic imaginary, philosemi(o)tic violence, neurosis of the social imaginary (guilt), positivist romanticism, post-historical object, paradigmatic knowledge, non-objective form, seriality of representation, architectural hypothesis, three imaginaries of Warsaw, ‘distracted’ archive of imaginaries.
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Zhao, Hui. « Rethinking Constitutionalism in Late 19th and Early 20th Century China ». Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10631.
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In the tenets of Western political science, “limited government” is usually seen as the touchstone of modern constitutionalism. Yet significant issues can arise when one applies this framework to East Asia. By studying the origin of constitutionalism in China and Japan, my dissertation reexamines the idea that “limited government” is the core of modern constitutionalism. I argue that constitutionalism, as it was introduced in Meiji Japan and late Qing China, focused on strengthening the government rather than limiting it. Many might feel this affirms the popular belief in an inherent affinity for authoritarianism in the Chinese mind, but this dissertation disagrees, finding such a conclusion to be unfairly reductive, and dangerous to achieving a true cross-cultural understanding. It argues instead that Chinese constitutionalism’s desire to strengthen the state was not the manifestation of a cultural predisposition toward authoritarianism, but was instead consciously adopted and constructed in response to the chaotic realities of late 19th and early 20th century China. By studying the constitutional thought of Aristotle, Cicero, Machiavelli, Hobbes, the early English constitutionalists, Locke, Montesquieu, the American founding fathers, and others, I shine light on a dilemma that was as critical to late Qing China constitutionalism as it was to Aristotle’s ancient Greece, Machiavelli’s Renaissance Florence, and Lincoln’s splitting 19th century America: to achieve the delicate balance between a strong state and the limiting principles of a Republic. My argument calls for a reevaluation not only of Chinese constitutional thought, but also of current liberal constitutional theory, which tends to define the goal of constitutionalism simply as the limiting of governmental power. My research shows that the essential goal of constitutionalism, whether it takes place in the East or the West, in the present or the past, is not to move closer to one pole of authoritarianism or the other of limited government, but to strike an ideal balance between the two, depending on the specific context of a state’s time and place in history.East Asian Languages and Civilizations
18
Noll, Jena. « The residential architecture of Cuno Kibele in Muncie, Indiana, 1905-1927 ». Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133739.
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Cuno Kibele was the most prolific and most influential architect to live and work in Muncie, Indiana, in the first decades of the twentieth century. From 1905 to 1927, Kibele designed Muncie's grandest public buildings as well as schools, churches, factories, and commercial buildings. Kibele is most often identified with these buildings. The purpose of this thesis is to study a portion of Kibele's work that has been generally overlooked, his residential designs.Kibele was a reputable residential designer in Muncie. He was a sought-after architect for the city's rising middle class who lived in the suburbs just outside of town. Kibele's residential designs were unlike his other types of commissions in their simplicity and restraint of form and style. Kibele did not include stylistic details in his residential designs to the extent that he did in his other commissions. The few stylistic elaborations that Kibele did include in his residential designs were common-place Craftsman and Prairie style details.Kibele's residences were not high style or innovative in design, however they incorporated the latest social thinking and technological advances. In the early decades of the twentieth century, middle class residential design in America underwent a dramatic transformation. The Victorian home, with its rambling, asymmetrical plan, dense cluttered interior, and ornate detailing was pushed aside in favor of a new, modem aesthetic that favored simple clean lines, reduction of ornamentation, and an open interior arrangement. Kibele's residential commissions demonstrate the modem design principles that resulted from this transformation: the inclusion of modem technological advances; a kitchen redesigned for efficiency; simpler outline and reduction of ornamentation; a simple, open floor plan; and provisions for healthy living.Department of Architecture
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Lefort, Nicolas. « Patrimoine régional, administration nationale : la conservation des monuments historiques en Alsace de 1914 à 1964 ». Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-01037903.
Texte intégralRésumé :
De 1914 à 1964, la conservation des monuments historiques d'Alsace est progressivement soumise à la législation et à la pratique administrative françaises. Cependant, les institutions introduites dans le Reichsland d'Alsace-Lorraine avant 1914 sont maintenues en vigueur après 1918 et certaines d'entre-elles sont même étendues aux départements " de l'Intérieur ". Après la centralisation des services d'Alsace et Lorraine en 1925, les monuments historique d'Alsace sont soumis à la même pénurie budgétaire que ceux des autres départements français. Le maintien en Alsace du régime des cultes concordataires permet toutefois aux édifices cultuels protégés au titre des monuments historiques de bénéficier de l'apport du budget des Cultes. En outre, les départements du Bas-Rhin et du Haut-Rhin prennent le relai de l'ancien Land d'Alsace-Lorraine pour subvenir à l'entretien des monuments historiques. La conservation des monuments historiques d'Alsace constitue un véritable enjeu national : le nombre d'édifices protégés ne cesse d'augmenter, les souvenirs et vestiges des deux guerres mondiales et les monuments d'architecture française sont particulièrement mis en valeur, alors que les monuments qui avaient été restaurés par des architectes allemands avant 1914 sont souvent " dérestaurés ". Le champ des protections s'élargit progressivement aux sites pittoresques, aux abords des monuments et aux centres anciens. Enfin, la connaissance du patrimoine alsacien progresse grâce à la réalisation de nouveaux inventaires.
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Lam, Po-ying Belinda, et 林寶英. « Modern Chinese political thought and the Min-li pao ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948571.
Texte intégral
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Terakawa, Toru. « History and tradition in modern Japan : translation and commentary upon the texts of Sei'ichi Shirai ». Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32822.
Texte intégralRésumé :
This thesis examines the concepts of history and tradition in modern Japan, with an emphasis on the writings of Sei'ichi Shirai (1905--1983). Although Shirai has been considered as one of the most important architects of 20th century Japan, he has also been treated as an obscure figure, no doubt partly because of the enigmatic quality of his writings. A major element that contributed to his obscure status and set him apart from his contemporaries was his understanding of history and tradition.The introductory essay examines the concept of tradition prevalent around Shirai's time: how it was constructed by an a posteriori writing of history and in what ways this is complicated by Shirai's writings. The second portion of the thesis is an annotated translation of two of Shirai's texts demonstrating his attempts to disclose the a priori principles inherent in the unfolding of tradition through history.
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Piper, Stamatia A. J. « The emergence of a medical exception from patentability in the 20th century ». Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:85e2c91c-182e-45aa-8580-3908ac343a54.
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Many patent law dilemmas arise from a failure to understand technologies as embedded in broader social, economic and political realities and to contextually analyze these legal phenomena. This narrowness leads to poor legal development, of which the modern medical exception from patentability is one example. Judges have difficulty interpreting it, patentees do not understand its purpose and it does not protect the important medical technologies to which the public would like access. This thesis applies a legal pluralist analysis to examine the emergence of the medical methods exception in order to understand why it was created and legislated. It starts by examining the origins of the exception in the caselaw, and the informal, concurrent norm established by the emerging medical profession in the early 20th century. It then proceeds to examine why the medical profession might have sought and enforced a norm prohibiting its members from patenting, and concludes that this arose from the need of the medical profession to distance itself from the patent law. As a result, professionalizing physicians established an internal normative order that mimicked and in many cases replaced the effect of the formal law. The thesis then proceeds to examine how the form of the informal norm evolved in the period between WWI and WWII, finding that the profession’s norm transformed and broke down concurrently with its efforts to achieve external legitimacy through legislation. That breakdown arose from factors which included growing labour mobility, greater understanding of the benefits of patents, and a growing role of science and industry in medicine that threatened the profession’s access to valuable medical innovation. The thesis concludes with a study of a current case (Myriad Genetics) that applies the thesis’ theoretical framework to a present dispute over the role the law should play in regulating genetic diagnostic tests.
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Hendrickson, Kendra Beth. « "Vitalité" : Race Science and Jews in France 1850-1914 ». PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1948.
Texte intégralRésumé :
Race science is built on ideas of division and categorization. In the historian's quest to tell the story of race science, certain frameworks have been used that can greatly inhibit our understanding of this fraught topic. The impulse to study race science in the framework of the nation-state has led to certain misconceptions and lends itself to a historical narrative wherein racist concepts stop at artificially imposed borders. In addition, the national framework detracts from the individual's contributions and instead lumps these contributions together on the level of the nation-state, thus opening the door for judgments about whole nations being more or less responsible for race science.
In this work, I explore contributions to race science pertaining to the "Jewish race" (which I have simplified to the phrase "Jewish race science") made by individual French writers and scholars. These contributions have been overlooked at times by historians who look to more notorious examples, such as those made by German race science theorists; in failing comprehensively to examine all significant contributions to race science, historians have often inhibited their own ability to understand Jewish race science fully. If such a historical field is to be understood, one must be aware of the full range of development of Jewish race science, both in terms of geographical scope and scholarly focus. By bringing attention to Jewish race science contributions made in nineteenth-century France, it is my intention to broaden the understanding of this field and to help bring about a new approach to the field that is less reliant on the nationalist framework in its evaluation of the nature and impact of race science.
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Clouten, Kirstin. « Architectural significance of the recent past ». Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214379.
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An investigation of architecturally significant buildings constructed within the last fifty years, in the Midwest and the application of preservation theories to these significant buildings, to aid in evaluation strategies and preservation implementation.Recognition of recent past construction as candidates for architecturally significant cultural resources and the application of preservation theories to these buildings make for good design and preservation practice. Part of our responsibility, as preservation professionals is to promote the preservation of significant structures, regardless of the date of construction. Since there is no established process to aid in preserving recently constructed buildings of architectural significance, it is necessary to develop strategies to assist in the evaluation process.Department of Architecture
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Etchegoyen, Emilio G. « Historical context as it affects the base of the skyscraper ». Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/24114.
Texte intégral
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Fares, Kinda. « L'industrialisation du logement en France (1885-1970) : De la construction légère et démontable à la construction lourde et architecturale ». Phd thesis, Conservatoire national des arts et metiers - CNAM, 2012. http://tel.archives-ouvertes.fr/tel-00727276.
Texte intégralRésumé :
La thèse porte sur l'industrialisation du logement en France (1885-1970), de la construction légère et démontable à la construction lourde et architecturale. L'objet de cette thèse se place à l'interface de quatre grands sujets : l'existence de l'industrialisation avant la seconde guerre mondiale, la politique technique du ministère de la Reconstruction et de l'Urbanisme (MRU), les projets réalisés après la seconde guerre mondiale dont on applique les méthodes d'industrialisation imposées par l'Etat, et les principes de la charte d'Athènes. La période d'étude s'étend de 1885, premier témoin européen de l'industrialisation du bâtiment, à 1970 année de remise en cause de ce type de construction. l'industrialisation du bâtiment a des racines très anciennes, elle croît d'abord parmi les militaires, pour les besoins de la conquête coloniale, des campagnes, des guerres qui enflamment l'Europe. La cabane de plage ou la baraque de villégiature, la tente de toile, l'auvent de marché, sont autant de figures constructives qui prolifèrent en fin du XIXe siècle. Surtout, les expéditions coloniales menées tambours battants exigent rapidité, sécurité, capacité : la baraque est la solution industrielle. L'industrialisation se poursuit, non plus légère mais lourde. Elle est pour l'Etat la principale voie car elle diminue le prix de revient de la construction, réduit les interventions et améliore le confort des logements. A partir de 1945, l'Etat français nouveau investit dans la partie la plus sinistrée, encourage les innovations basées sur l'emploi de matériaux et de techniques en instituant l'agrément technique des " matériaux nouveaux et des procédés non traditionnels de construction ". Dans la première partie de cette recherche, nous avons essayé de montrer qu'il y a bien une industrialisation du bâtiment avant la seconde guerre mondiale. L'industrialisation occupe " brutalement " la construction légère dans les années 1890. La baraque démontable et transportable, militaire, ambulante devient l'objet de compétitions, de confrontations, d'intérêts guerriers en Europe de l'ouest. Des dizaines de modèles sont préfabriqués et montés en arrière des champs de batailles ou en prévision des conquêtes territoriales. Dans un second temps nous avons choisi de continuer l'histoire de la construction lourde dans l'après guerre, spécifiquement la construction du logement. Par conséquent nous avons choisi d'étudier deux projets remarquables de la période juste après la seconde guerre mondiale. 1- Le projet de la cité expérimentale de Noisy-le-Sec : au travers de ce projet l'Etat a essayé de tester les procédés et matériaux nouveaux permettant d'utiliser moins de matières premières et d'énergie, de simplifier la mise en œuvre, de faire connaître ces nouveautés pour faire de la technique une technologie et contribuer à l'amélioration de l'habitat (confort intérieur, équipement). Pour ce faire, il importe des procédés et impose des changements de rythme et d'échelle. 2- le projet des Grands Terres : Le chantier des Grands Terres doit être considéré comme le premier chef d'œuvre de préfabrication lourde de logements. Ce projet affirme aussi une nouvelle façon de penser la ville et son rapport à l'habitat, il est une des applications réussies de la Charte d'Athènes, bible de l'urbanisme de Lods, et une référence pour les évolutions urbaines des décennies 60 et 70. Enfin, pour élaborer cette recherche académique j'ai pris le parti "chronologique" " : 1885-1940 "la construction légère et démontable", 1940-1970, "la préfabrication lourde et indémontable", 1945-1953 " la cité d'expérience de Noisy-le-Sec", 1952-1956, "le modèle achevé le plus réussi des grands opérations, le projet des Grandes Terres".
27
Ng, Wing-fai, et 吳永輝. « Liang Sicheng, 1901-1972 ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950024.
Texte intégral
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Forrester, Katrina Max. « Liberalism and realism in American political thought, 1950-1990 ». Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283922.
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James, Samuel Charles. « The 'Cambridge School' in the history of political thought, 1948-1979 ». Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610472.
Texte intégral
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Palladino, Nicoletta. « 19th - 20th century zinc white paints : multidimensional physico-chemical characterisation ». Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPAST042.
Texte intégralRésumé :
Cette thèse explore les propriétéset l’emploi des peintures à l’huile à base deblanc de zinc de l’échelle nano- et microscopique jusqu’à l’échelle macroscopique desœuvres d’art.Le blanc de zinc (ZnO), pigment modernedéveloppé à la fin du XVIIIe siècle en tantqu’alternative non toxique au blanc de plomb,a été adopté dans la peinture à l’huile au milieudu XIXe siècle. Initialement utilisé aux côtésdu blanc de plomb, son pouvoir couvrant plusfaible et sa brillance en ont fait un pigment dechoix pour les mélanges de couleurs, les pointslumineux, mais aussi les empâtements et lespréparations. Cependant, il peut provoquer desproblèmes de conservation, par exemple en raison de la formation de savons de zinc, ce qui aété le focus principal de plusieurs études.Connaître ce pigment est donc crucial pourles études techniques des œuvres d’art et leurconservation. Dans ce but, cette rechercheest centrée sur deux axes : l’étude des propriétés physico-chimiques du blanc de zinc et del’ampleur et des modalités d’emploi du pigment.L’analyse de plusieurs types de matériaux estcomplétée avec des recherches documentaires etune enquête auprès des professionnels du patrimoine.Le premier axe est abordé à traversl’analyse, à l’échelle nano- et micromètrique,d’un large corpus, unique et varié, de matériauxd’artiste historiques et modernes des fabricantseuropéens et américains principaux, et d’unesélection d’échantillons issus d’œuvres, qui sontcomparés à des matériaux de référence et desmodèles de peinture. Plusieurs types de techniques d’analyse sont utilisés, allant de méthodes de laboratoire conventionnelles (microscopie optique et électronique, DRX) jusqu’à delarges instrumentations telles que l’accélérateurde particules AGLAE (PIXE, IBIL) et le synchrotron ESRF (DRX à haute résolution angulaire). Plusieurs composés ont été identifiés dansles matériaux de peinture, ce qui met en évidence certaines pratiques et adulterations desfabricants de couleurs. L’hydrozincite, probable produit de dégradation du ZnO, a été identifié dans plusieurs échantillons. Cette étudesouligne, parmi les matériaux historiques etmodernes, des différences de composition, detaille des particules de ZnO et de comportementde luminescence. La morphologie et la taille desparticules de ZnO et la pureté des matériauxanalysés suggèrent une synthèse par méthodeindirecte. La variété des comportements de luminescence, affectés également par d’autres facteurs liés au pigment et à son environnement,est, au contraire, plus difficile à interpréter.Le deuxième axe est abordé à partir descampagnes de fluorescence X sur une cinquantaine d’œuvres analysées in-situ dans lesmusées, et l’étude détaillée d’une sélection depeintures au laboratoire. Cette recherche explore différents emplois du pigment à partird’exemples précoces jusqu’à la moitié du XXesiècle, et constitue une véritable base de données des œuvres qui contiennent du blanc dezinc. En outre, l’étude souligne les limites del’identification du blanc de zinc, notamment surla seule base des analyses non-invasives de fluorescence X. L’intérêt d’un protocole non-invasifpour l’identification du pigment basé sur sa photoluminescence a été mis en valeur, ce qui estcomplémentaire à l’emploi de la cathodoluminescence pour l’étude invasive de matériaux depeinture.Cette recherche constitue donc une référencesur les propriétés physico-chimiques et l’emploidu blanc de zinc, offrant des informations surl’histoire matérielle du pigment et des œuvresd’art modernes en ouvrant des perspectives surleur conservation et authentification: This thesis explores the propertiesand use of zinc white oil paints, from the nanoand micro-scale up to the macro-scale of artworks.Zinc white (ZnO), a modern pigment developed in the late 18th century as a non-toxicalternative to lead white, was adopted in oilpaint in the middle of the 19th century. Initially used alongside lead white, its lower covering power and brilliance made it a choice forcolour blends and highlights, but also for impastos and grounds. It can cause condition issues,for example due to the formation of zinc soaps,which have been the main focus of several studies.Knowing the pigment is, therefore, crucialfor technical studies and artwork conservation.Thus, this research focuses on two areas: thestudy of the physico-chemical properties of zincwhite and the extent and modalities of use of thepigment. The analysis of several types of material is complemented by documentary researchand a survey among heritage professionals.The first axis is addressed through the analysis, at the nano- and micro-scale, of a large,unique and varied corpus of historical and modern artists’ materials from the leading European and American manufacturers, and a selection of painting samples compared with reference materials and paint mockups. Several analytical techniques are used, from conventionallaboratory methods (optical and electron microscopy, XRD) to large facilities, such as theAGLAE particle accelerator (PIXE, IBIL) andthe ESRF synchrotron (high-angle resolutionXRD). Other compounds than ZnO were identified in the paint materials, shedding light oncertain practices of colour manufacturers andexamples of adulteration. Hydrozincite, a probable degradation product of ZnO, was identifiedin some samples. This study highlights differences in the composition and size of ZnO particles between historical and modern materials,as well as a luminescence behaviour that is moredifficult to interpret because it depends on several factors linked to the pigment and its environment. The morphology and size of the ZnOparticles and the purity of the materials analysed suggest synthesis via indirect method.The second axis is based on X-Ray Fluorescence (XRF) spectroscopy campaigns onaround fifty artworks analysed in-situ in museums, and the detailed study of a selection ofpaintings in the laboratory. This research showsdifferent uses of the pigment through examplesfrom the beginning of the 19th up to the mid20th century, which form a reference databaseof artworks containing zinc white. The studyalso calls into question the identification of zincwhite, particularly when solely based on XRFanalyses. The interest in a non-invasive protocol for pigment identification based on its photoluminescence was highlighted, which is complementary to the use of cathodoluminescencefor the invasive study of paint materials.This research constitutes a reference onthe physico-chemical properties and use of zincwhite; it provides information on the materialhistory of the pigment and modern artworks,opening up new perspectives for artwork conservation and authentication
31
Wilcox, Ralph S. « Jeepers, creepers ! how 'bout them Beezers ? : the history of the Beezer Brothers architecture firm, 1892-1932 ». Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041908.
Texte intégralRésumé :
The architectural practice of Michael and Louis Beezer, identical twin brothers, lasted from 1892 until 1932. They practiced in Altoona, Pennsylvania, from 1892 until 1899; Pittsburgh, Pennsylvania, from 1900 until 1906; and in Seattle, Washington, from 1907 until 1932. During their practice, they produced a wide variety of designs including homes, banks, churches, rectories, schools, and hospitals. Today, seventy-two confirmed designs still exist around the country in Pennsylvania, Washington, Oregon, California, Montana, and Alaska. This creative project documents the Beezer Brothers' surviving buildings through current and historic photographs and a short amount of text with information on the history, style, and features of each building. A history of the firm, supplemented with biographical information, is also included.Department of Architecture
32
Pasholok, Maria. « Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
Texte intégralRésumé :
This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
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Mercho, Hassan Malak. « Arab World Institute, Washington, D.C. : the Arabic modernism outside of the traditional Arabic city ». Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/845979.
Texte intégralRésumé :
The actual need for such a building as the Arab World Institute is wellestablished because Arabs are searching for a solid relationship with Westerners. Growth is possible only through education. The Arab World Institute offers the opportunity for education, information, and entertainment, and serves as a hub of activity where all people-Arabs and otherwise-can meet and share cultural distinctions.The Arab World Institute will have at once:A cultural center for the need of the understanding of Arabic civilization,A museum to show the struggle for development in the Arabic world and to illustrate the cultural impact in a symbol of the city's past development,A library to express the architecture's poetic dimension.The Arab World Institute's buildings do not represent a single and imaginary moment in time, but a place of evolution and change. The Arab World Institute's mission will be:To develop a deeper knowledge and better understanding of Arabic culture, language, and civilization,To improve communication and cultural exchange between nations,To further The United States' relationship with the Arab world in order to contribute to developments in the rest of the world.Department of Architecture
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Lebenzon, Tracy Scott. « Double cross : agriculture and genetics, 1930 to 1960 ». PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3800.
Texte intégralRésumé :
This paper discusses the role of genetic technology and application in agriculture between 1930 and 1960. Topics covered include the role of genetics and the relationship that theory, education, administration, professionalism, economic and social considerations bore to genetics.
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Jardine, Boris Samuel. « Scientific moderns ». Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610691.
Texte intégral
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Uecker, Jeffry Lloyd. « From Promised Lands to Promised Landfill : The Iconography of Oregon's Twentieth-Century Utopian Myth ». PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5026.
Texte intégralRésumé :
The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.
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Kwan, Wing-ki Koren, et 關詠琪. « Experiments in subjectivity : a study of postmodern science fiction ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3681250X.
Texte intégral
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Merwood, Joanna. « Towards the architecture of the future : César Daly and the science of expression ». Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23202.
Texte intégralRésumé :
The writing of the French architectural theorist and critic Cesar Daly (1811-1894), editor of the influential Parisian journal, the Revue generale de l'architecture et des travaux publics, may be considered to be representative of the ambivalence of the supposed 19th century dialectic between scientism and metaphysical idealism. For Daly the physical and representational needs of society expressed in architecture were always and forever inextricably linked by the universal and permanent pattern of History. Although it was his fundamental thesis that the human sensibility was more important than any other consideration in the creation of architecture, his theory is paradigmatic of the contemporary ideology which attempted to define and systemise the expressive role of architecture according to rational scientific principles, and resulted in the concept of architecture as a prescriptive and predictive process.Given the separation of architectural form and content, presence and meaning, and the consequent challenge to the possibility of shared experience initiated in the Enlightenment which is still an inherent part of our contemporary architectural thought, it is crucial to re-examine the architectural theory of the 19th century as the origin of the modern condition. This thesis is a critical examination of Daly's collections of polemical articles from the Revue as artifacts of architectural knowledge, through an analysis of their form and content in relation to other significant 19th century architectural texts.
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Austin, David L. « Women, Witchcraft, and Faith Healing : An Analysis of Syncretic Religious Development and Historical Continuity in 20th Century Zimbabwe ». Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620691659340769.
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Blatchford, Mathew. « The old New Wave : a study of the 'New Wave' in British science fiction during the 1960s and early 1970s, with special reference to the works of Brian W. Aldiss, J.G. Ballard, Harry Harrison and Michael Moorcock ». Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22150.
Texte intégralRésumé :
Bibliography: pages 174-184.This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.
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Ray, Rabindra. « The Naxalites and their ideology : a study in the sociology of knowledge ». Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670404.
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Alphin, Judson Wayne. « The early military thought of Winston S. Churchill ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:be81c453-5166-4e6a-b4ce-c443706e2dd9.
Texte intégralRésumé :
Winston S. Churchill was a war leader during two world wars, and yet there are few substantive studies of his younger years when he was a practising soldier. This thesis aims to study the early intellectual development of Churchill in those areas which have direct impact on the art of war. The chapters are arranged narratively (Chapters 2-3) and thematically (Chapters 4-8). The introduction covers the scope and methodology of the work. Chapters 2-3 give an account of Churchill's early years, and trace the development of several prominent features of his character that helped form and inform the presuppositions of his later military intellectual development. Chapter 4 addresses Churchill's interactions with late Victorian cavalry doctrine and debate. Chapters 5-7 each address themes of an expanding scope of influence and conceptualization: first, the tactics of war; second, the policy and strategy of war; and finally, Churchill's conceptions of war. The conclusion summarizes the hallmarks and syntheses of Churchill's early military intellectual development, and identifies judgments which can be drawn about his perspicacity as soldier and commander.
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Campbell, Coral, et mikewood@deakin edu au. « Science education in primary schools in a state of change ». Deakin University, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050815.101333.
Texte intégralRésumé :
Through a longitudinal study of one teacher's science teaching practice set in the context of her base school, this thesis records the effects of the structural and policy changes that have occurred in Victorian education over the past 6-7 years - the 'Kennett era'. Initially, the purpose of the study was to investigate the teacher's practice with the view to improving it. For this, an action research approach was adopted. Across the year 1998, the teacher undertook an innovative science program with two grades, documenting the approach and outcomes. Several other teachers were involved in the project and their personal observations and comments were to form part of the data. This research project was set in the context of a single primary school and case study methodology was used to document the broader situational and daily influences which affected the teacher's practice. It was apparent soon after starting the action research that there were factors which did not allow for the development of the project along the intended lines. By the end of the project, the teacher felt that the action research had been distorted - specifically there had been no opportunity for critical reflection. The collaborative nature of the project did not seem to work. The teacher started to wonder just what had gone wrong. It was only after a break from the school environment that the teacher-researcher had the opportunity to really reflect on what had been happening in her teaching practice. This reflection took into account the huge amount of data generated from the context of the school but essentially reflected on the massive number of changes that were occurring in all schools. Several issues began to emerge which directly affected teaching practice and determined whether teachers had the opportunity to be self-reflective. These issues were identified as changes in curriculum and the teaching role, increased workload, changed power relations and changed security/morale on the professional context.
This thesis investigates the structural and policy changes occurring in Victorian education by reference to documentation and the lived experiences of teachers. It studies how the emerging issues affect the practices of teachers, particularly the teacher-researcher. The case study has now evolved to take in the broader context of the policy and structural changes whilst the action research has expanded to look at the ability of a teacher to be self-reflective: a meta-action research perspective. In concluding, the teacher-researcher reflects on the significance of the research in light of the recent change in state government and the increased government importance placed on science education in the primary context.
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Barrington-Ward, Anna. « The art history and rebuilding of Llandaff Cathedral especially after 1941 and its potential for awakening the sense of the numinous at the end of the twentieth century ». Thesis, University of Wales Trinity Saint David, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683138.
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Tozoglu, Ahmet Erdem. « Grand Hotels In Major Cities Of Turkey, 1950-1980 : An Evaluation Of Modern Architecture And Tourism ». Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608662/index.pdf.
Texte intégralRésumé :
This study aims to analyze the istanbul Hilton, the izmir Grand Efes and the Grand Ankara Hotels, which are owned by the Pension Fund, during the 1950-1980 period that witnessed the formation process of modern tourism and tourism architecture in Turkey.
As the first five-star hotels of their cities, these buildings provide the possibility of tracing the social transformation processes at the second half of the 20th century beyond their architectural properties that reflect and affect the zeitgeist of the period. In this manner, besides the architectural formation of the buildings, this thesis also aims to examine the participation of the hotels in social life and the relations of architecture with the changing city life and tourism. Moreover, this thesis offers historical perspectives about tourism architecture, about which adequate researches have not been provided yet.
Chronologically, the first chapter formulates a general introduction. The second chapter issues the 1950s’
Turkey and the istanbul Hilton Hotel. The third chapter issues the 1960s&
#8217
Turkey and the izmir Efes Hotel and the Grand Ankara Hotels. The fourth chapter examines the critique of tourism that developed in the 1970s&
#8217
social and political medium, and the last chapter is a general conclusion
46
McAllister, John Francis Olivarius. « Civil science policy in British industrial reconstruction, 1942-51 ». Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:7132d335-2637-470a-99dd-0e2b4ce3357c.
Texte intégralRésumé :
During the Second World War science came to play a large role in the British government's plans for postwar reconstruction of industry. The planners sought to improve industry's labour productivity and capacity for RandD. They drew on the consensus which had developed among scientists, industrialists and politicians favouring a great increase in state aid to universities and industrial RandD and increased government direction of research. The postwar Labour government, impressed with scientists' contributions to the war effort and faced with grave economic difficulties, was eager to enlist science in raising industrial output. By 1951, however, it had implemented few new programmes in this area. More money was being spent on the pre-existing Department of Scientific and Industrial Research and industry's co-operative Research Associations; the universities had doubled their output; the National Research and Development Corporation had begun in 1949; some publicity campaigns had raised public awareness of productivity's significance; and the economy, in the postwar boom, was performing much better than prewar. But overall the Attlee government did much less to raise industry's scientific level than it had planned. Almost every new programme was inadequately funded and staffed, and the few which survived had no realistic chance of reaching into individual factories to achieve the scientific renaissance which was necessary to return Britain to the front rank, by international standards, of innovation and industrial performance. The thesis examines that portion of civil science policy which aimed to improve industrial RandD and productivity, from the planning stage during the Coalition through implementation by the Attlee government. After an introductory chapter, Chapter 2 covers the work of wartime ministerial and official reconstruction committees; party differences and business opposition meant that reforms favouring a greater government role in RandD and industry generally were shelved until postwar. Chapter 3 examines the Attlee government's efforts to improve industrial RandD, particularly the formation of the Advisory Council on Scientific Policy, a failed attempt to create a British MIT, and several schemes, mostly unavailing, to vitalise DSIR, the RAs and private RandD. Chapter 4 examines postwar productivity policy, particularly the work of the Board of Trade, the scientifically-orientated Committee on Industrial Productivity, various government publicity campaigns, and the Anglo-American Council on Productivity. Chapter 5 briefly sketches post-1951 developments and finds that there has been little basic change in the policies suggested for arresting British industry's technical decline relative to its competitors, despite recurrent disappointment with the results of those policies.
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Hunter, Kathleen Allison. « Gender and science in twentieth-century British engineering : an interdisciplinary analysis ». Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669883.
Texte intégral
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Hehnke, Jennifer Marie 1978. « The politics of racial integration in the Seattle Public Schools : Discourse, policy, and political change, 1954-1991 ». Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10550.
Texte intégralRésumé :
xiii, 302 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This study examines the role of narrative in racial integration politics in the Seattle Public Schools between 1954 and 1991. In 1978, the Seattle School District in coalition with civic actors implemented a mandatory student assignment desegregation policy, "The Seattle Plan," without a court order. A decade later, another similar coalition of actors came together to shift desegregation policy towards a "controlled choice" method of student movement. In 1991, with the support of the newly elected Democratic mayor, the foundation of desegregation was dismantled. In Seattle, the shifts in desegregation conflicts can be explained as the transposition of certain arrangements of ideas into policy and the concurrent shift in the arrangement produced by new alignments of actors able to find enough common ground to coalesce and make policy. This dissertation explores the complexity of ideas about racial equality and the oftentimes-surprising arrangements actors created. I analyze the way elected, elite, and non-elite actors at the local level talked about, interpreted, and re-interpreted questions of racial segregation, equality, and the role of the public schools and explore the amalgamations of ideas about race and schools that explain the unique development of policy in Seattle with a way to account for change relying on micro-political developments. I examine the discursive arrangements generated within these conflicts, the coalitions built around these ideas, and how the ideas were implemented as policy. I analyze a broad range of archival materials, newspaper accounts, and interviews with actors who were involved in these events.
Committee in charge: Gerald Berk, Chairperson, Political Science; Julie Novkov, Member, Political Science; Joseph Lowndes, Member, Political Science; James Mohr, Outside Member, History
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Carr-Trebelhorn, Julia A. « FROM GEOLOGY TO ART HISTORY : CERAMIST ALEXANDRE BRONGNIART’S OVERLOOKED CONTRIBUTION TO THE DEVELOPING SCIENCE OF ART HISTORY IN THE EARLY NINETEENTH CENTURY ». UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/4.
Texte intégralRésumé :
Alexandre Brongniart was known for his work as an important geologist and as an administrator at the Sèvres Porcelain Manufactory, but his roles as art historian and museologist are overlooked. Brongniart created a holistic methodology taken directly from science and applied it to ceramic art of all cultures and eras. He had a uniquely modern perspective on time, world culture, and archeology. Brongniart wrote about the art of Asia and the Americas on an equal status with that of the Classical West at least fifty years before it became a mainstream idea. Brongniart integrated scientific principle and practice into the structure of the Sèvres Museum and a comprehensive set of books which includes Traité de Mineralogie avec des Applications aux Arts, Traité des Arts Ceramiques, and Description Methodique du Musée Ceramique de la Manufacture Royale de Porcelain de Sèvres. Numerous historians were influenced by Brongniart’s work, including Samuel Birch and Albert Jacquemart. Notably, the art historian Gottfried Semper refocused his ideas for Style in the Technical and Tectonic Arts after seeing the completed works of Brongniart. Although contemporary historians credit Semper with the development of a scientific approach to art history, Semper himself frequently acknowledged the importance of Brongniart’s work.
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Gillin, Edward John. « The science of Parliament : building the Palace of Westminster, 1834-1860 ». Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:65863190-6063-4320-813e-e60dd1a11fb2.
Texte intégralRésumé :
This thesis examines science's role in the construction of Britain's new Houses of Parliament between 1834 and 1860. Architecturally the Gothic Palace embodies Victorian notions of the medieval and romanticized perceptions of English history. Yet in the mid-nineteenth century, the building not only reflected, but was involved in, the very latest scientific knowledge. This included chemistry, optics, geology, horology, and architecture as a science itself. Science was chosen, performed, trusted, displayed, contested, and debated through the physical space of government. Parliament was a place where science was done. Not only was knowledge imported to guide architectural construction, but it was actively produced within the walls of Britain's new legislature. I argue that this attention to science was not coincidental. Rather, it was a crucial demonstration of the changing relationship between science and politics. Science was increasingly asserted to be a powerful form of knowledge, and to an institution struggling to secure authority in the uncertainty of reformed British politics, it appeared a valuable resource for credibility. Contextualizing the use of science at Parliament in the political instability of the 1830s and 1840s emphasizes how the use of new knowledge was a potent practice of constructing political authority.