Thesis. 1976. M.ArchAS--Massachusetts Institute of Technology. Dept. of Architecture. / Microfiche copy available in Archives and Rotch. / Bibliography: leaves 163-164. / M.ArchAS

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / Jack Tworkov began painting in the 1920s and made his reputation later as an Abstract Expressionist working in a gestural style. At the age of sixty-five Tworkov put that reputation on the line by undergoing a radical transformation in style and, within a few years, emerged as one of the innovative geometric painters of the later 1960s and the 1970s. This dissertation focuses on works from 1955, when Tworkov began to paint wholly idiosyncratic canvases, to 1979, at which time he significantly changed his brushstroke, a stylistic element that functions as a thread throughout this period. Other binding concepts include a continuing attempt to reconcile painterliness and spontaneity with premeditated structure and the combination of choice and chance in generating new ideas and compositions . This dissertation attempts to provide a complete analysis of this specific portion of Tworkov's work, which has never been done, and to avail the reader of a significant collection of artist's statements drawn from a variety of sources including Tworkov's own diary notes, the art historical literature , and personal interviews with the author. The analysis of the works is contextual, within the frame work of Tworkov's career itself, and proceeds stylistically rather than chronologically, identifying, explaining, and pursuing trends in Tworkov's works over an extended period of time. Iconographic analyses are provided where most appropriate and where most illustrative Tworkov's relationship to other artists has been discussed. The work from 1955 to 1979 has been divided into three major segments: Transitional Works, including the Painterly Abstractions and the Fields; the Structural/Geometric Works, subdivided into early geometric canvases, further experiments with geometry, and the Bisections; and the System Works, including both the Knight Moves and the Three-Five-Eight series. / by Lois Fichner-Rathus. / Ph.D.

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This thesis analyses the roles played by international, national, regional and local organisations and discourses in the heritage valorisation and conservation of modernist architecture – a process that has so far spanned some three decades. A leading role in this narrative has been played by international conservation organisations, which have acted as a unifying front for conservation advocacy and defined a conservation ideology that integrates the principles of both the modern movement and the conservation movement. Partly, this international emphasis has stemmed from the characteristics of the 20th century Modern Movement itself, including its strong strain of cosmopolitanism, as well as its still controversial reputation today at a local level. This initially gave the proselytising of modernist conservation a somewhat elite, trans-national character, exemplified by pioneering organisations such as DOCOMOMO. Yet the ‘internationalism’ of modernist conservation is only part of the story – for to establish this innovative new strand of heritage on a more entrenched basis, the familiar, more locally specific organisations and discourses that had supported previous phases of conservation growth were also increasingly applied to ‘MoMo’ heritage. This ‘on the ground’ involvement represented a convergence with more ‘traditional’ conservation practices, both in advocacy and campaigning, and in the research-led documentation required to document buildings’ significance and continued fitness for purpose. These geographically-specific forces operate at both a national level and also a regional or even local scale, as the thesis illustrates by the two national case studies of Great Britain and the United States of America. Although both countries shared numerous cultural similarities, especially the 19th century veneration of private property, the far more emphatic 20th century turn towards state interventionism in Britain led to a strong divergence regarding modernist heritage, both in the overall character of the modernist architecture built in the two countries (far more ‘capitalistic’ in the US) and in the approach to heritage conservation (more state-dominated in GB). In Great Britain, following on from the comprehensive post-WWII government ‘listing’ programme, the statutory heritage bodies – ‘regionally’ differentiated between England and Scotland - have maintained their leading role in the conservation of modern movement heritage through initiatives to identify buildings of significance, and powerful city planning authorities have provided co-ordinated enforcement. In the US, on the other hand, heritage protection has stayed faithful to its philanthropic roots and the onus of modern movement conservation is left to voluntary advocacy groups who then must campaign to have buildings protected piecemeal by local city or state preservation bodies.

歐陽敬孝. / 論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 248-270). / 中英文摘要. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Ouyang Jingxiao. / Zhong Ying wen zhai yao. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 248-270).

When Rudyard Kipling died in January 1936, the resulting national and international mourning indicated the popularity and enormous influence of his life and work. It demonstrated the esteem in which he was still held and the consequent longevity of his literary success. This thesis examines how Kipling established, maintained and protected his reputation, his purpose in doing so and considers if concern about his own ethnic purity was a central motivation for him in this regard. This thesis explores Kipling‟s preoccupation with the reputation of the enlisted man – or „Tommy Atkins‟ figure – and his sympathy with the „underdog‟ and discusses how recuperation of this denigrated image was instrumental in establishing and increasing Kipling‟s poetic and literary success. His intimate personal relationship and fascination with the enlisted man is investigated, especially in terms of Empire and the Great War and juxtaposed with discussion of Kipling‟s numerous elite, establishment military and political connections. His post-war link to the soldier is considered, including the powerful and enduring effects of the death of his son. Exploration of Kipling‟s writing is undertaken using material from the University of Sussex Special Collections Kipling Archive, including Kipling‟s personal papers and correspondence which are referred to throughout and the six volume collection of Kipling‟s correspondence edited and published by Thomas Pinney. Additional, selective close-reading of his verse and prose illustrates arguments in the personal papers and indicates that Kipling‟s literary reputation vindicated both himself and the image of the soldier. Work from poets contemporary with Kipling is used in context, to provide comparison and contrast. In addition to the main thesis, an appendix volume is in place to offer further exploration of the primary archive material.

This thesis examines womens' poetry of the radical Left and organised labour movement of the Depression-Era United States and investigates the relationship between poetry and politics during this period. In so doing, it shows that women poets were concerned with precisely that problem: of poetry's political function. The work of individual poets and the acts of collective cultural production explored in this thesis articulate a radical, politically transformative poetics at a time when the continued existence of poetry was perceived to be under threat from scientific advance and wider cultural changes. Juxtaposing analysis of Left modernist poets with poets of the labour movement, the chapters focus on three individual poets including Muriel Rukeyser (1913-1980), Genevieve Taggard (1894-1948) and Miriam Tane (1916-2007). To provide an understanding of the role of poetry within a specific political movement and to establish the context in which Tane's poetry was produced, two chapters are included which analyse the educational culture and the collective cultural production of the International Ladies' Garment Workers' Union. One chapter focuses on the history of the ILGWU's educational and cultural activities and the other analyses collections of poetry which the union produced. This thesis challenges the existing paradigm in which the study of American radical Left and labour poetry has been isolated from any broader enquiry about its relationship to class, American political history and also to literary modernism. This thesis advances two main arguments: that the poets considered in this thesis conceived of poetry as a politically transformative force; that these politically transformative understandings of poetry were rooted in in an engagement with the ideological and material contexts of the social movements to which these writers belonged. Furthermore, this thesis considers poetry in terms of the material context of its publication, and the political uses to which it was put.

賴筠婷. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 28-33). / Abstracts in Chinese and English. / Lai Yunting. / 論文摘要 --- p.i / 鳴謝 --- p.iii / 目錄 --- p.iv / 引言 --- p.1 / Chapter 第一章 --- 家庭題材的中國人物畫 / Chapter 甲、 --- 1911-1949年的中國畫壇狀況 --- p.2-4 / Chapter 乙、 --- 1949-1965年的相關作品 --- p.5-6 / Chapter 丙、 --- 1966-1976年的相關作品 --- p.7 / Chapter 丁、 --- 1977-2009年的相關作品 --- p.8-11 / Chapter 第二章 --- 家庭題材人物畫內容分析 / Chapter 甲、 --- 人物的組合 --- p.12-13 / Chapter 乙、 --- 人物的活動 --- p.14-17 / Chapter 丙、 --- 作品表現手法 --- p.18-19 / Chapter 第三章 --- 總結 --- p.20-21 / Chapter 附錄I --- 個人創作探討 --- p.22-23 / Chapter 附錄II --- 畢業作品圖錄 --- p.24-27 / 參考書目 --- p.28-31 / 版圖目錄 --- p.32-33 / 版圖 --- p.34-44