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Daniel B. Grunberg, Michael Athans. / "Proc. 10th IFAC Word Congress on Automatic Control, Munich, West Germany, July, 1987." / Bibliography: leaf [4]. / Supported by a National Science Foundation Graduate Fellowship, a grant from the General Electric Co. and by the NASA Ames and Langley Research Centers under grant NASA/NAG 2-297

Thesis (Doctoral)--Universite Paris-Nord, 2000. / Includes bibliographical references (p. 325-338).

The late imperial architecture of Johann Bernhard Fischer von Erlach presents works (Entwurf einer historischen Architektur, Karlskirche and Hofbibliothek; 1712-1722) in which the intentions manifested are expressions of the political programs of the emperor Karl VI. In this imperial rhetoric, the accent is placed on the confirmation, through time, of the authority. Allegory appears as confirmation, through time, of the authority. Allegory appears as a proper means to convey the public manifestations of this propaganda. Whether at an urban scale, with Karlskirche, or at a more private, smaller scale, as in the Entwurf, Fischer is shown to master the integration of these programs, while maintaining a genuine interest in architectural tradition's history. In fact, the articulation of these two domains will lead to the production of a highly original architecture, which still fascinates today. Three aspects will be especially developed: the initiation of Karlskirche; the imperial promenade through the Hofbibliothek; and the fifth book of the Entwurf, on monumental vases and urns. Through these, it is the importance of constructed-ness, as seen in Fischer's praxis of history, that will emerge.

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The purpose of this thesis is to identify the factors playing a key role in the determination of the Turkish stock market liquidity in aggregate terms in a time series context and discuss the joint dynamics of the market-wide liquidity with its selected determinants and the trade volume. The main determinants tested are the level of return, the return volatility and the monetary stance of the Central Bank of the Republic of Turkey. The expected positive relationship between the liquidity and the return is confirmed, while the negative effect of the volatility on liquidity appears one-week later. The behavior of various liquidity variables are also examined around the macroeconomic data announcement dates, during the 2008 financial crisis, and after the tick size change in the Istanbul Stock Exchange (ISE). The time series dynamics between the trade volume, return, volatility and the liquidity are put forward within the Vector Autoregression analysis framework. The GARCH modeling of the return series, which is an input to the liquidity model estimations, is a byproduct of this thesis. It is observed that the return series exhibits volatility clustering, persistence, leverage effects and mean reversion. In addition, while the level of the ISE market return decreased, the volatility of the return increased during the 2008 crisis. Accordingly, EGARCH model assuming normally distributed error terms and allowing a shift in the variance during the crisis period is chosen as the best model.

The formal satire of the late English Renaissance is a complex phenomenon, modelled upon the classical genre but also profoundly influenced by medieval homily and Complaint. It is connected with other literary vehicles for social criticism and is a means of protesting against change, embodying the struggle between hierarchy and mobility that marks the period. Types are represented in a realistic manner and assigned parts in miniature dramas unified by the presence of a narrator, by imagery and often by a thesis statement. Critical theories about the derivation of the term "satire" and the nature of the genre helped to shape the form, tone and organization of these poems. This study focuses on the major writers of Elizabethan formal satire, Donne, Hall and Marston, and examines their relative merits. Donne is easily the most complex and the greatest poet, but the problem of which is the most effective satirist has yet to be resolved. Donne creates "humourous" and brilliantly sardonic portraits of types and with exhaustive detail localizes the satiric scene in Elizabethan London. However, his satires are a kind of metaphysical poetry, concerned with first principles and the narrator's psychological processes. Intense subjectivity and metaphysical subtlety are perhaps better suited to lyric and devotional verse than to social satire, in spite of the poet's mastery of the art of caricature. Hall's style, lending an Augustan quality to Virgidemiae, is the measure of the differences among the writers. Hall's assimilations of classical sources, modified Neo-Stoicism, intense conservatism and references to a Golden Age and academic retreat fuse together in a witty and amusing satiric creation marked by the quiet insult, the polite sneer, contempt for the targets. Marston's use of language foreshadows certain important trends in the early Jacobean drama. Although he is sometimes incoherent in his efforts to combine satirical rage and the pose of the malcontent with moral exhortation, Marston produces an impressive, ultimately unified structure and vision of man dominated by his animal nature. In conclusion, Donne is the superior poet, Hall the most effective satirist, while Marston writes the most dramatic works, and only his lack of artistic control prevents him from surpassing his contemporaries' satire. / Arts, Faculty of / English, Department of / Graduate

This dissertation investigates the evolving notions of verisimilitude and pictorial objectivity in eighteenth-century France through wax-based objects. I identify three case studies and examine the truth claims that were made about them: polychrome wax sculpture by Antoine Benoist (1632-1717) and Gaetano Giulio Zumbo (c.1656-1701) at the turn of the century; an attempt by the Comte de Caylus (1692-1765) to resurrect ancient encaustic painting in the early 1750s; anatomical models by Honoré Fragonard (1732-1799) and André Pierre Pinson (1746- 1828) during the latter decades of the century. In all cases, wax objects and associated truth claims addressed specific domains of specialized knowledge and practice. Benoist and Zumbo’s sculpture took part of period debates about pictorial verisimilitude, while Caylus proposed encaustic painting as an alternative method of accessing historical past. By contrast, Fragonard and Pinson’s work challenged the evidentiary and pedagogical value of anatomical models. My dissertation identifies potential origins of modern dependency on, as well as skepticism towards, what counts as reliable or legitimate visual information. By addressing objects and their makers that have not received substantial scholarly attention, I demonstrate how they resisted increasingly rigid Enlightenment categories, even when their ostensible purposes were in line with the broader Enlightenment project. By extension, my project offers an opportunity to think more broadly about the viability of a medium as a conduit of information, whether in the rise of photography in the nineteenth century or in today’s debates about post-truth politics.

Twenty four folded leaves of ill. in pocket inside the back cover of v. 2 / Bibliography: leaves 146-164 (v. 1) / 2 v. : ill. (some col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Geology and Mineralogy, 1983