M.S.

This thesis was prepared as a result of the growing interest in and the increasing importance of electric welding as applied to many types of manufactured products. Although the art of electric welding is comparatively new, great steps have been taken in its adaptation to industry. As yet the process is underdeveloped, and no information is available whereby one may know with certainty the behavior to expect from a welded joint. The composition of the metal to be welded, the composition of the welding rod, and the method used in welding are but a few of the factors which determine the ultimate strength and behavior of an electrically welded specimen. Far from claiming the credit for a comprehensive report on electric welding, the authors of this thesis admit that it of necessity is limited in its treatment of the subject. Both steel and wrought iron specimens were tested, the steel specimens ranging from 0.2 to 0.5 per cent carbon content. At first the investigation embraced lap-welded and butt-welded joints, but because of the fact that properly made lap-welds never break in the weld, and hence give no indication as to the strength of the weld, this type was abandoned, and all V-type butt-welds were used. All of the welds, with a few exceptions which will be mentioned later, were tested in tension, their tensile strength being used as an indication of their ultimate strength. The Tinius Olsen strain gage was used in obtaining the elongations of the specimens. In the tables which follow, the values in the deformation column will be expressed in Tinius Olsen units, each unit being 0.0003333 of an inch. If the value in the deformation column were 2.3 and this value were desired in inches, the conversion factor 0.0003333 should be multiplied by 2.3, giving 0.00076659 inches as a result. The welding was done with a Lincoln Stable Arc Welder. During the welding operations the voltage was kept at 60 and the amperage was about 150. / M.S.

The geology of Roanoke and the country adjacent is conceded to be one of the most complicated structures in Virginia. On this account it has been consistently avoided in geological investigations; surveys that normally would have included Roanoke having stopped at or omitted this vicinity. It would be presumptions for the author of this paper to attempt to do what many better geologists have avoided. This paper does not attempt to give a thorough discussion of the complicated problem that the vicinity of Roanoke presents, but rather aims to condense and bring together information that has been gathered on the subject and supplement this with such additional data as could be obtained in the brief time allotted to this investigation. / M.S.

M.S.

To determine the most profitable rates of applying lime for different crops on different soil types in the State, and to determine if possible the hydrogen ion concentration for the most economic yields of the different crops on different soil types. Plots will be laid out at Blacksburg, Staunton, Williamsburg, Holland, and Martinsville, and limed at different rates, Yields will be kept of crops grown at each locality on limed plots and the hydrogen ion concentration will be determined for at least two localities. / M.S.

A thorough knowledge of the principles of adolescent psychology are important to administrative officers, county and farm agents and local leaders in dealing with the characteristics of boys and girls in the different stages of growth during the 4-H club age - from 9 to 21 years. This knowledge will enable them to understand their behavior characteristics of young people at different stages of development and to so plan the program that it will have an economical and social appeal at each period of their growth. The leaders also need to know the adolescent’s physical and mental possibilities and limitations at different stages of development. / M.S.

« Notre contribution vise à renouveler notre connaissance de la première période d'activité du sculpteur Louis Jobin, c'est-à-dire entre 1860 et 1875. Dans cette étude, les mécanismes du marché de la sculpture sont identifiés et analysés en fonction de leurs incidences sur la formation de l'apprenti et sur la production du premier atelier, à Montréal. Né le 26 octobre 1845 à Saint-Raymond (Portneuf), Louis Jobin passa la majeure partie de son enfance à Neuville. Au début de son adolescence, il aurait été initié à la sculpture sur bois par un oncle qui travaillait dans la construction navale, une industrie alors à son apogée dans la vieille capitale. Mais ce n'est qu'en 1865 que le jeune homme est engagé formellement comme apprenti-sculpteur par François-Xavier Berlinguet de Québec. Homme polyvalent, F.-X. Berlinguet s'est déjà signalé par la qualité de ses travaux en sculpture, notamment en statuaire. De plus, il appartient à une lignée professionnelle dont les origines remontent à l'atelier de Louis Quévillon et à l'école de Thomas Baillairgé. L'engagement de Louis Jobin à Berlinguet va relever du système d'apprentissage traditionnel, les clauses de leur entente verbale se rapprochant de celles du contrat-type passé entre apprenti et maître-sculpteur au siècle dernier. Adaptée aux exigences du marché de la sculpture, la formation à la fois polyvalente et spécialisée de Jobin chez Berlinguet est fondée sur des connaissances théoriques et techniques issues de traités classiques, ainsi que sur des travaux pratiques divers. Les aptitudes manuelles de l'élève ressortiront surtout dans l'ébauche et dans la ronde-bosse. En 1869, en relation avec les récents développements de la sculpture profane au Québec, Jobin effectue un stage de perfectionnement à New York, d'abord chez William Boulton, puis dans un atelier allemand. Ce séjour dans la "capitale" artistique de l'Amérique le familiarise avec la figure de proue du clipper ainsi, qu'avec la statue-enseigne de tabaconiste. L'année suivante, Louis Jobin installe son premier atelier à Montréal. Il y amorce une carrière qui sera dès lors marquée par les exigences spécifiques de la clientèle et par les pressions de la compétition locale. La production variée du sculpteur est alors directement reliée à certains phénomènes du marché: le déclin de la construction navale, l'essor de l'enseigne commerciale et la stabilité relative de l'art ornemental et religieux. Jobin confectionne autant des figures de proue et des enseignes animales que du mobilier liturgique et des reliefs religieux. Une spécialisation dans la statuaire de grandes dimensions destinée à l'extérieur des bâtiments émerge toutefois au sein de cette production diversifiée. La rareté des commandes profanes ainsi que la concurrence dans le secteur religieux vont amener Louis Jobin à quitter la métropole pour la vieille capitale après cinq années marquées par des expériences diverses et par des problèmes financiers. »--Pages préliminaires

第一章：採討山西傳統的教育概況，以甲午戰役為界線。前期的山西教育場所除書院 略具教育功能外，儒學、社學及義學辦理成績不佳。自光緒二十八年以後，各級新式 學堂積極籌辦，在有限的經費下，山西撫衙做了最大的努力。 第二章：首述民國早期山西的政治領導者─閰錫山的政治生涯，次論他本人的教育思 想。 第三章：民國早期山西的初等教育最發達，尤其是義務教育最具特色。中等教育所辦 的成績平平。高等等教育中大學一所、專門學校四所，均能發揮培養高級專業人才的 功能。 第四章：清末山西的實業教育並不發達，至民國以後經過政府的整頓，亦迅速發展起 來，尤其重視一般人民謀生技能的訓練。師範教育仍偏重在短期師範傳習所的辦理。 留學教育中，以留日學生最多，同時政府亦積極鼓勵之。社會教育在民國早期頗具特 色，一方面增加人民的識字能力，一方培養人民良好的道德。 第五章：民國早期山西的教育受到政治環境的影響，經費極不充裕，因此一方面靠省 政府的支持，另一方面則靠各界人士的贊助。

“McLuhan’s Bulbs” argues that the 1960s movement of “light art” is the primary site of negotiation between the discourses of “medium” and “media” in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur-example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan’s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of “medium” into “media” on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural “light ballets,” “intermedia” environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene’s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds. These artists are represented here by Piene’s close friend and colleague, Wen-Ying Tsai. In the spirit of earlier examples of “computer art,” Tsai’s “cybernetic sculptures” used light to announce that art would no longer be defined by its material substrates, anticipating the fluid condition of media that we associate with new media art, and digital technology more broadly, today.

Call number: LD2668 .T4 1935 F61