A bio-bibliographic study of Mari Sandoz and her works was chosen as the theme of this paper for several reasons. In the first place, the vast amount of historical and sociological material found in her books and articles is of personal and national interest. In the second place, the writings of Mari Sandoz suggest many topics for further study. The purpose of this study is to show how the early life of Miss Sandoz paralleled her writings; to see how the personality of her father, "Old Jules," was a force in shaping her life; to view the influence of the plains country upon her as a writer; and to determine her place in the literary world as evidenced by critical opinion and the reception given her writings. / Typescript. / "May, 1956." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Robert G. Clapp, Professor Directing Paper. / Includes bibliographical references (pages 61-64).

by He Yongqing. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1989. / Bibliography: leaves 154-166.

No description available.

vii, 80 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / In 1918, Ambrose Patterson (Australian, 1877-1966) arrived in Seattle, Washington after training in Paris and working in Europe, Australia, Hawaii, and California. Patterson founded the University of Washington's School of Painting and Design and instructed in the European academic method for nearly thirty years. Traditionally considered an Impressionist and historically remembered as the first modern painter to arrive in Seattle, Patterson continued to produce work based on European conventions of modernism long after his departure from the Parisian avantgarde. Patterson's experience is demonstrative of the artistic diversity and opportunities for European-trained artists in Seattle during the early to mid-twentieth century, which have often been overshadowed by the idea of a dominant Northwest School and the emerging construction of American modernism. / Committee in Charge: Dr. Joyce Cheng, Chair; Dr. Andrew Schulz; Mr. Larry Fong

Abstract of Georges Duhamel et la Civilisation, thesis submitted for the degree of Master of Arts by-James Alexander Hood. Chapter I, La Fonction sociale de l'écrivain. Duhamel’s conception of the rôle of the author in society; his social, moral and political responsibilities. Chapter II, Le Désintéressement. Deals with Duhamel’s belief in the conflict between industrial and cultural civilization, the former founded on selfishness, the latter on disinterestedness. Chapter III, Le Règne du coeur. An explanation of Duhamel's doctrine for an ideal society, based on brotherly love rather than social coercion. His conception of the moral value of pain and suffering in the development of the individual. Chapter IV, La Crise de la civilisation - La Vie future. Duhamel's belief that the social and industrial mores of the U.S.S.R., and of the U.S.A., reveal the future form of the social institutions of humanity. His criticism of the curtailment of human freedom under the antagonistic political philosophies of both these states. Chapter V, La Crise de la civilisation - Le Phénomène panique. Duhamel's criticism of the uncontrolled extension of bureaucratic interference into all levels of human activity in the modern state, with special reference to France. Chapter VI, Le Rôle de l'élite. The responsibilities of the intellectual élite in contemporary society. Its duties are, negatively, to defend spiritual civilization against the encroachments of industrial civilization, positively, to extend the influence of true culture by educating the masses. Conclusion. The contradictions to be found in Duhamel's thought. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Within Giacometti’s concepts of what art must do, his own art has reached an impasse. He defines art as a means to see better and considers it a method of research into the nature of the exterior world. When the truth of this nature has been discovered and totally re-created on canvas or in sculpture, only then is his art complete. Instead of greater knowledge, however, his visual researches have only yielded more uncertainty and mystery; and the qualities of the exterior world have escaped him until he is in despair of ever reproducing them. He finds himself in the situation, consequently, of trying to represent in art that which he has no knowledge of. It is the terms and manifestations of this impasse that the present paper purports to discuss. As prefatory background to the discussion proper, I have proposed the contrasted images of the acrobat and the clown, a metaphorical framework suggested in criticism of Samuel Beckett, who, in literature, has reached an impasse comparable to Giacometti's in art. The acrobat represents the artist who, like Giacometti, despite an impasse pursues his impossible goal relentlessly, glad of the most miniscule achievement. The clown, on the other hand, accepts the failure of his art and creates a new art whose basis is failure. The clown acts as a foil to the acrobat. I note also the critics' failure to consider Giacometti in relation to his tradition, an unpardonable omission because the crisis in his art is as well an indication of a crisis within the tradition. When Giacometti defines art as a means to see better, he refers to no simple physical act of recording sensation. Seeing is a highly critical procedure which strips vision of the veil of culture which tradition has placed between the eye and the model, and frees the mind of outmoded forms and conventions of perception which have become irrelevant to the total experience and organization of the artist. Having performed this operation, the artist is free to observe the true nature of the exterior world and record its likeness in art. Giacometti's rigidly controlled seeing, however, has not revealed the desired knowledge, but has instead yielded the experience of the distance which forever separates the artist from everything he wants to depict. Instead of being able to re-create the human face and figure, Giacometti has only succeeded in producing those slim, attenuated, emaciated figures whose human characteristics disappear as we approach them, and whose gaze stares emptily and impenetrably into space, revealing nothing. His art has become a testimony to the common experience of contemporary thought: man's alienation and isolation. This is basically what denies the artist the intimate rapport with his model necessary in order to re-create its likeness. As contemporary science and philosophy have been limited in their researches by human finitude, so has Giacometti's art. His minuscule bit of knowledge is but a speck on the infinite scale of things; and partial knowledge is not truth. Finally the awareness of human finitude within art is traced through its development in the nineteenth century. The difficulty of realizing on canvas what he saw in nature became particularly evident to Cezanne in an age when, deprived of all relevant established traditions of art, he had to discover for himself a new artistic language and imagery. Cezanne began to suspect the impossibility of doing art which sought after truth, but he still had reference to metaphysical concepts as to the nature of the external world which made his success in art at least conceivable. Giacometti is deprived of such concepts and his contemporary sensibility denies his ever achieving a basis of certainty. Art for him will always be a tentative gesture in the direction of completion, but completion is inherently impossible. These are the terms of the impasse in Giacometti's art. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

The topic of my thesis is an analysis of Hans Hofmann's theoretical writings on art and their possible influence on his West-Coast Canadian students. I have included a short biography of Hofmann in order that the reader may become aware of the events that led up to his theoretical development. Through all available published material on and by Hans Hofmann, I have endeavoured to analyze and to explain his theories which are often quoted but seldom understood. Hofmann's art was inspired by nature. This inspiration enabled him to create on the canvas the perceivable movements of "push and pull" and "expansion and contraction." These movements are caused by form and color on a bare canvas which creates the combined effect of two and three dimensionality. However, the two dimensionality of the picture plane is retained momentarily because visually it appears two dimensional but past experience of the observer creates the effect of three dimensionality. These movements of "push and pull" and "expansion and contraction," which are perpendicular to each other, are created by the simultaneous development of form and color. If these movements are able to reflect the artist's mind, sensibility, temperament and past experience, a symphonic painting, a category of the fine arts, or a work of art will have been created. The spirit which has been captured, emits the artist's life for the physical duration of the painting. Although these theories were taught by Hofmann at his schools, he did not expect his students to accept them without a second thought. He wanted his students to develop from them as he had developed from others. The effect of Hofmann's teachings on the contemporary theories of individual students was ascertained by means of a series of interviews with Hofmann's West-Coast Canadian students, Lionel Thomas, Takao Tanabe and Donald Jarvis. Lionel Thomas was greatly influenced by Hofmann's role as an educator. Both Hofmann and Thomas stimulated their students and helped to raise the artistic level of their individual environments. Takao Tanabe said he had rejected Hofmann's theories. If Hofmann was influential on Tanabe, the latter has constricted, denunciated or attempted to forget that influence. Jarvis contrasts both Thomas and Tanabe for he neither accepts or rejects Hofmann's teachings. Jarvis has, as Hofmann had fifty years earlier in Paris, developed from what he learnt from his teacher. Hofmann's influence has not ended, for Thomas, Tanabe and Jarvis are teachers and they, with art historians influenced by Hofmann, still propagate his theories. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Ph. D.

An investigation was undertaken to develop a procedure for preparing molybdena-alumina catalysts for olefin disproportionation and to develop equipment and procedures for exploratory testing of the catalysts. A reproducible procedure for preparing molybdena-alumina catalysts was developed. This procedure consisted of impregnating Harshaw Al-0104-T, 1/8 inch alumina catalyst pellets with 10 to 30 percent aqueous ammonium molybdate solutions at 210 °F. The impregnated pellets were placed in the reactor, dried for three hours at 250 to 300 °F and were activated at 1000 °F for five hours. Dry nitrogen was passed over the catalysts during drying and activation. A reaction system was designed, constructed, and operated to perform exploratory tests on the catalysts. The reactor was constructed from 3/8 inch stainless steel tubing and packed with approximately 5.8 grams of catalyst for each test. The reactor was operated at pressures of 30 to 170 pounds per square inch, gage, at temperatures of 250 to 550 °F and at a weight hourly space velocity of 1.1 gram of feed per hour per gram of catalyst. The reaction products were analyzed by gas chromatography. The catalysts prepared during this investigation gave disproportionation of propylene to ethylene and 2-butene. Ethylene and 2-butene were formed in approximately equimolar quantities. Maximum conversion was found to occur in the temperature range from 300 to 400 °F. Conversion up to 30 percent was obtained using the catalysts prepared during this investigation. Limited data indicated conversion to be independent of pressure in the range of 30 to 170 pounds per square inch, gage. The catalysts were found to deactivate with time-on-stream. Due to the limited data taken, no quantitative conclusions were reached as to the rate of deactivation. / M.S.

Experimental resonant frequencies and mode shapes from vibration tests with a 1/5-scale model of the Titan III-A launch vehicle are presented, Measurements of longitudinally excited vibration modes of the model structure supported in a suspension system offering negligible restraint to longitudinal motion for five different propellant loadings are shown. The data indicate the quantitative and qualitative effect on the overall model vibration response due to different amounts of simulated liquid propellant in the tanks. The experimental data show the response of the model to be complex due primarily to structural coupling of modes. Two mathematical models are used to calculate the model vibration response; one represents a simple lumped-mass analysis and the other a more refined interpretation which considers axisymmetric shell, fluid, and mass components of the structure. Longitudinal vibration mode shapes and frequencies computed from the component model show better correlation with measured basic longitudinal structural. modes than those obtained using the lumped-mass representation. / M.S.