Thesis--Bonn, 1973. / Vita. Includes bibliographical references (p. 409-439).

Enlarged version of Adelmann's thesis, Tübingen, issued under title: Der Einfluss der gotischen Formanschauung auf die Stellungs- und Bewegungsmotive des Manierismus.

Thesis (M.A.)--University of Missouri-Columbia, 2005. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 13, 2006) Includes bibliographical references.

Thesis--Münster. / Vita. At head of title: Kunstgeschichte. "Katalog in Westfalen erhaltener oder aus Westfalen stammender gotischer Goldschmiedearbeiten nach heutigen Aufbewahrungsorten (mit Nachträgen)": p. 419-495. Includes bibliographical references (p. 496-515).

The aim of this paper is to examine Horace Walpole's contribution to the reawakening taste for Gothic in the eighteenth century and to relate his curiously ephemeral art forms to the broad historical development of the Gothic. No attempt has been made, except in an incidental way, to treat the initial flourishing of Gothic architecture; that the reader has at least a passing acquaintance with the architecture of the Middle Ages is assumed. Instead, the emphasis has been placed upon the Gothic survival of the sixteenth and seventeenth centuries; as Gothic architecture was virtually eclipsed during this period, many readers may feel that this emphasis is unwarranted. However, some study of the Gothic architecture in these two centuries is necessary in order to understand how and why the Gothic took the turn it did in the eighteenth century. Chapter one is a collection of evidence to show that, despite opinion otherwise, Gothic architecture did survive as a potent force. Chapter two then proceeds to discuss Walpole's creation of Strawberry Hill and to show how the attitudes and skills of previous generations helped to mould its form. The conclusion reached is that Strawberry Hill, while Gothic in design, lacked most of the medieval Gothic spirit; that Walpole was in fact using the Gothic for a new purpose. Chapter three is again a collection of evidence, this time a survey of the prevailing trends in "Gothic" literature before Walpole. In a sense, chapter four is the culmination of this discussion of the Gothic, since here the attempt is made to show how Walpole's Gothic novel, The Castle of Otranto, was at once clearly in the earlier traditions of a classical interpretation of Gothic, and also a forerunner of an entirely new conception of Gothic. Walpole's influence upon later writers and his indebtedness to neo-Gothicizers is made clear by juxtaposing Walpole against the later school of Gothic novelists. To avoid a repetitious summary, some attempt has been made to characterize the essential differences existing between Walpole's Gothic and that of medieval artists by linking Walpole's creations with the rococo. An equation of eighteenth century Gothic with the rococo is of course foolish, and this was never contemplated; rather, the hope was to show that much of the spirit which stimulated Walpole's artistry is also endemic to the rococo. The eighteenth century Gothic, in particular Walpole's contribution, was actually a Gothic-rococo. / Arts, Faculty of / English, Department of / Graduate

Thesis (doctoral)--Technische Universität Berlin, 2005. / Includes bibliographical references (p. 290-318) and index.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 127-134). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 127-134). Also available on the Internet.

This dissertation contends with the diverse corpus of Gothic ivory grooming implements carved in France in the thirteenth and fourteenth centuries. Employing feminist, queer, posthumanist, and ecocritical methodologies, it explores these objects as tools in gender and identity formation. Attending to the complexity of medieval attitudes to grooming and women and to the polysemy of these objects’ iconographies, this dissertation argues for the inherent ambiguity of the bodies that constitute and were constituted by these tools. It participates in a broader project of revealing the inherent ambiguity of medieval gender and its deep enmeshment with the nonhuman animal world by presenting ivory beauty implements as nexuses of excess and resistance to feminine ideals. Calling attention to the body of the elephant as the source of the grooming tools’ materiality, its analysis demonstrates how the subjugation of the nonhuman animal reverberates through objects created to give order to human animal bodies, in particular the bestial female body. The material, iconographical, functional, and textual strands wound together in ivory grooming tools reveal the women of flesh and ivory to be far more multilayered and subversive, resourceful and complex, than scholarship has hitherto recognized. At once tools of subjugation and instruments to assert agency, in the hands of their users, ivory grooming tools become sites of identity expression and self-transformation.