<p> Shirai Seiichi&rsquo;s education in the context of the interwar events influenced his path and molded him into a defender of idealism. Starting from the early evolution of his ideas, Shirai&rsquo;s significant concepts are outlined to show how they stood apart from and challenged the Japanese modernist debates over the architectural responses to war and industrialization. Examples of Shirai&rsquo;s early work along with surrounding historical events show how Shirai&rsquo;s perceptions of the use of space and its manifestation in architecture, based on Kantian ideas of a priori creation, contradicted orthodox modernist architectural theory and practice. Shirai&rsquo;s evolving theories and their impact on his design are introduced through his early training and related projects. However, it is his unrealized plan for the Genbakud? that is analyzed as primary evidence for the idea that Shirai was the only mid-twentieth century Japanese architect who could effectively express the sad destiny of the nuclear age. Last, specific examples of Shirai&rsquo;s mid to late career work to demonstrate how his conceptual framework evolved. Interviews, commentary, and theoretical analyses of his works show his unique trajectory and role in contrast to his modernist colleagues, and provide insight into Shirai&rsquo;s investigation into the universality and potential of the human spirit (fuhen no anima). Finally, recent discussion about constructing the Genbakud? based on Shirai&rsquo;s blueprints raise the idea that Shirai&rsquo;s early ideals are now ready to be presented in the post-modernist age.</p>

<p>This thesis claims that between 1928 and 1934, technological developments, along with cultural shifts in the acceptance of machines in American society, led the studio away from the abstract style of their silent films toward the naturalism that would work to create the illusion of the fantasy worlds of Disney?s full-length feature films.

<p> All women, including Christian women, are susceptible to the diet industry&rsquo;s selling of thin bodies as a commodity and media portrayals of thin women as desirable and successful. Overall, diet books are the most popular category of nonfiction, worth over $1.2&nbsp;billion annually as of 2005. Evangelical Christian women believe they are obeying God&rsquo;s will when they follow a Christian diet, but in reality they are subscribing to and perpetuating the prevailing American culture of thinness. The popularity of Christian diet books began in post-World War II America and continues today. They propose to solve the problem of women&rsquo;s dissatisfaction with their bodies by offering diets based on Biblical teachings and Christian beliefs. This paper examines five Christian diet books published between 1957 and 2013: <i> Pray Your Weight Away; First Place; The Weigh Down Diet; What Would Jesus Eat? The Ultimate Program for Eating Well, Feeling Great, and Living Longer; </i> and <i>The Daniel Plan: 40 Days to a Healthier Life.</i> As long as the culture of thinness is an integral part of American society, there will be a market for diet books, and among evangelical Christian women for Christian diet books. This phenomenon is pernicious because it damages women&rsquo;s self-assurance and alters their beliefs about the way they appear to the world.</p>

<p> Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot&rsquo;s paintings and applied feminist theory, including third-wave feminism (post-1960&rsquo;s). My research was angled to approach and understand Morisot&rsquo;s artwork as a contemporary woman would at an exhibition.</p>

A member of America's established cultural elite, John Cotton Dana (1856-1929) aimed to wrest cultural and economic authority from the nouveau riche through his role as the first director of the Newark Museum. In his favorite exhibition, "New Jersey Textiles," he encouraged local immigrant laborers to improve the design of goods that he simultaneously prompted middle-class women to purchase. He imagined that, as a result, Newark's manufacturing sector would blossom without nouveau-riche involvement; the region would soon rival its new-money neighbor, New York City. Under Dana's supervision, Jarvis Hunt (1859-1941) designed the 1926 Newark Museum building, employing the conventions of contemporary office architecture (predating a similar strategy at the Museum of Modern Art) to articulate this vision. The Metropolitan Museum of Art designed a series of exhibitions indebted to Dana's ideas. Ironically, the Metropolitan has received credit for innovations that Dana had designed to challenge New York's preeminence.

The ten rectangular red clay tiles which comprise the collection known as the "Tring Tiles" depict stories from the apocryphal Infancy of Christ Gospels and are dated to before the second century. The eight tiles held at the British Museum and the two tiles and fragments at the Victoria and Albert Museum are believed to be the remains of a longer series which were mounted as a wall frieze in Tring Parish Church. The images on the tiles portray Jesus, from ages three to eight, performing miracles of killing and revival, trickery, and acts of charity. The final tile depicts a wedding feast similar to the feast at Cana. Explanation for the placement of these tiles, produced with a rare technique and containing unusual portrayals of Jesus, in a parish church, is dependent upon the examination and interpretation of religious and social perspectives in early fourteenth-century England.

No description available.

No description available.

No description available.

No description available.