Mount Hood's Timberline Lodge built in 1936 and 1937 is the realization of the collective goals of the influential Portland businessmen of the Mount Hood Recreational Association, the United States Department of Agriculture Forest Service, and the Works Progress Administration. The resolution of the sometimes conflicting needs and aspirations of these organizations contributed to the selection of the talented architectural team responsible for the design of the lodge. The consulting architect Gilbert Stanley Underwood participated in the initial development of the Timberline Lodge project, and offered his counsel during the development of the project. As the previously unknown documentation of their background reveals, the Forest Service architects, William Irving Turner, Linn Argyle Forrest, Howard Lester Gifford, and Dean Roland Edson Wright, were men well qualified to carry out the project. The final design of Timberline Lodge is the result of their collaboration.

Theoreticians of the problem of the other have overlooked a crucial distinction between two competing modes of alterity: The Other, a classic strategy of metaphorical, externalized singularity, and The Double, a modern strategy of metonymical, internalized multiplicity. The discovery of these two modes of alterity untangles many of the difficulties encountered in attempting to reconcile the theories of writers frequently seen as inimical to one another, including Jacques Lacan, Jacques Derrida, Emmanuel Levinas, Sigmund Freud, Julia Kristeva, Luce Irigaray, Edward Said, and Tzvetan Todorov. These two strategic modes enable women and men, artists and writers, to create "constellations of desire"--traditional and non-traditional "imaginary" psychological outlines constructed from the fixed points or reference in our lives--to deal with loss and alterity. While this paradigm can be profitably applied to many eras of loss, one particularly enlightening local instantiation of the problem occurs in the Victorian era, specifically in the life and works of Dante Gabriel Rossetti and Christina Georgina Rossetti. The Rossettis rall under the sign of Gemini in the Victorian constellations of desire: brother and sister poets, standing in the same place, they yet face in opposite directions and follow reversed trajectories with reference to their fixed stars or family, faith, and the female. The strategies of The Double and The Other occur repeatedly throughout their lives, in their interactions with their father and their siblings, where questions of voice and textual incest become prominent; in their problematical relationships to ascEtic, aesthetic, and erotic forms of faith; and in their relationship to the female--mother, fallen woman, and beloved epipsyche--both as lived experience and as envisioned/revisioned object of the gaze. Particular eruptions materialize in poems and paintings such as Dante Gabriel's "Jenny," "Blessed Damozel," "Proserpine," "Ecce Ancilla Domini!," "Sister Helen," "Ave," "Hand and Soul," "A Last Confession"; and Christina's "Goblin Market," "A Royal Princess," Sing-Song, "Maggie A Lady," "Maude Clare," and "Monna Innominata," as well as her drawings. The picture that emerges allows Christina the strength as well as the anguish of her faith, making her a more complex and interesting writer than previously acknowledged, while it recuperates Dante Gabriel's reputation from accusations of chauvinism and obscurantism.

This dissertation defends state support of the arts as an educational public good. It begins with a critique of the traditional justification for subsidy, the appeal to cultural perfection. By challenging the perfectionist position from two distinct perspectives--political and aesthetic--this critique reveals the potential value of constructing a plausible, nonperfectionist alternative. The dissertation then works to develop such an alternative by appealing to the instrumental potential of art as an educational public good. Unlike the perfectionist approach based on the intrinsic value of art, this justification is founded on a general commitment to democratic self-rule. After defending a particular account of this commitment and its implications for educational policy, the dissertation works to show how art can serve as a valuable component in an overall scheme of democratic education. The positive argument for art's democratic value consists of three distinct elements. The first draws on Aristotle, Kant, and Hannah Arendt in explicating several structural similarities that exist between aesthetic and political judgments. The second element describes how interpretation is essential to both engaging art and participating in politics. Taken together, these first two elements of the argument describe how art and politics both engage--and thus practice--many of the same skills and abilities. The third element of the argument explores the potential political value (and political risks) of the state's encouraging citizens to engage a diversity of cultural expressions. The dissertation concludes by describing several policy implications of the democratically-based justification of subsidy (e.g., increased local control over subsidy decisions), and by evaluating the justification in light of the best arguments against subsidy. These include a libertarian argument from self-ownership, Joel Feinberg's argument based on the Benefit Principle, an objection from moral offense, and several objections from state neutrality.

<p> Abstract not available.</p>

No description available.

<p> The Lincoln Memorial Monument is one of the most successful monuments in Washington D.C. Abraham Lincoln's achievements in his presidency left imprints on every American's life. His memory lives on through the generations. The monument was originally considered a Union Civil War and Presidential memorial, but has evolved into something more. This thesis will analyze the evolution on this monument. This memorial has adapted to a shifting nature of its meaning to different generations throughout the history of the United States. This nature is attributed to its location, the Civil Rights Movement, the Civil War, and the personal character of Abraham Lincoln. </p><p> A major aspect of success comes from the location and iconography of the site. The statue alone inspires a spiritual connection to the struggles of Lincoln. The memorial was placed on the direct axis of the National Mall. This is considered a location of great honor and is easily accessible to visitors. The site and design also allows a massive amount of people to gather and participate in events on the grounds of the monument. A visit to the Lincoln Memorial is a remarkable journey though American history and the extraordinary memorials and monuments of the National Mall. </p><p> Another crucial aspect to the success of this monument in Washington D.C. is the struggle for civil rights. The Civil Rights Movement was able to use the monument as a stage for protest. The movement could then use the Lincoln Memorial and the character of Lincoln as part of its iconography. This fundamentally changed the meaning of the Lincoln Memorial Monument. This allowed a major shift in the meaning of the movement, allowing the monument to grow within another generation of Americans. </p><p> The personal life and views of Lincoln led to many of his successes and accomplishments throughout his political career. His experiences in life impacted many of his policies and the laws that he stood for in the United States. Lincoln's character proved to be inspirational in a time of need and slavery. His political stances paved the way for sociopolitical changes in the United States. His character is a crucial aspect in understanding the need to honor such a great man. The circumstances of Lincoln's death have also made him into a martyr for abolition. The assassination created a legacy in the history of the United States. </p><p> Events of the Civil War and its time period also played a crucial matter in the Lincoln memorial's success. The American Civil War and the division of the United States of America proved to be an altering time in American history. Many Southern politicians fought for the right to maintain individual states' rights. These rights mainly pertained to slavery. As the conflict over slavery continued, a total of eleven states seceded from the Union to create the Confederate States of America. The Civil War lasted four years with hundreds of thousands of deaths. In the end, the Union triumphed and the United States remained one nation.</p>

<p> During the 1950s <b>Katharine Prentis Murphy</b> (1882-1967) used authentic colonial era furnishings to create a series of complex, multi-layered museum and historic house installations that highlighted the aesthetic qualities of American antiques and placed her at the forefront of the post World War II Colonial Revival movement. Murphy placed objects from the 1750s into highly patterned and brightly colored room settings, which was an unorthodox design strategy for the time but one that incorporated popular trends and tastes of the 1950s. Her post war room settings appealed to consumers who were not ready to give up traditional furniture, or the conventional values and virtues associated with it, but who also wanted modern comfort and up-to-date styling. Murphy's displays revealed her own point of view as a designer and demonstrated how the resilient Colonial Revival movement evolved and expanded in the context of 1950s modernism.</p>

<p> This thesis explores Gregory Ain's planned housing communities spanning the period 1939-1948, connecting their conception to the theoretical legacy of Modernism that began with the <i>Congr&egrave;s Internationaux d'Architecture Moderne</i> (CIAM) in Europe a decade earlier. Expanding on existing scholarship, this thesis attempts to contextualize Ain's One Family Defense House Project (1939), Park Planned Homes (1945-47), and Mar Vista Tract (1946-48) within the social, political, and economic context of the interwar and postwar period. Although the latter two projects are more well-known, I attempt to expand the understanding of their design through new and lesser-known examples by Ain in the area of tract housing and contemporaneous housing examples. These include his manifesto for a project entitled Preliminary Proposal 'A' for a low-cost community housing development in Southgate, California and the U.S. government's Basic Minimum House (1936). The three projects discussed in this thesis expand the context within which one views the typical tract house, but also the avant-garde approach to Modernism during this era and the years that followed.</p>

<p> Because of the lack of provenance or accompanying text, the depictions of anthropomorphized animals on ancient Egyptian New Kingdom ostraca and papyri have long puzzled Egyptologists. Attempts to understand the ostraca usually focus on the role reversals where predatory animals serve their natural prey, which is evident in some of the motifs. Some scholars have suggested that these images are satirical and served as an outlet for mocking elite society. However, their social and cultural context, which has not been thoroughly explored until this dissertation, shows that it is unlikely that the images were considered to be negatively charged social satire. Rather, it is more likely that they were envisioned as humorous parodies of primarily elite imagery that were produced by individuals who considered themselves to be elite as well. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri: Their Artistic and Social Significance" is also the first time the vignettes are given a full art historical treatment in which the formal qualities of the drawings are studied and evaluated. As a result, this dissertation addresses the aesthetic value of these drawings in ancient Egypt, which will be of interest to the discipline of art history on more general terms as well. Another section of this dissertation discusses the narrative potential of the papyri and ostraca on which these anthropomorphized images are drawn. Though the narrative qualities of these images have been discussed before, this dissertation addresses the broader concerns of visual narrative construction in ancient Egyptian art, which has thus far been given little scholarly attention. The figured ostraca and papyri on which these anthropomorphized animals are drawn show that visual narrative construction in ancient Egypt is not necessarily linear and sequential, but can also embody fluid, and more open-ended narrative constructions that is evident in not only the decorative programs of elite tombs, but in written ancient Egyptian literature as well.</p>

This creative project resulted in five metal handbags, each based on a specific period from art history: Egyptian, Classical, Art Nouveau, Art Deco and Memphis. These styles range from early human history to contemporary times and possess very explicit and identifiable motifs. They maintain links to each other and impact design to this day.The project culminates in an exhibit. A brief description of the relevant era is printed on attached tags to generate mini art history lessons. People who see or use the handbags will gain exposure to art history they may not otherwise seek out, potentially piquing their curiosity. The aim is to sell all five handbags so they may demonstrate that art history is a vital part of human history because it continues to inform and inspire a spectrum of endeavors from advertising and fashion to engineering and design. / Department of Art