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My thesis examines how identity was constructed in the late nineteenth and early twentieth century amidst the growing possibilities of the cross-cultural transfer of ideas and products by analysing case studies of women-owned and -operated craft organisations: Limerick Lace and Clare Embroidery (Ireland) and the Deerfield Society of Blue and White Needlework (United States). I contend that the increased accessibility of print culture, travel and tourism, and World’s Fairs enabled the women responsible for these craft organisations to integrate a pastiche of artistic influences – those recognised as international, national, and local – in order to create a specific and distinct style of craft. The Arts and Crafts movement, with its ideas about art, craft, design, and display, provided a supra-national language of social and artistic reform that sought to address the harshness of industrialisation and to elevate the status of craft and design. The national framework of revival movements – the Celtic Revival in Ireland and Colonial Revival in the United States – promoted the notion that Folk and peasant culture was fundamental to each country’s heritage, and its preservation and renewal was essential to fostering and legitimising a strong national identity. I critically access the way these case studies, which were geographically separate yet linked through chronology, gender, and craft, operated within these international and national movements, yet they negotiated these larger ideologies to construct identities that also reflected their local circumstances. My intention is to unite social history with material culture in order to investigate the ways in which the discussion and display of the crafts, and the artistic components of the textiles themselves operated as a vehicle for establishing identity. / Thesis (Master, Art History) -- Queen's University, 2007-09-05 23:54:49.895

Commissioned in 1865 for London’s South Kensington Museum (now the V&A), the Green Dining Room was conceived during an exciting period in Victorian Britain, when idealistic artists and architects elevated the status of the decorative arts in fine art circles, promoted the ideal of joy in labour, and sought beauty in the everyday. The Green Dining Room is considered a quintessential example of an early decorative scheme by Morris, Marshall, Faulkner & Co., a collective of artists who helped to inspire Britain’s Arts and Crafts movement through their products and their principles of art manufacture. It is adjoined by two other refreshment areas: one designed by James Gamble (a salaried employee of the museum) and the other by Edward Poynter (a promising young painter with an affinity for the decorative arts). The three rooms manifest varied, even conflicting, opinions on the cultivation of design. They indicate how different design professionals hoped to see their art progress. However, the rooms were not simply artistic statements. They were also functioning dining areas for the use of guests and employees of the museum. By assessing the aims of the South Kensington administration, the ambitions of the designers who contributed to the museum’s fabric, and the impressions of Victorians who witnessed the results, I will illustrate how the Green Dining Room occupies a unique position in the history of nineteenth-century design reform. / Thesis (Ph.D, Art History) -- Queen's University, 2008-09-07 21:35:05.076

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The purpose of the study was to present the differences between the opinions of prospective teachers and experienced, certified teachers concerning the relationship of the cognitive and affective dimensions to teacher evaluation. Comparisons were made with the total prospective-teacher responses and total established-teacher responses; elementary prospectiveteacher responses and elementary established-teacher responses; secondary prospective-teacher responses and secondary established-teacher responses; male prospective-teacher responses and male established-teacher responses; female prospective-teacher responses and female established-teacher responses; total male responses and total female responses; total prospective-teacher responses and responses of established teachers with three to nine years of experience; total prospective-teacher responses and responses of established teachers with ten or more years of experience.The study was limited to the prospective teachers enrolled in student teaching during the spring quarter, 1971, at Ball State University, Muncie, Indiana. It was further limitedin that only those experienced and certified educators teaching in schools which held membership in the Upper Wabash Valley School Study Council in Indiana were utilized.The population for the study was composed of 187 randomly-selected elementary and secondary student teachers from Ball State University and 200 randomly-selected elementary and secondary established teachers teaching in schools within the Upper Wabash Valley School Study Council.The instrument for the study was developed, based upon the review of literature, the opinions of selected established teachers, as well as the judgments from faculty in the Teachers College, Ball State University. An opinionnaire-questionnaire composed of predominantly cognitive and affective statements was then constructed.Sixteen null hypotheses were developed. Two-by-two contingency tables were constructed to enumerate the "yes"-"no" responses of the two groups to the affective and cognitive statements. Chi square was then applied to test the degree of significance between the responses of the prospective-teacher group and the established-teacher group.The results of the study can be generalized in that similarities do exist between prospective teachers and established teachers in their responses to predominantly cognitive teacher evaluation statements. Again generalized, the similarities do not exist between prospective teachers and established teachers in their responses to predominantly affective teacher evaluation statements.

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No description available.

This thesis presents a new approach for fabricating free standing structures on flexible substrates using the screen printing technique. The research addresses electronic textile applications and is intended to provide a new method for realising sensors and complex structures on fabrics. Conventional smart fabric fabrication methods, such as weaving and knitting, are only able to achieve planar structures with limited functionality. Packaged discrete sensors can also be attached directly to fabrics but this approach is unreliable and unsuitable for mass production. The reported materials and the fabrication processes enable free standing structures to be formed by printing functional layers directly on top of the fabric. This reduces the fabrication complexity and increases wearer comfort and the flexibility of the fabric. This research details an investigation into sacrificial materials suitable for use on fabrics. A plastic crystalline material (Trimetlylolethane (TME)) was identified as an appropriate sacrificial material because it sublimates which reduces the chance of stiction occurring. A screen printable TME paste has been achieved by dissolving TME powder in a solvent mixture of cyclohexanol (CH) and propylene glycol (PG). The TME sacrificial paste can be cured at 85 oC for 5 minutes providing a solid foundation for subsequent printed layers. This sacrificial layer can be removed in 30 minutes at 150 oC leaving no residue. EFV4/4965 UV curable dielectric material was identified as an appropriate structural material for use with TME. The feasibility of the sacrificial and structural materials has been demonstrated by the fabrication of free standing cantilevers and microfluidic pumps on fabrics and flexible plastic films. Printed cantilevers, with capacitive and piezoelectric sensing mechanisms, have been demonstrated as human motion sensors. A printed microfluidic pump with a maximum pumping rate of 68 μL/min at 3 kHz has also been demonstrated. Both the cantilever and micropump have been demonstrated, for the first time, on fabrics and polyimide substrates, respectively.

This dissertation demonstrates that Sarah Orne Jewett’s The Country of the Pointed Firs (1896), Mary Hunter Austin’s The Land of Little Rain (1906), Kate Chopin’s The Awakening (1899), and Mary Wilkins Freemans The Portion of Labor (1903) exemplify the radical politics and aesthetics that late nineteenth-century literary regionalism shares with the Arts and Crafts Movement. Despite considerable feminist critical accomplishments, scholarship on regionalism has yet to relate its rural folkways, feminine aesthetics, and anti-urban stance to similar ideals in the Arts and Crafts Movement. Jewett, Austin, Chopin, and Freeman all depict the challenges of the regional woman artist in order to oppose the uniformity and conventionality of urban modernity. They were not alone in engaging these concerns: they shared these interests with period feminists, sexual radicals, and advocates of the Arts and Crafts Movement like John Ruskin and William Morris, all of whom deeply questioned industrial capitalism and modernization. Jewett, Austin, Chopin, and Freeman envisioned women’s Arts and Crafts communities that appealed to readers through narratives that detailed the potential uniqueness of homemade decorative arts and other aspects of women’s material culture. For Arts and Crafts advocates and regionalists, handcrafted goods made using local folk methods and natural materials fulfilled what they saw as the aesthetic requirements for artistic self-definition: The Country of the Pointed Firs and The Land of Little Rain embrace the destabilizing effect queer and feminist characters have on a presumably heterosexual domestic environment, and they formally resist the narrative structures of industrial modernity, emphasizing the Arts and Crafts ideal union between woman artist, natural environment, and communal bonds. The Awakening and The Portion of Labor expose the suffocating impact of industrial capitalism and sexism on women artists who strive for connection with their local environments and communities and cannot achieve their creative goals. I prove that all four texts do more than simply interpret regionalism through the Arts and Crafts Movement as a means to launch their critiques of industrial modernity, they transform the meaning of regionalist Arts and Crafts aesthetics and politics in late nineteenth-century American literature.

The work submitted for the PhD by Publication is evidence of my investigation into the significance of textiles as an aesthetic experience within a socially engaged form of material practice, some of which involves other people. Social engagement has been an active and deliberate agent in the aesthetic transformation of functional material objects in two of my publications called The Sleeping Bag Project and You Are the Journey. A third publication is a co-edited book called Outside: Activating Cloth to Enhance the Way We Live. A range of essays by artists, curators and writers discloses previously unwritten commentaries on community initiatives that probe a range of empathetic modes of investigation that explore meaningful spaces for participation. I have come to recognise that a proactive attitude towards collaboration is evident in all three publications. It is exemplified by my approach to co-orchestrating the Outside book and by an eagerness to work with others to advance the concept of the transformative power of cloth within the live arena for socially engaged textile practices today. The relations between an aesthetic transformation and socially engaged practice was implicit in Rozsika Parker’s seminal text The Subversive Stitch first published in 1984 providing an analysis of textiles within social history. At the beginning of work on this PhD my relationship with the book was complex and full of tensions. My perceptions of Parker’s work changed as I discovered at the very end of my thesis connections between her work and mine that enable a deeper understanding of the need in my socially engaged textile practice today for the kind of aesthetics she describes historically as arising from social constraint. Consequently The Subversive Stitch has now re-appeared with value as a touchstone for my work in a contemporary context. The thesis then discusses examples of the outcomes of practices by other artists and considers the attention given to visual aesthetics within socially engaged practices. Ideas are developed to suggest how the aesthetic dimension of textiles may enhance principles of communal giving as an innovative strategy stretching beyond the coalition government’s Big Society agenda presented in 2010. Examples from investigations of textiles in museum archives including embroideries created by internees within Second World War prisoner-ofwar camps in the Far East are also examined. The aesthetic dimension of the embroideries carries significance through the vulnerable context in which they were created, as a potent series of statements involving cloth in action. In contemporary Britain, I have shown how such everyday objects as sleeping bags and travel tickets can capture the imagination by creating a connection with participants, when they may not have been consciously seeking an insight separate from the functionality of these objects. Nevertheless, an aesthetic gesture is surreptitiously tucked away. This has created a hybrid form of social engagement that can move fluidly between private and public spaces. The social engagement also involves processes of interaction and exchange with the object in the presentation of an active relationship with the object that is both seen and unseen.