Diss.--Lund.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references (leaves 34-37).

Research paper (M.E.)--Oregon State College, 1948. / Typescript. Includes bibliographical references (leaves 43-46). Also available online.

Thesis (Ph. D.)--Columbia University, 1941. / Thesis note on label mounted on t.p. Vita on label mounted on p. [136]. Bibliography: p. 131-[136].

Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town,1989 / In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft.

No description available.

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

There is no abstract available for this thesis.

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.

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.