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This dissertation recounts the commemoration of Charles Darwin in Britain from his death in 1882 to his birth centenary in 1909. As a broadly chronological and episodic history, individual memorials are considered in themselves, in relation to others, and in their national and local contexts. In this way, they are shown to have been informed by contemporary scientific and wider cultural developments, previous memorialisations, and – consonant with a more recent historiographical turn to ‘place’ – local imperatives alongside those arising further afield. Consequently, memorialisers and observers are shown to have acted not merely as unreflective publicists or passive consumers, but as interpreters of Darwin’s memory who brought their own concerns to his commemoration. Darwin’s funeral, at Westminster Abbey, was widely accepted as a national endorsement of his social respectability, and, by extension, that of a burgeoning scientific profession which organised it. Further to this first posthumous elevation, and appropriation, of Darwin, subsequent presentations were informed by contemporary literary developments, and particularly the sudden decline in the posthumous reputation of Thomas Carlyle, which reflected changing attitudes to long-established ‘heroic’ tradition. As such, the production, reception and mobilisation of Darwinian biography (primarily his Life and Letters and its subsequent editions and sequels) recognised these recent literary concerns and further contributed to Darwin’s elevation as a personal and scientific exemplar. The ways in which Darwin’s reputation was elaborated and used are recovered at a range of sites of Darwinian significance, most notably Edinburgh, Cambridge, Shrewsbury, Oxford and London. Encompassing metropolitan, provincial, institutional and civic commemoration, accompanying periodical reportage, commentary and memorialisation is also considered. Common to the majority of these productions, Darwin’s theory of natural selection was criticised, contradicted or ignored. Nevertheless, the esteem in which the celebrated naturalist was held was to grow in inverse proportion to the reputation of his famous theory. Against this background, an extended memorial season peaked in the summer of 1909 at the Darwin Celebration at the University of Cambridge. That grandiose occasion echoed and developed themes which were well recorded in preceding commemorations, both ceremonially and in the periodical press. Consequently, man and work were brought into closer relation with a widely-expressed interest in the origins of his apparently exceptional abilities and character. The great naturalist was celebrated as a hereditary, as well as a moral and intellectual, exemplar. This development was supported by the new findings of Mendelian biology and Darwin’s memorial association with advancing eugenic activism. For the first time attending to his early ‘afterlife’ in Britain, this account traces the interaction of Darwin’s commemoration not only with the emerging biological sciences, but also with wider preoccupations concerning secularisation, democratisation and reform across the decades either side of the turn of the twentieth century. Ultimately, Darwin’s early memorialisation can be apprehended as a scientific activity in itself, contributing to professional, disciplinary and theoretical developments in the biological sciences.

The people in my life and my surroundings have always fascinated me. My MFA exhibition “Many Feathers Flock Together: Celebrating T-Bird” consists of a series of large paintings inspired by the relationships of the people at Camp Thunderbird, a camp for adults with intellectual disability. This work draws upon experiences I have shared at Camp Thunderbird, during the summers of 2011 through 2014. The paintings that I have produced for this exhibition are the product of my exploration of the relationships formed with the individuals who have been a big part of my life. The content of the paintings as a whole can be identified as a unifying theme which celebrates the diversity of humanity in a place where individuals, for a short time, come together and live harmoniously.

I am a Latje Latje man born and raised in Mildura. I am a contemporary artist, a dancer and a father. I began dancing with the Latje Latje dance group when I was four. I come from river country. I spent the first six years of my life on the banks of the Murray River. The river runs right through my work. During the course of my Masters, I have been spending time in the north of Victoria, in central Victoria and in South Gippsland by the sea in Boonerwrung country. I a man of the river, but since the birth of my son, I have been developing a relationship with the sea. My relationship to the sea changed when my son moved to the sea. My spiritual connection to the sea has grown the more time I have spent there and the more spiritual knowledge I have gained of my ancestral country of the Boonerwrung. Within this research project, I explore the question: How can art-making generate a process of recovery, healing and celebration? In my Masters I have developed two series of paintings, one from the river and one from the sea. The first group of paintings were shown in a nine-month solo exhibition, 'City Style - Country Youth' at Bunjilaka, the Aboriginal Section of the Melbourne Museum. The second group were shown at another solo exhibition called 'Mungo Stories' held at the Australia Dreaming Art gallery in Fitzroy, Melbourne. Artefacts My Master of Arts includes the following artefacts: • An Exhibition of Paintings selected from the 63 artworks I have undertaken during the course of my Masters • An Exegesis in which I tell the story of my paintings and my research and in which I give an overview of the paintings I have done during my research degree • A Digital Story which combines didgeridoo music with a selection of my images • Two Audio Tracks, 'Paintings Talk' and 'Grinding the Ochre' • A Short Film in which I describe my experience as a contemporary Indigenous artist.

Can Landscape be created like a caricature? How can the key characteristics of a site be celebrated in different ways through design? Can potential design possibilities be generated through celebrating the key characteristics of a site's contexts? My research started with the idea of 'Identity', as the existing Central Plaza copies the physical form of an adjacent park (People's Park) in a simplistic way without considering its own unique key contexts, and I think every location and context is different. Careful consideration of both physical and cultural contexts is what a landscape architect undertakes as an essential part of developing a design, however, how can a stronger or more interesting idea be created for a specific site? One day, the idea of CARICATURE suddenly occurred to me when I was having a shower. What I find inspirational about caricature is the aspect of 'Celebration' which it encourages. Just as a site has unique characteristics and each of them can be celebrated differently, each caricature celebrates the particular physical and emotional characteristics of a single, unique original identity. Each successful caricature can be related clearly to the key characteristics of its own identity, so you can still recognize the person and you are encouraged to have fun as well in that game of recognition. By 'Celebration' I mean the carefully chosen, positive exaggeration, intensification and emphasis of key characteristics which reveal how good, how important, or how unique the site is. 'Celebration' is an act of revealing and sharing the positive potential qualities of a site. In terms of landscape design, what I sought to do is to reinforce the key qualities of my site through design or designs which would emphasize. If landscape is thought about and designed like caricatures are created, interesting or potential possibilities could be generated for design responses. Before celebrating, it is necessary to make sure that the site contexts have been fully analyzed and understood. After that, we can celebrate particular qualities through design. I have produced three different designs based on the conceptual idea of 'caricature'. They are called Topopark, Occupark and Tocopark. Topopark started from a focus on one of the physical context of the site - that is, its topography. It celebrates the topographic context as well as the relationship of the activities between and beneath Central Plaza and People's Park. Occupark focuses on the celebration of the various types of occupation activities which take place. Tocopark started around the possibility of generating the plaza's organisation from the organization of circulation systems and combines to celebrate both topography and active occupation. Although Tocopark is more intensive than Topopark and Occupark in terms of the idea of celebration, all three have different strengthens and weaknesses. Like the example of the caricatures of Ronaldinho, the same identity is celebrated in different ways, but you still can recognize him in each one and enjoy them equally as well, because all of them relate to t he key characteristics of his appearance and personality.

The identity of the Caribbean as a territory is a veritable bricolage of cultural forms. Since Columbus’ mistaken arrival in the West Indies, these islands have become home to Spanish, French, Dutch, British, African, Indian and Chinese immigrants, alongside its Aboriginal inhabitants. Despite the massive diversity that can be seen in these islands, there exists one common cultural expression that has persisted for the past 200 years throughout the Caribbean and Latin America. This celebration is Carnival. Trinidad is the southernmost island in the archipelago that composes the Caribbean. Carnival is celebrated in many of Trinidad’s towns, the biggest celebration being held in its capital city, Port-of-Spain. This research thesis looks at Carnival in Port-of-Spain as a complex urban entity that ritualistically re-energises and reclaims the city’s streets. Through ecstatic celebration, the festival engenders a strong sense of communitas and collective identity, annually reinventing itself and occupying a liminal space between the Ordinary city of day-to-day living and the Extraordinary city of mythological complexity. As the festival moves through the city along its annual Parade Route, it creates an urban narrative which exists invisibly during the year in the city’s collective memory. Through a combination of descriptive text, scholarly research and experiential mapping, A City with Two Faces outlines the transformative qualities of Carnival in the streets of Port-of-Spain from its largest temporary urban forms to its smallest manifestations in syncretic masquerade archetypes.

The identity of the Caribbean as a territory is a veritable bricolage of cultural forms. Since Columbus’ mistaken arrival in the West Indies, these islands have become home to Spanish, French, Dutch, British, African, Indian and Chinese immigrants, alongside its Aboriginal inhabitants. Despite the massive diversity that can be seen in these islands, there exists one common cultural expression that has persisted for the past 200 years throughout the Caribbean and Latin America. This celebration is Carnival. Trinidad is the southernmost island in the archipelago that composes the Caribbean. Carnival is celebrated in many of Trinidad’s towns, the biggest celebration being held in its capital city, Port-of-Spain. This research thesis looks at Carnival in Port-of-Spain as a complex urban entity that ritualistically re-energises and reclaims the city’s streets. Through ecstatic celebration, the festival engenders a strong sense of communitas and collective identity, annually reinventing itself and occupying a liminal space between the Ordinary city of day-to-day living and the Extraordinary city of mythological complexity. As the festival moves through the city along its annual Parade Route, it creates an urban narrative which exists invisibly during the year in the city’s collective memory. Through a combination of descriptive text, scholarly research and experiential mapping, A City with Two Faces outlines the transformative qualities of Carnival in the streets of Port-of-Spain from its largest temporary urban forms to its smallest manifestations in syncretic masquerade archetypes.

Thesis (M.R.P.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 136-143).

Magistro darbas “ Miesto šventinė įranga ir apipavidalinimas“ apima kelis objektus. Tai kompleksinio projektavimo darbas, kuriame labai svarbus ansambliškumas, bei harmoninga visuma. Kuriant šventinę įrangą buvo remiamasi bioninėmis formomis. Improvizuotos gyvosios gamtos formos įgalina sukurti neįprastus objektus, turinčius savitą stilistiką, tektoniką, ritmiką ir charakterį. Būtent iš gamtos nesenkančio šaltinio galima semtis naujų idėjų funkciniu ir estetiniu atžvilgiais. Lengvos konstrukcijos ir dinamiškos formos organiškai integruojasi į natūralią aplinką. Įranga yra sezoninis, todėl pasirinkta surenkamų konstrukcijų idėja. Tokiu būdu yra sukuriama sezoniška pramogų ir poilsio erdvė. Be struktūrinės konstrukcinės sandaros neįmanoma įsivaizduoti net elementariausio architektūros objekto. Šiuolaikinėje architektūroje struktūriškumas yra vie¬nas plastinės išraiškos elementų. (Mogilnickas I. (1995). Techninės estetikos pradmenys. Vilnius) Surenkamos metalo konstrukcijos ir šiuolaikinė tekstilinė architektūra sukuria lengvumo įspūdį ir suteikia įrangai išskirtinį charakterį. Viena iš įvaizdžio formavimo proceso sudėtinių dalių yra sėkmingas miesto reprezentavimas. Spaudiniai pagal visuomeninius kriterijus, informatyvumą, funkcionalumą lemiančius veiksnius, turi atspindėti vartotojo, interesanto interesus. Projektuojami plakatai ir visi kiti spaudiniai įgavo reprezentacinę – estetinę, negu reprezentacinę – informacinę prasmę, nes dėmesys daugiau... [toliau žr. visą tekstą] / This is a work of complex design where a sense of ensemble and harmony is very important. While creating the parts of the complex, unfailing resources of bionic forms were the base for it. Improvised forms of animate nature enable to create unusual objects which have specific stylistics, tectonics, rhythmic and character. Exactly nature is the unfailing source of new ideas according to both functional and aesthetic points of view. Light constructions and dynamic bionic forms integrate the celebration facilities into a natural environment organically. The celebration facilities are a seasonal one; that is why an idea of portable constructions was chosen. Thanks to this a seasonal space for entertainment and recreation is formed. Even an elementary object of architecture cannot be imagined without a structural constructional framework. In modern architecture, structure is one of the elements of plastic expression (Mogilnickas (1995) Techninės estetikos pradmenys / Basics of Technical Aesthetics [in Lithuanian]). Portable metal constructions and modern textile architecture form an impression of lightness and provide the construction with an exceptional character. One of image presentation parts, is successful town‘s representation. Prints must represent users interests by information, function. Prints become representative – aesthetic, but not representative – informative, because attention is more concentrated on unity of form and aesthetic symbols search, which... [to full text]

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1992. / Includes abstract and vita. Includes bibliographical references (leaves 176-181).