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The aim of this essay is to focus on and analyse the romantic aspects of De Stijl theory. It is argued that these romantic aspects have received less detailed analysis than the classicising tendencies within this movement’s underlying theory. The terms ‘classic’ and ‘romantic’, as used within the context of De Stijl theory, will be clarified for the purposes of this analysis. The article focuses on De Stijl theory, as reflected in the writings of the founding members of the movement, with specific reference to artist Piet Mondrian. Examples of De Stijl art and design are mentioned in order to contextualise certain ideas as formulated by Mondrian in particular, but this article does not focus on a discussion of the artworks themselves. Careful analysis of (as argued here) neglected aspects of De Stijl thought, makes a broader, more inclusive contextual interpretation of De Stijl art and design possible. Whilst acknowledging the existence of Western romantic thought and its influence on early twentieth-century abstract painting, this article focuses on a more specifically Eastern romantic notion of monism and antimaterialism as the basis for the formulation of De Stijl abstraction.

Obsidian source attribution has become an important tool in examining many aspects of prehistoric lifeways including exchange, identity, social and economic boundaries, and many others. This thesis provides a comprehensive look at obsidian spatial distributions in the Tucson Basin Hohokam Pre-Classic period, ca. A.D. 750-1150. By examining currently available data and providing new data from three sites in the northern Tucson Basin conclusions about trends in spatial and temporal use of obsidian are made. Obsidian procurement and spatial distribution in the Tucson Basin appears to be distinct from neighboring regions and continuity with later Classic period, ca. A.D. 1150-1450 obsidian use is likely. There appears to be a clear preference for western obsidian sources in the northern Tucson basin, while the southern basin may have a slight preference for materials to the east. The limited obsidian data for the Colonial period, ca. A.D. 750-950 suggests that its distribution was controlled by similar processes to those observed in the Sedentary period, ca. A.D. 950-1150. This research further suggests that strong avenues are open for future research.

University Indian Ruin (UIR), which sits in the eastern Tucson Basin, is a prime example of a Classic Period Hohokam platform mound archaeological site. The University of Arizona owns 13 acres of this site, and it is listed on the National Register of Historic Places using this acreage as its site boundary. However, multiple investigations have shown that the site is not fully contained within that boundary. This work seeks to answers to two questions about the UIR site. The first is to further investigate to duration of occupation at UIR, beyond the Classic Period. The second is to systematically investigate the extent of UIR into the surrounding residential community. Results include a new, proposed boundary for management by Pima County and the State of Arizona. How archaeologists define a site boundary is also investigated.

The history of Han ethnic in Pescadores could be traced further than that in Taiwan. Pass through hundred years of four dynasties (Song, Yuan, Ming, Ching) till nowadays, cross between turbulent Taiwan Strait with Taiwan and China on both end, there are numerous stories occurred in Pescadores which has become the fundamental elements to formulate Pescadores¡¦ classic poetry. Ocean described in both natural and anthropologic rhetoric, records of disasters, descriptions of eight famous scenery spots and indigenous customs and resources of Pescadores, all these narrations constitute the divers and various Pescadores. The argument that Pescadores¡¦ classic poetry is the original of Taiwan classic poetry, as well as the original of Taiwan marine literature, verify doubtless position of Pescadores¡¦ classic poetry in Taiwan literature history. ¡@¡@The establishment of ¡§Wen-Shih tutor school¡¨ motivated Pescadores¡¦ civil sophist to study more diligently. As the result, adopting Han poetic structure to describe Pescadores had been no longer the privilege of rotating-bureaucrats and scholar-gentry. During Japanese colony era, not only former civil-literati of Ching dynasty instructed descendants to compose Han poetry actively, they also regarded Han poetry as the spiritual fortress to defend Chinese culture. Since then, poets from Pescadores were invited to Taiwan one after another to instruct sinology and influenced Han poetry development in certain Taiwan areas consequently. Even though New Taiwanese Literature bloomed after World War II, Pescadores¡¦ poets devoted themselves to classic poetry more enthusiastic in order to construct Pescadores¡¦ subjectivity from localized vision. From legends, historic scenes, scenery spots, local commodity, leisure time, custom activities, culture heritage to religion beliefs, the pure beauty could be easily found in Pescadores¡¦ classic poems, in the unsophisticated but sincere phrases and words. ¡@¡@This dissertation is composed of three sections. The first section focuses on background elaboration including geographic location, cultivating history and human activities in order to comprehend fundamental contents of Pescadores¡¦ classic poetry. The second section focuses on composers¡¦ compilation which reviews the most significant Pescadores¡¦ classic poems during various eras (from Ming, Ching dynasties, Japanese colonization, post WWII age till nowadays) with biographical style historiography to understand chronographic evaluation and construct the development history of Pescadores¡¦ classic poetry. The third section focuses on thematic methodology with human science viewpoints from geographic, historical, sociologic and esthetic aspects to explore subjects interpreted in Pescadores¡¦ classic poetry. This dissertation therefore provides following academic results for reference: 1.Construct a more comprehensive development history as well as a more distinct contexture of Pescadores¡¦ classic poetry. 2.Manifest Pescadores¡¦ classic poems with literature viewpoints to conclude corresponding meaningfulness during different eras in Pescadores¡¦ classic poetry development history. 3.File out Pescadores¡¦ poets of classic poetry in each era on literature ground to exhibit integrated interface for advanced research. 4.Present Pescadores¡¦ characteristics through interpreting various themes in Pescadores¡¦ classic poetry. 5.Verify the meaning and position of Pescadores¡¦ regional classic poetry to visualize so-called ¡§at liberty of being marginalized¡¨.

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This thesis analyzes the process of abandonment of the El Diablo group located in the site of El Zotz in Petén, Guatemala. I use the study of the process of abandonment applied often by anthropologists and archaeologists as a model to understand how societies abandon cities, towns and small villages. In this thesis, I begin by trying to understand the history of the group. Based on data collected during three seasons of the El Zotz Archaeological Project, I established that the El Diablo group was a Civic-Ceremonial compound, which was started during the beginning of the Early Classic period (250 to 450 AD). After two hundred years of success the civic and ceremonial compound of El Diablo was abandoned. In my research, I conclude that abandonment of the group occurred approximately at the end of the Early Classic period (400 to 450 AD) and that this process was a planned decision made by the elite of El Zotz. / text

Thesis (M.S.) -- Central Connecticut State University, 1999. / Thesis advisor: Susan Vial. [In partial fulfillment of the requirements for the degree of Master of Science for the Department of Art.]

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In the past, Classic Maya dance has been defined by the proposed correlation between sculptures that feature a figure with a raised-heel and the T516 hieroglyph. The interpretation of the T516 hieroglyph as dance depends on its association to the raisedheel. However, there is reason to doubt the proposed correlation as there are spatial and temporal divisions between the two features as well as a lack of material evidence to suitably substantiate their relationship. More importantly the available material documenting the raised-heel motif in Classic Maya sculpture is suggestive of alternative interpretations to dance, warranting a reexamination of the raised-heel. This article attempts to study the raised-heel motif in sculpture during the Late Classic in order to show commonalities in changes in its associations both spatially and temporally while providing evidence for a liminal interpretation. This Thesis sheds light not only on the interpretation of the raised-heel through archeological remains and context, but also on ideas which would have been central to the Late Classic Maya world view.