This thesis documents and highlights - within the context of other exclusionary practices - some of the spatial and architectural strategies deployed by the government and the privileged classes to exclude and evict homeless citizens from the spaces of the city. Although various spatial scales are incorporated into the argument - from the national to the municipal - this investigation focuses primarily on the Capital Region of British Columbia and the City of Victoria, where much of the statistical and empirical research has been gleaned. Through the implementation of regressive legislation, oppressive urban planning, and exclusionary architectural design, the visible and abject homeless body is systematically concealed, wrongfully prohibited, or violently evicted from private and public space. Indeed, not only are homeless citizens denied a fundamental right to a private space of secure, adequate, and affordable housing, they are also denied fundamental political and physical rights to the public spaces of the city.

This thesis provides critical analysis and interpretation of meaning and context for a set of graphic satirical prints created in early eighteenth-century London by Egbert van Heemskerck Ill (c.I670s-1744). Public discourse occurring in the early eighteenth century around contemporary societal issues of class included debate of the definition of both an English theory of art and the idea of the connoisseur. One of the results of these debates was a noticeable decline in the London art market for Dutch genre painting, which had a significant effect on native and foreign artists working in England during this period. Through the process of developing a methodology for a visual analysis and interpretation of the prints within the context of these contemporary issues, this thesis will contribute to emerging perspectives in the methodology of print scholarship. It will identify why the study of a relatively unknown artist of cross-cultural heritage such as Heemskerck III is important in terms of these; it will provide an overview of some of the art theoretical ideas being discussed; it will document known information about Heemskerck III, and finally, through the actual process of a visual analysis of the prints, it will suggest how, through the depiction of considered comment on important societal tensions, these works are reflective of a contemporary artist's negotiation of the changing demands of the early eighteenth-century London art market.

David Milne's extensive writings about visual art - focused largely on his subjects and practice - present. when translated into philosophical language, a coherent epistemology. The major themes in Milne's thought include the character of, and relationships between, abstract form and content, and an overwhelming desire for wholeness, unity, and sincerity in art. An exegesis of his two central ideas, intransitive love and aesthetic emotion, suggests that Milne is describing a particular state of nonjudgmental attention as a route to apprehension of truth, placing it within a continuous and growing body of philosophy that challenges Western society's epistemological orthodoxy. I accept that the mode of thought George Grant calls "Technology" - a term inherited from Heidegger - is the default mode for Western thought, and contrast it with Milne's epistemology to indicate ethical and environmental ramifications an epistemology of art could bring to bear on Grant's analysis of the ontology of Technology.

The timely communication and access to a complete history of lab results is at the heart of patient diagnosis, monitoring, and treatment planning. When lab results are effectively shared, in a manner conducive to family physician processes and systems, the business and clinical processes are improved, with possible value to the care of the patient. Current lab result sharing occurs through disparate and often proprietary one-to-one connections, often non-electronically, making integration of results difficult. There is broad value in coordinating efforts and consolidating processes across organizations, through electronic health record solutions. Referencing the published literature, this paper evaluates the local context of Waterloo-Wellington counties in southwestern Ontario, stakeholders, and processes, and describes the applicable standards and existing solutions. Recommendations are made for how to progress towards interoperable lab result sharing with family physicians.

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2005. / Bibliogr.: f. 60-61. Document électronique également accessible en format PDF. CaQCU

Thesis (doctoral)--Uppsala universitet, 1995. / Summary in English. Includes bibliographical references (p. [231]-241).

In the 1990s internationally renowned Indian artist Sheela Gowda exchanged oil paint for cow-dung. This dramatic shift occurred in response to the rise in Hindu fundamentalism and as way to voice her distress at the violence of the Hindu / Muslim riots. From a eurocentric art-historical perspective, adopting cow-dung to create art may seem like a radical move, but in India it is a material rich in multi layered histories and one resonating with ritual, economic and gendered subtexts and overtones. This thesis analyzes Gowda's multi-coded artworks in an attempt to render more visible an artist who is an important contributor to the international contemporary art scene, to render viable arts usually considered marginal, minor or folk, and to balance an art historical canon which still favours the "high arts" as well as white, western or male artists. It argues not only for the validity of art in its many forms, but also for art historical scholarship which functions as bridge to forge meaning and open up dialogue between artists, viewers, critics and curators.

The popularity of religious art in late seventeenth century Protestant England stands in apparent contradiction to the profound anti-Catholic sentiment that many current scholars argue characterizes the period. A close analysis of London auction catalogs from 1690 reveals that a significant number of all pictures listed for sale featured typically Catholic subject matter. Consulting both seventeenth century literature and current scholarship provides a rationale for this apparent contradiction. Factional conflict within Protestantism itself was often focused on the issue of religious imagery. Accordingly, it functioned as a means of articulating religious difference. While the radical Puritan mission may have involved abolishing all English "monuments of superstition," Anglicanism held biblical and hagiographic imagery to be an essential aspect of Christian worship. This thesis argues that Anglicans embraced religious imagery as a means of rejecting the Puritan cause and, in doing so, forged a unique Anglican identity.

This dissertation examines the trace of circumcision in modern Malay/sian art. The term ‘Malay/sian’ is used in this dissertation to refer to Malaysians of Malay descent with Islamic affiliation. This research is premised on the hypothesis that the cultural politics that defines the works produced by artists of Malay-Muslim affiliation is constituted by the discourse of the body. This research takes the task of locating this hypothesis in a selection of paintings by these artists. I argue that circumcision, which in Malaysia is understood as the obligatory and identifying mark of the Malay-Muslim (male and female, to varying degrees), is a significant trope underlying the themes of the graphic mark, the body and social power in the production of personal, ethno-religious and national identities.

For the past three centuries, historians have speculated and argued over the dating, patronage and provenance of the Bayeux Tapestry. Researchers have pondered the Latin inscriptions; reflected on the techniques of production and the use of narrative devices; mined the Tapestry for information on a number of subjects, including architectural styles, costumes, modes of navigation, nascent heraldry, and weaponry; and focused on areas of special interest, especially on scenes such as the so-called "Aelfgyva episode." Additionally, the Tapestry has been described as an epic and/or a panegyric; it has even been compared to a chanson de geste, a Shakespearian play, a film, and a cartoon; it has been "deconstructed," and finally turned into a "hypertext" accessible via the internet. Yet, in spite of many promises, the borders of the Bayeux Tapestry remain largely unexplored to date. This apparent neglect may be due to the difficulty one encounters when attempting to retrieve the symbolism and the meanings of the pictographs, which, even at the time of production, may have been multiple and may have depended on the cultural level, social awareness and political leanings of the beholders. The purpose of this dissertation is to acquaint the reader with a novel approach to the reading of the Bayeux Tapestry, based on the premise that the border pictographs are charged with symbolic meaning; that their meaning(s) inflect(s), reflect(s) and even alter(s) the images in the center field; and that this synergic interplay helps in the discovery, and stimulates the generation of a new understanding and integrated interpretation of the Bayeux Tapestry. For my research to be comprehensive and in order to uncover and decode some of the latent symbolic meanings, it was fundamental to take into account the social, cultural and political history of eleventh-century Northwestern Europe, and to acquire an appreciable knowledge of the lives of the important individuals illustrated in the Bayeux Tapestry. It was also necessary to be aware that, since the shaping of minds and the rewriting of history was already practiced in the eleventh century, the possibility existed that the Bayeux Tapestry was more than objective history recorded on cloth, but was someone's -- perhaps the patron's -- interpretation of historical events. Thus, this dissertation takes the reader on a journey inside and outside the frame to achieve an integrated reading of the Bayeux Tapestry and its borders.