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Thesis (D. Min.)--Ashland Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 227-230).

Thesis (D. Min.)--Ashland Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 227-230).

No description available.

This thesis explored the 1941 docent-training course for members of the Junior League held at the Metropolitan Museum of Art. The research focused on understanding what place this philanthropic organization held in the American art museum at that time. This course at the Metropolitan Museum of Art was formed as an attempt to teach Junior League members to become trainers of docents and volunteers in their own communities. Additionally, I looked into the background of the museum staff members Francis Henry Taylor and Roberta Murray Fansler Alford Capers and the Junior League member Helen T. Findlay. Utilizing historical research methods, four augments were formed regarding why this docent-training course occurred; (a) the new leadership and structure in the museum facilitating those training, (b) the collaborative work of Helen T. Findlay and Francis Henry Taylor and their passion towards art education for all audiences, (c) the Junior League’s continued commitment to community involvement, and (d) the fundamental need women had for involvement outside the home. The research concludes with a reflection toward the difficulties and hardships that accompany conducting historical research into the women of art education including non-traditional forms of historical documentation. / text

In this dissertation I analyse and contextualise stereotypical notions associated with the concept of home, and what that constitutes, in the work of South African artists Antoinette Murdoch, Bronwen Findlay, Doreen Southwood and Penelope Siopis, each of whom displays a different perspective of the concept in their artwork. I further consider how these selected South African artists engage with the dichotomies surrounding issues of home and the gendered position assigned to women in this area. I address the strategies the selected artists use in bringing the realm of the private sphere into the public arena and how they transgress the boundaries of private and public spaces. In addition I consider how concepts of home are reflected in my own work and how they are informed by a feminist perspective. The choice of white female artists as the subject of this research is a conscious one, in that I wish to avoid an investigation into cross-cultural gendered subjectivities which will inevitably become entangled with questions of race, politics and culture. As western feminist thought often tends to ignore the specific experiences of ethnic groups located outside western cultural experience, my focus on artists whose context is in part shared by my own is intended to provide an insider perspective. In the context of this research, 'home' is defined as a traditionally acknowledged place where woman is identified in relation to domesticity and the family unit. The term 'home' is therefore partly applicable to a type of domestic environment regardless of its geographic and cultural associations. Home has been defined as a 'group of persons sharing a home or living space (whereas) most households consist of one person living alone, a nuclear family, an extended family or a group of unrelated people' (Scott and Marshall 2005:276). The home is regarded as a place of security where the most intimate of relationships takes place, but it is also an arena of complex human relationships associated with domestic, family, personal and cultural identity. The home is further regarded as a private space and as being somewhat inaccessible, as opposed to the public domain which is open to scrutiny. The home houses a corridor of emotion, however, and may often become a place of entrophy. A subtle shifting and subverting of the conventions which society places upon women and men to conform to particular behavioural constructs will be deconstructed to reveal the concept of home as a site where the boundaries between reality and illusion become blurred. My own artistic practice is concerned with the deconstruction of the home as an idealised space and the façade that often conceals a dystopian reality that lurks beneath such idealisation. I share assumed cultural and class values with the selected artists and will critique the subject from a personal perspective, in part as a self-narrative. Within the context of this research, the term 'middle class' is defined as 'the class of society between the upper and working classes, including business and professional people' (The Oxford English Dictionary 1994:509). / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.

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在眾所皆知的Harris-Todaro（1970）的城鄉失業模型，以及由Harris-Todaro模型所發展出來的資本可以在兩部門間自由移動之Corden-Findlay（1975）模型中，我們發現當生產函數為固定係數且製造業的資本勞動比相對於農業較大時，城市的最低工資提高會造成製造業的產出以及勞動雇用量增加。即所謂的Corden-Findlay Paradox。而本文計畫將Corden-Findlay paradox做一深入的探討，主要的研究目的在於利用嚴謹的數學模型重新驗證Corden-Findlay Paradox是否存在？其次，當體系開放後，會不會有其他的現象是Corden-Findlay當初沒有發現的？而本文的研究動機亦因之產生。經由本文的證明發現：在某些條件下，當製造業的最低工資提高時，除了Corden-Findlay Paradox存在外，國民所得會同時下降；其次，可能會發生貿易逆轉的現象。本文將在下面幾章節中作深入的探討。深入研究Corden-Findlay Paradox 的重要性在於Corden-Findlay 的模型中只提到農業及製造業之工資作政策性的補貼對兩部門間的失業及產出的影響，但我們發現透過製造業最低工資的提高會達到貿易逆轉的現象，也就是說如果政府或雇主想要提高該產品在國際市場上的競爭力時，可以依照Corden-Findlay Paradox 的說法並將生產該產品的最低工資提高來達成出口增加的目的（前提必須為該產品的生產函數為固定係數且要素密集度相對較大）。另外，提高最低工資的作法對消費者是不利的，因為國民所得會由於最低工資的提高而下降。國民所得減少，消費自然就下降。這正是我們對Corden-Findlay 的模型做深入探討的兩個重點。 第一章 緒論 第一節 研究動機．．．．．．．．．．．．．．．．．．１ 第二節 Harris- Todaro城鄉人口移動模型簡介．．．．．２ 第三節 Corden- Findlay Paradox之簡介．．．．．．． ４ 第二章 一般模型 第一節 生產面與需求面．．．．．．．．．．．．．．．７ 第二節 小型開放經濟體系．．．．．．．．．．．．．１３ 第三章 小型開放經濟體系下的Corden- Findlay Paradox 第一節 本國的供給面與需求面 －以Leontief生產函數，Cobb-Douglas效用函數為例．１５ 第二節 Corden- Findlay Paradox．．．．．．．．．．１７ 第三節 其它重要發現．．．．．．．．．．．．．．． ２１ 第四節 數值例子．．．．．．．．．．．．．．．．． ２４ 第四章 結論 第一節 本文結論．．．．．．．．．．．．．．．．． ２９ 第二節 未來發展方向．．．．．．．．．．．．．．． ３０ 參考文獻

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