Traditional histories of archaeology have left lacunae in understanding of both the discipline and elements within it. Using the Royal Archaeological Institute and its product, the Archaeological Journal, as a pattern site for research the archaeological paradigm is applied to history rather than vice-versa. After a short explanation of method the published membership of the Institute between 1845 and 1942 is analysed in terms of geographical distribution, social composition and occupational interest. In the process the dynamics of a will to discourse are revealed in conjunction with the areas of discourse which were problematic. The text of the Journal (1843-1914) is then analysed on the basis of format, citations, terminology, tropes and objects of discussion in order to identify any 'statements', in the Foucauldian sense, which constitute the objects of discourse. Three major phases emerge. These are characterised at one level by similarities and differences in social and cognitive topography. At another level the conditions of existence and emergence revealed in the study suggest that archaeology itself is a characteristic of the Modem episteme, intimately linked in its successive modes of exploration and interpretation of the past with the Enlightenment project and the nation state.

This research investigates the formation of visual as discursive practice. Discourses that celebrate, denigrate and omit visual are examined with a particular focus on discourses of the child and technology in art education. This thesis applies poststructural methodologies of discourse analysis to disrupt traditional accounts of discipline configurations determined in histories of art education. With a particular focus on Michel Foucault's methods of history, archaeology and genealogy, art education as discipline is mapped through an investigation of visual as concept and practice. This research contends that the emergence of current practices in visual culture, as configured within the constraints of art education amplifies the conditions of visual to define art education as a field. It examines the mobilisation of discourse, verified by discipline formations in art education, and the way in which such formations distribute and categorise knowledge that is sequenced within power structures. Therefore, visual, as a discursive practice is one way through which to trace the conditions of the field, including the structure of discipline as knowledge and subject in art education.

This thesis is a tentative application of Foucault’s archaeological method to the English common law. The project is an attempt at explaining and demonstrating the specific attributes of the method in terms of a contribution to an understanding of the law as both continuous and discontinuous. From the understanding applied in this thesis, an application of the archaeological method requires a careful examination of the monuments of a discourse. The monuments that are examined in this project are a number of negligence law judgments. The authors of the monuments are seen as the sum of the practices that constitute them. That is, in this application of the method to the law, the judges are not considered as authors, instead, the judgments they write are seen as reflecting the practices of the legal discourse. The most fundamental of these discursive practices, from the perspective applied in this thesis is the repetition of past legal statements in the production of judgments. In the understanding of law adopted in this project, cases are treated as sites within which judges choose from a number of possible legal statements made by preceding judges. The common law, then, is seen as representing a process in which statements by particular judges in specific cases are valorised, primarily through repetition, until the alternative utterances are largely, but never completely, excluded. The application of the archaeological method to these negligence decisions demonstrates the operation of the discursive practice of repetition. The application provides a framework for appreciating the way in which the law can change without losing its continuity and legitimacy. The project examines cases between 1750 and 1972 and demonstrates that, despite apparently radical changes in the articulations of liability, from the writ system to the duty of care, the law has maintained its structure through the reproduction of the discursive practices that constitute members of the legal profession.

Proefschrift Universiteit van Amsterdam. / Met bibliogr., lit. opg.

Zugl.: Dresden, Universiẗat, Diplomarbeit, 2005. / Hergestellt on demand.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Philosophy, Philosophy, Interpretation and Culture, 2006. / Includes bibliographical references.

Thesis (Ph.D.)--Pennsylvania State University, 2005. / Mode of access: World Wide Web.

Univ., Diss--Trier, 1998.

Zugl.: Dresden, Univ., Diplomarbeit, 2005 / Hergestellt on demand

Thesis (Ph.D.)--Pennsylvania State University, 2005. / Mode of access: World Wide Web.