Si les lieux et les pratiques de l’architecture sont communément décrits par des termes empruntés aux arts (atelier, création, œuvre), la discipline a recours de façon croissante à des termes scientifiques (laboratoire, expérimentation, recherche). Cet intérêt contemporain pour des activités liées à la recherche scientifique se cristallise autour du « laboratoire architectural », une notion aujourd’hui courante dont les premières matérialisations remontent à la fin du XIXe siècle et dont la présence se renforce avec le récent « tournant numérique ». Or ce terme reste aujourd’hui sans définition claire. Qu’est‐ce qu’un « laboratoire architectural »? Quels éléments en constituent‐ils le modèle théorique? Quels sont les enjeux liés à l’émergence de la figure du laboratoire en architecture ? Pourquoi et pour quoi les architectes ont-ils recours à la figure du laboratoire ? La thèse s’organise en deux grandes parties, chacune structurée autour d’une série de questions complémentaires dans le but de rendre compte de la façon la plus complète de la nature du laboratoire architectural. La première partie apporte un éclairage historique sur la création de la figure du laboratoire architectural et se conclut sur une explicitation des grands éléments constitutifs d’un modèle du laboratoire architectural. Les cas étudiés sont le Architectural Laboratory du Massachusetts Institute of Technology (MIT), les nombreux laboratoires architecturaux des avant-gardes russes des années 1920, et le cas remarquable qu’est le Laboratory for Design Correlation fondé et dirigé par Frederick Kiesler à l’Université Columbia (1937–1942). Cette étude de cas se conclut sur la formulation des trois grands éléments constitutifs d’un modèle du laboratoire architectural qui sont 1. l’instrumentation matérielle, 2. la méthode de travail, et 3. les échanges sociaux. La seconde partie explicite chacun de ces trois axes en montrant de quelle manière ils ont structuré trois grandes catégories de laboratoires architecturaux, soit 1. le laboratoire comme ensemble d’instruments, 2. le laboratoire comme application d’une méthode et 3. le laboratoire comme flux d’échanges sociaux. La conclusion de la thèse traite des multiples enjeux que soulève le laboratoire architectural en abordant celui-ci dans sa relation à la discipline et hors de la discipline et se clôt sur la formulation d’un modèle théorique du laboratoire architectural. A travers l’explicitation de ce qui apparait comme un « paradigme du laboratoire », cette recherche épistémologique se veut une contribution à la théorisation de l’architecture contemporaine. / Architectural sites and practices are commonly described in terms borrowed from the arts (studio, creation, masterpiece) and yet, the architectural field relies increasingly on scientific terms (laboratory experimentation, research). This contemporary interest in activities related to scientific research appears to coalesce around the now common notion of "architectural laboratory". Its first materialization dates back to the late nineteenth century and its presence has greatly increased since the recent "digital turn", although this term remains, to this day, still not properly defined. What is an "architectural laboratory"? What elements form its theoretical model? What are the issues related to the emergence of the figure of the "architectural laboratory"? Why and for what purpose do architects refer to the figure of the laboratory? The thesis is organized into two parts, each part being structured around a series of additional questions in order to access the complex nature of the architectural laboratory. The first section provides a historical perspective on the appearance of the figure of the architectural laboratory and concludes with an analysis of the major components of the architectural laboratory model. The case studies are the Architectural Laboratory of the Massachusetts Institute of Technology (MIT), the numerous architectural laboratories of the 1920s Russian avant-gardes and the remarkable case that is the Laboratory for Design Correlation founded and directed by Frederick J. Kiesler at Columbia University (1937–1942). This case study results in the formulation of the three major components of a model of architectural laboratory: 1. the material instrumentation, 2. the working method, and 3. the social exchanges. The second part will clarify each of these three axes, showing how they have structured three major categories of architectural laboratories, being 1. the laboratory as a set of instruments, 2. the laboratory as application of a method, and 3. the laboratory as social exchange flows. The conclusion of the thesis tackles the multiple issues raised by the architectural laboratory by considering the impact of this notion both within the discipline of architecture and outside of its limits. The thesis concludes with the formulation of a theoretical model of the architectural laboratory. Through the clarification of what appears to be a "paradigm of the laboratory", this epistemological research is a contribution to the theory of contemporary architecture.

A museum has to care for the objects in its collection to the best of its ability. The concept collections management emerged in the 1960s, when accountability for collections became a strong incentive for museums to develop modern collections management practices. In the process of establishing accountability (the effective implementation of practices to ensure adherence to collections policies on the accessioning, care and disposal of objects in a museum collection) many museums encountered problems such as the lack of access to detailed information about the objects in collections, a proliferation of accession numbers and inadequate location control. These problems were also encountered at the National Cultural History Museum, Pretoria. This research reveals the way in which the historical, anthropological and archaeological collections at the Transvaal Museum, predecessor of the National Cultural History Museum were managed from 1913 to 1964. This period was chosen for the following reasons: -- J W B Gunning, the director of the Transvaal Museum, was succeeded by H G Breijer in 1913. The year 1913 is thus a clear starting point for research and a new beginning, a watershed, at the Museum. -- The year 1964 marked the inception of an autonomous museum, the National Cultural History and Open-Air Museum, and the discontinuance of responsibility, after a period of 60 years, for the anthropology, archaeology and history collections at the Transvaal Museum. The development of the Transvaal Museum as a natural history and a history museum, is traced. In 1953, for the first time, a trained professional officer was appointed for the history division at the Museum. After 1953 there was an increased awareness (from a professional point of view) that historical, anthropological and archaeological collections require specialized curatorial care. Modern collections management principles, although they were not called by this name, featured effectively in the handling of the historical collection in particular, for the first time in more than 50 years. Aspects such as departmental organization, the staff, expansion of collections, policies, documentation and conservation are investigated. An evaluation of the factors that played a decisive role in collections management practices for the historical, anthropological and archaeological collections shows that a combination of aspects has to be considered in order to understand the practices that were followed and the changes that were made. / Thesis (DPhil (Museology))--University of Pretoria, 2006. / Historical and Heritage Studies / unrestricted

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This thesis examines Charles V's inability to take decisive military action against the Protestant threat in Germany before 1546. It treats modern historiography on Charles V in Germany. The thesis offers a new theory concerning religious motivation for the delay. Charles was a man of deep and devoted faith in the Catholic Church and consequently, was unable to accept the possibility that any individual would doubt or abandon that persuasion without calculated intention or gross error. Charles was influenced by the Humanistic cries for reform in his age. As a result, Charles, a strong advocate for reform, declined military action before a meaningful outlet to address reforms and air grievances could be convened. But Charles was influenced by tradition, particularly the universality of faith and political unity of Christendom that could save the Church from the heretic and the Turk. Charles also felt himself personally responsible to avoid all conflicts that might endanger unity by creating a schism within Christendom. The evidence will be drawn both from the emperor's own words and deeds derived from primary source material and personal correspondence of Charles V between himself and those persons most likely have intimate knowledge of Charles's own thoughts. These include his personal advisors, Gattinara and Granvelle, and family members: Philip, his son, Mary, his sister, and Ferdinand, his brother. The unpublicized and private correspondence is less likely to be tainted by rhetoric and propaganda than are public declarations and correspondence. Instances not covered by these will be based on an interpretation of Charles's deeds. This thesis will therefore establish Charles's decisions regarding the Protestants in the context of his own convictions.

This dissertation works against the longstanding literary critical premise that aesthetics and ethics are at odds. I challenge this notion by foregrounding the verse of four nineteenth-century-born and Northeastern-based poets who unapologetically prioritize aesthetic perception and experience in their writing. These poets—Frederick Goddard Tuckerman, Emily Dickinson, Olivia Ward Bush, and William Stanley Braithwaite—were well aware of the criticism politicians, social reformers, educators, business proponents, and even other writers leveled against the functional and ethical utility of poetry in an era when transatlantic industrial revolutions and innovations in manufacturing and transportation technology contributed to a national ethos that celebrated progress and productivity in the most concrete terms. These developments, coupled with moral and political divisions over slavery and the economic and psychic strain of a nationwide war that brought life’s precariousness into relief, spurred citizens to contemplate their sense of purpose in contexts ranging from the vocational to the existential. Writers and poets in particular faced continual pressures to defend the practical value of their work. What makes the four poets in this dissertation unparalleled, I suggest, is the way they challenge readers to revise and expand their understanding of the aesthetic by devoting poetic attention to unsettling and unsightly products and processes in the natural world. Moldering plant matter, heaps of manure, broom-ravaged spiderwebs, and fragments of driftwood; the kinds of waste and remains normally deemed indecorous for nineteenth-century verse become vibrant and arresting in the work of these poets. Yet while each poet approaches humble and neglected phenomena as worthy of aesthetic treatment, they do so without idealizing the unpalatable and disregarded subjects they portray in verse. The attention they devote to the abject—a witnessing they extrapolate from literal to human nature—is, as I show over the course of this dissertation, an ethical and political act. In addition to upholding the unsettling and unglamorous qualities of the natural subjects they honor, these poets also abstain from sentimentalizing the elements of lived experience that inform their writing, and refuse to downplay the often demanding process of poetic composition itself. While this dissertation’s insistence on regarding aspects of nature that nineteenth-century poetry has traditionally neglected is, in part, an ecocritical intervention, my project is also a call to dignify the artistic labors that reframe overlooked natural phenomena as worthy of aesthetic attention. To portray writing as work is to regard the craft as just as substantial and legitimate a pursuit as occupations whose effects are more straightforwardly measurable in practical terms. Indeed, each poet in this dissertation insists upon depicting poetic making as a labor that requires the same dexterity as the construction of an architectural structure and that has as dramatic and far-reaching effects as military and legislative developments. Far from posing an escapist diversion from the social and civic realities of their day, I argue, these poets frame aesthetic creation and experience as fundamental to human nature, especially during wartime and periods of political upheaval.

Master of Music / Department of Music / Frank C. Tracz / The following report is an in depth research and analysis project based on the graduation requirement for a Masters in Music Degree from Kansas State University. The product of this project was a conducting recital performed by Michael E. Bistline with the Union High School Concert Band. This performance was held on May 5, 2009 in Matt Auditorium at Union High School. The repertoire included National Emblem March by E.E. Bagley/edited by Frederick Fennell, On An American Spiritual by David Holsinger, Portraits by Jim Colonna, and Serenade Op. 22 (c) by Derek Bourgeois. The theoretical, historical and technical analyses of this project was collected using the Unit of the Teacher Resource Guide, developed by Richard Miles and the Macro, Micro, Macro score analysis form developed by Dr. Frank Tracz. This report also includes documentation of the planning and evaluation of each rehearsal.

The aim of this study was to identify those job factors that determine the level of motivation in the Nigerian Federal Civil Service Commission and to establish how this knowledge can be used to increase motivation and job satisfaction across the Nigerian Federal Civil Service. A wide variety of theories on motivation and job satisfaction were studied. Herzberg's dual-factor theory of job satisfaction was used as the defining basis for the empirical part of the study. The findings both supported and refuted the theory. Both intrinsic and extrinsic job variables influenced the work motivation of respondents, with specific extrinsic variables having a significant effect, contrary to Herzberg's findings. A difference was also recorded among senior staff who appeared more motivated by intrinsic variables and junior staff who tended to emphasise extrinsic job variables. / Public Administration / D. Admin.

This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.

The thesis analyses selected phenomena of graphy, phonology, morfology, lexicology and words-formation of the Frederick from Donin's Czech book of travels, which was written at the turn of the 16th and 17th century. Partly, it also deals with the syntax and style of the work. Selected phenomena of individual language levels are studied using the original manuscript. The thesis intends to show in which aspects the text is close to early modern language usage, and conversely in which aspects it differs from it. The language of the manuscript is also compared with the contemporary Czech language.