Thesis (Ph. D.)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [301]-318).

Zugl.: Göttingen, Universiẗat, Diss., 2003. / Zugl.: Göttingen, Univ., Diss.

This master thesis deals with design of a load-bearing steel structure, i tis located in ZOO Zlín areal. The building serves as a glasshouse. It is a single-storey building with circle plan, 39,04 m diameter and 15,63 m height. Space construction follows spherical cap of a sphere with diameter 40 m. Variant A building is design as a fuller dome. Variant B building consists of hexagons, which are getting smaller with height, at the upper part is the hexagonal geometry cancelled and geometry made from triangles follows. This thesis contains design of a pedestrian bridge, which carries all technical loads. The thesis contains static report of the beams a design of main joints.

Previous research on the art of military engineering indicates that the development of this support branch focuses on technological and organizational advancements whereas theory development seems to be lacking. The purpose of this study is to explore the extent to which J.F.C Fuller´s theory might be able to address the scientific gap that exists today, by considering the possible impact of military engineering on the outcome of a historical land operation. The study uses a case study to examine the four offensives of the Soviet Union’s Operation Bagration, drawing on a theoretical framework derived from contemporary maneuver warfare theory by J.F.C Fuller. This theory contains the physical elements of war: mobility, offensive power and protection and Fuller´s physical principles of war with their tactical and strategical classes. These classes and elements are applied throughout this study to analyze the occurrence of military engineering and their effect on the operation. The findings of the study show that J.F.C Fuller´s theory can be applied to historical offensives to examine the effects military engineering has on the outcome. The effects can for example be explained through the contribution military engineering has on limiting the opponent’s mobility and enabling the envelopment of the opponent’s flanks through mobility.

William Carey (1761-1834) and a printer from Derby--William Ward (1769-1823)--are central figures in discussions concerning missiology. Generally, the importance of Carey and Ward to the early formation of the Baptist Missionary Society (hereafter, BMS) and their ministry to Hindus are accepted points of conversation. Despite the existence of a large body of writings concerning their efforts in India, one of the most important aspects of Carey's and Ward's ministry remains unexplored. The primary goal of this dissertation is to address the two-part question: what was Carey's and Ward's understanding of Bengali Islam and what was their resulting ministry to Muslims in Bengal during the first twenty years of BMS efforts in India? This dissertation argues that Carey and Ward had a deeply-held interest in Muslim evangelization and carried out that interest in an active ministry to Muslims. The first chapter discusses the context within which Carey and Ward received the Particular Baptist inheritance that they took to India, surveys the current state of scholarship on Carey and Ward in relation to this dissertation, and establishes the research questions that this work addresses. Also, this chapter states the thesis of this work, which answers the research questions based upon the defined parameters. Chapter 2 establishes a framework through which one should interpret the ministry of Carey and Ward. This framework becomes the answer to the dissertation's secondary research question: they conducted their ministry to Bengali Muslims according to the Serampore Form of Agreement. Surveying the philosophy of missions that guided Carey and Ward provides an essential and foundational insight into their ministry to Muslims. The third chapter of this dissertation provides clarity concerning the theology and religious expression of Islam in Bengal as interpreted by Carey and Ward. In Bengal, these two missionaries found a deeply embedded relationship between Islam and the Indian caste system, which had tremendous implications for Bengali Islamic theology and practice. The fourth chapter of this dissertation addresses Carey's efforts to evangelize his Muslim neighbors in Bengal. Carey's established ministerial pursuits shaped Ward during his early ministry to Muslims. The model that Carey established included his pursuit of evangelizing Muslims personally, receiving the inquiries of Bengali Muslims, and a specific message to his hearers. Chapter 5 turns to William Ward's efforts to propel the ministry forward through his print ministry. His efforts enabled the BMS effort in Bengal to reach out to individuals through the means of print in ways that were inconceivable through personal interaction. Additionally, Ward participated in Muslim evangelism through consistent preaching and occasional debate as well as pastoral ministry over the budding Bengali church. The sixth chapter concerns a framework that Andrew Fuller and William Ward used to determine the best way to carry out Ward's print contribution discussed in chapter 5. Ward's print ministry caused turmoil in some situations, particularly in regards to his Muslim ministry, almost causing war between Britain and Denmark in late 1807. Fuller and Ward, despite this episode, sought to abide by a principle of selectively representing the missionaries' work in a particular way to their various reading audiences. Finally, the conclusion summarizes this dissertation's primary contributions to the field of Carey-Ward scholarship based on the material argued throughout this work. Truly, the ministry of Carey and Ward to Bengali Muslims is well represented in this work as restated in the conclusion.

The purpose of this thesis is to establish a foundation built on the congruencies between Margaret Fuller’s feminist theory and Nathaniel Hawthorne’s fiction, with the aim of addressing two major points: first, the implications of universalizing gender in the context of identity politics; and second, to show how gender universality is challenged within Hawthorne’s fiction and Fuller’s prose. Given that Nathaniel Hawthorne’s characters depict a range of personal variability, the act of synthesizing Margaret Fuller’s feminist theory with Hawthorne’s fiction functions to link the personal with the political. The overall goal of this study is to substantiate both writers within a feminist discourse and further, as contributory in the fight for gender equality.

Thesis advisor: James D. Wallace / James Fenimore Cooper, George Catlin, and Margaret Fuller all spent significant portions of their lives living outside the United States, among people who - at least initially - were foreign to them. The writing those cross-cultural forays inspired demonstrated that they learned a great deal about American culture in addition to the foreign cultures they visited, and that sometimes the insights gained were difficult to hear but impossible to refute. These writers became advocates for a cosmopolitan approach not only to travel but also to cultural identity. Each felt the slipperiness of U.S. cultural identity and determined that the most productive means of securing it was by active cosmopolitan engagement with foreign others. This project explores how travel led them to view culture as a moveable category, and as a result, to work proactively to encourage a culture of patriotic cosmopolitanism in the United States. While Fuller, Cooper, and Catlin lived and wrote, the United States was marked by an isolating insistence on exceptionalism that dominated American culture. Calls for transformative, active, or personal engagement with foreign cultures were rare. Juxtaposing Appiah's approach to cosmopolitanism with the cultural analysis of such critics as William W. Stowe and Mark Renella on travel and nineteenth-century American culture, and Larry J. Reynolds and Michael Paul Rogin, on political issues of the same era gives a new perspective to these writers. Catlin, Cooper, and Fuller were dissimilar in many ways, but all enacted a cosmopolitanism that was unusual for their time and striking in its opposition to nationalist cultural currents. Their careers were defined by travel experiences marked by challenges to their cultural identity, and they met these with self-reflection that led to their awareness of the treatment cultural others received from Americans. Engaging with both Amerindian and European versions of "foreignness" led these writers to preach a cosmopolitan consciousness and to model the best ways for Americans to comport themselves while acting as citizen diplomats. A close reading of Catlin's presence as cultural intermediary in his ethnography reveals a man seeking to meet Amerindians on their own terms; he was a rare case study, and the lukewarm support he received is telling; mainstream Americans were not interested in viewing Indians as living people with a culture worth learning about. Most important, Catlin's writings of his experience in Indian lands and abroad demonstrate his exceptional receptivity to foreignness. Catlin did not see or market himself as a "travel-writer" but rather an artist and advocate for the Indians offering his own brand of proto-ethnography to the nineteenth-century reading public. Nevertheless, his work is an unusual addition to the travel-writing genre, and particularly productive in its presentation of how one adventurous traveler's experience of cultural difference led to cosmopolitan awareness. The extent to which one's experience of a foreign culture can be communicated to others who have not shared in those experiences is limited, and this accounts, in part, for the contradictions, defensive rationalizations, and rambling reflections present in Catlin's accounts. He faced a task that travel writers who direct their work to home-bound readers can't avoid: the unacknowledged naiveté of such readers must be dealt with, and foreignness presented in terms of the known. The psychological processes undergone by cross-cultural travelers can be significant, and are not so easily translated to the uninitiated. Cooper recognized that cross-cultural encounters had formed American identity from the start and worked against the prevailing tendency to denigrate, dismiss, and destroy Amerindians. He noticed that efforts to encourage international acceptance of American culture as a distinctive, worthy addition to the catalog of world cultures were often hampered by cross-cultural missteps and failures. More than most, Cooper understood the process of exploring foreignness as well as the value of the experience, but found that understanding difficult to communicate to less-cosmopolitan audiences. Cooper's cross-cultural engagement is explored in two works that participated in the ongoing transatlantic squabble over the insinuations about U.S. culture in travel writing by Europeans. In Notions of the Americans (1828) and "Point de Bateaux à Vapeur--Une Vision" (1832), Cooper advanced American arguments against the propriety and usefulness of such judgments. Homeward Bound and Home As Found (1838), took these transatlantic discussions to a different level. Remaining staunchly American, Cooper was less interested in defending his country from European "attacks" than in understanding the differences that inspired them; his argument, aimed at Americans, was for a more enlightened U.S. culture--one that had the cosmopolitan skills required to command respect internationally. Cooper's ultimate understanding of "culture" as a moveable category of human difference in The Monikins (1835). Fuller worked for a cosmopolitan American culture that would be able to lead the world for the sake of the progress of humanity. Americans would be simultaneously citizens of the United States and of the world. Through her engagement with other cultures, she sought to fit her own to her ideal. Hers was not a consuming globalism, but a model of international engagement from the ground up. By extending the transcendental opposition to individual conformity to the cultural scale, Fuller hoped that thinking Americans would learn to benefit from the "variety" that surrounded them. In her writing and by her example, she shifted the focus of travel from place to people, urging Americans to travel not only to see foreign places but to meet foreign people and immerse themselves in foreign points of view. She relates her impressions of Native Americans as foreigners who suffer from Americans' failure to see them as a people worthy of respectful engagement, and her desire that her country not repeat that mistake in dealing with other nations. In her first significant travel experience, which exposed her to immigrant settlers and Indian communities, she discovered her interest in learning about and forming relationships with groups of people who were different from her, displaying not only cosmopolitan curiosity but cosmopolitan willingness to put herself forward into the unknown. Her years of study of foreign language and arts had left her better prepared to make meaningful connections there. As a woman she felt especially well-positioned to practice a cosmopolitanism that was its own kind of revolution. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Margaret Fuller’s and Elizabeth Stoddard’s innovative use of the language of flowers in “The Magnolia of Lake Pontchartrain” and The Morgesons explore multilevel feminine discourse in ways later described by Hélène Cixous and Luce Irigary. Fuller uses flowers symbolically in her text, not mimicking conventional sentimental motifs, but inspiring women’s independence and self-development. Fuller’s flower images become anthropomorphic possibilities for female empowerment which re-envision American women’s social roles and express Fuller’s developing feminism. Stoddard’s use of flowers reflects her realist writing and captures many of the contemporary social applications of flowers. Stoddard, like Alice Walker, sees some artistic agency for women through gardening, but ultimately finds the comparison of women to flowers an antiquated system which holds women back in search of social progress.

This thesis, which studies the effect Loïe Fuller had on artists at the turn of the 20th century, redefines her role in art and society. An American dancer born in 1862, Fuller is often hailed as one of the forefathers of modern dance and a technological engineer, but she is too rarely shown in control of how the audience perceived her. This work gives an overview of Art Nouveau and the Universal Exposition of 1900 in Paris in which she performed. It closely examines her impact on painters, illustrators, and lithographers: Henri de Toulouse-Lautrec, Will Bradley, and Jules Cheret. It also studies her influence on sculptors: Raoul Larche, Agathon Léonard, and Pierre Roche; architect Henri Sauvage, and writer Stéphane Mallarmé. In this work, Fuller is not solely presented as the physical embodiment of Art Nouveau but as an active shaper of artistic movements of her time. It portrays her as active rather than passive.

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