No description available.

"Grace Wick: Portrait of a Right-Wing Extremist" is a biography of an American woman who lived between 1888 and 1958. Wick grew up in a small midwestern town, but as a young woman broke away from small town tradition by moving to the city to pursue a career as an actress in the theater and in silent movies. In the course of her acting career she traveled across North America and had the opportunity to associate with people from all walks of life. As an actress, she was able to achieve an autonomy enjoyed by few women during the 1910s and early 1920s. She also developed into a political activist, organizing campaign rallies for candidates, crusading to extend women's freedom, and was an active participant in mainline politics. However, as a middle-aged woman during the late 1930s, Wick developed a narrow focus on life, becoming involved with right-wing, pro-America organizations. By the 1940s she had become outspoken against immigrants and Jews and was actively distributing nativist, anti-Semitic propaganda. The thesis poses and suggests answers to the question of why a woman who had spent a number of years in the city, and in a career which afforded her the opportunity to gain a cosmopolitan view of the world, followed a course toward nativism and right-wing extremism in her later years.

Master of Philosophy / Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

This study examines the use of the fairy tale intertext in contemporary Canadian womens fiction. In using specific fairy tale plots, themes, motifs, and/or characters within their works of fiction, women writers of the twentieth and twenty-first centuries purposefully express their goal for the revival and continuity of the female narrative voice and sense of agency. To explore the fairy tale-fiction relationship, Margaret Atwoods Alias Grace and Anne Hberts Kamouraska are approached from what fairy tale scholar Jack Zipes has constructed as the theory of contamination of the fairy tale genre. The fairy tale genres integration into contemporary fiction represents an important development where fairy tale narratives are critically reread so as to bring out deeper meanings for the contemporary audience. / Comparative Literature

In this thesis I use the radical, pro-violent organization the Weathermen as a framework to examine women and feminisms complex relationships with violence. My thesis attempts to show the many belief systems that second wave feminists possessed concerning the role(s) of women and violence in revolutionary organizations. Hence, by using the Weathermen as a framework, I discuss various feminist essentialist and pacifist critiques of violence. I also include an analysis of feminists who, similar to the Weathermen, embraced political violence. For example, radical feminists Robin Morgan and Jane Alpert criticized the Weathermens violent tactics while other feminists such as Ti-Grace Atkinson and Valerie Solanas advocated that women pick up the gun in order to destroy patriarchal society. In addition, I analyze the stereotypes of the violent female, which have often been supported by feminists and non-feminists alike. Thus, the stereotyped nature of the violent female does not allow for the complexities that accompany the many reasons why women commit politically motivated crimes. Understanding the role women played in the Weathermen is an important task because womens roles and representation in radical, New Left organizations have often been ignored, overlooked and reproduced by revisionist analyses. Though revolutionary groups from the sixties and seventies were important and progressive in many ways, my thesis will examine the phenomenon of silencing womens voices in these organizations and how this silencing inspired women to find voice in their own movements. Furthermore, I am also interested in radical second wave feminists belief systems and histories concerning violence, particularly since they have rarely been delved into by historians or feminist researchers.

No description available.

Soil moisture plays a major role in the hydrologic water balance and is the basis for most hydrological models. It influences the partitioning of energy and moisture inputs at the land surface. Because of its importance, it has been used as a key variable for many hydrological studies such as flood forecasting, drought studies and the determination of groundwater recharge. Therefore, spatially distributed soil moisture with reasonable temporal resolution is considered a valuable source of information for hydrological model parameterization and validation. Unfortunately, soil moisture is difficult to measure and remains essentially unmeasured over spatial and temporal scales needed for a number of hydrological model applications. In 2002, the Gravity Recovery And Climate Experiment (GRACE) satellite platform was launched to measure, among other things, the gravitational field of the earth. Over its life span, these orbiting satellites have produced time series of mass changes of the earth-atmosphere system. The subsequent outcome of this, after integration over a number of years, is a time series of highly refined images of the earth's mass distribution. In addition to quantifying the static distribution of mass, the month-to-month variation in the earth's gravitational field are indicative of the integrated value of the subsurface total water storage for specific catchments. Utilization of these natural changes in the earth's gravitational field entails the transformation of the derived GRACE geopotential spherical harmonic coefficients into spatially varying time series estimates of total water storage. These remotely sensed basin total water storage estimates can be routinely validated against independent estimates of total water storage from an atmospheric-based water balance approach or from well calibrated macroscale hydrologic models. The hydrological relevance and implications of remotely estimated GRACE total water storage over poorly gauged, wetland-dominated watershed as well as over a deltaic region underlain by a thick sand aquifer in Western Canada are the focus of this thesis. The domain of the first case study was the Mackenzie River Basin wherein the GRACE total water storage estimates were successfully inter-compared and validated with the atmospheric based water balance. These were then used to assess the WATCLASS hydrological model estimates of total water storage. The outcome of this inter-comparison revealed the potential application of the GRACE-based approach for the closure of the hydrological water balance of the Mackenzie River Basin as well as a dependable source of data for the calibration of traditional hydrological models. The Mackenzie River Basin result led to a second case study where the GRACE-based total water storage was validated using storage estimated from the atmospheric-based water balance P-E computations in conjunction with the measured streamflow records for the Saskatchewan River Basin at its Grand Rapids outlet in Manitoba. The fallout from this comparison was then applied to the characterization of the Prairie-wide 2002/2003 drought enabling the development of a new drought index now known as the Total Storage Deficit Index (TSDI). This study demonstrated the potential application of the GRACE-based technique as a tool for drought characterization in the Canadian Prairies. Finally, the hydroinformatic approach based on the artificial neural network (ANN) enabled the downscaling of the groundwater component from the total water storage estimate from the remote sensing satellite, GRACE. This was subsequently explored as an alternate source of calibration and validation for a hydrological modeling application over the Assiniboine Delta Aquifer in Manitoba. Interestingly, a high correlation exists between the simulated groundwater storage from the coupled hydrological model, CLM-PF and the downscaled groundwater time series storage from the remote sensing satellite GRACE over this 4,000 km2 deltaic basin in Canada.

Soil moisture plays a major role in the hydrologic water balance and is the basis for most hydrological models. It influences the partitioning of energy and moisture inputs at the land surface. Because of its importance, it has been used as a key variable for many hydrological studies such as flood forecasting, drought studies and the determination of groundwater recharge. Therefore, spatially distributed soil moisture with reasonable temporal resolution is considered a valuable source of information for hydrological model parameterization and validation. Unfortunately, soil moisture is difficult to measure and remains essentially unmeasured over spatial and temporal scales needed for a number of hydrological model applications. In 2002, the Gravity Recovery And Climate Experiment (GRACE) satellite platform was launched to measure, among other things, the gravitational field of the earth. Over its life span, these orbiting satellites have produced time series of mass changes of the earth-atmosphere system. The subsequent outcome of this, after integration over a number of years, is a time series of highly refined images of the earth's mass distribution. In addition to quantifying the static distribution of mass, the month-to-month variation in the earth's gravitational field are indicative of the integrated value of the subsurface total water storage for specific catchments. Utilization of these natural changes in the earth's gravitational field entails the transformation of the derived GRACE geopotential spherical harmonic coefficients into spatially varying time series estimates of total water storage. These remotely sensed basin total water storage estimates can be routinely validated against independent estimates of total water storage from an atmospheric-based water balance approach or from well calibrated macroscale hydrologic models. The hydrological relevance and implications of remotely estimated GRACE total water storage over poorly gauged, wetland-dominated watershed as well as over a deltaic region underlain by a thick sand aquifer in Western Canada are the focus of this thesis. The domain of the first case study was the Mackenzie River Basin wherein the GRACE total water storage estimates were successfully inter-compared and validated with the atmospheric based water balance. These were then used to assess the WATCLASS hydrological model estimates of total water storage. The outcome of this inter-comparison revealed the potential application of the GRACE-based approach for the closure of the hydrological water balance of the Mackenzie River Basin as well as a dependable source of data for the calibration of traditional hydrological models. The Mackenzie River Basin result led to a second case study where the GRACE-based total water storage was validated using storage estimated from the atmospheric-based water balance P-E computations in conjunction with the measured streamflow records for the Saskatchewan River Basin at its Grand Rapids outlet in Manitoba. The fallout from this comparison was then applied to the characterization of the Prairie-wide 2002/2003 drought enabling the development of a new drought index now known as the Total Storage Deficit Index (TSDI). This study demonstrated the potential application of the GRACE-based technique as a tool for drought characterization in the Canadian Prairies. Finally, the hydroinformatic approach based on the artificial neural network (ANN) enabled the downscaling of the groundwater component from the total water storage estimate from the remote sensing satellite, GRACE. This was subsequently explored as an alternate source of calibration and validation for a hydrological modeling application over the Assiniboine Delta Aquifer in Manitoba. Interestingly, a high correlation exists between the simulated groundwater storage from the coupled hydrological model, CLM-PF and the downscaled groundwater time series storage from the remote sensing satellite GRACE over this 4,000 km2 deltaic basin in Canada.

Master of Philosophy / Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 169-178).