This dissertation is developed around questions of how cultural fascinations with seeing the city from above are intertwined with the birth and development of the city planning profession. To explore this question, I examine three contexts linked to already-familiar episodes from the history of city planning: Paris in the aftermath of Haussmann-ization, the visual approach of proto-planner Daniel H. Burnham, and the New York region in advance of the rise of master-planner Robert Moses. These settings serve as a basis for a reoriented approach to understanding how and why a new category of experts tasked with intervening in urban conditions emerged. Among other views, Paris is seen from the height of a tethered hot air balloon; San Francisco and Chicago from Twin Peaks and the roof of the Railway Exchange Building, respectively; and New York from the lens of a Fairchild aerial camera, as well as from the 86th story of the Empire State Building. The sublime experience facilitated by such vistas undergirds the discussion. It is employed to recast existing historical accounts of the birth of the city-planning profession at the end of the nineteenth and beginning of the twentieth centuries to more deeply reflect its interaction with the proliferation and subsequent breakdown of a visual culture of "the city" from above shared amongst experts and citizens alike.

No description available.

La déportation des Acadiens de leurs terres en 1755 est un évènement sur lequel se fonde cette communauté. Le Grand Dérangement, comme on l’appelle fréquemment, n’est pas un simple évènement historique. Il aura passé de l’histoire à la mémoire et de la mémoire au mythe. Élevé officiellement au rang de mythe fondateur lors de la première Convention nationale acadienne de 1881, le Grand Dérangement subira par la suite de nombreuses réinterprétations dans les discours politiques. Reprenant la théorie de Gérard Bouchard sur les mythes et les imaginaires collectifs, cette thèse vise à comprendre quelles ont été les interprétations historiques du mythe du Grand Dérangement dans le discours national des élites acadiennes entre 1763 et 2005. Retourner au mythe, c’est retourner à l’imaginaire d’un peuple et de son importance dans ses processus de conciliation des conflits. L’objectif est donc de comprendre les nombreuses réinterprétations du Grand Dérangement issues des discours des élites politiques acadiennes, mais aussi de démontrer le rôle structurant du mythe dans la construction de l’identité acadienne. The expulsion of the Acadians from their land in 1755 is an event which defined this community. The “Grand Dérangement”, or Great Upheaval, long ago made the passage from historical event to collective memory and from collective memory to myth. Officially raised to the level of a founding myth during the first Acadian National Convention of 1881, the Great Upheaval has been subject to several political reinterpretations. Using Gérard Bouchard’s theory of collective myths and imaginaries, this thesis aims to understand the historical reinterpretations of the Great Upheaval myth within the Acadian elite national discourse between 1763 and 2005. To appreciate the power of the myth is to appreciate the power of a people’s imagination and its potential for resolving conflict. The objective of this thesis is to understand the many reinterpretations of the Great Upheaval through the Acadian elite political discourses, and also to demonstrate the role of the myth in constructing the Acadian identity.

Curiosity, it can be said, alerts us to the interface between art and science, with the ‘object’ being suspended somewhere between the two. Curiosity interfaced with photography and collections are the main components of this thesis. This thesis is organized around two principle outcomes: a written component and an artistic component. The written component investigates how the use of photography as a method of inquiry into the secondary manipulation of ready-made material results in objects that become sites of new meaning and encourage new interpretations. The artistic component was comprised of a photographic installation titled ‘herbarium imaginaire’ (imaginary herbarium), which featured hand-built pinhole cameras and auxiliary photography equipment used in the production of a photographs, as well as featuring an open-house and presentation of botanical specimens and plant collecting processes that was held in the University of Victoria Herbarium.

Thesis (M.A.)--Trinity Evangelical Divinity School, 1995. / Abstract. Includes bibliographical references (leaves 70-76).

Thesis (doctoral)--Université Michel de Montaigne Bordeaux III. / Includes bibliographical references (p. 536-[549]).

Thesis (M. S.)--Literature, Communication, and Culture, Georgia Institute of Technology, 2009. / Committee Chair: Pearce, Celia; Committee Member: Do, Ellen Yi-Luen; Committee Member: Knoespel, Kenneth; Committee Member: Nitsche, Michael.

Thesis (Ph. D. in ENglish)--Vanderbilt University, 1992. / Includes bibliographical references (leaves 331-344).

Thesis (M.F.A.)--James Madison University, 2010. / Includes bibliographical references.

Thesis (M.A.)--Boise State University, 2009. / Title from t.p. of PDF file (viewed June 24, 2010). Includes bibliographical references (leaves 73-77).