<p>This dissertation seeks to position the music of American arranger-orchestrator-composer Conrad Salinger (1901-62) as one of the key factors in creating the larger camp aesthetic movement in MGM film musicals of the 1940s and 1950s. The investigation primarily examines Salinger's arranging and orchestrating practices in transcriptions and conductor's scores of musical numbers from MGM films, though some scores from Broadway shows are also considered. Additionally, Salinger's style is frequently compared to other arrangers, so as to establish the unique qualities of his music that set it apart from his contemporaries from both a technical and an aesthetic standpoint and that made it desirable as an object of imitation. By inquiring into his musical practices' relationship to his subjectivity as a gay person in the era of "the closet," this analysis both proposes and confirms Salinger's importance to the MGM camp aesthetic. With the concept of "musical camp" thus established, the dissertation subsequently demonstrates its capacity to produce new readings of the politics of national belonging and gender that manifest in various musical numbers.</p> / Dissertation

Thesis (M.S.)--Indiana University, 2009. / Department of Earth Sciences, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jeffrey Wilson, Lenore Tedesco, Lin Li. Includes vita. Includes bibliographical references (leaves 92-95).

abstract: The author explores the influences on the interiors of Hollywood films of the late 1920s and 30s. The Exposition des Arts Décoratifs et Industriels Modernes, Paris 1925 is examined in historical context and its influence on design trends internationally. The Hollywood film industry is examined, in general, and Metro-Goldwyn-Mayer and its longtime art director, Cedric Gibbons, in particular. Eight MGM films are discussed and their interiors analyzed for related influence from the 1925 Paris Exposition. The thesis makes a case for the influence of the 1925 Paris Exposition on Cedric Gibbons and the interiors of the MGM films of the late 1920s and 30s. / Dissertation/Thesis / AnnRishell Art Deco database / Masters Thesis Design 2014

At the height of her career, Norma Shearer was the Queen of Metro-Goldwyn-Mayer and the First Lady of the silver screen. She starred in sixty films in twenty-three years, beginning her career as an extra in 1919 before dominating the box office in the 1930s and retiring in 1942. Shearer's husband was the ''Boy Wonder” producer, Irving Thalberg, the man responsible for overseeing many of the studio's greatest successes, although he preferred to remain uncredited for his work. When Shearer and Thalberg married in September 1927, they became Hollywood's golden couple. Throughout their nine-year marriage, rumors circulated that Shearer married Thalberg for the sake of her career, while Thalberg was accused of unfairly casting Shearer in key film roles for which other stars may have been better suited. In interviews that appeared in screen magazines, Shearer denied the validity of this gossip, and sources close to the couple often reported their marriage was full of love and happiness. Although Thalberg did not publicly deny any rumors, he assured bis colleagues that his casting choices did not result from favoritism. Shearer and Thalberg had great influence and power within the film industry, but studio executives felt they both held too much power-especially Thalberg. Using archival research from Los Angeles, California, and information collected from within the state of Florida, this thesis explores the rumors that circulated about Norma Shearer and Irving Thalberg and the couple's methods to reveal the truth. It provides the personal histories of both artists and an examination of the circumstances surrounding one of early Hollywood's most powerful couples. It was their success that brought about the rumors and the attempts to undermine their marriage.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis applies several different remote sensing techniques to data collected from 2005 to 2007 on central Indiana reservoirs to determine the best performing algorithms in estimating the cyanobacterial pigments chlorophyll a and phycocyanin. This thesis is a set of three scientific papers either in press or review at the time this thesis is published. The first paper describes using a curve fitting model as a novel approach to estimating cyanobacterial pigments from field spectra. The second paper compares the previous method with additional methods, band ratio and semi-empirical algorithms, commonly used in remote sensing. The third paper describes using a partial least squares (PLS) method as a novel approach to estimate cyanobacterial pigments from field spectra. While the three papers had different methodologies and cannot be directly compared, the results from all three studies suggest that no type of algorithm greatly outperformed another in estimating chlorophyll a on central Indiana reservoirs. However, algorithms that account for increased complexity, such as the stepwise regression band ratio (also known as 3-band tuning), curve fitting, and PLS, were able to predict phycocyanin with greater confidence.

Les roches mafiques à ultramafiques permettent de tracer les processus de formation et d'évolution des surfaces planétaires. Pour caractériser ces surfaces, la spectroscopie de réflectance visible-proche infrarouge est une technique adaptée de part sa sensibilité aux absorptions du fer présent dans les minéraux. L'objectif de cette thèse est de déterminer la composition modale des roches, ainsi que la composition chimique des minéraux constitutifs.<br />Nous avons développé une procédure basée sur la mise en oeuvre du Modèle Gaussien Modifié (MGM) qui permet de modéliser les spectres pour des assemblages minéralogiques complexes (olivine - orthopyroxène - clinopyroxène). Après validation de cette approche sur des données simples (poudres), la méthode a été appliquée à des roches naturelles complexes (météorites martiennes et roches d'Oman). Fort de l'expertise acquise dans cette étape intermédiaire, des cartographies minéralogiques ont alors pu être réalisées à partir de données spatiales et aéroportées, respectivement pour le volcan Syrtis Major sur Mars et le massif ophiolitique de Sumail (Oman). Nous avons ainsi montré que les laves de l'édifice volcanique présentent un enrichissement en olivine (Fo50-80) et que les pyroxènes, suivant les conditions de mise en place, peuvent avoir des compositions allant des augites aux enstatites. Pour l'ophiolite d'Oman, nous avons mis en évidence et cartographié pour la première fois des variations spatiales organisées de composition modale au sein même de l'unité harzburgitique. Nous avons également caractérisé des variations de composition dans les clinopyroxènes de la zone crustale ayant des implications pétrogénétiques.<br />Ces apports sont essentiels dans la caractérisation et la compréhension des processus pétrologiques inhérents à la formation des surfaces planétaires et devraient stimuler l'utilisation de l'imagerie spectroscopique à des fins géologiques.

Im Rahmen des ZIM-geförderten Vorhabens „Rezirkulationsgebläse-Entwicklung für die Brennstoffzellen-Technologie“ (REZEBT) wurde die Entwicklung eines neuartigen aktiven Wasserstoff-Rezirkulationsgebläses für die Anodenseite einer Brennstoffzelle bis TRL4 vorangetrieben. Das vorgestellte Gebläse besteht im Wesentlichen aus einem schnelldrehenden Turboverdichter, welcher mit einem sogenannten Medienspaltmotor angetrieben wird. Der Medienspaltmotor zeichnet sich dadurch aus, dass er das Medium durch den Spalt zwischen Rotor und Stator fördert, wodurch gänzlich auf dynamische Dichtungen verzichtet werden kann und das Medium selbst zur Kühlung genutzt werden kann. Bauartbedingt kann bei diesem permanent-erregten Synchronmotor (sensorlos) auf eine aufwändige Konstruktion und teure Produktionsprozesse verzichtet werden. Diese Veröffentlichung beschreibt den Prozess und die Herausforderungen der Auslegung sowie den Aufbau des Anodenrezirkulationsgebläses (ARG). Die Funktionsfähigkeit wurde mittels eines Prototypen demonstriert.

The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.