Using Joseph Wright's painting, An Experiment on a Bird in the Air Pump as an inspirational starting point, Shelagh Stephenson's An Experiment with an Air Pump explores the depth of human existence using universal conflicts such as: morals versus ethics, science versus God and right versus wrong. Since the play's premiere in 1998, it has provided a forum for hot button topics such as stem cell research, abortion, and scientific experimentation. The University of New Orleans' production not only presented the issues in the play, it strives to be an example of theatrical excellence, challenge and engage both the company and the audience.

“McLuhan’s Bulbs” argues that the 1960s movement of “light art” is the primary site of negotiation between the discourses of “medium” and “media” in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur-example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan’s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of “medium” into “media” on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural “light ballets,” “intermedia” environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene’s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds. These artists are represented here by Piene’s close friend and colleague, Wen-Ying Tsai. In the spirit of earlier examples of “computer art,” Tsai’s “cybernetic sculptures” used light to announce that art would no longer be defined by its material substrates, anticipating the fluid condition of media that we associate with new media art, and digital technology more broadly, today.

Made available in DSpace on 2016-04-28T14:16:20Z (GMT). No. of bitstreams: 1 Riccardo Vanni Morici.pdf: 935106 bytes, checksum: df71b6fb476933b37f1fe62bd1f1d45e (MD5) Previous issue date: 2014-12-09 / The objective of this dissertation is to understand the role that the Economic Sciences, and, specially the Demand Curve popularized by the British economist Alfred Marshall, had in the process of institutionalization of the Marketing area. Marshall was one of the responsible for the institutionalization of the Economic Sciences, by the end of the XIXth century. We intend to evaluate whether the Demand Curve, one of the elements worked by Marshall in his most important book Principles of Economics vol.I (1890) was indeed present in the pioneering documents in Marketing, participating, even indirectly, in its institutionalization, too. Marketing as academic discipline appeared in the United States, in the first years of the XXth century. It was part of a strong process of professionalization in business since the so-called Second Industrial Revolution, in the second half of the XIXth century, and the emergence of the consumption society. From an eminently empirical origin, without the use of methodologies, and sometimes called distribution, the area sought, in the following years, the use of scientific principles, as a way of legitimacy, besides an improvement in its efficiency. To fulfill the objective of reaching legitimacy, a probable way would have been to incorporate principles and laws of Economics, social science that in one of its applied forms gave rise to studies in Business Administration, from which Marketing is a specialization. When we evaluate the current textbooks of Marketing, it is constant the presence of the Demand Law and its graphical mathematical derivation, the Demand Curve. Therefore, we will focus on the Demand Curve and its links with Marshall and the beginning of Marketing / O Objetivo dessa dissertação é compreender o papel que as Ciências Econômicas, e, especialmente a Curva da Demanda popularizada pelo economista britânico Alfred Marshall, tiveram no processo de institucionalização da área de Marketing. Marshall foi um dos responsáveis pela institucionalização das Ciências Econômicas no final do século XIX. Pretendemos avaliar se a Curva da Demanda, um dos elementos trabalhados por Marshall em seu livro principal Principles of Economics vol. I (1890) esteve, de fato, presente nos documentos pioneiros em Marketing, participando, ainda que indiretamente, também de sua institucionalização. O Marketing, como disciplina acadêmica, surgiu nos Estados Unidos, nos primeiros anos do século XX. Foi parte de um forte processo de profissionalização nos negócios a partir da chamada Segunda Revolução Industrial, na segunda metade do século XIX, e do surgimento da sociedade de consumo. De origem eminentemente empírica, sem o uso de metodologias e, por vezes, denominada de distribuição, a área buscou nas décadas seguintes o uso de princípios científicos como uma forma de legitimação, além de uma melhoria na sua eficiência. Para cumprir o objetivo de atingir a legitimação, um caminho provável teria sido o de incorporar princípios e leis da Economia, ciência social que em uma de suas formas aplicadas deu origem aos estudos em Administração de Empresas, da qual o Marketing é uma das especializações. Quando avaliamos os atuais livros-texto de Marketing, é constante a presença da Lei da Demanda e de sua derivação matemática gráfica, a Curva da Demanda. Dessa forma, nossa pesquisa focará a Curva da Demanda e suas ligações com Marshall e o início do Marketing

“Thank God It’s Only Maneuvers!:” Tennessee and the Road to War offers the reader a comprehensive explanation of the importance of the Tennessee Maneuvers of June 1941 to American preparation for World War II. Beginning with pre-war changes in the infantry, followed by the inception of the Armored Force, and continuing through the testing of both during the 1941 Maneuvers, the reader will gain an appreciation of the significance of these actions to overall American preparation before and during the Second World War. This work also presents a look at how these extensive combat actions influenced the people of the State of Tennessee throughout their existence.

Our goal was to establish some form of interpretation between the analytical work of Carl Jung in depth psychology and the views of Marshall McLuhan regarding the impact of media. It was hoped that such a correlation of contrasting viewpoints would yield additional insight in the study of mass reactions to media. In accomplishing this purpose a “universe” based upon analytical psychology was juxtaposed with an expressly “McLuhanesque” analysis of media and technological effects. After establishing correlations between the major dynamics of the two systems, several functional conclusions were reached. These are: (1) that media have an inescapable influence, (2) that media sustain consciousness as their content, (3) that media take a major role in the functions of the unconscious, (4) that media participate in the integration between internal and external, and (5) that media directly effect the requirements for and suitability of symbolic vehicles. These conclusions are the product of correlations between two apparently dichotomous systems; one developed primarily through analyses of external effectors, and the other, primarily through analyses of internal elements. Since our conclusions are not in disagreement with current views in the field, the outcome of our research is in keeping with our goal of adding to available material dealing with the analysis of mass reactions to media.

Questions surrounding queer subjectivity—including shame, the closet, and celebration—are at the core of my interests as a painter and image maker. Mining the history of religious iconography, including annunciation paintings, scenes of the crucifixion, and other notable works of this ilk, my paintings seek to explore the intricacies of sexuality and the workings of shame and celebration at play in the life of the queer-identified.

The proof set forward in this thesis is that the method of Marshall McLuhan (1911-1980), which he came in the 1970’s to describe as ‘structuralist’, ‘phenomenological’ and even ‘metaphysical’, owes a heretofore unacknowledged debt to Sigmund Freud (1856-1939). Critics have thus far neglected the influence of nineteenth and twentieth century psychology in McLuhan’s work, although a wealth of biographical material supports the argument that McLuhan’s ‘metaphysical’ method is derived as much from psychoanalysis and analytical psychology (C.G. Jung) as from any of McLuhan’s acknowledged predecessors. Returning to the texts from which McLuhan gained his knowledge of psychology, I trace the influence of Freud, Jung and their disciples upon McLuhan, establishing McLuhan’s use of Freudian concepts and terminology in his first book The Mechanical Bride (1951), and his use of the psychoanalytic concepts of the ‘unconscious’, ‘trauma’ and ‘repression’ in the books that came after it. What McLuhan calls the ‘unconscious’ is more often named by him as Logos, ‘acoustic space’ or the ‘media environment’, and I trace the debts that these concepts owe not only to Freud and Jung but to Aristotle, St. Thomas Aquinas, gestalt theory, art theory, Henri Bergson, Pierre Teilhard de Chardin, Wyndham Lewis, Siegfried Giedion, Harold Innis, the French symbolist poets of the late nineteenth century and the British modernists of the early twentieth. Despite his rejection of the Freudian argument, McLuhan, like Freud, conceptualizes pain or trauma as the ‘cause’ of transformations (i.e. processes) in the unconscious; but while for McLuhan, invoking St. Thomas Aquinas and Aristotle, technologies are ‘formal causes’ simultaneous with (or ‘preceded’ by) their effects, for Freud and his modern interpreter Jacques Lacan, trauma is ‘paradoxical’ in structure, presenting as both its own ‘cause’ and ‘effect’. Situating McLuhan in relation to French structuralism, I contrast McLuhan’s concepts of ‘figure’ (as cause) and ‘ground’ (as effects), elaborated in his last book Laws of Media (1988), to the concepts of the ‘signifier’ and the ‘signified’ in Ferdinand de Saussure’s Course in General Linguistics (1916), and critique McLuhan’s ‘tetrad’, the ideograph with which he illustrates media ‘effects’, in relation to the psychoanalytic concept of the signifier elaborated by Lacan. In reply to McLuhan’s maxim that ‘the medium is the message’, I conclude that technologies, insofar as they function as ‘formal causes’, are doubly ‘hidden’: firstly, because, as McLuhan says, they can only be grasped through their effects; and secondly because, as Lacan says, their effects can only be articulated when they manifest as ‘disturbances’ in the symbolic order, i.e., as fantasies of the Other’s jouissance (enjoyment). There are numerous stories about how McLuhan would frustrate his critics by refusing to take a ‘point-of-view’, and in fact his (psychoanalytic) technique of ‘putting on’ the audience as a mask, and his (deconstructivist) manner of changing perspectives as often as necessary, sit oddly with his championing of Logos. A comparison with Freud and Lacan finds McLuhan at a ‘paradoxical’ moment in the history of Western thought, poised between modernism and postmodernism, between structuralism and deconstructivism, and between metaphysics and psychoanalysis. / Thesis (Ph.D.) - University of Adelaide, School of History and Politics, 2008

Studien undersöker utvecklingen av afrikansk-amerikansk religion i början på 1800-talet i USA. Materialet som studien är konstruerad på består av en undersökning gjord på sex olika slavar som blev predikanter och pastorer. Undersökningen i Studien svarar om dessa individers yrkesroll och socialisering var av betydelse för det religiösa engagemanget och dess utveckling. Slavarnas yrkens betydelse undersöks med hjälp av Etzionis teori om tvångsorganisationer och med Durkheims arbetsfördelningsteori. Studien avser att bidra med information om hur afrikansk-amerikansk religion utformades i början av 1800-talet.

Thesis (M.M.S.)--Memorial University of Newfoundland, 2002. / "October 2002." Bibliography: leaves 56-66.

We first demonstrate the importance of the doctrines of the quantity theory and the long-period stationary state in the formulation of Marshall's, Wicksell's, and Keynes' pre-General Theory monetary theories. We analyze the anomalous events characterized by these writers as short-period phenomena. From the perspective built up around the quantity equation and its long-period context, business cycles represent economic convolutions in which the behavioral mechanisms of the long-period break down. We demonstrate the theoretical breakdown; importantly, it is not reflected in the work of these writers that they understood that their explanations of short-period events undermined the long-period theorizing they carefully built. Second, it is argued that Keynes saw the General Theory as a theory of the short-period in contrast to the long-period monetary frameworks. We use the General Theory's criticisms of classical monetary theory to establish this point.