Thesis (M.S.)--University of Wisconsin--Madison, 1980. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 61-66).

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This dissertation uses hydrography as a lens to examine the way the United States Navy has understood, used, and defined the sea during the nineteenth century. It argues, broadly, that naval officers and the charts and texts they produced framed the sea as a commercial space for much of the nineteenth century, proceeding from a scientific ethos that held that the sea could be known, ordered, represented, and that it obeyed certain natural laws and rules. This was a powerful alternative to existing maritime understandings, in which mariners combined navigational science with folkloric ideas about how the sea worked. Hydrography proved an important aspect of the American maritime commercial predominance in the decades before the Civil War. By the end of the century, however, new strategic ideas, technologies, and the imperatives of empire caused naval officers and hydrographers to think about the sea in new ways. After the Spanish-American War of 1898, the Navy pursued hydrography with increased urgency, faced with defending the waters of a vast new oceanic empire. Surveys, charts, and the language of hydrography became central to the Navy's war planning and war gaming, to the strategic debate over where to establish naval bases, and, ultimately, it figured significantly in determining the geography of the American empire. Throughout, however, the sea continued to be a dynamic, powerful force in itself that flouted hydrographers' and naval officers' attempts to represent and control it. Charts and the cartographic process that produced them are full of meaning. By placing hydrography and the sea environment at the center of the narrative, historians can better understand the role of science, knowledge, and cartographic representations in expanding American commercial and naval power over the ocean. / History

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...