This dissertation provides a new examination of the figure of Cato within Lucan's epic poem Bellum Civile by focusing on the theme of memory within the epic and its interaction with Cato's character specifically. It argues that one may read the epic as possessing the rhetorical function of a literary funeral monumentum, the purpose of which is to retell the death of Rome in the Roman Civil War, mourn its passing, and yet in so doing simultaneously preserve its memory so that future generations may remember the liberty Rome once possessed and may be influenced by that memory to action. In this reading, the epic itself--like Cato within the epic--offers a counter-memory of what the civil wars meant to Rome in competition with that promoted by Caesar and his descendants. This study centers upon the speech of Cato found in Book 2 in which Cato states his two major goals for participation in the civil war: successfully commemorate a perishing Roma et Libertas and transform his own defeat into a self-sacrifice that is beneficial to his fellow Romans. The opening chapters place Cato's speech into its larger context by arguing that it is an integral part of a narrative arc spanning most of the first two books. The image of national suicide within the epic's proem reveals that gaining victory in civil war is what assures self-defeat. This economy of universal defeat pervades Lucan's epic and stands as the greatest threat facing Cato in the successful achievement of his goals. Lucan also shows that the very nature of civil war poses a threat to the viability of memory, as evidenced by scenes in which Roman soldiers and citizens forget and abandon the social ties that bind their identity to that of Rome. Cato's speech illustrates that his chosen weapon against the epic's economy of defeat will be the power of memory. A careful analysis of the speech reveals that Cato's desired goal of enacting a self-sacrifice--a nod to his future suicidal martyrdom at Utica--can transform him into a monumentum of `Old Rome' (the pre-Caesarian Rome that still retained its libertas) which will in turn ensure his second goal of achieving funeral commemoration of what Rome used to be--and could still be again. The closing chapter examines key passages in Book 9 in which the power of memory is explicitly connected with renewal even in the midst of defeat, suggesting that Cato's (and the epic's) mission to preserve memory can be ultimately successful. This reading of Lucan's Cato has the benefit of showing that his success need no longer be based mainly upon whether or not he can be a virtuous sapiens but also upon what he can actually do for future generations of Romans by preserving the powerful memory of a Rome that still possessed her freedom from the Caesars.

Longitudinal profile, channel cross-section geometry, and depositional patterns of the Green River in its course through the eastern Uinta Mountains are each strongly influenced by river -level geology and tributary sediment delivery processes. We surveyed channel cross sections at 1-km intervals, mapped surficial geology, and measured size and characteristics of bed material in order to evaluate the geomorphic organization of the 70- km study reach. Canyon reaches that are of high gradient and narrow channel geometry are associated with the most resistant lithologies exposed at river level and the most frequent occurrences of tributary debris fans. Meandering reaches that are characterized by low gradient and wide channel geometry are associated. with river-level lithology that is of moderate to low resistance and very low debris fan frequency. The channel is in contact with bedrock or talus along only 42 percent of the bank length in canyon reaches and there is an alluvial fill of at least 12 m that separates the channel bed from bedrock at three borehole sites. The influence of lithology primarily operates through the presence of resistant boulders in debris fans that are delivered by debris flows from steep tributaries. The depositional settings created by debris fans consist of (1) channel-margin deposits in the backwater above the debris fan, (2) eddy bars in the zone of recirculating flow below the constriction, and (3) expansion gravel bars in the expansion below the zone of recirculating flow. These fan-eddy complexes are the storage location of about 70 percent. by area, of all fine- and coarse-grained alluvium contained within the canyons above the low-water stage. Immediately adjacent meandering reaches contain an order of magnitude more alluvium by area but have no debris fan-created depositional settings. This study also describes the flood-plain and terrace stratigraphy of the Green River in the eastern Uinta Mountains and changes due to the operations of Flaming Gorge Dam, upstream from the study area. These landforms are vertically aggrading deposits that are longitudinally correlative throughout the 65-km study reach. The suite of surfaces identified includes a terrace that is inundated by rare pre- or post-dam floods, an intermediate bench that is inundated by rare post-dam floods, and a post-dam flood plain that is inundated by the post-dam mean annual flood. Analysis of historical photographs in the study reach shows that both the intermediate bench and post-dam flood plain are landforms that were not present in any of the 6 years for which photographs were examined between 1871 and 1954. Photographic replications also show that gravel bars consisting of bare gravel in 1922 and earlier photographs are now covered by fine-grained alluvium and vegetation . Decreased gravel-bar mobility is indicated by estimates of critical and average boundary shear stress. Comprehensive surficial geologic mapping of the study area indicates that the bankfull channel has decreased in width by an average of about 20 percent.

This dissertation is a theoretical and historical account of urban sculpture in the U.S. following World War II. The title refers to an example set by corporations during the 1940s and 1950s for commissioning modernist office towers and abstract sculpture that fundamentally shaped the early history of a modern public art in the U.S. This corporate model was taken up by American cities during the 1960s in the construction of new civic centers that combined large-scale, abstract sculpture with glass and steel city office buildings. Federal funding further encouraged new sculpture commissions, which proliferated across the U.S. Emerging theories about visual communication impacted both urban planning and the corporate image during this period, as urban renewal reshaped cities for maximum legibility and corporations commissioned designers to create new trademarks. I argue that these twin aims conditioned the planning, production, and distribution of urban sculpture, whose status oscillated between the landmark within urban planning and the trademark of corporate America, between a concrete city element and an abstract symbol. I tell the history of post-war urban sculpture through three case studies. In the first case study, I examine three significant sculpture commissions for urban building lobbies realized by the architects Skidmore, Owings & Merrill during the 1950s: Harry Bertoia’s screen (1954) at the Manufacturers Trust Company Bank on New York’s Fifth Avenue; Richard Lippold’s Radiant “I” (1958) at the Inland Steel Company Headquarters Building in Chicago; and Alexander Calder’s mobile (1959) for the Chase Manhattan Bank branch at 410 Park Avenue. In the second case study, I trace the parallel trajectories of urban renewal in downtown Grand Rapids, Michigan and Alexander Calder’s fountains and stabiles made for World’s Fairs and international expositions, which intersected in La Grande Vitesse (1969), the National Endowment for the Arts’ first sculpture commission for its Art in Public Places program. In the third case study, I look at three sculptures produced by the fabricator Lippincott Inc., either as a series or in multiple editions, during its first five years of operation: Tony Rosenthal’s cubes (1967-68), Barnett Newman’s Broken Obelisk (1963-67), and Claes Oldenburg’s Geometric Mouse (1969-71). / text

Conflictsthattookplacealmostthree centuriesapart – respectivelyinlatemedievalSpainandnineteenth-century South Africa – are described in some detail. The Spanish example offers insight into the effect of the conflictduringtheQonquista,followedbyaperiodofArabruleintheIberianpeninsula,which was terminated by the Reconquista of southern Spain by the Christians. The focus in this regard is the violence and counter violence manifested in the formative stages of the Great Mosque at Córdoba and its transformation into the church of Santa Maria. The behaviour of the Muslims and Christians at the sacred site at Córdoba during the conquest and the reconquest, through many centuries, became a theatre in which conflictingreligiousemotionswerearousedandeventuallyresultedinthepartialdestruction of a magnificentMuslimedifice.WhathappenedatCórdobaisanobjectlessontoallmulticultural societies in which the dominant group avenges itself upon the cultural artefacts of a subjected group. This is a common occurrence in the history of architecture, and fitsthebasicpremiseofRenéGirard’s theory of “mimetic desire” that states that one group desires what another desires. As the envy becomes more intense, “mimetic rivalry” with a model results: admiration is transformed into violent conflictthatisonlydiffusedifascapegoatisfound.InamodificationofGirard’sthesisitispostulatedthat in the end the model – taken to be a building or monument – is most often demolished or vandalised as if serving as the scapegoat for the aggressor’s animosity. In more benign cases desire results in the appropriation of the model, but with modificationstoitsidentity. Alternatively,anew model,coexisting with the original, is created by the vanquished to rival the existing model, as happened at the site of Blood River, Natal. In colonial South Africa a monument was erected in 1947 and a more elaborate version of a combat “laager” inaugurated in 1977 to commemorate the battle which took place there on 16 December 1838 between the Voortrekkers and the Zulus, in which the former were victorious. In response, the Zulus established the Ncome Monument and Museum to the east of the Voortrekkers’ monument, officiallyopenedinNovember1999,whichoffersareinterpretationofthe1838battle,celebrates Zulu culture in general and calls for the development of empathy across the cultural and ethnic divide of the former combatants. Ironically, the layout suggests the historical Zulu combat formation.

The purpose of this study is document traditional plant use of the Dakota and Lakota Sioux as it pertains to Pipestone National Monument. Included in this report are discussions of three periods of cultural landscapes, traditional and contemporary plant use, management recommendations, a bibliography, and resource and legislative appendices. These findings are submitted to NPS as a basis for additional research, consultation, and management of the natural and cultural resources at the monument.

This study is one of the responses by the National Park Service to requirements in NAGPRA. The study was commissioned by the NPS Applied Ethnography Program in Washington, D.C., to identify individuals and tribes affiliated with the objects of cultural patrimony, sacred objects, or unassociated funerary objects at five NPS units, review those unit summaries, assist park or center staff in initiating consultation regarding those objects, and conduct a case demonstration consultation for Pipe Spring National Monument. The project was administered under Cooperative Agreement #8100 -1 -0001 between the Western Archeological and Conservation Center, National Park Service and the University of Arizona. While this study was specific to NAGPRA- related issues, the NPS does stipulate in its Management Policies (1988) that consultation with Native Americans will occur with regard to cultural resource issues. NAGPRA is not the only consultation arena the NPS is currently involved in with Native Americans.

This presentation highlights the changing cultural landscape of Pipestone National Monument as well as important findings from the Pipestone National Monument Cultural Affiliation Study.

Thesis (Ph. D.)--University of Arizona, 1995.

"June 2000." / Includes bibliographical references (p. 61-62).

"June 2000." / Includes bibliographical references (p. 41-42).