This thesis suggests that a range of major and some minor Scottish nineteenth-century artists’ approaches to figurative art, c.1800-1900, were informed by, and in some cases decisively influenced by, the prevalence of naturalism as fostered by the Trustees’ Academy, Edinburgh. The Trustees’ Academy was selected as a case study for this thesis due to its prominent position in art education as a leading Scottish institution, particularly for the first half of the nineteenth century. Despite scholars noting the far-reaching influence of certain nineteenth-century Scottish artists, such as David Wilkie, discussions of Scottish figurative painting predominantly focus on the personal development of artists’ oeuvres or artists, and grouped generally by style or chronology. Moreover, there is no dedicated published study on the nineteenth-century history of the Trustees’ Academy and its pedagogical methods; similarly, the discussions of Scottish naturalism have formed part of larger contributions related to specific artists and movements. This thesis presents new research from unpublished archive papers related to the Trustees’ Academy in the National Archives of Scotland, and it adopts a contextual and comparative approach by exploring the history of the TA and its pedagogical approaches in relation to wider trends in Scottish art and as relevant in England and abroad. Following discussions established by Duncan Macmillan and John Morrison, it suggests that naturalism developed in Scottish figurative painting as a conceptual motif and as a stylistic tool. The conceptual strand was rooted in poetry, which explored both the ‘Celtic’ and ‘pastoral’, with each being evocative of a romanticised, ‘natural’ way of life. This thesis proposes that naturalism, as a style, was more fully developed in the nineteenth century, in part developed by artists’ pursuit of personal depictions of Scotland’s land and people. Naturalism, as posited by this thesis, was part of Scotland’s wider search, post-Union, for its national identity within its ‘union-nationalist’ framework. By elucidating this new approach in Scottish artists’ depictions of the figure, this study aims to enhance our understanding of Scottish nineteenth-century systems of art education and approaches by artists to the model, and to contribute to research on Scottish national identity in nineteenth-century painting.

The Cabinet of Count Charles Cobenzl lies at the heart of the Hermitage Museum, forming the core of the collection of Old Master Drawings. Yet despite perpetual references to him as ‘grand collectionneur’, no study of Cobenzl’s collecting has ever been undertaken. Nor, in the absence of prosopographical studies of art production or collecting in the Austrian Netherlands in the middle of the eighteenth century, or indeed of other individual collectors, has it been possible to set him in a ‘collecting context’. Bringing together the works of art themselves and Cobenzl’s abundant correspondence, this thesis assesses what he owned, how and why he acquired it, the political and intellectual framework for his collecting and how he perceived the objects in his possession. Looking at Cobenzl’s roles as public figure and private collector, it shows how the latter fits into the context of the former, his collecting rooted firmly in his ambition to revive the economy and the arts of the Austrian Netherlands, in his own ambiguous status and his conflicts with the Governor, Charles de Lorraine. The battle for both real and perceived superiority was played out in many different parts of Cobenzl’s professional and private life, and he used display – the adornment of his home and his person and his collecting – as part of a play for social prestige. Cobenzl used objects as a discrete assertion of both intellectual and aesthetic superiority. This thesis proposes that Cobenzl’s transformation into a collector of drawings was an example of his perspicacious identification of emerging trends that could be turned to advantage, economic or prestigious, public or personal. He was drawn by the status of drawings, perceived as accessible only to those of greater refinement and understanding, as something elite, less accessible than the collecting of paintings. The direct and specific stimulus for his emergence as a collector of drawings lay in the provenance of two large groups of works he was offered, which permitted him to assert a very specific link to the past. It suggests that Cobenzl adopted not only the drawings, but also their histories, to negotiate social position and identity, within the context of his pragmatic utilitarianism. This egocentric study also provides the foundation for a preliminary attempt to create a context for Cobenzl’s collecting of drawings, within his circle, in the Austrian Netherlands overall, and, through analysis of his collecting practices, in the wider European context.

This report studies the specific case of Highland Redevelopment as if would pursue a LEED ND certification. It highlights the major issues observed to fulfill compliance of LEED ND minimum requirements as it is proposed, as well as the importance of achieving this certification as a means to define a performance level of the development. / text

The culture at the ducal court of Sigmund and Albrecht IV of Bavaria-Munich was characterised by a coexistence of traditional as well as novel concepts and interests, which were expressed in the dukes’ artistic, architectural and literary patronage. Apart from examining the orthodox means of aristocratic self-aggrandizement like jousting, clothes, decorative arts and precious, exotic objects, this thesis discusses ‘innovative’ tendencies like the forward-looking application of retrospective motifs, historicising styles as well as the dukes’ genealogy, the ducal government’s imprint on the territory and the aesthetic qualities of the landscape. The study of a selection of buildings and works of art with the methodologies of the stylistic analysis, iconology and social history emphasises the conceptual relations between the ducal court’s various cultural products, which were conceived as ensembles and complemented each other. The elucidation of their meanings to contemporaries and the patrons’ intentions is substantiated with statements in contemporary written sources like travel reports, chronicles and the ducal court’s literary commissions. The principal chapters explore three thematic strands that are idiosyncratic for the culture at the court of Sigmund and Albrecht IV between 1460 and 1508, because they were consistently realised in several buildings and works of art. The first chapter provides an overview of the history of Munich, the Duchy of Bavaria and the Wittelsbach dynasty. The second chapter explores the princely self-conception at the threshold of the Late Middle Ages and the Early Modern Era by considering the application of clothes, decorative arts, knightly skills, exotic animals, and monuments of the patrons’ erudition as means of social communication and differentiation. The third chapter considers the dukes’ awareness as well as ‘manipulation’ of their genealogy and history as a forward-looking means for legitimating and realising their political objectives. It also examines the symbolism and origins of historicising motifs in art and architecture like the Church of Our Lady’s bulbous domes that acted as markers of the ducal sepulchre. The fourth chapter scrutinizes the impact of the dukes’ government and artistic as well as architectural patronage on their territory. It also considers emergence of poly-focal panoramic views from the interiors of castle and palaces into the surrounding countryside by examining the origins of this phenomenon and the perception of the landscape’s aesthetic qualities.

There has been significant interest in BiFeO₃ over the past decade. This interest has focused on the magnetic and electrical properties, which in the long term may prove useful in device applications. This thesis focuses on the synthesis, electrical characterisation, and structural origin of the electrical properties of rare earth doped bismuth ferrite. Two systems have been studied: BiFeO₃ doped with lanthanum and neodymium (Bi₁₋ₓREₓFeO₃ RE= La, Nd). Specific examples have been highlighted focusing on a detailed structural analysis of a lanthanum doped bismuth ferrite, Bi₀.₅La₀.₅FeO₃, and a neodymium analogue, Bi₀.₇Nd₀.₃FeO₃. Both adopt an orthorhombic GdFeO₃-type structure (space group: Pnma) with G-type antiferromagnetism. Structural variations were investigated by Rietveld refinement of temperature dependent powder neutron diffraction using a combination of both conventional “bond angle/bond length” and symmetry-mode analysis. The latter was particularly useful as it allowed the effects of A-site displacements and octahedral tilts/distortions to be considered separately. This in-depth structural analysis was complemented with ac-immittance spectroscopy using the multi-formulism approach of combined impedance and modulus data to correlate structural changes with the bulk electrical properties. This approach was essential due to the complex nature of the electrical response with contributions from different electroactive regions. The structural variations occur due to a changing balance between magnetic properties and other bonding contributions in the respective systems. This results in changes in the magnitude of the octahedral tilts, and A-site displacements giving rise to phenomena such as negative thermal expansion and invariant lattice parameters i.e., the invar effect. More specifically, analysis of Bi₀.₅La₀.₅FeO₃ highlights a structural link between changes in the relative dielectric permittivity and changes in the FeO₆ octahedral tilt magnitudes, accompanied by a structural distortion of the octahedra with corresponding A-site displacement along the c-axis; this behaviour is unusual due to an increasing in-phase tilt mode with increasing temperature. The anomalous orthorhombic distortion is driven by magnetostriction at the onset of antiferromagnetic ordering resulting in an Invar effect along the magnetic c-axis and anisotropic displacement of the A-site Bi³⁺ and La³⁺ along the a-axis. This contrasts with the neodymium analogue Bi₀.₇Nd₀.₃FeO₃ in which a combination of increasing A-site displacements in the ac-plane and decrease in both in-phase and anti-phase tilts combine with superexchange giving rise to negative thermal expansion at low temperature. The A-site displacements correlate with the orthorhombic strain. By carefully changing the synthesis conditions, a significant change in bulk conductivity was observed for a number for Bi₁₋ₓLaₓFeO₃ compositions. A series of Bi₀.₆La0.₄FeO₃ samples are discussed, where changes in the second step of the synthesis result in significantly different bulk conductivities. This behaviour is also observed in other compositions e.g. Bi₀.₇₅La₀.₂₅FeO₃. Changes in the electrical behaviour as a function of temperature are discussed in terms of phase composition and concentration gradients of defects. Activation energies associated with the conduction process(es) in Bi₁₋ₓLaₓFeO₃ samples, regardless of composition, fall within one of two broad regimes, circa. 0.5 eV or 1.0 eV, associated with polaron hopping or migration of charge via oxygen vacancies, respectively. The use of symmetry-mode analysis, in combination with conventional crystallographic analysis and electrical analysis using multi-formulism approach, presents a new paradigm for investigation of structure-property relationships in rare earth doped BiFeO₃.

This practice-based research investigates the relationship between the process of making layered images and narratives of walked journeys. Two such journeys – Franz Schubert’s song cycle, Winterreise, and the autobiographical account of John Clare’s escape from an asylum, Reccolections &c Of Journey From Essex – were examined and compared through a body of drawings, prints and paintings. A study of the construction of the two narratives highlighted their layered composition: Winterreise is experienced as a synthesis of Wilhelm Müller’s poems and Schubert’s musical setting; whilst the full impact of Clare’s account is appreciated in the context of his poetry and biography. The research began with a bookwork, a visual response to the layering of information observed in the song cycle of Winterreise, and led to the formulation of a method of interpreting narratives using Thomas De Quincey’s model of The Palimpsest. De Quincey identified the effacements, amendments and aggregation of material in a palimpsest manuscript with the absorption of experience. In paintings made to interpret the experience of Winterreise, abrading layers of a picture surface elicited the compound characteristics of the narrative: allowing one idea to be seen through another. The fictive identity of the song cycle emerged in a suite of monoprints, through their assembly of layered imagery. Conversely, John Clare’s account is that of an actual journey, physically walked. The research culminated in a focus on the terrain of the two narratives. The metaphorical landscape of Winterreise is contrasted with Clare’s more visceral relationship with earth and trees through a series of paintings based on Journey From Essex. The research discovered new possibilities in the narratives’ meaning through the invention of a visual language to describe both physical nature of walking and a distinctive sense of place.

Prevailing city design in many countries has created sedentary societies that depend on automobile use. Consequently, architects, urban designers, and land planners have developed new urban design theories, which have been incorporated into the Leadership in Energy and Environmental Design for Neighborhood Development (LEED-ND) certification system. The LEED-ND includes design elements that improve human well-being by facilitating walking and biking, a concept known as walkability. Despite these positive developments, relevant research findings from other fields of study have not been fully integrated into the LEED-ND. According to Zuniga-Teran (2015), relevant walkability research findings from multiple disciplines were organized into a walkability framework (WF) that organizes design elements related to physical activity into nine categories, namely, connectivity, land use, density, traffic safety, surveillance, parking, experience, greenspace, and community. In this study, we analyze walkability in the LEED-ND through the lens of the nine WF categories. Through quantitative and qualitative analyses, we identify gaps and strengths in the LEED-ND and propose potential enhancements to this certification system that reflects what is known about enhancing walkability more comprehensively through neighborhood design analysis. This work seeks to facilitate the translation of research into practice, which can ultimately lead to more active and healthier societies. (C) 2016 The Authors. Production and hosting by Elsevier B.V.

Thesis advisor: Christopher J. Hepburn / The Nashoba terrane in eastern Massachusetts comprises Cambrian-Ordovician mafic to felsic metavolcanic rocks and interlayered sediments metamorphosed during the mid-Paleozoic and intruded by a series of dioritic to granitic plutons during the Silurian to earliest Carboniferous. This work comprises two parts discussing the Sm-Nd isotope characteristics and major and trace element geochemistry of the Nashoba terrane: the first discusses the Cambrian-Ordovician metamorphosed units, the second discusses the Silurian-Carboniferous plutons. Part I: The Nashoba terrane in eastern Massachusetts lies between rocks of Ganderian affinity to the northwest and Avalonian affinity to the southeast. Its relationship to either domain was unclear and has been investigated. Major and trace element geochemical data indicate a mix of arc, MORB, and alkaline rift related signatures consistent with an origin of the terrane as a primitive volcanic arc-backarc complex built on thinned continental crust. Newly determined Sm-Nd isotopic data clarifies the original tectonic setting. Amphibolites of the Marlboro and Nashoba Formations have high εNd values (+4 to +7.5) consistent with formation in a primitive volcanic arc with minimal interaction between arc magmas and crust. Intermediate and felsic gneisses have moderate εNd values between +1.2 and –0.75 indicating a mixture of juvenile arc magmas and an evolved (likely basement) source. Depleted mantle model ages of 1.2 to 1.6 Ga indicate a Mesoproterozoic or older age for this source. Metasedimentary rocks have negative εNd values between –6 and –8.3 indicating derivation primarily from an isotopically evolved source (or sources). The model ages of these metasedimentary rocks (1.6 to 1.8 Ga) indicate a source area of Paleoproterozoic or older age. The εNd values and model ages of the intermediate and felsic rocks and metasedimentary rocks indicates that the basement to the Nashoba terrane is Ganderian rather than Avalonian. The Nashoba terrane therefore represents a southward continuation of Ganderian arc-backarc activity as typified by the Penobscot and/or Popelogan-Victoria arc systems and the Tetagouche-Exploits backarc basin in the northern Appalachians. Part II: Between 430 and 350 Ma the Nashoba terrane experienced episodic dioritic and granitic plutonism. Previous workers have suggested a supra-subduction zone setting for this magmatism based on the calc-alkaline nature of the diorites. Previously determined major and trace element geochemical data along with newly determined Sm-Nd isotopic data indicate that a subduction zone was active beneath the Nashoba terrane during the majority of the 430 to ca. 350 Ma magmatism (and likely throughout). Trace element geochemistry indicates a strong arc component in all magmas and suggests that the various Silurian to Carboniferous plutonic rocks of the Nashoba terrane could all have been derived by modification of a slightly enriched NMORB-type source via subduction zone input and crustal contamination. Most of the rocks from this period have intermediate εNd values consistent with contamination of juvenile magmas by an evolved source. The late Proterozoic model ages for most of these rocks suggest the Ganderian basement of the Nashoba terrane as the source of evolved material. One rhyolite from the nearby Newbury Volcanic Complex (of unknown affinity) has a moderately negative εNd value consistent with derivation by partial melting of Cambrian-Ordovician metasedimentary rocks of the Nashoba terrane. This suggests that the Newbury Volcanic Complex formed as the surface expression of mid-Paleozoic Nashoba terrane plutonism. Geochemical and isotopic similarities between the plutonic rocks of the Nashoba terrane and widespread contemporary Ganderian plutonism suggest that the Nashoba terrane remained a part of Ganderia during its transit and accretion to the Laurentian margin. Significantly younger model ages in the youngest granitic rocks indicate that Avalonian crust may have underthrust the Nashoba terrane after 400 Ma and contributed to the generation of these granites. / Thesis (MS) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Earth and Environmental Sciences.

Thesis advisor: Ethan F. Baxter / Samarium/Neodymium (Sm-Nd) garnet geochronology of eclogites from Syros, Greece provides constraints on timing of peak metamorphism while thermodynamic modeling of the same samples allows a comparison of pressure-temperature (P-T) paths. Sm-Nd geochronology of four eclogite samples give ages of 48.8 ± 3.2 Ma (high 147Sm/144Nd = 0.49, n = 6, MSWD = 0.67), 48.1 ± 2.3 Ma (high 147Sm/144Nd = 1.22, n = 4, MSWD = 2.4), 44.7 ± 1.0 Ma (high 147Sm/144Nd = 3.9, n = 6, MSWD = 1.4), and 43.6 ± 1.6 Ma (high 147Sm/144Nd = 1.39, n = 6,MSWD = 2). These garnet growth ages span several million years and are younger than the only other published garnet eclogite ages from the island which use Lutetium/ Hafnium (Lu-Hf) garnet geochronology to place peak metamorphism at ~52 Ma (Lagos et al, 2007). Another eclogite sample dated less precisely yielded an age of 57.7 ± 6.3 Ma (high 147Sm/144Nd = 0.40, n = 10, MSWD = 1.9), significantly older than the other garnets dated in this study. The garnet ages from eclogites presented here suggest that high pressure-low temperature metamorphism, and related garnet growth and dehydration, on Syros lasted ~9 myr, similar to what has been reported for nearby Sifnos Island (Dragovic et al., 2015). Thermodynamic modeling of three samples reveals similar prograde P-T paths despite differences in tectonic setting and chemistry between samples. Water loss from mineral breakdown during the span of subduction zone garnet growth varies between samples from 1.09 to 5.13 weight percent but is greatest for the most ultramafic sample due to chlorite stability permitting greater capacity for water to be carried to depth. P-T paths reach greater maximum pressures (up to 2.42 GPa) than what is reported for Sifnos island (Dragovic et al., 2015) and greater than most previously published pressure estimates for Syros (ie. Okrusch and Bröcker, 1990; Putlitz et al., 2005). / Thesis (MS) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Earth and Environmental Sciences.

Taking as it basis the longstanding alignment of men with an active, eroticised gaze and women with visual spectacle within Western culture, this thesis demonstrates the prevalence of this model during the Victorian era, adopting an interdisciplinary approach so as to convey the varied means by which the gendering of vision was propagated and encouraged. Chapter One provides an overview of gender and visual politics in the Victorian age, subsequently analysing a selection of texts that highlight this gendered dichotomy of vision. Chapter Two focuses on the theoretical and developmental underpinnings of this dichotomy, drawing upon both Freudian and object relations theory. Chapters Three and Four centre on women’s poetic responses to this imbalance, beginning by discussing texts that convey awareness and discontent before moving on to examine more complex portrayals of psychological trauma. Chapter Five unites these interdisciplinary threads to explore women’s attempts to break away from their status as objects of vision, referring to poetic and artistic texts as well as women’s real life experiences. The thesis concludes that, though women were not wholly oppressed, they were subject to significant strictures; principally, the enduring, pervasive presence of an objectifying mode of vision aligned with the male.