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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
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PIPPIN MACHINEPamulaparthy, Kiran Reddy 01 March 2017 (has links)
The PIPPIN machine describes two simulations which are intended to help students understand the compile and execute process of a simple computer. The first simulator takes a simple mathematical expression as input and then translates it into an assembly language. The second simulator will execute an assembly language program.
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Civilian Landscape: An Ecocritical Examination of Horace Pippin's Depictions of WarHowarth , Paige Elizabeth January 2020 (has links)
Horace Pippin (1888-1946) was a self-taught American artist who served in World War I. While he used art as a therapeutic outlet to process the horrors of war, his work also served as documentation of the environmental scars that were enacted upon the landscape. This paper will examine his war paintings through an ecocritical lens using Pippin’s style, technique, and subject to argue that the artist overlaid his personal war experiences onto his images of battlefields. The resulting perspective will connect the marks left on nature by military techniques with the artistic marks Pippin enacted on his canvases, one mirroring the other. This is specifically noted through the metaphorical and physical scar of trench warfare on the environment, which I argue Pippin emphasized in his painted scenes. I will then compliment this physical scarring with an examination of the therapeutic role painting played for Pippin in processing the emotional scars of war that continued to plague him well after the ceasefire. In this thesis, I will examine Pippin’s style, method, and subject matter, while considering both preliminary sketches and finished paintings. This study of Pippin’s work will culminate with the painting The Ending of the War, Starting Home completed in approximately 1933. It visually represents the moment of German surrender in dark, muted tones with stark brush strokes. The layering of paint and carved frame create a sculptural effect, and it is these marks fashioned by the layered brushwork that mirror the trench scars. Ultimately, this painting stands as one of the strongest examples of Pippin’s work to be considered with an ecocritical perspective. / Art History
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Kant and the Meaning of Freedom in Hegel's Phenomenology of SpiritLeBlanc, Richard 28 September 2011 (has links)
Relying mainly on R. B. Pippin’s and D. Moggach’s interpretative works on Kant and Hegel, the thesis tackles the problem of the reception of Kant by Hegel. It does so by looking into the impact of Kant’s first critique on the Preface, the Introduction and the first part of the section Self-consciousness of the Phenomenology of Spirit. Three Kantian conditions for there to be freedom are identified and shown to be reinterpreted by Hegel in a continuist perspective. These three conditions are spontaneity, reflectivity and negativity which propels and retains the free Kantian subject in the Hegelian becoming of reality.
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Kant and the Meaning of Freedom in Hegel's Phenomenology of SpiritLeBlanc, Richard 28 September 2011 (has links)
Relying mainly on R. B. Pippin’s and D. Moggach’s interpretative works on Kant and Hegel, the thesis tackles the problem of the reception of Kant by Hegel. It does so by looking into the impact of Kant’s first critique on the Preface, the Introduction and the first part of the section Self-consciousness of the Phenomenology of Spirit. Three Kantian conditions for there to be freedom are identified and shown to be reinterpreted by Hegel in a continuist perspective. These three conditions are spontaneity, reflectivity and negativity which propels and retains the free Kantian subject in the Hegelian becoming of reality.
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Kant and the Meaning of Freedom in Hegel's Phenomenology of SpiritLeBlanc, Richard 28 September 2011 (has links)
Relying mainly on R. B. Pippin’s and D. Moggach’s interpretative works on Kant and Hegel, the thesis tackles the problem of the reception of Kant by Hegel. It does so by looking into the impact of Kant’s first critique on the Preface, the Introduction and the first part of the section Self-consciousness of the Phenomenology of Spirit. Three Kantian conditions for there to be freedom are identified and shown to be reinterpreted by Hegel in a continuist perspective. These three conditions are spontaneity, reflectivity and negativity which propels and retains the free Kantian subject in the Hegelian becoming of reality.
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Gatecrashers: The First Generation of Outsider Artists in AmericaJentleson, Katherine Laura January 2015 (has links)
<p>Although interest in the work of untrained artists has surged recently, appearing everywhere from the Venice Biennale to The New Yorker, the art world’s fascination with American autodidacts began nearly a century ago. My dissertation examines how and why American artists without formal training first crashed the gates of major museums and galleries between 1927 and 1940 through case studies on the most celebrated figures of the period: John Kane (1860–1934), Horace Pippin (1888–1946), and Anna Mary Robertson "Grandma" Moses (1860–1961). All three painters were exhibited as “modern primitives,” a category that emerged in the wake of the French naïve Henri Rousseau (1844–1910) but which took on a distinct character in the United States where it became a space for negotiating renewed debates about authenticity in American art as well as pervasive social anxieties over how immigration, race, and industrialization were changing the country. In addition to establishing how the “modern primitive" fit into the pluralistic landscape of American modernism, my dissertation reaches into the present, exploring how the interwar breakthroughs of Kane, Pippin, and Moses prefigured the ubiquity of self-taught artists—often referred to as “outsider” artists—in American museums today.</p> / Dissertation
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Kant and the Meaning of Freedom in Hegel's Phenomenology of SpiritLeBlanc, Richard January 2011 (has links)
Relying mainly on R. B. Pippin’s and D. Moggach’s interpretative works on Kant and Hegel, the thesis tackles the problem of the reception of Kant by Hegel. It does so by looking into the impact of Kant’s first critique on the Preface, the Introduction and the first part of the section Self-consciousness of the Phenomenology of Spirit. Three Kantian conditions for there to be freedom are identified and shown to be reinterpreted by Hegel in a continuist perspective. These three conditions are spontaneity, reflectivity and negativity which propels and retains the free Kantian subject in the Hegelian becoming of reality.
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Identifizierung und Charakterisierung von Genen für die Entwicklung des cerebralen Cortex / Identification and characterisation of genes for the development of the cerebral cortexKirsch, Friederike 02 November 2004 (has links)
No description available.
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Towner Mound: Creating Content and Sparking Curiosity for the Portage County ParksBragg, Chloe E. 07 May 2015 (has links)
No description available.
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Convergences aventureuses : L'Écho des années soixante-dix californiennes sur l'art européen des années quatre-vingt-dix et autres essais sur l'art contemporainFrédéric, Paul 27 November 2008 (has links) (PDF)
Le contexte artistique californien de la fin des années 60 et du début des années 70 constitue un terrain favorable aux investigations d'une nouvelle génération d'artistes, même s'il ne bénéficie pas de réels soutiens logistiques marchands ou institutionnels. L'art conceptuel promu à la même époque par Seth Siegelaub à New York prépare une alternative à l'art minimal. Ce phénomène a déjà son équivalent en Europe. La dématérialisation de l'oeuvre d'art aura des conséquences décisives en Californie, où elle donnera naissance à un art conceptuel dénué de tout dogmatisme marqué par l'influence de fortes personnalités comme Edward Ruscha et John Baldessari. Des artistes originaires de la côté est comme Douglas Huebler, William Wegman, Robert Cumming, du Midwest comme Ruppersberg trouveront de l'autre côté des États-Unis des conditions de travail plus stimulantes. Des Européens comme Bas Jan Ader ou son complice Ger van Elk suivront le même chemin. Leurs oeuvres ne trouveront pas immédiatement sur place une grande visibilité. Mais après une éclipse d'une quinzaine d'années, voici qu'une nouvelle génération d'artistes européens (citons des artistes comme Claude Closky, en France, ou Jonathan Monk, en Angleterre) se penche sur ces grand frères et les place au premier rang de leurs références. À partir d'exemples sélectionnés d'artistes et d'un corpus de textes constitué depuis le début des années 90, que j'ai écrits pour différents catalogues d'expositions, revues, éditeurs, l'objet de cette thèse est de présenter ce dialogue entre les générations et de mettre en évidence certaines convergences malgré la dissemblance des contextes institutionnels et sociétaux.
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