This thesis argues that Walter Burley Griffin's Capitol as a place of popular congregation on a prominent city site had a critical place in his design for Australia's Federal Capital It offers an intensive and critical reflection on the nature, origin and cultural implications of the Capitol in the context of Canberra's subsequent planning and development. The Capitol represented the essential idea from which he constructed an organic design, integrated with the site conditions and following Sullivan's famous dictum Form follows function. It signified organic democracy, 'a grass roots view' which Griffin shared with Sullivan, rather than the 'top down view' of the mandated power of Government. In order to provide an understanding of how these principles informed Griffin's design, Sullivan's and Griffin's published and unpublished writings are critically reviewed for evidence of the convergence of ideas and agreement on fundamental principles. Resonance with these principles was found in the Competition Drawings and the Original Report entered in the Competition by Griffin. The analysis also drew upon an extensive critical review of sources such as Marion Mahony Griffin's Magic of America, parliamentary papers, archival records, personal papers, and the published literature of Australian and American scholars on Sullivan and Griffin. Sources pertaining to historical movements in architecture and town planning and narratives on architecture for government also formed part of this critical review. The conclusion is that when the desires of the Commonwealth Government were focused by its chief architect on Griffin's Capitol site as the place which should be occupied by Parliament House, the nadir was reached for Griffin's original concept. The vision supplanted, the unravelling of Griffin's organic city plan, with its connections with the ideas of Louis Sullivan, began. Other ideologies began to be introduced with other relationships of form and function, and cost to the organism which was Griffin's city .

This thesis argues that Walter Burley Griffin's Capitol as a place of popular congregation on a prominent city site had a critical place in his design for Australia's Federal Capital It offers an intensive and critical reflection on the nature, origin and cultural implications of the Capitol in the context of Canberra's subsequent planning and development. The Capitol represented the essential idea from which he constructed an organic design, integrated with the site conditions and following Sullivan's famous dictum Form follows function. It signified organic democracy, 'a grass roots view' which Griffin shared with Sullivan, rather than the 'top down view' of the mandated power of Government. In order to provide an understanding of how these principles informed Griffin's design, Sullivan's and Griffin's published and unpublished writings are critically reviewed for evidence of the convergence of ideas and agreement on fundamental principles. Resonance with these principles was found in the Competition Drawings and the Original Report entered in the Competition by Griffin. The analysis also drew upon an extensive critical review of sources such as Marion Mahony Griffin's Magic of America, parliamentary papers, archival records, personal papers, and the published literature of Australian and American scholars on Sullivan and Griffin. Sources pertaining to historical movements in architecture and town planning and narratives on architecture for government also formed part of this critical review. The conclusion is that when the desires of the Commonwealth Government were focused by its chief architect on Griffin's Capitol site as the place which should be occupied by Parliament House, the nadir was reached for Griffin's original concept. The vision supplanted, the unravelling of Griffin's organic city plan, with its connections with the ideas of Louis Sullivan, began. Other ideologies began to be introduced with other relationships of form and function, and cost to the organism which was Griffin's city .

Thesis (Ph. D.)--Washington University, 1977. / Includes bibliographical references (leaves 253-258). Also issued in print.

Thesis (M.S.)--University of Wisconsin--Madison, 1961. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [119]-[123]).

Thesis (Ph. D.)--Washington University, 1977. / Includes bibliographical references (leaves 253-258).

Shale samples from three Upper Pennsylvanian assemblages overlying the Danville (No. 7) Coal Member in Sullivan County, Indiana were compared with respect to miospore content. Eight samples from each of the Hawthorn, Dugger and Minnehaha mines were chemically macerated and analyzed for pollen/spore content. A total of 108 species assigned to 40 genera were recovered. A comparison of the palynoflora from the three assemblages reveals 17 genera and 32 species found in common. The palynoflora is dominated by the following four genera: Lycospora, Laevigatosporites. Punctatisporites and Punctatosporites. Genera of secondary importance include: Spinosporites, Crassispora, Calamospora, Latosporites, Cycloqranisporitesand Thymospora. These findings are similar to other palynofloras of comparable age from the United States and Europe.Abundance data at each site from the three localities were analyzed using cluster analysis. This was achieved employing the Baroni-Urboni-Buser correlation coefficient (complete linkage, furthest neighbor strategy). This method uses presence-absence data to indicate association between sites. Results revealed few taxonomic differences within or between mines. The uniformity in palynoflora observed between all sites is indicative of contemporaneous deposition which represents a regional flora. Percentage of miospore components assigned to previously established plant affinities were arranged by major plant groups. This allowed indirect comparison with megaflora from the same area as reported by Pheifer (1979). Results were found to be complementary and corroborative. Data from the three mines revealed an abundance of arborescent lycopods, ferns and sphenopsids with few gymnosperms. This is suggestive of current paleoenvironmental models which indicate a wet swamp regime.It is likely that the three areas in this study represent a small portion of a vast freshwater swamp located on the eastern periphery of the Illinois Coal Basin. This interpretation is substantiated by species composition, uniformity in palynoflora and absence of species associated with saline environments. / Department of Biology

In response to Kleiger's (this issue) unique invitation to interpret a Rorschach case study from multiple psychoanalytic perspectives, I was asked to present a Rorschach interpretation from Sullivan's interpersonal psychodynamic theory (IPT) perspective. In reviewing the literature, I found no theoretical papers specifically addressing IPT Rorschach interpretation. As such this article will be an initial attempt to integrate the Rorschach with IPT. I will present a brief overview of some of Sullivan's most relevant IPT concepts, suggest where to find them on the Rorschach Comprehensive System (CS), and apply IPT Rorschach variables to the case of Ms. B. Special attention will be given to how the IPT model aids in the dynamic understanding of the Ms. B.'s internal experience and personality functioning; what formal features of the Rorschach lend themselves to key constructs in the model; and how the IPT model addresses the referral questions and adds to an understanding of treatment issues, including likely transference/countertransference themes.

Thesis advisor: Martin Bridgeman / We begin this dissertation by studying the relationship between the Poincaré metric of a simply connected domain Ω ⊂ ℂ and the geometry of Dome(Ω), the boundary of the convex hull of its complement. Sullivan showed that there is a universal constant K[subscript]eq[subscript] such that one may find a conformally natural K[subscript]eq[subscript]-quasiconformal map from Ω to Dome(Ω) which extends to the identity on ∂Ω. Explicit upper and lower bounds on K[subscript]eq[subscript] have been obtained by Epstein, Marden, Markovic and Bishop. We improve upon these upper bounds by showing that one may choose K[subscript]eq[subscript] ≤ 7.1695. As part of this work, we provide stronger criteria for embeddedness of pleated planes. In addition, for Kleinian groups Γ where N = ℍ³/Γ has incompressible boundary, we give improved bounds for the average bending on the convex core of N and the Lipschitz constant for the homotopy inverse of the nearest point retraction. In the second part of this dissertation, we prove an extension of Basmajian's identity to n-Hitchin representations of compact bordered surfaces. For 3-Hitchin representations, we provide a geometric interpretation of this identity analogous to Basmajian's original result. As part of our proof, we demonstrate that for a closed surface, the Lebesgue measure on the Frenet curve of an n-Hitchin representation is zero on the limit set of any incompressible subsurface. This generalizes a classical result in hyperbolic geometry. In our final chapter, we prove the Bridgeman-Kahn identity for all finite volume hyperbolic n-manifolds with totally geodesic boundary. As part of this work, we correct a commonly referenced expression of the volume form on the unit tangent bundle of ℍⁿ in terms of the geodesic end point parametrization. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Mathematics.

Gilbert and Sullivan’s operettas continue to enjoy popularity worldwide, in both amateur and professional settings. Their 1884 collaboration Princess Ida¸ however, remains a contested work regarding its representation of women and feminism. In this thesis, I argue that Gilbert and Sullivan were attempting to satirize men’s reactions to feminism, rather than feminism itself. This thesis situates Princess Ida within its Victorian social context to determine to what extent a proto-feminist interpretation of the operetta is valid. Princess Ida is based on, and a parody of, Tennyson’s The Princess (1847). Tracing the chronology of Ida’s story from its beginnings in Tennyson’s poem through to Gilbert and Sullivan’s operetta clarifies what Gilbert chose to satirize in his libretto. Victorian masculinity emerges as a central theme in Princess Ida, and the complexities of Gilbert and Sullivan’s representations of men in their operetta informs my discussion of proto-feminism. This thesis historically contextualizes Princess Ida and examines the operetta through the lens of feminist critiques of Western art music.

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