The Black Mountain phase of the Mimbres Mogollon cultural tradition, dating from around A.D. 1150 through A.D. 1300, is perhaps the most poorly understood time period of the entire Mimbres sequence. During that time, people inhabiting the Mimbres Valley of southwestern New Mexico adopted new ceramic sequences, ceased producing Black-on-white pottery, adopted new architectural styles, and possibly changed mortuary patterns. These changes have been interpreted in a multitude of ways that can be reduced to models of continuity and discontinuity. Unfortunately, these models and interpretations rest on a very limited set of data that comes largely from three moderately tested Black Mountain phase sites in the Mimbres Valley proper: Montoya, Old Town, and Walsh. Thus, arguments for or against either model based on the presence of absence of particular traits are necessarily limited by the modest data from these three sites. It was in this context of opposing interpretations that other aspects of the life ways of Black Mountain phase peoples were analyzed. Specifically, I look at the ways lithic and ceramic technologies were organized to assess if the changes that occurred during the Black Mountain phase also represent changes in the ways social systems were organized. I believe that while certain aspects of material culture such as shifts in ceramic or architectural style are easily changed whereas the social mechanisms responsible for their production are more resistant. The results of these analyses demonstrate that there are more similarities than differences with respect to the manner in which technologies were organized during the time periods traditionally accepted as representing “Mimbres” manifestations and the Black Mountain phase. Thus, the social mechanisms dictating the processes of production, distribution, transmission, and reproduction appear to be similar from the Pithouse periods through the Black Mountain phase. This research adds to the growing body of evidence that suggests continuity between the Classic period inhabitants of the Mimbres area and later Black Mountain phase peoples. / text

Thesis (M.A.)--University of Wisconsin--Madison, 1973. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Lava flows of Tertiary-Quaternary age occur in Enoch Valley, Upper Valley, and Slug Valley in southeastern Idaho. The basalts in Upper Valley and Enoch Valley contain olivine (Fo69 to Fo37), plagioclase (An62 to An39), augite and Fe-Ti oxides. The lava in Slug Valley lacks plagioclase, but contains sanidine (Or70 to Or56) with a trace of biotite and amphibole, and thus, has been termed alkali trachyte. Black Mountain, on the eastern side of Bear Lake, northeastern Utah, is capped by basalt. Minerals present include olivine (Fo83 to Fo72), plagioclase (An71 to An53 J, augite, and magnetite. Chemically, the basalt of Enoch Valley is comparable to olivine tholeiite of the Snake River Plain, as it contains olivine and hypersthene in the norm. The basalt of Upper Valley contains a greater amount of Si02 and K2O and less MgO than tholeiite of the Snake River Plain. This basalt contains normative quartz and hypersthene and is classified as tholeiite. The presence of nepheline and olivine in the norm of the basalt from Black Mountain indicates that it is an alkali-olivine basalt. The lava from Slug Valley contains high K and Mg, moderate Si, and low Al and Na. It is similar to lamproites of orenditic affinity. The temperatures of crystallization calculated from co-existing olivine and pyroxene, range from 1,015 degrees C to 996 degrees C for the valley basalts, and range from 1,021 degrees C to 1,002 degrees C for the alkali trachyte. The temperature calculated for the basalt sample from Black Mountain is 1,015 degrees C. The temperatures estimated using coexisting magnetite and ilmenite range from 1,021 degrees C to 978 degrees C for the valley basalts. The proposed origin of the Enoch Valley basalt is that it is a direct product of partial melting of a mantle of pyrolite composition. Fractionation, during ascent of the magma, could possibly have produced the Upper Valley lava. The basalt on Black Mountain was possibly derived as the result of partial melting of a pyrolitic mantle as well, but due to differences in mineralogy and normative constituents, it seems to be unrelated to the valley basalts. The origin of the Slug Valley alkali trachyte is uncertain. This lava may have been generated from a mica peridotite mantle and is possibly related to the Leucite Hills lava in Wyoming.

Believing that one thing was real only if it corresponded with others, Ray Johnson highlighted the connections between himself and famous artists such as Marcel Duchamp. The ways the two artists thought and how they shaped their lives corresponded like two elements in Johnson's collages. My study of Johnson through the lens of Duchamp allows me to discuss two highly intellectual and creative artists. I address the few direct interactions between Johnson and Duchamp as well as their mutual acquaintances who served as conduits of information, particularly in Johnson's direction. This dissertation focuses on Johnson's creative engagement with Duchamp and begins to explicate the depth and richness of that interchange. Each chapter focuses on several key works by Johnson, ranging from some of his earliest collages to what was perhaps the last work he completed. Through these works I explore the correspondences between the two artists outside of their individual works, with each chapter looking at one major theme including language, the viewer, performance, and identity. I outline the relationship between Duchamp and Johnson, using the selected collages to demonstrate how the synergy of the two artists is manifested in Johnson's work. My work sheds light on the enigmatic Johnson who has only very recently come under critical and historical investigation. By looking at Duchamp from this unique perspective I am also contributing to our understanding of one of the most influential artists of the twentieth century. Most artists after Duchamp felt that they worked in his shadow but Johnson's relationship to the elder artist was different. He seems to have understood Duchamp better than almost anyone and therefore was able to selectively choose his inheritance--defining himself alongside and against Duchamp. / text

Two basalt flows and an andesite fissure eruption occur in the Rozel Hills - Black Mountain area in Box Elder County, Utah. Both basalt flows are aphanitic, and contain olivine, plagioclase, augite, and opaque oxides. They may be distinguished both chemically and on the basis of their textures. Unit 2 basalt is finer grained, and appears to be associated with a fault in the Black Mountain area. Chemically, it is similar to high-iron lavas in the Craters of the Moon, Idaho area. It has higher alkali, total iron, and titanium contents that Unit 1 basalt. Unit 1 basalt is similar to other tholeiitic basalts in the Basin and Range province. It is coarser-grained and has higher silicon, magnesium, aluminum, and calcium contents than Unit 2 basalt. While the basalts have characteristics of alkali-olivine basalts, such as absence of calcium-poor pyroxene, and a high alkali to silica ratio, both units are hypersthene- and olivine-nonnative and classified as olivine tholeiites. Subsurface basalt in the area appears to represent both lava types, but extensive alteration makes comparison difficult. Andesite from the area is aphanitic, and contains plagioclase, orthopyroxene, and opaque oxides. Temperatures of equilibration calculated from co-existing magnetite and ilmenite range f rom 1148°C to 745°C for basalt. Temperatures calculated from co-existing olivine and clinopyroxene range from 1009°C to 994°C. While the two basalt units cannot be related by fractional crystallization at surface conditions, some parent - daughter relations are likely within each unit, and the andesite is most likely a differentiation product of Unit 1 basalt. Partial melting of pyrolite and spinel lherzolite mantle compositions to produce Unit 1 and Unit 2 basalts was investigated. Since no unique temperature and pressure of equilbration for these melts and residu~l material from each mantle type was found, it is concluded that partial melting of a mantle of pyrolite or spinel lherzolite composition did not produce these lavas. Unit 2 basalt may be derived from Unit 1 basalt by fractionation of high pressure (8 kb) phases. This mechanism, similar to that proposed for the Craters of the Moon - Snake River Plain system, may account for an evolved basalt (Unit 2) with a lower silica content than a less differentiated basalt (Unit 1).

This oral interpretation thesis analyzes the impact that three poets from Black Mountain College had on contemporary American poetry. The study concentrates on the lives, works, poetic theories of Charles Olson, Robert Creeley, and Robert Duncan and culminates in a lecture recital compiled from historical data relating to Black Mountain College and to the three prominent poets.

Poems to the Sea: Rather than narrating or describing a work of visual art, the poems that form this collection show an accumulation, juxtaposition and realignment of material ranging from art historical detail and critique to a more personal, location specific response to works viewed in galleries and museums. Many of the poems engage with non-representational artworks and question how best to reflect, translate or expand upon their transformative effects. The first section, ‘Museum Notes’, explores Charles Olson’s open field poetics by giving artists and writers a conversational voice. ‘Sound Fields’, the second section, responds to individual works of art and reflects a systems-based approach. The authorial voice within ‘Poems to the Sea’, the third section, is that of an artist involved in making a series of palimpsest drawings to capture a sense of place as drawing and writing overlaps and intertwines. Painterly Poetics: Charles Olson, Robert Creeley, Cole Swensen: This thesis explores three American poets from successive generations to examine three related types of engagement with visual art. As literary models that have informed my own poetic practice, Charles Olson, Robert Creeley and Cole Swensen have theorized their own writing process to consider ways of using language to enhance the transmission and transcription of their visual stimuli and ideas. All three are interested in visual art as a model for the writing process: as a means of seeing, thinking and perceiving. After an introduction that surveys relations between verbal and visual art, a chapter is devoted to each of the three poets. In the opening and longest chapter, examples of Olson’s writing are compared to the approach of several Abstract Expressionist painters who contributed to the culture of experimentation and spontaneity that emerged under Olson’s leadership at Black Mountain College in the early 1950s. Following a discussion of Olson as a uniquely influential figure, the chapter on Creeley considers the role of visual art in his poetics. Swensen’s writing is subsequently explored for its extension of the Black Mountain legacy: how she builds upon established critical methods to achieve what she calls ‘a side-by-side, walking-along-with’ relationship between the poem and the artwork.

This thesis shall address itself to the following: it shall concern itself with a definition of the phenomenon, the directions taken in the philosophical statements made on Conceptual Art, an investigation into the design of the forms used within the movement, and finally, the conceptual movement's historical placement will be considered along with its antecedents in the earlier years of the twentieth century.

Dans cette thèse, nous étudions la question du traducteur du corpus de Jean Damascène en arabe. Deux noms sont proposés : Antoine, higoumène du Monastère Saint-Siméon-le-jeune (10e siècle) et ‘Abdallah ibn al-Faḍl (11e siècle). La découverte d’un traité supplémentaire, le Contre les Nestoriens 1, ignoré de nos prédécesseurs s’est avérée être la clef pour résoudre cette question. C’est pourquoi nous nous sommes résolus de faire une édition critique de ce traité et du deuxième traité Contre les Nestoriens 2, tous deux traduits par le même traducteur et portant sur le même sujet. Dans l’introduction qui précède l’édition, nous consacrons une première partie au contexte historique de cette traduction, c’est-à-dire aux circonstances du passage d’Antioche du grec à l’arabe. Dans la deuxième partie, nous faisons un état de la recherche sur la traduction de Jean Damascène en arabe. Puis, nous fournirons une nouvelle description des manuscrits qui contiennent au moins un des deux traités Contre les Nestoriens et soulignerons leur apport à la solution de la question posée. Après avoir identifié le traducteur et les œuvres qu’il a traduites, nous essayerons de recueillir quelques informations biographiques sur notre traducteur à partir des colophons. Nous étudierons également la postérité du texte avant de laisser place à l’édition critique. L’ensemble est complété par plusieurs index. / In this thesis, I would like to study the question about the translator of John Damascene’s corpus Greek into Arabic. Two names were suggested by scholars: Antony, Abbot of the Monastery Saint-Symon-the-Young (10th century) and ‘Abdallah ibn al-Faḍl (11th century). The discovery of a second Against the Nestorians was the key to solve this question. For this reason, I decided to make a critical edition of the two Against the Nestorians because the translator and the subject are the same, willing to publish the whole translation in the future. In the introduction that precedes the edition, I talked about the historical context and the events that leaded to the translation activity in Antioch (10th /11th century). In the second chapter, I resumed scholars’ conclusions on the Arabic translation of John Damascene’s works. Then, I gave a new description of the manuscripts that have at least one of the two Against the Nestorians and explain how that helped me identifying the translator. After identifying the translator and the works he translated, I collected some new bibliographical information about him from the colophons. I also studied the posterity of the translation. In the third chapter, I tried to find a Greek manuscript similar in content to the Arabic translation. I presented also the way the translator translates from Greek into Arabic. Then, I divided the different manuscripts into groups and draw the stemma. Those introductory elements are followed by the edition, and the whole work is completed by some index containing mostly references to theological and philosophical vocabulary in the edition.

Rex Stout maintained his popular readership despite the often controversial and radical political content expressed in his detective fiction. His political ideals often made him many enemies. Stances such as his ardent opposition to censorship, racism, Nazism, Germany, Fascism, Communism, McCarthyism, and the unfettered FBI were potentially offensive to colleagues and readers from various political backgrounds. Yet Stout attempted to present radical messages via the content of his detective fiction with subtlety. As a literary traditionalist, he resisted using his fiction as a platform for an often extreme political agenda. Where political messages are apparent in his work, Stout employs various techniques to mute potentially offensive messages. First, his hugely successful bantering Archie Goodwin-Nero Wolfe detective duo—a combination of both the lippy American and the tidy, sanitary British detective schools—fosters exploration, contradiction, and conflict between political viewpoints. Archie often rejects or criticizes Wolfe's extreme political viewpoints. Second, Stout utilizes the contradictions between values that occur when the form of detective fiction counters his radical political messages. This suggests that the form of detective fiction (in this case the conventional patterns and attitudes reinforced by the genre) is as important as the content (in this case the muted political message or the lack of overt politics) in reinforcing or shaping political, economic, moral, and social viewpoints. An analysis of the novels The Black Mountain (1954) and The Doorbell Rang (1965) and the novellas "Not Quite Dead Enough" and "Booby Trap" (1944) from Stout's Nero Wolfe series demonstrates his use of detective fiction for both the expression of political viewpoints and the muting of those political messages.