Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 440-451). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 440-451). Also available on the Internet.

Thesis (M.A. in anthropology)--Washington State University. / Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 366-382).

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.

In 1815 the Blue Mountains were first identified as a unique landscape when Governor Macquarie took a tour over them and located the nineteenth century principles of the Sublime and Picturesque within its' landscape. Until this time the Blue Mountains were considered to be a hostile impenetrable barrier to the West. This paper examines some of the ways the Blue Mountains has been represented in the past, and has been identified as a tourist destination through interpretations imposed on the landscape by the tourist industry since that time. The areas covered deal with the heritage of British Colonialism as a way of forming opinions about the Australian landscape. Then, the theories of the Picturesque and Sublime are examined when applied to the Blue Mountains landscape. The final chapters in this paper deal with contemporary issues that have shaped the way the tourist industry is encouraged to encounter the Blue Mountains landscape / Master of Arts (Hons)

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Kathryn Josserand, Florida State University, College of Arts and Sciences, Department of Anthropology. Title and description from dissertation home page (viewed June 17, 2004). Includes bibliographical references.

Canadian artist Helen McNicoll (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above all else, McNicoll's Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgic. In this thesis, I argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism---which has been theorized as a fundamentally modern activity---her images appear modern in ways that have not traditionally been recognized.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 94-98). Also available online in Scholars' Bank.

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