Thesis (Ph. D.)--New York University, 1988. / Includes index. Includes bibliographical references (leaves 393-408).

Published in part as author's inaugural dissertation, University of Munich, 1899 (32 p.).

Thesis (Ph. D.)--University of California, Berkeley, May 1998. / "Spring 1998." "UMI Number: 9902178"--Prelim. p. "Printed in 2005 by digital xerographic process on acid free paper"--P. after T.p. Includes bibliographical references (p. 273-295).

Thèse (M.A.)--Université Laval, 1997. / Bibliogr.: f. [112]-122. Publié aussi en version électronique.

A two square mile (5.2 square kilometer) 3-D seismic reflection survey was completed in northeastern White County, Illinois for petroleum exploration in January of 2008. Well log data was made available from Royal Drilling and Producing, who contracted the seismic survey, and additional data was retrieved from the ILOIL database. Raster (TIFF format) images that were available for nearly every well location in the study area were calibrated for depth and stratigraphic tops picked. The purpose of this study is to analyze the Aux Vases formation using 3-D seismic reflection data and attribute analysis by comparing this data to well log information that is greatly available in the study area. Synthetic seismograms were calculated to calibrate seismic reflection data time to actual geological depth to a formation. The synthetic seismograms were calculated using wavelets extracted from the 3-D seismic data and edited, digital (LAS format) sonic and density logs measured in three wells. Geophysical log data from wells in the area were used to interpret formation top and bottoms. With the Aux Vases and Ste. Genevieve top information, an isopach was generated. Horizons were handpicked in all 318 seismic lines and isochron maps were generated to compare time thickness to actual thickness of the isopach maps. Attribute analysis was performed on horizon and volume cubes to interpret the Aux Vases formation in the study area. These attributes included instantaneous phase, instantaneous amplitude, and instantaneous frequency. Additionally, multiple spectral decomposition cubes (from four SEG-Y volumes) were generated for 520-580 ms intervals and interpreted at 550 ms. The combination of this data lead to identification of two larger stratigraphic bodies and several smaller ones in the study area. Thickness comparison between these attributes and isopach maps was completed and found similarities that can be used to determine potential thickness. A thickness estimate was completed at Well B using the frequency from spectral decomposition. A channel was mapped in the western edge of the survey using spectral decomposition and other attributes. Finally, a fault was identified in the southeastern portion of the survey area.

À l'échelle du monde, les littoraux peuvent se diviser en différentes catégories : les côtes rocheuses, sableuses, vaseuses et mixtes. Cependant, les littoraux meubles sableux et vaseux sont retrouvés régulièrement mélangés sur différentes façades côtières mondiales. Des apports de vases temporaires ou permanents sont en effet observés sur des plages sableuses. Ces environnements mixtes atypiques, qui couplent alors les processus d’érosions, de transports et de dépôts associés à la fois aux sédiments cohésifs et non cohésifs, ont été peu étudiés. Afin d’identifier les forçages des variations morpho-dynamiques sur des environnements sableux et mixtes, quatre plages sablo-vaseuses ou entièrement sableuses de type Low-Tide-Terrace ont été suivies mensuellement sur deux années en baie et estuaire de la Vilaine (Bretagne Sud). Des suivis hydro-morpho-sédimentaires spécifiques à haute résolution et des suivis par photogrammétrie ont été menés ponctuellement sur ces sites. À l'échelle régionale, ce travail met en évidence le rôle de la morphologie initiale et l’héritage géologique régional dans la réponse morphologique du littoral de la baie de Vilaine aux conditions d’énergie extrêmes. La capacité de résilience à moyen-terme du littoral des plages de Bretagne Sud a été démontrée. Dans une approche plus spécifique, un comportement morphodynamique d'une plage sablo-vaseuse proche de celle d'une plage uniquement sableuse a été observé lors des phases de haute énergie. Les variations d’altitudes du platier vaseux et des modelés sédimentaires en ridges and runnels sont principalement contrôlées par l’énergie des vagues mais également par les propriétés physiques des sédiments et particulièrement celles liées à l'interaction entre le sable provenant de la section réflective et la vase de la section dissipative. La capacité d’érosion du platier vaseux par les vagues est potentiellement diminuée au niveau des interfaces des sédiments cohésifs et non-cohésifs. / At the world scale, coastal areas can be divided in several categories: rocky, sandy, muddy and mixed coasts. However, these sedimentary coasts are regularly found mixed. Temporary or permanent mud inputs are observed on the sandy beaches. These atypical mixed environments, coupling erosional, transports and deposits processes associated to cohesive and non-cohesive sediments have been poorly studied. So, understanding theirs morphological and sedimentary dynamics and the identification of regional and local forcings driving them are essential. Four sandy-muddy or fully sandy Low-Tide-Terrace beaches from the bay and estuary of Vilaine (South-Brittany) have been monthly monitored over two years to characterize their morphodynamics beahaviors. Specific monitoring of coupled hydrodynamics and morpho- sedimentary surveys and photogrammetry experiments have been conducted on mixed sandy- muddy or full sandy beaches. At a regional scale, this work highlights the role of the initial morphology and regional geology inheritance on the morphological response of the littoral zones to extreme energy conditions. Despite some erosion patterns in local parts of beaches, particularly close to shore protection structures, the mid-term recovery capacity of the south-Brittany coastal area after extreme wave energy conditions have been proved. In a more specific approach, the works regarding the sandy- muddy beach dynamic show a morphodynamics behaviour close to that of a fully sandy beach during high energy event. The mudflat elevation changes and the dynamic of the ridges and runnels sedimentary patterns are mainly controlled by the incoming waves but also by the own physical properties of the sediment, particularly those induced by the interaction between the sand from the reflective section and the mudflat. A sand deposit between mud layers potentially decreases the wave erosion capacity on the mudflat.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

In this dissertation, I focus on the creative and commercial activities of the Nikosthenes workshop, a Greek vase-painting enterprise that operated in Athens between 545 and 510 BCE. My research examines the objects produced by the workshop, the artists who produced them, and the different contexts in which these objects were made and found. By using a fixed set of data, the painted vases signed and/or attributed to the Nikosthenes workshop, I argue that this particular enterprise was central to a number of important developments in the art of vase-painting during the Archaic period and that non-Athenian artists were a significant part of its workforce. Moreover, I argue that the shared painted signature that appears on 149 vases from this workshop represents a savvy business that catered to customer demands and nimbly shifted its aesthetic according to varying tastes. My dissertation is the first comprehensive study devoted to the Nikosthenes workshop in over twenty years, and my research represents a major shift in method and approach to the topic. In the first chapter, I explore the artistic identity of the Nikosthenes workshop by examining what is known about artists in antiquity more generally and what has been written about Nikosthenes as an individual artist. Signatures are an important part of this discussion, in that their survival on painted vases continues to play a significant role in how scholars interpret vase-painting artists and their artistic personalities. I propose that a diverse group of artists contributed to the workshop’s identity, and I discuss their contributions in chapter two. I place these artists in their busy workshop setting by examining the evidence for their physical spaces, and I profile some of the most important Athenian and non-Athenian artists who worked therein. In chapter three, I focus on the creative developments pioneered by the Nikosthenes enterprise, and I highlight the many ways these innovations were the result of complex reinterpretation of foreign aesthetic and likely carried out by non-Athenian artists in the shop. I end the project with the fourth chapter which presents the distribution of the Nikosthenes vases, and I show how the geographical patterns indicate that there were different types of vessels going to different customers. I argue that Nikosthenes, while both an individual artist and a workshop, is best thought of as a brand that catered to the demands of a growing overseas market.

Th. doct.--Archéol. et histoire de l'art--Bruxelles--Université libre de Bruxelles, 1990. / Bibliogr. p. 373-389.

The principles of ancient Greek architecture have persevered through millennia, their impact ebbing and flowing perhaps, but still considered a fundamental layer on which Western architectural traditions have been built. Keeping in mind the pragmatic, aesthetic, and ideological influence Greek architecture has continued to have, my dissertation turns to contemporaneous sources to gauge the Greeks’ reception of their own sacred architecture. Scholars of Greek religion tend to agree that the temple was not a necessary component of ritual – boundary stones delineating sacred space and an altar on which communication with the divine was sought through sacrifice and non-sanguinary offerings were enough for religious rites. Why, then, were considerable effort and funds put towards the construction of temples, often monumental and virtually ubiquitous across the Greek landscape? Paradoxically, why is Greek literature, an art form that valued ekphrastic accounts of artworks (Homer’s description of the shield of Achilles [Iliad 18.478-608] is an oft-cited example) mostly silent on sacred architecture save for few laconic and formulaic appellations and rather dry descriptions (Greek traveler Pausanias, for instance, focused on sanctuary histories and votive offerings but was rather disinterested in architecture)? There appears to be a disparity between etic and emic perceptions of Greek sacred architecture, but, in fact, ancient evidence proves otherwise and demonstrates that artists were mindful of the potency of sacred structures. My dissertation pieces together their visual testimonies, particularly in vase painting which is arguably the most prolific and far-reaching medium of Greek art. Through an exhaustive perusal of museum collections, archives, and pottery-focused publications, the present study assembles a collection of nearly three-hundred vase paintings with depictions of sacred architecture and covering a time period of around three centuries from the Archaic period (seventh-century BCE) to the end of the Late Classical period (late fourth century BCE). The majority of the objects originate in Athens and its environs (Attika) and Magna Graecia. Based on this chronological and geographical scope, the study examines the images in four chapters: Attic black-figure vase paintings, Attic red-figure vase paintings with non-mythological subjects, Attic red-figure vase paintings with depictions of myth, and South Italian vase paintings. Within these chapters, the typology of architectural elements (e.g., freestanding columns, temple facades) and subject matter (e.g., myths, quotidian activities) constitute the primary criteria with which the images have been categorized. This extensive collection of vase paintings provides manifold insights into not only the reception of sacred architecture but also architectural elements as effective pictorial motifs. A great number of the depictions can be connected to “real” prototypes and, in some cases, distinct religious practices. While previous studies have taken a similar approach only to fixate on the discrepancies between prototypes and what architectural depictions can tell us about ancient building practices, the present study argues that vase painters rarely, if at all, intended to reproduce existing structures. Thus, the evidence should be used to study the ways in which artists reflected and refracted how buildings shaped and were shaped by the needs of their users. Creating an autonomous visual language built on abbreviation, elision, and synthesis, artists, in fact, rendered structures fit for the pictorial world. Their aim was not exactitude but rather verisimilitude – temples, shrines, portals, sanctuaries that were guided by but never unequivocally subservient to reality. The semiotic analysis of architecture, meanwhile, considers the aesthetics of vase painting and the objecthood of the vase. Beyond their face value (i.e., signifying sacred structures), elements like columns and simplified temples configure the surface of the vase into distinct zones, thus denoting spatio-temporal transitions, and hierarchize figures within the depicted events. Moreover, there are numerous instances where the pictorial frame is transformed into a built environment itself with the use of architecture – a practice that urges the viewer to contemplate the tension between the flatness of the ‘canvas’ and the habitable spaces defined by the juxtaposition of figures and structures.