Thesis (M.S.)--University of Wisconsin--Madison, 1966. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 265-272.

acase@tulane.edu / “Unknown Knowns” explore the psychological landscapes of this phenomenon, collapsing footage from news broadcasts, Defense Department archives, political rallies, and other sources into undulating landscapes. Axes of time and space indexed in the source materials are here collapsed into simultaneous and continuous planes. The viewer is placed on the precipice of knowing and unknowing in a way that echoes the background noise of American life; even when you seem to grasp a whole, the specificity and context of any given image remains elusive. / 1 / Wiley Aker

Proporciona los pasos y procedimientos para acceder al recurso Journal of Interior Design.

Proporciona los pasos y procedimientos para acceder al recurso Journal of Parenteral & Enteral Nutrition (JPEN).

Proporciona los pasos y procedimientos para acceder al recurso Journal of Periodontology.

Proporciona los pasos y procedimientos para acceder al recurso Nutrition in Clinical Practice (NCP).

Bc. Jana Kvašová 2011 Digital libraries of commercial publishers Abstract (in English): The aim of the thesis is to analyze and compare the current state of selected digital libraries of the most significant commercial publishers of scientific literature (SpringerLink, Wiley Online Library, ScienceDirect). The first chapter describes digital libraries in general and points out some of the specifics of digital libraries owned by commercial publishers. Basic terms like "digital library", "digital source", "digital document" are also explained in this chapter. The core of the thesis is represented by three analyses of selected digital libraries; Wiley Online Library (http://onlinelibrary.wiley.com/), SpringerLink ( http://www.springerlink.com/) and SciVerse ScienceDirect (http://www.sciencedirect.com/). The following chapter describes the connecting of digital libraries using the CrossRef service. The final chapter compares the main features of digital libraries and presents trends and possible future of this field. Key words (in English) digital library, publishers, Wiley Online Library, SciVerse ScienceDirect, SpringerLink, John Wiley and Sons, Elsevier, Springer, CrossRef, DOI

Using Kehinde Wiley’s Rumors of War as a starting point, this thesis seeks to craft and engage in a larger dialogue about the complex global entanglements of art, trade, slavery, war, commemoration, and race that have existed since the first contacts between Europe and Africa. In September 2019 in New York’s Time Square, Wiley unveiled the monument to be permanently installed outside of the Virginia Museum of Fine Arts in Richmond, Virginia. This large work shows a black man in contemporary dress on a horse, created to counterbalance the ubiquitous Confederate equestrian monuments of the south. While this is an important step in the ongoing debate about public monuments of the United States, the equestrian depiction of rulers and warriors has not always been limited to white men. In the sixteenth century, the Edo peoples of Nigeria depicted their ruler, Oba Esigie, atop a horse in the bronze plaque Equestrian Oba and Attendants, now at the Metropolitan Museum of Art. Through material and iconographical analysis, I will show how the Benin plaque signifies peaceful relations and trade with the Portuguese. This interaction also marks the beginning of the transatlantic slave trade, which informed the dehumanizing beliefs of the commissioners of Confederate monuments as well as the colonizers who ultimately removed the plaque from Africa altogether. In this way, the histories embedded within the plaque can serve to enhance the new monument’s meaning. This pairing shows the continued stakes of the history of exploration in the Early Modern period, as the encounters in Nigeria that made the plaque possible and placed it in the Met makes necessary the monument by the Nigerian-American artist in the former Confederate capital. / Art History

Cette thèse est consacrée à l'étude des mécanismes de refroidissement du fullerène C60 après une excitation laser nanoseconde. Dans ce régime temporel, l'énergie absorbée est redistribuée sur tous les degrés de liberté de l'agrégat provoquant une cascade de fragmentations par émission de molécules C2. Un processus d'ionisation retardée est mis en évidence pour chaque taille d'agrégat produit. Les cations ainsi formés peuvent à leur tour se fragmenter par émission de C2. Notre dispositif expérimental, constitué d'un spectromètre à imagerie résolu en temps type velocity-map combiné à un spectromètre de masse à temps de vol type Wiley-McLaren, permet d'extraire les spectres en énergie cinétique des photoélectrons ou des photoions issus de la chaîne de désexcitation de C60. Ces spectres sont comparés à un modèle statistique basé sur le formalisme de Weisskopf. Un algorithme Monte Carlo a été développé afin de reconstituer le spectre de temps de vol de C60. Les informations extraites des simulations, tels les énergies internes et les rapports de branchement à chaque étape du déclin, complètes idéalement l'analyse des processus mis en jeu.

Mémoire de recherche-Double culture. / Ce mémoire examine les contacts, les relations établies entre l’art qualifié d’occidental et les arts actuels d’artistes d’origine africaine pour mettre en évidence l’émergence d’une dualité culturelle émanant de deux mondes différents donnant naissance à un genre artistique uniquement hybride. Il sera question de construire une étude se penchant sur le travail des artistes Omar Victor Diop, Kehinde Wiley et Yinka Shonibare. En ayant recours à un médium qui leur est propre, ces trois artistes réalisent un travail hybride associant cette double culture dont ils ont hérité par le phénomène de la mondialisation. Les origines et nationalités différentes auront leur importance dans cette analyse, Diop étant sénégalais, Wiley afroaméricain et Shonibare anglo-nigérian. C’est un moyen aussi d’analyser cette question de la double identité que la mondialisation a entrainée par le prisme de l’art et la manière dont cela se manifeste chez ces artistes. Nous assistons à une ouverture des frontières géographiques créant ainsi de nouveaux contacts entre les différents pays notamment d’un point de vue culturel. Ainsi, s’ajoute au phénomène de la mondialisation celui de la mouvance postcoloniale. Cette pensée post-coloniale nous pousse à nous questionner sur la manière dont les artistes contemporains, et dans notre cas les artistes contemporains africains, définissent leur identité et ce que la notion d’authenticité signifie pour eux. Il y a une remise en question des stéréotypes, une réflexion autour de la binarité Occident/Orient, blanc/noir et enfin une volonté de montrer l’importance de la place des Noirs dans l’histoire chez Wiley, Shonibare et Diop. C’est donc une conscience commune autour de l’identité noire chez ces trois artistes qui nous permet de les rattacher à la notion de panafricanisme. / This thesis investigates the relationships between Western art and the works of three artists of African descent, Omar Victor Diop, Kehinde Wiley, and Yinka Shonibare, to uncover a distinct artistic genre, called hybrid, through these artists’ respective media. The hybridity that their art embodies results from the type of cultural duality that globalization enables. Of particular interest are these artists’ nationalities and ethnic identities, Diop being Senegalese, Wiley African-American, and Shonibare Anglo-Nigerien. As such the analysis unpacks the phenomenon of cultural duality engendered by globalization through the prism of art and the way it manifests itself in these artists’ works through which we witness the opening of geographical borders, thus breaking down barriers between different countries, particularly from a cultural point of view. In addition to the phenomenon of globalization, the thesis also investigates whether these artists of hybridity find their place in the post-colonial movement. The focus on the post-colonial era prompts us to question how contemporary artists, in this case contemporary African artists, define their identities and reveal what authenticity means to them. Stereotypes are questioned, as are the Western vs. non-Western and white vs. black divides. Finally, the thesis investigates these artists’ desire to show the place that Black people occupy in history. In this way, the black consciousness that runs through these three artists’ works allows us to appreciate their contributions to Panafricanism.