Thesis (Ph. D.)--University of California, Berkeley, 1986. / Includes bibliographical references (leaves 264-282).

Thesis (Ph. D.)--University of California, Santa Cruz, 1985. / Typescript. Includes bibliographical references (leaves [357]-368).

My research examines how the London Underground – the first subway in the world - provided new public spaces and forms of mobility that redefined how Londoners interacted in, moved through, and imaged the city. Perhaps nothing embodies the Underground’s iconic status in London quite as completely as the phrase, “Mind the Gap.” This phrase, which originally referred to the gap between the train and the platform at Embankment station on the Northern line, has since become an enduringly popular symbol of London in the minds of travelers and visitors. The fact that a behavioral command about how to move through Underground space has become synonymous with visiting London suggests the deep connections between spatial behaviors and identity in the modern city. People had to be taught how to “Mind the Gap” – and railway officials were never completely able to control the ways in which people used, traveled through, and imagined these spaces. Illuminating these tensions between railway technicians and ordinary passengers demonstrates how the Underground provided a new type of space in which men and women from different classes and backgrounds could assert claims to freedom of movement within the city. Aside from the gap between station platforms and Underground trains, this cultural history of the Underground also reveals how Londoners negotiated and bridged other important gaps - between rich and poor, men and women, and concepts of what constituted being modern or backwards, progressive or dangerous - as they embraced this public space as a part of their everyday lives. My dissertation interweaves works of art and fiction, literary scholarship, and elements of geography and sociology into a cultural history of London’s transport. Though it was owned and operated by a series of private companies throughout the nineteenth and early-twentieth centuries, the Underground offered a relatively affordable means of traversing the capitol for Londoners of all classes and backgrounds, and therefore the spaces of the Underground network (stations, platforms, and train cars) acted as public spaces where new ideas about democratic order in society were challenged and negotiated. My dissertation will bring a new perspective to studies of urban history by using interactions within the Tube to demonstrate how modernity was experienced and given meaning through particular spatial practices. I argue that the Underground helped challenge and redefine urban identities in the late-nineteenth and early-twentieth centuries, particularly for women.

Thesis (M.S.)--Michigan State University. Dept. of Epidemiology, 2008. / "Thesis committee: Drs. Claudia Holzman (chair), Ellen Velie, and Hwan Chung"--Acknowledgements. Title from PDF t.p. (viewed on July 30, 2009) Includes bibliographical references (p. 53-58). Also issued in print.

Thesis (Ph. D.)--Fordham University, 2001. / Includes bibliographical references.

Yes / Ancient human mobility at the individual level is conventionally studied by the diverse application of suitable techniques (e.g. aDNA, radiogenic strontium isotopes, as well as oxygen and lead isotopes) to either hard and/or soft tissues. However, the limited preservation of coexisting hard and soft human tissues hampers the possibilities of investigating high-resolution diachronic mobility periods in the life of a single individual. Here, we present the results of a multidisciplinary study of an exceptionally well preserved circa 3.400-year old Danish Bronze Age female find, known as the Egtved Girl. We applied biomolecular, biochemical and geochemical analyses to reconstruct her mobility and diet. We demonstrate that she originated from a place outside present day Denmark (the island of Bornholm excluded), and that she travelled back and forth over large distances during the final months of her life, while consuming a terrestrial diet with intervals of reduced protein intake. We also provide evidence that all her garments were made of non-locally produced wool. Our study advocates the huge potential of combining biomolecular and biogeochemical provenance tracer analyses to hard and soft tissues of a single ancient individual for the reconstruction of high-resolution human mobility. / The Danish National Research Foundation; The Carlsberg Foundation, L'Oreal Denmark-UNESCO; The ERC agreement no. 269442

Diss. Uppsala : Univ., 2004.

No description available.

Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.