The image of Marcel Duchamp as a brilliant but laconic dilettante has come to dominate the literature surrounding the artist’s life and work. His intellect and strategic brilliance were vaunted by his friends and contemporaries, and served as the basis of the mythology that has been coalescing around the artist and his work since before his death in 1968. Though few would challenge these attributions of intelligence, few have likewise considered the role that Duchamp’s prodigious mind played in bringing about the present state of his career. Many of the signal features of Duchamp’s artistic career: his avoidance of the commercial art market, his cultivation of patrons, his “retirement” from art and the secret creation and posthumous unveiling of his Étant Donnés: 1° la chute d’eau/2° le gaz d’éclairage, all played key roles in the development of the Duchampian mythos. Rather than treating Duchamp’s current art historical position as the fortuitous result of chance, this thesis attempts to examine the many and subtle ways in which Duchamp worked throughout his life to control how he and his work were and are perceived. Such an examination necessarily begins at the start of his relationship with the general and specialist media, through the auspices of his painting Nude Descending a Staircase, No. 2. This is followed by an examination of Duchamp’s decades-long relationship with the press through the interviews given during his life. Duchamp’s concern for his physical legacy is explored next, initially through his relationships with his two dominant patrons, Walter and Louise Arensberg and Katherine Dreier. Not only did he act as advisor and dealer in the development of both prestigious collections, Duchamp had the privileged position of participant in the negotiations surrounding the disposition of the collections he had helped to build. Duchamp’s concern for the preservation of his physical legacy continued after the installation of his own work within major American museums. Thus, next is considered the development and effects of the two large-scale retrospectives of Duchamp’s work held within his lifetime. Finally is considered the role of Duchamp’s posthumous work, the Étant Donnés. Through the combination of secrecy and strategically revealed hints, Duchamp ensured that his final work would engender discussion long after his death.

Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna. / The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.

To date, few high school based interventions have been shown to have lasting effects on adolescents' health behaviors. The need for health interventions targeting adolescents is underscored by data showing that several health behaviors with significant short and long term adverse effects begin in early adolescence and become progressively more prevalent toward late adolescence. This project tested the efficacy of a novel anatomy based health education curriculum at increasing health knowledge. The course was taught by first year Yale medical students. The curriculum placed emphasis on nutrition, physical activity and infectious disease. Forty Juniors from Career High School visited Yale's anatomy lab once every two weeks for ten hour-long sessions. In addition to visits to the anatomy lab, students completed two class projects, one covered nutrition and the other focused on exercise. Four additional sessions at Career High School were dedicated to the class projects. Pre and post test analysis showed an improvement in health knowledge with a thirteen percentage point improvement on a standardized health knowledge survey. The students' performance was compared to a control cohort of thirty-one students who were not exposed to the curriculum. Students exposed to the curriculum had a nineteen percentage point advantage compared to control students who had not been exposed. Curriculum efficacy as demonstrated by this small cohort validate further testing with larger cohorts and more vigorous controls as well as separate testing to measure changes in health behavior attributable to curriculum exposure.

Intravenous line placement is one of the most common procedures performed on children presenting to the Emergency Department. Anxiety about needles is widespread, and many children experience high levels of fear and/or pain with their IV line placements. Hypnosis is a behavioral intervention that shows significant promise for alleviating procedure-related pain and anxiety in children. Twenty-five developmentally normal, English-speaking children between the ages of five and fifteen who required IV line placement in the Pediatric Emergency Department at Yale-New Haven Childrens Hospital were randomized to receive either the standard of care or standard of care plus a brief hypnotic intervention. The groups were similar with regard to baseline demographic and socioeconomic status, previous experience with medical care, and presence or absence of chronic medical conditions. Childrens pre-procedural anxiety ratings on a 10cm visual analog scale (VAS) and expected procedural pain ratings by 10-point oucher and 10cm VAS were not significantly different between the groups. Children randomized to the hypnosis group reported less anxiety during the procedure (mean 5.0 vs 3.1, median 7.2 vs 2.2, p = 0.28) than children randomized to the standard of care group. Cases also had a decrease in anxiety from expected to actual of 1.6 on a 10cm scale, while those randomized to the control group had an increase from expected to actual anxiety of 1.1 (p=0.01). A smaller trend towards decreased pain in the hypnosis group was also present. As measured by VAS, cases had lower mean pain scores (3.4 vs 4.3) than controls. In a comparison of anticipated and actual pain scores between groups, the hypnosis group had a mean decrease of 0.8 on a 10cm VAS , while the control group had a mean increase of 0.5 (p=0.14). Recruitment of subjects is ongoing, but preliminary results suggest that hypnosis is effective for alleviating needle-related anxiety in children undergoing IV line placement and may be helpful for alleviating the pain of IV line placement as well.

Brutalist architecture, popularized in Britain in the late 1950s and heralded as a progressive form of Modernism in the United States until the 1970s, now presents a conundrum to preservationists as it ages. Once critically acclaimed, many Brutalist buildings have lost their appeal over time. The unpolished materials have proven unpopular with many who live and work in these structures, and key examples of the style are now facing demolition. Though “Brutalism” has become a nebulous architectural designation in the preservation community, this paper focuses on a specific subset of late Modernist architecture that primarily utilizes unfinished concrete to promote the philosophy of material truth and unapologetic permanence. While artistry of form and overall functionality affect preservation of Brutalist buildings in the United States, an important factor in the decision to demolish is often overlooked: the interplay of public opinion with critical acclaim, both in the past and within current architectural climates. This project examines the Brutalist approach to architecture and chronicles the shifts in critical and public perspective of several key case studies, focusing on university structures (the Yale Art and Architecture Building, Harry Ransom Center, and the University of Texas School of Nursing), theaters (Morris Mechanic Theater and Alley Theater), and civic buildings (Orange County Government Center, Boston City Hall, and Prentice Women’s Hospital). Understanding how and why shifts in opinion took place is critical in making informed preservation decisions about Brutalist architecture. / text

Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna. / The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.

Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna. / The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.

This study examines two of the smaller American choral societies that together existed for just over 30 years, 1888 to 1919: The Gounod and New Haven Oratorio Societies of New Haven, Connecticut. These societies are important because, especially in the case of the New Haven Society, they were closely related to Yale University and the work of Horatio Parker. One must assume from the onset that the two choral groups examined in the following pages did not have the prominence of the many larger New England choral societies. However a more detailed knowledge about the struggles, successes, influence and leadership of two smaller societies illuminates a field of research in the history of American choral music that has been largely ignored.

Cette thèse s’attache à mettre en lumière plusieurs peintres ayant mené carrière à l’époque de Jean Fouquet (vers 1415/20-1478/81), peintre et enlumineur actif durant le troisième quart du XVe siècle ayant passé la plus grande partie de sa carrière dans la vallée de la Loire, à Tours, au temps des rois de France Charles VII (1403-1461) et Louis XI (1423-1483). Une attention particulière a été portée sur les manuscrits rassemblés autour d’un maître anonyme dénommé tantôt le Maître du Mamerot de Vienne, tantôt le Maître du missel de Yale, tantôt encore le Maître de Christophe de Champagne depuis le premier regroupement effectué en 1974 par Otto Pächt et Dagmar Thoss. Ainsi, le corpus est désormais redistribué entre trois enlumineurs : le Maître de Jeanne de France et le Maître de Macé Prestesaille, dont les carrières inédites prennent forme pour la première fois, et le Maître du Mamerot de Vienne / Maître du missel de Yale / Maître de Christophe de Champagne, que nous proposons d’identifier à Guillaume Piqueau, enlumineur tourangeau connu par deux documents d’archives. L’objectif est de proposer de nouveaux regroupements de manuscrits qui font émerger trois carrières d’enlumineurs aux profils bien distincts, dans une volonté de mieux comprendre leur travail et plus globalement le métier de peintre à Tours entre les années 1460 et 1480. Un exemplaire Des cas des nobles hommes et femmes permet de baptiser un des enlumineurs le « Maître de Jeanne de France », du nom de la commanditaire. Une douzaine de manuscrits, réalisés vers le milieu des années 1460 jusqu’à la fin des années 1470, jalonnent très précisément la carrière de ce peintre. Sa trajectoire est des plus intéressantes dans la compréhension des relations professionnelles qui s’établissent entre certains ateliers d’enluminures du Centre-Ouest de la France. Un deuxième enlumineur peut être dénommé le « Maître de Macé Prestesaille » d’après un manuscrit exécuté en 1475 pour la famille Prestesaille, basée en Touraine. Au style plus sobre, il apparaît comme un peintre secondaire dans le panorama artistique tourangeau mais se rattache pleinement à la peinture de Tours au cours des années 1470-1480 comme en témoignent les sept manuscrits retrouvés qui donnent un aperçu de la production de son atelier. Un peu plus d’une vingtaine de manuscrits s’ancrent aujourd’hui autour des noms d’emprunt du Maître du Mamerot de Vienne / Maître du missel de Yale / Maître de Christophe de Champagne. Un réseau d’indices me conduiront, dans le présent mémoire, à identifier ces peintres comme étant Guillaume Piqueau, connu pour avoir enluminé en 1482 une Vita Christi destinée à la reine Charlotte de Savoie. Au cours de la seconde moitié du XVe siècle, la vallée de la Loire est le fief d’une production artistique importante. Des ramifications complexes et multiples se tissent au sein des ateliers d’enluminure. L’analyse de la production de ces artistes, dévoilée par l’étude d’une quarantaine de manuscrits, permet de mieux la comprendre. Elle fait se poser de nombreuses questions. Qui étaient ces enlumineurs ? Qu’ont-ils produit et que nous reste-t-il à voir ? Pour qui et comment ont-ils travaillé ? S’agissait-il de peintres d’atelier ou d’artistes indépendants dont la collaboration était davantage liée à des intérêts marchands plutôt qu’à une véritable organisation professionnelle ? La mise en lumière des trois carrières apporte de nouveaux éléments de réflexions et des points de vue inédits sur des peintres ayant connu l’œuvre, voire côtoyé, les plus illustres ateliers d’enluminures de la vallée de la Loire dont ceux du Maître de Jouvenel et de Jean Fouquet. Il s’agit de replacer dans le temps et dans l’espace ces peintres, de comprendre leur mode de fonctionnement et leur organisation interne dans la distribution du travail et dans les sources iconographiques. / This thesis deals with the career of some painters active during the peak of fame of Jean Fouquet (1415/20 - 1478/81), painter and illuminator active during the third quarter of the fifteenth century who spent most of his career in the Loire Valley, Tours, during the time of Charles VII (1403-1461) and Louis XI (1423-1483). Particular attention is given on manuscripts attributed to an anonymous master called the Master of the Vienna Mamerot / Master of the Yale Missal or Master of Christophe de Champagne. It is necessary to review the work assigned to this illuminator and to reorganize the corpus now distributed between three illuminators: the Master of Jeanne de France and the Master of Macé Prestesaille, whose careers take shape for the first time, and the Master Mamerot Vienna / Master of the Yale Missal or Master of Christophe de Champagne himself, that we propose to identify as Guillaume Piqueau, an illuminator based in Tours and known by two archives. The aim of this revaluation is to offer new groups of manuscripts which emerge three with distinct illuminator’s profiles. They offer the possibility to better understand their work and more generally the production painting in Tours between 1460 and 1480. A copy of Des cas des nobles hommes et femmes baptizes one of them the Master of Jeanne de France, in relation with the name of the owner. A dozen manuscripts, made between the 1460s until the late 1470s, mark precisely the career of the painter. Its trajectory shows the professional relationships developed between some of western illuminations French workshops. A second illuminator can be called the Master of Macé Prestesaille from a manuscript executed in 1475 for the Prestesaille family, based in Touraine. He appears as a secondary painter in Tours by a more sober style but his career can be highlighted by seven manuscripts that provide an overview of his production. More than twenty manuscripts are linked to the Master of the Vienna Mamerot / Master of the Yale Missal or Master of Christophe de Champagne. We propose to identify these unknown painters as Guillaume Piqueau, a painter based in Tours known to have illuminated a Vita Christi for Queen Charlotte de Savoie in 1482.

In this dissertation, I examine extracurricular music of American universities between the two World Wars and consider it as an indicator of the idealization of collegiate life. Interwar discourse at American universities demonstrated the two contrasting ideals of the older collegiate model and the more recent university model. The collegiate model was associated with ideals related to character building, a sense of community, and a common curriculum, whereas the university model was associated with social utility, research, and liberal culture. Proponents of the collegiate model idealized an older collegiate life in America. One version of this idealized collegiate life captured the popular imagination of Americans in the late nineteenth century – the vision of students developing their social skills in the extracurriculum at the expense of their intellect in the official curriculum. Various members of the university community at Stanford University, The University of Texas, and Yale University promoted this idyllic view of collegiate life in the extracurriculum. Marching bands, glee clubs, and bell instruments were thought to transmit collegiate values of community and character building. The music’s adaptation to modern trends and values, however, reveal that it did not fully adhere to an idealized image of pre-modern college life. The university communities believed that music (and sound in general) with its ability to reach listeners’ memories and emotions, was unique in its access to interior subjectivity. This belief guided university administrators to use campus sounds to instill school spirit and nostalgia. Yet the failure of certain audio memorabilia, namely the Talking Page of the Onondagan yearbook of Syracuse University and The Cactus in Sound of The University of Texas, leads us to question this assumption of special interior access. Administrators, students, and alumni all had a hand in using sounds to elicit these strong sentiments toward their university, which administrators hoped would foster increased financial support / text