Revision of Thesis (Ph. D.)--Princeton University, 1940. / Bibliography: p. 73-77.

Revision of Thesis (Ph. D.)--Princeton University, 1940. / Bibliography: p. 73-77.

Many cultures and civilizations throughout history have developed beliefs that explain the creation of man and his role in nature. With the development of these beliefs, man developed symbolism which he applied to material objects and objects that make up his environment. As man developed his ability to control his surroundings through construction, symbolism entered his architecture. Through the application of anthropological relationships with the environment and the use of symbolism, this thesis aspires to investigate relationships between man, horse and rider. / Master of Architecture

One of the most heavily researched topics of cognitive development concerns children's growing understanding of people's behaviors as reflecting mental states such as beliefs, desires and intentions. Anthropomorphism is the overextension of this conceptual framework, referred to as "theory of mind", to nonhuman animals and inanimate objects. In this dissertation, I investigate the development and correlates of anthropomorphism building on and extending past research with children and adults. In Study 1, I investigated the relation between anthropomorphism, social understanding, and social behaviors that are known to correlate with theory of mind, such as empathy, and prosocial attitudes in a college sample (N = 919). Contrary to my predictions, results showed that anthropomorphism is only weakly related to the measures of social understanding. There was, however, some evidence for a link between anthropomorphism and imaginary companions; individuals who had a history of imaginary companions scored higher on anthropomorphism. In Study 2, I examined the link between theory of mind and anthropomorphism in preschool children. In addition, I investigated the developmental trajectory of anthropomorphism from age 4 to 6 and the relation between anthropomorphism and role play and social preferences. Seventy-four children (36 girls; Mage = 5 years, 5 months; SD = 9 months) took part in this study. In order to assess anthropomorphism in this age group, I used two methods: interview and movie narrative measures. Results revealed no age-related changes in anthropomorphism scores of the children. As in Study 1, I did not find a strong relationship between the theory of mind measures and anthropomorphism. There was, however, more evidence for a link between the interview measure of anthropomorphism and role play, and social preferences of children. Overall, in both studies, theory of mind, the most obvious candidate as a correlate of anthropomorphism, was, at best, not a strong predictor of the anthropomorphism, suggesting the need to rethink how developing knowledge about people is related to the overextension of this knowledge to nonhuman entities. It is possible that a rudimentary understanding of humans is necessary to be able to overextend it, but whether you overextend it might be linked to other factors.

Recent research has revealed that some adults tend to anthropomorphize more than others and that such people reason differently about nonhuman entities. Specifically, individuals who tend to anthropomorphize show greater concern for nonhuman entities and are more likely to be concerned for the environment. The proposed study extended this line of work to children, examining developmental patterns in anthropomorphism and behavior toward nonhuman entities. In one task children were asked whether or not different kinds of nonhuman entities (dogs, trees, robots, dolls) were capable of a range of psychological states (e.g., thinking, feeling). In a separate task with vignettes children were asked to judge the morality of actions that led to a negative consequence for a nonhuman target. The main prediction was that children who attributed more psychological properties to nonhuman entities would be more likely to exhibit concern for nonhuman targets in the moral stories. Overall, the results failed to capture a general relation between psychological attributions and moral judgments, perhaps owing to methodological shortcomings but perhaps also because children in our sample did not appear to exhibit general tendencies to anthropomorphize as adults have in previous research. / text

No description available.

Fifteenth century Florentine architect Il Filarete authored the first illustrated book on architecture, with a distinct pedagogical agenda to teach his patron to build nobly. Written as a dialogical narrative, taking place between a patron and his architect, the treatise's pedagogical tone unfolds as a form of storytelling about the design and construction of an ideal city. Despite its miscellaneous aspects embedded in the book, which differentiates it significantly from the architectural treatises belong to the Western cannon, the author stresses his role as an architect, and proposes an unprecedent analogy to define the role of the architect (his profession) in regards to building practice [edificare]. Extending the Vitruvian body topos under the influence of Civic Humanism to an organic anthropomorphism, Filarete bases the generation of a building on similar grounds to human generation, through which he defines gender-specific roles to the patron (male agent) as the father of the building, and the architect (female agent) as its mother. This generally known analogy, although has been frequently mentioned, was not taken as a clue that can pertain the essence of architectural production in the Renaissance patronage context. In this dissertation, I propose to contextualize his unprecedented proposal within the larger framework of the production agency of building in the early modern period, and how architecture as a profession is aimed to be defined within that. / Doctor of Philosophy / In this dissertation, I have offered an in-depth analysis of Filarete's "generation" analogy for building production in the quattrocento Renaissance context. Filarete is a fifteenth century Florentine sculptor turned architect, who owns his fame to the extraordinary book he wrote ¬¬– Libro Architettonico – in which he could demonstrate the wonders he can build with the aid of a devoted patron. Targeting at the ideology of the patron's fame to be established through the noble edifices he builds, Filarete signifies the temporal nature of buildings which ends in ruins –as the Roman antiquity is perceived in the Renaissance –. Relying on ancient "body" metaphor for architecture, Filarete offers an analogy to his patron to perceive buildings similar to "a living man," that eventually dies. Accordingly, the generation of buildings is introduced as similar to generation of man. Based on a sexual metaphor Filarete coins here, the patron takes the role of the father, to generate "his" building together with an architect –mother–. Similar to a pregnant mother, the architect develops the design in his realm to deliver in the form of a scaled artifact (whether a drawing or a wooden model). Filarete suggests the architect –mother– to be the wet-nurse, signifying the ongoing process of design during construction and the architect's role to ensure its integrity to the building. This unprecedented analogy, although was never studied in depth, carries many connotations when examined in Renaissance patronage context and reflects significant nuances regarding the production of such noble building. The patron's influence in design is recognized with the father role, which has a long and prominent history in comparison to the emerging individuality of the Renaissance artist. In this well-established scheme, Filarete relies on the creative faculties of an artist, as associated with female attributes since the antiquity, yet extends it further to motherhood to define "architect" as a professional title. This unique interpretation parallels the emerging notions of family during the Renaissance, as perpetuated by Civic Humanism. A comparative study of the family treatises of the fifteenth century shows that the emphasis on the mother in the growth of a child parallels Filarete's intentions to convince his patron to rely on his architect for the good of his building. In the overall pedagogical tone of the Libro, Filarete is educating the patron to build nobly, which is offered as a stylistic choice to build in the ancient manner, and introduces the architect as an equal agent of the design process, distinguishing its role from a mason.

Since the writings of Vitruvius in the first century AD, the use of the human body as a metaphorical and symbolic referent has provided what is perhaps the most prolific trope for architectural theory. The image of �Vitruvian Man,� with limbs outstretched to touch the circle drawn from its navel, took on particular significance during the Renaissance, as architects such as Alberti, Filarete, di Giorgio, Colonna, and Serlio published their own interpretations of Vitruvius� Ten Books. For these writers, the body, as microcosm, was the best available means for representing the order of the cosmos, the world as a whole. Yet just as the idea of the body as architectural referent was being reinterpreted, the body itself was being transformed by Renaissance anatomy. The unity and integrity of the body was jeopardised as anatomists studied the body through the dissection of corpses. The published results of these studies, the most notable being Vesalius� De Humani Corporis Fabrica, were highly influential, with the anatomical methods of observation and partition emerging as the fundamental tenets of modern science. Several centuries later, the transformation of the body from a symbol of the world to an object amenable to scientific observation and control was all but fully realised, as the discoveries of Pasteur were put to use in the conquest of disease. These changing medical conceptions of the body led to concomitant transformations of the sense of self, as the body as object was increasingly divorced from the operations of the mind, in both its conscious and unconscious forms. This thesis will examine how these changing conceptions of the human body have been interpreted within architectural theory since Vitruvius. Beginning with the idea of ornament as trope of sacrifice, it will examine how interpretations of the relation between the body as whole and as part have affected ideas of architectural composition. Further, it will examine the ethical implications of the trope of building as body, such that a building which reflects the proportions of a �well-composed� body (Francesco di Giorgio), is itself an injunction to �composure,� or appropriate behaviour. It will argue that modern architecture, while rejecting classical anthropomorphism, was nonetheless influenced by ideas and practices arising from anatomy. Then, in contrast to the object-body of anatomy, the thesis will examine phenomenological and hermeneutical conceptions of the body, which interpret the body as lived. From Merleau-Ponty�s study of perception to Scarry�s reading of the significance of pain, the contribution of the body to the sense of self will be explored, giving rise to a renewed conception of anthropomorphism as the manifestation not only of human form, but of human sentience. Further, to the modern fragmentation of both the body and architecture will be opposed integrative strategies of selfhood, such as the formation of narrative identity (Ricoeur), the engagement with a community through practice (MacIntyre), and the idea of the �monstrous� body (Frascari). These strategies will be used to explore ways in which the form of the body can be understood other than in purely material terms, and how this is translated into architecture.

This essay aims to show how anthropomorphism, and also to some extent zoomorphism, is created in Nicholas Evans’s novel The Horse Whisperer.  Through parallel events and the usage of the concepts horse whisperers and horse whispering, a special connection is created between Grace, the main human character, and Pilgrim, the main horse character. This essay argues that their connection grounds for the reader to see the horse anthropomorphically and the human to some extent zoomorphically. With the use of Daston and Mitman’s notions of anthropomorphism and zoomorphism, this essay analyses how the concepts manifest themselves in the novel. The definition of horse whisperers and horse whisperering within this essay derives from the work of Brannaman and Parelli, this due to their theoretical value and knowledge about horse whispering.

Social media have grown into a powerful marketing communications tool in the global market. A number of companies are dedicating their time and resources for building trust and rapport with consumers through various social media platforms, but there is a dearth of research on their use of Twitter. The current study, therefore, examines global brands with a Twitter account and their tweets targeted at consumers. The results indicate that marketers attempt to attribute human characteristics to their brands using human representatives, personal pronouns, verbs in the imperative form. Also, satisfaction and investment were the most frequently found consumer-brand relationship determinants in the global brands’ tweets. This study offers the perspective that Twitter serves not only as an optimal vehicle for disseminating corporate information but also as a means to develop and cultivate consumer-brand relationships. Limitations and future research are discussed. / text