Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006. / Includes bibliographical references (leaves 273-291).

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 91-97). Also available in electronic format on the Internet.

Thesis (Ed. D.)--Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Dissertation Committee: Ellen Condliffe Lagemann, Labros Comitas. Includes bibliographical references (leaves 118-123).

Thesis (Ph. D.)--University of Washington, 1983. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [381]-410).

Thesis (Ph. D.)--University of Washington, 1983. / Vita. Includes bibliographical references (leaves [381]-410).

Thesis (Ph. D.)--Rijksuniversiteit te leiden, 1956. / eContent provider-neutral record in process. Description based on print version record.

A dissertation submitted to the Faculty of Humanities and Social Sciences, University of Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Fine Arts by Dissertation. Johannesburg, 2014. / This practice based research project engages with the theme of safety and security through the conceptualisation and production of sculptures and drawings. The exhibition takes the form of an installation which is the primary source of interrogation into the broad topic of increasing securitisation in the contemporary urban environment. The components of this research project include 1) a body of practical artwork which explores the theme of safety and security in Johannesburg and 2) a dissertation which locates this exploration in theoretical, critical, historical perspectives. There is a particular focus on two other securitised cities namely São Paulo and London in relationship to the work of artists Marcelo Cidade and Mona Hatoum respectively, specifically sculpture/installation, which engages thematically and materially with notions of power, surveillance and security that responds to their immediate surroundings. The Johannesburg security context and works by the design team Dokter and Misses are analysed and finally a documentation and critical reflection of my own creative work produced in the context of this study.

This project investigates Saharan pastoralist rock-art (7500-3000BP), with a particular focus on the engravings of the Messak Plateau in southwest Libya. Taking an anthropological approach, the art is examined within the context of the lives of its creators - transhumant cattle-herders who occupied the plateau seasonally. Drawing from fieldwork in Libya together with data from multiple expeditions in the Sahara, the study addresses a major lacuna in Saharan research by focusing on materially constituted, as-lived dimensions at the micro scale. A fundamental but archaeologically elusive aspect of lived experience is a consideration of 'movement', both physical and esoteric. Its incorporation is central to this project, forming a multi-aspected theoretical framework and a methodological tool. Augmented by input from specialists in geomorphology, pastoralism, stone sculpting and animal behaviour, this movement-driven focus has produced a more developed picture of the Messak herder lives, advancing our understanding of these particular non-text, somatic societies. A singular contribution is the creation of a hypothetical model for small-scale, quotidian pastoralist practices, which expands upon the archaeological evidence, fleshing out details of a well-systematised form of dairy pastoralism involving controlled breeding and the processing of milk products. At the same time it is proposed that the herders' relationship with their cattle was one of partnership rather than ownership, involving trans-species empathy and a valuation of animal personhood. This viewpoint is part of a broader set of animal-human relations reflecting a cosmological order that diverges from modern, Western ontological constructs. Other significant findings include detailed information on the role and identity of the image-maker, revisionist data on the amount of effort and skill expended in carving processes, and an examination of the ways in which rock-art was used to manifest social emotional concerns. These were expressed via animal emotions portrayed in the rock-art, and also through performative, gestural markings associated with the imagery. Such expressions include apotropaic, supplicatory or other interactions involving communication with unseen powers.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William Mahoney. Includes bibliographical references (leaves 327-329).

Thesis (Ph.D.)--University of California, Los Angeles, 2002. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 238-256).