Includes abstract. / Includes bibliographical references. / The rich and varied literature on the eastern Cape frontier has not yet reached the north-eastern frontier of the mid-nineteenth century. Urban centres and towns have also been largely ignored. Moreover, the perspective of the Anglophone intellectuals in these towns has rarely been analysed, and has instead been subsumed within a uniform ‘frontier voice’.

Between 1966 and 2008, the social, political and cultural landscape of South Africa changed considerably for queer people living in Cape Town. This thesis intends to explore white gay and bisexual men's experiences of intimacies and conflict in their close relationships during the latter half of apartheid and early democratisation. Interviews and correspondence with eleven men that probed their personal developmental histories, their interactions with social institutions like education and the army, and their intimate relationship histories all revealed information that contributes towards three bodies of literature: firstly, that intersectional histories of race, class and sexuality can be found in social groups that have both privilege and oppression; secondly, that queer identity development is affected by families of origin and social institutions; and thirdly, the queer spaces in Cape Town are reflections of both the queer community and of mainstream heterosexist society. As a result of these findings, it can be stated with conviction that conflict and intimacy in close relationships is an amalgamation of social and personal developments, and that race, class and sexuality have informed the ways in which white queer men perceive themselves and their community. While this research was limited by the small case study size and by minimal archival work, the merits of this case study can be expanded by further oral history projects.

This thesis was concerned with the effects of US intensity (electric shock) upon the development of the conditioned cardiac response, and upon the differential conditioning of this response. Four groups of seven dogs each were trained under four intensities of shock while paralyzed by d-tubocurarine chloride. The results of simple conditioning indicated no significant conditioning in the groups receiving one and two ma. shock. The groups receiving four and eight ma. shock showed significant conditioning, but there was no difference between them. The results of differential conditioning were difficult to interpret. There was no significant difference in degree of discrimination between the two groups which did condition; in view of the failure to obtain conditioning in the one and two ma. groups it was unreasonable to compare them with the other two groups for "degree of discrimination”. / Thesis / Master of Arts (MA)

Most of my works are figurative and depend on my memory when I was modeling. I’d like to attempt to clarify the memories through process of modeling. When I model a human, it might not be a perfect imitation of body because it’s a representation of memories, and it’s affected by memories. It is not important to imitate the human form, but I’m interested in gathering memories and giving a form to them. I’m interested in life force and transience of life, so I was looking for a material which can represent these qualities. When I am engaged glass, I am interested in movement of melted glass and transparency of it. When it is melting, it seems to have a life, but when it is still, it seems to be dead. I am fascinated with qualities of material which have transience. It is an existence of life for me. In fountain series, I attempt to use liquid as a material. Unlike solid material, water, oil, and foam don’t have a stable form. However, I consider that water flow and its liquidity are available as a type of kinetic sculpture. The liquid is supposed to be a material for sculpture. Like melted glass, liquid flowing seems have a life. I recognized that there is a possibility to use liquid as a material throughout the series. Their subtle motion can represent transient vital force.

No description available.

This thesis is a recounting of processes and works manifested in the studio between 2011 and 2013. The bulk of this text, however, is composed of various written personal and autobiographical vignettes, future hopes, and experiences. I use these not to find traces of their influence in the work (although they exist), but more importantly as a way of looking forward, hoping that discovering them might take me somewhere deeper in my future of making.

As a student enrolled in Virginia Commonwealth University's Department of Craft/Material Studies' Master of Fine Arts Graduate Degree program, Jacob A. Vincent's sole obligation to the world for the time period beginning in September of 2010 and continuing through April of 2012 was to dwell on things, and to eventually produce something tangible as a result. Having charged himself with the burden of indulging in the task of re-contextualizing all of existence, and ensuring that his peers and professors knew how vitally important that is, this thesis outlines select aspects of his research methodologies and provides a glimpse into the resultant conclusions.

When Pliny the Elder wrote Naturalis Historia around 70 A.D., the idea of natural history contained and connected biology, geology, and mineralogy with the history of painting and sculpture. Art was an extension of the natural world as its materials were extracted from plants, animals, and, particularly, mined and quarried pigments, stone, and metals. In my developing body of work, Incidents of Naturalis Historia, Reconstructed, I combine wasps’ nests, architectural fragments, and other found objects excavated from my surrounding environment with elements of glass that resemble lichen, crystallization, and geologic specimens. These works simulate artifacts of an alternative history; one in which the divergent histories of art, craft, biology, and geology are again united.

The presentation of a variety of research pertaining to the graduate work of Thomas Jefferson Simon and his thesis show "Full Export".

Exploring how the material environment affects human knowledge of the world is an ongoing investigation in my studio. With this tactile exploration I am also looking to discover how histories and cultures overlap constantly and in close proximity within my daily experience. By collaging natural fragments and cultural debris in my installations, I seek to exaggerate this overlap and create the dizzying feeling of moving through many places at once. Cultural and historical overlapping also occurs in the phenomena of erratic boulders, which refers to the depositing of boulders, rocks, sediments and other materials that receding glaciers leave behind. This phenomenon has the effect of spinning archeology and geology on their heads as large fragments of earth and cultural debris can be carried by glacier for hundreds of miles. This process exposes an intelligible yet chaotic cultural and geological sampling, and in this paper I will explore how this natural phenomenon parallels aspects of my MFA thesis installation.