The main objective of this study is to determine Martin Van Buren's views on slavery and the influence of the institution on his public career.

No description available.

An investigation of the origins and history of the Locofoco party, with particular emphasis upon the divergent theories which made up its heterogeneous ideology, is the first object of this study. A comparison can be made between this ideology and the national administration by studying the developments that took place in 1837 and by evaluating the reasons for the ultimate defeat of the Van Buren Democrats three years later.

Part of Thesis (Ph. D.)--University of Chicago, 1932. / Photolithographed. "Private edition, distributed by the University of Chicago libraries."

Ministry research project (D. Min.)--Midwestern Baptist Theological Seminary, 1997. / Includes bibliographical references (leaves 126-130).

Thesis (Ph. D.)--University of Wisconsin, 1965. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Esta tese analisa o desenvolvimento do trabalho do artista plástico francês Daniel Buren, nascido no ano de 1938 em Boulogne-Billancourt, nos arredores de Paris. Trata-se de um autor ligado aos desdobramentos das pesquisas neovanguardistas na França, conhecido como um dos fundadores da crítica institucional, no contexto da chamada arte conceitual. Suas instalações se caracterizam por estabelecer uma análise sistemática entre a obra de arte e seu local de exposição através daquilo que chamou de trabalho in situ. Atualmente, esta locução é frequentemente utilizada no campo da arte contemporânea para designar trabalhos realizados no próprio local de exposição. Dentre as múltiplas possibilidades de analisar a vasta obra de Daniel Buren, buscamos explorar exatamente o desenvolvimento deste aspecto central de seu trabalho, a noção de trabalho in situ e sua aplicação dentro e fora dos museus e galerias. Esta escolha visa dois objetivos: em primeiro lugar apresentar o funcionamento destes trabalhos ao longo do período analisado. Estes, apesar de surgirem de uma proposta simples, são capazes de movimentar, a cada vez, diversos elementos materiais e simbólicos que compõem o espaço investido. Em segundo lugar, trata-se de avaliar a força crítica do trabalho in situ nestas duas décadas e sua possível ressonância para a arte contemporânea, uma vez que o trabalho in situ tem por característica principal evidenciar o espaço no qual se insere como local de exposição e de produção cultural a ser problematizado. Para o desenvolvimento deste estudo consideramos que o sistema da arte analisado e criticado por Buren, e no interior do qual ele forçosamente desenvolve o seu trabalho, sofreu modificações profundas no período a que se refere esta pesquisa, acompanhado de mudanças igualmente significativas no modo como a cultura se reproduz no capitalismo tardio. Este efeito se consolida em diversas propostas curatoriais e museográficas que abandonam o território seguro da história da arte em direção a propostas autorais ou temáticas. Observa-se também a reformulação e criação de novos espaços expositivos, trabalhados pelos artistas e curadores, que buscam dar conta das questões ligadas à desmaterialização da obra de arte e de sua circulação no campo cultural expandido. Em adição a isso, o próprio espaço urbano se torna um local a ser investido pelas obras in situ, suscitando questões concernentes à relação entre a arte, o artista e o espaço público da cidade. / This thesis examines the development of the work of French artist Daniel Buren, born in 1938 in Boulogne-Billancourt, near Paris. His work is characterized by establishing a systematic analysis between the work of art and its exhibition venue through what he called the work in situ. Currently, this term is often used in the field of contemporary art to define a work done on site. Among the many ways of analyzing the vast work of Daniel Buren, we explore the development of this central aspect of his work, the notion of work in situ and its application in and out of museums and galleries. This choice aims at two objectives: firstly present the functioning of these works over the period analyzed. Even though they arise from a simple proposal, they mobilize various material and symbolic elements that constitute the invested space. Secondly, evaluate the critical strength of the work in situ during these two decades and their possible resonance to contemporary art, since the work in situ is characterized by evidencing the space in which it is installed as a site of exhibition and cultural production open to questioning. To develop this study, we consider that the \"art system\" analyzed and criticized by Buren, who work within that system, was modified significantly in the period referred to in this research, accompanied by equally significant changes in how culture reproduces itself in late capitalism. This effect is consolidated in many curatorial proposals that leave the safe territory of art history toward questions regarding the dematerialization of the art object and its circulation in the expanded cultural field. We also observe the redesigning and the creation of new experimental exhibition spaces. In addition to this, the urban space itself becomes a place to be invested by the works in situ, raising questions concerning the relationship of the art and the artists in the public space of the city.

Esta tese analisa o desenvolvimento do trabalho do artista plástico francês Daniel Buren, nascido no ano de 1938 em Boulogne-Billancourt, nos arredores de Paris. Trata-se de um autor ligado aos desdobramentos das pesquisas neovanguardistas na França, conhecido como um dos fundadores da crítica institucional, no contexto da chamada arte conceitual. Suas instalações se caracterizam por estabelecer uma análise sistemática entre a obra de arte e seu local de exposição através daquilo que chamou de trabalho in situ. Atualmente, esta locução é frequentemente utilizada no campo da arte contemporânea para designar trabalhos realizados no próprio local de exposição. Dentre as múltiplas possibilidades de analisar a vasta obra de Daniel Buren, buscamos explorar exatamente o desenvolvimento deste aspecto central de seu trabalho, a noção de trabalho in situ e sua aplicação dentro e fora dos museus e galerias. Esta escolha visa dois objetivos: em primeiro lugar apresentar o funcionamento destes trabalhos ao longo do período analisado. Estes, apesar de surgirem de uma proposta simples, são capazes de movimentar, a cada vez, diversos elementos materiais e simbólicos que compõem o espaço investido. Em segundo lugar, trata-se de avaliar a força crítica do trabalho in situ nestas duas décadas e sua possível ressonância para a arte contemporânea, uma vez que o trabalho in situ tem por característica principal evidenciar o espaço no qual se insere como local de exposição e de produção cultural a ser problematizado. Para o desenvolvimento deste estudo consideramos que o sistema da arte analisado e criticado por Buren, e no interior do qual ele forçosamente desenvolve o seu trabalho, sofreu modificações profundas no período a que se refere esta pesquisa, acompanhado de mudanças igualmente significativas no modo como a cultura se reproduz no capitalismo tardio. Este efeito se consolida em diversas propostas curatoriais e museográficas que abandonam o território seguro da história da arte em direção a propostas autorais ou temáticas. Observa-se também a reformulação e criação de novos espaços expositivos, trabalhados pelos artistas e curadores, que buscam dar conta das questões ligadas à desmaterialização da obra de arte e de sua circulação no campo cultural expandido. Em adição a isso, o próprio espaço urbano se torna um local a ser investido pelas obras in situ, suscitando questões concernentes à relação entre a arte, o artista e o espaço público da cidade. / This thesis examines the development of the work of French artist Daniel Buren, born in 1938 in Boulogne-Billancourt, near Paris. His work is characterized by establishing a systematic analysis between the work of art and its exhibition venue through what he called the work in situ. Currently, this term is often used in the field of contemporary art to define a work done on site. Among the many ways of analyzing the vast work of Daniel Buren, we explore the development of this central aspect of his work, the notion of work in situ and its application in and out of museums and galleries. This choice aims at two objectives: firstly present the functioning of these works over the period analyzed. Even though they arise from a simple proposal, they mobilize various material and symbolic elements that constitute the invested space. Secondly, evaluate the critical strength of the work in situ during these two decades and their possible resonance to contemporary art, since the work in situ is characterized by evidencing the space in which it is installed as a site of exhibition and cultural production open to questioning. To develop this study, we consider that the \"art system\" analyzed and criticized by Buren, who work within that system, was modified significantly in the period referred to in this research, accompanied by equally significant changes in how culture reproduces itself in late capitalism. This effect is consolidated in many curatorial proposals that leave the safe territory of art history toward questions regarding the dematerialization of the art object and its circulation in the expanded cultural field. We also observe the redesigning and the creation of new experimental exhibition spaces. In addition to this, the urban space itself becomes a place to be invested by the works in situ, raising questions concerning the relationship of the art and the artists in the public space of the city.

<p>Bakgrunden till studien är att vikten på den enskilda soldaten ökar allt mer vilket reducerar rörligheten. Om soldaten bär för tungt ökar risken för att verkan inte kan avges på rätt plats i rätt tid på grund av minskad rörlighet. Terrängen som amfibiesoldaten verkar i medför att stor del av striden sker till fots vilket torde betyda att rörligheten borde vara prioriterat för soldaten. Syftet med uppsatsen är att undersöka om rörlighet har varit prioriterat, för en amfibieskyttesoldat när den bedriver strid till fots, gentemot vikten på och plutonens anpassning av verkans- och skyddsutrustning. Metoden som använts är en jämförelse mellan amfibieskyttesoldatens olika utrustningsalternativ med de vikter som fastställts i författarens analysverktyg som utgår från de amerikanska doktrinerna. Även amfibieskytteplutonens anpassning av verkans- och skyddsutrustning ingår i analysverktyget. De tekniker som använts är litteratursökning, deltagande observation från verksamhetsförlagdutbildning på AmfStriS och intervju med en grundutbildad amfibieskyttegruppchef. Slutsatsen från studien är att rörlighet inte har varit prioriterat kopplat till vikten och plutonensarbete med att anpassa verkans- och skyddsutrustning. Det är framförallt skyddsnivån och ammunitionsmängd som påverkar slutsatsen. Det skulle vara svårt för plutonchefen att förklara en soldats skada eller dödsfall med att rörlighet prioriterats framför verkan och skydd. Alltså tränar soldaten som den skall strida, med andra ord skyddsnivå HÖG och all ammunition med.</p> / <p>The background to this study is that the weight of an infantry soldier is increasing, which reduces the mobility. If the soldier is carrying too much equipment there’s a substantial risk that efficient fire can’t be delivered in the right place at the right time. The marine infantry soldier operates in an environment where most of the combat is by foot. This would mean that mobility must be in priority. The aim of this paper is to examine if the mobility has been in priority, for a marine infantry soldier, in comparison with the weight of the equipment and the marine platoons work to adapt the firepower and protection equipment. The method used is a comparison between the different options of equipment for the marine infantry soldier with the weights that the author confirm in his analysis tool which are based on FM 7-8 andFM 7-10. The marine infantry platoons adaption of equipment to improve mobility is also included in the analysis tool. The techniques to collect information are literature review, participant observation and an interview with a basic trained marine infantry squad leader. The conclusion from this study is that mobility hasn’t been in priority coupled to the weight of the equipment and the platoon’s adaptation of equipment to improve mobility. It’s the level of protection and the amount of ammunition that particular affect the answer to the conclusion. There would be difficulties for a platoon commander to explain a soldier’s injury or death with the explanation that mobility was in priority in comparison with protection and firepower. The marine infantry soldiersare training as they fight, which means that they bring all ammunition and choose a HIGH level inprotection.</p>

Bakgrunden till studien är att vikten på den enskilda soldaten ökar allt mer vilket reducerar rörligheten. Om soldaten bär för tungt ökar risken för att verkan inte kan avges på rätt plats i rätt tid på grund av minskad rörlighet. Terrängen som amfibiesoldaten verkar i medför att stor del av striden sker till fots vilket torde betyda att rörligheten borde vara prioriterat för soldaten. Syftet med uppsatsen är att undersöka om rörlighet har varit prioriterat, för en amfibieskyttesoldat när den bedriver strid till fots, gentemot vikten på och plutonens anpassning av verkans- och skyddsutrustning. Metoden som använts är en jämförelse mellan amfibieskyttesoldatens olika utrustningsalternativ med de vikter som fastställts i författarens analysverktyg som utgår från de amerikanska doktrinerna. Även amfibieskytteplutonens anpassning av verkans- och skyddsutrustning ingår i analysverktyget. De tekniker som använts är litteratursökning, deltagande observation från verksamhetsförlagdutbildning på AmfStriS och intervju med en grundutbildad amfibieskyttegruppchef. Slutsatsen från studien är att rörlighet inte har varit prioriterat kopplat till vikten och plutonensarbete med att anpassa verkans- och skyddsutrustning. Det är framförallt skyddsnivån och ammunitionsmängd som påverkar slutsatsen. Det skulle vara svårt för plutonchefen att förklara en soldats skada eller dödsfall med att rörlighet prioriterats framför verkan och skydd. Alltså tränar soldaten som den skall strida, med andra ord skyddsnivå HÖG och all ammunition med. / The background to this study is that the weight of an infantry soldier is increasing, which reduces the mobility. If the soldier is carrying too much equipment there’s a substantial risk that efficient fire can’t be delivered in the right place at the right time. The marine infantry soldier operates in an environment where most of the combat is by foot. This would mean that mobility must be in priority. The aim of this paper is to examine if the mobility has been in priority, for a marine infantry soldier, in comparison with the weight of the equipment and the marine platoons work to adapt the firepower and protection equipment. The method used is a comparison between the different options of equipment for the marine infantry soldier with the weights that the author confirm in his analysis tool which are based on FM 7-8 andFM 7-10. The marine infantry platoons adaption of equipment to improve mobility is also included in the analysis tool. The techniques to collect information are literature review, participant observation and an interview with a basic trained marine infantry squad leader. The conclusion from this study is that mobility hasn’t been in priority coupled to the weight of the equipment and the platoon’s adaptation of equipment to improve mobility. It’s the level of protection and the amount of ammunition that particular affect the answer to the conclusion. There would be difficulties for a platoon commander to explain a soldier’s injury or death with the explanation that mobility was in priority in comparison with protection and firepower. The marine infantry soldiersare training as they fight, which means that they bring all ammunition and choose a HIGH level inprotection.