Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 226-234).

The Swedish mining company LKAB is using limestone as additives for the production of its iron ore pellets. The company is considering five new proposals of limestones since the Nordkalk Company is soon no longer able to provide limestone from the Storugns quarry which is the one that is used today. The first purpose in this study was to characterize and compare these five new limestones in respect to their texture and their disintegration during the transport from the quarry to the final destination in Malmberget, considering the Storugns limestone as a reference material. The second aim was to focus on finding any link between texture and disintegration properties of the limestones. Another intention is that the methodology which is used in this study will help the company to consider new proposals of limestones in the future. Six limestones from the Orsa, Storugns, Stucks, Vasalemma, Verdal and Võhmuta quarries were analyzed by an optical microscopy analysis of the textures. Two types of physical tests were also included in the study: a tumbler test and a breakage test. Six different textures were identified by a qualitative thin section analysis which shows similarities between the limestones from different origins but also a high variability of texture within a same quarry. A more quantitative optical microscopy analysis led to the assumption of both the degree of lithification and the amount of initial micro-cracks for each sample. According to the physical test results, the limestones disintegrate as follows, from the less to the more disintegrated: Stucks (7,6%), Storugns (9,4%), Verdal (10,3%), Võhmuta (11,1%), Vasalemma (11,8%) and Orsa (17,6%). There is no evident textural parameter which is controlling directly the disintegration of limestone. However the samples with a rather high lithification and a rather low fracturing disintegrate less than samples with a rather low lithification and a rather high fracturing. It is assumed that the combination of degree of lithification together with the amount of initial micro-cracks is somehow controlling the disintegration of limestone. / Validerat; 20101217 (root)

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Douglas Sloan. Dissertation Committee: Harold Noah, Ellis Katz. Bibliography: leaves 417-429.

This dissertation analyzes the intellectual and political contributions of choreographer Katherine Dunham (1909-2006). As an African American woman, Dunham broke several barriers of race and gender, first as an anthropologist conducting ethnographic fieldwork in the Caribbean in the 1930s, and second as the artistic director of a major dance company that toured the United States, Latin America, Europe, Asia, and Australia from the 1930s through the 1960s. She also wrote several scholarly books and articles, opened multiple schools, and served on the boards of numerous arts organizations. Although Dunham's contributions to anthropology and dance are vitally important, "Choreographing a New World" emphasizes her political engagement. Through actions both onstage and off, she helped strengthen the transnational ties of black social movements from the New Negro Movement to the Black Power Movement. In particular, the dissertation contends that Dunham made dance one of the primary forces in the creation and perpetuation of the African diaspora. She herself attempted to live diaspora by forging personal connections across racial, linguistic, national, class, and cultural borders. In order to shift the focus to Dunham's intellectual and political engagement, "Choreographing a New World" turns to previously untapped archival sources. This dissertation is the first scholarly work on Dunham to examine archives from the U.S. State Department, Office of Economic Opportunity, Bernard Berenson Papers, Rockefeller Foundation Records, Langston Hughes Papers, and Rosenwald Foundation Papers, among other archives. It combines insights from these archives with choreographic analysis, interviews with Dunham's former dancers and students, and embodied participant-observation research at the annual International Katherine Dunham Technique Seminars from 2010 to 2013. Overall, "Choreographing a New World" not only provides a new perspective on Dunham, but also raises important questions about dance as an intellectual and political activity, especially within an African diasporic context.

No description available.

Questions surrounding queer subjectivity—including shame, the closet, and celebration—are at the core of my interests as a painter and image maker. Mining the history of religious iconography, including annunciation paintings, scenes of the crucifixion, and other notable works of this ilk, my paintings seek to explore the intricacies of sexuality and the workings of shame and celebration at play in the life of the queer-identified.

This thesis discusses three bronze oil lamps found in the ancient city of Meroë, in the collection of the Museum of Fine Arts, Boston. Scholars have considered the lamps to be imported from Hellenistic Egypt, but careful examination has revealed that the lamps were not imported. The lamps were locally made in Meroë; the materials and technology needed to create bronze lamps were available to Meroitic craftsmen.

No description available.