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I set about exploring the history of Jambi batik with a view to establishing its nature, characteristics, methods of manufacture and function in its social context. A central aim of the study was to establish an accurate description of batiks from Jambi which could serve as a guide to museum cataloguers. In particular I planned to clarify the position regarding the red batiks. During the course of my investigations, I came across a similar confusion surrounding a group of batiks containing Arabic calligraphy. A further purpose of the study was then to determine which, if any, of these calligraphy batiks were made in Jambi. For those which did, my intention was to discover how they fitted into the social and economic context in which they were produced. This study has challenged a number of assumptions which have been made about batik in Indonesia. I have confronted static models and others which have focussed too narrowly on Javanese techniques and meanings. I have demonstrated the importance of approaching textiles from a perspective which recognises change and diversity. I have tried to emphasise the need to understand the central role of trade and colonial experience in relation to textiles in South-East Asia. I have also shown the need for taking into consideration the wider geographical context, beyond the Indonesian archipelago and beyond the notional boundaries of South-East Asia. Previous studies of Indonesian batik have tended to apply Javanese models to all of Indonesia. Indonesia was viewed with Java as the centre and the other regions as satellites to it: a Java-centric model which has marginalised batiks from Jambi. Finally, I believe I have shown the crucial importance of studying the technical aspects of textiles. Many other studies of textiles in South-East Asia have employed an anthropological perspective focusing almost exclusively on the symbolic to the neglect of the technical. This has resulted in a paucity of information which could help museum curators to identify both how and where the textiles were made. This lack of information made the study of textiles from Jambi, as it must do for many other marginalised places, particularly difficult. I hope that this study has not only revealed this problem, but has gone some way to remedy it.

This thesis contextualizes the three series of work that I have produced for my MFA. My chief concerns are with the dynamic between the individual and the collective, and how this is symbolically represented in lists of names. I also suggest that an underlying sense of communitas, or equality, is evoked through lists of names. I explore this idea further in an examination of various memorials where the naming of those commemorated is a major element of the work. I then describe the work that I have made, and connect it to other artworks that also use lists of names in order to explore the idea of what it is to be both an individual and a member of a group. I suggest that artworks and memorials are potent as carriers of symbolic meaning because they allow space and time for contemplation. In addition to the use of names, I also look at artworks that use items that have belonged to people as substitutes for those people, and as metaphors for humanity. My work utilises human hair and socks, but other artists use different types of contiguous possessions as stand-ins for individuals. The examples are chosen to investigate the variety of tropes available for memorial designers and artists, and in order to see the way diverse materials can be used to investigate similar concerns.

Thesis (Ph.D.). / Title from title page of PDF (viewed 2008/01/30). Written for the Dept. of Mechanical Engineering. Includes bibliographical references.

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2009. / Includes bibliographical references (p. 107-115).

Thesis (Ph.D.)--University of Leeds, 1922. / Holograph. Caption title. Includes photocopies of the report of the Royal Commission to Investigate the Possibilities of Musk-ox Industries in the Arctic and Sub-arctic regions of Canada, and a letter from W.T. Hornaday, Curator, New York Zoological Society addressed to the Commission concerning the viability of domestic music ox herds. Contents: v.1. Thesis, Ovibos fibre -- v.2 Samples, Ovibos (musk ox) fibre.

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 111-113). 1 folded diaghram included. Also available via the Internet.

Revision of a part of the author's thesis with title: Uttara Bhāratīya vastra. / Includes bibliographical references (p. [59]-62).

Thesis (M. Econ.)--Thammasat University. / Includes bibliographical references (leaves 158-162).