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Indiana University-Purdue University Indianapolis (IUPUI) / This dissertation argues that the Edison Institute (presently known as The Henry Ford in Dearborn, Michigan) survived internal and external challenges through the evolution of the Ford family’s leadership and the organization’s funding strategy. Following Henry Ford’s death, the museum complex relied upon the Ford Foundation and the Ford Motor Company Fund as its sole means of philanthropic support. These foundations granted the Edison Institute a significant endowment, which it used to sustain its facilities in conjunction with its inaugural fundraising program. Navigating a changing legal, corporate, and philanthropic landscape in Detroit and around the world, the Ford family perpetuated Henry Ford’s legacy at the Edison Institute with the valuable guidance of executives and staff of their corporation, foundation, and philanthropies. Together they transitioned the Edison Institute into a sustainable and public nonprofit organization by overcoming threats related to the deaths of two generations of the Ford family, changes in the Edison Institute’s administration and organizational structure, the reorganization of the Ford Foundation, the effects of the Tax Reform Act of 1969, and legal complications due to overlap between the Fords’ corporate and philanthropic interests. The Ford family provided integral leadership for the development and evolution of the Edison Institute’s funding strategy and its relationship to their other corporate and philanthropic enterprises. The Institute’s management and funding can be best understood within the context of philanthropic developments of the Ford family during this period, including the formation of the Ford Foundation’s funding and concurrent activity.   This dissertation focuses on the research question of how the Edison Institute survived the Ford family’s evolving philanthropic strategy to seek a sustainable funding and management structure. The work examines its central research question over multiple chapters organized around the Ford family’s changing leadership at the Edison Institute, the increase of professionalized managers, and the Ford’s use of their corporation and philanthropies to provide integral support to the Edison Institute. In order to sustain the Edison Institute throughout the twentieth century, it adapted its operations to accommodate Henry Ford’s founding legacy, its legal environment, and the evolving practice of philanthropy in the United States.

Current scholarship on Shakespeare’s The Merry Wives of Windsor mostly focuses on topics surrounding Sir John Falstaff’s presence, mythical allusions, and the questionable date of publication. Although their actions are the driving force of the play, the woman frontrunners, Mistress Ford and Mistress Page, receive little scholarship attention. Anne Page, daughter of Mistress Page and wife of Fenton, also dictates the course of the play by taking control of her betrothal. Yet she remains underappreciated in scholarship. This thesis highlights important characteristics of all three wives of Windsor in addition to justifying Anne Page’s role as a wife of Windsor. Through close readings of the text and analyses of scholarship immediately relevant to these wives and common attributes of women in Renaissance England and Shakespeare plays, I argue these strong, multifaceted women refute stereotypical female roles and undermine patriarchal authority aligning themselves with other idolized outspoken woman characters in Shakespeare plays.

Expanded production of hydrocarbons by means of horizontal drilling and hydraulic fracturing of shale formations has become one of the most important changes in the North American petroleum industry in decades, and the Eagle Ford (EF) Shale play in South Texas is currently one of the largest producers of oil and gas in the United States. Since 2008, more than 5000 wells have been drilled in the EF. To date, little research has focused on landscape impacts (e.g., fragmentation and soil erosion) from the construction of drilling pads, roads, pipelines, and other infrastructure. The goal of this study was to assess the spatial fragmentation from the recent EF shale boom, focusing on La Salle County, Texas. To achieve this goal, a database of wells and pipelines was overlain onto base maps of land cover, soil type, vegetation assemblages, and hydrologic units. Changes to the continuity of different ecoregions and supporting landscapes were then assessed using the Landscape Fragmentation Tool as quantified by land area and continuity of core landscape areas (those degraded by “edge effects”). Results show an increase in ecosystem fragmentation with a reduction in core areas of 8.7% (~333 km²) and an increase in landscape patches (0.2%; 6.4 km²), edges (1.8%; ~69 km²), and perforated areas (4.2%; ~162 km²) within the county. Pipeline construction dominates sources of landscape disturbance, followed by drilling and injection pads (85%, 15%, and 0.03% of disturbed area, respectively). This analysis indicates an increase in the potential for soil loss, with 51% (~58 km²) of all disturbance regimes occurring on soils with low water-transmission rates and a high runoff potential (hydrologic soil group D). Additionally, 88% (~100 km²) of all disturbances occurred on soils with a wind erodibility index of approximately 19 kt/km²/yr or higher, resulting in an estimated potential of 2 million tonnes of soil loss per year. Depending on the placement of infrastructure relative to surface drainage patterns and erodible soil, these results show that small changes in placement may significantly reduce ecological and hydrological impacts as they relate to surface runoff. Furthermore, rapid site reclamation of drilling pads and pipeline right-of-ways could substantially mitigate potential impacts. / text

In the nineteenth century, as society in Victorian Britain adjusted to the effects of urbanization and industrialization, social roles began to shift, changes that were reflected in the children’s book illustrations of Randolph Caldecott, Henry J. Ford, and Beatrix Potter. This time period was considered the golden age of children’s book illustrations due to a large boom in both number and quality available. These children’s books illustrators had a lasting impact on culture and aesthetics and reinforced the social constructions of the new urban middle class. Randolph Caldecott’s illustrations of nursery rhymes gave new interpretations to familiar texts, some of which furthered shifts in gender roles for both males and females. Andrew Lang’s fairy tale series, illustrated by H. J. Ford, walked a fine line between high art ideals and consumerism. Ford’s illustrations referenced the Pre-Raphaelite aesthetic. The fairytale genre has emphasized female roles from its inception, and Lang's and Ford's focus on an essentially English femininity added complexities to messages about the ideal woman. Beatrix Potter’s subversive work can be seen as the culmination of the Victorian period. She satirized the ideal woman at home, illuminating the anxieties and pressures of the domestic sphere and exploring the Victorians' fixation with the etiquettes of social rank. In an attempt to further the scope of traditional art history, this dissertation shows that, even in consumerist-driven visual culture, even in seemingly inconsequential children’s book illustration, we can see the impact of key social changes and values.

Excerpt: In 1955, Tennessee Ernie Ford (born Ernest Jennings Ford on February 13, 1919, in Bristol, Tennessee) was an established recording star who could claim several major country hits as well as a few minor pop hits to his name.

Ford Madox Ford est un écrivain impressionniste qui se veut historien de son temps et paraît représenter la vie moderne grâce à un texte envisagé à partir du visuel pour faire voir. Il encourage ainsi le rapprochement de son écriture avec l’art des peintres français du XIXème siècle, mais il engage dans ses récits une multitude d’arts et d’esthétiques afin de produire son impression suivant sa pensée originale et singulière. Celle-ci soutient l’accumulation et l’association artistiques mises en œuvre dans les romans en brisant les cadres esthétiques établis pour fusionner arts et esthétiques dans une forme qui s’adapte au réel afin d’en structurer l’informe et de le révéler pour en offrir une expérience au lecteur. Soumis au pictural et au théâtral pour se donner à voir dans des tableaux et des scènes, le récit dévoile en fait comment la modernité résiste à l’illusion mimétique. Peinture et théâtre figurent donc non le visible mais sa perte, et les romans sont poussés par leur objet à la dé-figuration proprement moderne que l’esthétique fordienne promeut et que le cinéma porte. Celui-ci donne alors accès à la vision d’un monde fragmenté et en mouvement par sa totalisation dans la métamorphose continue du filmique, qui en outre invite l’identification visuelle. Mais le cinématographique n’ouvre pas à la totalisation du roman, ni à ce dialogue que l’auteur entend engager avec son lecteur sym-pathique pour lui transférer son œuvre. Ce transfert se fait bien par le texte et sa structure mais en définitive hors de la figuration, grâce à la musique du roman qui à la fois gouverne, rassemble et abolit la représentation, les arts et le texte pour faire com-prendre l’œuvre. / Ford Madox Ford is an impressionist writer who purports to be a historian of his own time and seems to represent modern life in a text conceived visually to make you see. He thus encourages a parallel between his writing and the nineteenth-century French painters’ art to be drawn ; yet he draws on a vast array of arts and aesthetics in his narratives to forge his impression according to his original and singular conception of art. That conception supports the artistic accumulation and association exercised in the novels while it shatters established aesthetic frameworks to merge arts and aesthetics in a form which adapts to reality to structure its formlessness and reveals it to offer an experience of it to the reader. In obeying pictorial and theatrical norms to be seen as pictures or in scenes, the narrative in fact discloses how modernity resists mimetic illusion. So painting and the theatre do not represent visibility but its loss, and the novels are forced by their object to embrace a thoroughly modern de-figuration which Fordian aesthetics endorses and the cinema realises. The latter then grants access to the vision of a fragmented and moving world totalled by the continuous metamorphosis of film, which besides encourages visual identification. However the cinema does not lead to the totalisation of the novel, nor to the dialog which the writer intends to have with his sympathetic reader in order to transfer his artwork onto him. That transfer does happen by means of the text and its structure but ultimately without figuration, through the music of the novel which at once governs, unites and abolishes representation, the arts and the text so the artwork be com-prehended.

Fuchsian groups are discrete subgroups of isometries of the hyperbolic plane. This thesis will primarily work with the upper half-plane model, though we will provide an example in the disk model. We will define Fuchsian groups and examine their properties geometrically and algebraically. We will also discuss the relationships between fundamental regions, Dirichlet regions and Ford regions. The goal is to see how a Ford region can be constructed with isometric circles.