This study investigated the work of design theorist Denman Waldo Ross and his theory of “pure design.” During the early twentieth century, Ross delivered lectures, published articles and books, and mused endlessly on the subject of art and design pedagogy. He taught future architects, designers, and art teachers at Harvard University, and acted as a patron to artists and art theorists. He also served on numerous boards and panels, helping to govern the Boston public schools, the Museum of Fine Arts, Boston, and the Academy of Arts and Sciences, among others. His work is not widely known today, but it was influential during a critical moment in American art education history. Arthur Wesley Dow is often credited as initiator of the elements and principles of design—an unfair burden for him to bear. Denman Waldo Ross, too, participated in the development of the language and terminology related to the elements and principles of design in the canon of art education at the turn of the twentieth century. / text

My dissertation focuses on the notion of “gesture” as a somatic manifestation of psychological experience. This view of movement was elaborated by late 19th-century psychologists, who gave up the metaphysical notion of the soul in favor of neuro-physiological approaches to behavior. My study shows how the new scientific discourse penetrated into a broader cultural sphere, generating wide interest in the question how the body participates in and reflects affective and cognitive processes. I examine the modes of recording, representing and interpreting body movement as “expressive.” Based on archival materials and periodicals, I chart out avenues by which the ideas and methods of physiological psychology reached artists and writers – a task, which involves evaluating institutional practices and cultural-political trends that promoted interdisciplinary engagements. Ultimately, my study demonstrates how scientific discourse transformed techniques of film acting, prompted film industries’ inquiries into spectators’ physical reactions, and spurred literary scholars’ investigations of poets’ intonation and body movement. Yet, rather than positing the direct influence of science, I attend to a variety of ways in which writers and artists reinterpreted, defamiliarized and resisted the positivist outlook brought forward by physiological psychology. In Chapter 1, I show how Viktor Shklovskii drew on William James’s theory of the corporeal experience of emotion and Wilhelm Wundt’s ideas on the gestural origin of language to discuss Russian Futurist poetry as a “ballet for the organs of speech.” Chapter 2 analyzes Boris Eikhenbaum’s essays on poetic declamation by placing them in the context of the Petrograd Institute of the Living Word. In this organization, Russian Formalists worked alongside speech therapists and psychologists, using parlograph records of poetry performances. I compare their methods of registering poetic intonations to similar endeavors by American phoneticians Edward Scripture and R.H. Stetson. Chapter 3 traces the origins of Lev Kuleshov’s system of film actors’ training, arguing that his ideas emerged at the juncture of avant-garde theater, Pavlovian reflexology, and labor efficiency movement. Chapter 4 considers psycho-physiological approaches to film spectatorship, focusing on American and Soviet efforts to assess the emotional responses of filmgoers by photographing their facial reactions and registering changes in their vital signs.

In this dissertation, I argue that the iconoclastic and anti-materialistic "art of living to God" is the central theoretical preoccupation of English and American Puritan intellectuals. I call attention to a wealth of previously unacknowledged writing about image, art, architecture, and form in Puritan literature, while highlighting how recent materialist analyses of Puritan culture have effectively obscured evidence of iconoclasm and anti-materialism in this milieu. In the first chapter, I explore the Puritan inheritance of John Calvin's theology of the "living image," which defines human beings as God-made pictures and greater than all images that are man-made. I explain how Puritan image theory is wedded to a theorization of the art of living to God, such that Puritan art and image theory are one and the same. The second chapter delineates various ways in which the imitation of Christ undergirds the conceptualization of "art work" in Puritanism. Here I focus on how Puritan ideas about both art and image intersect with their theorizations of happiness, shining, walking, and printing/pressing. I examine the theology of "edification" in my third chapter, probing how godly Puritans were understood to be "living architecture" and "living plants." In Chapter 4 I consider how Puritan anti-formalism contributes to and complicates Puritan art and image theory. More than anything else, a preoccupation with theorizing image, art, architecture, and form is what makes intellectual Puritanism a coherent tradition across space (England and the Netherlands to New England) and time (ca. 1560-1730). In the fifth and concluding chapter, I address an aspect of Puritan ministerial writings in which pastoral practice is defined not as art work but in terms of image curatorship and conservation. I then suggest that Puritan biographical literatures are archives or histories of artful and edificatory performativity. I argue that texts such as broadside elegies, funeral sermons, the monumental collections of lives by Samuel Clarke and Cotton Mather, and perhaps even gravestones should be understood as histories of Puritan art and architecture. / History of Art and Architecture

No description available.

This thesis consists of three chapters and deals with the aesthetic status of forgeries regarding works of literature, the visual arts, and musical works. The first chapter deals with the definition of forgery and I explain the difference between forgeries and mere fakes. I also give examples of famous art forgeries. In the second chapter I explain the leading arguments regarding the aesthetic status of forgeries. These arguments come from Nelson Goodman, Alfred Lessing, Mark Sagoff, Denis Dutton, John Hoaglund, Tomas Kulka, Kendall Walton, and Sherri Irvin. In the final chapter I give my own view and explain what exactly is aesthetically wrong with forgeries. My main issue with forgeries deals with deception and with what this deception entails. / Graduate

In this study the maximum entropy formalism [JAYN 57] is suggested as an alternative theory for general queueing systems of computer performance analysis. The motivation is to overcome some of the problems arising in this field and to extend the scope of the results derived in the context of Markovian queueing theory. For the M/G/l model a unique maximum entropy solution., satisfying locALl balance is derived independent of any assumptions about the service time distribution. However, it is shown that this solution is identical to the steady state solution of the underlying Marko-v process when the service time distribution is of the generalised exponential (CE) type. (The GE-type distribution is a mixture of an exponential term and a unit impulse function at the origin). For the G/M/1 the maximum entropy solution is identical in form to that of the underlying Markov process, but a GE-type distribution still produces the maximum overall similar distributions. For the GIG11 model there are three main achievements: first, the spectral methods are extended to give exaft formulae for the average number of customers in the system for any G/G/l with rational Laplace transform. Previously, these results are obtainable only through simulation and approximation methods. (ii) secondly, a maximum entropy model is developed and used to obtain unique solutions for some types of the G/G/l. It is also discussed how these solutions can be related to the corresponding stochastic processes. (iii) the importance of the G/GE/l and the GE/GE/l for the analysis of general networks is discussed and some flow processes for these systems are characterised. For general queueing networks it is shown that the maximum entropy solution is a product of the maximum entropy solutions of the individual nodes. Accordingly, existing computational algorithms are extended to cover general networks with FCFS disciplines. Some implementations are suggested and a flow algorithm is derived. Finally, these results are iised to improve existing aggregation methods. In addition, the study includes a number of examples, comparisons, surveys, useful comments and conclusions.

Consensualism (Lat. Consensus ad idem – agreement to the same thing, common opinion) means that the will of contracting parties is regarded to be the most important in a contract in contract law. Due to this reason mutual rights and duties can be set only by the actions of capable contracting parties. The principle of consensualism is at the core of Contract law. It claims to regard the intentions and the will of the parties rather than certain parts of a contract, while interpreting the contract. In cases where during the interpretation of contracts differences between the real intentions of the parties and the meaning of linguistic text of the contracts occur, priority should be given to the general and genuine intentions of the contracting parties. In this case formalism is negated, while formalism, being contrary to consensualism, instead of giving the priority to the will of parties, gives it to the outward form of that will’s expression. Despite formalism in contract law occurs more seldom nowadays, in some cases it is not enough for contracting parties just to come to an agreement in order to have a valid contract. Sometimes the certain form of its expression is needed too. This diploma work deals with peculiarities of the principle of consensualism in contract law. The main aspects discussed in the paper are: the importance of the principle of consensualism interpreting the contracts within the Continental and Common law systems, relation between consensualism and... [to full text]

In this thesis we study the conductance of a one dimensional conductor in the presence of dephasing. Dephasing effects are modelled after generalizing B&uuml / ttiker&rsquo / s dephasing model (Phys. Rev. B 33, 3020 (1986)) to a continuous one. Infinitely many electron reservoirs are coupled to the conductor as phase breakers and the method for calculating the conductance is presented. We investigate how this continuum decoherence effect the conductance of a wire, with single and double rectangular barriers.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 204-227). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 204-227). Also available on the Internet.