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Thesis (M.A.)--Bowling Green State University, 2008. / Document formatted into pages; contains v, 93 p. Includes bibliographical references.

Diss.--Philosophische Fakultät--München--Ludwig-Maximilians-Universität, 1998. / Bibliogr. p. 163-174.

Zugl.: Diss.

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The purpose of this study was to ascertain and analyze the following: What was Pestalozzi's philosophy concerning practical arts? What effect did his method of teaching have on the education of Europe during his time? How did his experiment at Neuhof influence education of his time? How did his experiment at Stanz influence education? How did his experiment at Burgdorf influence the method of education? How did his experiment at Yverdon influence education? What was his method of teaching elementary education? Why did educators come from other countries to study the methods of Pestalozzi? How did his object lessons change the methods of education? Why did he think that work should be correlated with school subjects? Why did he believe that sense impressions were the foundation for instruction?

This thesis is an examination of the ways in which, in what Bourdieu theorises as the 'space of literary or artistic position-takings', Gertrude Stein has been continually positioned and repositioned, constructed and reconstructed: by writers in her own period, in modernism scholarship, and, particularly, by writers staking their claim as the literary avant-garde of the late 20th and early 21st Centuries.1 Since her recuperation by the Language Poets in the 1970s, and in the literary histories proposed by Marjorie Perloff and others, Stein has been positioned as the originator of an alternative avant-garde genealogy which has resisted the 'institutionalised' modernism of the New Critics. This legacy continues to the present day in claims by writers like Kenneth Goldsmith that she is a precursor for Conceptual Writing. Because they are predicated on Stein's resistance to the institution of modernism, and hinge on her removal from its history, none of these arguments discuss in any detail Stein's relationship to the historical movement which is the immediate context for her work - to the institution of modernism itself or to the institutions with which it engages. My thesis challenges the removal of Stein from her milieu by showing how her textual production must be read alongside her activity on her contemporary scene and her representation of and by other modernists. In the thesis, I re-read Stein's work as a series of explicit interventions in the institutions which form the context of the cultural production of the early 20th Century. In doing so, I consider the motivations for the reconstructions and repositionings of Stein, tracing the historiography of her presentation as an exceptional figure dislocated from her context.

Texte remanié de: Thesis Ph. D.--Oxford, GB--Oxford Brookes university. / Bibliogr. p. 219-232. Index.

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This thesis is about the life and work of Gertrude Bell, a British woman born in the late nineteenth century, whose extensive knowledge of Middle East cultures and people won her a job as the Oriental Secretary in Iraq after World War One. Modern historians, including Toby Dodge and Edward Said, consider Bell to be an irredeemable orientalist, one whose work is only ethnocentric and essentialist. Using the work of Billie Melman and Mohja Kahf, my aim is to contextualize Bell's work, and to see if, given the various circumstances in which she worked, a more sympathetic reading is not possible, and if perhaps Said and Dodge are not sometimes guilty of essentialism. I will also examine Said's theories in Orientalism, and though this thesis is in no way an attempt to discredit Said's work, I wish to pose a question; if one can take a small piece of the Orientalist puzzle (Bell's work) and shows that it differs from Said's description, does this undermine the idea of orientalism as a cohesive body of ideas?