Thesis (Ph.D.)--York University, 2006. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 326-347). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR19817

Thesis (Ph. D.)--University of Wisconsin--Madison, 2002. / Includes bibliographical references (leaves 432-440). Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2002. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 432-440).

This study examines four suits of armour that belonged to two Swedish kings, one protestant and one catholic, during the renaissance. The study tries to determine if it is possible to extract the religious identity of these kings based upon the decorations or other connotations of the suits of armour. Since the two kings, Erik the XIV:th and John the III, where half brothers and they succeeded each other, the suits of armour are closley matched in time and style.   The study also examines the grave effigy of one of the kings, John the III of Sweden, to examine if there is a connection between crossed legs on effigys and the perception of religion during the period.   The study is conducted through a archeological and historiological method and uses a combination theory of Smarts seven dimensions and the pictoral turn.   The main question of the study is: -          What does it take to track religious bias through armour? The subsequent questions are: -          Is it possible to find the religious identity in the suits of armour? -          Was the Gothicism movement a religious movement? -          The effigy of John the III was sculpted in a style popular in the eleventh century, created in the 16:th century and placed in the 18:th century. What conclusions can be drawn from this while also tracking the discourse of effigys in the same time expance.   The study concludes that if the identity of the owner of a suit of armour is known, the symbols that adorne the suit can be interpreted fairly well. It also conludes that the gothic movement in Sweden where an extremely aggressive catholic movement. Finally it concludes that the creation and placement of the tomb in Uppsala cathedral closely follows the different discourses about the meaning of crossed legs on effigys in Europe and that the makers most likely gave the position a devout religious connotation.

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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.

This dissertation examines how honor was fashioned in the New South by examining the masculine roles performed by William Greene Raoul, Jr. Raoul wrote his autobiography in the mid-1930s and in it he reflected on his life on the New South's frontier at the turn of the century as change came to the region in all aspects of life: politically, economically, socially, sexually, and racially. Raoul was an elite son of the New South whose memoirs, "The Proletarian Aristocrat," reveals a man of multiple masculinities, each with particular ways of retrieving his past(s). The paradox of his title suggests the parallel organization of Raoul's recollections. The "aristocrat" framed the events of a lifetime through a lens of honor, sustained by southern gentlemen who restrained masculine impulses on the one hand and avoided dependency on the other. Raoul the "proletarian" cast honor through an ideological retrospective whereby traumatic memories of disappointment and failure were re-fashioned through a distinctly politicized view constructed rather than recalled. Raoul's business failures led him to re-conceptualize masculine honor as a quality possessed more by the emerging working class than the rising commercial class. Memory operates in this project as more than mere methodology as assumptions about access to the past through memory are subordinated to an examination of the meaning of the memories rehearsed by Raoul. Raoul wrote his autobiography at a bittersweet moment in his life. While his personal fortune had been nearly wiped out by the stock market crash of October 1929, he clearly looked back on his career in the New South as a committed radical with delight as the Great Depression called into question the legitimacy of the capitalist system that he had long held responsible for his own professional failures in a variety of endeavors, from the cotton-mill industry to box-car building and from saw manufacturing to a practicing accountant. Raoul converted to Socialism in part to join what he regarded as society's most progressive and virile force. It is these two voices, the proletarian and the aristocrat, that are under examination here.