I became interested in Marcel Duchamp's work at an early stage of my art history studies. His then most important piece, The Bride Stripped Bare by her Bachelors, Even, particularly fascinated me and I wished to understand the complexity of the work itself. I also wanted to learn more about the personality and psyche of this artist.For several years I lived in Philadelphia, and spent many Sunday afternoons in the Philadelphia Museum of Art studying, evaluating and appreciating Duchamp's works which can be found in the Arensberg Collection. I obtained Richard Hamilton's translation of the Green Box1 and used it as Duchamp wished--reading it along with a visual study of The Bride Stripped Bare.During my residence in Philadelphia and, shortly after his death, Duchamp's final work was unveiled. Upon further study of his total work and the writings about him, I experienced in several dimensions the message of his art and felt that this new writing, this thesis, needed to be done. I could not accept the frustration, castration, negation, and non-aesthetic that was read into his work by many critics. Duchamp was a revolutionary in art, yes--but there was an erotic joy, a sensuous aesthetic sensitivity to his form, be it created or found, and a continuous desire on his part to extend man's aesthetic awareness to new areas of life experience.This thesis presents a critical re-evaluation of Marcel Duchamp's two works: first, The Bride Stripped Bare by her Bachelors, Even; and secondly, Etant Donnés: 1° la chute d'eau, 2° le gaz d'éclairage, which is the concern of chapter two.Because of the nature of these two works of art, it was necessary to discuss and analyse iconographically, in chapter one, various other works -- following their development and recurrences as symbolic images. Several statements by writers and critics are also re-evaluated, mainly those referring to an erotic pessimism reflected in Duchamp's work.An important guide line for this study has been the Green Box. It, along with other writings and staements, revels Duchamp as a sensitive, highly intellectual artist ready for constant changes. From the material within the Green Box is woven the thread for the final content -- the positive, erotic message and the aesthetic experience.1 Duchamp saved all of the notes, sketches, and drawings related to The Bride Stripped Bare in a green box, which he later published, titled the Green Box. A typographic version of the notes, translated by George Heard Hamilton, was prepared by Richard Hamilton, titled The Bride Stripped Bare by her Bachelors, Even (London: Percy Lund, Humphries and Co. Ltd., 1960).

The thesis analyzes the origins and the formative period of Virginia’s historical marker program. It shows that historical markers were critical to the success of Harry Flood Byrd’s administration and his Commission on Conservation and Development. The thesis also examines how Virginia’s marker program set the standard for roadside commemoration across the entire United States. Lastly, the work appraises the influence of Dr. Hamilton James Eckenrode, his pioneering methods of historical commemoration, and his central role in the success of Virginia’s marker program.

This document begins with the end of a life and ends with the beginning of hope. It is a brief description of the artist's history, artistic and literary influences, and subsequent works produced during graduate school, specifically Dichotomy, Swan Dive, and Jimmy Hit His First Home Run. Topics discussed include Human Physiology, Transference, Buddhism, and Bubbles. This document was created in Microsoft Word 2004 for Mac, Version 11.2.

This essay explores and investigates post-colonial identity in Ireland in Hugo Hamilton’s The Speckled People: A Memoir of a Half-Irish Childhood (2003) and The Sailor in the Wardrobe (2006). Relying primarily on Homi K. Bhabha’s postcolonial criticism, which draws on some ideas from psychoanalysis, this essay argues that the autobiographies resonate well with the ideas of culture as a strategy of survival and of the post-colonial child as an analyst of Western modernity. Thus, three chosen concepts; ‘the Uncanny’, ‘Third Space’ and ‘Hybridity’ work together to reveal a recurring theme of split and duplicity in reference to the colonial past throughout. Furthermore they also reveal that the actual writing of the autobiographies in itself must be regarded as a way of responding to and negotiating that very same split and duplicity in reference to Ireland’s past.

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This research offers a reading of the considerable change to the landscapes of cities, masculinities and bodies that occurred after the Second World War. With an emphasis on visual sources and methods, I consider how a distinctly modern post-war identity emerged out of the interaction between Hamilton's newly (re)built cityscape, human bodies and their gendered identities. In the 1960s, rapid urban growth in Hamilton produced a large number of buildings designed in the Modernist style. This concrete language rendered public structures, and the city at large, as distinctly 'Modern' and progressive. The existence of these buildings was essential to Hamilton's transition from a rural town to an urban centre. Meanwhile, the 1964 Centennial served as a convenient narrative of progress to (re)create the city as Modern while remaining youthful and vibrant. Images of the past and the future were regularly and publicly invoked. Colonial Pioneers and Men from the Future were rhetorically exhumed and conceived in order to (re)construct Hamilton. Material and discursive spaces of the cityscape were inhabited by images of a 'citified' Modern Man: the fabled Businessman and his derivatives. Images of masculine bodies offer an insight into constructions of gendered identity. Their 'suited' and impervious bodily boundaries reflect the rigid confines of 1960s masculinities and the firm geometric designs of Modernist buildings. Analysis of advertisements and photographs reveal bodily performances that maintain this identity while establishing an urban and masculine corporeality. A number of 'other' identities were excluded by dominant urban masculinity and offer areas for future research.

Thesis (M. Phil.)--University of Hong Kong, 2005. / Also available in print.

Cette Thèse porte sur les familles tangentielles et les équations de Hamilton--Jacobi. <br />Ces deux sujets sont reliés à des thèmes classiques en théorie des singularités, comme la théorie des enveloppes, les singularités des fronts d'onde et des caustiques, la géométrie symplectique et de contact. <br />Les premiers trois chapitres de la Thèse sont consacrés à l'étude des familles tangentielles, à la classification de leurs singularités stables et simples, et à leurs interprétation dans le cadre de la Géométrie de Contact. <br />Le dernier chapitre est dédié à l'étude des solutions de minimax pour l'équation de Hamilton--Jacobi, notamment à la classification des leurs singularités génériques de petite codimension.

L'objet principal de cette thèse est l'application de méthodes nouvelles inspirées de l'analyse non-lisse et impliquant l'équation Hamilton-Jacobi pour l'étude de certains problèmes en théorie du contrôle. Notre travail se compose de trois parties : * La première partie est consacrée à la généralisation d'un résultat célèbre de R. Vinter (1993) qui porte sur la dualité non-convexe en contrôle optimal. Entre autre, ceci mène à une nouvelle caractérisation de la fonction temps minimal. * Dans la deuxième partie, nous étudions l'équation classique d'Hamilton-Jacobi de la fonction temps minimal mais dans un domaine contenant l'origine. Nous démontrons l'existence de solutions et même d'une solution minimale de cette équation, et établissons des liens avec les trajectoires géodésiques. * La dernière partie de cette thèese est consacr\ée à l'étude des boucles minimales pour les systèmes de contrôle. Nous donnons des conditions nécessaires et suffisantes pour l'existence de ces boucles en un point donné.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 145-151).