Thesis (doctoral)--Universität zu Köln, 1980. / Includes bibliographical references (p. 210-218).

The translator's thesis (Ph. D.)--Stanford University, 1968. / Typescript. Includes bibliographical references (leaves 359-362). "Theorists of the Rameau tradition ca. 1730-1900": leaves 353-357.

Thesis (Ph. D.)--Yale University, 1980. / Typescript. Includes bibliographical references (v. 1, leaves 175-179).

No description available.

This thesis is an exploration of creating an essence in architecture through a sense of ambition and harmony. The ambition for a design to have an architectural presence and establish a clear identity, while achieving a harmony of numerous aspects of the project in order to simplify the inherent complexities of architecture and allow the ambitious identity to be clearly present. The investigation begins with the analysis of ruins as the result of a natural process that strips down a building of secondary components and leaves the exposed soul of the architecture. As a specific example, the thesis explores the Roman ruins, how they exude their cultural history and often how they express the initial architectural intent and identity. The ambition of Rome is carried to the harmony of Florence and finally to the embodiment of harmonious ambition in Michelangelo. His work constantly achieved an ambition in creating a new identity with each masterpiece while always attaining a beautiful moment of harmony. The thesis explores not just the wonders of Michelangelo's life, but his inspirations and mastery of ancient traditions as well as his influence on the world after him. At the conclusion of the exploration, I propose a place of learning that both honors Michelangelo and his resonance throughout history and creates a new harmonious ambition. / Master of Architecture

As the body moves through space ephemeral lines of movement are created. These lines of movement are influenced by body tendencies. We learn from the body by watching the path and patterning of movement. From the study of the movement of the body, theories of spacial movement were developed. The goal of my project is to draw from spacial movement theory to create an architectural expression that motivates movement of the body on my site and through my building. The focus of my thesis is the movement theory of Rudolph Laban (1879-1958), a modern dance pioneer and a spacial movement theorist. / Master of Architecture

The purpose of this thesis is to examine the integration of modern historic preservation laws, ethics, and techniques with the practical management of historic sites. The planned restoration (1999-2001) of the New Harmony, Indiana Labyrinth Temple by its managing entity, Historic New Harmony, provided an opportunity for the investigation of questions relevant to the application, in terms of accepted historic preservation practices, of the correct preservation treatment of state-owned cultural resources. A central question of this thesis was whether early New Harmony preservation efforts deemed by some to be more "historicism" than "history" possessed actual historical value. Of further interest was the relationship between implementation of the correct preservation treatment at the subject historic site and the resultant effects of that treatment upon its historic interpretation to the visiting public.This thesis examines the activity of the first New Harmony Memorial Commission in late-1930s/early 1940s New Harmony, Indiana. To provide context for the New Harmony activity, contemporaneous national and state preservation efforts are also studied.The thesis also examines Historic New Harmony's initial plan to restore the Labyrinth Temple. Failures of that initial plan include omission of basic historic preservation principles, specifically the lack of required regulatory oversight of the planned activity by the Indiana SHPO's office (Section 106 compliance). The "restoration" plan developed by Historic New Harmony advocated the implementation of incorrect treatments of the Temple's structural components, decorative elements, and interpretive signage. In effect, Historic New Harmony's restoration plan was more "historicism" than "historic preservation."This investigation of the Labyrinth Temple finds contextual validity in the preservation activity of the first New Harmony Memorial Commission, as well as relevance of that activity to the history of Indiana's historic preservation movement. These facts, in consideration with other factors, are reflected in the development herein of a procedurally correct project plan based on historic preservation laws, ethics, and techniques, as well as the inclusion of the historic site's entire story. / Department of Architecture

No description available.

No description available.

This thesis deals with the nature and definition of phonological similarity and shows that, when similarity plays a role in the motivation of phonological processes, it is evaluated over abstract, phonological features and not purely phonetic properties. Empirical evidence for this position is drawn from the domain of consonant harmony. Typological studies of consonant harmony (Hansson 2001, Rose and Walker 2004) have argued that segments which interact in consonant harmony processes must be highly similar to one another. This thesis provides analyses of a range of consonant harmony processes and demonstrates that, in each case, the notion of similarity needed in order to determine participating segments is evaluated over contrastive feature specifications. Contrastive specifications are established according to language-specific feature hierarchies (Jackobson and Halle 1956, Dresher 2003, forthcoming) with some features taking scope over others. Languages analyzed in some detail include Bumo Izon, Kalabari Ijo, Hausa, Dholuo, Anywa, Tzutujil and Aymara. Two definitions of similarity are proposed in order to account for two sets of cases. In one set of consonant harmony processes, interacting segments are similar in the sense that they constitute the natural class of segments contrastively specified in the harmonic feature. In another set of cases, participating segments must be similar according to the following definition; they must differ in only a single marked and contrastive feature specification.