South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the post-Impressionists and finally, I.Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return was imperative. Simultaneously, as part of the analysis, reference was also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of t he styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa.

No description available.

This dissertation consists of two parts: (1) a portfolio of recent works composed during my fellowship at Columbia University, including Aruah (2022) for mixed octet, String Quartet No. 2 (2021), and Clarinet Concerto (2019) for solo clarinet, orchestra, and electronics, and (2) this subsidiary essay. This written discussion centers around three pillars that form the foundation of how I presently conceive of music that incorporates both Arab and Western musical aesthetics. These pillars are organized into three chapters (1) Recontextualizing maqām, (2) “Ṭarab-ic” Harmony, and (3) Organological Transethnicism. At the end of each of chapter, I relate the discussed principles to specific moments in my own music, taken from excerpts from this dissertation’s musical portfolio. My analysis of these works through the lens of these three pillars highlights the amorphous qualities of perception across disparate cultures, and how authenticity as a spectrum, rather than as a fixture, can result in new aural experiences.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Bangladesh is a country at the heart of debates about climate change and migration. This thesis probes to what extent climate- and environment-related hazards influence decisions of villagers in Bangladesh to stay or move out of their place. It considers their experiences of hazards such as cyclones, droughts and floods as proxies of what might happen in the future as a result of changing climate; and probes how they respond when their livelihoods are affected by these stresses and shocks. The qualitative analysis in this thesis shows that villagers from three hazard-prone districts of Bangladesh –Nawabganj, Munshiganj and Satkhira – often migrate for better livelihoods. However, they usually do not associate their movement to the hazards. At the same time, the quantitative analysis shows that experiences of drought and cyclone positively influence migration outside the district. Though riverbank erosion and flood negatively influence longdistance migration, people affected by erosion tend to move locally. Logit models suggest that though migration is largely driven by poverty and income needs, the poorest, especially those without any assets, are often unable to migrate outside the district. Meanwhile social networks and education contribute to migration. Whether people state it or not, migration can be a strategy that helps them offset losses and prepare better for future stresses and shocks. However, whether such migration leads to adaptation to climate change depends on the policy environment in the country. A textual analysis of policy documents, however, shows that though urban migration is inevitable for Bangladesh's economic growth, its role as a climate change adaptation strategy is often not acknowledged. The thesis argues that policies need to be more proactive so that migration does not become maladaptive or people unable to move out are trapped in places exposed to climate- and environment-related hazards.

Graduation date: 1962

No description available.

The following report details the formative experiences that led to the creation of the thesis film, Lock In. Each chapter reflects both a major film influence and a different stage in the filmmaking process. / text

This work seeks to identify the forms and origins of Ancient Egyptian architecture and the complex historical progress which brought these to Scotland, identifying the affinities shared by both countries and their evolving role from their first arrival to the present day. The thesis follows Egypt’s first appearance in Scottish legend and its later influence, at the close of the 16th century, in the practices of organised Freemasonry, to be followed, from the second quarter of the 17th century, by numerous obelisk sundials and with the construction of the first pyramid towards its close. In the 18th century, single obelisk monuments with Masonic implications appeared, and the outstanding significance of the Scottish Enlightenment and its fascination with Antiquity are noted. That this coincided with the Grand Tour encouraged Scottish aristocrats, architects, and artists to observe, to study and to be inspired by Egyptian forms, principally in Rome, which then appeared in Scottish country house and garden. The first recorded visit of a Scot to Egypt, in 1768, led to the delayed publication of an account in 1793 and the century closed with the outbreak of the British military campaign in Egypt against Napoleon’s invading forces. The participation of Scots troops led to a new familiarity with the land and, albeit from France, there were produced the first accurate details of the country’s monuments and an ensuing enthusiasm for an ‘Egyptian Revival’. This thesis goes on to record the 19th century absorption with mourning, when the use of Egyptian symbols, aided by industrial methods of production, grew to a peak, allied to new archaeological discoveries by visiting Scots and the growth of accurate publications. These two latter, increased by the growing number of Scots who visited the country, influenced the use of Egyptian themes in a wide range of buildings, religious, domestic and industrial. The 20th century rejection of both religion and commemoration, except in acknowledgement of the sacrifice of those who gave their lives in the First and Second World Wars, led to the decline of Egyptian mourning themes and new building techniques left little place for Egyptian references which were mainly reduced to mere surface ornament. This thesis concludes with an important 21st century military example which contains within it, a unique range of Egyptian symbols of commemoration.

Résumé of Thesis (Sc. D.)--University of Michigan, 1940. / Reproduced from type-written copy. Bibliography: leaf 6. Also issued in print.