"The purpose, then, of this study is to present a biographical account of Miss Latham, and, to determine her place in the field of children's literature on the basis of critical opinion of her biographies expressed in reviews and on the basis of their inclusion in authoritative book selection aids and on best seller lists. Miss Latham was chosen as the subject of this paper, first, because of great admiration for her and her works, and, secondly, because of her stature as an author of young people's biographies. Although she has been a prolific writer of drama, she is now best known for her contributions to young people's literature, and only this phase of her work is considered in this study. Only the eight fictionalized are included in this study of her contributions"--Introduction. / Carbon copy of typescript. / "August, 1960." / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Robert Clapp, Professor Directing Paper. / Includes bibliographical references (leaves 68-84).

Thesis (Ph. D.)--Columbia University, 1934. / Vita. Published also without thesis note. "Bibliography of Mitchill's writings": p. [141]-150; "General bibliography": p. [151]-155.

Thesis (Ph. D.)--Columbia university, 1934. / Vita. Published also without thesis note. "Bibliography of Mitchill's writings": p. [141]-150; "General bibliography": p. [151]-155.

Thesis (Ph. D.)--Oklahoma State University, 1985. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 359-379).

This D.Phil constitutes an investigation led by studio practice and supported by archival and desk-based research into knowledge production through the building of complex cosmologies; specifically those created de novo in visual art practice and 'outsider science' oeuvres. It considers how these cosmologies relate to mainstream science, definitions of outsider art, and other complex cultural systems such as alchemy. Through a more detailed analysis of the work of the British artist John Latham and American outsider cosmologist James Carter, the thesis undertakes this investigation through discussions on the development of these systems and a consideration of the epistemologies these cosmologies reveal. The studio practice elements drive this investigation forward by interrogating themes including the relationship between culture and complex systems, alchemical epistemology, and the struggle to relate to unintuitive science.

<p>This report is a review of some failure models today used for determine failure in thin sheets of high strength steels. Focus has been given on phenomenlogical models and only some simple simulations have been carried out. The phenomenlogical models that have been summarized here are of four different categories, namely stress based, strain based, combined stress and strain based and damaged models. However, the simulations have only been preformed for some of the models.</p>

This report is a review of some failure models today used for determine failure in thin sheets of high strength steels. Focus has been given on phenomenlogical models and only some simple simulations have been carried out. The phenomenlogical models that have been summarized here are of four different categories, namely stress based, strain based, combined stress and strain based and damaged models. However, the simulations have only been preformed for some of the models.

El concepto estético de la mímesis ha contribuido a la constante construcción y enriquecimiento de la narrativa teórica y crítica de la Historia del Arte. La envergadura del término es tal, que en torno a éste se han justificado los ánimos de independencia de los referentes, dando paso a los movimientos de vanguardia a inicios del siglo XX. En la contemporaneidad artística y ante la preponderancia de lo subjetivo como uno de los valores de la Posmodernidad, parecería que lo que tiene que aportar la mímesis como recurso validador en la relación artista-mundo se circunscribe al marco de una discusión caduca. Bajo dicho escenario, los conocimientos y herramientas provenientes de la ciencia y la tecnología han posibilitado, durante la década de 1980, el arte generativoevolutivo del artista inglés William Latham. El discurso estético de su obra se construye desde la imitación de procesos naturales, concretamente, de la genética y de la biología evolutiva, invitando a un repensar de la significación de la mímesis. Ello implica una revisión del orden semántico–histórico del término hasta su innegable repercusión como uno de los relatos legitimadores del Arte, incluyendo, necesariamente, las posibilidades de representación objetiva prevenientes de la inter o la multidisciplinariedad, las mismas que caracterizan la obra del artista. El corpus de obras de Latham, tomado como caso de estudio, deja entrever la manifestación de la mímesis en su dimensión procesual, implicancia que no solo repercutiría en su completitud terminológica, sino también en la manera de enfrentar y discurrir el Arte mismo / The aesthetic concept of mimesis has contributed to the constant construction and enrichment of the theoretical and critical narrative of Art History. The significance of the term is such that around it the attempts of the models to be independent have been justified, giving way to the avant-garde movements at the beginning of the 20th century. In Contemporary Art, and given the preponderance of the subjective as one of the values of Postmodernism, it would seem that what mimesis has to contribute as a validating resource in the artist-world relationship is limited to the framework of an outdated discussion. In this context, knowledge and tools from science and technology have enabled, during the 1980s, the generative-evolutionary art of the English artist William Latham. The aesthetic discourse of his work is constructed from the imitation of natural processes, specifically, of genetics and evolutionary biology, which invites to rethink the meaning of mimesis. This implies a review of the semantic-historical order of the term until its undeniable impact as one of the legitimizing narratives of Art, necessarily including the possibilities of objective representation from inter or multidisciplinarity, which distinguish the artist's work. Latham's corpus of works, as a case study, shows the manifestation of mimesis in its procedural dimension, an implication that would not only have an impact on its terminological completeness, but also on the way of facing and reflect about the Art itself.

Although the wilderness preservation movement has emerged as a political force relatively recently, man's desire for retreat and renewal in untamed wilderness environments has a rich history in North America. Using contemporary guidetooks, diaries and journals, this study examines the early nineteenth century "Fashionable Tour" from New York City to Niagara Falls and combines description of the most important "natural wonders" en route with an analysis of their cultural meaning and value. There are two major themes. (1) Although pompous religiousness of language suggests conventional religiosity, pilgrims were overwhelmed with feelings of reverence, awe and wonder when face to face with natural wonders. (2) The extravagance of the New World's natural wonders influenced American and European images of the American experiment. Romanticism and Scottish Common Sense Realism are the intellectual and aesthetic background for this study. After some preliminary observations and definitions, I review the widespread importance of these two movements in early America and their points of contact with American sensibilities. Significant iconological moments in the lives of three leading Americans -- John Bartram, Samuel Mitchill and Timothy Dwight -- who donned their tourist habits to visit the Catskill Mountains, illustrate both the diversity of these influences and the beginnings of the Fashionable Tour. Analysis of the tour itself begins with chapter three. From their steamboat, tourists divided the Hudson River Valley into five "reaches" symbolizing grandeur (the Palisades), repose (Tappan Sea), sublimity (the Highlands), picturesqueness (the Hillsides) and beauty (the Catskills). In the first four reaches (chapter 3), the sublime Highlands dominate the landscape. But the "view from the top'' and Kaaterskill Falls at Pine Orchard in the Catskills were the most significant natural wonders in the Hudson Valley. Chapter five introduces Part II: West to Niagara Falls. The overwhelming effect of ongoing European settlement on the wilderness -- on flora, fauna and native Americans -- differentiates the unpredictable trip west from the predictable trip north. At Albany, tourists left their luxurious steamboats and transferred to stagecoaches and/or canalboats. Cohoes Falls, Little Falls and especially Trenton Falls, N. P. Willis' "Rural Resort," highlight the journey from Albany to Utica and suggest greater wonders to come. Images of the wilderness west of Utica comprise chapter seven. "Soft" pastoral landscapes, as in the Finger Lakes Region, did not arouse the intense response that major wonders such as the "view from the top" and Trenton Falls did. Niagara Falls was the climax and conclusion of the pilgrimage. The "greatest natural wonder" known and accessible to early nineteenth century tourists, Niagara elicited a torrent of enthusiasm and verbiage. After a detailed examination of tourist expectations and anticipations, descriptions and dreams, I focus specifically on the religious sentimentality which laced images of Niagara Falls. Pilgrims, responding with awe and protestations of "indescribableness," found evidence to support their popular religiosity. The trip from New York to Niagara was not just a relaxed holiday, but a highly focussed pilgrimage for persons seeking mystery and majesty in the sublime and the beautiful. Niagara, and to a lesser extent the other natural wonders; along the Hudson and across New York State, became religious shrines in early nineteenth century America.

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