Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The music-painting analogy had a pervasive influence on American early modernist art criticism, theory, and painting. Music became an aesthetic model and a theme in painting, and, for some artists and critics, music, particularly jazz and "noise music," expressed the energy of modern America. This dissertation addresses these aspects of the music-painting analogy, using Arthur G. Dove, John Marin, and Joseph Stella as case studies. / 2031-01-01

The study aims at the investigation and analysis of power relations connected to the sanatorium as a buildingtypology within the modernist architectural contest. The chosen building is the tuberculosis sanatorium ofPaimio, located in southwest Finland and built by architects Aino (1894-1949) and Alvar Aalto (1898-1976)between 1928 and 1933. The chosen theoretical framework is therefore based on the theories of Michel Foucault(1926-1984) about power, knowledge and discourse. The method used for this essay is inspired by the architecture theoretician Paul Hirst's notion of architecture as a discourse, its subjectification and a means of communication that changes over time, but also the semiotics of Umberto Eco and its conception of architecture as a double meaning tool.The study proceeds to analyze Paimio sanatorium taking into consideration the relationships between the various components of the building, their placement and formal elements as part of a bigger, institutional and medical discourse.The analysis of Paimio sanatorium has shown not only relevant historical and socio economic background butalso a mutual relationship between architecture and medical discourse capable of influencing each other overtime and space.

This study of Grevegården Church, Tynnered, Gothenburg, Sweden, shows how Swedish architect Rolf Bergh's characteristic motifs are applied even in what is his last completed building. Through comparisons with works constructed at different times in Bergh's long, unbroken career of designing church buildings (from the late 1940s up until 1992), the study finds that the architect's theoretical base very much shapes the built space.  This study also shows how a relatively common process for a new church building in Sweden happened at the end of the 20th century - from the competition proposal, via the project design to the finished building. In this process we find a dynamic between architect and client, but also between architect and, for example, procurement rules. Rolf Bergh belongs to a modernist tradition in which the architect plays a major role in the process - as in Grevegården Church, where he has designed everything from the exterior to the light fittings.  Rolf Bergh has often been seen primarily as a religious architect, with the implication that function took precedence over aesthetic values. This study argues instead that Bergh was essentially a modernist architect, while maintaining high aesthetic quality, albeit probably more versed than many of his contemporaries in liturgical matters. In this specific building Bergh, in line with the times, incorporates and blends postmodernist motifs with modernist ones. The cultural-historical values of Grevegården church are counteracted by the relative ordinariness of the building and the fact that the building does not yet meet the age criterion for general conservation value. In the current discourse, there is a tendency to positively re-evaluate the architecture of the late 1980s and early 1990s. With an understanding based on this tendency, Grevegården church can very well assert itself on its aesthetic quality. The study concludes by discussing the ongoing debate about how potentially redundant church spaces should be managed and valued in the future.

In my thesis I look into the case of modernist mass housing estates. They appear as a typological, functional and visual anomaly relative to the traditional urban fabric of European urban centers, as a world of its own or a city inside of a city. How to cope with their current state of decay and social issues associated with often low-income populations is an issue on the rise, thus I examine the current prevailing approaches to interventions, as well as their causes and consequences. I apply the outcomes of my research through design for the case of Norsborg in Botkyrka, a modernist housing estate on the outskirts of Stockholm built during the Milljonprogrammet era. Through my design, I seek to find the underestimated values of the place that enable us to build on them, to raise the bar of quality of the environment from minimal to optimal.

[ES] Esta tesis se centra en la investigación del modelo de arquitectura escolar exportado desde Alemania al extranjero, las llamadas Deutsche Auslandsschulen, concretamente las establecias en España y Portugal en el período comprendido entre 1925 y 1965, conocido como Movimiento Moderno. Partiendo del concepto de Neue Schule - nueva escuela - y respondiendo a las nuevas metodologías pedagógicas e higienistas, la Bundesbaudirektion - oficina federal de la construcción - crea un estándar arquitectónico para exportarlo al que se le incorpora una pieza fundamental: el Kindergarten o jardín de infancia, que permite una escolarización temprana de alumnos de nacionalidad alemana o extranjera. Los proyectos son redactados en Alemania y enviados a una oficina técnica instalada en la ciudad destino para dirigir desde allí la obra, formada por técnicos de ambas nacionalidades con el fin de llevar a cabo el proyecto de forma colaborativa. De todos los colegios se seleccionan para compararlos por sus características formales y funcionales las Deutsche Schule de Bilbao, Lisboa, Madrid, Porto y Valencia. Tras este contexto, se analiza el caso particular de la Deutsche Schule Valencia, proyectada en 1959 por los arquitectos alemanes Dieter Weisse y Peter Müller junto con los valencianos Pablo Navarro y Julio Trullenque. Este ejemplo es una muestra de la rigurosa tecnología constructiva alemana combinada con las adaptaciones locales aportadas por los arquitectos valencianos. La finalidad de esta investigación es documentar el patrimonio arquitectónico moderno de esta tipología, muy diferente al resto de colegios existentes, a través de la creación de un catálogo que pueda ser referente para dotar estos edificios de una protección adecuada y evitar su posible desaparición, así como ampliar la información existente en la base de datos del registro de la Fundación do.co,mo.mo Ibérico. / [CA] Esta tesi se centra en la investigació del model d'arquitectura escolar exportat des d'Alemanya a l'estranger, nomenat Deutsche Auslandsschulen, concretament les instal.lades a Espanya i Portugal en el període comprés entre 1925 i 1965, conegut com a Moviment Modern. Partint del concepte de Neue Schule - nova escola - i responent a les noves metodologies pedagògiques i higienistes, la Bundesbaudirektion - oficina federal de la construcció - crea un estàndard arquitectònic per tal d'exportar-lo al qual se li incorpora una peça fonamental: el Kindergarten o jardí d'infància, que permet una escolarització primerenca d'alumnes de nacionalitat alemanya o estrangera. Els projectes són redactats a Alemanya i enviats a una oficina tècnica instal·lada a la ciutat destí per a dirigir des d'allí l'obra, formada per tècnics de totes dues nacionalitats amb la finalitat de dur a terme el projecte de manera col·laborativa. De tots els col·legis es seleccionen per a comparar-los per les seues característiques formals i funcionals les Deutsche Schule de Bilbao, Lisboa, Madrid, Oporto i València. Després d'este context, s'analitza el cas particular de la Deutsche Schule València, projectada en 1959 pels arquitectes alemanys Dieter Weisse i Peter Müller juntament amb els valencians Pablo Navarro i Julio Trullenque. Este exemple és una mostra de la rigorosa tecnologia constructiva alemanya combinada amb les adaptacions locals aportades pels arquitectes valencians. La finalitat d'aquesta investigació és documentar el patrimoni arquitectònic modern d'aquesta tipologia, molt diferent de la resta de col·legis existents, a través de la creació d'un catàleg que puga ser referent per a dotar estos edificis d'una protecció adequada i evitar la seua possible desaparició, així com ampliar la informació existent en la base de dades del registre de la Fundació do.co,mo. mo Ibèric. / [EN] This thesis focuses on the investigation of the model of school architecture exported from Germany to foreign countries, the so- called Deutsche Auslandsschulen, specifically those established in Spain and Portugal in the period between 1925 and 1965, known as the Modern Movement. Based on the concept of the Neue Schule - new school - and responding to the new pedagogical and hygienic methodologies, the Bundesbaudirektion - federal building office - creates an architectural standard for export to which a fundamental piece is incorporated: the Kindergarten, which allows early schooling of pupils of German or foreign nationality. The projects are drawn up in Germany and sent to a technical office in the destination city to manage the work from there, made up of technicians of both nationalities in order to carry out the project in a collaborative manner. Of all the schools, the Deutsche Schule in Bilbao, Lisbon, Madrid, Porto and Valencia were selected for comparison due to their formal and functional characteristics. After this context, the particular case of the Deutsche Schule Valencia, designed in 1959 by the German architects Dieter Weisse and Peter Müller together with the Valencian architects Pablo Navarro and Julio Trullenque, is analysed. This example is an example of the rigorous German construction technology combined with the local adaptations provided by the Valencian architects. The purpose of this research is to document the modern architectural heritage of this typology, which is very different from the rest of the existing schools, through the creation of a catalogue that can serve as a reference to provide these buildings with adequate protection and prevent their possible disappearance, as well as to expand the existing information in the database of the do.co,mo.mo Ibérico Foundation's registry. / Benet Morera, I. (2024). Arquitectura moderna en las Deutsche Auslandsschulen de España y Portugal. La Deutsche Schule Valencia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/205827

The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse-dependent concept, all art professionals seek something that is an inherent quality of the artwork. However, regardless of the existence of such inherent value, judgments on quality are constructed by and subjected to power-struggle. / Art History, Visual Arts & Musicology / M.A. (Art History)

The conceptualist view of property is based on the conceptual system or hierarchy of rights conceived by Grotius and developed by the pandectists. It rests on the assumptions that ownership is neutral and timeless. As such it has a number of abstract, timeless and universal characteristics, namely absoluteness, uniformity and exclusivity. Combined with liberalism, this concept of property becomes the guarantee of liberty and equality. The first part of this study shows that not only are the assumptions historically unfounded, but this conceptualist view of property made liberty and equality for women, in particular, impossible. The liberal, conceptualist property concept is a modernist construct that cannot guarantee either liberty or equality. The question then becomes whether constitutionalism can do what conceptualism cannot- can die constitutional protection of property guarantee liberty and equality. The second part of this study suggests that the answer to this is an "it depends" kind of answer. It depends on the structure of a constitution, underlying philosophical, political and, above all, hermeneutics theories employed by courts. In the South African context courts need to reject the private-law conceptualist view of ownership in favour of a constitutional property concept. This last-mentioned concept should be based on the values and normative context of the 1996 constitution. As such it involves value choices and making a political stand. Courts need to abandon conceptualist frameworks and decide on the proportionality of limitations on property. The conclusion to this study suggests that a feminist understanding of human beings as socially constructed and constrained, so that democracy alone cannot provide an answer to the counter-majaritarian dilemma, is necessary far an understanding of property. The creative tension provided by the feminist conflict between a political agenda and a respect far contexts may provide a framework far adjudicating an property issues. / Private Law / LL.D.

This study examines Basil Bunting's development as a poet from his meeting with Ezra Pound in Paris in 1923, through his collaborations with Pound, Louis Zukofsky, and other members of the Objectivist circle in the 1930s, up to his meeting with Allen Ginsberg and Tom Pickard in 1960s Britain against a backdrop of social activism and modernist revival. In particular, it seeks to query the critical commonplace that Bunting was a sceptic interested solely in the autotelic form of poetry, and to argue that his revival at the time of the long poem Briggflatts in the sixties should be read historically - as a case study that shows the Poundian tradition of praxis and orality acquiring a newly communitarian, leftist emphasis in the context of post-war Anglo-American poetry. The study draws extensively on unpublished manuscripts and letters held at the Basil Bunting Archive, Durham University, the Harry Ransom Center, University of Texas (Austin), and the Beinecke Rare Book and Manuscript Library, Yale University.

Those scholars who have overlooked the relevance of Fred Kabotie and the Santa Fe Style he developed have missed an important historical segment of early Native American painting. This dissertation underscores the convergence of diverse intellectual, artistic and cultural backgrounds, especially those of Kabotie and Elizabeth Willis DeHuff, his first art teacher, which led to the formation of the Santa Fe Style in 1918. This style was formative for Dorothy Dunn’s later Studio School at the Santa Fe Indian Boarding School. This first generation of the Santa Fe Style of watercolor painting was empowered by highly educated men and women, who helped to ensure the national recognition Kabotie’s work received. Among Kabotie’s early supporters were Elizabeth Willis and John DeHuff, Mabel Dodge Luhan, Edgar Lee Hewett, Kenneth Chapman, Robert Henri, Maynard Dixon, Marsden Hartley, John Sloan, John Louw Nelson and George Gustav Heye. By uncovering the multiple discourses connecting these individuals with Kabotie and his work, this study develops a basis for analyzing the many perspectives this new style synthesized and advanced. This dissertation positions Kabotie and the Santa Fe Style within these and several larger cultural arenas, including Hopi culture, modern art and Santa Fe intellectuals, thus providing a multistoried dimensionality overlooked in earlier scholarship. Through evaluating these individuals who informed and empowered the creation of the Santa Fe Style, while carefully considering Kabotie’s response to them in his work, this dissertation initiates a clearer understanding of early twentieth-century cultural and artistic interactions, both locally and nationally. The Santa Fe Style provided a new direction for American Indian art prior to World War II; it initiated a fresh dialogue between the Hopi people and the Anglo government, and it afforded a complex and ongoing conversation for not just Fred Kabotie and his art, but also, through him, the Hopi people. Moreover, it had a profound effect on the development of Southwest Native American painting over the next fifty years.

My study challenges the status quo that seems to exist in the design of modern apartments, which is heavily influenced by the modernistic movement that flourished in early 20th century. Modernists strived to create a just and equal society, by challenging the social order and the traditional hierarchical system. The architecture of the time reflected these ideals and ultimately resulted in simplistic and repetitive designs that often formed box like interiors with standardised furniture. Consequently, these designs are detached from the individualism of the inhabitants, forcing people to sit, sleep, dine and socialise in a predefined space in a prescribed manner. My project is an artistic intervention to the BOX - the soulless interior of modern apartments. My aim is to explore and imagine alternative ways of existing within the box and push the boundaries of how we conduct daily activities in the living space.