Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1966. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [127]-129).

Thesis (Ph. D.)--Columbia University, 1926. / Vita. "Pages 13 to 107 were published as part of a Report of the Commission of housing and regional planning to Governor Alfred E. Smith and to the Legislature of the state of New York on cost of government, land value and population, January 11, 1926"--Pref.

Thesis (M.S.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record. Bibliographical essay: leaves 124-135.

The subject of this thesis is the circumstances surrounding the emigration of European modern artists to America in the late 1930's and early 1940's, and their initial reception in the city of New York. The primary vehicle of this investigation will be the Artists in Exile show, their first collective exhibition which took place at the Pierre Matisse Gallery in March of 1942. The reason why it is felt that such an investigation is warranted is that while there is a great deal of literature concerned with the Nazis vehement denunciation of modern art and their persecution of its practitioners, little has been written on how these artists actually came to arrive in America. It is I believe, too often assumed that while their voyage may have been a difficult one, they were embraced by a nation that has perpetually proclaimed itself as a defender of democratic freedom and a haven for the oppressed. Contrary to this assumption, it will be asserted that their initial presence was largely met with resistance in America due to a historical period of economic, social, political and cultural isolationism. In Chapter One, an attempt will be made to more clearly define the historical circumstances which gave rise to American isolationism and a resultant anti-alienism, sentiments which had a direct bearing upon the cool reception of the Europeans and their work. Given the existance of such attitudes, it becomes necessary as well to identify the various groups who championed the artist refugees, their motives in doing so, and the specific strategies employed to circumvent native resistance in order to bring these individuals to North American shores. It will be asserted that this support came from a small group of liberals situated within northeastern educational institutions who were alarmed by the fascist threat to freedom of scholary and artistic expression. In addition, they were motivated by what they believed to be an unprecedented opportunity to bring to America and place at its disposal, superior levels of European scholarly and artistic achievement. Chapter Two will undertake an investigation into the reception of the Europeans in New York based upon an analysis of the problematic usage of catagories employed to place them in roles reflective of their circumstances. These terms include refugee, emigré, immigrant, exile, and alien. In addition, it will hopefully be revealed how these new roles had a deleterious effect upon the self perception of the emigres, seriously affecting their critical output as exiles. Chapter Three will be devoted to the Artists in Exile show itself. Specific focus will be on the strategies employed in its manifesto and why for the most part, they were unsuccessful in winning over a viewing public largely resistant to European modern art. In addition, specific works exhibited in the show will be analysed to see how they registered the varied concerns of the artist emigrés at this time in history. Finally, the conclusion will deal with two additional shows of European modern art in that same year; the First Papers of Surrealism, and Peggy Guggenheim's Art of This Century. It will be maintained that the strategies employed in this latter show were to a high degree, largely responsible for the eventual winning over of needed patrons necessary for the acceptance and continuation of European modern art in America. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

In 1851 a group of wealthy, Protestant New York City businessmen and professionals, previously involved in the paternalistic Association for the Improvement of the Condition of the Poor, successfully petitioned the State legislature to incorporate a new organization, the New York Juvenile Asylum. The Asylum was to care for, train and morally uplift a mixed group of the City's poor children. While those who had committed serious crimes were generally sent to the House of Refuge on Randall's Island, the Asylum received those guilty of a range of lesser offences such as truancy, vagrancy, and disobedience to their parents, as well as those whose parents were unable, unwilling or (in the eyes of the court) morally unfit to take care of them. During the late nineteenth century, the New York Juvenile Asylum was the largest institution of its kind in New York. In 19 05 the Asylum was moved to Dobbs Ferry, New York, twenty miles from its New York City site. There, it was laid out according to the popular "cottage" plan of the day. Optimism surrounded the move, reflecting a more generalized Progressive social reform spirit. In 1920 a new name, Children's Village, was legally adopted. Between 1905 and 1930, the focus of this study, the institution underwent a number of structural and ideological changes, some dictated by the requirements of institutional survival, some because of changes in the ideas of a larger child-caring community beyond the institution, and some as responses to structural changes in the outside society. Three eras of child-care thought are observable at Children's Village during the period. The nineteenth century moral uplift model gave way to an educational model with the move to Dobbs Ferry. Foundations of the present therapeutic model (today the Village is called "A Center for Treatment, Research, Training and Prevention of Emotional Problems of Children") were laid in the late 20's. While none of these models is mutually exclusive, each had a period of ascendancy in the program philosophy. Each model had implications for the admission and subsequent classification of children, for the forms of control which were exercised by the institution over the children, and for the relationships between staff and inmates. The institution men claimed that these changes represented objective progress in their ability to help poor children and meet social needs. As the actual running of the institution is examined, questions are raised as to the validity of the claims. The cottage system, for instance, hailed as encouraging a more familial atmosphere, in fact was used for purposes of classification, racial segregation, and inter-cottage competition in pursuit of order and discipline. A further gulf between the rhetoric and the reality appears when the directors' claims that they were running a preparatory school for the poor are juxtaposed with the fact that neither parent nor child had any control over the latter's entering or leaving. Likewise, the name change from the disciplinary "Correctional Cottage" to "Psychopathic Cottage", part of a major reorientation in the 30's, does not seem to have been accompanied by a change in function. As the changes in program model took place, the staff became increasingly professionalized. This was reflected both in the increasing concern for training, and in the increasing specialization of staff function. Again, contrary to the claims of the institution men, it is not clear that increasing professionalization represented simply a developing ability to help children on the basis of scientific understanding. It is clear, however, from the changes in schooling, from psychological testing and record-keeping, from the work of the mental hygiene clinic, that more and more sophisticated instruments of control over the inmates were put into place during the period, enabling the institution men to dispense with many aspects of military-type drill. This study adds a significant case to what is becoming a substantial body of historical literature on institutions for juveniles. Conclusions drawn from the N.Y.J.A./Children's Village, an institution which was prominent without being unique, become new pieces of a larger puzzle. If the piecing together is to progress, each historian must attempt, on the basis of his/her own evidence, to offer a theoretical framework for the whole. It is in that spirit that the larger conclusions from this study are offered. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

No description available.

A field and textural investigation of the Medina Formation has been made. The thesis includes a brief analysis of the microscopic sedimentological properties of the sandy facies, a detailed study of the paleocurrent indicators, and a study of the distribution of the more typical sedimentary structures. Analytical laboratory data, primary sedimentary structures, and outcrop data have been used to reconstruct the paleoenvironmental setting of the Lower Silurian rocks exposed along the Niagara Escarpment from Hamilton (Ontario) to Fulton (New York). They indicate a complex of sub-environments within the broad model of a delta, with the direction of current movement being from the South-East in the eastern part of the area under study and from South-West and North-East in the western part. The determination of these two paleocurrent systems forms a major contribution of this work. / Thesis / Doctor of Philosophy (PhD)

no abstract provided by author / Master of Science

Thesis. 1977. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography : leaf 66-68. / M.Arch.