Thesis (Ph. D.)--University of Washington. / Bibliography: l. [695]-707.

Thesis--Université de Toulouse-Le Mirail, 1974. / Includes indexes. Includes bibliographical references (v. 3, p. 4-81 (2d group)).

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 27).

Thesis--Université de Toulouse-Le Mirail, 1974. / Includes indexes. Includes bibliographical references (v. 3, p. 4-81 (2d group)).

Thesis (M.F.A.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains iii, 49 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 44-45).

Nishikawa Sukenobu was a popular artist working in Kyoto in the first half of the eighteenth century. He was principally known as the author of popular 'ehon', or illustrated books. Between 1710 and 1722, he published some fifty erotic works, including a work detailing sexual mores at court which Baba Bunkô, amongst others, believed responsible for prompting the ban on erotica that came with the Kyôhô reform package of 1722. Thereafter, he produced works generally categorized as 'fûzoku ehon': versions of canonical texts, poems and riddles, executed in a contemporary idiom. This thesis focusses on the corpus of illustrated books from the early erotica of the 1710s to the posthumously published work of 1752. It contends that these works were political: that Sukenobu used first the medium of the erotic, then the image-text format of the children's book to articulate anti-bakufu and pro-imperialist sentiment. It explores allusions to the contemporary political landscape by reading the works against Edo and Kyoto 'machibure', contemporary diaries (such as 'Getsudô kenbunshû') and contemporary pamphlets ('rakusho'). It also places the ehon in the context of other contemporary literary production: for example the anti-Confucianist writings of the popular Shinto preacher Masuho Zankô and the 'ukiyozôshi' production of Ejima Kiseki (whose works were illustrated by Sukenobu). It corroborates these findings by citing evidence of the political sympathies of Sukenobu's collaborators: for example, the political writings of the Kyoto educationalist Nakamura Sankinshi; the works of the children's author and Confucian scholar Nakamura Rankin (aka Mizumoto Shinzô); and the fictional and 'kojitsu' writings of the Shinto scholar Tada Nanrei.

As use of the Internet for scholarly communication increases, many scientists from several disciplines including Astronomy, Mathematics, and Physics are using electronic networks to distribute preprints. The innovation of electronic preprint archives on the web, specifically those set up by Paul Ginsparg at Los Alamos, where scientists can submit manuscripts and access papers before the formal peer review process, has gained the attention of scholarly scientific publishers and researchers around the world. This case study of twelve physicists and chemists at the University of Maryland reveals divergent attitudes and behaviors about preliminary electronic dissemination of research. Several hypotheses including economic considerations, historical and technical patterns of work, social and structural factors, community norms, and the attitudes of scientific publishers, are investigated to explore the social aspects of this phenomenon called e-print archives. Preliminary findings suggest that theoreticians in particle physics and condensed matter physics are the most active users of the e-print archives. While graduate students and post-doctoral researchers are called on to navigate the technical difficulties of electronically submitting papers, it is the older more established scientists who promote usage. The influential attitudes of editors and publishers of scientific journals also contribute to understanding current practices and attitudes about the e-print archives. / Master of Science

No description available.

Thesis (doctoral)--Ludwig-Maximilians-Universität zu München, 1978. / Includes bibliographical references (p. 214-219).

Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnés of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue.