Texte remanié de: Diss.--Humboldt-Universität zu Berlin, 2002. / Bibliogr. p. [171]-187.

The article "Piekara's Chair: Mechanical Model for Atomic Energy Levels" by Zofia Golab-Meyer presents a model of the real-world problem of determining classical energy states suitable for high school or undergraduate college students. This thesis combines this idea with simple geometry to demonstrate how "Piekara's Chair" may be posed and then solved as inverse problems in IR² / Thesis (M.S.)--Wichita State University, College of Liberal Arts and Science, Dept. of Mathematics & Statistics / Includes bibliographical references (leaves 46-47)

Thesis (M.S.)--Wichita State University, College of Liberal Arts and Science, Dept. of Mathematics & Statistics / Thesis (excluding code) ©Copyright 2008 Daniel Callahanunder the Creative Commons Attribution 3.0 Unported LicenseCode ©Copyright 2008 Daniel Callahan, released under the MIT License:Permission is hereby granted, free of charge, to any person obtaining a copy of thissoftware and associated documentation files (the "Software"), to deal in the Softwarewithout restriction, including without limitation the rights to use, copy, modify, merge,publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons towhom the Software is furnished to do so, subject to the following conditions:The above copyright notice and this permission notice shall be included in all copies orsubstantial portions of the Software.THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIESOF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE ANDNONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHTHOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISINGFROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OROTHER DEALINGS IN THE SOFTWARE. Includes bibliographical references (leaves 46-47).

Thesis (M.S.)--Wichita State University, College of Liberal Arts and Science, Dept. of Mathematics & Statistics / Thesis (excluding code) ©Copyright 2008 Daniel Callahanunder the Creative Commons Attribution 3.0 Unported LicenseCode ©Copyright 2008 Daniel Callahan, released under the MIT License:Permission is hereby granted, free of charge, to any person obtaining a copy of thissoftware and associated documentation files (the "Software"), to deal in the Softwarewithout restriction, including without limitation the rights to use, copy, modify, merge,publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons towhom the Software is furnished to do so, subject to the following conditions:The above copyright notice and this permission notice shall be included in all copies orsubstantial portions of the Software.THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIESOF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE ANDNONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHTHOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISINGFROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OROTHER DEALINGS IN THE SOFTWARE. Includes bibliographical references (leaves 46-47).

Dissertation--Universität Kassel, 2004. / Bibliogr. p. 293-308.

In this thesis I consider the unique position that Polish artist Zofia Stryjeńska (1891-1974) occupied during the interwar period. Lauded during her time as the most popular artist in Poland, the acceptance of Stryjeńska's female voice in representing a national vocabulary was unprecedented and deserves closer examination. I assert that Poland's history of oppression created a unique environment where women as archetypal figures often took on masculine roles. These 'transgressive types' were visible in the literature and art of the 19th and 20th centuries. Stryjeńska's art, as well as her behavior, capitalized on these transgressive traditions. Women played an important role as visual and ideological figures within the national mythologies of Poland, and while these mythologies situated women as authorities in protecting, cultivating, and renewing the land, and by extension the nation, few women actually achieved the status of shaping them. Zofia Stryjeńska was an example of one who did. At the age of twenty-one Zofia cut her hair, dressed as her brother, and, as a boy, enrolled in the academy of fine art in Munich. This act found precedence in the years of Polish imagery and it ultimately allowed her to create a space for herself and her art. This thesis pays particular attention to Stryjeńska's part in the 1928 renovation of the Warsaw town square. Like many other artists at this time, she worked in many mediums and employed folk-art motifs and styles in the quest to create a truly "Polish" style. Stryjeńska's art drew on national images of Polish women as the Virgin Mary, the good Polish Mother, and Pagan Goddess. Idealized tropes, such as these, often represented a disconnect between everyday social norms and the greater ideals of a national identity. Zofia Stryjeńska embodied this juxtaposition. Her art drew on national images of Polish women filled with blurred gender boundaries. These images, prominent for centuries, at once empowered Polish women while also being relegated safely to the abstract realm of legend and myth. These female ideals, therefore, served as less of a threat to the rigid gender expectations that were a part of everyday Polish life. Zofia Stryjeńska was an example of a woman who laid claim to the female ideals of Polish culture. She used myth to define her behavior; her studies in Munich, and by doing so launched her life into the realm of myth, creating a sensationalized image more legend than reality.