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  • 1. Kunz, Stephanie Gustave Vogt: Performer, Educator and Composer Toward an Edition of his works for Oboe and English horn

    Doctor of Musical Arts, The Ohio State University, 2015, Music

    Holding one of the longest appointments as oboe professor of the Paris Conservatoire (1816-1853), Gustave Vogt was one of the most influential oboe instructors of the nineteenth century. Many of his students became important figures in the development of the oboe as performers, instrument makers, composers and writers of method books that are still in use today. Vogt produced an incredible output of works for the oboe and English horn, the majority of which remain unknown to modern oboists and are rarely performed. The fact that Gustave Vogt and his works are largely undiscovered is what led me to pursue a study of a selection of his compositions. To provide an understanding of the pieces to be transcribed, the first chapters of this document discuss the life of Vogt, his career as an educator, performer and composer and his impact as an oboist of the nineteenth century. Today there is only a small amount of solo repertoire for English horn. The purpose of this study is to begin the process of creating modern editions of Vogt's works that can be added to the English horn repertoire. I have created modern performing editions from three of Vogt's unpublished works for English horn, Adagio pour le Cor Anglais, Andante Grazioso and Petite Piece en Fa mineur and I discuss performance issues that may have existed in relation to the technical aspects required of Vogt and the English horn on which he would have performed.
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    Committee: Robert Sorton (Advisor); Charles Atkinson Dr. (Committee Member); Karen Pierson (Committee Member) Subjects: Music; Music Education

  • 2. Ecker, Buz A Mandate for Healing: A World War II Vet Meets a Vietnam Vet in the Screenplay, Chinook with an Essay on War Screenplay Research

    Ph.D., Antioch University, 2025, Leadership and Change

    Chinook is an original screenplay about a Vietnam vet with PTSD who meets a World War II vet in a VA Home, and the screenplay takes one afternoon to unfold. This dissertation explains how Chinook came to be, with all of the processes undertaken. It begins with an introduction about the characters in the screenplay and who these characters are based on. There are several books, movies, and articles contained in this section to make the characters, events, and flashbacks of what actually happened in World War II and Vietnam. The best resources were conversations with actual veterans from either war. While these veterans may not be quoted directly, and their specific wartime experience in combat is not used, a pattern of raw courage, being in horrific battles, killing the enemy, and reluctance to relive it all emerges. Lastly is a section on Screenplay Writing which contains information on the correct format a screenplay needs to be in for a director to consider it. The Methods of Working Creatively explains the roles of many people in the field of acting and how certain people were directly responsible in the process of writing and completing Chinook. It explores the success of networking as the only method which worked to get the screenplay in perfect format, theme, and focus. There are two sections on how Chinook is unique, and then what the plan is for the future of the screenplay. The next five sections come directly from the “Beat Sheet,” the term and definition arising from networking and finding the perfect person to assist with the writing and formatting of the play so that a director will consider it. The final section of the essay contains a comparison of Chinook with ten other war movies, with how Chinook uses some of the same techniques, and identifies other procedures which would help greatly if used in the filming of the screenplay. This section uses Cinema Verite as the basis for the comparisons of each war movie to Chinook and explores how (open full item for complete abstract)
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    Committee: Carol Barrett PhD (Committee Chair); Diane Allerdyce PhD (Committee Member); Elden Golden PhD (Committee Member) Subjects: Motion Pictures

  • 3. Laube, Emma The 1937 Trajectory of a Miniature Pagoda: Jade, Politics of the Nation, and an Exposition Attempt

    Master of Arts, The Ohio State University, 2022, History of Art

    In the 1930s, a miniature jadeite pagoda traveled to several international expositions. Commissioned by the Shanghai jade merchant Zhang Wendi 張文棣 (1886-1961 or 1964), the pagoda seemed to captivate everyone who encountered it. When a group of bankers, politicians, and businessmen in Shanghai prepared a display for the 1937 Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne, this object became a critical component of their contribution. The carving, the Altar of the Green Jade Pagoda (翡翠寶塔, created between 1923-1933, collection of the Lizzadro Museum of Lapidary Art), never traveled to France. However, the vibrant “social life” of the pagoda—to use Arjun Appadurai's term—over the course of 1937 functions as a unique case study to investigate the role of jade culture in the waning years of the Nanjing Decade (1927-1937). By employing the jade pagoda as a case study, I analyze the socioeconomic conditions that shaped its desirability across a vast range of social groups in the late 1930s. In the introduction of this project, I sketch the history of the 1937 Paris Exposition, the history of jade in the material culture of present-day China, and the events in 1930 that preceded the outbreak of the Second Sino-Japanese War (1937-1945). In so doing, I draw together ostensibly disparate narratives through which to understand the pagoda's social life. Chapter 1 analyzes the interest in the pagoda from a Shanghai-based group known as the Association for China's Participation in the Paris International Exposition. Their earnest attempts to secure Chinese representation of the pagoda at the Parisian world's fair ask us to analyze the factors that primed the positive reception of the carving. In Chapter 2, we remain in Shanghai, where numerous print culture materials disseminated images of the pagoda. The localizing function of these images and articles grounded a pre-Paris exhibition of jade objects firmly within a Shanghai-specific cultural ima (open full item for complete abstract)
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    Committee: Jody Patterson (Committee Member); Julia Andrews (Advisor) Subjects: Art History

  • 4. Matej MacQueen, Madelaine Vocal Pedagogy, Pathology, and Personality in Chervin's Journal La Voix Parlee et Chantee

    Doctor of Philosophy, Case Western Reserve University, 2022, Musicology

    Many of today's vocal techniques and ideas about vocality originate at the turn of the previous century. Over the course of the nineteenth century, science and aesthetics, theory and practice, the medical and the musical came together. Arthur Chervin exemplifies the nineteenth-century impulse toward blending theory and practice in his journal La Voix Parlee et Chantee, published from 1890 through the end of 1903 in Paris. From 1848 onward, doctors and medical practitioners in France began to infiltrate many aspects of politics, social life, and art. As an acknowledged expert in stuttering and a state-appointed physician and the Paris Opera, Chervin was well positioned to facilitate a multi-disciplinary publication that merged medical perspectives with those of performers and pedagogues. His journal is unique in its interdisciplinarity and its wide-ranging arguments about vocal health and aesthetics. A close reading of La Voix enables an exploration of the many sociological, cultural, and artistic implications of voice, health, and pathology in 1890s France. In the early chapters of this dissertation, I show how physicians' interventions into the bodies of ailing singers both constricted the timbres available for expressive singing and contributed to the idea that vocal anatomy determines vocal sound. And, moving beyond the physical, I investigate the relationship between mental interiority (sanity, trustworthiness, identity, etc.) and vocality, showing that contributors to La Voix believed they could evaluate an individual's innermost feelings by listening to the sound of their voice. Later chapters examine pedagogies designed to shape children's voices, and finally an exploration of timbral practices in three distinct groups of voice users—amateur choristers, professional orators, and singers/actors. Throughout, I synthesize contents from La Voix and other period sources, as well as from contemporary scholarship on vocality, contemplating how fin-de-siecle vocal (open full item for complete abstract)
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    Committee: Francesca Brittan (Advisor); David Rothenberg (Committee Member); Peter Bennett (Committee Member); Andrea Rager (Committee Member) Subjects: Medicine; Music

  • 5. Guinn, Eliza "A Spectacle of Vice": Sex Work and Moralism in the Paris Commune of 1871

    BA, Oberlin College, 2018, History

    The study of sex work in late nineteenth-century Paris provides an illustration of the political upheaval of the Commune, as well as its continuing acceptance of the bourgeois moralism that linked sex work to moral and political corruption. I will study the cases of several Communardes who were directly or indirectly affected by the rhetoric of sex work and sexual immorality because of their involvement in the Commune. Sex work provides a unique insight into the ways the Commune tried to reconcile its commitment to economic justice with its expectations of women's sexual and social respectability. It forms an intersection of gender and sexuality with labor that forced the Commune and its successor the Third Republic to come to terms with their relationships with sexual and political transgression.
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    Committee: Leonard V. Smith (Advisor) Subjects: History

  • 6. Davenport, Jeremiah From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s

    Doctor of Philosophy, Case Western Reserve University, 2017, Musicology

    In the first half of the 1990s, Western popular culture experienced an infusion of drag. The success of Jenny Livingston's seminal but highly problematic documentary of the Harlem Ballroom drag scene, Paris is Burning (1991), signaled an intrigue from popular and critical circles alike. The dance form “voguing,” born of the same Harlem Ballroom scene, appeared before and after the film's release in music videos for Liz Torres, Taylor Dayne, Malcolm McLaren, and Queen Latifah. Madonna's song “Vogue” and its accompanying video and live performances capitalized on the dance's underground chic that had begun to bubble over into the mainstream. RuPaul's “Supermodel (You Better Work)” and the clean and relatable image she created for herself around it soon after catapulted her from the Queen of Manhattan to legitimate stardom. In doing so, she and her team of collaborators turned her into a household name, musical performer, model, actress, and host of her own talk show. RuPaul's rounding off of the edges of the drag queen image led drag characters to take center stage in the films Mrs. Doubtfire (Columbus 1993), The Adventures of Priscilla, Queen of the Desert (Elliot, 1994), To Wong Foo, Thanks for Everything! Julie Newmar (Kidron, 1995), and The Birdcage (Nichols, 1996). Lady Bunny's Wigstock festival also became a documentary focus in Wigstock (Shills, 1995) during the height of drag queen visibility in film. This dissertation traces the emergence of drag into the mainstream culture of the 1990s. I argue that three separate subcultures dramatically altered the aesthetics and aims of drag: Downtown New York new wave, Harlem House Ballroom, and London New Romantic. I explore how each of these artistic nightlife cultures incorporated drag and queer performance as well as the ways that each garnered increasing attention for drag from new audiences and media outlets. Susanne Bartsch's role as a purveyor of drag to the worlds of fashion and art are also explored. Lastly, I (open full item for complete abstract)
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    Committee: Daniel Goldmark (Advisor); Georgia Cowart (Committee Member); Robert Spadoni (Committee Member); Francesca Brittan (Committee Member) Subjects: Art History; Black History; Cultural Anthropology; Dance; Film Studies; Gender; Gender Studies; Glbt Studies; History; Latin American History; Modern History; Motion Pictures; Music; Performing Arts; Theater; Theater History; Theater Studies; Womens Studies

  • 7. Sporre, Robert An investigation of the cultural environment which influenced Andre Antoine and produced the Theatre-Libre /

    Doctor of Philosophy, The Ohio State University, 1964, Graduate School

    Committee: Not Provided (Other) Subjects: Theater

  • 8. Powers, Ashley The Commerce Of Time: The Influence Of Thirteenth Century Commercial Society On The Conception And Expression Of Time In Parisian Poet Rutebeuf's Corpus

    Doctor of Philosophy, The Ohio State University, 2016, French and Italian

    This dissertation examines the ways in which the newly emerging commercial society impacted the conception and expression of time in thirteenth century Parisian poet Rutebeuf's corpus. It does so by examining how Rutebeuf's narrator employs commercial metonymies, metaphors, and mindsets to manipulate the expression of time for his own benefit. Rather than be a product of his time, time becomes a product of the narrator. The use of figural manifestations of commerce to manipulate time appears to be unique to Rutebeuf and testifies to the influence of the urban environment on his work. The narrator's manipulation of time would not have been possible if it were not for the new ways of conceptualizing time brought about by the thirteenth century commercial revolution. Rather than fixed and rigid, time with the (re)development of the commercial network became fluid and mutable, allowing the narrator to reshape his past, present, and future.
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    Committee: Sarah-Grace Heller (Advisor); Jonathan Combs-Schilling (Committee Member); Ethan Knapp (Committee Chair) Subjects: Economic History; European History; Medieval Literature

  • 9. Muffitt, Nicole From Contest to Classic; A Review of Trombone Literature from the Paris Conservatoire

    BM, Kent State University, 2016, College of the Arts / School of Music, Hugh A. Glauser

    This thesis covers the history of the trombone as used in the Paris Conservatoire, the Contests for Prizes at the same institution, as well as a brief history detailing the changes in compositional style in French art music from the classical era to twentieth century. The Contests for Prizes, or, Les Concours de Prix are competitions held yearly at the conservatoire, where all members performing on the same instrument compete for rankings. Prior to 1999, the winner of this contest would receive a Premier Prix, or first prize, and would thusly graduate from the institution. The latter half of this work involves original research meant to uncover which works from the Contests for Prizes remain relevant in the canon of repertoire played by trombonists in American universities and studios today. The focus of this research is to shed light on the works played today, and explain the qualities of these works that have kept them relevant.
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    Committee: David Mitchell (Advisor); Kent Larmee (Committee Member); Jennifer Johnstone (Committee Member); Kimberly Winebrenner (Committee Member) Subjects: Fine Arts; Music; Performing Arts

  • 10. Calhoun, Robert Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko

    Doctor of Philosophy, The Ohio State University, 2016, History of Art

    Guy Habasque, writing for L'Oeil in 1961, recognized Alexander Archipenko (1887-1964) as the leading revolutionary and guide for sculptors of the twentieth-century. At the same time, he acknowledges that history has failed to do the artist justice, forgetting and neglecting him even before his death in 1964. What Habasque wrote fifty-five years ago is doubly true today when the holdings of Archipenko's work in public museums have been largely relegated to storage, along with many other significant works of the twentieth century, under the increasing pressure to create gallery space for contemporary works of art. To find space in permanent displays, modernist works must compete for significance, the power of which has apparently been lost in the few discussions that exist surrounding Archipenko's work. This project draws attention to the neglected importance of Archipenko's work. What is significant about this work is that it forms part of a counter history of early-twentieth century art as an alternative to the materialist-formalist history, which has held the dominant, discursive position. Archipenko's biocentric, philosophical position presents an aesthetic that represents science and technology as organic, evolutionary extensions of a universal dynamism. Further, his emphasis on a creative spirit immanent in matter places him squarely within an alternate discourse prevalent in the first half of the twentieth-century. This dissertation presents a fresh examination of Archipenko's artistic production in light of recently discovered theoretical writings demonstrates a metaphysical approach that undergirds his entire career including exhibitions, teaching, and lectures. His writing closely parallels the revolutionary philosophy of Henri Bergson (1859-1941,) which was seminal to the movements of symbolism, cubism, and futurism in early twentieth-century Europe. Archipenko's intellectual position places him at the forefront of an artistic discourse that turns away f (open full item for complete abstract)
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    Committee: Myroslava Mudrak Ph.D. (Other); Kristina Paulsen Ph.D. (Advisor); Florman Lisa Ph.D. (Committee Member); Dixon Melanye Ph.D. (Committee Member) Subjects: Aesthetics; American History; Art History; Metaphysics; Philosophy

  • 11. Miller, Meredith Fashion & Architecture

    MARCH, University of Cincinnati, 2016, Design, Architecture, Art and Planning: Architecture

    Architectural theory has illuminated the inherently connected relationship between fashion and architecture. Both disciplines shelter the body, react to spatial volume, rely on a process, and take a work of creativity from its two-dimensional concept into a three-dimensional reality. They affect and are effected by current economies, politics, and cultural situations while concurrently operating outside of them at the same time. Through these similarities a disparity is revealed. Beyond a difference in scale, fashion endures in an ephemeral landscape grasping for the next innovation, rejecting past notions, altering perspective every few months. Architecture produces at a slower rate establishing a permanence and solidity in volume that is free from defined intervals of creative development and exhibition. It reacts to seasons defined by the climate rather than the fashionable elite. Designing architecture for fashion today, utilizing this temporal discrepancy, will reach beyond the surface correlations of the disciplines and speak to the experiential quality of a space transitioning through the transient perceptions of time. Architecture will become more than a space for a community to occupy but it will retain an intangible quality, a mindset reflective of the organization it symbolizes. To apply this methodology, an algorithm and process for an architecture for fashion will be designed, generating spaces for making, exhibiting, and archiving as a representation of fashion. Experiential architecture promoting perspective beyond surface similarity will establish a dynamic environment intermediating between fashion and architecture for a fashion of architecture.
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    Committee: Udo Greinacher M.Arch. (Committee Chair); Vincent Sansalone M.Arch. (Committee Member) Subjects: Architecture

  • 12. Frey, Kassandra THE CATACOMBS OF PARIS; AS SEEN THROUGH AN ANTHROPOLOGICAL LENS

    BS, Kent State University, 2015, College of Arts and Sciences / Department of Anthropology

    Under Paris lies a network of tunnels spanning 11,000 square meters of surface area (Schomburg, 2005). The beginnings of this tunnel system date back to around the 12th century, created unintentionally by people quarrying limestone. Limestone was used to build many of the structures in Paris at this time (Fronteau et al., 2010). The limestone was formed over a period of many years due to the variety of organisms that lived and died during the environmental changes that took place in Paris roughly 40 million years ago (Huyghe et al., 2012). The tunnels that had been created with the extraction of the limestone were then largely forgotten about until they became unstable. After a series of cave-ins in the 1700s the tunnels were reinforced and repurposed. Despite the reinforcement, the tunnel system cannot support tall buildings even to this day, and as such is a major factor in the current city-scape (Fronteau et al., 2010). During the 14th century the popularity of being buried on consecrated ground, coupled with the astounding number of deaths attributed to the bubonic plague was causing a second structural issue in Paris. Les Innocentes became a well-known burial ground in the city, however it was ill equipped to handle the demand for burial space (Harding, 2002). The large number of bodies placed in the cemetery originally fostered an immense population of decomposition bacteria, which contributed to rapid decomposition, however the bones could not be removed fast enough to accommodate the growing need for burial space (Harding, 2002). After a series of mass burials the cemetery also collapsed into an adjacent basement, signaling a need for more burial space outside the city (Harding, 2000). To combat the issue of the collapsing tunnels and later the overflowing cemetery, King Louis XVI created the General Inspectorate of Paris Quarries (IGC) in 1777 (Archer, 2013). Originally, the IGC's task was to stabilize and monitor the underground tunnels, but as th (open full item for complete abstract)
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    Committee: Linda Spurlock (Advisor) Subjects: Biology; Cultural Anthropology; Geology; History; Physical Anthropology

  • 13. Burke, Devin Music, Magic, and Mechanics: The Living Statue in Ancien-Regime Spectacle

    Doctor of Philosophy, Case Western Reserve University, 2016, Musicology

    The animated statue represented one of the central magical figures in French musical theater of the seventeenth and eighteenth centuries. During the period covered by this dissertation, 1661-1748, animated statues appeared in more than sixty works of musical theater of almost every available genre. This number does not include the many works containing statues that demonstrated magical or otherworldly properties through means other than movement or song. Some of the works of this period that feature living statues are well-known to musicologists—e.g. Moliere/Jean-Baptiste Lully's comedy-ballet Les Facheux (1661), Lully's opera Cadmus et Hermione (1673), and Jean-Philippe Rameau's one-act ballet Pigmalion (1748)—while others have received little recognition. This dissertation is the first study to consider the history of animated statues on the French stage during this period, and the first to reveal music as a defining feature of these statues. Over the course of nearly ninety years, music assumed an increasingly important role in the theatrical treatments of these figures that operated in the space between magic and mechanics. At the beginning of Louis XIV's reign, animated statues appeared with some frequency in both public and court spectacles. By the mid-eighteenth century, the animated statue had become the central focus of many works and had transformed into a potent symbol of, among other ideas, the power of music and dance, as most dramatically realized in Rameau's Pigmalion. This dissertation traces the history of this transformation.
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    Committee: Georgia Cowart (Committee Co-Chair); Francesca Brittan (Committee Co-Chair); Susan McClary (Committee Member); Elina Gertsman (Committee Member) Subjects: Art History; Dance; European History; Music; Theater

  • 14. veronesi, gene Collateral Promoters of the Venetian Myth: Veronese Chronicles in the Age of Venetian Hegemony

    Doctor of Philosophy, University of Akron, 2015, History

    ABSTRACT The intervention of Venice onto the western portion of the Veneto known as the terraferma has had a marginal focus of scholarly interest over the past fifty years. This annexation aroused a good deal of hostility towards the Republic of Venice as an imperialist force which upset the balance of power in the peninsula. To counter this negative perception a number of Venetian patricians began writing histories of their city, embellishing the city's past with stories of divine intervention, a saintly foundation, and universal acceptance by her terraferma cities. From these and earlier writings emerged the creation of Venice as La Serenissima, the most Serene Republic, and the all-encompassing Myth of Venice, that ephemeral confection difficult to define and thus difficult to dispute. This dissertation deals with the over-looked creators of the Venetian Myth, writers from the mainland, specifically Verona, who sought Venetian patronage and were compliant in creating a positive image of Venice in Italy and abroad. It is my contention that these literati were sought by Venetian patricians as the perfect perpetuators of the Myth. In this manner, personal advancement was achieved while praising the city, which was in control of Verona. The title of this dissertation, Collateral Promoters of the Venetian Myth, is so named because Venice encouraged the writing of local history providing that in those histories Venice was promoted as a benign administrator. It was a relationship between unequals. Venice usually did not oppose local displays of civic pride or communal historical narratives, as long as Venice was eulogized in the process The added element in all of this was that it was to create the impression to the other Italian and European powers that even Venetian “subject” cities wrote in praise of the Republic. (open full item for complete abstract)
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    Committee: Michael Levin Dr. (Advisor); Constance Brittain Bouchard Dr. (Committee Member) Subjects: History

  • 15. Raterman, Jacob (Mi)lieux critiques : Hybridite et heterotopie dans La Curee et Au Bonheur des Dames

    Master of Arts, Miami University, 2015, French, Italian, and Classical Studies

    This thesis, composed in French, explores the use of bourgeois urban space in two novels of Emile Zola's Les Rougon-Macquart. Specifically, by situating these works in the context of Zola's moralistic naturalism, this paper examines the ways that the author uses literary techniques to effect an imbrication of the spatial and the social, and analyses how these instances of hybridity take on critical weight. While the main focus of this study is on the attention given to descriptions of space and to characters' interactions with it, Zola's use of rhetorical strategies, including but not limited to metaphor and metonymy, also undergoes close inspection. In addition to current scholarship on Zola, the theoretical framework developed in this thesis comprises seminal works on the philosophy of space, most notably Michel Foucault's concept of heterotopia. Having elucidated the the methods by which Zola simultaneously depicts and critiques the socio-spatial evolutions of the Second Empire, the conclusion illustrates the contemporaneity of his assessments of urban space.
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    Committee: Jonathan Strauss (Advisor); Elisabeth Hodges (Committee Member); Anna Klosowska (Committee Member) Subjects: Cultural Anthropology; European Studies; Gender Studies; Labor Economics; Modern History; Modern Literature; Philosophy; Rhetoric; Science History; Social Structure; Urban Planning

  • 16. Buis, Katelyn Surviving Antigone: Anouilh, Adaptation and the Archive

    Master of Arts (MA), Bowling Green State University, 2014, Theatre

    The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh's Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh's Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh's contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh's Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh's Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh's Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. Additionally, I examine the changes made to Anouilh's script by Lewis Galantiere and the ramifications of such alterations. In the third chapter, and final part of my examination of Jean Anouilh's play, I approach Antigone through the lenses of archival theory, performance studies, and adaptation theory.
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    Committee: Cynthia Baron PhD (Advisor); Jonathan Chambers PhD (Committee Member) Subjects: Theater; Theater History; Theater Studies

  • 17. GHOSH, SUDIPTO POCHE PARISIENNE: THE INTERIOR URBANITY OF NINETEENTH CENTURY PARIS

    MS ARCH, University of Cincinnati, 2001, Design, Architecture, Art, and Planning : Architecture

    The "Haussmannization" of Paris was characterized as much by what it 'defined', as by what it excluded. The paper focuses on the apartment houses, the brothels, and the sewers as embodiments of those exclusions that were part of the process of Paris's modernization between 1852 and 1870. By analyzing the representations of these spaces in architectural drawings, photographs and the literary novel, the thesis posits that poche, an architectural drawing technique of defining and excluding, was implicitly a part of that process. For Haussmann and Napoleon III, the image of progress was built upon the elimination of all that could not be observed, decoded, or homogenized. Emile Zola's novels, on the other hand, are attacks on Haussmannization that criticize the literal and moral filth that lay behind the new structures of the city and their deceptively imposing facades. Both their attempts, the thesis argues, are comparable to the technique of poche that covers up of certain elements of an architectural drawing in order for other elements to emerge more clearly. Realizing that the act of differentiation, embodied in the poche is only a technique or method opens up possibilities in architectural thinking that may reach outside its restrictions.
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    Committee: John E. Hancock (Advisor) Subjects: Architecture

  • 18. Ringley, Brian PERIPH FLUIDE: Siege Tactics in Architecture

    MARCH, University of Cincinnati, 2009, Design, Architecture, Art and Planning : Architecture (Master of)

    Throughout history the city wall has evolved in response to technological innovation and topographical serendipity. It has mutated from an integrated element of the urban fabric into an autonomous structure that blurs nature and artifice.Though defensive infrastructure has long ago evaporated into the electro-magnetic spectrum of defensive radar and satellites, in many European cities its presence remains through urban artifacts. The most consequential of these traces are those of transportation infrastructure. Periph Fluide is about the relationship between the defensive infrastructure of the past and the transportation infrastructure of today, specifically their shared role as a barrier to the movement of the city. The research aims to subvert this barrier by questioning our notions of nature and technology, primarily achieved through architectural siege tactics. Architectural siege tactics avoid outdated notions of dominion over nature and centralized planning by acting as situational path-making tools, propelled by the energy of ballistics. Just as innovations in ballista were the primary design driver for defensive infrastructure, the ballistics of the highway, automobiles, are harnessed to alter the very landscape they inhabit. Displaced material from excavations self-organize into additional path-making forms as a recollection of the earth-moving central to fortification design. Rooted within the tangled knot of Paris' Bercy Interchange, Periph Fluide is the provocation of a fluid urban periphery and a proclamation of the new relationship between the city and its surrounding landscape.
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    Committee: Rebecca Williamson PhD (Committee Chair); Vincent Sansalone MARCH (Committee Co-Chair) Subjects: Architecture

  • 19. Hatch, Emily Architecture and Information: Designing the San Diego Central Library

    MARCH, University of Cincinnati, 2004, Design, Art, Architecture, and Planning: Architecture (Master of)

    In an attempt to develop a technologically and socially relevant design for the San Diego Central Library, this thesis asks the question, “How can the architecture of a library reflect and respond to man's present-day relationship with information?” Through historical analysis using Victor Hugo's text Ceci Tuera Cela as a point of departure, an examination of how the architecture of the cathedral Notre-Dame de Paris and the beaux-arts library Bibliotheque Ste. Genevieve reflect man's relationship with information in Paris during their respective periods of construction (circa. 1215 and 1845) will be used to inform an analysis of our present-day relationship with information and its translation into architectural form. In contrast to the historical precedents, our present-day relationship with information is characterized by our use of rapidly developing digital information technologies like the computer and the Internet. As these technologies continue to make our relationship with information more interactive and interconnected, these same technological innovations are calling into question the continuing relevance of the public library and contributing to a phenomenon called “information anxiety.” This thesis posits that the design of the San Diego Central Library should reflect the interconnection of information and the patron's interaction with it in an inspiring and helpful way, while combating the post-modern conditions of disorientation and information anxiety through clear, centralized organization. The infrastructure of the building will afford maximum possible flexibility to account for the mutable nature of technology, in an acknowledgment that “rapid and far-reaching” change is the dominant paradigm for the future.
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    Committee: Nnamdi Elleh (Advisor) Subjects: Architecture

  • 20. Blair, Bryce The Battle of Fallen Timbers and the Treaty of Fort Greeneville: Why Did Anthony Wayne Win Both and Could He Have Lost?

    Master of Liberal Studies, University of Toledo, 2005, College of Arts and Sciences

    This thesis is an examination into the defeat of the Indians of the Ohio Country at the Battle of Fallen Timbers in 1794. The purpose of the thesis was to more fully evaluate all factors that contributed to the representatives of all the hostile tribes signing the Treaty of Fort Greeneville of 1795. I argue that most historical descriptions are lacking in their extent and focus. Most summations place an undeserved emphasis upon the actual battle itself, rather than the social, political, and military factors that led to the ultimate outcome. The Indian Confederation had forced humiliating defeats upon the infant nation in 1790 and 1791, only to succumb to a minor defeat in 1794. The real answers are found in and beyond the Battle of Fallen Timbers.
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    Committee: Alfred Cave (Advisor) Subjects: History, United States
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