http://hdl.handle.net/10027/8791 Wed, 22 May 2013 04:01:20 GMT 2013-05-22T04:01:20Z http://hdl.handle.net/10027/9637 Building the Modern Turkish Household: Koç Industries Ersan, Gokhan This dissertation is a study of the changing visual and spatial culture of Turkey during and after the so-called “Marshall Plan Years,” from 1947 to 1980. Looking at a series of cultural reconstructions, the dissertation traces the transformations that remade the visual, symbolic, and utilitarian spheres of the nation. Focusing on four seminal products, and the design and production sectors that produced them, notably Koç Industries, the dissertation examines tensions within the process of modernization: tensions between tradition and innovation, between local and national, between national and neo-colonial, and between private and state-controlled production and dissemination. By foregrounding the main strand of Koç businesses that introduced four seminal products—the instantaneous water heater, the refrigerator, the private automobile and television—this study exposes the development of a feedback loop that brought forth Turkey’s consumer economy. A hybrid process occurred in which products came into existence both as a result of Vehbi Koç’s responses to his larger context — notably, the changing national political economy and bursts of consumer demand — and by his forcing of responses from this context in order to realize his own vision of material well-being for the Turkish nation. Wed, 01 Aug 2012 05:00:00 GMT http://hdl.handle.net/10027/9637 2012-08-01T05:00:00Z http://hdl.handle.net/10027/9560 "This Memento Strangely Fair": Hairwork Jewelry in America This thesis explores the emotional and cultural dimensions of hairwork jewelry in nineteenth-century America, investigates the connections shared between hairwork jewelry and wearer, and analyzes how hair acquired its sentimental significance in American culture. Whether composed of hair from a living or deceased person, hairwork jewelry served as a tangible memory object that physically and emotionally linked together loved ones. Through the evocative sensory experience of wearing, touching, and viewing hairwork jewelry, individuals conjured the memory of absent loved ones embodied in hairwork. Through an analysis of how the design and construction of hairwork jewelry changed over the course of the nineteenth century, this thesis considers how the precious substance of hair, in a variety of ornamental forms, stimulated remembrance and contemplation. By tracing the origins of photographic hairwork jewelry to the late-eighteenth-century watercolor portrait miniature with hairwork, this study uncovers the desire Americans felt for a memory object containing “dual likenesses” of a loved one: a pictorial representation and a fragment of hair. A comparison of photographic hairwork jewelry and the watercolor miniature with hairwork demonstrates how the pairing of portrait and hair generated a potent memory object with a strong emotional resonance. Thu, 13 Dec 2012 06:00:00 GMT http://hdl.handle.net/10027/9560 2012-12-13T06:00:00Z http://hdl.handle.net/10027/9269 Iconographic Schemes of the Center and the Margins of a Fifteenth Century Rouen Book of Hours This thesis examines the relationship between the central, religious images and the marginal, secularized images contained in fifteenth century books of hours from Northern France. The central object in this study is a book of hours, use of Rouen, currently in the collection of the Newberry Library, Chicago (Newberry MS 43). Previously unattributed to a particular workshop, I place the manuscript within the workshop of the Échevinage Master, which was producing the majority of the books of hours in Rouen during the latter half of the fifteenth century. The central thesis suggests that two iconographic schemes can exist within one book of hours, each distinct yet reliant on each other for continued existence. The primarily secular illuminations located in the manuscript margins maintain a popular audience and direct it to the pious center of the page. Additionally, open trade between France and England and increasing piety after the Hundred Years War enabled workshops to produce standardized iconography in books of hours. Not only did the central religious images hold a standard iconography, but in Rouen books of hours circa 1470, a standardized marginal iconography appeared as well, unlike the marginal schemes of earlier centuries. These near mass-produced books of hours became available to a less wealthy population, a population of the same class as the illuminator, thus indicating that both the artist and audience were aware of the same marginal sources, such as exempla heard in sermons, mystery plays, bestiaries, and other sources of popular culture. The development of both religious and popular iconographic schemes within later fifteenth century manuscripts suggests that while pious devotion was increasing, popular culture was very much a part of daily medieval life and served to enhance religious devotion. Mon, 10 Dec 2012 06:00:00 GMT http://hdl.handle.net/10027/9269 2012-12-10T06:00:00Z http://hdl.handle.net/10027/9257 Post Black Male: Blurring the Color Line In this paper, Ms. Sanderson uses Thelma Golden's words from within lectures, interviews and catalog essays to build a working definition of Post Black and demonstrate how this manifests within the Black Male exhibition. Ms. Sanderson notes the influence of the identity of the institutions the Whitney Museum of American Art and the Studio Museum of Harlem over the respective exhibits--Black Male and Freestyle-- how they informed them conceptually, and how Golden's move from the one institution to the other would mark a change in philosophy and vision for the Studio Museum, by placing a newfound curatorial emphasis on the complexity of blackness and black artistic vision. Ms. Sanderson argues that the revolutionary nature of the Freestyle exhibition was due in part to the role of Golden as the curator of Black Male, presenting the innovations of that exhibition as the nucleus of Post Black. Mon, 10 Dec 2012 06:00:00 GMT http://hdl.handle.net/10027/9257 2012-12-10T06:00:00Z