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- Creators: Arizona State University
- Resource Type: Text
- Status: Published
Description
This Master's thesis locates four works by William Dyce inspired by Dante Alighieri's Commedia: Francesca da Rimini (1837), Design for the Reverse of the Turner Medal (1858), Beatrice (1859), and Dante and Beatrice (date unknown) in the context of their literary, artistic and personal influences. It will be shown that, far from assimilating the poet to a pantheon of important worthies, Dyce found in Dante contradictions and challenges to his Victorian, Anglican way of thinking. In this thesis these contradictions and challenges are explicated in each of the four works.
ContributorsTiffany, Kristopher (Author) / Serwint, Nancy (Thesis advisor) / Gully, Anthony (Committee member) / Codell, Julie (Committee member) / Arizona State University (Publisher)
Created2013
Description
Human fingertips contain thousands of specialized mechanoreceptors that enable effortless physical interactions with the environment. Haptic perception capabilities enable grasp and manipulation in the absence of visual feedback, as when reaching into one's pocket or wrapping a belt around oneself. Unfortunately, state-of-the-art artificial tactile sensors and processing algorithms are no match for their biological counterparts. Tactile sensors must not only meet stringent practical specifications for everyday use, but their signals must be processed and interpreted within hundreds of milliseconds. Control of artificial manipulators, ranging from prosthetic hands to bomb defusal robots, requires a constant reliance on visual feedback that is not entirely practical. To address this, we conducted three studies aimed at advancing artificial haptic intelligence. First, we developed a novel, robust, microfluidic tactile sensor skin capable of measuring normal forces on flat or curved surfaces, such as a fingertip. The sensor consists of microchannels in an elastomer filled with a liquid metal alloy. The fluid serves as both electrical interconnects and tunable capacitive sensing units, and enables functionality despite substantial deformation. The second study investigated the use of a commercially-available, multimodal tactile sensor (BioTac sensor, SynTouch) to characterize edge orientation with respect to a body fixed reference frame, such as a fingertip. Trained on data from a robot testbed, a support vector regression model was developed to relate haptic exploration actions to perception of edge orientation. The model performed comparably to humans for estimating edge orientation. Finally, the robot testbed was used to perceive small, finger-sized geometric features. The efficiency and accuracy of different haptic exploratory procedures and supervised learning models were assessed for estimating feature properties such as type (bump, pit), order of curvature (flat, conical, spherical), and size. This study highlights the importance of tactile sensing in situations where other modalities fail, such as when the finger itself blocks line of sight. Insights from this work could be used to advance tactile sensor technology and haptic intelligence for artificial manipulators that improve quality of life, such as prosthetic hands and wheelchair-mounted robotic hands.
ContributorsPonce Wong, Ruben Dario (Author) / Santos, Veronica J (Thesis advisor) / Artemiadis, Panagiotis K (Committee member) / Helms Tillery, Stephen I (Committee member) / Posner, Jonathan D (Committee member) / Runger, George C. (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis examines Christopher Marlowe's poem Hero and Leander and George Chapman's Continuation thereof through a theoretical lens that includes theories of intimacy, sexuality and touch taken from Lee Edelman, Daniel Gil, James Bromley, Katherine Rowe and others. Hands are seen as the privileged organ of touch as well as synecdoche for human agency. Because it is all too often an unexamined sense, the theory of touch is dealt with in detail. The analysis of hands and touch leads to a discussion of how Marlowe's writing creates a picture of sexual intimacy that goes against traditional institutions and resists the traditional role of the couple in society. Marlowe's poem favors an equal, companionate intimacy that does not engage in traditional structures, while Chapman's Continuation to Marlowe's work serves to reaffirm the transgressive nature of Marlowe's poem by reasserting traditional social institutions surrounding the couple. Viewing the two pieces of literature together further supports the conclusion that Marlowe's work is transgressive because of how conservative Chapman's reaction to Hero and Leander is.
ContributorsHardman, Katherine (Author) / Fox, Cora (Thesis advisor) / Ryner, Bradley (Committee member) / Sturges, Robert (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study looks at Geoffrey Chaucer's use of the color green as it appears in regards to the settings and antagonists of three of the Canterbury Tales: the Wife of Bath's Tale, the Friar's Tale, and the Merchant's Tale. Following the allegorical approach, it argues that the color green in these tales is symbolic of Fortune, modeled upon Boethian philosophy and the allegory of Guillaume de Lorris and Jean de Meun's thirteenth century French poem, The Romance of the Rose. It suggests, furthermore, that Fortune is a potential overarching theme of the Canterbury Tales, and that the tales, in turn, should be read as a cohesive unit.
ContributorsLemman, Krista (Author) / Sturges, Robert (Thesis advisor) / Maring, Heather (Committee member) / Corse, Douglas (Committee member) / Arizona State University (Publisher)
Created2014
Description
Humans are capable of transferring learning for anticipatory control of dexterous object manipulation despite changes in degrees-of-freedom (DoF), i.e., switching from lifting an object with two fingers to lifting the same object with three fingers. However, the role that tactile information plays in this transfer of learning is unknown. In this study, subjects lifted an L-shaped object with two fingers (2-DoF), and then lifted the object with three fingers (3-DoF). The subjects were divided into two groups--one group performed the task wearing a glove (to reduce tactile sensibility) upon the switch to 3-DoF (glove group), while the other group did not wear the glove (control group). Compensatory moment (torque) was used as a measure to determine how well the subject could minimize the tilt of the object following the switch from 2-DoF to 3-DoF. Upon the switch to 3-DoF, subjects wearing the glove generated a compensatory moment (Mcom) that had a significantly higher error than the average of the last five trials at the end of the 3-DoF block (p = 0.012), while the control subjects did not demonstrate a significant difference in Mcom. Additional effects of the reduction in tactile sensibility were: (1) the grip force for the group of subjects wearing the glove was significantly higher in the 3-DoF trials compared to the 2-DoF trials (p = 0.014), while the grip force of the control subjects was not significantly different; (2) the difference in centers of pressure between the thumb and fingers (ΔCoP) significantly increased in the 3-DoF block for the group of subjects wearing the glove, while the ΔCoP of the control subjects was not significantly different; (3) lastly, the control subjects demonstrated a greater increase in lift force than the group of subjects wearing the glove (though results were not significant). Combined together, these results suggest different force modulation strategies are used depending on the amount of tactile feedback that is available to the subject. Therefore, reduction of tactile sensibility has important effects on subjects' ability to transfer learned manipulation across different DoF contexts.
ContributorsGaw, Nathan (Author) / Helms Tillery, Stephen (Thesis advisor) / Santello, Marco (Committee member) / Kleim, Jeffrey (Committee member) / Arizona State University (Publisher)
Created2014
Description
This dissertation focuses on the connections between childbirth and spirituality in fourteenth- and early fifteenth-century England. It argues that scholastic interest in conception and procreation led to a proliferation of texts mentioning obstetrics and gynecology, and that this attention to women's medicine and birth spread from the universities to the laity. This dissertation contends that there is interdependence between spiritual and physical health in late medieval English religious culture, correlated with and perhaps caused by an increasing fascination with materialism and women's bodies in religious practices and rhetoric. The first chapter provides an analysis of birth in medical and pastoral texts. Pastoral works were heavily influenced by the ecclesiastical emphasis on baptism, as well as by scholastic medicine's simultaneous disdain for and reluctant integration of folk medicine. The second chapter examines birth descriptions in narratives of saints' miracles and collections of exempla; these representations of childbirth were used in religious rhetoric to teach, motivate, and dissuade audiences. The third chapter turns to the cycle play representations of the nativity as depicting the mysteries of human generation and divine incarnation for public consumption. The fourth chapter analyzes the abstract uses of childbirth in visionary and other religious texts, especially in descriptions of spiritual rebirth and the development of vice and virtue in individuals or institutions. By identifying their roles as analogous with the roles of midwives, visionaries authorized themselves as spiritual caretakers, vital for communal health and necessary for collective spiritual growth. These chapters outline a trajectory of increasing male access to the birthing chamber through textual descriptions and prescriptions about birth and midwifery. At the same time, religious texts acknowledged, sought to regulate, and sometimes even utilized the potential authority of mothers and midwives as physical and spiritual caretakers.
ContributorsSwann, Alaya (Author) / Voaden, Rosalynn (Thesis advisor) / Newhauser, Richard (Committee member) / Sturges, Robert (Committee member) / Arizona State University (Publisher)
Created2014
Description
In this dissertation I argue that medieval peoples used a different style of identity from those applied to them by later scholarship and question the relevance of applying modern terms for identity groups (e.g., ethnicity or nationality) to the description of medieval social units. I propose we think of identity as a social construct comprised of three articulating facets, which I call: form, aspect, and definition. The form of identity is its manifestation in behavior and symbolic markers; its aspect is the perception of these forms by people; and its definition is the combination of these perceptions into a social category. Taking an interdisciplinary approach, I examine each facet individually before synthesizing the results. I study the form of identity through an analysis of styles in material culture using a consensus analysis to determine how well objects decorated with the same motif do communicating a shared idea to members of a social group. I explore the aspect of identity through a whole-corpus linguistics approach to Old English, in which I study the co-occurrence of words for "a people" and other semantic fields to refine our understanding of Old English perceptions of social identity. Finally, I investigate the definition of identity by comparing narrations of identity in Old English verse and prose in order to see how authors were able to use vocabulary and imagery to describe the identity of their subjects. In my conclusion I demonstrate that the people of Medieval England had a concept of identity based on the metaphor of a village meeting or a feast, in which smaller, innate groups were thought to aggregate into new heterogeneous wholes. The nature and scale of these groups changed over the course of the Anglo-Saxon period but some of the names used to refer to these units remained constant. Thus, I suggest scholars need to apply a culturally relevant concept of identity when describing the people who lived in Medieval Britain, one that might not match contemporary models, and be cognizant of the fact that medieval groups were not the same as their modern descendants.
ContributorsRoberts, Christopher M (Author) / Hegmon, Michelle (Thesis advisor) / Bjork, Robert (Thesis advisor) / Van Der Leeuw, Sander (Committee member) / Wicker, Nancy (Committee member) / Arizona State University (Publisher)
Created2013
Description
In 1999, Geneviève Hasenohr announced the discovery of a fragment of Marguerite Porete's Mirouer des Simples Ames, a work condemned by the Church at the University of Paris in 1310, hidden in a manuscript at the Bibliothèque municipale in Valenciennes. The fragment corresponds with roughly two chapters in the only extant French version of the manuscript (Chantilly, Musée Condé MS F XIV 26), and when compared with other editions of the Mirouer, it appears to be composed in what might have been Marguerite Porete's native dialect. The discovery changed scholars' perceptions of the weight of the various versions and translations - the Chantilly manuscript had been used previously to settle any questions of discrepancy, but now it appears that the Continental Latin and Middle English translations should be the arbiters. This discovery has elevated the Middle English editions, and has made the question of the translator's identity - he is known only by his initials M.N. - and background more imperative to an understanding of why a work with such a dubious history would be translated and harbored by English Carthusians in the century that followed its condemnation. The only candidate suggested for translator of the Mirouer has been Michael Northburgh (d. 1361), the Bishop of London and co-founder of the London Charterhouse, where two of the three remaining copies of the translation were once owned, but the language of the text and Northburgh's own position and interests do not fit this suggestion. My argument is that the content of the book, the method of its translation, its selection as a work for a Latin-illiterate audience, all fit within the interests of a circle of writers based in Yorkshire at the end of the fourteenth century. By beginning among the Yorkshire circle, and widening the search to include writers with a non-traditional contemplative audience, one that exists outside of the cloister - writers like Walter Hilton, the anonymous authors of the Cloud of Unknowing and the Chastising of God's Children, and Nicholas Love - we may have a better chance of locating and understanding the motives of the Middle English translator of the Mirouer.
ContributorsStauffer, Robert F (Author) / Voaden, Rosalynn (Thesis advisor) / Cruse, Markus (Committee member) / Sturges, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
Typically, the complete loss or severe impairment of a sense such as vision and/or hearing is compensated through sensory substitution, i.e., the use of an alternative sense for receiving the same information. For individuals who are blind or visually impaired, the alternative senses have predominantly been hearing and touch. For movies, visual content has been made accessible to visually impaired viewers through audio descriptions -- an additional narration that describes scenes, the characters involved and other pertinent details. However, as audio descriptions should not overlap with dialogue, sound effects and musical scores, there is limited time to convey information, often resulting in stunted and abridged descriptions that leave out many important visual cues and concepts. This work proposes a promising multimodal approach to sensory substitution for movies by providing complementary information through haptics, pertaining to the positions and movements of actors, in addition to a film's audio description and audio content. In a ten-minute presentation of five movie clips to ten individuals who were visually impaired or blind, the novel methodology was found to provide an almost two time increase in the perception of actors' movements in scenes. Moreover, participants appreciated and found useful the overall concept of providing a visual perspective to film through haptics.
ContributorsViswanathan, Lakshmie Narayan (Author) / Panchanathan, Sethuraman (Thesis advisor) / Hedgpeth, Terri (Committee member) / Li, Baoxin (Committee member) / Arizona State University (Publisher)
Created2011
Description
Christina of Markyate, a twelfth-century visionary and prioress, has been frequently seen in scholarship as an outsider at her home institution of St Albans, enduring solely under the protection of its abbot, Geoffrey, her spiritual friend and confidant. This characterization appears incorrect when The Life of Christina of Markyate, St Albans' record of Christina's personal history and religious career, is viewed in its original literary environment. The high volume of extant material from twelfth-century St Albans makes it possible to view Christina's depiction in several original ways: as a textual construction (at least in part) influenced by Bede's narratives of holy women in his widely read Ecclesiastical History; as a portrayal of contemporary devotional prayer in the style of Anselm of Canterbury, a major authority on devotional practices of the time; and as a prominent addition to St Albans' own liturgy, the record of its celebrated saints and local patrons, as an object of devotion herself. The strategy of Christina's endorsement in her Life is also notably different from strategies on display in St Albans materials related to Katherine of Alexandria, an important saint for Abbot Geoffrey, which further suggests he was not her sole promoter at the abbey, if he was involved in the process of her textual production at all. Finally, the historical fact that she was employed as a patron of St Albans before none other than Pope Adrian IV, to whom St Albans was appealing for numerous institutional benefits at the time, shows that the prevailing opinion of Christina at the abbey can not have been entirely negative. Placing the Life within the literary and cultural circumstances of its production thus provides a fresh reading of Christina's institutional and devotional roles at St Albans, medieval views of women's spirituality and its place within the western European Christian tradition, and the compositional process of a major work of medieval hagiographical literature.
ContributorsVanGinhoven, Bryan (Author) / Voaden, Rosalynn (Thesis advisor) / Newhauser, Richard (Committee member) / Sturges, Robert (Committee member) / Arizona State University (Publisher)
Created2012