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- Creators: Barrett, The Honors College
Description
Once perceived as an unimportant occurrence in living organisms, cell degeneration was reconfigured as an important biological phenomenon in development, aging, health, and diseases in the twentieth century. This dissertation tells a twentieth-century history of scientific investigations on cell degeneration, including cell death and aging. By describing four central developments in cell degeneration research with the four major chapters, I trace the emergence of the degenerating cell as a scientific object, describe the generations of a variety of concepts, interpretations and usages associated with cell death and aging, and analyze the transforming influences of the rising cell degeneration research. Particularly, the four chapters show how the changing scientific practices about cellular life in embryology, cell culture, aging research, and molecular biology of Caenorhabditis elegans shaped the interpretations about cell degeneration in the twentieth-century as life-shaping, limit-setting, complex, yet regulated. These events created and consolidated important concepts in life sciences such as programmed cell death, the Hayflick limit, apoptosis, and death genes. These cases also transformed the material and epistemic practices about the end of cellular life subsequently and led to the formations of new research communities. The four cases together show the ways cell degeneration became a shared subject between molecular cell biology, developmental biology, gerontology, oncology, and pathology of degenerative diseases. These practices and perspectives created a special kind of interconnectivity between different fields and led to a level of interdisciplinarity within cell degeneration research by the early 1990s.
ContributorsJiang, Lijing (Author) / Maienschein, Jane (Thesis advisor) / Laubichler, Manfred (Thesis advisor) / Hurlbut, James (Committee member) / Creath, Richard (Committee member) / White, Michael (Committee member) / Arizona State University (Publisher)
Created2013
Description
Western landscape photography helped to create an imaginative perception of a new nation for Americans. Early nineteenth-century photographers captured a vision of uncharted terrain that metaphorically fulfilled a two-fold illusion: an untouched Eden and a land ready and waiting for white settlement. The sublime and picturesque experiences of the West provided artists a concept that could be capitalized upon by employing various forms of manipulation. In the twentieth-century, the role of landscape photography evolved as did the advancement of the West. Images of wilderness became art and photographers chose to view the western landscape differently. Some focused more sharply and critically on the relationship between the land and the people who lived on it. The influential exhibition in 1975, New Topographics: Photographs of a Man-altered Landscape presented work that showed a landscape altered, marked by power lines, houses, and fences. The West as Eden no longer existed. Today, photographers continue to examine, image, and experience western land anew. In this thesis I examine the relationship of contemporary landscape photography and the role of the West, guided by an analysis that traces the history of American ideologies and attitudes toward natural land. The artists I have chosen recognize landscape not as scenery but as the spaces and systems people inhabit, and use manipulative strategies that emphasize an artificial character of the West. Their work elicits antecedent mythologies, pictorial models, and American ideologies that continue to perpetuate internationally.
ContributorsHerden, Nicole (Author) / Fahlman, Betsy (Thesis advisor) / Serwint, Nancy (Committee member) / Klett, Mark (Committee member) / Arizona State University (Publisher)
Created2013
Description
The history of jade in many ways reflects the evolution of Chinese civilization, encompassing its entire history and geographical extent and the many cultural traditions associated with the various regions that have finally been brought together in the unity of present-day China. The archaic jade collections investigated in this thesis, from an archaeological point of view, primarily consist of pieces from the late Neolithic through early historic era, named the "Jade Age" by academics. Although well-researched museum catalogues of archaic Chinese jades have been widely published by major museums in the United States, they are mostly single collection oriented. It is, then, necessary to conduct research examining the overall picture of collecting practices in the U.S. Given the proliferation of fake early jades, this study will provide an essential academic reference for researchers, students, and the present art market. This thesis seeks to explore how shifting tastes, political climates, and personal ambitions, as well as various opportunities and personalities, were instrumental factors in shaping these important collections of archaic Chinese jades in the U.S. today.
ContributorsWang, Yijing (Author) / Brown, Claudia (Thesis advisor) / Fahlman, Betsy (Committee member) / Baker, Janet (Committee member) / Schleif, Corine (Committee member) / Arizona State University (Publisher)
Created2014
Description
Analysis of social networks has the potential to provide insights into wide range of applications. As datasets continue to grow, a key challenge is the lack of a widely applicable algorithmic framework for detection of statistically anomalous networks and network properties. Unlike traditional signal processing, where models of truth or empirical verification and background data exist and are often well defined, these features are commonly lacking in social and other networks. Here, a novel algorithmic framework for statistical signal processing for graphs is presented. The framework is based on the analysis of spectral properties of the residuals matrix. The framework is applied to the detection of innovation patterns in publication networks, leveraging well-studied empirical knowledge from the history of science. Both the framework itself and the application constitute novel contributions, while advancing algorithmic and mathematical techniques for graph-based data and understanding of the patterns of emergence of novel scientific research. Results indicate the efficacy of the approach and highlight a number of fruitful future directions.
ContributorsBliss, Nadya Travinin (Author) / Laubichler, Manfred (Thesis advisor) / Castillo-Chavez, Carlos (Thesis advisor) / Papandreou-Suppappola, Antonia (Committee member) / Arizona State University (Publisher)
Created2015
Description
Leo Kanner first described autism in his 1943 article in Nervous Child titled "Autistic Disturbances of Affective Contact". Throughout, he describes the eleven children with autism in exacting detail. In the closing paragraphs, the parents of autistic children are described as emotionally cold. Yet, he concludes that the condition as he described it was innate. Since its publication, his observations about parents have been a source of controversy surrounding the original definition of autism.
Thus far, histories about autism have pointed to descriptions of parents of autistic children with the claim that Kanner abstained from assigning them causal significance. Understanding the theoretical context in which Kanner's practice was embedded is essential to sorting out how he could have held such seemingly contrary views simultaneously.
This thesis illustrates that Kanner held an explicitly descriptive frame of reference toward his eleven child patients, their parents, and autism. Adolf Meyer, his mentor at Johns Hopkins, trained him to make detailed life-charts under a clinical framework called psychobiology. By understanding that Kanner was a psychobiologist by training, I revisit the original definition of autism as a category of mental disorder and restate its terms. This history illuminates the theoretical context of autism's discovery and has important implications for the first definition of autism amidst shifting theories of childhood mental disorders and the place of the natural sciences in defining them.
Thus far, histories about autism have pointed to descriptions of parents of autistic children with the claim that Kanner abstained from assigning them causal significance. Understanding the theoretical context in which Kanner's practice was embedded is essential to sorting out how he could have held such seemingly contrary views simultaneously.
This thesis illustrates that Kanner held an explicitly descriptive frame of reference toward his eleven child patients, their parents, and autism. Adolf Meyer, his mentor at Johns Hopkins, trained him to make detailed life-charts under a clinical framework called psychobiology. By understanding that Kanner was a psychobiologist by training, I revisit the original definition of autism as a category of mental disorder and restate its terms. This history illuminates the theoretical context of autism's discovery and has important implications for the first definition of autism amidst shifting theories of childhood mental disorders and the place of the natural sciences in defining them.
ContributorsCohmer, Sean (Author) / Hurlbut, James B (Thesis advisor) / Maienschein, Jane (Committee member) / Laubichler, Manfred (Committee member) / Arizona State University (Publisher)
Created2014
Description
During the 1960s, the long-standing idea that traits or behaviors could be
explained by natural selection acting on traits that persisted "for the good of the group" prompted a series of debates about group-level selection and the effectiveness with which natural selection could act at or across multiple levels of biological organization. For some this topic remains contentious, while others consider the debate settled, even while disagreeing about when and how resolution occurred, raising the question: "Why have these debates continued?"
Here I explore the biology, history, and philosophy of the possibility of natural selection operating at levels of biological organization other than the organism by focusing on debates about group-level selection that have occurred since the 1960s. In particular, I use experimental, historical, and synthetic methods to review how the debates have changed, and whether different uses of the same words and concepts can lead to different interpretations of the same experimental data.
I begin with the results of a group-selection experiment I conducted using the parasitoid wasp Nasonia, and discuss how the interpretation depends on how one conceives of and defines a "group." Then I review the history of the group selection controversy and argue that this history is best interpreted as multiple, interrelated debates rather than a single continuous debate. Furthermore, I show how the aspects of these debates that have changed the most are related to theoretical content and empirical data, while disputes related to methods remain largely unchanged. Synthesizing this material, I distinguish four different "approaches" to the study of multilevel selection based on the questions and methods used by researchers, and I use the results of the Nasonia experiment to discuss how each approach can lead to different interpretations of the same experimental data. I argue that this realization can help to explain why debates about group and multilevel selection have persisted for nearly sixty years. Finally, the conclusions of this dissertation apply beyond evolutionary biology by providing an illustration of how key concepts can change over time, and how failing to appreciate this fact can lead to ongoing controversy within a scientific field.
explained by natural selection acting on traits that persisted "for the good of the group" prompted a series of debates about group-level selection and the effectiveness with which natural selection could act at or across multiple levels of biological organization. For some this topic remains contentious, while others consider the debate settled, even while disagreeing about when and how resolution occurred, raising the question: "Why have these debates continued?"
Here I explore the biology, history, and philosophy of the possibility of natural selection operating at levels of biological organization other than the organism by focusing on debates about group-level selection that have occurred since the 1960s. In particular, I use experimental, historical, and synthetic methods to review how the debates have changed, and whether different uses of the same words and concepts can lead to different interpretations of the same experimental data.
I begin with the results of a group-selection experiment I conducted using the parasitoid wasp Nasonia, and discuss how the interpretation depends on how one conceives of and defines a "group." Then I review the history of the group selection controversy and argue that this history is best interpreted as multiple, interrelated debates rather than a single continuous debate. Furthermore, I show how the aspects of these debates that have changed the most are related to theoretical content and empirical data, while disputes related to methods remain largely unchanged. Synthesizing this material, I distinguish four different "approaches" to the study of multilevel selection based on the questions and methods used by researchers, and I use the results of the Nasonia experiment to discuss how each approach can lead to different interpretations of the same experimental data. I argue that this realization can help to explain why debates about group and multilevel selection have persisted for nearly sixty years. Finally, the conclusions of this dissertation apply beyond evolutionary biology by providing an illustration of how key concepts can change over time, and how failing to appreciate this fact can lead to ongoing controversy within a scientific field.
ContributorsDimond, Christopher C (Author) / Collins, James P. (Thesis advisor) / Gadau, Juergen (Committee member) / Laubichler, Manfred (Committee member) / Armendt, Brad (Committee member) / Lynch, John (Committee member) / Arizona State University (Publisher)
Created2014
Description
In this thesis, I investigate the anatomical excesses represented in the works of Jean-Auguste-Dominique Ingres. In recent years, art historical scholarship on Ingres has multiplied after being quiescent for much of the twentieth century, as contemporary scholars perceive the unusual contradictions in his works. I introduce the concepts of pathological versus imaginary distortions. Pathological distortions are distortions that represent diseased bodies, such as the goiters in many of Ingres's female figures, whereas imaginary distortions are not anatomically possible, such as the five extra vertebrae in the Grande Odalisque. Ingres employed both of these types of these distortions in his bodies, and I discuss how these two types of distortions can be read differently.
My thesis is that Ingres employed extended anatomical variations-in his paintings, most notably in his female figures, for several reasons: to reconcile his anxiety about originality while remaining within the tradition of Classicism and "disegno," to pay homage to his predecessors who were also the masters of line, and to highlight his command of line and drawing. Though Ingres has never been a strictly Neoclassical artist in the Davidian tradition, the Romantic elements of his work are underlined further by these anatomical variations.
My thesis is that Ingres employed extended anatomical variations-in his paintings, most notably in his female figures, for several reasons: to reconcile his anxiety about originality while remaining within the tradition of Classicism and "disegno," to pay homage to his predecessors who were also the masters of line, and to highlight his command of line and drawing. Though Ingres has never been a strictly Neoclassical artist in the Davidian tradition, the Romantic elements of his work are underlined further by these anatomical variations.
ContributorsEpstein, Danya (Author) / Codell, Julie F. (Thesis advisor) / Gully, Anthony (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2015
Description
The turmoil that China endured during the twentieth century triggered a series of social and political revolutions. As China struggled to resolve domestic questions of dynasticism or democracy and nationalism or communism, Western industrialization and imperialism dragged China rapidly into the globalizing world. Likewise, Chinese painting had to confront the West, as Chinese artists dealt with the twentieth-century version of the recurring question of modernizing Chinese painting for its times: how does one reconcile an ancient painting tradition with all the possibilities Western interactions introduced? This dissertation focuses on one artist's lifelong struggle, often overlooked, to answer this question. By examining C. C. Wang (1907-2003) and his life in art, this case study reveals broader truths about how twentieth century Chinese diaspora painters, such as Wang, modernized the tradition of Chinese ink painting.
Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.
To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is
asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.
To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is
asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
ContributorsHua, Ming (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2014
Description
Natural history is, and was, dependent upon the collection of specimens. In the nineteenth century, American naturalists and institutions of natural history cultivated and maintained extensive collection networks comprised of numerous collectors that provided objects of natural history for study. Effective networks were collaborative in nature, with naturalists such as Spencer Baird of the Smithsonian trading their time and expertise for specimens. The incorporation of Darwinian and Neo-Lamarckian evolutionary theory into natural history in the middle of the century led to dramatic changes in the relationship between naturalists and collectors, as naturalists sought to reconcile their observations within the new evolutionary context. This dissertation uses the careers of collectors Robert Kennicott, Frank Stephens, Edward W. Nelson, E.A. Goldman, and Edmund Heller as case studies in order to evaluate how the changes in the theoretical framework of late nineteenth century natural history led to advances in field practice by assessing how naturalists trained their collectors to meet new demands within the field. Research focused on the correspondence between naturalists and collectors, along with the field notes and applicable publications by collectors. I argue that the changes in natural history necessitated naturalists training their collectors in the basics of biogeography - the study of geographic distribution of organisms, and systematics - the study of the diversity of life - leading to a collaborative relationship in which collectors played an active role in the formation of new biological knowledge. The project concludes that the changes in natural history with regard to theory and practice gradually necessitated a more professional cadre of collectors. Collectors became active agents in the formation of biological knowledge, and instrumental in the formation of a truly systematic natural history. As a result, collectors became de facto field naturalists, the forerunners of the field biologists that dominated the practice of natural history in the early and middle twentieth century.
ContributorsLaubacher, Matthew (Author) / Green, Monica (Thesis advisor) / Laubichler, Manfred (Thesis advisor) / Wright, Johnson Kent (Committee member) / Arizona State University (Publisher)
Created2011
Description
The Neue Galerie in New York City includes some of the most impressive and culturally-specific artwork from Ronald S. Lauder's private art collection. The Neue's permanent exhibitions showcase pieces from the Wiener Sezession (Vienna Secession) and Wiener Werkstätte (Applied Arts of Vienna) in an environment that also employs replicas and period specific motifs to evoke the interiors of the private homes in which affluent fin-de-siècle Viennese art patrons lived, displayed influential modernist work, and held culturally important salons. Gustav Klimt's celebrated Adele Bloch-Bauer I (1907) is arguably the museum's most prized artwork. It serves as an icon that immortalizes Ronald Lauder as private collector. The figure of Adele Bloch-Bauer has also become an important emblem, whose story epitomizes the complexities of Jewish identity and its influence upon Viennese modern art. This thesis explores how the Neue Galerie's physical layout represents a specific model of modernism. By focusing on the portrait of Adele Bloch-Bauer, I urge a rethinking of the museum's relationship to modern art as an interpretation of the past. The themes that surround Adele Bloch-Bauer I have shaped Lauder's agenda as the leading private collector of the art of fin-de-siècle Vienna.
ContributorsFindling, Heather (Author) / Mesch, Ulrike (Thesis advisor) / Fahlman, Betsy (Committee member) / Toon, Richard (Committee member) / Arizona State University (Publisher)
Created2012