This study examines the county courthouses of Arkansas with the purpose of discovering certain qualities which they possess as architecture. Stylistic influences are identified, as are influential architects, periods of building activity, and characteristics of age and condition. An historical overview provides information concerning nationwide trends in public architecture over the last century, allowing observations as to the effects which national and regional tastes had on Arkansas' county courthouse builders. It is concluded that Arkansas' county courthouses reflect, to some extent, the stylistic preferences and backwardness of southern and rural courthouses, respectively. The Georgian Revival is identified as the most popular style for courthouses still in use, although the most active building period is found to be the 1930s, when WPA design specifications dominated Arkansas courthouse architecture.

The primary purpose of this study was to investigate how imagery evolved in my work, in dealing with the relationship between body and landscape and the relationship between image and abstraction. Five paintings were created for the investigation of the evolution in my imagery. A journal of notes was kept concerning each piece while in progress and immediately following its completion. The analyzing method was a visual analysis of the structure and content, as well as the process through which the imagery evolved.

For this project, I explored traditions and relationships of materials both past and present: oriental kites and their linear structures and materials (fragile yet able to fly the strongest winds), Japanese washi (materials and hand processes), Eskimo gut work (sails and parkas). My interest has been in pushing these relationships further and exploring three-dimensional space with my linear panels.

It was the intention of this project to test selected objects to determine which ones could be used for decoration. If an object became a stable, aesthetically pleasing, part of the glazed piece, then it was considered successful. Two firing temperatures are important to my work; they are 1796 degrees Fahrenheit, oxidation (which is cone 06), and 2372 degrees Fahrenheit, reduction (which is cone 10). I expected some of these objects I chose to work better at the lower temperature, and some to work better at the higher temperature. All objects were test-fired on small plate-tiles at both temperatures. After testing, I decided which items were successful as decorative additions. With these successful objects, I was concerned about what methods of attachment were possible and what surfaces were appropriate.

This study is the first comprehensive analysis of the fatal woman motif in the writings and art of Edvard Munch from the early 1890s to 1909. It uses a background of the women in the artist's life as well as the literary and artistic worlds in which Munch participated. Following separate accounts of Munch's relationships with five women, the manner in which the artist characterizes each as a fatal woman in his writings and art is discussed and analyzed. Next, the study describes the fatal woman motif in late nineteenth century art and literature. It begins with a discussion of the origin of the Symbolist and Decadent Movements and an ideological examination of the fatal woman motif as it is manifested in the writing and art of these two groups. In addition, it compares Munch's visual manifestations of the femme fatale with the manner in which the artist's contemporaries depicted her. Finally, this study describes two groups of men with whom Munch was particularly close: the Christiania Bohéme and the Schwarzen Ferkel Circle. An examination of the literary works of these men helps to determine the way in which they affected Munch's pictorial perception of the fatal woman.