Index Catalog // Scholar@UC

Type:: Article
Description/Abstract:: As I have previously shown, Alexandre Brongniart established a coherent science of ceramics. By the mid-nineteenth century, Brongniart had popularised the term "la céramique" as a widely-applicable name for the field of pottery and porcelain making, and other related arts. In the Twentieth Century, ceramic manufacturing became increasingly technical. The inclusive field of artisans and industrialists that Brongniart had once envisioned was fracturing. Voices called for the separation of pottery making from experimental, industrial ceramics and the meaning of the term “ceramics” was hotly debated. Numerous etymologies were traced, but, as the predominant language of science transferred from French to English, none of the twentieth-century authors recognized Brongniart’s key role in the invention of the term. Critically, this language debate coincided with and reflected the global politics, nationalism, and warfare of the first half of the Twentieth Century.
Creator/Author:: Carr-Trebelhorn, Julia
Submitter:: Julia Carr-Trebelhorn
Date Uploaded:: 03/09/2026
Date Modified:: 03/09/2026
Date Created:: 2026-03-09
License:: Attribution-NonCommercial-NoDerivs 4.0 International

Type:: Document
Description/Abstract:: In the mid-18th century, France entered the Rococo period, a period of enlightenment and play. As the Enlightenment spurred more liberal ideologies in French society, aristocratic women were afforded more freedoms than in previous periods, such as high education and participation in social and cultural realms such as Salons. Jean-Honoré Fragonard, known widely for his 1767 painting "The Swing", created a large body of work throughout the period often depicting female subjects in genre and allegorical scenes as well as portraiture. Often subverting the typical male gaze in his works, his paintings serve as a reflection of the period of empowerment experienced by aristocratic women in the Rococo period.
Creator/Author:: Ogorek, Charlotte
Submitter:: Charlotte Ogorek
Date Uploaded:: 04/04/2024
Date Modified:: 04/16/2024
Date Created:: 2024-04-4
License:: All rights reserved

Type:: Student Work
Description/Abstract:: This essay investigates the complex subject matter and the significance of Félix Bracquemond’s etching Le Haut d’un battant de porte (The Top of a Door) through a biographical approach, visual analysis, and examination of the artist’s creative process and intentions. The investigation demonstrates that this etching is not only unusual for its clarity, but also for its ambiguity. The seemingly contradictory yet complementary characteristics – clarity and ambiguity – coexist in this work. It is the coexistence and interaction of clarity and ambiguity that makes this work more significant and intriguing.
Creator/Author:: Lai, Sufang
Submitter:: Sufang Lai
Date Uploaded:: 03/31/2022
Date Modified:: 04/21/2022
Date Created:: 2022-04-20

Type:: Dataset
Description/Abstract:: This dataset contains quantitative and qualitative data about the archaeological remains of fish-salting and fulling workshops throughout the ancient Mediterranean world (Europe, North Africa, and Western Asia), primarily dating to the Roman period. The data provided the basis for the two case studies in the author's dissertation (Motz, C.F. 2021. "The Knowledge Networks of Workshop Construction in the Roman World." Ph.D. diss., University of Cincinnati). The tables contained in this dataset were exported from the author's FileMaker database. Detailed information about the structure and contents of this dataset may be obtained by consulting Chapter 2 of the author's dissertation.
Creator/Author:: Motz, Christopher
Submitter:: Christopher Motz
Date Uploaded:: 02/18/2021
Date Modified:: 02/18/2021
Date Created:: 2021
License:: Open Data Commons Open Database License (ODbL)

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